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Main Characters In A Doll's House
1.	Author, title, and year of publication:
Henrik Ibsen, "A Doll House" (1879)
2.	Character list:
The major characters in this play are Torvald Helmer, Nora Helmer, Nils Krogstad, and Mrs. Linde. The minor characters are Dr. Rank, the children, Helene, Anne-Marie, and the delivery boy.
3.	Plot summary:
Nora Helmer, borrowed a large amount of money so that her husband, Torvald, could convalesce from his illness by taking a trip to Italy, without telling him about the loan or about her working odd jobs because it would hurt is pride and would cause a scandal in society. Torvald thinks of Nora as his property, a child, and sometimes even a doll. When he is given a managerial position at a bank, his first act is to fire Nils Krogstad, the man …show more content…
The main characters that are established in the first act are Nora Helmer, Torvald Helmer, Krogstad, and Kristine Linde. The first phase of plot in "A Doll 's House" first takes place in a beautifully decorated home, here it becomes established how important money and respectability is in the Helmer 's household. The beginning character, Nora, returning happy from shopping, shows us that she enjoys doing good things for her family, as well as spending money on things such as Christmas trees, presents (toys), and macaroons. In the beginning scene we see a stage direction that occurs right after she approaches her husband study "putting the macaroon bag in her pocket, and wiping her mouth", this clearly shows that eating macaroons is a disobedience, as Torvald forbids them. ( Ibsen 1191) Not only does this provide us with evidence of Nora 's disobedience, but it also gives the audience a sense of her husband 's character, as well as gender roles by displaying that he has complete control over what she eats (power), and what she can spend especially since he provides for the family (gender roles). The characters of Nora and Torvald in the first scenes provides us with a glimpse of the most important themes such as power, gender roles, and money. However, as the story develops, we learn about Nora 's debt through Mrs. Linde, and the major conflict she faces …show more content…
Linde. In the first act, Nora Helmer is perceived as a character that wants a wealthy lifestyle. Nora believes that material wealth will make her free of debt (needs to become free of debt), have more time to spend with her children, maintain the house beautifully, and desires to do everything the way, her husband, Torvald likes. However, towards the end of the play, she completely changes, she wants to separate from her husband (stranger), she desires to make something of herself on her own , and needs to do this without being controlled like a doll (independence). Torvald Helmer is a husband and father who desires to take on the managerial bank position he was given. He wants his typical home life to stay the same and by all means he wants his wife to aspire to please , make dinner, take care of the kids, and always appear at her best. However, what Torvald needs is to keep his status in society, but in the end the audience acknowledges that what he needs, wants, and desires is Nora, but she is no longer under his
Realism In A Doll House Analysis
Another exception is for women to make the house a pleasant and comfortable place for the family as shown in the stage setting of A Doll's House. Wives are to have their husband's consents to borrow money or make any financial decisions as Ibsen stated in his play with Mrs. Linde saying to Nora, "Because you couldn't have borrowed it" (Ibsen 1348). It is the man's job to control the money in the household, financial decisions are his and his only to make. Women are to take the sacrificial role for their families no matter what economic class the families are. With social expectations for married women being so stricter there was no individualism for…
Literary Criticism In A Doll's House By Henrik Ibsen
Once he discovers she has spent money he is quick to scold her, giving readers the first glimpse of the world Nora lives. They can also see how she is used to going along with her husbands rules and request when she replies, "As you wish, Torvald"(Ibsen 2). Ibsen uses this scene and line to help portray the common middle class family with typical roles, a mother that lives her life to please her husband and children. After portraying the perfect family Ibsen is quick to let readers in on the secret that makes the Helmar family different from others in this time…
Madame Loisel's Misfortune In The Necklace By Guy De Maupassant
Monsieur Loisel in response to his wife's grief goes about getting loans to buy a replacement. Due to Madame Loisel having to look rich for the ball, her husband suffered a great debt and was shackled into poverty trying to help her feel classy. Clearly, one can see that she had a lack of appreciation toward her husband because not once did she show gratitude while condemning him to such…
Compare And Contrast The American Dream In The Great Gatsby
