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# Jul 31, 2012
Interview: Brian Evenson and the Weird
"Fiction can disorient and make things that should feel ordinary seem odd"
Matthew Treon
Brian Evenson (1966 – ) is an influential American writer of hard to classify dark fiction that often seems surreal or Kafkaesque. He is also a translator of French literature and the Chair of the Literary Arts Program at Brown University, as well as a senior editor of the Conjunctions literary journal published by Bard College. Evenson's critically acclaimed story collections include The Wavering Knife (2004) and Fugue State (2009). Strange or absurd happenings occur with frequency in his fiction, and nothing could be odder than the events that occur in "The Brotherhood of Mutilation" (2003), later expanded into the novel Last Days (2009). The novella is a modern classic of weird ritual, mixed with noir and horror.
Recently, Stephen Graham Jones taught a weird fiction class at the University of Colorado. We have previously featured materials created for and from that class, including a Flowchart of the Weird and an extolment of Georg Heym's "The Dissection." One of his students in that class, Matthew Treon, decided to interview Evenson about his writing and weird fiction after reading extensively from Evenson's short stories and novels. The following is the complete transcript of that interview.
Treon is currently pursuing an MFA in Creative Writing at the University of Colorado in Boulder. He recently published a story at SpringGun Press and is currently working on a new novel, a "cracked-out western ontological thriller" he claims is already seeing the influence of the weird fiction he studied under Jones. He is deeply thankful for the opportunity to interview Evenson, just as we are thankful to feature this interview. – The Editors
Matthew Treon: As a genre/mode, what do you think of when you think capital‑W Weird fiction?
Brian Evenson: I tend to think of Lovecraft, for starters, probably since I live in Providence, RI where he's from. But I also think of fiction that has a macabre element without slotting into any one of the traditional genres, fiction that ends up having something sublimely odd about it and that refuses to remain comfortably within genre lines.
Treon: Who/what are your favorite weird writers/stories?
Evenson: Tough one. I like Lovecraft's "At the Mountains of Madness" a great deal and also his "The Whisperer in the Darkness." Laird Barron's work I think is terrific, and Michael Cisco's too. M. John Harrison has a story about a fly god which I've forgotten the title of [Editors' Note: probably "Settling the World," most recently reprinted in Harrison's short fiction collection Things That Never Happen]. I personally think David Ohle qualifies as well, and I like his work. There are lots of others.
Treon: Have you read much of The Weird, either before or after the anthologizing? Any particular thoughts on being included?
Evenson: I know a lot of the stories in the compendium and was glad to see what Jeff and Ann included. I'm particularly happy to see writers like Amos Tutuola who normally don't appear in his context next to writers like Eric Basso, and pieces by Borges and Jean Ray next to Clark Ashton Smith and H.P. Lovecraft.
Treon: In class we're trying not to rely too much on Justice Stewart's old know-it-when-you-see-it argument — we try not to limit our definition of weird fiction to a feeling. But it's hard because sometimes you finish a weird story and it's exactly that feeling, without explanation, that you have, where it puts you as the reader in a strange space where you're equally curious and uncomfortable to know more about where you are — to use a SGJ phrase, "…not explained in a connect-the-dots way but in an emotional sense…" — and this space is often where I'm left at the end of your stories. Is this a space you actively put your reader in?
Evenson: As a reader, I like stories that continue to work within me after they're done, and I think that's the thing I tend to shoot for with my own work. Uncomfortable and curious is a nice way of putting it. I tend to think of stories as having affect, of having an impact on readers that has a kind of emotional resonance, and I'm also interested in the uncanny, in the way fiction can disorient and make things that should feel ordinary seem odd, and I'm interested as well in thinking of the act of reading as an intensive experience. All those things probably come together to create a sense of the weird.
Treon: To you — after having extended "Brotherhood" into Last Days—does "Brotherhood" mean something different to you standing alone versus being read as part of Last Days?
Evenson: The book and concept had its first life as Brotherhood, and I've always thought of it as potentially a separate unit. When it becomes Last Days, the second section complicates things in a way I really like, but "Brotherhood" creates a world and then moves the reader very quickly into it. I like the speed of it, and like as well how surprising that first entry to the world is likely to be for the readers, the way they end up having to share Kline's confusion.
Treon: You often use a voice/prose style that employs what you've referred to as "ethical blankness" (especially in "Brotherhood" where you describe a murder as straightforward as a character getting a glass of water) that creates a sort of tension where the reader projects themselves onto characters/situations. In "Brotherhood" this seems to directly relate to phantom limbs as well as empathy. Is this ultimately a means of empathetically melding the reader with Kline (much the same we he's melded with the "gentleman with the cleaver"), so that at the end of "Brotherhood" we ask ourselves "what would I do?" / "I've been giving myself away psychologically, bit by bit, trying to understand, as Kline's been giving himself away physically, limb by limb — how much of me is left, and where was the turning point?" / "where is the line for me?" (?)
Evenson: Yes. I think that a lot of my work ends up focusing on ethical choice, but does so in a somewhat odd way, but creating a fictional space where either there seems to be an ethical vacuum or where the readers are observing characters make choices whose consequences are not clear. That's implicit in "Brotherhood" and becomes more explicit with the second half of Last Days, where Kline keeps asking himself the question "When is the moment that I stop being human?" My writing style in general is fairly phenomenological, with spare details but the details that are there described in a way that feels experiential to the reader, so there's an ethical blankness coupled with a lot of thought, say, about what it'd be like to be missing a hand, a kind of palpableness to what the reader is experiencing.
Treon: I read somewhere where you had mentioned what you call the "murmur" of the world, and it seemed to refer to that which is incomprehensible when faced straight on, something that you sort of look away from but try to keep in the corner of your eye — or under your breath, to keep with the metaphor. This also seems similar to a recurring theme in your stories (e.g., "One Over Twelve" / "Jesus Barcode") where characters (especially narrators) are dulling their senses in order to better comprehend something overwhelming in their world/situation — paradoxically hindering their ability to fully understand something as a way to better understand it.
Evenson: The term "The Murmur of the World" comes from an essay by Alphonso Lingis with the same title and is about the relation of noise/murmur/background noise to communication. But which also in a way communicates. He argues that when we understand we don't only abstract the message but we take in the rasp of the throat that speaks it as well as all the material circumstances that lead to an utterance, and that in those details that are "non-communicative" the other makes tangible demands on us as a material body. My story "The Polygamy of Language" in Contagion plays with the notion of trying to hear language in pure form, by eliminating all sorts of distractions (including living ones) and sensory input, and it might be argued that what he's trying to do is eliminate this murmur and get to a purified form of language that doesn't deal with it. Of course it fails. Often my characters seem to feel like they're on the verge of seeing or hearing something that is just out of reach and that they never can quite get to, and it may well be tied to their ability to detect the murmur but their simultaneous resistance to acknowledging it.
Treon: Your stories seem to put readers in a place where by the end we feel a certain way, have let our personal morals permeate the story, and now maybe feel differently about ourselves, but can't necessarily turn around, point to particular words in the story, and say, "That, there, those words add up to the meaning…" Do you think this idea plays into the way you've rendered Kline in "Brotherhood"/ Last Days, the way he hardly ever analyzes his own actions for us, and how, with a very little amount of his thoughts written out for the reader, we only have his actions/deeds by which to think of him, actual physical deeds instead of abstractions? And is this what you mean when you write in the afterword to Altman's Tongue, "…a neutrality of voice, an absence of authorial commentary…" / "…draw the reader into a sensation in which sensation outweighs mimesis…"?
Evenson: I think stories when they work best work in a way that we can't see what they're doing to us. If we can figure out how they have the effect they have, the impact is just not the same. That's ultimately my problem with someone like Raymond Carver: most of his stories work well the first time you read them but when you reread them, you can see too easily how he puts them together and how he creates his effects. And once you've read a few Carver stories, the others don't surprise in the same way —you see the bones of the story even the first time you read them. The stories I really admire are stories that I can't put my finger on how they accomplish what they accomplish, that stay strong on multiple readings. And I'd hope in my own fiction that it'd be hard to pin down what I'm doing to the reader, that you know that something is happening but not sure what until it's too late (which fits thematically with what happens to Kline, that sense of always already too late). I think of reading as an intensive experience, as something you undergo or live through, as something that has an effect on you and changes you in a similar way to what lived experience does. Since I think of fiction that way, I'm less worried about what it depicts (i.e. whether it depicts an accurate, mimetic representation of reality) than about what it does to the reader. It's not that I don't take a great deal of care with how I describe things, only that those descriptions are never simply in the service of representing reality. Instead, they're in the service of doing something to the reader. So there's often a subtle slant or coloration to how I approach things.
Treon: The dangers of abstraction seem to be exemplified in your stories "Younger" and "Girls in Tents". If read as two sides of one set of experiences (but not necessarily the same moments), the two stories could be read as two narratives, constructed retrospectively, that now essentially create two different past realities, each mutating it in a way that doesn't really allow for what "really happened" to exist. These mutated narratives (especially with the two sisters in "Younger") also seem to now be having a sort of menacing, maybe even violent, effect on the present/future. And this seems to be doing what your stories often to do, which is take what may be a character's/reader's monolithic view of the world/set of beliefs, break it up, and shine a light in the cracks just long enough to let the character/reader see they're there, then cut the light, giving them the choice and even responsibility of taking a second look. Would you say this is something you're actively setting out to do in stories such as these?
Evenson: Yes, I don't actually believe very strongly in the idea of something "really" happening, since everything that is experienced is experienced through a consciousness which colors, shapes, and changes it. I think we've all probably been in experiences where our experience of events is different from those around us, and even if we allow ourselves to be convinced by others that our perception was wrong, a part of us still remains loyal to the way we experienced the event. I do see "Girls in Tents" and "Younger" as paired stories, with one showing a kind of experience from the perspective of an older girl in a duo and the other from the perspective of the younger girl, and I think those two stories are having a conversation that can be read in the way you suggest. Another story that I feel talks to both of them, though it's somewhat different, is "Windeye." I think people can find my work unsettling because it often is interested in showing how much of what we like to think of as permanent and solid is contingent, and I suppose if there's a project I have overall it's to break up the structures and beliefs that we take for granted but which are a great deal less solid than we like to think.
Treon: What's the weirdest story you've ever read?
Evenson: Hmmm. Tough one. I've got so many stories I like and teach and think about. I don't know if I have a favorite… For a weird movie, probably Audition. But for weird stories, I'd have to think a lot. A recent favorite is Peter Straub's novella "The Ballad of Ballard and Sandrine."
Treon: There were a couple times reading your stories where being down in it I got a little freaked out, wanted to look away from the page for a minute before continuing (namely while reading "The Munich Window", and much in the same sublime way that Kline can't stop looking at Ramse's torn lip early on in "Brotherhood"). Have you ever had to stop writing a story (either totally, or at least long enough to tell yourself everything's okay) because just writing it was too uncomfortable?
Evenson: "The Munich Window" was the most difficult story to write, I think. It was very tough and exhausting and I imagine reading it would be similar, considering the proximity you have to the main character's thought processes and ways of self-justifying himself in the world. I do tend to break things up a little, though once I'm in the swing of something sometimes it's hard to stop, I just have to keep going. I suppose the protection is that part of me is so concerned about language and getting the words right that I can look very analytically at what's going on with the language rather than the content and that carries me through. But I remember that when I wrote "The Munich Window" I wrote it by hand and then typed it out in a public computer lab on the University of Washington campus, and another student in the lab, someone I knew, at a certain point came up and shook me and asked if I was all right. Typing in the voice had made the room vanish around me and I'd fallen deeply into the story and apparently looked distressed. That's when I realized it was a decent story.
One reply to "Interview: Brian Evenson and the Weird"
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I wanted to try that also but I had to sell that watch.
DLC and white dial. Love it!
All black on this one might be good.
Nice work. These need a dlc Aegir buckle too.
What everyone else said: that is way visually appealing.


