In the City of Angels, juice is easy to come by. In fact, it is a daily ritual for many people here. Green juices containing kale, cucumber, spinach, etc. are pretty ubiquitous these days. Those are great ingredients don't get me wrong, but using a variety of produce is key, as every fruit and vegetable makes up a different spectrum of vitamins and nutrients.
This juice, The Golden Glow, was created from my desire to provide customers with a juice that not only tasted great, but delivered something they might not get from the everyday green juice. Ingredients like dandelion, tarragon and grapefruit are super alkaline and packed with nutrition. Here's how you can make it at home.


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text:
25. A Future in the Past: Peter Szondi's Material Hermeneutics*
Peter Szondi's redefinition of the science of literature challenged the influence that the analysis of Heidegger's structure of Dasein had exerted in Germany, in university circles, both during and after World War II. [1] Szondi takes aim at the model constituted by Heidegger's commentaries on the poems of Hölderlin, Trakl, and Rilke. What actually underlay Szondi's struggle in favor of a critical philology was his rejection of an approach based on a theological premise. Even in France, where some thinkers are fascinated by the deceptive allure of going beyond traditional scholarship, such an approach appears to be dominant.
Although the model for the new ways of reading had been borrowed from the philosophy of existence, it was well suited to the stylistic traditions and age-old practices of exegesis. Hans Georg Gadamer included and legitimized them in his theory of hermeneutics. [2] He found "philology" too unrepresentative of positivist science to be incorporated in his theory of hermeneutics or to contribute to the business of "regenerating" knowledge. He aimed to separate the theory of historical understanding from the method of the so-called historico-philologists. The success of this new codification depended on the justification of current practices in literary discourse, but also on positions assumed in the cultural and political arena. {353|354}
The role played by the "inexplicable" or by implicit structures survives today in almost identical form in other types of discourse. Although these do not assign the permanence to the values of "tradition" that Gadamer did, they have the same function as Gadamer's discourse: they work to erase the boundaries and blunt the edge of a criticism that differentiates between its objects.
All the critics maintained the radical distinction that had been introduced between "thought" as a noble term, and what was reduced, by the very process of distinction, to a positivist science of literature, even though scholars like Gadamer expressed reservations about the violence perpetrated on texts, or about the obsessive interrogation of language as it was pressured into revealing its contents. The distinction remained in force even after the anti-positivist reaction that Szondi had encountered in his youth, in immanent or empathetic exegeses, had been abandoned in favor of the auscultation of language; and in the shifting of signs, it continued to reveal the intermittent structure of Being, just as existentialist philosophy was doing. The explication of poetic texts, enhanced and ennobled by the prestige of their reference to sacred texts, with their eclipses and their proximity, had the advantage of being strengthened by a theory. At the same time, the ontological leap, through a kind of hyperbaton [3] or exaggeration, concealed a regression, which brought interpretation, falling short of analysis, to a rhetoric conceived as a collection of figures, what we might call a trans-substantiated rhetoric.
Now that positivist science had been irreparably devalued, reduced to the common rank of historical fact, an alternative conservative legitimacy had to be found. Neither theoreticians nor interpreters were ready to give up the premise of the continuity and unity of Greek and German cultures. Whenever a claim was made for science, it was treated with scorn, as being out of reach and illusory; it was compromised even before being examined and compared to a collection of facts that could exclude it from the field of hermeneutics. Science was considered contingent and trivialized. What remained, auscultation of the text, was not subject to any analysis; indeed, it referred to the psychological expectations that structure it, [4] owing to the hermeneutic circle.
Consequently, Szondi's critique of the deficiencies of philological criticism came with a turn to "hermeneutics," construed as a "science" on the basis of a redefinition of its specificity (literary, historical, or juridical) and determined {354|355} by the nature of the object (see below, p. 358). With hindsight, we can better understand the implications of what seems like a closing-off, because Szondi intends not only (intra muros) to analyze the errors caused by excessive application of the positivist methods of the natural sciences to philological knowledge, [5] he is also concerned (outside this sphere) with the pretentious contestation, still alive today, of any critical approach in the field of writing, and with the way this attitude is legitimated by the assumption of total knowledge, an all the more dangerous assumption because it embraces and authorizes ignorance. Heidegger's arbitrary transfers between languages, applied to the reinterpretation of texts, had changed the rules. The claim to immediate existential knowledge, based on trans- and a-historical categories, eliminated anything in textual analysis that could not meet philosophical expectations, creating an unexceptional methodology inherent to the discipline. Critical justification of these approaches had fallen out of favor. Hence the twofold movement imposed on what was a real advance. In the face of such contempt, one had both to distance oneself from the rejection of critical re-examination within scientific production and to demystify the theme of external immediacy that phenomenology provided. This dual orientation is a fundamental characteristic of Szondi's approach—the critical catharsis in action—and of the battle he waged against a form of usurpation. The domain of textual criticism should be expanded; rules would ensue from that expansion.
Szondi was Emil Staiger's student in Zurich, where he was introduced to more than just philology: he focused primarily on the analysis of "style" in relation to the differences between genres, which, according to Staiger, emanate from ontological categories, [6] and, more generally, on the theoretical reflection that accompanies interpretation in a process of mutual fortification. It is here, on this single issue, that their positions converged; otherwise, their points of view were diametrically opposed. Very early on, Szondi viewed grandiloquence as a disturbing figure in the decoding of Being, and he rejected it; he took refuge in reading other scholars, particularly Lukács. Thus he fell indirectly, through Staiger, under Heidegger's influence, but quickly rejected it, offended by a pretention that bore the outward signs of depth and lived off the prestige of literature writ large.
The hermeneutics of the phenomenological schools under the influence of Wilhelm Dilthey holds that the field of historical consciousness controlled by the subject is limited. Consciousness is transcended by the appeal of the "dogmatic" power of tradition, rather than of the work itself. An interpreter cannot escape {355|356} it without hampering the artistic or poetic experience. It is tradition that, in principle, prevails over its objectivization in a "science of literature." [7] Since the Romantic era, the front lines of literary criticism have been redrawn, and are still in flux. Interpreters remain the slaves of tradition. They can understand a text only if they allow themselves to be imbued by the voice, which stems not from the literary work, nor even from the author, but which nevertheless makes itself understood through the act of writing and listening, always the same and yet multiple. Empathy, doggedly rejected by Szondi, has a theoretical justification. It is not merely a matter of participation; if the literary work produces the elements that allow it to be understood, it is because these elements are inherent to a deep, general, and common structure. "Grasp what grabs us"; the paradox became the watchword of this doctrine for reading. [8] The vicious circle is not only accepted, it is set up as an end in itself. Understanding binds the reader, "grabs" him, just as, in Lacan's theory, the imagination is in thrall to language. It is from this constraint, which obstructs the path to knowledge, that historical understanding and aesthetic analysis can emerge. Knowledge is pre-structured; its determinations direct and control both writing and interpretation. Order does not originate in the text; rather, it has multiple origins, whether unconscious or informed by layers of preconceptions. The common thread among different points of view is the search for an authority that could possess and at the same time dispossess the reader.
If descriptive hermeneutics methodically disparages the author's reflection on his own work, and if such reflection is by definition suspect, it is because artistic production escapes the producer, who is continually outpaced by the inherent dynamism, anonymous and collective, of a power flowing through him that he can control only at the cost of becoming a mere "artist," a master of artifice and fake authenticity. The more fettered the author, the more independent the interpreter. He can discover, re-invent, or even invent the meaning of a work that has not been subjected to the oversight of a consciousness. Indeed, science—as long as it sticks to its method and to its will to objectivize—is thought to misunderstand the nature of its own knowledge, which transcends the analytical power of exegesis, just as creation transcends the impulse of a subject-creator. {356|357}
Instead of reflecting on the difference between the historical situations of author and reader and including this difference in the interpretive process, first acknowledging and then evaluating it, Gadamer uses it against History. The rationalistic gap advanced by the Enlightenment theorist Chladenius between the text or the author, on the one hand, and the meaning of the text on the other, [9] is exploited in favor of a move toward a profound distortion, which testifies against History and in favor of a productive "historicity." Gadamer praises Chladenius, "who does not yet see understanding in terms of history." [10] If we agree with Gadamer that "the real meaning of a text … is always partly determined also by the historical situation of the interpreter," the radical discrepancy between the points of view appears in his conclusion: "and hence [und damit] by the totality of the objective course of History [das Ganze des objektiven Geschichtsganges]." [11] The "course of history" occupies the position that Szondi assigns to the interpreter. The same credo is applied to the creator-subject and the interpreted subject, invested with the same dogmatic content: "An author does not need to know the real meaning of what he has written." [12] The gap is the sign of a genuine, "authentic" production, leading not to the author, but to what becomes, and what comes in the place of history, that is, the process (Geschehen). [13]
So, to cite a particularly apt example, the myths of antiquity are reduced to "mythical beliefs" and confused with religious and even pedagogical traditions; at least the interpreters' conventional wisdom has always taken this to be the case. Gadamer is merely codifying a practice that goes against the text. Tragedy, if defined as a "demonstration of myth," derives its meaning or its message from that demonstration. [14] Euripides strips myth of its truth, reducing it to the reality of contemporary events. Why does he write of the gods if he does not believe in them? Is it a dramatic effect sought by a man of the theater, or a demonstration of the absurd by a critical thinker? Art is a profession, a questioning of values. In true hermeneutic tradition, meaning is handed down as a legacy; it animates and determines invention. Euripides is nothing but an inspired scriptwriter, a {357|358} wandering minstrel. If the poet is defined by what he transmits, he is not worthy of this title. In the plays of Aeschylus, who is closer to the origins of our culture, the character embodying the Chorus stepped outside his role to become the mouthpiece, not of the poet, but of the myth, of "the divine causality behind the tragedy." According to Gadamer, "what happens in tragedy is changed"—by the voice of myth—"because understanding is always a genuine event" ("weil Verstehen immer ein echtes Geschehen ist"). [15] What remains is neither authentic nor productive.
Gadamer refrains from adapting hermeneutics to the specific features of the text he is analyzing and from problematizing the relation between texts and existential exegesis, the hermeneutics of the artifact that literary analysis is required to take up. After banishing criticism from the temple and relegating it to its secondary and preparatory function, he makes a double detour via theology and law to come back to the tabernacle of art. The validity of meaning—salvation in the Bible or the Roman legal code—is united through a "historicity" in which the origin persists. The application to the new situation, [16] its actualization and relation to the present, becomes part of the continuity linking history to its mythical foundation, and shapes the prerequisites for understanding ("fore-meanings" is Heidegger's term). [17]
Szondi was totally opposed to Gadamer's approach, partly because of his own reserved temperament, but also with regard to method, where he subjects the criticism of literary understanding to the specificity of its objects. Tradition entails ruptures. Their presence can be detected only through their shifts. On the one hand, history can be grasped in the dialectical movement produced by the work, with its formal structure, and the external conditions of its production; on the other hand, it can be grasped in the distance experienced by the interpreter, since the latter can only overcome this separation in history by scrutinizing the initial gap through a critical reflection on his own distanciation. The interpreter includes the analysis of his own determinations in the act of comprehension. Thus one break in viewpoint can capture another. The critic situates himself by situating the author, who had situated himself before him. {358|359}
Subjective prejudices are obstacles set up between the interpreter and the object of study, risking further distancing and distortion; they are viewed neither as positive elements, within the range of a productive "application," nor as a contribution to general understanding, independent of the work. The postulate of a trans-subjective element, "beyond races and cultures," leads to a misunderstanding of the specificity of historical mediations, and for Szondi such mediations can be placed among the prejudices and biases that Gadamer believes he can single out. [18] Similarity might mask differences; the hermeneutic experience might posit other universals, not recognized as such, whose description would have been precluded by the hypothesis. The results obtained by Szondi's method clearly demonstrate that the prerequisites of a common perception and the repetition of the original conditions establish a fictitious permanence and identity. The reader is both complicitous and deceived.
For Szondi, history embraces real life experience, but above all its tragic truth; it challenges its own celebration, be it vitalist or organicist. Indeed, history is revealed in failure and exclusion, in the distance taken and the distance sustained. Its excesses are inherent to movement since, being inscribed in its negation, they are anticipated by it. Ideology doubtless has its source in the negation of this negation, more definite and more absolute than the hypostases derived from Presence or Absence. One failure is not the same as another. Each one is unique, a single signifier. Movement is not unique; neither is swallowing up. Movement neither adds nor subtracts anything, but it does destroy. The work is the moment of an unremarkable resistance; it derives its meaning from that moment because the moment is not followed by any other that concerns the work: the instant in question is just "that instant, there," for want of a "being-there." This threat is what ensures the work's unique identity.
The Introduction to Literary Hermeneutics links the multiplicity of dogmas or normative rules that philosophical hermeneutics had taken on at the time of its pre-philosophical origins. [19] Szondi analyzes this hermeneutics as a total impasse. Art, which is not art but a call to art, affects the work as it does the commentator—giving rise to an artificial mediation, theological in essence, and to a communion. This a priori arouses such a strong aversion in Szondi that he fears he might find counterparts in the systems of Marxist inspiration or orientation that he has espoused, and especially in Adorno's work; thus he carries out yet another cathartic selection, which allows him to carefully separate the principle of mediation, in all its forms, however refined the principle may be, {359|360} from etiological constructions. Speculations run the risk of merging together because of their violent nature, and in spite of their conflicting propensities. [20]
Szondi never invokes History. We are subjected to it in specific situations. And the very utopia that inspires him in the works of Benjamin or Adorno appears in his books more as a commonly used concept than as a principle. He speaks of historical philosophy only as a reference. If his reticence attests to a scruple, it also derives from a method: History, like other etiological systems, implies an arbitrary bond.
Clearly the method implies the permanence of cognitive elements in a changing world. Differences produced by historical evolution, which has been popularized in texts, do not bring about a radical epistemological break. The analysis of differences clearly defines a conceptual outline in the object. If the continuity of the conditions of understanding is accepted as a given, discussion no longer introduces responses that block critical analysis, and it no longer prevents the interpreter from making free use of his cognitive tools. With regard to literary hermeneutics—that is, "material" hermeneutics—Szondi chose to adhere to this pragmatic stance.