Unlike other character in The Great Gatsby, they don't dream about growing their wealth rather they dream to keep their wealth and use their wealth to fulfil their other dream. Although Daisy come from old money, Daisy's American dream is marrying man who can provide her wealth that could her the lifestyle she wanted, give her a higher or same social status that she come from, and give her a guaranty secure future so that she never has to worry about her future. Daisy didn't marry Gatsby even though she was love with him because he didn't have enough money to fulfil her version of American dream. Instead of Gatsby she married Tom Buchanan who also has old money, represents a secure social position and has enough wealth to provide her a guaranty secure future. But Daisy was unhappy with her marriage life because Tom is publicly unfaithful since their honeymoon.…
A Doll's House Symbolism Analysis
Krogstad also works at the bank and agrees to let Nora forge her father's signature to take money. Mrs. Linde has been Nora's friend since they were young. Dr. Rank is Torvald's best friend. Through the course of this play, Dr. Rank is slowly dying but does not tell Torvald, because of Torvald's dislike in death. From Torvald's actions throughout the play, he begins to realize how he abused his power and drove Nora to the unthinkable in society at the time.…
The Role Of Men And Women In A Doll's House
When Nora's deceit was revealed, he said their relationship was over but wants her to remain in the household for appearances. Torvald is insecure, selfish and cowardly. However, he is a hard worker who tries his best to provide for his family. Attempting to please his wife through an artificial, monetary way is perhaps the only way he knows. Though Torvald's character is far from ideal, his philosophy was likely not any worse than any other husband at the time.…
Theme Of Courtship And Marriage In Taming Of The Shrew
Another interpretation of this could be that she is happy with the terms of her marriage and that she does now see herself as inferior to her husband. Extreme male dominance is also shown through the theme of power in relationships as Petruchio states that he "shall be what o'clock it is", further touch upon the idea of male dominance and control over ones wife as Petruchio argues with Katherina after she points out that he made a mistake about the time which they were supposed to visit her father. This example of extreme dominance gives us further insight into the personality which Petruchio's character has been written with as it shows that he has to some extent a superiority complex over his wife, as in his mind he thinks of himself as truly superior. The use of the word O'clock suggests he is higher power over her as he can control the passing of time in her life and can not be affected by anyone as time cannot be stopped and neither will he in his quest to tame his wife. Petruchio's attitudes toward women are also shown as not only…
Nora In A Doll's House By Henrik Ibsen
Nora's children are barely mentioned in the play, but when they are, it always deals with her expressing her love for them. For example, at the very beginning of the play she is hiding their Christmas tree from the kids until it is "dressed" (Ibsen). She is taking the children's thoughts into consideration and only wants them to see the tree when it looks presentable, instead of just plain. This exemplifies how she will go out of her way to keep her children happy. She was also ecstatic to tell her husband about all the gifts she was able to get them for Christmas that year (CMNH).…
Gender Role In Henrik Ibsen's A Doll House
This type of personality is classified as Id according to Sigmund Freud's theory of the human psyche. Nora's Id was her strong desire for money. It was a Christmas Eve, the delivery boy left the gifts and Nora's lovely street things (macaroons) at Helmer's house. During a conversation about this gifts, when Torvald asks Nora about her desire for herself, Nora expresses his unending desire, "You could give me money, Torvald… Oh, please, Torvald darling, do that! I beg you, please"( A doll house 788).…
Character Roles In A Doll's House By Henrik Ibsen
So she leaves him and marry a wealthy man. However, at the end of the play they restored their relationship and decide to get married. That's what we know from MRS. LINDE. She said, "Two on the same piece of wreckage would stand a better chance than each on their own." (A Doll's House, Henrik Ibsen, Act 3).…


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Carsten Krieger's Scéalta an dúlra
Nature, Stories & Photography
One of my earliest childhood memories are fragmented recollections of holidays in the Tyrolean Alps. In fact I did my first steps in one of the lodges that are located along the alpine trails, at least this is what my parents told me. My own memories are just snapshots of roaring mountain streams, a freezing cold night at the Three Peaks in the Dolomites, narrow paths surrounded by walls of snow and drooling St. Bernard's. Despite or maybe because of being dragged up and down mountains in my early years I never became a mountaineer. This doesn't mean I don't like mountains, on the contrary, I love the visual drama of the peaks but prefer to admire them from a distance.