In decisions on academic careers, the societal impact that researchers have with their research is gaining importance. This is an addition to incentives for academic impact. Relevant indicators for academic impact are how often the researcher has been cited (the so-called H-index) and the impact factor (IF) of the journals in which the researcher has published.
It is widely believed that it is more difficult to get published in journals with a higher IF because they are more attractive and can afford to desk reject a larger proportion of the submissions. However, journals with higher IFs do not necessarily publish research of higher quality. Because scientists in some countries can quickly advance their careers and even receive monetary bonuses by publishing in high IF journals, they also attract a lot of low-quality research. Once in a while, a piece of garbage slips through because the peer review process is not perfect.
Also publishing an article in a high IF journal does not necessarily imply that the article will be more widely read or receive a higher number of citations. The overwhelming majority of articles in high IF journals receive low numbers of citations, but a few articles that are highly cited determine the IF.
The highest impact paper we have published is a literature review of empirical studies on philanthropy. It was originally written as a background paper for a request for proposals of the John Templeton Foundation (JTF), and later published in three separate, standalone articles: one in Nonprofit & Voluntary Sector Quarterly (NVSQ) and two in Voluntary Sector Review (VSR). As a self-archived working paper, the JTF paper already attracted some attention, but the NVSQ article quickly received large numbers of citations, and continues to do so. The journals in which we published the papers were not the highest IF journals in which we published throughout our careers. In fact, papers we published in higher IF journals have attracted way fewer citations.
From what we have heard from readers the paper is useful to many people because it provides a map of the landscape of research on philanthropy. Our review pointed them to studies that are relevant to their specific research questions. Studies that they would otherwise not have found. Often this impact is invisible because researchers do not cite our review, but instead cite the papers we reviewed. So the impact we have with the paper is visible not so much in its number of citations, but in the number of readers. There is no way to track whether people actually read it, but paper has been downloaded thousands of times.
Did we achieve the objectives of the paper?
The number of downloads is a quantifiable, generic indicator of impact. But a high number of downloads is not why we wrote this paper. If you see research as an intervention, its impact should be evaluated relative to intention: did it achieve the intended goals?
We wrote the paper to provide "a reference resource for classical intuitions" (p.925) for researchers who have an idea for a study, but do not know what previous research has found. We hoped that our review would reduce "the lack of awareness of research in distant times and disciplines" (p.945). We wanted to acquaint researchers in different fields with each other's work. Two goals that we did not explicitly state in the paper because they seemed overly ambitious were to integrate these relatively isolated bodies of research and ultimately to establish a common knowledge base for research on philanthropy.
It is very difficult to determine to what extent we have been successful with this paper. Perhaps in a decade or two it may become clear how useful our contribution has been in establishing a common knowledge base for research on philanthropy. Also it would be difficult to quantify whether our review actually integrated different fields. One could count the number of citations to research in other disciplines before and after our review was published, and in studies that cite our review and those that do not. According to our own standards, however, those numbers would still not prove impact.
Yet we do believe we have made a difference. Many academics who were new to the topic of philanthropy have told us that our review was helpful in finding their way in the literature. We also know that our readers are more aware of research in other disciplines than the citations demonstrate. Word limits for journal articles lead researchers to omit relevant references, and they focus on work published in the same journal and discipline.
Did we change the practice of fundraising?
What about the societal impact? As we wrote in our paper (p. 926), we hoped that our review would not only be useful for an academic audience but also for practitioners. What impact did we have on the practice of fundraising? We could count the number of talks and seminars we were invited to give and actually gave and the number of attendees at these events. But this is not measuring impact, and not why we wrote the paper. We hoped that fundraisers would take advantage of the insights gained in the studies we reviewed to increase fundraising effectiveness (p. 926). We learned from conversations with fundraisers and other philanthropy professionals who read our paper or attended our talks that insights from our literature review indeed have influenced the way they look at donors and fundraising. The insights from academia may have helped them to better understand why their donors choose to donate to their organization, and how they can use this information to build better and stronger relationships with those donors. We feel happy to have contributed to this, but also believe the effectiveness of fundraising, especially in relation to donor satisfaction, can always be improved further. We look forward to keep providing academic insights to support fundraisers and other philanthropy professionals in this challenge!
Contribution to the March 2016 edition of the European Research Network on Philanthropy (ERNOP) newsletter. PDF version here.
Philanthropy can take many forms. It ranges from the student who showed up at my doorstep with a collection tin to raise small contributions for legal assistance to the poor to the recent announcement by Facebook co-founder Mark Zuckerberg and his wife Priscilla Chan of the establishment of a $42 billion charitable foundation. The media focused on the question why Zuckerberg and Chan would put 99% of their wealth in a foundation. The legal form of the foundation allowed Zuckerberg to keep control over the shares without having to pay taxes. Leaving aside the difficult question what motivation the legal form confesses for the moment, my point is that a change is taking place in the face that philanthropy takes.
Entrepreneurial forms of philanthropy, manifesting a strategic investment orientation, become more visible. We see them in social impact bonds, in social enterprises, in venture philanthropy and in the investments of foundations in the development of new drugs and treatments. A reliable count of the prevalence of such prosocial investments is not available, but 2015 was certainly a memorable year: the first Ebola vaccine was produced in a lab funded by the Wellcome Trust and polio was eradicated from Africa through coordinated efforts supported by a coalition of the WHO, Unicef, the Rotary International Foundation, and the Bill and Melinda Gates Foundation.
Of course there are limitations to philanthropy. Some problems are just too big to handle, even for the wealthiest foundations on earth, using the most innovative forms of investments. The refugee crisis continues to challenge the resilience of Europe. NGOs are delivering relief aid in the most difficult circumstances. But these efforts are band aids, as long as political leaders are struggling to gather the will power to solve it together.
The Zuckerberg/Chan announcement revived previous critiques of philanthrocapitalism. Isn't it dangerous to have so much money in so few hands? Can we rely on wealthy foundations to invest in socially responsible ways? Foundations are the freest institutions on earth and can take risks that governments cannot afford. But the track records of the corporations that gave rise to the current foundation fortunes are not immaculate, monopolizing markets and evading taxes. Wealthy foundations can have a significant impact on society and influence public policy, limiting the influence of governments. It is political will that enables the existence and facilitates the fortune of wealthy foundations. Ultimately, the realization that the interests of the people should not be harmed enables the activities of foundations. Hence the talk about the importance of giving back to society.
The sociologist Alvin Gouldner is famous for his 1960 article 'The Norm of Reciprocity', which describes how reciprocity works. He also wrote a second classic, much less known: 'The Importance of Something for Nothing.' In this follow-up (1973), he stresses the norm of beneficence: "This norm requires men to give others such help as they need. Rather than making help contingent upon past benefits received or future benefits expected, the norm of beneficence calls upon men to aid others without thought of what they have done or what they can do for them, and solely in terms of a need imputed to the potential recipient." In a series of studies I co-authored with Mark Ottoni-Wilhelm, an economist from the Lilly Family School of Philanthropy at Indiana University, we call this norm 'the principle of care'.
With this quote I return to the question about motivation. The letter to their daughter in which Zuckerberg and Chan announced their foundation reveals noble concerns for the future of mankind. It is not their child's need that motivated them, but the needs of the world in which she is born. This is the genesis of true philanthropy. Pretty much like the awareness of need that the law student demonstrated at my doorstep.
Bekkers, R. & Ottoni-Wilhelm, M. (2016). Principle of Care and Giving to Help People in Need. European Journal of Personality.
Gouldner, A.W. (1973). The Importance of Something for Nothing. In: Gouldner, A.W. (Ed.). For Sociology, Harmondsworth: Penguin.
Wilhelm, M.O., & Bekkers, R. (2010). Helping Behavior, Dispositional Empathic Concern, and the Principle of Care. Social Psychology Quarterly, 73 (1): 11-32.


