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text:
Charles Foster Kane
Jedediah Leland
Susan Alexander Kane
The Authorship Controversy
Filmic Elements
Biography of William Randolph Hearst
Suggestions for Further Reading/Viewing
Literary Devices Motifs
Charles Foster Kane repeatedly finds himself isolated from the world around him, whether he is young or old, happy or unhappy, alone or surrounded by others, which suggests that his final isolation is inevitable. The camerawork in Citizen Kane emphasizes this isolation. For example, we see Kane as a happy child playing alone in the snow, and a short time later, the camera isolates him between his mother and Mr. Thatcher as they plan to separate Kane from his home. He is still alone, but no longer happy. We next see Kane seated by himself in the center of a room ringed with dark-suited men, who watch him as he opens a gift from Thatcher. Kane's isolation follows him into adulthood, where we see him sitting on his own in his newspaper office amid a celebration in his honor. The camera locates Kane in a triangular shot between Bernstein and Leland as the two men discuss Kane's increasingly depraved tactics. The three men may be in physical proximity, but the nature of Bernstein and Leland's discussion and the way the shot frames Kane mark him as an outsider. Eventually Leland leaves Kane, and Kane barricades himself in his fortress with Susan. But Susan too leaves Kane, and in the end he dies alone, never having formed a lasting bond with anyone.
Because the story of Charles Foster Kane is told by his associates after his death, the primary storytellers are men who are far past their prime, and their degeneracy lends another layer of sadness and loneliness to the film. All of these men were once vital, active, and important. Now they're bored, and society has shunted them aside. Bernstein, as chairman of the board, notes that he has nothing at all to do. Leland is in an old age home, stiff and somewhat senile. Thatcher, whose story comprises a significant source of material on Kane's life, is already dead by the time Thompson consults his memoirs. Even Kane himself, as he ages throughout the film, becomes devitalized and mechanical in his movements. His aging, ravaged state is painfully apparent in the scene where Susan leaves him and he tears up her room in anger. He moves stiffly and has difficulty venting his anger as violently as he wants to, which increases his frustration and isolates him even from his own feelings. Old age in Citizen Kane does not come with grace, but with defeat.
Charles Foster Kane is a rapacious collector. At one point, in a newspaper office so filled with statues that the employees can barely move around, Bernstein notes that they have multiple, duplicate statues of Venus (the goddess of physical beauty). Kane obsessively fills his estate with possessions, and at the end of the movie the camera pans across massive rooms filled with crates to show that he never even unpacked many of his purchases. Kane's collecting is not that of a discriminating connoisseur—he buys art objects so fervently that his behavior more closely resembles the ravenous actions of a predator. After his disappointments in the political arena and with Susan's opera career, Kane builds his estate, Xanadu, to isolate himself and Susan from those who spurned his attempts at manipulation, and he fills the castle with inanimate objects. He wields complete control over the world he's created, and nothing can challenge his authority in this realm. Through his materialism Kane attempts to ameliorate the insults of the real world, where he couldn't control his mother's abandonment, Susan's failed attempt at opera, the failure of his political career, and the souring opinions of his friends. He ends up at Xanadu alone, with his possessions as his only companions. By purchasing so many extravagant goods, Kane attempts to fill a void created by all the people who left him throughout his life. Yet the only two possessions that carry meaning for Kane on his deathbed are a simple snow globe and Rosebud, the sled he remembers from his youth.
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Charles Foster Kane: Character Analysis CHARACTERS

redpajama_set_name: RedPajamaCommonCrawl


Drumlanrig was the setting for the second round of the XC NPS series and provided the riders with not only a cracking 7.5km technical, rooty and singletrack infested course but also a bit of culture too (being the birthplace of the modern bicycle). Add to that a dash of scorching temperatures, some blazing hot racing and the place was well and truly set alight.
The juveniles set the scene with the very first race of the day. Coming down to a seat of the pants sprint, just a tyre knobble decided the winner, Orange Monkey's young Alex Baker taking the win from a disappointed Ryan Fenwick in second and third placed rider Hugo Robinson fending off rivals with just one remaining pedal.
On to the main action, and with this round being a category 2 race meant there were some juicy UCI points up for grabs. Back in the thick of the action after a gruelling circuit of World Cup races was UK's numero uno Oli Beckingsale. The race literally detonated from the gun as riders vied for position to try and get to the all important singletrack sections first. Paul Oldham took pole position up the first climb but was soon overhauled by power house Ian Wilkinson, with Gareth Montgomerie and Beckingsale close behind. As the race progressed Beckingsale smoothly controlled the race from the front, taking the win after six long laps.
Ian Field surprised everyone to come out of nowhere. Starting towards the back of the grid, the young rider (who's been competing on the World Cup circuit) rode steadily through the race, picking off competitors every lap and started to close the gap on Beckingsale. He finished second just over 1 min 30 sec behind. Irish national champion Robin Seymour had an average race, but by calling on his extensive race experience he rode himself into the race after finding himself languishing back in 8th spot, finally finishing a strong 3rd.
Another class field lined up in the women's elite field, including national Champion Jenny Copnall. Still missing was Amy Hunt who's currently recovering from illness and Aussie rider Kate Potter, probably having a breather after she too has been competing on the World Cup merry go round. However Sue Clarke was in the line up looking fresh, along with Ruth Fraser Moodie and Irish rider and runner up at the last round, Mel Spath. As Copnall already knew her challenger could come from any of the girls present her task was to ride a smooth race and make no hasty decisions.
With this in mind Copnall took the race out of the arena and stayed in control for the entire duration, with the rest of the field competing for the remaining podium spots. Clarke had a much better ride here than she did at Thetford, looking comfortable in the technical sections and rode into a second place. Mel Spath, second at the last round, had a disastrous race, with a bad start putting her off the pace and the podium. It was Meggie Bichard who managed to hold off Nadine Spearing to take the final podium spot.
The next race in this series finds itself in uncharted territory, pitching up at Grizedale in the Lake District. With Barrie Clarke helping to put the finishing touches to the next course, we're sure it'll be another challenging and breathtaking circuit. Rumour has it that Nick Craig may even step out of his XC racing retirement briefly to give this one a crack.
Whyte Racing's Steve Heading reports from the 100km enduro.
I started the long drive up to Drumlanrig on Saturday afternoon. I'd ridden there once before, during the TransScotland. My memories were of excellent rooty twisty singletrack – like all your favourite local 'natural' woody sections all condensed together.
On Sunday morning it didn't take long for the sun to show its intention, it was going to be hot. I reckoned on well over six hours, so prepared another bladder with over a litre of drink to swap around the halfway mark – along with extra food in the feed zone.
I tried starting steady, but was still a little fast. By the third lap (of eight) the heat and course was beginning to take its toll. Half way and I was suffering. I swapped my drink but my stomach was becoming unsettled – cramp then really began to bite.
As I slowed a few riders passed. I knew I should be drinking and eating more but my stomach objected. Laps 6 and 7 were tough and I further slowed. It would have been easy to retire. I suspected a lot had – the course seemed very quiet. At last, the last lap began. I rode steady up the hills to minimize discomfort.
Fortunately there was no-one around to race. Towards the end a rider passed me, I didn't bother staying with him as I thought he was in a different category. Unfortunately I was wrong – he went on to take third place in the vets, ahead of me by less than a minute. I'll check more carefully next time!
I was right, it was a tough race. Fortunately I had the benefit of suspension on my E120, my body still felt like it had taken a beating, but my back had survived. Anyone who finished on a hard tail deserves a medal. Looking at the results only 18 riders out of the 48 starters completed the 100km. A tough race.
Element Racing's Mel Alexander raced in both the Elite Women XC race and the 75km enduro, bagging 10th and 2nd places respectively.
After a 7 hour journey we arrived at Drumlanrig Castle at 6 o'clock Friday evening. Parked the van, erected our new van awning and unloaded my carbon-stayed Element Nitron-Q hardtail for a practice lap. As we pedalled up to the course from the campsite we were struck by how beautiful our surroundings were, with rolling hills and colourful woodland.
The XC race in the beating sun. There was a good turn out again with a few of the regular riders missing but replaced by other Scottish faces, all-new to me. After my result at Thetford four weeks ago I was seeded on the front row, but unfortunately my legs just couldn't keep up with the speed the other ladies took of up the hideous first climb, and I kept dropping back and back until I was virtually the last to enter the single track.
I managed to overtake four of the ladies on the first lap but from then on I was by myself. With no ladies in sight in front or behind I had to keep reminding myself to press on hard, riding Element Nitron-Q round that excellent single track was so much fun that it would have been easy to forget the race. I finished the race in 10th position, slightly down on my previous result. Surrounded by great views, a good buzz in the air, the sun and a great course I was looking forward to the next day's race already.
Whilst Saturday was cross-country, Sunday was dedicated to the Enduro specialists. Ordinarily I would enter the 100km enduro, but feeling tired from racing the previous four weekends I opted for the 75k. Whilst I had chosen a shorter distance it was clear it was not going to be an easy race with two strong competitors; Maddie Horton and Ruth Mordant lined up beside me. With the previous day fresh in my mind I was really keen to float the Nitron Q around the awesome singletrack again.
The course had been made longer for the enduro with the laps extended to 12.5 km resulting in a 6 lap race. Starting with a 2k climb, Maddie, Ruth and I were separated upon reaching the top but still in sight of one another. The course then dropped into single track with one short fire road climb followed by a large section of twisty, rooty, rocky single track. Ruth soon caught me up with her flowing style round the tight corners and over root after root, another kilometre later and to all our surprises we were over taking the tail end of the 100k men and caught back up with Maddie again.
Once out of the single track there was another fire road gradual climb and yet again Maddie pulled away from us with her amazing climbing legs. She became a black and orange dot on the top of a hill which she remained for the majority of the race. This left me and Ruth in a direct battle, yet both with the desire to catch Maddie back up again. It was very enjoyable pushing each other hard, following Ruth through sections of single track just holding onto her wheel with her then jumping on my wheel for the subsequent sections.
I really loved the course, did not get bored once which is very rare when racing laps. The race took just under 5 hours and I enjoyed every minute of it. I finished second just over 3 minutes behind Maddie and 10 mins in front of Ruth. I hope that the future NPS XC and Whyte Enduro Series are just as enjoyable.