Where I live now the skyline of the Kerry mountains is a constant presence. Here at the southern tip of the Loop Head peninsula the outline of the Brandon Range and the Slieve Mish Mountains is sitting between the expanse of water that is the Mouth of the Shannon and the wide open sky. Sometimes the mountain silhouette is illuminated by the light of the setting sun, sometimes it is shrouded in a blue haze and sometimes the rolling shapes disappear into low clouds and mist. The Kerry mountains are not the only elevations that show their presence here on Loop Head and another mountainous landscape exists north of the headland. These mountains are however considerably further away and hide in clouds and haze for most of the time. Only on rare occasions, often after heavy rain has washed the air clean, a faint outline of round peaks sits just above the horizon and makes me long for Connemara.
I spent my first summer as an Irish resident working in a bed & breakfast near the village of Maum. I woke up every morning with a view onto Lugnabrick, its green slopes sometimes shrouded in mist, sometimes illuminated by the warm morning sun. Once the work was done I spent my time exploring the granite wilderness of the Maumturk Montains and 12 Bens. I walked bits and pieces of the western way, a long distance walking trail that traverses the Maumturks at Maumean, and then follows the western flank of the mountain chain through Inagh Valley where the 12 Bens beckon on the other side. From time to time I left the trail to explore the hillside and enjoy the view from further up. The ever changing light made shapes and shadows dance along the mountainside, the granite was glittering under the short lived spotlight of a sunbeam and in the distance a raven croaked.
Having fallen under the spell of this bleak but powerful landscape I returned to Connemara over the following years in regular intervals. I experienced a winter morning at Lough Inagh when the peaks of the 12 Bens glowed red under the rising sun while the ground at the shore was dusted with snow. I recall warm autumn sunshine on the brown fields of bracken that covers the mountainside and mist rising from the peatlands, shrouding the lower slopes in a faint haze while the mountaintops were hovering above like a mirage. Sometimes when I am looking over the flat landscape of my home in west Clare I miss the mysterious confinement and embracing shelter of the hills and dream myself to the dark valleys and the towering walls of rock, the lonely corrie lakes and cold mountain streams. I may not be a mountaineer, but I truly love mountains.
Ireland's topography is often being compared with a saucer: A flat, low lying interior that is surrounded by mountain ranges. Looking at a map of the country it indeed seems that the majority of Ireland's mountains are neatly arranged along the edges of the landmass. The only exception are the Slieve Aughty Mountains that reach from eastern County Galway southward into County Clare, the Silvermines Mountains in County Tipperary and the Slieve Bloom Mountains that are being shared by the counties Laois and Offaly. Of those three the Slieve Blooms are the furthest away from the coast sitting almost in the centre of Ireland. With their highest point only reaching 527 meters the Slieve Blooms appear rather like an accumulation of gently rolling hills but these now modest elevations are among the oldest mountains in Europe and once reached lofty heights of well over 3000 meters. Over the millennia much of the Old Red Sandstone these hills are made of has been worn and washed away and what remains is a gentle landscape covered in blanket bog, heath and commercial forestation which is intersected by a network of paths and tracks. These walks are perfect for a non-mountaineer like myself and lead through glens covered in dark spruce forests and along mountain streams to the open country of the flat topped summits. From here the level interior of Ireland becomes apparent with fields and hedgerow spreading into the hazy distance.
The same Old Red Sandstone that made the Slieve Blooms is also the main building block of all the mountain ranges that occupy the south-west of Ireland. This sedimentary rock was laid down in the Devonian Period some 400 million years ago when this part of the island stretched out as an alluvial floodplain near the equator. The regular flooding of this landscape deposited the grains that over time built up to the Old Red Sandstone we see today. The rock gets its striking colour, that can range from a deep red to a gentle purple, from oxidised iron particles known as haematite and it is these particles that let peaks like Hungry Hill or the aptly named Purple Mountain glow in warm, rusty tones in the morning and evening sunshine.
