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Art History > A Short Introduction > Our Classical Tradition > Classical Greek Sculpture
Classical Greek Sculpture
Slide 1: Kouros from Volomandra
FUNERARY KOUROS OF VOLOMANDRA Mid-6th century B.C. National Archaeological Museum, Athens During the mid-sixth century the figure is erect, poised, and yet immobile, an image of energy at rest. One leg stands slightly in front of the other. The arms are attached to the body. The kouros often stood in a sanctuary or marked a grave. Like the Stele of Aristion it lacks motion.
Slide 2: Kouros (Aristodikos)
By about 500 BC E, the kouros has moved into the transition between late archaic and severe style. Aristodikos sports the short hair, the unsmiling face and the long, athletic proportions current at a stage in Greek scsculptures it is about to discover contrapposto and the physics of the figure moving naturally in space.
Slide 3: Kritios boy
Kritios Boy c. 480 B.C. Acropolis, Athens Under life size, marble
Slide 4: Kore (including Euthydikos)
Style: Late Archaic, ca. 490 B.C. – 480 B.C. Period: Late Archaic, votive Class: Free-standing statue: kore, Athens, Acropolis Region: Attica, found at Athens, Acropolis, found east of Parthenon in 1882. Marble, possibly Parian marble,height. 0.589 m
Dedicatory statue of maiden, late example of kore type. Frontal pose, characteristic archaic gesture of skirt pulled to side, here with left hand. Left leg forward. Right arm originally extended in offering. Coiffure relatively simple with emphatic central part, three long tresses fall forward over each shoulder. Ionic style of dress with himation over thin chiton, but again simply rendered. Detailed decoration added in paint, as the frieze of racing chariots on the chiton.
Generally considered to be part of the debris from the Persian destruction of 480.
Form and Style:
Stance and Alexander Sarcophagus
Those are pictures of Alexander's Sarcophagus displayed now at Istanbul Archaeological Museum. Ahhh, don't think my mind is wandering. It is not, obviously, Alexander 's remains resting there (his tomb has never been found)… This great marble sarcophagus is called the Alexander Sarcophagus because the king is actually represented in the battle scenes we can see along the sides. Dating from the late 4thC, the sarcophagus is regarded as a remarkable work of art, and its carved friezes are admired as being among the most exquisite and delicate examples of Hellenistic art.
This piece was discovered in 1887 by Turkish archaeologist Osman Hamdi Bey in a royal necropolis at Sidon in Lebanon. From there this and other sarcophagi were carried by ship to Istanbul.
The hunting scene on the sarcophagus in which Greeks and Persians are shown hunting together is a symbol of the way in which Greeks and Persians were eventually united under Macedonian rule.
Slide 6: Aegina – pedimental sculpture
Located on a pine – clad hill and commands a splendid view of the Saronic Gulf — Bay of Ayia Marina, erected 510-490 B.C.
On site of two earlier temples. Geometric period structure — perhaps apsidal. Archaic temple, tetrastyle in antis, shallow porches, cella, exterior triglyphs — blue, interior triglyphs — black, f. Altar in front of East side
Has been called the most perfectly developed of the late Archaic temples in European Hellas
The sanctuary may have been site of continuous religious activity from at least Mycenaean times. The deity — Aphia (Aphaea). Seem to have been a variant of a Mother Goddess from Crete, Britomartis. Daughter of Zeus and Carme. Devoted to hunt — a favorite of Artemis, In order to escape from the attentions of Minos, who had fallen in love with her, she cast herself into the sea and was caught up in the nets of some fishermen. When one of the fishermen became enamoured of the beautiful girl, she once more plunged into the sea; this time she emerged at Aegina, where she was rendered invisible in a grove. — Aphaea concealed herself in a cave, which is actually situated in the NE corner of the peribolus of the Archaic sanctuary.
Slide 7: Olympia – metopes and pediments(image not found)
Slide 8: Poseidon/Zeus (National Museum, Athens)
The magnificent bronze statue of Poseidon or Zeus of Artemission (460-450 BC) is one of the favorites. Found some sixty – five years ago off the Evian coast, this beautiful work is awe – inspiring and shows majesty in both posture and expression.
Also see Marathon boy
Slide 9: Discobolos (Myron)
Myron, who almost captured the souls of men and animals in his bronzes… Petronius, Satyricon
Although Myron was known in antiquity for a bronze heifer so realistic that it could be mistaken for an actual cow, it is the Discus Thrower for which he is most famous. A Roman copy of a mid – fifth century BC bronze, it exemplifies the Greek sense of harmony and balance (rhythmos) which Pliny praises.
" Myron is the first sculptor who appears to have enlarged the scope of realism, having more rhythms (rhythmos) in his art than Polycleitus and being more careful in his proportions (symmetria). Yet he himself so far as surface configuration goes attained great finish, but he does not seem to have given expression to the feelings of the mind, and moreover he has not treated the hair and the pubes with any more accuracy than had been achieved by the rude work of olden days."
Symmetria is the commensurability of parts, all in balanced and harmonious proportion, which is so well exemplified in the Discobolus. The athlete is in equilibrium, posed just before releasing the discus, the parts of his body in dynamic counterbalance. The head, however, seems almost to be a separate bust, so passive is its expression.
In his Institutio Oratoria (Training of an Orator), Quintilian, who wrote in the first century AD, compares the rhetorician and the artist, and the distinguishing personal style that makes each unique. Interestingly, his scheme of the evolution of sculpture is different from that of Pliny….
Slide 10: Bronze figures from Riace
Slide 11: Athena and Marsyas (Myron)
Slide 12: Vase painters: Amasis painter, Exekias, Berlin painter and Niobid painter
Slide 13: Parthenon – metopes, frieze and pediments
Slide 14: Doryphoros & Diadoumenos (Polyclitus)
Slide 15: Bronze Hermes from Marathon
Slide 16: Hermes from Olympia (Praxiteles?)
Slide 17: Venus from Cnidos (after Praxiteles)
Slide 18: Crouching Venus
Slide 19: Agias (Lysippos)
Slide 20: Apoxyornenos (Lysippos)
Slide 21: Portrait of Alexander (after Lysippos?)
Slide 22: Portrait of a philosopher
Slide 23: Sarcophagus of Mourning Women
Slide 24: Pergamon, victory monument of Attalus I
Slide 25: Pergamon, Great Altar of Zeus
Slide 26: Laocoön
One of the major discoveries of the Italian Renaissance, this sculptural grouping was found in Rome in 1506 in the ruins of Titus' palace. It depicts an event in Vergil's Aeneid (Book 2). The Trojan priest Laocoön was strangled by sea snakes, sent by the gods who favored the Greeks, while he was sacrificing at the altar of Neptune. Because Laocoön had tried to warn the Trojan citizens of the danger of bringing in the wooden horse, he incurred the wrath of the gods. The grouping was probably designed for a frontal view only.
The theatricality and emphasis on emotional intensity is typically Hellenistic Greek–often called Baroque as well. Note the writhing serpents, one of whom bites Laocoön 's left leg, and pained expressions.
The furrowed brow and open – mouthed pain would be copied by Bernini and Caravaggio in the seventeenth century.