Set to air on Monday, September 9th at 7:30 pm on HBO is the two-time Emmy nominated program Wynton Marsalis: A YoungArts MasterClass.
A special preview was offered to the press at the Museum of Modern Art (Celeste Bartos Theater) on Sept. 3rd where the next generation of young musicians, along with celebrities and performers, gathered to see a screening of this third season of documentaries, by Kirk Simon and Karen Goodman filmmakers.
This represents the greatest give back a fine musician and teacher like Wynton Marsalis can offer to subsequent generations and to the world of music. What else have we that binds us more than our love for music?
The YoungArts MasterClass is an Emmy nominated HBO series where emerging artists learn from legends. Future seasons will include Josh Groban, Anna Deavere Smith and Alan Alda.
Renee Fleming was one of the featured artists in season two, while season one featured artists such as Edward Albee, Liv Ullman and Placido Domingo.
After the screening, there was a short talk-back and Q&A with Wynton Marsalis followed by a jam session with student musicians featured in the documentary: Patrick Bartley on sax, Russell Hall on bass and Antonio Madruga on piano.
If this is any indication of the future of American music, then there's lots to look forward to because it will be around for generations to come!


text:
Q: Fitler JTable of contents of an ArrayList I have a simple library application, and one thing it needs to accomplish is checkout/return books. In that checkout/return window, I have two tables, a "Book List" table, which starts full of books I already have stored, and a "Checkout/Return" table, which starts out empty. The Checkout/Return table is populated by double clicking items in the Book List table, and then depopulated by double clicking items displayed within itself. Double clicking adds or removes the book items to/from a checkout/return ArrayList (which is then displayed in the table).
What I'm looking for is a way to filter out books in the Book List table by the contents of the Checkout/Return ArrayList. (Unable to post images of desired effect at this time).
Is this even possible, and if so, how similar is this to filtering by the contents of a JTextField?
Edit: I've since found this approach: http://pulkitsinghal.blogspot.com/2010/06/multiple-row-filters-for-jtable.html.
RowFilter<TableModel, Object> firstFiler = null;
RowFilter<TableModel, Object> secondFilter = null;
List<RowFilter<TableModel,Object>> filters = new ArrayList<RowFilter<TableModel,Object>>();
RowFilter<TableModel, Object> compoundRowFilter = null;
try {
    firstFiler = RowFilter.regexFilter(yourRegexString, columnIndex);
    secondFilter = RowFilter.regexFilter(yourRegexString, columnIndex);
    filters.add(firstFiler);
    filters.add(secondFilter);
    compoundRowFilter = RowFilter.andFilter(filters); // you may also choose the OR filter
} catch (java.util.regex.PatternSyntaxException e) {
    return;
}
sorter.setRowFilter(compoundRowFilter);

However, this achieves the opposite affect I want. Rather than filtering out everything that doesn't match the filter input, I want to filter out everything that does match the filter input.

redpajama_set_name: RedPajamaStackExchange


Will the falling price of oil affect my business energy costs?
James Constant, boss of business energy broker Buisness Juice, gives his expert opinion on an issue affecting all businesses ….
'Whilst many naturally expect a direct correlation between the price of oil, which quite frankly is tanking, and the cost of gas, the truth is somewhat more involved.
The significant fall in the global oil price that has been in train for the last few months will have a softened impact in the gas market. There will however be an impact, though a far slower one than the immediate fall in the crude oil indices.
In the UK there is no oil indexing for gas supply contracts therefore no correlation (other than general economic considerations) link the two, that means that gas "in the UK" will not see a direct impact from the oil price falls.
In Europe, where traditionally gas supply was directly indexed to the oil price, only a third of all contracts are now operated in this way.
As a result again the impact of the fall in oil price on the cost of gas is muted.
Those contracts that do index the oil price typically have a 2-6 months lag on the impact of the oil price on its price direction.
Already therefore we have a minimal sample (1/3 of contracts), subject to a lag of anything up to 6 months. Therefore even in Europe where the impact will be felt most and earliest, it is at best muted.
For the UK, the balance of imports further diminishes the impact.
In 2013, 424TWH of gas was indigenously produced, whilst 535TWH was imported, or 56%.
Of that 56% we can assume that a maximum of 1/3 will be from Europe on oil indexed contracts.
This therefore suggests just 18% of all UK gas will have a direct influence from the oil price.
And with wholesale gas only constituting around 46% of the overall retail price of gas in the UK this would suggest that even when the impact of the oil price indexed contracts filter through after 6 months, just 8% of the price will be impacted.
And with gas being the energy source for 26% of electricity generation in 2013/14, and the wholesale cost of electricity constituting just 35% of the full retail price, we can assumed that just 3% of the price will be impacted.
So in conclusion, the oil price tumbles of recent months will not be felt in the same magnitude or frequency in the UK gas market or the electricity market, and any reduction will be on a very small element of the overall retail price of 8% (gas) and 3% (electricity) with even a 20% price fall resulting in just a 1.7% fall in the cost of gas, and 0.6% in the cost of electricity on prices that have already fallen 30% and 18% respectively over the last 12 months.