Marty Corley has been in real estate since 1983 assisting buyers and sellers with their primary homes, 2nd homes and income producing properties. In 2000 she moved to Myrtle Beach so she could enjoy the warm weather, golf, tennis and beach. In addition to working with buyers and sellers, she provides training for our agents on how to effectively do business. Whether it is real estate regulations, technology or general skills, Marty loves working to enhance our level of professionalism.
Marty willingly held my hand through every transaction ....both buying and selling homes. Her energy and attention to detail allowed me to relax, knowing she always had my best interest at heart!
Her professionalism is unmatched and I, unequivocally, recommend her to anyone searching for an agent that possesses her skills and dedication to her clients!


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History Archive > A General History of Pyrates Vol. II (1724)
A general history of the pyrates : from their first rise and settlement in the Island of Providence, to the present time ; with the remarkable actions and adventures of the two female pyrates Mary Read and Anne Bonny ... ; to which is added a short abstract of the statute and civil law, in relation to pyracy ... / by Captain Charles Johnson. The second edition / with considerable additions. London : Printed for, and sold by T. Warner ..., 1724
Johnson, Captain Charles (1724-1736)
Golden Age of Piracy Sailing
Johnson, Captain Charles. A General History of Pyrates Vol. II. Printed for, and sold by T. Warner. 1724.
Johnson, Captain Charles (1724) A General History of Pyrates Vol. II. Printed for, and sold by T. Warner.
Johnson, Captain Charles, A General History of Pyrates Vol. II. Printed for, and sold by T. Warner. 1724.
A General History of the Robberies and Murders of the most notorious Pyrates is a 1724 book published in Britain containing biographies of contemporary pirates, which was influential in shaping popular conceptions of pirates. Its author uses the name Captain Charles Johnson, generally considered a pseudonym for one of London's writer-publishers. The prime source for the biographies of many well-known pirates, the book gives an almost mythical status to the more colorful characters, and it is likely that the author used considerable license in his accounts of pirate conversations. The book also contains the name of the pirate flag the Jolly Roger and shows the skull and bones design.
First appearing in Charles Rivington's shop in London, the book sold so well that by 1726 an enlarged fourth edition had appeared. It pandered to the British public's taste for the exotic; revelling in graphic stories on the high seas. English naval historian David Cordingly writes: "It has been said, and there seems no reason to question this, that Captain Johnson created the modern conception of pirates." Scottish novelists Robert Louis Stevenson (author of Treasure Island) and J. M. Barrie (author of Peter Pan featuring Captain Hook) both identified Johnson's General History of the Pyrates as one of their major influences, and Stevenson even borrowed one character's name (Israel Hands) from a list of Blackbeard's crew which appeared in Johnson's book.
A General History introduced many features which later became common in pirate literature, such as pirates with missing legs or eyes, the notion of pirates burying treasure, and the name of the pirate flag the Jolly Roger. The author specifically cites two pirates as having named their flag Jolly Roger (named after the first Pirate and his crew): Welsh pirate Bartholomew Roberts in June 1721, and English pirate Francis Spriggs in December 1723. The book gives an almost mythical status to the more colorful characters, such as the infamous English pirates Blackbeard and Calico Jack. It provides the standard account of the lives of many people still famous in the 21st century, and has influenced pirate literature of Scottish novelists Robert Louis Stevenson and J. M. Barrie.
The book was released in two volumes. The first mostly deals with early 18th-century pirates, while Volume II records the exploits of their predecessors a few decades earlier. In the first volume, the author sticks fairly close to the available sources, though he embellishes the stories somewhat. He stretches the truth farther in the second volume and includes the biographies of three subjects who may be entirely fictional. The book has been hugely influential in shaping popular notions of piracy.
The buccaneers profiled in Volume I are:
Bartholomew ("Black Bart") Roberts
Calico Jack Rackham
Charles Vane
Edward England
Edward Lowe
Francis Spriggs
George Lowther
Henry Every
Howell Davis
Israel Hands
James Martel
John Gow
Mary Read
Richard Worley
Roche Braziliano
Stede Bonnet
Thomas Anstis
Volume II features:
Christopher Condent
John Bowen
John Halsey
Nathaniel North
Samuel Bellamy
Samuel Burgess
Thomas Howard
Thomas Tew
William Fly
William Kidd
as well as biographies of the probably fictional captains James Misson, William Lewis (pirate), and John Cornelius.
Publisher: Printed for, and sold by T. Warner
https://digital.lib.ecu.edu/17002

redpajama_set_name: RedPajamaCommonCrawl


With so much turmoil happening in our world and in our country, it is troublesome to have to live and grow up in a place where so much hatred exists. However, it is good to remember our mission in the world is to be patterned after Christ's. (John 20:21). Here we find the connection between our commissioning and the commissioning of the Lord Jesus Christ by His Father. He is our model, pattern, and example. Our labors are to be conducted like His. IMS must be a place where our children can see God in us and in one another.
While we're on the eve of school starting this year, we cannot ignore how awful and unconscionable the events in Charlottesville and Barcelona have been over the last several weeks. The consequences of this human evil are devastating. God did not create evil, he created freedom. There is nothing but equality, harmony, and greatness in His plans. By neglecting to accept what God has deemed good, we stray from the God-given path that leads to this greatness.
We must acknowledge the terrible hatred that is happening in our world, both in large ways – like the racist, bigoted, anti-Semitic rally in Charlottesville- and in small ways, every day throughout our city and our country. To not do so is to ignore the realities of our diverse community of children and their families. I don't have the perfect words of course, but I know that now, more than ever we will need to invite God into our lives and ask him to help us take care of ourselves so that we can build family through IMS and defend our children. Now, more than ever, we must teach them what Christ has taught us – to love one another as He has loved us. The Gospel mandate is not a program, it is a relationship with a person.
Some of our children will be emotionally affected by these overt and public acts of racism, and we must be ready to provide the love they need as they grapple with this. Our work may have gotten harder considering these events, but it didn't change. It is our responsibility to keep our children safe and reassure them of that safety, starting on day 1 and throughout the school year. I encourage you to utilize resources to help you do this. The United States Conference on Catholic Bishops has resources, prayers, and statements from Catholic leadership on combatting racism. Many external groups are providing suggestions for how to address these issues with students – the National Education Association, the National Network of State Teachers of the Year, Teaching Tolerance, National Public Radio, and many more. If you need additional resources like these, feel free to reach out to us at the central office.
While this hatred is not going away, we can use our faith and our teaching to begin to chip away at it. We can teach our children to read and do math and think like scientists. We can teach them to treat one another as they wish to be treated. We can teach them to express themselves through writing, poetry, visual arts, and music. We can teach them that whatever we do to the least of our brothers and sisters, we do to Christ. We can teach them our world's history so they aren't destined to repeat it. We can teach them to pray and be peacemakers, for peacemakers shall be called children of God. We can help them explore their vocation in life, their call to greatness, which in part is a duty to defend and serve the Kingdom of God. We can teach them that God gives us our dignity and that no person is capable of taking our dignity from us.
I want to thank our IMS family for all that you do to build the Kingdom of God in our schools and for our children and families. Please do not hesitate to reach out if you want to discuss this issue more.