The highest of those sandstone ranges and indeed the highest mountains in Ireland can be found in County Kerry. The MacGillycuddy's Reeks or Na Cruacha Dubha, which translates into "the black stacks", occupy the eastern half of the Iveragh Peninsula and rise just west of the Killarney National Park. The English name of these mountains replaced the Irish one in the 18th century and is derived from the MacGillycuddy family name, who were one of the biggest land owners in the locality at the time. This chain of dramatic ridges is the only one in Ireland that reaches heights of over 1000 meters. The highest of the conical peaks is Carrauntoohill with 1039 meters, followed by Beenkeragh with 1008 meters and Caher with 1001 meters. These heights are partly responsible for the local climate and subsequently the rich plant life of the area. While the gulf stream keeps temperatures above freezing for most of the year, the mountains catch the moist air coming in from the Atlantic and force it down as rain, drizzle and mist. It is no surprise that the Killarney region has one of the highest precipitation rates in Ireland and the peaks are often hidden in clouds.
The Reeks, as they are locally known, as well as the other mountains of the south-west came into being during the Variscan Orogeny that began about 250 million years ago. Over a period of some 100 million years the forces of colliding tectonic plates folded the sandstone into mountains. In addition to the Reeks these are the Brandon Range and the Slieve Mish Mountains on the Dingle Peninsula, the Caha and Slieve Miskish Mountains on the Beara Peninsula and the Galtee, Knockmealdown and Comeragh ranges further east. Later the grinding glacial activity of the ice ages shaped the rock into its current form. Massive ice sheets cut U-shaped valleys into the rock and scraped out corries, many of which filled with water and dotted the mountain landscape with lakes. Wind and rain carved the upper sections of the hills into a mix of sharp peaks, sheer cliffs, loose scree fields and near vertical gullies. These rugged features make the mountains of the south-west incredibly beautiful but, together with the unpredictable weather, also unexpectedly dangerous. Unexpected weather fronts can cover the landscape in impenetrable mist, turn the rock into a slippery slide and cause sudden drops in temperature. The lower slopes that were once blanketed in vast forests are today for the most part covered in blanket bog and heath which gives the landscape a more gentle appearance. The lichen covered sandstone rocks and boulders that stick out of the soft mixture of sphagnum mosses, grasses and ferns are however a reminder of where you are.
The Wicklow Mountains on the other side of the country are the product of an earlier mountain building process. Some 400 million years ago, when the two halves of Ireland were being welded together by another tectonic collision, massive amounts of magma were pushed up from inside the earth and lifted the overlying sandstones, slates and shales. Many of the mountains further north, the 12 Bens and Maumturk Mountains in Connemara, the Nephin Beg in County Mayo and the Derryveagh Mountains in County Donegal, were created during the same upheaval which is known as the Caledonian Orogeny. Granite is the main building block of all these mountains. This igneous type of rock is formed when magma rises and cools under overlaying layers of rock without breaching the surface. Because of the immense heat and pressure during this event some of the overlaying rocks, which are often sedimentary, are being transformed into metamorphic rocks: Limestone becomes marble, shale turns into schist and sandstone changes into quartzite. These rocks came to sit between the surface rocks and the granite beneath. Over time the erosive forces of ice and water stripped away the surface rocks, exposed the granite and sculpted mountains and valleys. In most places the metamorphic rock shared the fate of the sandstones, slates and shales and disappeared. In some places however the marble, schist and quartzite were spared, leaving the summits of Mount Errigal, Crough Patrick and the Sugarloaf Mountain wearing a glittering quartzite cap while the mountains of Connemara became famous for their unique and distinctive green marble deposits.
While most of Ireland's mountain ranges are the product of the collision of tectonic plates there are three that have a different story. The Mourne Mountains in County Down are a compact set of peaks, also made of granite but much younger than their neighbours in Counties Donegal, Mayo and Galway. The Mournes rose up around 60 million years ago when Ireland's north-east was shaken up by an era of high volcanic activity that also created the Antrim Plateau and the Giant's Causeway. During this event a batholith, a mound of magma, rose under the future Mournes and created a massive dome which also met its sculptor during the ice ages when glaciers carved out the distinct succession of round peaks and U-shaped valleys. The Mourne Mountains are one of the most recognisable mountains in the country and their characteristic outline dominates the landscape for many miles around. Seen from the distance they are often covered in a blue haze and seem to rise straight from the jigsaw of fields and hedgerows. Once you get closer you can make out the lower slopes, covered in a thin layer of blanket bog that changes its colour from green to brown throughout the seasons, and the bare, grey granite peaks, smoothed by millennia of ice, snow, rain and mist. Another feature that will catch the eye is the Mourne Wall, an enclosure that was built between 1904 and 1922 and traverses up and down the mountains, scaling 15 peaks in the process. The close proximity of the Mournes to the city of Belfast made these mountains the ideal source to supply the then expanding city with water. A reservoir was built and the wall was erected around the catchment area to keep sheep and other unwanted visitors away from the water source. Over time the wall has not only become a landmarks but also become a handy navigation guide for hill walkers.