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Woman's killer remains at large
One year later, there are still no answers for friends, family of Theresa Benn
Fred Davenport
Theresa Benn
A woman still is seeking answers a year after her friend disappeared near the Talladega Superspeedway during race weekend."At day's end, I pick up the phone to call her and I can't because she is not there," said Beth Griswould. "We just want justice for whoever did this."Griswould fought back tears as she thought about her friend, Theresa Benn, whose body was found two months after her disappearance last year. The two worked together for several years and developed a close friendship that was taken away."She was a fun person to be around," Griswould said.Benn was last seen alive with her husband before vanishing a year ago this weekend. Two months later, search crews found her remains in the Jackson Shoals area of Choccolocco Creek, two miles from the speedway."I was devastated," Griswould said. "Couldn't believe it. I thought maybe she had gone off somewhere to take a break or something."Police still have not caught Benn's killer. No new leads have been released to the public. Her family and friends want some answers."I do have sleepless nights about it like wondering how can anybody do this to her, what happened to her, what she went through," Griswould said.The cause of Benn's death remains a mystery. Investigators will not release that information because the case is still an active investigation.
LINCOLN, Ala. —
A woman still is seeking answers a year after her friend disappeared near the Talladega Superspeedway during race weekend.
"At day's end, I pick up the phone to call her and I can't because she is not there," said Beth Griswould. "We just want justice for whoever did this."
Reward offered for info on death of Theresa Benn
Griswould fought back tears as she thought about her friend, Theresa Benn, whose body was found two months after her disappearance last year. The two worked together for several years and developed a close friendship that was taken away.
"She was a fun person to be around," Griswould said.
Benn was last seen alive with her husband before vanishing a year ago this weekend. Two months later, search crews found her remains in the Jackson Shoals area of Choccolocco Creek, two miles from the speedway.
"I was devastated," Griswould said. "Couldn't believe it. I thought maybe she had gone off somewhere to take a break or something."
Police still have not caught Benn's killer. No new leads have been released to the public. Her family and friends want some answers.
"I do have sleepless nights about it like wondering how can anybody do this to her, what happened to her, what she went through," Griswould said.
The cause of Benn's death remains a mystery. Investigators will not release that information because the case is still an active investigation.