In his opposition to the philology of immanence, Szondi used the criterion of social mediation; the work was no longer considered the depository of traditional values. His demonstration remained incomplete because he deliberately limited his purview to the specific genealogy found in variable systems of interdependencies. Since he did not address directly either the social sciences or a science of society, he was able to avoid a direct approach to the problem of totality, at the heart of which dialectical movements occur, and from which they derive their meaning. Theories are documents designed for the historical understanding of the period in which they were conceived, reproducing their determinations as well as their interpretive opinions. Depending on the topic, Szondi confined himself to pointing out the text's opposition to a prejudicial reading.
Duality creates historical hermeneutics. First of all, in the object, there exists another, always earlier moment, which is not the moment of the work, but the other moment that the work breaks away from, present in absentia, {360|361} various; the moment of the work still takes place within it when it authorizes, through its own temporality, the coexistence of contradictory positions, and the internal dialectic of the genetic method, which Szondi notes in his Introduction as one of Schleiermacher's important contributions. [21] Finally, the duality of viewpoints caused by another temporal difference, changing the meanings from reader to reader, means that hermeneutics is principally the art of establishing a distance; and it can only eliminate the relativism of differences and indifference by analyzing both instances, that is, the complex time of the subject and the complex time of the object. Nothing could be more contrary to the Gadamerian "fusion of horizons" [22] through identity, which Ast is assigned to defend in the Introduction, erasing the intractable element of the particular. [23] Szondi overcomes historicism by a full and methodical acceptance of the consequences of historical hermeneutics.
Was Szondi actually engaged in a battle on two fronts against ontological historicity and the complementary ideological bias of Marxist reductionism? [24] The stakes were unequal. The steps taken in reaction to nineteenth-century historicism had arisen to compensate for the "crisis of meaning," the result of relativism and the implicit but often unacknowledged loss of "values." In practice, these steps blocked all the amendments that dialectical theories brought to positivist reification. The positivist method, the subject of the essay on textual understanding, [25] is not the only one in question; the defense of the legitimacy of the idea of a historical point of view, amended by Marxist theoreticians among others, is also in play. When Szondi discusses the vicissitudes of meaning and the philological consciousness of temporality before the historicist era, [26] and when he sheds light on the need for semantic changes, he defines the difficulty of all historical understanding. The factor of time, encompassed in the distance of the critical act, must be examined in relation to the history of meaning. The object, however, should not be confused with this history, if the point of view of the knowing subject is to remain intact. The relation maintained by the work {361|362} with its users in the tradition can be problematized without resorting to the theory of productivity, as Hans Robert Jauss does. [27]
We should go back some thirty years and look at Szondi's critical work in the context of the time of his writing. There we can better understand his particular aims, without losing any of his current presence ad nos. Knowledge of the moment when he was elaborating his ideas is not a restrictive move. Historical determination offers the safest criterion in the battle he waged in favor of an analytics of reading. He saw no difference between the two institutional orders—academic and literary—in critical activity. The chapters of the Introduction are part of a course and were published as such after his death in 1971. [28] Each lesson, however demonstrative, becomes autonomous and tends towards the genre of the essay, at once scientific and literary, which Szondi illustrated in masterly fashion. He imposed on the essay the distance of a reflection on the legitimacy of the moment of approach, as a necessary complement to each description.
The debate is not over. Just recently, Hans Ulrich Gumbrecht related the criticisms currently being formulated in Germany against the poststructuralist positions of Jacques Derrida and Paul de Man to the survival of a specifically German ideal of "science," renewing Heidegger's attack on science (Wissenschaft) in a different form. [29]
Szondi's thought is always focused on the redefinition of philological practice; in his view, practice is impure because it is methodologically weak, and is impervious to the open analysis of research. The definition of the literary object in its aesthetic determination—historically mediated, prior to the study, in the Introduction, of categories of literary judgment—derives its meaning within the limits of a critical but also very academic struggle for the rights of criticism, even as the author also denounces the biases of anti-academicism. Szondi situated himself squarely in the tradition of the dialecticians, right from his earliest research; that tradition was represented for him by the books of Benjamin, Lukács, and Adorno. [30] Marxist positions and the principle of social {362|363} mediation were made clear in a context of aesthetic reflection. It was with these authors that Szondi learned to decode the movements inherent in the invention of aesthetic forms. If one is to avoid constructing an ineffectual schema, it is important to recognize the relation's meaningful and accepted link. One must take the references for what the author intended them to be.
The core of the debate bears on the function of the work and of the task. A re-examination of the tools should allow critics to project their aim into the field of that specific and unfeigned "science" that is contested and contestable because of its excessive assimilations, and to acknowledge the precision that it gains. It is preferable not to tamper with the philological tool kit, since it might then have the after-effect of promoting the displacement of hermeneutics toward the "philosophical" position, leaving no space for the critical approach. The position Szondi chose condemns an alliance between a theory and a practice. The one is just as poor in philosophy as the other is poor in philology, if they both avoid the scrutiny of the interpreter's historical insights.
On this point Szondi differed from such theoreticians of understanding as Dilthey. Material hermeneutics is devoted to the materiality of the text: language and form. The work is inscribed within a gap; it emphasizes its difference. The philologist re-evaluates the appropriateness of the aesthetic criteria deployed in order to understand the viewing angle and to know what he is talking about. The choice of the term "literary" instead of "philological," which one might prefer when designating this secular hermeneutics, is the result of a refusal, since the philology of the ancients had not been obliged until then to submit its judgment either to a prior definition of the object or to the analysis of the critic's position. It is clear that the ambition arising from modern philologies is of a resolutely and tactically modernist nature.
This Introduction belongs to a "genre" and to a moment, [31] and to a place, as well—the Berlin of 1967, where student protests and widespread contestations {363|364} prevented Szondi from continuing the course up to Dilthey and the current era, as he had planned. [32] The distance that separates us from them situates them in their own "historicity." It is up to the reader to be an interpreter, following the very principles the Introduction defends, by comparing the meaning of these thoughts on the history of literary understanding to the statements that inspired them, and to the meaning that they have at this time and in this place. {364|}
Cusatelli, G. 1979. "Intorno a Szondi, dopo Szondi." Foreword to P. Szondi, Introduzione all'ermeneutica letteraria. Parma.
Duroche, L. L. 1967. Aspects of Criticism: Literary Study in Present-Day Germany. The Hague.
Gadamer, H.-G. 1974. "Hermeneutik." In Historisches Wörterbuch der Philosophie, vol. 3. Darmstadt.
———. 1982. Truth and Method, trans. from the German. London. Orig. pub. 1965.
Gumbrecht, H. U. 1988. "'Über allen Wipfeln [sic] ist Ruh.' Literaturwissenschaft jenseits der Literatur." Frankfurter Allgemeine Zeitung, no. 166, July 20.
Hays, M. 1986. "Foreword. Tracing a Critical Path: Peter Szondi and the Humanistic Tradition." In On Textual Understanding and Other Essays, ed. P. Szondi, vii–xxi. Minneapolis.
Heidegger, M. 1941. Sein und Zeit. 5th ed. Halle. Orig. pub. 1927. In English as Being and Time, trans. J. Macquarrie and E. Robinson, New York, 1962.
Hölscher, U. 1975. "Wie soll ich noch tanzen?" In Sprachen der Lyrik: Festschrift für Hugo Friedrich zum 70. Geburtstag, 376–393. Frankfurt.
Jauss, H. R. 1970. Literaturgeschichte als Provokation. Frankfurt.
Nägele, R. 1983. "Text, History and the Critical Subject: Notes on Peter Szondi's Theory and Praxis of Hermeneutics." boundary 2, vol. 11, no. 3, The Criticism of Peter Szondi (Spring):29-42.
Staiger, E. 1953. Die Zeit als Einbildungskraft des Dichters. Zurich. Orig. pub. 1939.
———. 1991. Basic Concepts of Poetics. Trans. J. C. Hudson and L. T. Frank. University Park, PA. Orig. pub. 1946.
Szondi, P. 1972. Lektüren und Lektionen. Frankfurt.
———. 1974–1975. Studienausgabe der Vorlesungen. Ed. Jean Bollack. Frankfurt.
———. 1978. Schriften. Frankfurt.
———. 1986. Peter Szondi, On Textual Understanding and Other Essays. Trans. H. Mendelsohn. Minneapolis. Orig. pub. 1978.
———. 1995. Introduction to Literary Hermeneutics. Trans. M. Woodamsee. Cambridge, U.K. In French as Introduction à l'herméneutique littéraire, trans. M. Bollack, with an afterword by J. Bollack, Paris, 1989.
[ back ] * Originally published as "Un futur dans le passé. L'herméneutique matérielle de Peter Szondi," in: Jean Bollack, La Grèce de personne: les mots sous le mythe (Paris, 1997), pp. 117–127.
[ back ] 1. Works dealing with the response of German scholars to Heidegger's philosophy in the two decades following World War II are presented and explained in relation to their origin in Duroche 1967. The author conducts an analysis of the theoretical prerequisites for reading such authors as Emil Staiger, Max Bense, Theophil Spörri, and especially Johannes Pfeiffer, and helps to explain the reaction that arose in the sixties.
[ back ] 2. Gadamer 1982:251. Historical research echoes quite magically the self-generated display of tradition—the "thing" that is also called "dogma," both in texts and in language.
[ back ] 3. [TN: A departure from the expected word order.]
[ back ] 4. See Szondi 1995:16, for his critique of Chladenius' work: "It is also empirical, which means it is specific enough not to ignore individual problems for the sake of concentrating on an act of understanding." [TN: Johann Martin Chladenius (1710–1759), a German philosopher, theologian, and historian, was considered one of the founders of hermeneutics. He declared reading to be a science, not an art. Szondi dedicated four chapters to him in his Introduction.]
[ back ] 5. See the conclusion of Szondi 1986:3–22, "On Textual Understanding."
[ back ] 6. See Staiger 1991.
[ back ] 7. Gadamer (1982:469) uses the term "dogmatic" to refer to content untouched by historical objectivism. See also Gadamer 1974, col. 1069: the validity claimed by art should always be called "dogmatic."
[ back ] 8. Gadamer's adaptation (1974) of a quotation from Staiger (1953:11): "was uns der unmittelbare Eindruck aufschliesst, ist der Gegenstand literarischer Forschung; dass wir begreifen, was uns ergreift, das ist das eigentliche Ziel aller Literaturwissenschaft" ("our immediate impression on reading a text is precisely the object of literary research; that we should grasp what grabs us, that is the real aim of the science of literature").
[ back ] 9. Literary hermeneutics is special, in that it is doubly separated, both from the imitation of nature and from an object that is assumed to be assigned to it in advance.
[ back ] 10. Gadamer 1982:263.
[ back ] 11. Gadamer 1982:263. The "remainder," not included in the original totality, is "contingent" on both the author and his public. "Not occasionally only, but always, the meaning of a text goes beyond its author. That is why understanding is not merely a productive, but always a reproductive attitude as well" (264).
[ back ] 13. Gadamer 1982:265 ("a genuine productivity of process" [einer echten Produktivität des Geschehens]).
[ back ] 14. The formula is borrowed from an article by the philologist Uvo Hölscher titled "Wie soll ich noch tanzen?" ("Why should I honor the gods in the dance?"; Hölscher 1975, from line 896, spoken by the Chorus, in Sophocles' Oedipus the King).
[ back ] 16. For an incorrect usage of the concept of "application," see Gadamer 1982:278. Theology and law provide the "true model." (We can see here the stakes involved in the claim for a specific hermeneutics.) Also 302: "Understanding … involves application," that is how it attains the "character of an event." The philologist weaves "the great tapestry of tradition which supports us."
[ back ] 17. Gadamer 1982:236–238, following Heidegger 1941, §63, 310–316. The reader "must be, from the start, sensitive to the text's quality of newness." And then turning away from difference: "The important thing is to be aware of one's own bias, so that [und damit] the text may present itself in all its newness, and thus be able to assert its own truth [seine sachliche Wahrheit] against one's own fore-meanings" (238, also 260–266).
[ back ] 18. See Gadamer 1974, col. 1070.
[ back ] 19. See Szondi 1995:2–3.
[ back ] 20. A theory, by virtue of its weak points or its ambiguities, can be used, at least in part, by a rival family, through a continuous process of assimilation. So certain Heideggerians have been able to lay claim to Adorno's thought. Szondi has not been spared these misunderstandings. To enhance one's reading, one risks tempering differences cumulatively, in order to respond to the plurality of viewpoints (see, for example, Nägele 1985:56). Relativism is reintroduced in a roundabout way. Szondi had chosen his alliances, moderating each one by the others, as is usually the case, and as shown here. His reticence as a critical theoretician, in the face of excessive and audacious theoretical speculations, protected him from other misrepresentations. The attitude or position triumphed over dogma.
[ back ] 21. Szondi 1995:114.
[ back ] 22. Horizontverschmelzung. The use of the concept of "immersion" (Versenkung) in history, traces of which can be seen in the work, refers to a contrary theory.
[ back ] 23. To transport oneself into the horizons of the past is to attain "a higher universality that overcomes not only our own particularity, but also that of the other" (Gadamer 1982:272). See the homologous position attributed to Friedrich Ast, in Szondi 1995:101–103.
[ back ] 24. Nägele 1985:54–56.
[ back ] 25. The essay "Über philologischer Erkenntnis," which has been republished several times, has become a classic in the theory of literary methodology; the Introduction complements and extends it (see Szondi 1978, 1:263–286, and n5). In English, as "On Textual Understanding," in Szondi 1986:3–22.
[ back ] 26. See Szondi 1995:49–50.
[ back ] 27. For Jauss (1970:185-186), the "fusion of horizons," with an explicit reference to Gadamer's theory, takes on the appearance of "an active process of understanding" in the form of an overt tension between question and answer.
[ back ] 28. For this course, see the first part of Szondi 1974-1975:5, and the comments added on pp. 2–3. Szondi never taught anything that he would not have published.
[ back ] 29. Gumbrecht 1988.
[ back ] 30. Adorno was very important to Szondi in his personal life; Benjamin's work was the model of an exceptional relationship to literature (and to the book), and both he and Lukács exemplified the form of the essay. A study of their importance in the development of Szondi's method should be based on the differing use he made of each of the three bodies of work. See, for example, the critical defense of Lukács, namely of his theoretical premises, against his own position, in Szondi's course, published as "Die Theorie des bürgerlichen Trauerspiels im 18. Jahrhundert" (Szondi 1974–1975, 1:31).
[ back ] 31. Despite his undeniable precautions, Michael Hays' presentation of Szondi's method (and of his work as a whole) ends up erasing the sharpest distinctions, which he has, in fact, mapped out for himself ("situating oneself in relation to one's own critical discourse, as well as in relation to the textual object" [Hays 1986:ix]). Hays fails to distinguish the hermeneutics analyzed and practiced by Szondi from that of Heidegger or Derrida, which goes by the same name. Thus he ends up writing that Szondi abandons the "hermeneutic method" (when has he practiced it?) or uses it against the hermeneutic tradition (which one?). The origin of the error lies in not dissociating Szondi from deconstruction (xxi), and failing to situate deconstruction in the tradition from which it stems, a tradition that Szondi contested. Thus one needs to find what is hidden in his discourse, "what is unspoken," so that dialectics can be displaced into the sphere of language and the unconscious, towards its true object legitimated by the post-modernists. "While the polysemic nature of language inscribes the difference between subject and object, signifier and signified, idea and event in the text, a dialectical understanding of this difference allows nonetheless for a critical evaluation of these relationships; for knowledge is derived not from an assumed sublation of difference, but from an effort to allow the poles of difference to comment on each other" (xix). One cannot serve two masters. An even more tendentious presentation can be found in Cusatelli 1979.
[ back ] 32. The circumstances are regrettable. We should not misjudge the situation. However much pain he experienced, Szondi knew, as did Adorno, that the protesters' favorite targets were the most open minds; on the whole, he shared with the students a good number of the reasons for their rebellion. He was certainly not defending his own status. It is true that in the end he felt like a foreigner in his own place. But did he even have a place?