Further south and to the west from the Mournes resides an unusual and for Ireland unique set of elevations. Ben Bulben and the surrounding hills that line the border between County Sligo and County Leitrim, collectively known as the Dartry Mountains, are Ireland's only set of table mountains. The rocks that make up these immediately recognisable hills are limestone and shale that formed some 320 million years ago. Before the repeated glaciations during the ice ages the area was a long continuous ridge but the movement of the ice cut deep valleys into the rock and left the remaining parts of the ridge as flat topped mountains. This unique topography allowed a special set of plants to survive on the plateau which is several degrees cooler than the plains and valleys below. Pollen analysis has shown that parts of the tundra flora that was common at the end of the last glaciation around 10000 years ago has survived on the summit of Ben Bulben. This includes fringed sandwort, which is unique to the Ben Bulben plateau, mountain avens and purple and alpine saxifrage that mingle with more common blanket bog flora.
The members of this blanket bog flora are the most common plants to be found on Ireland's mountains and come in a mixture of tussocky grasses like the purple moor grass, sphagnum mosses, rushes, sedges, heathers, bog myrtle and bog asphodel. On the higher slopes the blanket bog tethers out and is replaced by grassy patches and bare rock. Here heathers can persist and often mix with crowberry and tormentil. Green spleenwort, alpine meadow grass, alpine meadow rue, alpine saw wort, dwarf willow and three species of saxifrage can also be found in the upper regions and on the summits. These alpine species are however rare and only appear sporadic and are often limited to a few spots in a specific area. The alpine's lady's mantle for example is only known from the Wicklow Mountains and Mount Brandon, the parsley fern has only been recorded in Connemara, the Mourne Mountains and some other upland sites in Northern Ireland and mountain sorrel only thrives in a few spots in the mountains of the west and south-west. Some of the species are already classified as endangered and steadily climbing average temperatures make their future look bleak. Unlike plants on lower elevations these mountain specialists have nowhere to go to seek a cooler environment.
Ireland has its fair share of unusual plants and it should come as no surprise that Ireland's mountains also harbour a few proper oddities and rarities. There is for one the unexplained presence of St. Patrick's cabbage in the Wicklow Mountains. This small but distinctive flower is a member of the Lusitanian flora that has a very specific distribution range in the south-west of Ireland and the Iberian peninsula. Another out of place plant is the recurved sandwort. In 1964 a handful of colonies of this small flower were found in the Caha Mountains. The recurved sandwort has its main distribution further south on the European continent in the Pyrenes, the Alps and Carpathians. It has been debated at length how this plant ended up in County Cork and the most likely explanation is sheer luck. It is possible that the recurved sandwort had a far wider distribution before the latest glaciations and that the Caha Mountain colonies were lucky enough to survive near a continuously ice free summit until today. A similar explanation goes for another group of plants that appears quite regularly near summits but shouldn't really be there. Thrift, sea plantain, sea campion and scurvy grass are typical coastal flowers but some individuals have somehow found their way up the mountains. Thrift is the most widespread mountaineer and has even been seen flowering on the summit of Carrauntoohill while scurvy grass is quite common in the Galtee Mountains which are some 100 kilometres away from the nearest coast. It is thought that these plants were forced to retreat from advancing forests during warm interglacial periods and once the ice returned they stayed in their refuge, safe from the returning ice just like the recurved sandwort.