For some reason, Saturday 27th January 2018 is set to be a big day for free food, and we're giving you the 411 on where to find it.
Due to a happy coincidence, two food freebie days have miraculously aligned to create the ultimate cheat day. Both pizza and doughnuts are being handed out to lucky Londoners this Saturday – Here's how to get your hands on them without paying a penny.
If you head down to Notting Hill this Saturday, you'll be able to take advantage of two hours of free doughnuts to mark the opening of Aussie bakery Doughnut Time's third venue. At precisely 12pm they'll be throwing open their brand-spanking-new teal coloured doors to feed all you hungry Londoners for free (until the promo ends at 2pm). And there's good news for vegans, because their calorific menu includes four rather unbelievable vegan options. Go get one!
You'll find Doughnut Time's new Notting Hill branch at 15 Blenheim Crescent, W11 2EE.
Once you've indulged in a complimentary doughnut, you'll have plenty of time to head to Dalston, home to a new branch of Pizza Union. The first 100 people who walk through the doors of Pizza Union Dalston (after 6pm) will be offered any pizza on the menu free of charge. Oh, and if you're one of the first 50 to arrive you'll get a sweet dolce pizza ring to share, in addition to your pizza. Absolutely no dough required!
You'll find Pizza Union Dalston at 14 Kingsland High Street, E8 2JP.
So it's doughnuts for lunch in west London, pizza for dinner in east London. Can't ask for a better Saturday than that, eh?
Featured Image: Instagram @doughnuttime_uk and @ks_ate_here.


Who, Quack phsyciatrist and collegue's wife. We then see her waking up, opening the curtains and kneeling on the floor as she begins to get dressed. Sarah 2 episodes, Rupert Vansittart I wouldn't generally recommend this unless you're a big fan of British TV.


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from django.core.management.base import BaseCommand, CommandError
import csv
from scenarios.models import SpeciesHabitatOccurence, Species

class Command(BaseCommand):
    args = '<csv>'
    help = 'Import species-habitat occurence data. 1 argument - the csv to be imported'

    def handle(self, *args, **options):
        header_map = {
            'OBJECTID': {'name': 'object_id', 'type': 'int'},
            'SPECIESCOMMON': {'name': 'species_common', 'type': 'str'},
            'SPECIESSCI': {'name': 'species_sci', 'type': 'str'},
            'LIFESTAGE': {'name': 'lifestage', 'type': 'str'},
            'GENDER': {'name': 'sex', 'type': 'str'},
            'HABITATASSOCIATION': {'name': 'habitat_association', 'type': 'str'},
            'SEASON': {'name': 'season', 'type': 'str'},
            'LEVEL1HABITAT': {'name': 'level_1_habitat', 'type': 'str'},
            'LEVEL2HABITAT': {'name': 'level_2_habitat', 'type': 'str'},
            'LEVEL3HABITAT': {'name': 'level_3_habitat', 'type': 'str'},
            'LEVEL4HABITAT': {'name': 'level_4_habitat', 'type': 'str'},
            'Xwalk_sgh': {'name': 'xwalk_sgh', 'type': 'str'},
            'LU_Code': {'name': 'sgh_lookup_code', 'type': 'str'},
            'ACTIVITY': {'name': 'activity', 'type': 'str'},
            'ACTIVITYASSOCIATION': {'name': 'activity_association', 'type': 'str'},
            'Pmin_depth': {'name': 'preferred_min_depth', 'type': 'int'},
            'Pmax_depth': {'name': 'preferred_max_depth', 'type': 'int'},
            'Amin_depth': {'name': 'absolute_min_depth', 'type': 'int'},
            'Amax_depth': {'name': 'absolute_max_depth', 'type': 'int'}
        }

        SpeciesHabitatOccurence.objects.all().delete()
        Species.objects.all().delete()
        import_count = 0
        try:
            in_file = args[0]
        except IndexError:
            self.stdout.write('--- ERROR: You must provide the location of the CSV file to be imported! ---')
            import sys
            sys.exit()
        with open(in_file, 'rb') as csvfile:
            reader = csv.reader(csvfile, delimiter=',', quotechar='"')
            headers = reader.next()
            for row in reader:
                hab_dict = {}
                for idx, val in enumerate(row):
                    map_val = header_map[headers[idx]]
                    if val == '':
                        hab_dict[map_val['name']] = None
                    elif map_val['type'] == 'int':
                        hab_dict[map_val['name']] = int(float(val))
                    elif map_val['type'] == 'str':
                        hab_dict[map_val['name']] = val.lower()
                SpeciesHabitatOccurence.objects.create(**hab_dict)
                Species.objects.get_or_create(common_name=hab_dict['species_common'].lower(), scientific_name=hab_dict['species_sci'].lower())
                import_count += 1

        self.stdout.write('Successfully added %s Species Habitat Occurrence records' % import_count)

redpajama_set_name: RedPajamaGithub


A traditional and focusable 2kW (2000 Watt) Tungsten Blonde light supplied with a heavy-duty stand, barn doors, scrims and 16A cable + RCD trip.
These lights are big, hot and very bright. The best value bright light available. You will need some air flow when shooting in smaller locations because a 2000 Watt lamp gives off a lot of heat.
The lamp is focusable from flood to spot and has an inline on/off switch.
We can supply CTB Daylight gels if you need them.


Changing Slug from "youtube video title" to 'Youtube Video ID"
Front page › Forums › CodeCanyon products › WordPress YouTube video post plugin › Changing Slug from "youtube video title" to 'Youtube Video ID"
This topic contains 1 reply, has 2 voices, and was last updated by Constantin 5 years, 3 months ago.
or mydomain.com/video/"post_id" or mydomain.com/"post_id" (as wordpress default).
You should take a look at permalinks settings in WP. This isn't managed by the plugin.


Wow! What a day! There was so much colour and fun on the Saturday of the launch party.
I think it was the most fun I've ever had performing too! Molly the Dancing Dolly even made a special appearance and encouraged us all to get up and move!
And all the amazing kids that were there were singing their hearts out – especially one little boy who made special use of his vocal chords during the song 'Noisy Boys'. Special mention to my two Daggy Dancer's who joined me on stage with their hilarious dance moves.
Check out some photos from the Launch Party!
Jackabella's new album 'Sounds Fun!' is available on CD with an 8 page Lyrics Booklet or Instant Download today.


text:
Windstream takes $175M in Connect America Funds, sets broadband expansion to 400K rural locations
Windstream has accepted $175 million of Phase II Connect America Funds (CAF-II), a move that will enable it to extend broadband services to nearly 400,000 rural households across 17 states.
The FCC's CAF program will provide ongoing funding to support and expand rural broadband networks for carriers like Windstream, with the ability to provide at least 10/1 Mbps.
Tony Thomas, president and CEO of Windstream, said in a release that the CAF-II funding will enable it "to continue service in many high-cost areas and to offer new service to many others" it could not make a business case to address before.
Thomas added that the telco has continued to make efforts to expand and improve broadband capabilities in the rural areas it serves through a mix of its own capital and universal service and stimulus funds.
One initiative it has been moving fast on is the deployment of VDSL2+. Although it won't release its earnings until Aug. 6, the telco previously stated that at the end of the first quarter of 2015 that it reached 200,000 customers in its ILEC territory with the new hybrid fiber/copper service.
At that time, the telco said its move to spin off its wireline assets into Communications Sales and Leasing (CS&L), a publicly traded Real Estate Investment Trust (REIT), could provide it with more opportunities to expand the VDSL2+ services into more markets.
With the CAF-II program, the FCC created a new cost model that incorporates state-by-state support levels. A telco like Windstream can accept the funding and related service obligations for its service area in each state. In the event a service provider declines an offer for a state, funding will be subject to a competitive process in which any eligible provider can bid to serve all or part of the area. Windstream has declined to take funds for New Mexico, for example.
Thomas said that although it remains committed to providing affordable broadband access services in New Mexico, the "statewide offer would not enable us to meet the program's obligations." The telco plans to participate in the upcoming bidding process to compete for broadband support in the state.
Windstream is the second provider to accept CAF-II funding. Fellow rural ILEC Frontier announced in June that it accepted $283 million annually in CAF II support from the FCC to deploy broadband to more than 650,000 high-cost rural locations throughout its current 28-state service area.
Other telcos like CenturyLink (NYSE: CTL) and FairPoint have not accepted any of the funds yet. FairPoint said during its second quarter earnings call that it is eligible to receive $38 million in CAF-II funds, but is still evaluating the program.
In 2013, Windstream joined CenturyLink, Frontier and FairPoint in accepting Phase I funding from the Connect America Fund (CAF). At that time it said it will take the $60.4 million in incremental CAF I funding. The telco also agreed to use $63.5 million above its initial allocation for a total of over $123.9 million. Using the CAF I funding, Windstream was able to deploy broadband based on the FCC's former 4 Mbps standard to 217,638 locations in its serving territories.
Windstream reaches 200,000 users with VDSL2, sees further broadband growth opportunities
Frontier will use CAF II funding to expand broadband in acquired Verizon territories
Windstream accepts $60.4M in CAF I funds for rural broadband extension