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text:
bitchy | Ngozi Fulani & Susan Hussey met at BP seventeen days after racist interrogation
by Lawrence Moore December 18, 2022 023
November 29th was the date of Queen Camilla's Buckingham Palace reception for charities and activists involved in gender violence work. That was when Susan Hussey, an 83-year-old aristocrat, began her racist interrogation of Ngozi Fulani. In the two-and-a-half weeks following Fulani's reporting of the Hussey incident, she's faced a torrent of racist abuse, to the point where she had to shut down (temporarily) Sistah Space, and she and Sistah Space are being investigated by the British Charity Commission after some random person claimed that Sistah Space misused the paltry grants they were given. For two-and-a-half weeks, Buckingham Palace stayed silent as Fulani was abused, and I would even argue that the royal establishment lined up to protect that racist a–hole Susan Hussey.
The palace's silence was contemptible and repugnant. So… on Friday, the palace finally did something. The palace invited Fulani to come back… and they sat her down with Susan Hussey, so Hussey could make a personal apology. Note that there is no video, probably because they could only sit through one photo without Hussey hissing "but where are you really from???" The Palace also released this huffy statement:
A meeting took place this morning, 16th December, at Buckingham Palace between Ms Ngozi Fulani, founder of Sistah Space, and Lady Susan Hussey to address the incident that took place at a Palace reception last month.
At this meeting, filled with warmth and understanding, Lady Susan offered her sincere apologies for the comments that were made and the distress they caused to Ms Fulani. Lady Susan has pledged to deepen her awareness of the sensitivities involved and is grateful for the opportunity to learn more about the issues in this area.
Ms Fulani, who has unfairly received the most appalling torrent of abuse on social media and elsewhere, has accepted this apology and appreciates that no malice was intended.
The Royal Households will continue their focus on inclusion and diversity, with an enhanced programme of work which will extend knowledge and training programmes, examining what can be learnt from Sistah Space, and ensuring these reach all members of their communities.
Both Ms Fulani and Lady Susan ask now that they be left in peace to rebuild their lives in the wake of an immensely distressing period for them both. They hope that their example shows a path to resolution can be found with kindness, co-operation and the condemnation of discrimination wherever it takes root.
It is the wish of both parties that, at the end of the UN's 16 days of Activism Against Gender-Based Violence, attention can now return to the important work of Sistah Space in supporting women affected by domestic abuse.
Their Majesties The King and The Queen Consort and other members of the Royal Family have been kept fully informed and are pleased that both parties have reached this welcome outcome.
[From Buckingham Palace]
A pure PR question: is this the way it should have been handled, and should it have happened sooner? If I was working for BP, I would have organized a stunt like this just hours after Fulani's reporting of the incident on November 30. Fulani should have been invited back to the palace by the end of that week. So, no, they don't get a f–king cookie for organizing this over two weeks after the first incident of racist abuse. As for the sit-down between Fulani and Hussey… Camilla should have been there, right? Camilla was the one who organized the initial reception on November 29. Hussey worked for both Camilla and Charles. There should have been much more (seen) involvement by Camilla. From a PR perspective, it would have been such an easy win for Camilla too, but I guess no one working for that ancient boozehound has the good sense god gave a goose.
Anyway, I genuinely hope that people stop attacking Fulani for being victimized by these racists. I've been called a "race baiter" for merely covering the story, I can only imagine the racist invectives hurled at Ngozi Fulani.
Photos courtesy of Buckingham Palace, Cover Images, Avalon Red, Sistah Space, screencaps.
Queen Elizabeth II with Lady Susan Hussey
Queen Elizabeth II Visits Scrabster, Caithness, Scotland,Image: 526929196, License: Rights-managed, Restrictions: WORLD RIGHTS – Fee Payable Upon Reproduction
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81662, ABERDEEN, UNITED KINGDOM – Sunday July 29, 2012. Queen Elizabeth II, who arrived in Aberdeen on Saturday evening, made the short journey to Crathie Church for morning service today. The Queen, accompanied by her Lady-in-Waiting, Lady Susan Hussey, is staying at Craigowan Lodge on her Balmoral Estate. The Queen will be happy to relax on her Deeside estate after a punishing schedule celebrating her Diamond Jubilee events and hosting a number of receptions leading up to the start of the Olympic Games. Photograph: © Donald Stewart, PacificCoastNews.com **FEE MUST BE AGREED PRIOR TO USAGE** **E-TABLET/IPAD & MOBILE PHONE APP PUBLISHING REQUIRES ADDITIONAL FEES** LOS ANGELES OFFICE:+1 310 822 0419 LONDON OFFICE:+44 20 8090 4079,Image: 527712922, License: Rights-managed, Restrictions: WORLD RIGHTS, DIRECT SALES ONLY UNLESS STATED OTHERWISE IN CAPTION – Fee Payable Upon Reproduction – For queries contact Avalon.red – [email protected] London: +44 (0) 20 7421 6000 Los Angeles: +1 (310) 822 0419 Berlin: +49 (0) 30 76 212 251 Madrid: +34 91 533 4289, Model Release: no, Credit line: Donald Stewart, PacificCoastNews.com / Avalon
Camera Press Rota 04335471. Queen's Lady in Waiting and friend Lady Susan Hussey at Westminster Hall for the lying in State of The Late HM Queen Elizabeth II,Image: 722705643, License: Rights-managed, Restrictions: Camera Press Rota, Model Release: no, Credit line: Mark Stewart / Avalon
Camilla Queen Consort Hosts Reception At Buckingham Palace Sophie Countess of Wessex, Queen Mathilde of Belgium, the Queen Consort, Queen Rania of Jordan and Danish Crown Princess Mary during a reception at Buckingham Palace, London, to raise awareness of violence against women and girls as part of the UN 16 days of Activism against Gender-Based Violence.
Featuring: Camilla Queen Consort
Where: London, England, United Kingdom
When: 29 Nov 2022
Credit: Kin Cheung/PA Images/INSTARimages.com/Cover Images
**North America Rights Only**
Camilla Queen Consort Hosts Reception At Buckingham Palace
Sophie Countess of Wessex, Queen Mathilde of Belgium, the Queen Consort, Queen Rania of Jordan and Danish Crown Princess Mary during a reception at Buckingham Palace, London, to raise awareness of violence against women and girls as part of the UN 16 days of Activism against Gender-Based Violence.
bitchy | Jeremy Clarkson wrote a violent screed against Meghan just after a lunch with Camilla
bitchy | Angelina Jolie has ended her role and work with the UNHCR after 21 years
bitchy | Why are King Charles & Camilla making a show of displaying Sussex photos?
bitchy | Prince William & Kate recreated a Sussex polo kiss, how completely creepy
bitchy | Duchess Kate repeated a £2,450 silk dress for the Grenfell memorial service