Similar to the flora, the fauna of Ireland's mountains is similar to the one that can be found on blanket bogs and includes the common lizard, common frog, Irish hare and various butterflies, moths and dragonflies. Red grouse, meadow pipit, ring ouzel and the peregrine falcon are common birds in the uplands but the one animal mostly associated with Ireland's mountains is the raven. The biggest member of the crow family is truly at home between the peaks and its lonesome croak encapsules the wild mountain landscape like no other sound. Ravens mate for life and start breeding early in the year, sometime as early as February. Their nests are perched in inaccessible cliff faces and are being repaired and improved every year before the three to seven bluish-green, brown-blotched eggs are laid. Only 50 years ago ravens were close to extinction in Ireland but since then have made a remarkable recovery. So much so that the highly territorial birds have explored new habitats and can now also be found at the coast, where sea cliffs very much resemble their original habitat, lowland areas and even towns and cities. One reason for this recovery is their high intelligence which makes it easy for these birds to solve problems and seek out and adapt to new surroundings. The raven's ability to overcome difficulties has been proven in countless experiments, one of which presented the bird with a piece of meat tied to string which is hanging down from the bird's perch. The only way the bird can reach the meat is by pulling in a length of the string with its beak, stand on the loop and then pulling in another length. After looking at the puzzle for a while four out of five birds solved the problem simply by thinking it through without having to refer to the trial and error principle.
Another iconic animal of the mountains is the red deer. The only native herd of these striking animals lives in and around Killarney National Park where the animals spend most of the year on the slopes of the MacGillycuddy's Reeks and the adjoining forests. Red deer were once common all over Ireland which is reflected in numerous place names, for example ceim an fiadh is "the pass of the deer" and cluain fiadh translates to "the meadow of the deer". Overhunting wiped out the species in all parts of Ireland bar the Killarney area and even here the red deer came very close to extinction. In the 1960s efforts were undertaken to save the Killarney herd and as part of these efforts a group of animals was exiled to Inishvickillane, a small island off the Kerry coast where they roam until today, a genetic time capsule in the wild Atlantic. Another group was introduced into the Connemara National Park in the 1980s where they thrived and eventually roamed past the national park boundaries. Another herd of wanderers, these being of English origin, escaped from an enclosure near Maum Cross at the eastern border of Connemara and these two parties are by now well established in the Connemara mountain wilderness. Further north in County Donegal Scottish red deer were brought in to re-introduce the species into Glenveagh National Park and these animals have also spread across both national park and county boundaries. The other two deer species living in Ireland, the sika deer and fallow deer, are not native to the country and have been introduced as game animals into the big estates and subsequently escaped into the wild. Both are known to hybridize with red deer which is an ongoing concern for conservationists.
Another somewhat introduced ruminant is the feral goat. Technically speaking this is not a native species but it wouldn't be fair to these charismatic animals to simply dismiss them as non-native or even invasive. The feral goat is, as the name suggest, a domestic goat gone wild and can be found in all the regions of Ireland, mainly on mountains and along the coast on rocky shores and cliffs. These formidable climbers travel in groups and some individuals are truly impressive. They carry massive horns, a long goatee and their scruffy coat comes in all shades and patterns of white, black and brown. For how long the feral goat has roamed around Ireland is not known but the origins of the Puck Fair suggest that it has been hundreds if not thousands of years. The Puck Fair that is being held every year in Killorglin, a small village north of the MacGillycuddy's Reeks, is said to be the oldest festival in Ireland dating back to pre-Christian times. Every year a wild goat is being caught in the mountains and brought to the village where it is being crowned King Puck. From a lofty cage the king then oversees the three day festivities before it is being released back into the wild. While the organizers claim that the welfare of the animal is of utmost importance, the festival has become rather controversial.
Festivals like the Puck Fair are unfortunately the smallest threat Ireland's uplands and its inhabitants are facing. Climate change already has a noticeable impact. In addition to the effect rising temperatures have on the highly specialized alpine flora, high rainfall amounts in short periods of time on overgrazed ground make large scale landslides more likely while prolonged dry periods provide the perfect conditions for uncontrollable wildfires. Mountain climbers and hill walkers unfortunately also often have a negative impact on the land when they ignore the simple "take only memories, leave only footprints" rule which is especially frustrating considering that if you tread carefully you won't even leave your footprints…
Carsten Krieger, September 2020
All content © 2021 by Carsten Krieger - no reproduction without written permission

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Published On Jan 12 2022 10:00PM IST
TCS' YoY Q3FY22 net profit up over 12%, to buyback shares worth Rs 18K cr
IT major Tata Consultancy Services on Wednesday reported a year-on-year rise of 12.3 per cent in its consolidated net profit for the third quarter of FY22.
Its net profit for the quarter under review rose to Rs 9,769 crore from Rs 8,701 crore for Q3FY21.