Today Barbie she is going to teach us how to plant and prepare the most delicious strawberries. In our brand new game called Barbie Gardening Expert, you are going to join Barbie in her garden, where she is going to teach you how to plant the delicious fruit. Once you will have completed this step, the next part in this fun game called Barbie Gardening Expert will be to prepare a fantastic fruit smoothie that will refresh you during the hot summer days in the sun. Unlock all of the levels that this game offers you, and have a fantastic time playing this fun game called Barbie Gardening Expert!


text:
LINAK ist ein globaler Hersteller von elektrischen linearen Antrieben. Diese werden branchenüblich als Aktuatoren bezeichnet.

Die Antriebssysteme werden beispielsweise in Krankenhaus- und Pflegebetten sowie im Büromöbelbereich eingesetzt. Die lineare Antriebstechnik verbreitet sich zunehmend auch in der Industrie.
Der Hauptsitz der Firma ist Guderup, Dänemark. Die deutsche Zentrale befindet sich im hessischen Nidda.

Geschichte
Linaks Firmengeschichte begann 1907 mit dem Maschinenbaubetrieb Christian Jensen. 1976 übernahm Bent Jensen, Enkel von Christian Jensen, die Firma. Das Familienunternehmen beschäftigte zu dieser Zeit sieben Mitarbeiter. Der erste lineare Antrieb wurde 1979 auf den Markt gebracht. 1990 eröffnete das Unternehmen mit LINAK UK in Großbritannien seine erste Auslandsniederlassung. Ein Werk mit einer Fläche von 5.000 m2 wurde 1999 in den USA eröffnet, außerdem entstanden dort Verkaufseinrichtungen. Im Jahr 2002 wurde das neue Produktionsgebäude mit einer Fläche von circa 9.000 m2 in der Nähe des Stammsitzes in Dänemark eingeweiht. Nachdem LINAK im Jahre 1990 als erstes dänisches Unternehmen das Zulassungszertifikat für den chinesischen Markt durch die dortige Handelskammer erhalten hatte, wurden 2006 in China Produktionsstätten für die Versorgung des chinesischen Marktes errichtet. Heute beschäftigt LINAK circa 1.600 Mitarbeiter weltweit.

Linak zählt neben Danfoss zu den größten Arbeitgebern auf der Insel Als (dt.: Alsen).

Einzelnachweise

Elektrotechnikhersteller
Produzierendes Unternehmen (Dänemark)
Als (Insel)
Sønderborg Kommune
Gegründet 1907

redpajama_set_name: RedPajamaWikipedia


London - The Proteas took to Twitter after becoming the number one ICC Test ranked team in the world following their 2-0 Test series victory over England.
Jacques Kallis and Graeme Smith dedicated their win to Mark Boucher with Castles, Klippies and Cola.
Jacques Kallis poses with 100m Olympic silver medalist Yohan Blake who rang the lunchtime bell at Lords.
Graeme Smith's photo of AB de Villiers at the cinema. Was it a scary movie?


text:
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Seems like I need add ppa repository.
Could you please help?

redpajama_set_name: RedPajamaStackExchange


text:
UPDATE: Services resume following crash near Hillsborough
Bus and tram services have returned to their normal routes following a crash near Hillsborough which caused major disruption this afternoon.
Sunday, 26th March 2017, 3:18 pm
Updated Monday, 27th March 2017, 12:19 pm
Loxley Road (Google)
A collision on Loxley Road in Malin Bridge had caused congestion on surrounding roads and disruption to bus and tram services in Sheffield.
Stagecoach tweeted at around 4pm to say blue route trams were now running through to Malin Bridge but warned passengers to expect delays until the backlog of traffic had cleared.
Travel South Yorkshire has reported that bus routes 81 and 82 are back to normal.
Details of the incident and whether anyone has been injured are not known at this stage.


text:
Solar power enterprise gives light, livelihood to the poor
By: Yuji Vincent Gonzales - Reporter / @YGonzalesINQ
INQUIRER.net / 09:19 PM June 18, 2015
In the slums of Tondo, Manila, hope flickers in broad daylight for poor communities in the form of solar power technology.
Amid makeshift houses, piles of garbage and mud-covered walkways, young mothers are operating a container van which has been transformed into a renting station of solar-powered rechargeable lamps in Sitio Damayan (Smokey Mountain).
The station, which houses about 400 lamps and serves more than 300 families in the area, was an initiative of nongovernment organization Life Project 4 Youth that started in 2013.
Team manager Cielabel Gaditano, 20, said renting a lamp would cost P5 or P8 depending on the power duration of the battery—some lamps last up to 30 hours, with others even exceeding that mark.
The case of the solar site in Tondo backs the principles of 2011 Ramon Magsaysay Award recipient Harish Hande, cofounder of Solar Electric Light Company (Selco). Known for his social enterprise of solar power technology in India, Hande believes it is not impossible for the poor to achieve sustainable energy.
SE Asia solar energy space seen up for faster growth
Napocor's SPUG cited in World Bank report
In a conference on solar energy for the poor at Ramon Magsaysay Center on Thursday, Hande, who also toured the Tondo site, said social enterprise would not only give the poor access to electricity but also uplift their quality of living.
"[We should] not look at the poor as beneficiaries but as partners," Hande said. "It's not about the market. It's about being inclusive, including the poor in the process."
Selco has provided over 200,000 lighting systems to Indian households since its creation in 1995.
Sharing Hande's sentiments, Ramon Magsaysay Award Foundation (RMAF) president Carmencita Abella said social enterprise of solar power would also lead to a "change of mindset" among poor communities.
"The poor can become asset creators," she said. "Social enterprise will help rural communities engage in economic activities that will encourage them to get out of the clutches of poverty."
RMAF communications director Tina Virina also highlighted the importance of a finance mechanism by establishing an "enterprise for the poor and by the poor," adding rural communities should not settle with dole outs.
"Let's not get into donation, let's go into development," echoed Erel Narida, CEO of One Renewable Energy.
"It's (solar power enterprise) one of the best investments that they'll ever make," added Jaime Ayala, chair of Solar Energy Foundation.
A mother rents a solar-powered lamp in Tondo, Manila. YUJI GONZALES
Spreading the light
Seeing a similar project during the site visit in Tondo slums, Selco lead designer Huda Jaffer said: "The context (of our project) is very similar on what we saw today."
Selco principal analyst Surabhi Rajgopalan also underscored the crucial role that the government can play in promoting the advancement of solar power technology in the country and expanding the operations of existing enterprises.
"[We need to] talk to government institutions if we can become part of the planning process," she said.
"These are models that can be replicated," Hande added.
Asked why the cost of renting a solar lamp at the Tondo site was only P5 to P8, 18-year-old worker Bernadette Moralita said the organization's mission was not to generate income but to improve the lives of poor communities.
"This is not only about livelihood but to help them plan their lives ahead," said Julien Vidal, Philippine coordinator of Life Project 4 Youth.
Shortlist for the Philippines Property Awards 2015 revealed
TAGS: electricity, Energy, Harish Hande, Life Project 4 Youth, Ramon Magsaysay Award Foundation, Smokey Mountain, solar energy, solar power, technology, Tondo