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Josh Duhamel Reveals the Surprising Way Being Married to Fergie Prepared Him to Work With Jennifer Lopez
Josh Duhamel is spilling the tea on what it was like filming with Jennifer Lopez on their upcoming rom-com Shotgun Wedding and if he was "intimidated" to work with her.
By Alyssa Morin May 12, 2021 11:29 PMTags
MoviesFergieJennifer LopezInterviewsJosh DuhamelCelebrities
If there's one thing Josh Duhamel wants people to "Get Right," it's that he and Jennifer Lopez go way back.
On Tuesday, May 12, the 48-year-old actor discussed what it was like to work with J.Lo on their upcoming rom-com Shotgun Wedding. During an interview on SiriusXM's The Jess Cagle Show, the Jupiter's Legacy star was asked if it was "intimidating" to star alongside the actress.
Spoiler alert: His former marriage to Fergie actually helped him prepare to work with Jennifer.
"I've known her for years," Josh shared. "Back when I was married to Fergie, we were in Miami...I don't remember why, but we were there and we all hung out. I'd see her at certain events. So, I've known her. I was comfortable with her."
However, the Safe Haven star confessed that had he not already known the JLo Beauty founder prior to filming, he most likely would've felt intimated to work with her.
Josh Duhamel and Axl's Cutest Father/Son Moments
As he explained, "If I hadn't been with somebody like Ferg, for so long, I probably would have been because she's a big presence and she's a boss."
The actor also took a moment to praise the 51-year-old megastar, raving, "She was always present, always collaborative, came with ideas, really wants to do a good job. And a total pro and a sweetheart."
"She is a powerhouse, but she's also a very sweet girl," he added. "She is 'Jenny From the Block' a lot of ways."
JB Lacroix/WireImage; Cindy Ord/Getty Images for SiriusXM
Kim Kardashian's Kids North and Saint West Land First Movie Roles
Josh even recalled a pep talk he had with Jennifer before they started to film the movie.
"I told her, when we started, I was like, 'Listen, this is me and you. If they don't buy us being absolutely in love...the movie doesn't work. I don't care how beautiful the surroundings are or how funny the stuff is or how big the action sequences are. If you and I don't have this beautiful connection, the movie doesn't work.'"
"And we did have that," he noted. "And we trusted each other. And at the end of the day, I just forgot she was who she is."
At the beginning of the month, Josh shared more details about working with his co-star during an appearance on The Tonight Show.
"She's fantastic," he told host Jimmy Fallon. "I've known her for years, and it sort of came to my attention that the job became available, and I got a chance to meet with her. It was like rekindling an old friendship with an old friend."
Matt Baron/Shutterstock; Jordan Strauss/Invision/AP/Shutterstock
In January, it was announced that Josh replaced Armie Hammer, who was originally cast in the movie. The shake-up caused a lot of chatter, considering Armie himself stepped down from the role following a scandal involving unverified accusations about his sexual fantasies.
He has publicly denied the allegations.
"In light of the vicious and spurious online attacks against me, I cannot, in good conscience now, leave my children for four months to shoot a film in the Dominican Republic," Armie told E! News in a statement at the time. "Lionsgate is supporting me in this and I'm grateful to them for that."
On Tuesday, May 11, Josh revealed that he reached out to the Rebecca actor amid his controversy.
"I know Armie a little bit, and when I knew I was gonna get the part, I emailed him and said, 'Listen, I know you are going through it right now, I don't like to get roles like this and I just wanted to let you know that I am thinking about you and good luck, get through it,'" Josh told Man About Town. "He emailed me right back and said thank you so who knows, hopefully, he gets through it."
At this time, Shotgun Wedding is slated for release on June 22, 2022.
See Josh Flagg & Ex-Husband's Shocking Fight in MDLLA Trailer
Camila Mendes Reveals Why Her New Relationship Is Unlike Any Other
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text:
Tim Cardall
Second-row Tim Cardall joined Wasps' Senior Academy for 2018/19 from Nottingham Rugby where he gained Championship experience.
Cardall impressed playing every minute in all ten of Wasps A's 2018/19 Premiership Rugby Shield games, scoring two tries. That fine form saw Cardall promoted to the first-team squad for 2019/20.
He has also won England Students honours and in 2017/18 regularly guested for Wasps in the A League and Anglo-Welsh Cup, before joining the Club permanently as part of the Senior Academy.
Postion
27/10/2018 Gloucester Rugby SR L 31-7 0 0 0 0 0
04/11/2018 Northampton Saints Rep L 15-14 0 0 0 0 0
27/01/2018 London Irish SR L 66-7 0 0 0 0 0