redpajama_set_name: RedPajamaCommonCrawl


Google is an exceptional search engine. You can enter in any search phrase you could imagine, and almost instantly find the most relevant results possible. On occasion, you might need to rephrase to search what you're looking for, but that's all it takes.
If you've ever wondered how Google is able to understand and interpret even vague searches and still provide not only relevant content but high-quality relevant content, the answer is their complex algorithms. Google has developed and implemented multiple algorithms throughout the years to help do everything from filter out spam to improve the relevance of search results.
Google Panda is one of those algorithms, and in this post, we're going to take at how it works, what its purpose is, and how to ensure that your content works well with it.
Google Panda started out as a filter in Google's search algorithm in 2011, and was then integrated officially into the main algorithm in 2016.
This specific algorithm was created in order to identify high quality content online and prioritize it in the search engines. The first stage of development was conducted by holding human panels and asking them what they found to be more or less trustworthy about certain sites and what they found to be valuable content.
It was built during a time when people were complaining about content farms, and people were figuring out "the bare minimum [they] could do that's [wasn't] spam." In 2010, the Caffeine update had worked to index more content quickly, but as a result, searches were becoming less relevant as content farms flooded the internet with low quality content designed onto to get SEO hits.
When Panda was launched, Google representatives noted that it would affect around 11.8% of all queries and their current rankings. Everyone quickly realized that businesses using "white hat" content tactics and actually creating valuable content would be fine, while "the bare minimum" was going to see bare minimum rankings in the SERPs, too.
Panda is still in place today, finding high-quality content and rewarding it with higher rankings.
Eventually, though, people have started coming around. It's a more holistic way to look at SEO, and by creating quality, valuable content, they were not only getting better results in the SERPs but in relationship building, lead generation, and sales increases, too. While it was a shift, dropping the bag of quick tricks and instead focusing on the customer was a positive shift and it allows brands who really want to do great content marketing to stand out overtime.
Panda works by assigning a "quality score" to each individual page on your website. More long-form, valuable content that addresses a searcher's intent is rewarded.
Because Panda only affects specific pages instead of sites, there's a lot of room for opportunity here. High domain sites will gain the edge if all else is equal, but if a high domain site has duplicate or crap content, a competitor's more useful post will outrank theirs even if their domain authority is lower.
That being said, as a site becomes established as an authority on a topic in their content, they'll see their odds increase, because they're more trusted overall.
Duplicate content, from yourself or other sites. People copy my posts directly all the time and paste them to their own sites, not realizing they're losing all potential benefits here.
Thin content that doesn't contain enough resources, substantive text, or relevant text.
Content that doesn't address keywords that it claims to. If this post, for example, was about Google Panda but then I spent 99% of the post talking about Google Penguin, we'd be in trouble.
Again, note that while Panda doesn't punish entire sites and instead only lowers the ranking of certain Pages, if you're regularly publishing weak or black-hat content, the results will be the same.
Use a site crawler. Site crawlers like SEMrush's Site Audit tool will crawl your site and look for SEO errors, including duplicate content.
If you want to redistribute content, do it correctly. Have a post so great that you want to share it on more platforms, or maybe just want to get more reach? You can absolutely syndicate posts on other sites, but it needs to be done right.
On Medium, for example, you don't just want to copy and paste your post; you'll want to use their specialized syndicate upload by importing a story so that you can reach their audience but not be penalized by the algorithms.
If you have weak content, rewrite it. If you had a hard time getting started with content marketing and have hit your stride, don't let all the hard work you did early on go to waste or drag you down. Go revamp those posts, expanding a three hundred word article into 1500 words, or by improving the quality overall and taking out the keyword stuffing.
Provide value. A three hundred word post on Google Panda isn't going to come close to think one in quality rankings. We've addressed multiple popular questions about Google Panda without keyword stuffing and elaborated in-depth. There is also actionable advice (hey, right here) in order to keep the post valuable. Make your posts as thorough and actionable as possible, providing specific steps for how they can get the results they want.
Write what your audience wants to see. This will help you with the SEO, and it will help you make sure you're getting results from the content it sends your way. As you write more of that content and it's received well, you'll be seen as a more trusted and expert authority, and you'll see your rankings go up overtime, too.
Google Panda may be one of the best gifts true content marketers were ever given. Businesses who actually want to establish relationships with their customers through content– which should always be a primary goal– are now able to do that more easily without being drowned out by content farms and weak content. Users, meanwhile, are able to find the content they're looking for more quickly.
Looking for a little more help getting your content up to Google Panda's standards? We can help. Get in touch and learn more about how we can help you with your SEO.
What do you think? How did you feel about the Google Panda update when it rolled out? Do you agree that it's a more holistic way to approach SEO? Share your thoughts and questions in the comments below!