How to write scalable UI tests? Tests which works independent of networks, take screenshot when it fails, use AB test experiments, synchronizes rxjava tasks.
Common test failures and solutions.
I am currently an android developer at Uber. Before that I have worked at Amazon and Kiwi.


text:
Q: Plot in python after crosstab merge I'd like to plot my DataFrame. I had this DF first:

id|project|categories|rating
1 | a     | A        | 1
1 | a     | B        | 1
1 | a     | C        | 2
1 | b     | A        | 1
1 | b     | B        | 1
2 | c     | A        | 1
2 | c     | B        | 2

used this code:
import pandas as pd

df = pd.DataFrame(...)
(df.groupby('id').project.nunique().reset_index()
   .merge(pd.crosstab(df.id, df.categories).reset_index()))

and now got this DataFrame:

id | project | A | B | C |
 1 | 2       | 2 | 2 | 1 |
 2 | 1       | 1 | 1 | 0 |

Now I'd like to plot the DF. I want to show, if the number of projects depends on how many categories are affected, or which categories are affected. I know how to visualize dataframes, but after crosstab and merging, it is not working as usual

A: I reproduced your data using below code:
import pandas as pd

df = pd.DataFrame({'id': [1, 1, 1, 1, 1, 2, 2,],\
                  'project': ['a', 'a', 'a', 'b', 'b', 'c', 'c'],\
                  'categories': ['A', 'B', 'C', 'A', 'B', 'A', 'B'],\
                  'rating': [1, 1, 2, 1, 1, 1, 2]})

Now data looks like this
  categories  id project  rating
0          A   1       a       1
1          B   1       a       1
2          C   1       a       2
3          A   1       b       1
4          B   1       b       1
5          A   2       c       1
6          B   2       c       2

If you want to plot 'category count' as a function of 'project count' it looks like this.
import matplotlib.pyplot as plt

# this line is your code
df2 = df.groupby('id').project.nunique().reset_index().merge(pd.crosstab(df.id, df.categories).reset_index())

plt.scatter(df2.project, df2.A, label='A', alpha=0.5)
plt.scatter(df2.project, df2.B, label='B', alpha=0.5)
plt.scatter(df2.project, df2.C, label='C', alpha=0.5)

plt.xlabel('project count')
plt.ylabel('category count')
plt.legend()
plt.show()

And you will get this


text:
Q: Trying to Query a SQL Server from ASP.net MVC 4 using C# I am trying to use a query to find the last ID (entry) in the table called ContributorUser in the database FPTContributorUsers and then add in a new entry thus assigning it the next available ID.
the below code allows me to add data to the table in the database however when I run it the ID (new entry to the table) shows as 0 and not 4. because I currently have three entries in my table
[HttpPost]
public ActionResult AddContributor(ContributorUsers AddCont)
{
  if (AddCont.UserID == null)
  {
    throw new HttpException(404, "Please enter a valid RacfId");
  }
  else
  {
    FPTContributorUsers NewUser = new FPTContributorUsers();
    NewUser.UserID = AddCont.UserID;
    NewUser.ID = AddCont.ID;
    db.ContributorUsers.Add(NewUser);
    db.SaveChanges();
    return RedirectToAction("index");
  }
}

A: Have you thought about just making that the primary key and having it auto increment so you don't need to determine what it is yourself? That's usually the best way to go about handling actual ID's in my experience.
To do this in SQL Server follow these steps
To do this in MySQL follow these steps
As a note, if you do this you will need to update your EF model.
The other way to do it if you can't edit the database is to use MAX() for that column which will return the highest ID value, then just add one to it, no EF model updating required.

A: Try removing the "NewUser.ID = AddCont.ID" line and wait to get the NewUser.ID until after "db.SaveChanges()"
else
  {
    FPTContributorUsers NewUser = new FPTContributorUsers();
    NewUser.UserID = AddCont.UserID;
    db.ContributorUsers.Add(NewUser);
    db.SaveChanges();
    return RedirectToAction("index");
  }

If the NewUser.ID property is an Identity Field in the database, it will not get populated until after the record is created during the SaveChanges() transaction commit.

A: Try Reload() the DB Context after SaveChanges() before you call the NewUser.ID so that the context is up-to-date


Dark Matter is a fix for your sci-fi jones, but it seems pretty derivative of a game setting, like Eve. I went through the series in a month, and now I'm jonesing again.
It's an OK series, but I'd like to see something more imaginative.
I so miss that old series Space: above and beyond.
But yeah, Dark Matter isn't too bad at all. The way I see it, at least the syfy channel is trying to get back to science fiction.
Is that why The Martian is doing so well at the box office? Can't get much more science fiction/exploration than that.
I seriously have no idea what you are talking about.
I prefer Sharktopus, Sharktopus vs. Pterracuda, and Sharktopus vs. Whalewolf.
I think you're right about this. As our society has become downwardly mobile, being interested in the outside world has become a luxury. You have to climb a few steps on Manslow's pyramid to care.
Oh man, I loved those films, but I like Asylum Films ok. they create stuff I don't have to think about at all. Perfect for just letting the brain go dead while watching a show.
Haha, I tell ya Brother, you just get to the age where the less one has to think about during "relaxin" the better off one feels. It's like back in the Corp days, when we had to rub our two brain cells together to accomplish anything. (Ie. Eat and sleep being the proper names of the brain cells.) It's the same today.
Shark kill and eat. I get that. I don't have to think so hard as I do with say The LOTR or the like.
It is kind of funny to me though, I recently over Halloween watched the old Frankenstein and Bride of Frankenstein, and the difference between the two was startling. In the sequel, it was crazy seeing Harryhousein style sprites at the beginning, while the first was just pure awesomesauce.


I've been thinking; instead of using photography to explore a subject, can I use a simple subject like ferns or trees in a forest, to explore photography? They have this repeating pattern that I feel I can make use of. Does that work? Or is this just an excuse to spend the next few weeks hiding in the forest out of the heat?
My tutor has said that I need to make sense of my need to experiment. I don't want to stick to digital images, I want and need to experiment and make things to learn. In a way I feel that I can't fully make sense of photography if there are aspects of it that I am not using. I need to make images using different techniques as a way to learn about their strengths and weaknesses as a method of communication. And I want a physical outcome.
At the moment I'm going through a hard time emotionally and I may need to move away from the intensely personal for a while. So for me, exploring different aspects of the medium might be a good way to end the course. The assignment wants a clear progression; I suppose in this case it would be a progression of the medium through time that would reveal aspects of both photography and the plant material that seems to be the subject (although it's not).
Throughout the course I've been wanting to explore and experiment more, but studying distance learning makes it hard. I don't have a darkroom, I don't have access to lots of equipment be that chemicals or various types of camera. There is a certain amount of frustration around that for me. So cyanotypes have been easy enough, and I am now making anthotypes and a lumen print. I've tried some Polaroid emulsion lifts in the past so I am adding to those now, and I am still making use of monochrome film – I'm yet to move to colour as I can't develop it myself. I am also planning on constructing a camera obscura that I could use to make images for this assignment.
It's not that I won't make use of digital images. I've started thinking about different ways I could make and use those too and I would like to include film of the forest in the final version of the assignment.
At the end of July I am attending the cross discipline Art and Environment study weekend in London, so hopefully that will give me further material to work with for this subject.
There's nothing wrong with hiding in the forest and allowing your emotions to calm down.
Enjoy the experimentations. I've found that being creative with photography has given me the impetus to be creative with other mediums.
Thanks, I needed to hear that! Tomorrow I am going to go and collect ferns and ask about setting up some pinhole cameras around the forest. Then I will come home and spend an afternoon mono printing, which I love. I think that should help.
Sounds like a very good plan, especially as your doing something you enjoy.
I think ferns are an ideal choice. They are so sculptural and lend themselves to so many different approaches.
Looking forward to meeting you on the London weekend as well.