text:
Taming a boundary-less behemoth called Google
Home » Media » Taming a boundary-less behemoth called Google
By Pickle &nbspFebruary 14, 2018
India is on the cusp of transformation and so is its media industry. But of lately the emergence of Google's monopoly as an omnipresent entity on the 'digital real estate' scene had the old guard worrying, especially when the conventional norms and taxation laws are rather blurred in defining the internet search giant.
In short, the dilemma that we find ourselves in is how to define Google? Is it just a search engine, an aggregator, or a media company using a set of algorithms redefining the rules of advertising and what we consume, or is it all in one with more power than we can imagine, "eluding an externally set responsibility", as Siddhartha Mishra puts it in his cover story in Outlook magazine.
If yearly revenue generated by the online giant is anything to go by, it is by far India's third largest media entity after Star India and Bennett Coleman & Company Ltd with an annual revenue of 7,208.99 crore for FY 2017, but paying minuscule taxes over it.
Physical versus digital entities like Google, which can render services without physical presence, is central to this issue. Taxmen across the world, including in India, are trying to figure out appropriate ways to tax entities like Google that have vertual presence rather than relying only on the good old brick and mortar model.
Despite having thousands of employees working in as many as four offices in Indian cities, "Google does not have a 'permanent establishment' in the country. Thus, the imposition of equalisation levy of 6 per cent on the digital ad space by the Finance Bill 2016 is considered a good initiative in this regard.
Besides underscoring the unprecedented power the "new big media" wields, "without creating any content", Mishra makes remarkable observations as to how the internet behemoth is gobbling up the biggest chunk of dissemination and advertising revenue pie with little regard for publishers — the real creator of content — who are actually finding themselves at a receiving end.
Google is not only "deciding the advertising rates for different publications by its own metrics" but is set to go a step beyond by making Chrome, the browser by Google which is inbuilt in around 80 per cent smart phones in India and has an estimated 42 per cent share of browser use in India, start blocking ads on media pages accessed through Google from next month.
Gautam Sinha, CEO, Times Internet Limited, in a recent editorial in Times of India, says, "Google is effectively regulating the entire digital ad industry, including its competitors — a role no company should have the authority to do."
In order to understand the real implications of how uneven playing field created by Google's monopoly may play out in future in India, we need to look back at Competition Commission's direction to investigate four separate cases of abuse of dominance by Google a couple of year back. One of the cases involved the owners of Bharat Matrimony. The allegations included similar to what the popular vertical search engine Foundem accused Google of — favouring its own links in searches.
"In June 2017, after a seven-year probe, Google was handed a penalty of $2.8 billion by the EU for a breach of anti-trust rules that related to search results for shopping comparisons," writes Mishra.
Though tax laws and definition of digital business entities may evolve over time, it is high time that the media industry stakeholders in India put their heads togther to find amicable ways to tame the internet giant before it's too late.
Eros International Media Ltd
Toronto International Film Festival: All Set for a Gala Show
Innovation is Inevitable in M&E Sector: Prof Raghunath
India Pavilion at MIPCOM 2018


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text:
<bill session="115" type="s" number="641" updated="2017-06-22T14:23:23Z">
  <state datetime="2017-03-15">REFERRED</state>
  <status>
    <introduced datetime="2017-03-15"/>
  </status>
  <introduced datetime="2017-03-15"/>
  <titles>
    <title type="short" as="introduced">American Innovation Act</title>
    <title type="short" as="introduced">American Innovation Act</title>
    <title type="official" as="introduced">A bill to prioritize funding for an expanded and sustained national investment in basic science research.</title>
    <title type="display">American Innovation Act</title>
  </titles>
  <sponsor bioguide_id="D000563"/>
  <cosponsors>
    <cosponsor bioguide_id="B001230" joined="2017-03-15"/>
  </cosponsors>
  <actions>
    <action datetime="2017-03-15">
      <text>Introduced in Senate</text>
    </action>
    <action datetime="2017-03-15" state="REFERRED">
      <text>Read twice and referred to the Committee on the Budget.</text>
      <reference ref="CR S1844-1845" label="text of measure as introduced"/>
    </action>
  </actions>
  <committees>
    <committee subcommittee="" code="SSBU" name="Senate Budget" activity="Referral"/>
  </committees>
  <relatedbills>
    <bill type="h" session="115" relation="identical" number="1569"/>
  </relatedbills>
  <subjects>
    <term name="Science, technology, communications"/>
    <term name="Appropriations"/>
    <term name="Budget deficits and national debt"/>
    <term name="Defense spending"/>
    <term name="Department of Commerce"/>
    <term name="Department of Defense"/>
    <term name="Department of Energy"/>
    <term name="Energy research"/>
    <term name="Executive agency funding and structure"/>
    <term name="National Aeronautics and Space Administration"/>
    <term name="National Science Foundation"/>
    <term name="Research administration and funding"/>
  </subjects>
  <amendments/>
  <summary date="2017-03-15T04:00:00Z" status="Introduced in Senate">American Innovation Act

This bill amends the Balanced Budget and Emergency Deficit Control Act of 1985 to require certain adjustments to discretionary spending limits in FY2017-FY2021 to accommodate increases in appropriations for agencies that perform basic science research.

Adjustments are required for the National Science Foundation, the Department of Energy Office of Science, Department of Defense science and technology programs, National Institute of Standards and Technology Scientific and Technical Research and Services, and the National Aeronautics and Space Administration (NASA) Science Mission Directorate.

The bill also requires annual appropriations for each of the programs and agencies referenced in this bill to be at least the amount appropriated in FY2016.

The bill exempts appropriations provided pursuant to this bill from sequestration. Sequestration is a process of automatic, usually across-the-board spending reductions under which budgetary resources are permanently cancelled to enforce specific budget policy goals.</summary>
  <committee-reports/>
</bill>


RCBC Office of Student Life and the RCBC Student Government Association is proud to work with the YMCA of Burlington and Mount Laurel to offer gym services for RCBC students.
Any RCBC student can join the Y at a reduced adult membership cost (up to 50% off) through the partnership program. Stay active and save. It's a win-win!
Student must provide student ID with current term sticker on back, a current copy of term schedule, membership fee and completed membership application.
Students must have student ID with them at each visit, students will not be allowed in the facility without their RCBC ID.
RCBC memberships are for general facility use (gym ,weight-room, track and pool).
All regular rules applying to the facility must be followed by all RCBC Students. The YMCA reserves the right to remove and rescind memberships, without refund, in the event that a student's conduct is in violation of YMCA regulations or the RCBC Student Code of Conduct.
Students have the opportunity to upgrade their membership to participate in fitness classes at both YMCA locations.


A new twist, an innovative effect. Now the spotlight is on Theo's unique flex-hinge combined with a front piece in acetate. The result: comfortable, well styled frames with a bit of body, that are unexpectedly lightweight, too.


In his most recent post, Learning By the Book(mark)s, one of our Mango employees, Joe Garofalo, talks about his personal experience and feelings about using online software to learn a foreign language. In Joe's words, "There is only so much that can be absorbed during a few hours a week of instruction, but being able to, at my leisure, interact with what I'm learning gives me that much more motivation to do it." Well, Stephen Krashen would back Joe up on this one. Krashen actually proposed what he termed the Affective Filter Hypothesis (Krashen, 1982).
Affective factors in language learning are things such as language attitudes (the feelings a learner may have toward the target language (TL), its speakers and the learning context), motivation, language anxiety, and willingness to communicate. The Affective Filter Hypothesis tries to account for how a L2's (language leaner's) attitudes and emotions (affective variables) impact learning effectiveness. According to Krashen we all have this affective filter which either lets comprehensible input (i + 1) in, or blocks it. So, the affective filter functions to determine how receptive a learner will be to TL input.
So Joe's assumption that, "We all know a more motivated learner is also much more receptive to what he/she is learning," is not unfounded. And, I agree that that it could only help the student, possibly by lowering the affective filter, to create a comfortable learning environment that will contribute to TL retention. Mango Languages makes the learning experience as comfortable as possible. Students progress at their own pace in the comfort of their own home (or anywhere in the world as long as they have internet connection). Mango also helps to drastically reduce any feelings of language anxiety or nervousness about communicating in the TL by allowing the student to hear and compare their production of "real" conversations to that of a native speaker before ever speaking to a live person.
So, what could be more comfortable than learning where you want when you want?