The company's consolidated revenue during the period under review rose by 16.3 per cent YoY to Rs 48,885 crore from Rs 42,015 crore.
Chief Executive Officer and Managing Director Rajesh Gopinathan said: "Our continued growth momentum is a validation of our collaborative, inside-out approach to our customers' business transformation needs.
"Customers love our engagement model, our end-to-end capability, and our can-do approach to problem solving. While mapping out their innovation and growth journeys, we are also helping them execute new-age operating model transformations to support those journeys."
Additionally, the board approved a share buyback worth Rs 18,000 crore at Rs 4,500 per share.
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Creativity and capturing the moment is the most fun part of my work. When it comes to visual expect of my work I m perfectionist and strive to create the best shots possible in given environment.
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I was always into photography, it is still one of my biggest hobby. I'm also professional web designer so it started when one of my clients needed photography for their website. It was almost 20 years ago. Since then I focused working on my photography skills and started working as a photographer.
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I always suggest clients to think about the Story and the Location then leave rest to your photographer.
Location is the most important factor which needs to be carefully selected.
Every photogtaph shoulld have a story even though simple portrait shot needs to tell a story to viewer.


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Plan Charge (Including vat) - Use Charges Calculator to estimate Fee. If you are unsure of our charges a member of the team will contact you to confirm the fee payable on submission of your application
This notice is given in relation to the building work as described, is submitted in accordance with Regulation 12(2)(a) and is accompanied by the appropriate charge. In accordance with Regulation 14(5) I hereby give notice that I require a completion certificate to be provided in accordance with Regulation 17.
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1. The applicant is the person on whose behalf the work is being carried out, eg the building's owner.
2. Two copies of this Application Form should be submitted together with site plan, plans and particulars in duplicate in accordance with the provisions of Building Regulation 14.
Where the building is a workplace that will be subject to provisions of the Regulatory Reform (Fire Safety) Order 2005, two further copies of plans, which demonstrate compliance with the requirement, should be deposited.
3. Subject to certain exceptions a Full plans Application attracts charges payable by the person by whom or on behalf of whom the work is to be carried out. Most charges are payable in two stages. The first payment must be accompany this application and the second payment is payable after the first site inspection of work in progress. The second charge is a single payment in respect of the relevant work to cover all site visits and consultations that may be necessary until it is satisfactorily completed.
The appropriate charge is dependent upon the type of work proposed. Tables and methods of calculation are set out in the Guidance Note on Charges, which is available on our website.
4. Subject to certain provisions of the public Health Act 1936, owners and occupiers of premises are entitled to have their private foul and surface water drains and sewers connected to public sewers where available. Special arrangements apply to trade effluent discharge. Persons wishing to make such connections must give not less than 21 days' notice to the appropriate authority.
5. The Regulatory Reform (Fire Safety) Order 2005 applies to all premises that are 'workplaces' and the common areas of flats and imposes a duty on the 'responsible person' to comply with its requirements.
Workplace includes any premises or parts of premises, not being domestic premises, used for the purpose of an employer's undertaking and which are made available to an employee as a place of work.
6. Section 16 of the Building Act 1984 provides for the passing of plans subject to conditions. The conditions may specify modifications to the deposited plans and/or that further plans shall be deposited.
7. These notes are for general guidance only, particulars regarding the deposit of plans are contained in Regulation 14 of the Building Regulations 2010 and, in respect of charges, in the Building (Local Authority Charges) Regulations 2010.
8. Persons proposing to carry out building work or make a material change of use of a building are reminded that permission may be required under the Town and Country planning Acts.
9. Where electrical work is not carried out and registered by an electrician under a part p competent persons scheme an additional fee/application will be required for this work.
Elmbridge Building Control Services Ltd
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Sound & Light Equipment
February 1, 2019	| 8:00 PM |$5 – $15 donation at the door
David Watson/John Krausbauer + Bill Horist + Amelia Coulter
David Watson is an experimental guitarist, bagpiper, improviser and composer. Originally from New Zealand, he has lived and worked in New York City since 1987. As a guitarist he has been featured in John Zorn's Cobra, and in groups with Ikue Mori, Christian Marclay, Zeena Parkins, Fred Lonberg-Holm, and Tipple. In the early 90's he added Highland bagpipes. He has worked to create a new vocabulary for the instrument, pushing the limits of space, sound and timbre. Phill Niblock has created the piece Bag, using Watson's pipe sounds as source material, and performed it many times internationally. Watson founded and organizes the music performance series WOrK, which is predicated on exploring what "experimental" means today and has presented over fifty concerts since 2015.