text:
Q: Awk command print max min values from log I am doing grep with success flag S. $11 is the service type, $12 is either S(success) or F(failure), and $14 is elapsed time. Below command I am getting average elapsed time.
bash-3.2$ grep 'EXSTAT|' ivrbroker.log | grep '|F|' |
> /usr/xpg4/bin/awk -F"|" '{a[$11]++;c[$11]+=$14}
>    END{for(b in a){print b"," a[b]","c[b]/a[b]}}'
QCPE,2,276.5
bash-3.2$ grep 'EXSTAT|' ivrbroker.log|grep '|F|'
EXSTAT|IVR|2014|11|17|14|43|57|1086|SRQCPE952|QCPE|F|100|349
EXSTAT|IVR|2014|11|17|15|35|51|1092|SRQCPE741|QCPE|F|100|204

But now I am looking for max elapsed time and min elapsed time like below.
QCPE,2,276.5,349,204
bash-3.2$ grep '|F|' ivrbroker.log
EXSTAT|IVR|2014|11|17|14|43|57|1086|SRQCPE952|QCPE|F|100|349
EXSTAT|IVR|2014|11|17|15|35|51|1092|SRQCPE741|QCPE|F|100|204
bash-3.2$ awk -F'|' 'BEGIN { OFS="," }
    /EXSTAT\|/ && /\|F\|/ { a[$11]++; c[$11] += $14;
        if (a[$11]==1) { max[$11]=$14; min[$11]=$14; }
        if($14 > max[$11]) max[$11]=$14;  if($14 < min[$11]) min[$11]=$14; }
    END { for(b in a) print b, a[b], c[b]/a[b], max[b], min[b] }' ivrbroker.log
,204,2,0,349
bash-3.2$ /usr/xpg4/bin/awk -F'|' 'BEGIN { OFS="," }
    /EXSTAT\|/ && /\|F\|/ { a[$11]++; c[$11] += $14;
       if (a[$11]==1) { max[$11]=$14; min[$11]=$14; }
       if($14 > max[$11]) max[$11]=$14;  if($14 < min[$11]) min[$11]=$14; }
    END { for(b in a) print b, a[b], c[b]/a[b], max[b], min[b] }' ivrbroker.log
,204,2,276.5,349
bash-3.2$

A: You need to add two more array variables to keep track of the min and max.
While you are at it, get rid of the grep | awk antipattern.
awk -F'|' 'BEGIN { OFS="," }
    /EXSTAT\|/ && /\|F\|/ { a[$11]++; c[$11] += $14;
        if (!($11 in max)) max[$11]=min[$11]=$14;
        if($14 > max[$11]) max[$11]=$14;  if($14 < min[$11]) min[$11]=$14; }
    END { for(b in a) print b, a[b], c[b]/a[b], max[b], min[b] }' ivrbroker.log

Looks like maybe the first condition should be $1 == "EXSTAT" && $12 == "F" for slightly improved legibility and precision.  Maybe also rename a to count and c to sum.
The above script works on Linux, but apparently not on SunOS / SysV / XPG4 Awk.  Perhaps try this minor modification:
awk -F'|' 'BEGIN { OFS="," }
    /EXSTAT\|/ && /\|F\|/ { a[$11]++; c[$11] += $14;
        if (a[$11]==1) { max[$11]=$14; min[$11]=$14; }
        if($14 > max[$11]) max[$11]=$14;  if($14 < min[$11]) min[$11]=$14; }
    END { for(b in a) print b, a[b], c[b]/a[b], max[b], min[b] }' ivrbroker.log

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Cell biologist Dan Kiehart holds a B.A. and Ph.D. in biology from the University of Pennsylvania, and has published more than 80 peer-reviewed journal publications. He is a fellow of the American Association for the Advancement of Science, and has been a member of several National Institutes of Health study sections, including one he chaired. He currently serves on the council of the American Society for Cell Biology.
He joined Duke's School of Medicine in 1992 as an associate professor of cell biology after serving on the faculty of both The Johns Hopkins University and Harvard University. He became a professor in the Department of Biology in Trinity College of Arts & Sciences in 2000 and was appointed the department's chair in 2007. In addition, Kiehart chairs the career development award grant panel of the Human Frontier Science Program, an international program that encourages interdisciplinary and international collaboration.