I'm hoping to dispel some myths in this blog and reinforce others. For instance, not all designers are snooty socialites who lord over their clients houses as if they were benevolent dictators. Many of us are more collaborative and allow the client to have extensive artistic leeway.
Beautiful fabric combinations create a custom look.
Well, here it is, my first blog. This is something I've wanted to do for a long time. Now I'm finally taking a few moments to put my thoughts online. I am often amazed at the interest the public has in the working lives of interior designers. People are curious about the 'glamour' of the designer/client relationship, and all that it entails.
I'm hoping to dispel some myths in this blog and reinforce others. For instance, not all designers are snooty socialites who lord over their clients houses as if they were benevolent dictators. Many of us are more collaborative and allow the client to have extensive artistic leeway. I see my job as being a help-mate in the process of design. Not as someone bossily forcing clients to implement my own personal desires. After all, the client has to sleep in that bed, once it's made and lie on that lovely sofa, when recovering from a busy day!
I have many years of practical experience, which I use to guide my clients in directions that avoid decorating land-mines. I'll advise the client if a fabric is unsuitable for a certain application, or if that certain type of flooring cannot be used in their basement application. Many times I assert myself as a 'Design Doctor', diagnosing the decorating ailment and giving appropriate ways to heal the problem.
I also have scads of unique resources at my disposal: lines of fabrics, trims, carpets, hardwoods, finishes, furniture, and more that would be otherwise unavailable to the average person. I have amazing sub-contractors that I frequently work with, who perform their work in a manner worthy of my continued referrals. They are prompt in the quoting process and produce results that meet or exceed both mine and my clients expectations. My consultations save my client so much in time (and often money), by my familiarity with the products I select for their homes. It would take the client months to find just the right products, visiting stores and vendors all over town. I can present them with samples in just hours or a matter of days. One new client I visited for the first time just under two weeks ago to focus on her basement renovation. Monday I will present her with quotes from 4 different sub-contractors, along with the materials I suggest to complete the job. It's amazing to think we could take her project from a concrete floor with unfinished drywall and exposed basement ceiling, to a glorious finished living and entertaining space, complete with wood floors, soft carpets, attractive ceiling, appropriate lighting, custom built-ins and comfy furniture in just 2-3 months! She will most likely be able to use this area before Christmas. Now you must admit: that has value.
I truly feel I provide a valuable service to my clients. I am able to quickly sort through the products available and present the best possible options according to the needs the client has shared with me. My initial consultations are interviews of a sort. These are meetings where my clients are looking at me to present some clever ideas or unique observations. At the same time, I am asking pertinent questions to glean information that will be valuable to the future design project. What colors are they partial to, what style? Do they need clutter control? Are they neat freaks? Do they travel and seek a global look? Are they more contemporary? I uncover the information while looking into both public and private rooms in the home, visualizing the spaces in a new light. Analyzing the potential of each space and diagnosing the problems at hand in the current decor.
The curious are often surprised to learn that most of my clients are 'normal' people. They are not millionaires, or famous people (although I enjoy working with those types of individuals!). My clients are frequently people who have been burned. They've made mistakes in their decorating decisions, and have come to realize that hiring a designer will actually save them money by helping them avoid costly errors. The end result is a beautiful, comfortable and livable home to enjoy sharing with family and friends.
It's extremely gratifying to work with my lovely clients and it's rare when I am confronted with someone who doesn't fully appreciate the new frontiers a good designer/decorator can show you. When presented with a sceptical person (often a spouse of the intelligent person that hired me), it doesn't take long to prove myself as a valuable asset in the process of making their home a true showplace and representation of their success, while creating a comfortable haven from their often hectic lives.
Now that you know the low-down on my business and who my clients are, I will try in the future to impart helpful tidbits, as well as interesting dilemmas which I encounter in my job as an interior designer. I am hoping to post at least monthly, often providing you with example photographs. You'll be amazed at what goes on in the life of someone with this fascinating career!
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I enjoyed reading this and learning about you and your many talents! Good luck and happy writing. I look forward to reading more.


Kajol's Instagram posts are a perfect amalgamation of stunning pictures and a dash of her signature humour and her latest post is not an exception. If you are looking for some Wednesday wisdom, we would suggest you to check out the 44-year-old actress' latest Instagram post because it offers just that. Kajol delighted her Instafam with a gorgeous picture of herself. In the photograph, she can be seen dressed in a printed ethnic outfit as she playfully winks at the camera. However, it will be difficult to say if we love her expressions more or the caption that she added to the post. "A sense of humour is so important with the right jewellery," she captioned the post and added the hashtag "#WednesdayWisdom."
When u know that you just one upped on whatsapp !!!!!
Looking down and wondering…….. WHERES MY FOOD ?
Whiling away the week …. . It's a hmmmmm day.
On the work front, Kajol's last big release was Pradeep Sarkar's Helicopter Eela, which also featured National-award-winning actor Riddhi Sen and Neha Dhupia in pivotal roles. Kajol has not announced any upcoming project as of now.


text:
Sean Devereux (* 1964; † 2. Januar 1993 in Kismayu), in Afrika auch Mr. Sean, war ein englischer salesianischer Volontär, Missionar und Entwicklungshelfer, der mit Kindern in Liberia und Somalia arbeitete. Er wurde 1993 im Auftrag von somalischen Warlords in Kismayu, Somalia, ermordet.

Leben
Er lebte zunächst in Yateley bei Camberley in Surrey. Von dort aus besuchte er von 1975 bis 1982 das salesianische Kolleg in Farnborough. Er entschied sich, Lehrer zu werden, studierte dazu an der Universität Birmingham und machte 1985 seine Examen in Geographie und Sport. In Exeter schloss er seine Studien im Jahr darauf mit dem PGCE ab.

Devereux unterrichtete ab 1986 an der salesianischen Schule in Chertsey, Surrey, wo er als Sportlehrer auch die Rugby- und Cricket-Mannschaften organisierte. Er war ein Salesianischer Mitarbeiter Don Boscos und ein Mitglied der Vereinigung der ehemaligen Schüler der Salesianer Don Boscos. Er engagierte sich insbesondere in der internationalen Jugendarbeit der Salesianer.

Im Februar 1989 ging Devereux als Volontär nach Liberia und arbeitete dort an der St. Francis School in Tappita. 1990 wurde die Schule aufgrund des Bürgerkriegs geschlossen. Dennoch blieb Devereux im Auftrag der Vereinten Nationen im Land, um an einem Flüchtlingsprogramm mitzuarbeiten. Als der Bürgerkrieg 1992 eskalierte, evakuierten die Vereinten Nationen alle Mitarbeiter aus Liberia. Die UNICEF lud Devereux ein, in Sierra Leone weiter zu arbeiten. Schließlich ging er ebenfalls im Auftrag der UNICEF im September 1992 nach Somalia. Dort war er dann das erste ausländische Todesopfer eines Anschlags seit dem Einmarsch der amerikanischen Truppen im Monat zuvor.

Es wurde von verschiedenen Seiten berichtet, dass Devereux den Medien zuvor Augenzeugenberichte übermittelt hatte, die er über Massaker erhalten hatte, die am Tag vor der Landung der US-Truppen in Somalia stattgefunden haben sollen.

Er wurde in seiner Heimatpfarrei in England beerdigt.

Würdigung
In Somalia selbst nannte man die wieder aufgebaute Brücke über den Fluss Juba in Bur Koy durch die amerikanischen Militärs und die örtlichen Repräsentanten bei der Einweihung offiziell nach Sean Devereux.

Der damalige UN-Generalsekretär Boutros Boutros-Ghali veröffentlichte einen Nachruf:

"In adverse, and often dangerous circumstances Sean showed complete dedication to his work. His colleagues admired his energy, his courage, and his compassion. Sean was an exemplary staff member and gave his life serving others, in the true spirit of the United Nations. Sean was a real soldier of Peace."