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Children's Fiction and True Stories
The Adventures Of Tom Sawyer By Robert Ingpen
The Adventures Of Tom Sawyer Summary
The Adventures Of Tom Sawyer: Templar Classics by Robert Ingpen
The Adventures Of Tom Sawyer Reviews
Tom Sawyer and his band find adventures at every turn along the Mississippi River. Then one fateful day they witness a murder. Dangerous knowledge - and they swear never to reveal the secret. But what will happen when Tom is frighteningly trapped in a cave with Injun Joe? Mark Twain's thrilling children's take is illustrated by Robert Ingpen whose images stir the imagination. * Hatchard's Summer catalogue 2010 *
Ingpen's pencil and watercolour drawings are stunning and look as if they could have been done when Twain was alive. A perfect match for a timeless classic. * ABC Magazine 2010 *
About Robert Ingpen
Robert Ingpen was born in 1936 in Geelong, Australia. He studied illustration art and book design at The Royal Melbourne Institue of Technology. In 1986 he was awarded the Hans Christian Andersen Medal for his contribution to children's literature and he has been honoured with Membership of the Order of Australia. A world-renowned artist and author, Ingpen has designed, illustrated and written more than one hundred books. His work includes his highly acclaimed series of illustrated children's classics, a unique achievement by one illustrator, which have now been published in many editions around the world. Robert now lives and works in Barwon Heads, Australia, near his hometown of Geelong.
Robert Ingpen
Templar Classics: Ingpen
Customer Reviews - The Adventures Of Tom Sawyer


I often get asked why food is so important for my folks. By my folks they mean "the Spaniards". And by them I mean the British. When they ask me, they do so with a mixture of curiosity and envy, since food for them is often a bare necessity, something that is not necessarily to be enjoyed, certainly not every day, and most certainly not if you have to go through the burden of preparing it yourself.
See, for us food is so much more that just the means of obtaining nourishment. First and foremost food, or I should say "the act of eating", is primarily a social event. That is why you will rarely see any of us eating by ourselves. We eat in groups, food being the convenient excuse for a get-together, be it for an informal chat or more serious lobbing and influencing. The most important business agreements are typically signed over food and certainly all political matters discussed at the table.
Interestingly we also eat, so we can drink, without getting drunk. This is the (hidden) purpose of a tapa; a small snack served with every beverage ordered at a bar or restaurant. In some places you still get these for free, so you can drink to your hearts contempt and without knowing it, you´ve had d inner on the side.
We often eat, to have an excuse to get a break from work, or to leave the house for a few hours. Sunday lunch is the reason why we repeatedly put up with the in-laws and extended family, Christmas dinner the vehicle that brings us together with people we only see once a year.
Socialising is a most important act in Spain; we are intrinsic social beings, strongly driven by our interactions with others, for better or worse. This is why we make time for food and for eating. And we try to do so every day, even if we are, like everybody else, stuck in a 9-5. This is why food should not, cannot be rushed.
In the Basque Region there are entire Food Societies, where the men shut themselves down for days on end , only with the aim of producing an outstanding array of dishes to be served to friends and family. The amount of time, energy and alcohol that goes into the preparation of these feasts is phenomenal, and equally so the time is takes to review and discuss the outcome.
The aftermath of a meal, the "sobremesa" should not be hurried, either. We ferociously cherish the time spent chatting after a meal, so much, that no restaurant would dare to suggest you leaving because it is late, or because they have another group waiting.
Food is a means for enjoyment and sharing. It is almost irrelevant what you are eating, as long as it satisfies our longing for connection.