In this newest edition of We've Got Issues, join Gene & Curt as they rate and review Most of the comic book releases from Nov. 7th, 2018! Did Grant Morrison's Green Lantern book blow the guys away? Did Star Wars: Solo: Imperial Cadet #1 force them to enlist in another issue? Did Simon Spurrier annoy Gene, yet again? What books were chosen as their Books of the Week? And…… What's on YOUR Pull List?!?


text:
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3 Ways a 92-Year-Old Nun and Her Cat Taught Me To Live Every Day to the Fullest
by Visiting Animal July 27, 2015
written by Visiting Animal
Today we are excited to welcome to Our Hen House vegan author and artist John Schlimm. John recently published his memoir Five Years in Heaven: The Unlikely Friendship That Answered Life's Greatest Questions, and was generous enough to offer us the essay below, inspired by the book. Our favorite part? When a "wise, old nun" told John, "Animals are some of the best teachers we have in this world, if only we choose to learn from them."
by John Schlimm
At age 31, lost and disoriented at a crucial crossroads in my life, I met a wise, old nun and artist named Sister Augustine and her spirited calico Blitzen. Both Sister Augistine and Blitzen had been long forgotten by the world and were quietly tucked away in the ceramic shop that Sister had started in the 1960s on the grounds of a 150-year-old convent.
Over the next five years, my hundreds of visits with Sister Augustine and Blitzen turned into the ultimate master class in living each day to the fullest. No topic was off limits: from forgiveness, death, and even the existence of God, to love, success, creativity, sin, compassion for all living beings, and lifelong struggles with personal demons.
While Sister Augustine became my greatest mentor, Blitzen was always nearby—either on Sister's lap or perched on the tabletop amidst the bisqueware and bottles of glaze—offering his own brand of wisdom and humor. That is, when he wasn't causing mischief elsewhere in the shop or disappearing in between the walls during epic games of hide-and-seek with Sister.
This feisty little ball of gold, charcoal, and white fur played a vital role in helping Sister show me the true meaning of life, often acting as the ultimate visual aid to her life lessons. Sister once told me, "Animals are some of the best teachers we have in this world, if only we choose to learn from them."
Many seeds of my future role as an animal activist were planted during those visits. Indeed, some of the best lessons I learned were accompanied by purrs and meows from Sister's faithful sidekick.
Here are three ways that Sister Augustine and Blitzen showed me how we can all live life to the fullest, and enjoy the best that every day has to offer.
Remember to pause (or paws, if you prefer!) and see what's right there in front of you.
No matter how busy Sister Augustine was, as soon as Blitzen sauntered into the room and rubbed up against her ankle, she would put down her paintbrush, pat her lap, and say, "Come on up, I know what you want." Blitzen would hop up onto his friend's lap and snuggle in. Her work at a standstill, Sister would proceed to brush Blitzen's shiny coat as he purred himself to sleep.
Sister always reminded me about the importance of simplifying my frenzied life. She touted the beauty of taking time each day to stop and be mindful of the blessings and gifts right there in front of us, furry or otherwise.
"When we pause, even for a moment, that is when we see just how wonderful the world around us truly is," Sister told me, gazing down at Blitzen asleep on her lap. "That quiet moment is a gift only we can give to ourselves. It recharges us to then move forward in our lives."
Laughter is the ultimate catnip, even for us humans.
Few things made Sister Augustine laugh the way Blitzen did. She often teased him with a handmade toy—an artificial daisy tied to the end of a string. He would pounce around after the daisy, but Sister was too quick for him. She would let out an infectious round of chuckles every time Blitzen swatted and tumbled after the flower. And Blitzen appeared to have a big smile on his face, too. The love and humor they shared friend-to-friend was palpable and inspiring.
Sister told me, "Laughter is a great blessing. It helps make this life precious, and it can carry us through even the saddest times."
My every visit to Sister's shop was filled with laughter. Often, it was over one of Blitzen's silly antics, like his drinking from the bowl of muddy-gray water that Sister Augustine used to clean her paintbrushes. "One of these days, I'm going to come in and find a clay cat!" Sister would declare while scolding him, with a smile. Blitzen would reply with a "MEOW!" and dart away, leaving me laughing until tears pooled in my eyes.
Embrace love in all its (furry) glory.
Sister Augustine once told me about love: "No words are necessary, it's just there."
Blitzen took a while to warm up to me. He was used to being the lone male in a convent full of women. But one afternoon, when I arrived, Sister Augustine was sound asleep, napping in her chair in the shop. A half-painted plate, ringed with her signature forget-me-not motif, rested on her lap. She looked too peaceful to wake her, so I let Blitzen entertain me while I waited.
As I watched helplessly with widened eyes, the calico raced around the ceramic shop. The consummate performer, he leaped from shelf to shelf, then from table to table—winding his way through fragile clayware pieces with the grace and precision, and confidence, of an Olympic skater.
Finally, he plopped down right in front of me as Sister awakened with a chuckle. He approached me cautiously. I pulled out all the stops this time, luring him in with a free neck massage. For the first time, we nuzzled nose to nose. He then promptly settled into my lap and fell asleep. It was as if we had always been lifelong pals.
John Schlimm is the international award-winning author of FIVE YEARS IN HEAVEN: The Unlikely Friendship That Answered Life's Greatest Questions and such plant-based cookbooks as The Ultimate Beer Lover's Happy Hour, The Cheesy Vegan, Grilling Vegan Style, and The Tipsy Vegan. Also an artist, compassion activist, and educator, he recently debuted his participatory art piece THE SMILE THAT CHANGED THE WORLD (is yours) with installations in Washington, D.C. and Canada. John holds a Master's Degree in Education from Harvard University.
Episode 289: "Wild tongues can't be tamed, they can only be cut out."
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Q: When do I stop owning (and paying taxes for) a property that no longer exists (in NH)?
Depending on the effective date of the tax assessment, you may owe property tax for this year. If, for example, assessments for this year are as of the end of February, you are properly being taxed for the MH for this tax year. They may claim a lien, but it is against the lot and you don't own the lot. Thus it is not your problem. And no, you have no right to use the lot. Your right to use it ended in April.


Day 12 Breakfast - Baked Blueberry Oatmeal Breakfast Pudding - No Meat March 2019 - Take The Pledge Today!
2. Grease a 4-6 cup casserole dish.
3. In the bowl of a high-speed blender, place the nuts, oats, applesauce, vanilla, agave, cinnamon and salt.
4. Pour the milk over all and blend for about a minute, until perfectly smooth and creamy.
5. Pour mixture into the casserole dish, then gently fold in the blueberries (scatter a few extra blueberries over the top if you like, as they won't sink).
6. Bake in preheated oven for 40-50 minutes, rotating the casserole about halfway through, until the edges begin to puff and crack and the top appears dry.
7. Allow to cool somewhat before serving; may be served warm or cold.


'From the swamp area of Western Province; "In the land of thousand spirits life will never end and life will go on passing to a new generation. Man is part of nature and nature is alive with spirits. There can be no healing, dying or renewal without a successful invocation of the spirits.".


text:
package org.lnu.is.converter.education.form.type;

import static org.junit.Assert.assertEquals;

import java.util.Arrays;
import java.util.List;

import org.junit.Test;
import org.lnu.is.converter.education.form.type.EducationFormTypeResourceConverter;
import org.lnu.is.domain.education.form.type.EducationFormType;
import org.lnu.is.resource.education.form.type.EducationFormTypeResource;

public class EducationFormTypeResourceConverterTest {

	private EducationFormTypeResourceConverter unit = new EducationFormTypeResourceConverter();

	@Test
	public void testConvert() throws Exception {
		// Given
		String name = "EducationN";

		EducationFormType expected = new EducationFormType();
		expected.setName(name);

		EducationFormTypeResource source = new EducationFormTypeResource();
		source.setName(name);

		// When
		EducationFormType actual = unit.convert(source);

		// Then
		assertEquals(expected, actual);
	}

	@Test
	public void testConvertAll() throws Exception {
		// Given
		Long id = 1l;
		String name = "n a m e";

		EducationFormTypeResource source = new EducationFormTypeResource();
		source.setId(id);
				source.setName(name);

		List<EducationFormTypeResource> sources = Arrays.asList(source);

		EducationFormType expected = new EducationFormType();
		expected.setId(id);
		expected.setName(name);

		List<EducationFormType> expecteds = Arrays.asList(expected);

		// Where
		List<EducationFormType> actuals = unit.convertAll(sources);

		//Then
		assertEquals(expecteds, actuals);
	}
}

redpajama_set_name: RedPajamaGithub


"We have serious problems in our country . and he's descended into the gutter to attack my Christian beliefs," said Paul, a Bowling Green eye doctor.
Jayson Miller, a graduate of Arizona State University, is the president of the company and in charge of day-to-day operations. He has a varied background in design, architecture and real estate. Both men share a love of jewelry, design and customer service.
Dr. Joan Teno of Brown University said she was convinced of his ability when he predicted the 13th patients death. While observing this woman, Dr. Teno noticed that the woman Erasmus University 123helpme try this review was not eating, had difficulty breathing and her legs were blueish in color. These, she says, are often signs of nearing death.
For over 20 years I carried a grudge, an anger closer to hatred of my own mother. I felt totally justified and was utterly convinced I had the right to express openly this anger against what I believed was my mother absence, lack of caring, love or any motherhood feelings toward me since the death of my father. In fact I drew my strength from these things to carry on with my life.
There are several brands of natural kitty litter made from biodegradable corn fibers, including World's Best Cat Litter and Arm & Hammer's Essentials. Cat owners looking to go the natural route can also purchase kitty litter made from wheat, wheatgrass, beet pulp, oat hulls, wood, paper and more. There is also "crystal" cat litter made from silica gel, which is a porous granular form of sodium silicate.
14. King of the Road parody – Dental School Song. This is geared more toward dental students. I had to include this one because I went to Baylor College of Medicine of Dentistry where he sings the song in the student's lab. He talks a while before the song starts. Fast forward to 1:00 minute into the video if you want to skip the chatter.
But she has caught the eye of more than just the Texas Longhorn fans and the perusers of feminine pulchritude that surf the internet. Rick Reilly of ESPN wrote Wednesday that she was "hotter than shrimp vindaloo." And his interest in Rachel Glandorf has sparked a larger interest in Rachel Glandorf.