Der iranische Drehbuchautor Hossein Amini schrieb basierend auf dem Leben von Devereux 1992 sein erstes Fernsehstück mit dem Titel The Dying of the Light.

In Yateley benannte man einen Park nach ihm.

Mit seinem Namen ist heute auch der Sean Devereux Children's Fund verbunden.

Literatur
 Michael Delmer, Sean Devereux: A Life Given for Africa, 1964 - 1993, New Rochelle 2004; deutsch: Sean Devereux: Ein Leben für Afrika, 1964-1993, München 2009 - ISBN 3-7698-1738-9.
Dermot Devereux, While My Heart Beats: The Séan Devereux Story : 1964-1993, 2001.

Weblinks
 Biographie über Sean Devereux (englisch)

Einzelnachweise

Missionar (Liberia)
Katholischer Missionar
Salesianische Mitarbeiter Don Boscos
Engländer
Brite
Geboren 1964
Gestorben 1993
Mann

redpajama_set_name: RedPajamaWikipedia


text:
Barley genome could hold key to better beer
The barley genome unravelled... and it's bigger than yours!
Biotechnology and Biological Sciences Research Council
An international consortium of scientists has published a high resolution draft of the barley genome. The research, published in the journal Nature, will help to produce new and better barley varieties that are vital for the beer and whisky industries.
The UK team behind the research was led by Professor Robbie Waugh of Scotland's James Hutton Institute who worked with researchers at The Genome Analysis Centre, Norwich.
Barley is the second most important crop in UK agriculture and malting barley underpins brewing and pub industries worth some £20 billion to the UK economy. The breakthrough is a critical step towards barley varieties able to cope with the demands of climate change. It should also help in the fight against cereal crop diseases that cause millions of pounds of losses annually.
Barley is the world's fourth most important cereal crop both in terms of area of cultivation and in quantity of grain produced. In addition to whisky and beer, barley is also a major component of the animal feed for meat and dairy industries. Barley straw is a source of nutrition for ruminants and is used for animal bedding and frost protection in the winter.
The barley genome is almost twice the size of that of humans and determining the sequence of its DNA has presented a major challenge. This is largely because its genome contains a large proportion of closely related sequences that are difficult to piece together into a true linear order.
By developing and applying a series of innovative strategies that allowed them to circumvent these difficulties, the International Barley Genome Sequencing Consortium (IBSC) - including UK researchers in Dundee and Norwich and funded by the Biotechnology and Biological Sciences Research Council (BBSRC) and Scottish Government - has managed to construct a high resolution draft DNA sequence assembly that contains the majority of barley genes in linear order.
Their publication provides a detailed overview of the functional portions of the barley genome, revealing the order and structure of most of its 32,000 genes and a detailed analysis of where and when genes are switched on in different tissues and at different stages of development. They describe the location of dynamic regions of the genome that, for example, contain genes conferring resistance to diseases. This will provide a far better understanding of the crop's immune system. The achievement also highlights with unprecedented detail the differences between several different barley cultivars.
Professor Waugh commented: "Access to the assembled catalogue of gene sequences will streamline efforts to improve barley production through breeding for varieties better able to withstand pests and disease and deal with adverse environmental conditions such as drought and heat stress.
"It will accelerate research in barley, and its close relative, wheat. Armed with this information breeders and scientists will be much better placed to deal with the challenge of effectively addressing the food security agenda under the constraints of a rapidly changing environment."
The IBSC was founded in 2006, and includes scientists from Germany, Japan, Finland, Australia, the United Kingdom, the United States and China.
The genome sequence and related resources are freely accessible on the websites http://mips.helmholtz-muenchen.de
Rob Dawson
rob.dawson@bbsrc.ac.uk
@bbsrc
http://www.bbsrc.ac.uk
Biotechnology and Biological Sciences Research Council, Scottish Government
AGRICULTURAL PRODUCTION/ECONOMICS
FOOD/FOOD SCIENCE


text:
Q: How can I create a beautiful symbol table? One part of my "Geometrie und Topologie" book is a symbol table that allows students to quickly find the right words when they don't understand a symbol. This makes searching via the index / Wikipedia / Google / math.SE much easier. But currently it doesn't look very nice.
The complete sources of the document are here.
Working Example
The following example example compiles almost (except for references and page numbers) to the symbol table I currently have:
\documentclass[DIV15,BCOR12mm]{scrbook}
\KOMAoptions{paper=a5,twoside=true}
\usepackage{amsmath,amssymb}% math symbols / fonts
\usepackage[utf8]{inputenc} % this is needed for umlauts
\usepackage[ngerman]{babel} % this is needed for umlauts
\usepackage[T1]{fontenc}    % this is needed for correct output of umlauts in pdf
\usepackage[bookmarks,bookmarksnumbered,hypertexnames=false,pdfpagelayout=OneColumn,colorlinks,hyperindex=false]{hyperref} % has to be after makeidx
\hypersetup{hidelinks=true}
\usepackage{braket}         % needed for \Set
\usepackage{parskip}        % nicer paragraphs
\usepackage[german,nameinlink,noabbrev]{cleveref} % has to be after hyperref, ntheorem, amsthm

\usepackage{fancyhdr}
\pagestyle{fancy}
\renewcommand{\chaptermark}[1]%
{\markboth{\MakeUppercase{\thechapter.\ #1}}{}}
\renewcommand{\sectionmark}[1]%
{\markright{\MakeUppercase{\thesection.\ #1}}}
\renewcommand{\headrulewidth}{0.5pt}
\renewcommand{\footrulewidth}{0pt}
\newcommand{\helv}{%
\fontfamily{phv}\fontseries{b}\fontsize{9}{11}\selectfont}
\fancyhf{}
\fancyhead[LO,RE]{\helv \thepage}
\fancyhead[LE]{\helv \leftmark}
\fancyhead[RO]{\helv \rightmark}
\fancypagestyle{plain}{%
\fancyhead{}
\renewcommand{\headrulewidth}{0pt}
}

\allowdisplaybreaks
\usepackage{microtype}

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
% shortcuts                                                         %
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
\def\fB{\mathfrak{B}}
\def\calS{\mathcal{S}}
\def\fT{\mathfrak{T}}
\def\fU{\mathfrak{U}}
\def\atlas{\ensuremath{\mathcal{A}}}
\def\praum{\ensuremath{\mathcal{P}}}
\DeclareMathOperator{\rang}{Rg}

\newcommand\dcup{\mathbin{\dot{\cup}}}
\def\GL{\ensuremath{\mathrm{GL}}}
\DeclareMathOperator{\Homoo}{\textnormal{Homöo}}
\DeclareMathOperator{\Iso}{Iso}
\def\SL{\ensuremath{\mathrm{SL}}}
\def\PSL{\ensuremath{\mathrm{PSL}}}
\DeclareMathOperator{\Perm}{Perm}
\DeclareMathOperator{\Sym}{Sym}
\DeclareMathOperator{\Fix}{Fix}
\newcommand{\ts}[1]{\textnormal{#1}} % textual subscript
\newcommand{\kappanor}{\kappa_{\ts{Nor}}}