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Q: How do I simplify my code into just one module? I am not sure how to simplify this code so it only instantiates seg7 once. I am new to verilog so i have no clue.The current code runs fine, I just need to know how to simplify it. If you all could be kind enough to look at the code tell me what I need to do that would be gladly appreciated.
module Design (SW, HEX0,HEX1,HEX2,HEX3);
    input [3:0]SW;
    output [0:6]HEX0;
    output [0:6]HEX1;
    output [0:6]HEX2;
    output [0:6]HEX3;

    seg7hex3 disp1(SW[3:0],HEX3);
    seg7hex2 disp2(SW[3:0],HEX2);
    seg7hex1 disp3(SW[3:0],HEX1);
    seg7hex0 disp4(SW[3:0],HEX0);
endmodule

module seg7hex3(bcd,leds);
    input [3:0] bcd;
    output reg[1:7] leds;

    always @(bcd)
        case(bcd) //abcdefg
            0: leds = 7'b0000000; // b1111111 for active high (B)
            1: leds = 7'b0110001; // b1001110 (C)
            3: leds = 7'b0000000; // b1111111 (B)
            4: leds = 7'b0100100; // b1011011 (S)
            5: leds = 7'b0001111; // b1110000 (-)
            6: leds = 7'b0100100; // b1011011 (S)
            default: leds =7'bx;
    endcase

endmodule

module seg7hex2(bcd,leds);
    input [3:0] bcd;
    output reg[1:7] leds;

    always @(bcd)
        case(bcd) //abcdefg
            0: leds = 7'b0001000; // b1110111 for active high (A)
            1: leds = 7'b1001000; // b0110111 (H)
            3: leds = 7'b0110000; // b1001111 (E)
            4: leds = 7'b0000001; // b1111110 (O)
            5: leds = 7'b0111001; // b1000110 (|)
            6: leds = 7'b0000001; // b1111110 (O)
            default: leds =7'bx;
    endcase

endmodule

module seg7hex1(bcd,leds);
    input [3:0] bcd;
    output reg[1:7] leds;

    always @(bcd)
        case(bcd) //abcdefg
            0: leds = 7'b1110001; // b0001110 for active high (L)
            1: leds = 7'b1111001; // b0000110 (I)
            3: leds = 7'b0110000; // b1001111 (E)
            4: leds = 7'b0111000; // b1000111 (F)
            5: leds = 7'b1110001; // b0001110 ( first edge half V)
            6: leds = 7'b1000010; // b0111101 (d)
            default: leds =7'bx;
    endcase

endmodule

module seg7hex0(bcd,leds);
    input [3:0] bcd;
    output reg[1:7] leds;

    always @(bcd)
        case(bcd) //abcdefg
            0: leds = 7'b1110001; // b0001110 for active high (L)
            1: leds = 7'b0011000; // b1100111 (P)
            3: leds = 7'b0001000; // b1110111 (R)
            4: leds = 7'b0001000; // b1110111(A)
            5: leds = 7'b1000111; // b0111000 (back edge half V)
            6: leds = 7'b0001000; // b1110111 (A)
            default: leds =7'bx;
    endcase