Top 10 Beaches in Benin, Best Beach Holidays and Vacations.
Benin, is a country in West Africa. It is bordered by Togo to the west, Nigeria to the east, and Burkina Faso and Niger to the north. Benin is wonderfully tourist friendly.
One of the most famous lake village in Benin, Africa lying in Lake Nokoue, near Cotonou. With a population of around 20,000 people, it is probably the largest lake village in Africa and as such is very popular with tourists.


ASIPP is proud to announce the formation of the ASIPP Charitable Foundation, with an objective of the preservation and development of interventional pain management at a higher level. The ASIPP Foundation will increase research, promotion, education, and mentoring programs for interventional pain management.
Click here for ASIPP Foundation information and Gift Form to make your contribution.
All contents Copyright © 2008 ASIPP®.


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Tag Archives: circles
Forty years ago, when I was heartbroke, uprooted, unemployed and deep in depression, I would regularly ride the ferry across Puget Sound from Seattle to Bainbridge Island. It was a cheap ride for a pedestrian and I could go both ways for one fare. There was breakfast to be had onboard and the early morning light, often through mizzle and mist, was the perfect visualization of my inner state.
Sometimes I would get off on the island and hike through woods just north of Winslow, the town with the ferry slip. I saw goldeneyes and grebes, cormorants and wigeons, mergansers and coots. The Northwest is mostly made up of Douglas fir and western redcedar, but Bainbridge Island had a great stand of maples. Wildflowers bordered the roads.
I was alone on the crowded ferry, with the constant churn of the motor under the deck, staring out the rain-spattered window at the expanse of water. There is something about water, and about moving across its surface that I found soothing in my loneliness. A band of sunlight would blast the waves and quickly disappear again.
Yonkers ferry
I have ridden many ferries over the years. The first I remember was the Yonkers ferry from Alpine, N.J., across the Hudson just north of Manhattan. I went with my uncle to visit his in-laws. I remember very little of the trip — the ferry was discontinued in 1956, so I had to have been less than 8 years old; more likely I was about 5 or 6 — but I do remember the river, the waves, the expanse from one shore to the other and the low skyline of our destination. I have absolutely no recollection of the in-laws.
It is the flatness of the water, disturbed by the wind into a disruption of skitter that sticks in my mind each time I take the boat. It is both calm and nervous at the same time. The Hindu idea of māyā is immediate: an ideal world brought to motion by the wind on its reflection. The early lines of Genesis also comes to me: "And the earth was without form, and void; and darkness was upon the face of the deep. And the Breath of God moved upon the face of the waters. And God said, Let there be light: and there was light." In some Native American mythologies, the Great Spirit, Wakan Tanka, is manifest as wind, which animates the prairie grasses very like sea waves.
Perhaps in times of distress, the ferry ride puts me on that sea and I can breath the same moving air that animates the waters. It can calm or at least give me the sense of being part of something bigger than myself. All of which sounds mighty grandiose when you are considering a boat made of iron and grease that rattles across the Sound so that commuters can get to their jobs.
At any rate, ferries give me a kind of mythic jolt. Which is why when I was coming home from a visit to my brother at the beach, where he lives at the head of the Outer Banks, I opted to take the Knotts Island ferry across Currituck Sound. The Sound separates the barrier islands from the low-lying and swampy mainland. It is about a five mile trip across the water from slip to slip. It takes about three-quarters of an hour on the water.
Unlike the huge Puget Sound ferries, the boat across Currituck Sound is puny: It has room for only about a dozen cars. Its main purpose seems to be to carry a schoolbus from Knotts Island to schools on terra firma.
Knotts Island, for the sake of honesty, isn't really an island, but a peninsula that hangs down from Virginia into North Carolina, through the Mackay Island National Wildlife Refuge, which is half water, and full of waterfowl, reeds and water lilies. The island is mostly in North Carolina, but its top bit is still in Virginia.
In years past, when I taught in Virginia Beach, I would take my photography students down to Mackay Island. There was everything to photograph. I went there on my own many times, sometimes just to soak in the brackish air and watch the stretch of water. There is a yearly "Peach Festival" on Knotts Island, and my wife and I and several of our friends went to the orchards to pick bushels of fruit. We spent days processing the peaches into jams and chutneys.
So, I have history on the island. And now that my wife is gone, the trip back across the island to take the ferry brings up a whole life, its aftermath, its redolence, its meaning.
Unlike the Seattle ferry trips, this one is sunny. The waters are calm, shivered by only a small breeze, although that is enough to provide the flat waters with texture. The channel markers are home for bird nests. There is an osprey on one, and cormorants spread their wings to dry on others. The ferry chugs past them, some to the right, some to the left.
The water is wide enough that the far shores are a horizon line, and toward the south, and the spread of water around the curve of the earth, there is no far shore to be seen. The flatness of the day erases the line between water and sky, between life and death, between now and then. You can still make it out, but barely. Waters are deep, and so is the sky. In revery, like Ishmael hypnotized by the sea, I fall into fascination with the obscurity of horizon, of border, of things that have names, but whose names are merely tags to hide the essential sameness, the unity.
There is a startling beauty to this state, I gaze at the line, horizontal, that seems to exist, then doesn't, then exists only because I know it's there. Am I inventing it? Māyā.
The sky circles the top half of heaven, the water, the bottom. It is a circuit. The sun arcs from east to west then continues west to east underneath our feet, underneath the boat. I am laughing at myself for my seriousness. But I am put in mind of circles and spend the rest of the trip finding circles everywhere on the boat. Can a circle be the primary form of the cosmos? Can it be the crown of a hat? The ridiculous and the mythic are comically the same, same as the sky and bay, water and air.
Well, I am an idiot. I am alive, still, and what does any of this mean other than I can breathe, inhale and exhale and feel the swelling of my lungs and the beat of my heart: "Close on its wave soothes the wave behind."
All is lost; nothing is lost. The breath of the gods moves upon the waters. They shiver.
Circles, curves, and arcs
Work has become the habit of a lifetime, and a habit is hard to break. So, even though I have been retired for seven years, I wake up each day believing that I must produce something. What is produced is not irrelevant, but it is a minor concern compared with the unswervable drive to be productive.
That is why I continue to write this blog; it is why I keep making new photographs — compelled like William Blake's Los, forging link upon link of a continuous chain.
Which is why, visiting my friends I cannot help but carry my point-and-shoot around in my pocket and take it out at seemingly random moments to point and shoot. Each visit I make, a theme arises, unbidden but clear. One visit, I photographed ceilings and floors — it is amazing how much I could find there. (Link here). It is in these details that I find design: and it is the design rather than content that tickles my eye. (Link here).
But that doesn't mean content doesn't count. This visit I began photographing randomly, as I do, making pictures of their cats, of birds, of the woods behind the house. But more and more, my camera kept finding circles. Circles, curves and arcs.
It seemed as if one of the marks of human industry is the circle. Nature allows few of them, choosing a great deal more vertical and horizontal lines, such as trees and horizons. But the circle is human; it is idealized.
Throughout the house, I kept finding them, in pots, in lamps, in clocks, dishes and sculptures. Round is an idealized form, almost Platonic. Industrial.
Certainly, I remembered the Zen ideal of the enso, or circle, which is drawn swiftly with the sumi brush, in a single swish, or perhaps two. It is often incomplete, and usually scruffy with brushstroke. It is meant to symbolize enlightenment, but also the great emptiness of the universe. It is an expression of the Japanese esthetic ideal of wabi-sabi, or the beauty of imperfection, incompleteness or impermanence.
It is very different from the Western concept of the ideal, or perfect. A perfect circle is difficult to draw freehand. The Greek painter Apelles once left a perfect circle on a wall in the home of his rival, as proof that he had been there.
More famously, the Italian Renaissance painter Giotto, when tasked by the Pope to demonstrate his mastery, scribed a perfect O in red paint.
A Canadian math teacher from Ottawa, Alexander Overwijk, once made up a story of winning the 2007 World Freehand Circle Drawing Competition in Las Vegas, as a means of getting the attention of his students. (The fiction went viral, and you can find it all over the internet, as if it were real). He was able to draw such a circle on the blackboard for his class. (Link here).
But perfection is boring. It is abstracted from the real world, a world of imperfection, incompleteness and impermanence. The real world has jagged or fuzzy edges, it is left perpetually unfinished, it is ambiguous.
As I moved about the house, I kept finding not only circles, but curves and arcs, the incomplete circles.
The 18th century philosopher Giambattista Vico wrote of the historical cycles of recurrence. Time, he implied, was not a straight line, but a circle. We see these cycles and epicycles in our own lives, inarticulate as infants and incoherent in old age dementia. Our lives recapitulate in our children's lives, as ours recycle those of our parents and grandparents.
Weeks cycle through from Monday to Monday, months from January to January. The clock on the wall from noon to noon.
In Finnegans Wake, James Joyce begins the book with the end of a sentence that began at the finish of the book, "bringing us by a commodius vicus of recirculation" to the ouroboros of time and history — and the story.
William Butler Yeats, in his A Vision, gives another version of the cycles of history, which in his case is paired with the phases of the moon. In Vico's version, history has four stages; in Yeats, there are 28 phases.
(The moon is one of those few natural circles, although, it should be pointed out, it is only perfectly round once a month. A second natural circle is the eye's iris, from which I see the circles I photograph.)
"In my beginning is my end," wrote T.S. Eliot in East Coker — one of his Four Quartets. "In succession houses rise and fall, crumble, are extended,/ Are removed, destroyed, restored, or in their place/ Is an open field, or a factory, or a by-pass."
"In my end is my beginning."
Round planets circle round suns; Shakespeare's Puck promises he "will put a girdle round about the earth in forty minutes." Now a moon named Puck circles the seventh planet of the solar system.
As I continued to make pictures — and I wound up with 97 of them over a four-day visit — they tended to diverge from the circle to the arc, finding that incompleteness more interesting visually. The arc implies rather than states. It suggests; it doesn't insist. It is metaphor, not fact.
Curves are human, they are sensuous. Straight lines and squares are the stuff of Procrustes, something we overlay on the natural roundness of delight to pretend there is something schematic about the world, something we can graph and diagram. Something we can make use of.
But the curve gives us motion, change, the complexities of the calculus. It is Ovidian, not Platonic. It is pleasure; it delights the eye. In the eternal battle between mind and body, the body has all the fun. The mind is a doughty schoolmarm.
The metaphor is real. My wife died two years ago and now I am meeting my ex-wife again, after 50 years.
And so, I keep finding these circles and arcs, these bows bending like the curved universe Einstein posited. They delight me.