Is The Market Cooling For Chinese Smartphone Sales?
What Is Letv Planning For India?
Shanghai, China, December 18, 2015 /ChinaNewswire.com/ – Samsung Electronics Co., Ltd and AccorHotels Group, the world's leading hotel operator, announced recently a partnership to roll out Samsung's SMART Hospitality Display technology across AccorHotels' properties spanning 92 countries. "We are excited to partner with AccorHotels to transform the hotel experience and provide our innovative hospitality solutions … Continue reading "Samsung Electronics Announces Strategic Partnership With Leading Hospitality Chain"


Manushi who made the whole country proud with her traits of beauty and brains has a lot more than just beauty. Manushi who has won the crown of Miss World is not just someone who managed to get a good career in the field of modeling but also is a successful science student. She has come from a family of Doctors where her father is a scientist and mother is a doctor of neurochemistry and applied science. Manushi too is a student Bharat Phool Singh Government College which is situated in Sonepat. She is a doing MBBS and wishes to be a gynecologist.
It seems like it wasn't enough for her to be a beauty with brains but this girl is also outstanding in dance and poetry. She has also learned Kuchipudi dance from some popular names and also has a blog of her own poetry.
Some of her close friends, as well as her family members, have also told across different medias of how Manushi loved to paint while she felt distressed. Not just poetry and dancing but this girl is a painter too. Too much talent in one little cupcake.
While replying to some questions on Twitter, Manushi was asked about a perfect kind of holiday where she replied that she loves beaches and sunset on marine life.
Manushi has been an active participant in various cultural festivals either by a college or by India. She has always managed to be on top and always have made her family and country proud.
Manushi always had a dream of winning Miss World Crown and she always wished to make her family proud. As she was close to her family members, she was always encouraged and was always supported by her parents. In 2017, Manushi managed to become Miss India 2017 which was her first step to Miss World crown. Thereafter, we know the story.
Many of her pals and family friends confirmed that Manushi is a lover of nature as well as adventurous activities like scuba diving, parasailing, bungee jumping etc.
Manushi was also crowned with the title of Beauty with Purpose as she belongs to a state like Haryana which is yet in the back years of society and does not allow women to take an active part in any other professional field. No Doubt it is the reason Haryana is yet a sector facing gender inequality.
Manushi is also an activist who works with the Beauty of Purpose project with the name "Project Shakti" for women dealing with menstrual hazards and problems. She wishes to bring awareness among women of India from different backgrounds where they feel free from the stereotype and hygiene problems that a woman has to face being in India.
4. Actress! Is there something she cannot do?
Manushi loves acting. She took various participation in her school plays and dramas. She also participated in National School of Drama during her college days.
While many are yet deciding which part is real, I am still buzzed about the fact that this girl is a bomb packet that is not just beautiful but loud and free. Manushi topped her CBSE 12th Board exam with 96% in ENGLISH and made her parents proud.
It's hard to digest with the facts about this little girl yet it makes everyone extremely astonished to know these facts. Not just all, Manushi is the sixth MISS WORLD who has managed to enter Hall of Fame Records in India.
Manushi was trained for the pageant Miss World 2017 by Neha Dhupia who she believes is her true mentor.
So here are the Top 13 Unknown Facts about Miss World India 2017 Manushi Chillar which made us all gaga over this little princess.
If you liked our blog then comment in the section below and if you felt to share then feel free to hit share.


text:
Zacharias Topelius  (; 14 January 181812 March 1898) was a Finnish author, poet, journalist, historian, and rector of the University of Helsinki who wrote novels related to Finnish history.

Given name
Zacharias is his baptismal name, and this is used on the covers of his printed works. However, "he himself most often used the abbreviation Z. or the form Zachris, even in official contexts", as explained in the National Biography of Finland. Zachris is therefore the preferred form used in recent academic literature about him.

Other spellings used are Sakari and Sakarias.

Life and career

Early life

The original name of the Topelius family was the Finnish name Toppila, which had been Latinized to Toppelius by the author's grandfather's grandfather and later changed to Topelius. Topelius was born at Kuddnäs, near Nykarleby in Ostrobothnia, the son of a physician of the same name (), who was distinguished as the earliest collector of Finnish folk-songs. As a child he heard his mother, Katarina Sofia Calamnius, sing the songs of the Finnish-Swedish poet Franzén. At the age of eleven, he was sent to school in Oulu and boarded with relatives in the possession of a lending library, where he nurtured his fantasy with the reading of novels. He was also given a Christian upbringing that came to characterize his entire life.

Study in Helsinki

He came to Helsingfors, Helsinki in 1831 and became a member of the circle of young nationalist men surrounding Johan Ludvig Runeberg, in whose home he stayed for some time. Topelius became a student at the Imperial Alexander University of Finland in 1833, received his master's degree (cand. philol.) in 1840, the Licentiate degree in history in 1844 and his PhD in 1847, having defended a dissertation titled De modo matrimonia jungendi apud fennos quondam vigente ("About the custom of marriage among the ancient Finns"). Besides history, his academic studies had for periods been devoted both to Theology and Medicine. He was secretary of  1842–1846, was employed by the university library 1846–1861, and taught History, Statistics and Swedish at the school  during the same period.

Becoming a professor
Through the intervention of a friend, , Topelius was named professor extraordinary of the History of Finland at the university in 1854. He was made first ordinary professor of Finnish, Russian and Nordic history in 1863, and exchanged this chair for the one in general history in 1876. He was rector of the university from 1875 until 1878, when he retired as Emeritus Professor and received the title of verkligt statsråd (Finnish: todellinen valtioneuvos, Russian: действительный статский советник; literally "state councillor", a Russian honorary title).

Focus on writing

Quite early in his career he began to distinguish himself as a lyric poet, with the three successive volumes of his Heather Blossoms (1845–54). The earliest of his historical romances was The Duchess of Finland, published in 1850. He was also editor-in-chief of the  from 1841 to 1860. In 1878, Topelius was allowed to withdraw from his professional duties, but this did not sever his connection with the university; it gave him, however, more leisure for his abundant and various literary enterprises. Of all the multifarious writings of Topelius, in prose and verse, that which has enjoyed the greatest popularity is his Tales of a Barber-Surgeon, episodes of historical fiction from the days of Gustavus II. Adolphus to those of Gustavus III., treated in the manner of Sir Walter Scott; the five volumes of this work appeared between 1853 and 1867. Topelius attempted to write drama, too, enjoying most success with his tragedy Regina von Emmeritz (1854). Topelius aimed at the cultivation of a strong Finnish patriotism. He wrote a poem which Jean Sibelius used for a composition with a political statement, Islossningen i Uleå älv.

Together with the composer Friedrich Pacius, he wrote the libretto (in the style of Romantic nationalism) to the first Finnish opera: Kaarle-kuninkaan metsästys (Kung Karls jakt). Topelius initially thought of writing a trivial entertainment, but having heard extracts from the opera project at a concert in 1851, he realized that Pacius was writing a grand opera on the theme of salvation, following the early Romantic style of Carl Maria von Weber's Der Freischütz (1821) and Oberon (1826). Topelius wrote the libretto in Swedish (though it was translated later by others), but its subject is emphatically Finnish. He also wrote the libretto for Prinsessan av Cypern, set by Fredrik Pacius and Lars-Erik Larsson.

Death

Topelius died in his manor house in Koivuniemi, Sipoo, Finland, where he wrote his greatest works. He is buried in the Hietaniemi Cemetery in Helsinki.

Legacy
According to tradition, the modern flag of Finland was based on a design by Topelius in about 1860.

There was a small Finnish American village named after Topelius, platted in 1901 in Otter Tail County, Minnesota, US.

Selected works
 The Tomten in Åbo Castle, 1849 (, )
 Sov du lilla vide ung, 1869 (Trollsländan)
 Boken om vårt land, 1875 (Maamme-kirja, Book of Our Land)
 Vinterqvällar, 1881 (Talvi-iltain tarinoita)
 Fältskärns berättelser, 1884 (Välskärin kertomukset)
 Läsning för barn, 1881 (Lukemisia lapsille)
 Stjärnornas kungabarn, 1899–1900 (Tähtien turvatit)
Sampo Lappelill (1860)

Gallery

References

Further reading

External links

 Zachris Topelius at the Lied and Art Song Archive
 Zachris Topelius at the Biographical Centre of the Finnish Literature Society
 Zacharias Topelius at 375 Humanists, University of Helsinki, Faculty of Arts. 20 June 2015.
 The childhood home of Zachris Topelius, Kuddnäs, Museum
Swedish language pages
 Zacharias Topelius skrifter
 Topelius i Nordisk familjebok
 Nordisk familjebok, vol. 29, col. 352ff

Books in Swedish, Finnish and English
 Works by Zacharias Topelius at Project Runeberg

Lyrics
 En liten fågel
 Du är min ro
Audio
 En liten fågel on Victor Records
 Du är min ro on Edison Records

1818 births
1898 deaths
People from Nykarleby
People from Vaasa Province (Grand Duchy of Finland)
19th-century Finnish historians
Finnish poets in Swedish
Finnish writers in Swedish
Writers from Ostrobothnia (region)
19th-century Finnish poets
Finnish male poets
Burials at Hietaniemi Cemetery
19th-century male writers
Opera librettists
Rectors of the University of Helsinki


text:
Popsy (foaled 7 October 1990) is a Thoroughbred racehorse who won the New Zealand Derby in 1993, one of very few fillies to have achieved the feat.