endmodule

A: How about putting all always blocks in one module (see below)? Here is the link at edaplayground. Looks like you are passing the same bcd value to all se7hex modules, so rather than four bcd inputs, you can simplify my code even more by only having one bcd input and changing all always blocks to always @(bcd).
module Design (SW, HEX0,HEX1,HEX2,HEX3);
input [3:0]SW;
output [0:6]HEX0;
output [0:6]HEX1;
output [0:6]HEX2;
output [0:6]HEX3;

seg7hex3_0  disp_1_4 (
            SW[3:0],HEX3,
            SW[3:0],HEX2,
            SW[3:0],HEX1,
            SW[3:0],HEX0
            );
endmodule

module seg7hex3_0(
            bcd1,leds1,
            bcd2,leds2,
            bcd3,leds3,
            bcd4,leds4
            );
input [3:0] bcd1, bcd2, bcd3, bcd4;
output reg[1:7] leds1, leds2, leds3, leds4 ;

always @(bcd1)
    case(bcd1) //abcdefg
        0: leds1 = 7'b0000000; // b1111111 for active high (B)
        1: leds1 = 7'b0110001; // b1001110 (C)
        3: leds1 = 7'b0000000; // b1111111 (B)
        4: leds1 = 7'b0100100; // b1011011 (S)
        5: leds1 = 7'b0001111; // b1110000 (-)
        6: leds1 = 7'b0100100; // b1011011 (S)
        default: leds1 =7'bx;
endcase

always @(bcd2)
    case(bcd2) //abcdefg
        0: leds2 = 7'b0001000; // b1110111 for active high (A)
        1: leds2 = 7'b1001000; // b0110111 (H)
        3: leds2 = 7'b0110000; // b1001111 (E)
        4: leds2 = 7'b0000001; // b1111110 (O)
        5: leds2 = 7'b0111001; // b1000110 (|)
        6: leds2 = 7'b0000001; // b1111110 (O)
        default: leds2 =7'bx;
endcase

always @(bcd3)
    case(bcd3) //abcdefg
        0: leds3 = 7'b1110001; // b0001110 for active high (L)
        1: leds3 = 7'b1111001; // b0000110 (I)
        3: leds3 = 7'b0110000; // b1001111 (E)
        4: leds3 = 7'b0111000; // b1000111 (F)
        5: leds3 = 7'b1110001; // b0001110 ( first edge half V)
        6: leds3 = 7'b1000010; // b0111101 (d)
        default: leds3 =7'bx;
endcase

always @(bcd4)
    case(bcd4) //abcdefg
        0: leds4 = 7'b1110001; // b0001110 for active high (L)
        1: leds4 = 7'b0011000; // b1100111 (P)
        3: leds4 = 7'b0001000; // b1110111 (R)
        4: leds4 = 7'b0001000; // b1110111(A)
        5: leds4 = 7'b1000111; // b0111000 (back edge half V)
        6: leds4 = 7'b0001000; // b1110111 (A)
        default: leds4 =7'bx;
endcase

endmodule

If you only have one bcd input, you can also combine all cases in one always block:
always @(bcd)
    case(bcd) //abcdefg
            0: begin
                leds1 = 7'b0000000; // b1111111 for active high (B)
                leds2 = 7'b0001000; // b1110111 for active high (A)
                leds3 = 7'b1110001; // b0001110 for active high (L)
                leds4 = 7'b1110001; // b0001110 for active high (L)\
            end
            1: begin
                ...
            end
            ...
    endcase