\def\mda{\ensuremath{\mathbb{A}}}
\def\mdp{\ensuremath{\mathbb{P}}}
\def\mdc{\ensuremath{\mathbb{C}}}
\def\mdk{\ensuremath{\mathbb{K}}}
\def\mdr{\ensuremath{\mathbb{R}}}
\def\mdq{\ensuremath{\mathbb{Q}}}
\def\mdz{\ensuremath{\mathbb{Z}}}
\def\mdn{\ensuremath{\mathbb{N}}}
\def\mdh{\ensuremath{\mathbb{H}}}

\begin{document}
\appendix
\markboth{Symbolverzeichnis}{Symbolverzeichnis}
\twocolumn
\chapter*{Symbolverzeichnis}
\addcontentsline{toc}{chapter}{Symbolverzeichnis}
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
% Mengenoperationen                                                 %
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
\section*{Mengenoperationen}
$A^C\;\;\;$ Komplement der Menge $A$\\
$\mathcal{P}(M)\;\;\;$ Potenzmenge von $M$\\
$\overline{M}\;\;\;$ Abschluss der Menge $M$\\
$\partial M\;\;\;$ Rand der Menge $M$\\
$M^\circ\;\;\;$ Inneres der Menge $M$\\
$A \times B\;\;\;$ Kreuzprodukt zweier Mengen\\
$A \subseteq B\;\;\;$ Teilmengenbeziehung\\
$A \subsetneq B\;\;\;$ echte Teilmengenbeziehung\\
$A \setminus B\;\;\;$ $A$ ohne $B$\\
$A \cup B\;\;\;$ Vereinigung\\
$A \dcup B\;\;\;$ Disjunkte Vereinigung\\
$A \cap B\;\;\;$ Schnitt\\
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
% Geometrie                                                         %
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
\section*{Geometrie}
$AB\;\;\;$ Gerade durch die Punkte $A$ und $B$\\
$\overline{AB}\;\;\;$ Strecke mit Endpunkten $A$ und $B$\\
$\triangle ABC\;\;\;$ Dreieck mit Eckpunkten $A, B, C$\\
$\overline{AB} \cong \overline{CD}\;\;\;$ Die Strecken $\overline{AB}$ und $\overline{CD}$ sind isometrisch\\
$|K|\;\;\;$ Geometrische Realisierung des Simplizialkomplexes $K$\\
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
% Gruppen                                                           %
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
\section*{Gruppen}
$\Homoo(X)\;\;\;$ Homöomorphismengruppe\\
$\Iso(X)\;\;\;$ Isometriengruppe\\
$\GL_n(K)\;\;\;$ Allgemeine lineare Gruppe\footnote{von \textit{\textbf{G}eneral \textbf{L}inear Group}}\\
$\SL_n(K)\;\;\;$ Spezielle lineare Gruppe\\
$\PSL_n(K)\;\;\;$ Projektive lineare Gruppe\\
$\Perm(X)\;\;\;$ Permutationsgruppe\\
$\Sym(X)\;\;\;$ Symmetrische Gruppe
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
% Wege                                                              %
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
\section*{Wege}
$\gamma: I \rightarrow X\;\;\;$ Ein Weg\\
$[\gamma]\;\;\;$ Homotopieklasse von $\gamma$\\
$\gamma_1 * \gamma_2\;\;\;$ Zusammenhängen von Wegen\\
$\gamma_1 \sim \gamma_2\;\;\;$ Homotopie von Wegen\\
$\overline{\gamma}(x) = \gamma(1-x)\;\;\;$ Inverser Weg\\
$C := \gamma([0,1])\;\;\;$ Bild eines Weges $\gamma$

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
% Weiteres                                                          %
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
\section*{Weiteres}
$\fB\;\;\;$ Basis einer Topologie\\
$\calS\;\;\;$ Subbasis einer Topologie\\
$\fB_\delta(x)\;\;\;$ $\delta$-Kugel um $x$\\
$\fT\;\;\;$ Topologie\\

$\atlas\;\;\;$ Atlas\\
$\praum\;\;\;$ Projektiver Raum\\
$\langle \cdot , \cdot \rangle\;\;\;$ Skalarprodukt\\
$X /_\sim\;\;\;$ $X$ modulo $\sim$\\
$[x]_\sim\;\;\;$ Äquivalenzklassen von $x$ bzgl. $\sim$\\
$\| x \|\;\;\;$ Norm von $x$\\
$| x |\;\;\;$ Betrag von $x$\\
$\langle a \rangle\;\;\;$ Erzeugnis von $a$\\

$S^n\;\;\;$ Sphäre\\
$T^n\;\;\;$ Torus\\

$f \circ g\;\;\;$ Verkettung von $f$ und $g$\\
$\pi_X\;\;\;$ Projektion auf $X$\\
$f|_U\;\;\;$ $f$ eingeschränkt auf $U$\\
$f^{-1}(M)\;\;\;$ Urbild von $M$\\
$\rang(M)\;\;\;$ Rang von $M$\\
$\chi(K)\;\;\;$ Euler-Charakteristik von $K$\\
$\Delta^k\;\;\;$ Standard-Simplex\\
$X \# Y\;\;\;$ Verklebung von $X$ und $Y$\\
$d_n\;\;\;$ Lineare Abbildung aus \cref{kor:9.11}\\
$A \cong B\;\;\;$ $A$ ist isometrisch zu $B$\\
$f_*\;\;\;$ Abbildung zwischen Fundamentalgruppen (vgl. \cpageref{korr:11.5})
\onecolumn

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
% Zahlenmengen                                                      %
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
\section*{Zahlenmengen}
$\mdn = \Set{1, 2, 3, \dots} \;\;\;$ Natürliche Zahlen\\
$\mdz = \mdn \cup \Set{0, -1, -2, \dots} \;\;\;$ Ganze Zahlen\\
$\mdq = \mdz \cup \Set{\frac{1}{2}, \frac{1}{3}, \frac{2}{3}} = \Set{\frac{z}{n} \text{ mit } z \in \mdz \text{ und } n \in \mdz \setminus \Set{0}} \;\;\;$ Rationale Zahlen\\
$\mdr = \mdq \cup \Set{\sqrt{2}, -\sqrt[3]{3}, \dots}\;\;\;$ Reele Zahlen\\
$\mdr_+\;$ Echt positive reele Zahlen\\
$\mdr_{+,0}^n := \Set{(x_1, \dots, x_n) \in \mdr^n | x_n \geq 0}\;\;\;$ Halbraum\\
$\mdr^\times = \mdr \setminus \Set{0} \;$ Einheitengruppe von $\mdr$\\
$\mdc = \Set{a+ib|a,b \in \mdr}\;\;\;$ Komplexe Zahlen\\
$\mdp = \Set{2, 3, 5, 7, \dots}\;\;\;$ Primzahlen\\
$\mdh = \Set{z \in \mdc | \Im{z} > 0}\;\;\;$ obere Halbebene\\
$I = [0,1] \subsetneq \mdr\;\;\;$ Einheitsintervall\\

$f:S^1 \hookrightarrow \mdr^2\;\;\;$ Einbettung der Kreislinie in die Ebene\\
$\pi_1(X,x)\;\;\;$ Fundamentalgruppe im topologischen Raum $X$ um $x \in X$\\
$\Fix(f)\;\;\;$ Menge der Fixpunkte der Abbildung $f$\\
$\|\cdot\|_2\;\;\;$ 2-Norm; Euklidische Norm\\
$\kappa\;\;\;$ Krümmung\\
$\kappa_{\ts{Nor}}\;\;\;$ Normalenkrümmung\\
$V(f)\;\;\;$ Nullstellenmenge von $f$\footnote{von \textit{\textbf{V}anishing Set}}

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
% Krümmung                                                          %
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
\section*{Krümmung}
$D_p F: \mdr^2 \rightarrow \mdr^3\;\;\;$ Lineare Abbildung mit Jacobi-Matrix in $p$ (siehe \cpageref{def:Tangentialebene})\\
$T_s S\;\;\;$ Tangentialebene an $S \subseteq \mdr^3$ durch $s \in S$\\
$d_s n(x)\;\;\;$ Weingarten-Abbildung\\
\end{document}