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"Tammy Cashwell" Archive
ACE Fellows announced for 2015-16
Twelve Wake Forest faculty members have been named to the University's 2015-2016 class of Academic Community Engagement (ACE) Fellows.
In its 17th year, the ACE Fellowship program provides support for selected faculty members interested in integrating some form of community engagement into classes. Each year, up to 12 fellows are selected by the faculty director of the ACE Fellows Program, the ACE Advisory Council, the director of the Teaching and Learning Center and the Dean of the College.
Categories: Faculty News
July 2014 faculty milestones
See a list of faculty milestones in July 2014:


These effects explain severe allergic responses: labored/difficult breathing, fainting, reddening and irritation wherecontact with the skin occurs, and possible anaphylactic shock.An uncommon feature of alkylamines involves the ability tosimulate action of epinephrine (or adrenaline), an importantneurotransmitter. Twenty-four patients (14%) developedthiopurine-related adverse drug reactions, revealing a significant association between GST-M1-null genotype (P=0.05), older age (P=0.016) and active smoking status (P=0.043) andserious adverse events. Trust and theability to carry out the service user's wishes were paramount in making a nomination(Berzins and Atkinson 2009). Preoperativecardiovascular risk assessments are completed and patients undergo outpatient bowelpreparation with an oral polyethylene glycol solution particularly if a colon-basedreservoir is planned. Mayo LD et al (2002) PTEN protects p53 from Mdm2 and sensitizes cancer cells to chemo-therapy.
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Research published today shows that schools providing clean water report fewer children off sick. It is the first study to investigate whether providing drinking water in schools can reduce absenteeism.
Researchers looked at absentee rates in eight schools in Cambodia – half of which received treated drinking water, and half of which did not. The 26-week study period spanned two terms – one in the country's dry season and one in the wet season. The absentee records of 3520 children were taken into account.
They found that during the dry period, children without access to clean water were about 2.5 times more likely to be absent from school than children where water was provided.
Prof Paul Hunter from UEA's Norwich Medical School said: "We focused our intervention on local communities that have poor access to clean drinking water. Each participating school was given a 20-litre bottle of clean drinking water per class each day.
"We found lower absenteeism in the schools that received the free clean water – however this association was only seen in the dry season. During the wet season, absenteeism increased in all eight schools, which is explained by children being kept off school to help in the fields.
"Education is one of the most important factors that enables children to fulfil their potential later in life and reduce poverty. Better education is also associated with substantial health gains – especially for child health in future generations and in reducing child mortality. However, even when schooling is available, absenteeism rates can be high. Clearly reducing student absenteeism is vital to improve educational attainment and alleviate poverty.
"As well as helping to reduce waterborne infectious disease, providing free drinking water helps combat dehydration. Even mild dehydration in children may be associated with poor health, and previous studies have shown that keeping well-hydrated improves cognition and energy levels in children. So providing free water in schools would improve children's general wellbeing and learning experience.
"The overall cost of the scheme equated to $1.4 USD per child per year – a very modest cost compared to the potential educational benefits and subsequent life potential," he added.
The research was carried out by the University of East Anglia in collaboration with French water charity 1001 Fontaines, its Cambodian partner Teuk Saat 1001, the University of Lorriane in France, and the Mérieux Foundation which is dedicated to fighting infectious diseases.
'Impact of the Provision of Safe Drinking Water on School Absence Rates in Cambodia: a quasi-experimental study' is published in the journal PLOS ONE on March 15.


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2013-2014 Catalog > Graduate Studies and Student Services > Graduate Diversity Fellowship Program
Academic Programs and Area Specializations
Graduate Mission Statement
Graduate Tuition and Fees
College Fee
Student Services and Programs Charge
Miscellaneous Fees, Fines or Deposits
State University Refund Policy
Refund/Repayment of Financial Aid Due to Discontinuance of Study
Graduate Diversity Fellowship Program
Graduate Degree Requirements
General Information for Graduate Students
Registered Graduate Degree Programs
Teacher Education Certification
Additional Academic Information
Lifelong Learning and Special Programs
Pursuant to appropriations contained within the New York State Budget, the State University of New York offers graduate fellowships to students who have been admitted to graduate or professional study and who will contribute to the diversity of the student body in the graduate or professional program in which enrollment is sought. In awarding scholarships, programs may give consideration to students who are of a race or ethnicity that is under-represented in its graduate and professional programs but may not make awards solely on that basis.
To be eligible, applicants must be (1) U.S. citizens or have permanent resident status, and (2) must demonstrate how they will contribute to the diversity of the student body in the program for which they are applying, including by having overcome a disadvantage or other impediment to success in higher education. Economic disadvantage, although not a requirement, may be the basis for eligibility under this category. Membership in a racial/ethnic group that is under-represented in the graduate or professional program involved may serve as a plus factor in making awards, but may not form the sole basis of such an award and every student applicant shall be evaluated on his or her own merits.
A maximum $10,000 per academic year may be awarded to a recipient enrolled in at least 9 credit hours per semester; awards for students who enroll in less than 9 credits may be prorated per credit. Awards may be used for course work completed during summer or other special sessions at the discretion of the Graduate Studies Office.
Application instructions and further details may be found at http://www.fredonia.edu/gradstudies/prospective/funding.asp. Interested applicants may also call the Graduate Studies Office at (716) 673-3808 or email graduate.studies@fredonia.edu.


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Home Monthly Reports Most Notable Massacres
Barrel Bombs' Toll
No less than 486 Massacres in 2016
Not Less than 40 Massacres Committed in October 2015
Not Less than 516 Massacres Committed in 2015
Not Less than 38 Massacres Committed in January 2014
No less than 47 Massacres in November 2016
Not Less than 39 Massacres Committed in April 2014
I- Executive Summary SNHR documented not less than 39 massacres committed in April 2014, detailed as follows: A- Government forces (army, security forces, local militias,...
30 Massacres Documented in October 2014
Executive Summary SNHR documented 30 massacres perpetrated during the month of October, distributed as follows: - The Syrian regime and its militias perpetrated 26 massacres. - ISIS...
Not Less than 51 Massacres Committed in August 2015
43 out of which were committed by government forces I- Executive Summary SNHR documented not less than 54 massacres that were committed in August, detailed as...
At least 33 Massacres Have been Perpetrated in November 2014
Executive Summary SNHR documented no less than 33 massacres during November as follows: Government forces: 31 massacres Extremist groups: one massacre Armed groups: one massacre Massacres were divided among...
Not Less than 21 Committed Massacres in March 2016
11 amongst which were perpetrated by government forces SNHR issued its periodic report concerning the documentation of massacres by all conflict parties in Syria. The report...
No Less than 20 Massacres were Perpetrated in January 2015
Executive Summary SNHR documented in the month of January 2015 20 massacres at least as follows: Government forces: 16 massacres Armed opposition: one massacre Unidentified groups: three massacres Those...
No Less than 37 Massacres were Perpetrated in February 2015
Executive Summary SNHR documented in the month of February 2015 37 massacres at least as follows: Government forces: 34 massacres YPG: one massacre Armed opposition: two massacres The regional...
Not Less than 33 Massacres Committed in July 2014
25 amongst which were committed by Government Forces I- Executive Summary: SNHR documented not less than 33 massacres that were committed in July 2014, detailed...
No less than 56 Massacres in July 2016
Including 43 Massacres at the hand of Syrian and Russian regime SNHR has published its monthly special report documenting the massacres perpetrated by the different...
Not Less than 38 Massacres Were Committed in June 2014
32 amongst which were committed by government forces I- Executive Summary: SNHR documented not less than 38 massacres that were committed in June 2014, detailed...
Not Less than 46 Massacres Committed in June 2015
I- Executive Summary SNHR documented no less than 46 massacres committed in June 2015, detailed as follows: A- Government Forces (including army, security forces, local...
Including 14 Massacres at the Hands of International Coalition Forces SNHR has published its monthly report documenting the massacres perpetrated by the parties to the...