redpajama_set_name: RedPajamaStackExchange


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Global Gaming Labs offers a 7 seat multiplayer table blackjack game that uses an 8 deck shoe. However, at this time they only offer one live dealer blackjack game.
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This is because 52 cards per deck times 8 decks equals These can be numbered in order but can depend on the combination the software programmer decided to use, but it makes no difference to the odds anyway.
However, usually, the ace of spades from the first deck is numbered 1, with the ace of spades from the second deck being number 52 and so on.
Before each hand, the RNG runs and places each of the cards on a stack, which we think of as the shoe.
In the case where the same number is generated more than once, it is ignored until the next stack is built. When the software starts dealing the hand the top card of the stack, it is either burnt or dealt to you.
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text:
Orange teacher's anti-Muslim Twitter posts concern parents
The posts by Sundai Brown, 51, a teacher at Bridgewater Middle School, include one that reads, "Imans worldwide instruct muslims to invade western countries, outbreed them, overthrow governments, kill infidels and implement sharia law."
An Orange County middle school teacher's Twitter posts criticizing Muslims and seeming to endorse white supremacy groups have upset some parents at the school, who learned about the social media writings this week.
The posts by Sundai Brown, 51, a teacher at Bridgewater Middle School, include one that reads, "Imans worldwide instruct muslims to invade western countries, outbreed them, overthrow governments, kill infidels and implement sharia law," according to screen shots of her post shared on Twitter and Facebook.
In another, she retweeted a post that read, "If you think Hurricane Irma is bad, wait till you get a load of Hurricane Allah."
She also retweeted an anti-Muslim post by a far-right Dutch politician and a post by Identity Evropa, which calls itself a group "for people of European heritage." The Anti-Defamation League, however, calls it a white supremacist group that pushes the idea America is not meant to be a multiracial society.
Inquiries from the news media prompted Bridgewater's principal, Andrew Jackson, to send a brief telephone message to parents Tuesday night. He told them the posts were from 2017 and added, "We addressed these concerns with the teacher at the time."
Jackson's message went on to say, "The school district does not condone or interfere in social media posts of employees unless there is a violation of the professional code of ethics."
School district spokesman Kathy Marsh said Brown remained employed with the district and that she could not say whether the posts prompted a district investigation.
Brown, listed as a social studies teacher, has taught for the Orange school district since 2010. According to her Linked In profile, she is also an adjunct professor at Valencia College.
She could not be reached for comment.
Parent Ethan Allen, who has a son at Bridgewater, said initially he had no idea what principal's call was about when he heard it Tuesday night. But after he and others began asking questions on Facebook, a man from the Tampa Bay area posted screen shots of Brown's posts.
On Tuesday, that man, Daniel Quinn, tagged the Orange County school district in tweets about Brown, asking why someone who "regularly posts anti-Muslim hate speech" was a public school teacher. "What action are you taking?" he wrote.
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Quinn said he heard about Brown's posts from a friend, who has a child at Bridgewater, and as a retired school social worker was "outraged" that a public school teacher would publicly share "such hateful and bigoted views." Brown, he added, shut down her Twitter account Tuesday, after he started sharing what she had posted.
Brown's posts, Allen said, upset him and other parents. His son is not in Brown's class, but he would ask that he be pulled, if he was assigned to her class in the coming year as he wouldn't want him taught by someone "associated with any type of hate towards a single group of people," he said in an email.
"Teachers should be accepting and open to understand other cultures, views, and beliefs so as our children become adults they can work together with different people from around the world to solve our problems," Allen wrote.
lpostal@orlandosentinel.com 407-420-5273
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Download Windows Media Player if you don't already have it installed on your computer. Open it by clicking on the icon on your desktop or through Start – Programs – Windows Media Player. After it opens click on the Sync tab on the navigation bar. A panel will open on the right titled "Sync." Connect your SanDisk Sansa Clip 1GB to your computer via the USB cable. Plug the larger end of the USB cable into your SanDisk Sansa Clip and the smaller end into a USB port on the front or back of your computer. When your computer detects the Sansa Clip, an AutoPlay screen will open. You can close this screen by clicking Close at the bottom of the screen. In Windows Media Player, a picture of your Sansa Clip should be on the left side of the screen.
Find the MP3 files on your computer you want to transfer to your SanDisk Sansa Clip. Once you find the MP3 files, you need to transfer them to the Sync panel in Windows Media Player. To do this, highlight the MP3s you want to transfer and drag and drop them into the Sync panel. If you want to transfer more than one MP3 at a time hold down the Ctrl button as you click on the songs you want and it will highlight only those songs you click on then drag them to the Sync panel.
When you have the MP3s in the Sync panel, click on Sync at the bottom right of the panel. The transfer will start and you will see the status in the bottom right corner. Let it finish transferring and finalizing the MP3s.
Now that the MP3s are in Windows Media Player you can transfer them to your SanDisk Sansa Clip. With Windows Media Player open click the Rip tab twice then click Format MP3. Click the Rip tab again and choose the bitrate and any other options you want. The best bitrate to use should be 192 or 256. When it is finished ripping the MP3s click on Start and Computer and click on the folder where the MP3s are stored. Right click on the folder or individual songs and choose Copy. Next go to your Sansa Clip folder in Windows Explorer, right click on it and select Paste.
Disconnect your Sansa Clip from your computer and make sure the MP3s transferred.
Music in iTunes is in AAC, M4A, M4B and M4P format. The music on your SanDisk Sansa Clip is in MP3 format. To transfer music from iTunes to your Sansa Clip you have to convert the music to MP3 format. There are different ways to convert the music. You can do it manually through Windows or use an audio converter.
In this article, we are going to use an audio converter called NoteBurner and you can download it here. After you have it installed open NoteBurner and click on Settings at the top. An Options dialog box will open. For Output Format change it to MPEG-1 Audio Layer 3 (MP3). Click on the MP3 tab and check the Enable ID3Tag V1 and Enable ID3 Tab V2 is checked. Click OK to save.
Open iTunes. You can either use an existing playlist or create a new playlist. If you create a new playlist you need to add the songs you want to convert to it. To add a new playlist click on File then New Playlist and name the playlist. Click on Music under Library and select the songs for your playlist. When you select the songs right click and select Add to playlist and choose the playlist you just created. You can transfer one MP3 at a time, or hold down the Ctrl button on your keyboard while you click on each song you want to transfer then drag them over all at once.
In iTunes you will be prompted to choose a CD burner. You need to choose NoteBurner Virtual CD/RW as the CD burner. Select Audio CD as the Disc Format and check Include CD Text. Click on the Burn Disc button in the bottom right hand corner of iTunes. The playlist will start burning.
TIP: A 1GB SanDisk Sansa Clip MP3 player can hold approximately 300 songs, depending upon how long the songs are, etc.