Rendered

Question
I would like to know how to make this symbol table "nicer".
One way I could imagine how to improve it, would be by aligning the content on the first page below the section "Gruppen". But I don't want to restrict answers to this.
What I've tried
tabular
I've tried to use the tabular environment:
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
% Mengenoperationen                                                 %
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
\section*{Mengenoperationen}
\begin{tabular}{ll}
    $A^C$           & Komplement der Menge $A$\\
    $\mathcal{P}(M)$& Potenzmenge von $M$\\
    $\overline{M}$  & Abschluss der Menge $M$\\
    $\partial M$    & Rand der Menge $M$\\
    $M^\circ$       & Inneres der Menge $M$\\
    $A \times B$    & Kreuzprodukt zweier Mengen\\
    $A \subseteq B$ & Teilmengenbeziehung\\
    $A \subsetneq B$& echte Teilmengenbeziehung\\
    $A \setminus B$ & $A$ ohne $B$\\
    $A \cup B$      & Vereinigung\\
    $A \dcup B$     & Disjunkte Vereinigung\\
    $A \cap B$      & Schnitt
\end{tabular}

but then I get this:

itemize
\section*{Mengenoperationen}\leavevmode
\begin{itemize}
    \itemsep0em
    \item[$A^C$]            Komplement der Menge $A$\\
    \item[$\mathcal{P}(M)$] Potenzmenge von $M$\\
    \item[$\overline{M}$]   Abschluss der Menge $M$\\
    \item[$\partial M$]     Rand der Menge $M$\\
    \item[$M^\circ$]        Inneres der Menge $M$\\
    \item[$A \times B$]     Kreuzprodukt zweier Mengen\\
    \item[$A \subseteq B$]  Teilmengenbeziehung\\
    \item[$A \subsetneq B$] echte Teilmengenbeziehung\\
    \item[$A \setminus B$]  $A$ ohne $B$\\
    \item[$A \cup B$]       Vereinigung\\
    \item[$A \dcup B$]      Disjunkte Vereinigung\\
    \item[$A \cap B$]       Schnitt
\end{itemize}

results in much too high spacing:

A: You could use the xtab package and its environment xtabular. It functions very much like the longtable environment does, in that it can break across columns and pages; however, it's also compatible with twocolumn mode, whereas longtable is not.
I suggest you adjust the column width of the first table column (the symbol column) so that it's just wide enough to contain the widest symbolic entry within each section. Then, adjust the second column so that the entire table is as wide as \columnwidth. Given the narrow measure of the second column within a table, "full" justification isn't advisable. Instead, use \RaggedRight (provided by the package ragged2e), which allows hyphenation. (In contrast, \raggedright does not allow hyphenation.)
The example shows only the first page of your larger example.

\documentclass[DIV15,BCOR12mm]{scrbook}
\KOMAoptions{paper=a5,twoside=true}

\usepackage{array,xtab,ragged2e}
\newlength\mylengtha
\newlength\mylengthb
\newcolumntype{P}[1]{>{\RaggedRight}p{#1}}
\tabcolsep=3pt % default: 6pt

\usepackage{amsmath,amssymb}% math symbols / fonts
\usepackage[utf8]{inputenc} % this is needed for umlauts
\usepackage[ngerman]{babel} % this is needed for umlauts
\usepackage[T1]{fontenc}    % this is needed for correct
                            % output of umlauts in pdf
\usepackage{braket}         % needed for \Set
\usepackage{parskip}        % nicer paragraphs

\usepackage{fancyhdr}
\pagestyle{fancy}
\renewcommand{\chaptermark}[1]%
{\markboth{\MakeUppercase{\thechapter.\ #1}}{}}
\renewcommand{\sectionmark}[1]%
{\markright{\MakeUppercase{\thesection.\ #1}}}
\renewcommand{\headrulewidth}{0.5pt}
\renewcommand{\footrulewidth}{0pt}
\newcommand{\helv}{%
\fontfamily{phv}\fontseries{b}\fontsize{9}{11}\selectfont}
\fancyhf{}
\fancyhead[LO,RE]{\helv \thepage}
\fancyhead[LE]{\helv \leftmark}
\fancyhead[RO]{\helv \rightmark}
\fancypagestyle{plain}{%
\fancyhead{}
\renewcommand{\headrulewidth}{0pt}
}

\allowdisplaybreaks
\usepackage{microtype}

\usepackage{hyperref} % has to be after makeidx
\hypersetup{bookmarks,bookmarksnumbered,hypertexnames=false,
   pdfpagelayout=OneColumn,colorlinks,hyperindex=false,
   hidelinks=true}
\usepackage[german,nameinlink,noabbrev]{cleveref}
   % has to be after hyperref, ntheorem, amsthm

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
% shortcuts                                                         %
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
\def\fB{\mathfrak{B}}
\def\calS{\mathcal{S}}
\def\fT{\mathfrak{T}}
\def\fU{\mathfrak{U}}
\def\atlas{\ensuremath{\mathcal{A}}}
\def\praum{\ensuremath{\mathcal{P}}}
\DeclareMathOperator{\rang}{Rg}

\newcommand\dcup{\mathbin{\dot{\cup}}}
\def\GL{\ensuremath{\mathrm{GL}}}
\DeclareMathOperator{\Homoo}{\textnormal{Homöo}}
\DeclareMathOperator{\Iso}{Iso}
\def\SL{\ensuremath{\mathrm{SL}}}
\def\PSL{\ensuremath{\mathrm{PSL}}}
\DeclareMathOperator{\Perm}{Perm}
\DeclareMathOperator{\Sym}{Sym}
\DeclareMathOperator{\Fix}{Fix}
\newcommand{\ts}[1]{\textnormal{#1}} % textual subscript
\newcommand{\kappanor}{\kappa_{\ts{Nor}}}

\def\mda{\ensuremath{\mathbb{A}}}
\def\mdp{\ensuremath{\mathbb{P}}}
\def\mdc{\ensuremath{\mathbb{C}}}
\def\mdk{\ensuremath{\mathbb{K}}}
\def\mdr{\ensuremath{\mathbb{R}}}
\def\mdq{\ensuremath{\mathbb{Q}}}
\def\mdz{\ensuremath{\mathbb{Z}}}
\def\mdn{\ensuremath{\mathbb{N}}}
\def\mdh{\ensuremath{\mathbb{H}}}

\begin{document}
\appendix
\markboth{Symbolverzeichnis}{Symbolverzeichnis}

\twocolumn
\chapter*{Symbolverzeichnis}
\addcontentsline{toc}{chapter}{Symbolverzeichnis}

%%%%% Mengenoperationen
\section*{Mengenoperationen}

% Set \mylengtha to widest element in first column; adjust
% \mylengthb so that the width of the table is \columnwidth
\settowidth\mylengtha{$A \subseteq B$}
\setlength\mylengthb{\dimexpr\columnwidth-\mylengtha-2\tabcolsep\relax}

\begin{xtabular}{@{} p{\mylengtha} P{\mylengthb} @{}}
$A^C $           & Komplement der Menge $A$\\
$\mathcal{P}(M)$ & Potenzmenge von $M$\\
$\overline{M}$   & Abschluss der Menge $M$\\
$\partial M$     & Rand der Menge $M$\\
$M^\circ$        & Inneres der Menge $M$\\
$A \times B$     & Kreuzprodukt zweier Mengen\\
$A \subseteq B$  & Teilmengenbeziehung\\
$A \subsetneq B$ & echte Teilmengenbeziehung\\
$A \setminus B$  & $A$ ohne $B$\\
$A \cup B$       & Vereinigung\\
$A \dcup B$      & Disjunkte Vereinigung\\
$A \cap B$       & Schnitt\\
\end{xtabular}

%%%%% Geometrie
\section*{Geometrie}

\settowidth\mylengtha{$\overline{AB} \cong \overline{CD}$}
\setlength\mylengthb{\dimexpr\columnwidth-\mylengtha-2\tabcolsep\relax}

\begin{xtabular}{@{} p{\mylengtha} P{\mylengthb} @{}}
$AB$ & Gerade durch die Punkte $A$ und $B$\\
$\overline{AB}$ & Strecke mit Endpunkten $A$ und $B$\\
$\triangle ABC$ & Dreieck mit Eckpunkten $A, B, C$\\
$\overline{AB} \cong \overline{CD}$ & Die Strecken $\overline{AB}$ und $\overline{CD}$ sind isometrisch\\
$|K|$ & Geometrische Realisierung des Simplizialkomplexes~$K$\\
\end{xtabular}