In 16 races in New Zealand, Popsy was unplaced only three times. She won twice at Group 1 level, following up her Derby win with a victory against fillies later in the season in the Championship Stakes.

She won at Group 2 level as a four-year-old, and finished second to Royal Tiara in a photo finish in the 1995 Auckland Cup.

As a broodmare, Popsy has been the dam of eight winners, including New Zealand 2000 Guineas winner Rock 'n' Pop and stakes-winner Lilakyn.

See also

 Thoroughbred racing in New Zealand

References

1990 racehorse births
Racehorses bred in New Zealand
Racehorses trained in New Zealand
Thoroughbred family 5-c
Matamata


text:
Christa Reinig (Berlim, 6 de agosto de 1926 - Munique, 30 de setembro de 2008) foi uma escritora e tradutora alemã.

Reinig teve uma origem social humilde, chegando a trabalhar como operária e arranjadora de flores em sua juventude; foi filha de mãe solteira , então forte estigma social. Entre outros, suas obras caracterizam-se por sátira e humor negro próprios.

Aos sessenta anos de idade, em entrevista concedida à professora de literatura Marie Luise Gansberg, procurando resumir a sua vida e obras, Reinig declarou ser tanto uma escritora lésbica quanto uma escritora mulher, o que ela considerou ser um progresso:

 {{quote2|Aber ich bin lesbische Schriftstellerin, so gut wie ich weibliche Schriftstellerin bin, das ist eine Entwicklung.|Christa Reinig}}

 Prêmios e condecorações recebidos
 1964 Literaturpreis der Stadt Bremen / Bremer Literaturpreis.
 1965 Deutsche Akademie Rom Villa Massimo / Villa-Massimo-Stipendium.
 1968 Hörspielpreis der Kriegsblinden.
 1969 Tukanpreis da cidade de Munique.
 1973 Ehrengabe der Bayerische Akademie der Schönen Künste / Bayerischen Akademie der Schönen Künste.
 1975 Deutscher Kritikerpreis.
 1976 Bundesverdienstkreuz am Bande.
 1984 Preis der SWR-Bestenliste.
 1993 Roswitha-Preis da cidade de Bad Gandersheim.
 1999 Brandenburgischer Literaturpreis.
 2003 Kester-Haeusler-Ehrengabe da Deutsche Schillerstiftung / Deutschen Schillerstiftung.

 Obras
 Die Steine von Finisterre, Stierstadt im Taunus 1960.
 Der Traum meiner Verkommenheit. Prosa. Wolfgang Fietkau Verlag, Berlim 1968 (Schritte 4, Erstauflage 1961), ISBN 3-87352-004-4.
 Gedichte, Frankfurt am Main 1963.
 Drei Schiffe, Frankfurt am Main 1965.
 Orion trat aus dem Haus – Neue Sternbilder, Stierstadt im Taunus 1968.
 Schwabinger Marterln, Stierstadt im Taunus 1968.
 Das Aquarium, Stuttgart 1969.
 Schwalbe von Olevano, Stierstadt im Taunus 1969.
 Das große Bechterew-Tantra, Stierstadt im Taunus 1970.
 Papantscha-Vielerlei, Stierstadt im Taunus 1971.
 Die Ballade vom blutigen Bomme, Düsseldorf 1972 (colaborou Christoph Meckel).
 Hantipanti, Weinheim 1972.
 Die himmlische und die irdische Geometrie, Düsseldorf 1975.
 Entmannung, Düsseldorf 1976.
 Der Hund mit dem Schlüssel, Düsseldorf 1976 (colaborou Gerhard Grimm).
 Mein Herz ist eine gelbe Blume, Düsseldorf 1978 (colaborou Ekkehart Rudolph).
 Müßiggang ist aller Liebe Anfang, Düsseldorf 1979.
 Die Prüfung des Lächlers, Munique 1980.
 Der Wolf und die Witwen, Düsseldorf 1980.
 Mädchen ohne Uniform, Düsseldorf 1981.
 Die ewige Schule, Munique 1982.
 Die Frau im Brunnen, Munique 1984.
 Sämtliche Gedichte, Düsseldorf 1984.
 Feuergefährlich, Berlim 1985.
 Erkennen, was die Rettung ist, München 1986 (colaboraram Marie-Luise Gansberg e Mechthild Beerlage).
 Gesammelte Erzählungen, Darmstadt u.a. 1986.
 Nobody und andere Geschichten, Düsseldorf 1989.
 Glück und Glas, Düsseldorf 1991.
 Ein Wogenzug von wilden Schwänen, Ravensburg 1991.
 Der Frosch im Glas, Düsseldorf 1994.
 Simsalabim, Düsseldorf 1999 (colaborou Hans Ticha).
 Das Gelbe vom Himmel, Düsseldorf 2006 (colaborou Hans Ticha).

 Obras traduzidas ao português
 O escorpião por Karin Volobuef da Universidade Estadual Paulista (UNESP), Faculdade de Ciências e Letras, Departamento de Letras Modernas (Araraquara, São Paulo, Brasil).

 Editoração
 Annette von Droste-Hülshoff: Gedichte, Frankfurt am Main u.a. 1969; (poemas).

 Traduções pela autora
 Marina Zwetajewa: Gedichte, Berlin 1968; (poemas traduzidos da língua russa).

 Discografia
 De Geschichten vom Hantipanti; em Warum ist die Banane krumm?, Berlim 1971 (Com colaborações de / weitere Beiträge von Peter Bichsel, Wolf Biermann, Flo de Cologne, Ernst Jandl, Günter Herburger, G.B. Fuchs, Reinhard Lettau und Peter Rühmkorf).

 Sobre a autora
 Cäcilia Ewering: Frauenliebe und -literatur, Essen 1992.
 Amy Jones Hayworth: An ecofeminist perspective, Urbana-Champaign, Illinois (EUA) 2000.
 Klaudia Heidemann-Nebelin: Rotkäppchen erlegt den Wolf, Bonn 1994.
 Dieter Hülsmanns (Hrsg.): Gratuliere, Düsseldorf 1976.
 Madeleine Marti: Hinterlegte Botschaften. Die Darstellung lesbischer Frauen in der deutschsprachigen Literatur seit 1945. J.B. Metzler, Stuttgart 1992, besonders S. 308–368.
 Sibylle Scheßwendter: Darstellung und Auflösung von Lebensproblemen im Werk: Christa Reinig'', Dissertação, Siegen 2000.

Ligações externas

 Feministische-SF / Einzelne autorinen (Feministas / Autoras singulares).
 FemBiographie (Biografia feminista)

Escritores da Alemanha
Tradutores da Alemanha
Literatura LGBT
Agraciados com a Ordem do Mérito da República Federal da Alemanha
Pessoas com espondilite anquilosante
!Mais Teoria da História na Wiki (Wikiconcurso de edição)


Everything begins with a design. Even the curves on your car began as an idea that was planned out and engineered, producing the end result.
Are there any unsightly views that need to be hidden?
Site conditions – wet or dry, sunny or shady?
Are there grade changes that need to be made?
What are the short-term vs. long-term goals for the property?
A landscape that grows with you. A young family does not have the same outdoor living requirements as empty-nesters. A well-thought-out landscape plan considers the changes that occur in the life cycle of a landscape. In creating a residential landscape design, we want to get to know you. Sometimes the plan is to fix up the property to put it on the market. Affordable upgrades for instant curb appeal are a priority here, rather than designing a landscape that will mature over time.
One of the greatest benefits of having a landscape plan drawn up for your home is the ability to phase in a project over several years without having to trying to remember what talked about. It puts out all the ideas on paper, from beginning to end, and allows you to set financial goals to budget ahead of time for the project.
Don't know where to start with your property? Call us today! We are happy to help you with any step along the way from consultation, to concept, to completion.
What is your budget for a landscaping project? Budget determines everything from a simple layout to complex design. It determines the selection of quantity and size of plant materials. It sets a priority on the hardscape, which can represent a significant portion of the overall installation cost. Do you want a patio, or a patio with a pergola and an outdoor fireplace?
Budget is one of those areas that many New Hampshire landscaping companies shy away from asking, but it is critical to know up-front before proceeding with a realistic plan and proposal. We prefer to talk about it early in the process. We believe the answers many questions up front and establish the basis of trust that we value in all of our client relationships.
A landscape design saves you money. Of course there is an initial cost in hiring a New Hampshire Landscape Architect to design your home landscape project. Without a plan, however, job costs can add up quickly and run over budget because accurate material measurements were not considered ahead of time. Inaccurate measurements can be very costly in additional material that was not accounted for. If price is a factor for you, then you should definitely get a landscape plan!