John Krausbauer is a composer/multi-instrumentalist/improviser currently living in Oakland. A long time purveyor of the ur-drone and trance-psychedelia, his work involves audio transmissions for TOTAL/immersive sensory experience. Transcendence through repetition, duration, alternate tunings, maximum volumes, and (often) stroboscopic lighting. His current music projects include the Ecstatic Music Band (a 10+ member-collective of strings players); solo music for voice, violin, and synth; his collaboration with partner, Kaori Suzuki, with bells, voices, strings, tape; the Minimalist psych-punk group Night Collectors; his systems-based phase compositions; and ongoing collaborations with the Kentuckian steel bodied resonator guitar player, R. Keenan Lawler, NYC bagpipe player, David Watson, and Tokyo based guitarist, Tetuzi Akiyama.
Seattle guitarist Bill Horist is an improviser/composer/performer in a wide array of genres including rock, jazz, contemporary chamber, avant-garde, folk, new music and several subgenres within each. He has appeared on over 100 recordings and has performed hundreds of concerts throughout North and Central America, Europe, and Japan. Over the past two decades, Bill has collaborated with a long list of notable musicians from around the world. He has toured and recorded with a number of bands including Master Musicians of Bukkake, Six Organs of Admittance, Kinski, Jessica Lurie, Nobodaddy, Phineas Gage, Axolotl, UnFolkUs, Zahir, Tablet, Nervewheel, Ghidra, Rollerball and the Paul Rucker Ensemble in addition to extensive solo activity.
Amelia Coulter plays the alto trombone. She works mainly with alternative techniques, including modified/prepared trombones and vocal-, text-, location-, and object-oriented performance, with a focus on the Gregorian chant tradition. She has: a bachelor of music from Cornish College of the Arts, and a cat named Hippo.
Each month, Nonsequitur and a community of like-minded organizations and artists present ten concerts of adventurous and experimental music in the gorgeous Chapel Performance Space at the Good Shepherd Center (which sits on the traditional homelands of the Duwamish people): contemporary/post-classical composition, free improvisation and the outer limits of jazz, electronic/electroacoustic music, new instruments, phonography, sound art, and other innovative musics. Watch a video clip about us on the Seattle Channel.
In the Chapel Performance Space on the fourth floor of the Good Shepherd Center.
4649 Sunnyside Ave. N.
(SW corner of 50th & Sunnyside in Wallingford. Nearest Metro bus stops: 62, 44, 26)
© 2021 Wayward Music Series


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Q: Setting nvidia properties during X-server startup I am using the proprietary nvidia drivers in KDE (Debian Testing) and as many others experience issues with performance. I noticed that it gets a bit better if I run:
nvidia-settings -a InitialPixmapPlacement=0

at least with Google Chrome.
How can I add this to the standard start-up configuration? I tried adding an option to xorg.conf and I tried adding this line to a newly created .xinitrc, but it didn't work. Where should I have it added?

A: In ~/.nvidia-settings-rc, add a line (or change it, if it is there with a different value) like this:
0/InitialPixmapPlacement=0

and have
nvidia-settings --load-config-only`

executed on your session startup (some details).  How to set this is desktop environment-dependent and only in the basic case (say, using a minimal or self-configured desktop environment) done via ~/.xinitrc.
I don't know about the details with KDE, but here's some blog post describing it, it's somewhere under system settings.

redpajama_set_name: RedPajamaStackExchange


Broncolor Verso A2 Power Pack lighting systems : Broncolor, the leader in the development of high-end professional flash, has announced an exciting innovation in professional flash photography with its launch of the Broncolor Verso A2 Power Pack. The new Broncolor Power Pack is an ideal lighting solution for studio and location photographers, thanks to its ability to utilize an AC or Battery power source. The Broncolor Power Pack combines high intensity output and short recharge, and features sturdy, reinforced aluminum and hard rubber construction for protection during transport. The Broncolor Verso A2 joins the current Broncolor Para FB Umbrellas and Ringflashes as the ultimate lighting solution for today's fashion photographers.