%%%%% Gruppen
\section*{Gruppen}

\settowidth\mylengtha{$\Homoo(X)$}
\setlength\mylengthb{\dimexpr\columnwidth-\mylengtha-2\tabcolsep\relax}

\begin{xtabular}{@{} p{\mylengtha} P{\mylengthb} @{}}
$\Homoo(X)$ & Homöomorphis\-men\-gruppe\\
$\Iso(X)$   & Isometriengruppe\\
$\GL_n(K)$  & Allgemeine lineare Gruppe (von \textit{\textbf{G}eneral \textbf{L}inear Group})\\
$\SL_n(K)$  & Spezielle lineare Gruppe\\
$\PSL_n(K)$ & Projektive lineare Gruppe\\
$\Perm(X)$  & Permutationsgruppe\\
$\Sym(X)$   & Symmetrische Gruppe\\
\end{xtabular}

\end{document}

A: Late to the party, but here's a modification of another answer of mine.
\documentclass[DIV15,BCOR12mm]{scrbook}
\KOMAoptions{paper=a5,twoside=true}

\usepackage{amsmath,amssymb}% math symbols / fonts
%\usepackage[utf8]{inputenc} % this is needed for umlauts
\usepackage[ngerman]{babel} % this is needed for umlauts
\usepackage[T1]{fontenc}    % this is needed for correct output of umlauts in pdf
\usepackage{braket}         % needed for \Set
\usepackage{parskip}        % nicer paragraphs
\usepackage{fancyhdr}
\usepackage{microtype}
\usepackage{multicol}

\usepackage[
  bookmarks,
  bookmarksnumbered,
  hypertexnames=false,
  pdfpagelayout=OneColumn,
  colorlinks,
  hyperindex=false,
  hidelinks=true,
]{hyperref} % has to be last (almost)
\usepackage[german,nameinlink,noabbrev]{cleveref} % has to be after hyperref, ntheorem, amsthm

\pagestyle{fancy}
\renewcommand{\chaptermark}[1]{\markboth{\MakeUppercase{\thechapter.\ #1}}{}}
\renewcommand{\sectionmark}[1]{\markright{\MakeUppercase{\thesection.\ #1}}}
\renewcommand{\headrulewidth}{0.5pt}
\renewcommand{\footrulewidth}{0pt}
\newcommand{\helv}{\fontfamily{phv}\fontseries{b}\fontsize{9}{11}\selectfont}
\fancyhf{}
\fancyhead[LO,RE]{\helv \thepage}
\fancyhead[LE]{\helv \leftmark}
\fancyhead[RO]{\helv \rightmark}
\fancypagestyle{plain}{%
  \fancyhead{}%
  \renewcommand{\headrulewidth}{0pt}%
}

\allowdisplaybreaks

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
% shortcuts                                                         %
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
\newcommand\fB{\mathfrak{B}}
\newcommand\calS{\mathcal{S}}
\newcommand\fT{\mathfrak{T}}
\newcommand\fU{\mathfrak{U}}
\newcommand\atlas{\mathcal{A}}
\newcommand\praum{\mathcal{P}}
\DeclareMathOperator{\rang}{Rg}

\newcommand\dcup{\mathbin{\dot{\cup}}}
\DeclareMathOperator\GL{\mathrm{GL}}
\DeclareMathOperator{\Homoo}{\textnormal{Homöo}}
\DeclareMathOperator{\Iso}{Iso}
\DeclareMathOperator\SL{SL}
\DeclareMathOperator\PSL{PSL}
\DeclareMathOperator{\Perm}{Perm}
\DeclareMathOperator{\Sym}{Sym}
\DeclareMathOperator{\Fix}{Fix}
\newcommand{\ts}[1]{\textnormal{#1}} % textual subscript
\newcommand{\kappanor}{\kappa_{\ts{Nor}}}

\newcommand\mda{\mathbb{A}}
\newcommand\mdp{\mathbb{P}}
\newcommand\mdc{\mathbb{C}}
\newcommand\mdk{\mathbb{K}}
\newcommand\mdr{\mathbb{R}}
\newcommand\mdq{\mathbb{Q}}
\newcommand\mdz{\mathbb{Z}}
\newcommand\mdn{\mathbb{N}}
\newcommand\mdh{\mathbb{H}}

\makeatletter
\newlength{\symbolswd}
\newenvironment{symbols}
 {%
  \begin{multicols*}{2}[\chapter*{Symbolverzeichnis}]
  \small
  \setlength{\parindent}{0pt}%
  \setlength{\parskip}{0pt}%
  \edef\current@symbolswd{\the\symbolswd}%
  \interlinepenalty=10000 % no page break in a two line entry
}
 {%
  \ifdim\current@symbolswd=\symbolswd
  \else
    \@latex@warning@no@line{Rerun to get list of symbols right}%
  \fi
  \immediate\write\@auxout{\global\symbolswd=\the\symbolswd}%
  \end{multicols*}
}
\newcommand{\entry}[2]{%
  \par
  \sbox\z@{$#1$\qquad}%
  \ifdim\wd\z@>\symbolswd \setlength{\symbolswd}{\wd\z@}\fi
  \raggedright
  \hangindent=\symbolswd
  \makebox[\symbolswd][s]{$#1$\leaders\hbox to 4pt{\hss.\hss}\hfill}%
  \hspace{0pt}#2\par
}
\makeatother

\begin{document}

\begin{symbols}

\section*{Mengenoperationen}

\entry{A^C}{Komplement der Menge~$A$}
\entry{\mathcal{P}(M)}{Potenzmenge von~$M$}
\entry{\overline{M}}{Abschluss der Menge~$M$}
\entry{\partial M}{Rand der Menge~$M$}
\entry{M^\circ}{Inneres der Menge~$M$}
\entry{A \times B}{Kreuzprodukt zweier Mengen}
\entry{A \subseteq B}{Teilmengenbeziehung}
\entry{A \subsetneq B}{echte Teilmengenbeziehung}
\entry{A \setminus B}{$A$ ohne~$B$}
\entry{A \cup B}{Vereinigung}
\entry{A \dcup B}{Disjunkte Vereinigung}
\entry{A \cap B}{Schnitt}

\section*{Geometrie}

\entry{AB}{Gerade durch die Punkte $A$ und~$B$}
\entry{\overline{AB}}{Strecke mit Endpunkten $A$ und~$B$}
\entry{\triangle ABC}{Dreieck mit Eckpunkten $A, B, C$}
\entry{\overline{AB} \cong \overline{CD}}{Die Strecken $\overline{AB}$
   und $\overline{CD}$ sind isometrisch}
\entry{|K|}{Geometrische Realisierung des Simplizialkomplexes~$K$}

\section*{Gruppen}

\entry{\Homoo(X)}{Homöomorphis\-men\-gruppe}
\entry{\Iso(X)}{Isometriengruppe}
\entry{\GL_n(K)}{Allgemeine lineare Gruppe
  (von \textit{\textbf{G}eneral \textbf{L}inear Group})}
\entry{\SL_n(K)}{Spezielle lineare Gruppe}
\entry{\PSL_n(K)}{Projektive lineare Gruppe}
\entry{\Perm(X)}{Permutationsgruppe}
\entry{\Sym(X)}{Symmetrische Gruppe}
\end{symbols}

\end{document}

The advantage is that this code doesn't use tabular (or variation thereof).
Notable differences: \parskip is set to zero; multicols is used to get two columns, so page breaks are automatic; \small and \raggedright are needed because of narrow columns.