Egyptian-Austrian director A.B. Shawky, whose unconventional road movie "Yomeddine" is Egypt's candidate for the foreign-language Oscar, will be the recipient of Variety's MENA Talent of the Year Award, to be bestowed during the upcoming El Gouna Film Festival.
"Yomeddine," in which a middle-aged man raised in a leper colony embarks with a sidekick and a donkey on a journey across Egypt to try to reconnect with his family, world-premiered in competition at the Cannes Film Festival, a rare case of a first feature making the official competition cut. The film won the non-official Francois Chalais Prize in Cannes, which is given to life-affirming works.
Shawky's passion project, which stars non-professional actor Rady Gamal, who suffers from leprosy and is a resident of the leper colony, won the works-in-progress award last year at the El Gouna festival's Cinegouna Platform. This year, the completed "Yomeddine" will have its Middle Eastern premiere in competition at the ambitious new film fest on the banks of the Red Sea, where the director will also be honored.
El Gouna artistic director Intishal Al Timimi said in a statement that "Yomeddine" had been "the talk of the town ever since it had its world premiere" at Cannes. He also noted that last year's Variety MENA Talent of the Year Award was awarded to Lebanese director Ziad Doueiri for his courtroom drama "The Insult," which went on to score a foreign-language Oscar nomination.
"I am deeply honored to receive this prestigious award and look forward to showing 'Yomeddine' to audiences around the world," said Shawky, who studied political science and filmmaking in Cairo and is an alumnus of NYU's graduate film program.
"Yomeddine," which was produced by American-Egyptian producer Dina Emam's Desert Highway Pictures in collaboration with Egypt's Film Clinic, has been acquired for North America by Strand Releasing, which is planning an early 2019 U.S. outing.
The second edition of the El Gouna festival runs Sept. 20-28.


Algerian Foreign Minister Abdelkader Messahel met with his Iraqi counterpart in Cairo on the sidelines of the 150th ordinary session of the Arab League Ministerial Council beginning thisTuesday.
Abdelkader Messahel and Ibrahim Djaafari discussed bilateral relations between the two countries. The heads of diplomacy have stressed the depth of relations between Algeria and Iraq in a context marked, moreover, by a tension between the two countries in the last two days.
Ibrahim Djaafari has also officially invited his counterpart, Abdelkader Messahel to visit Baghdad as a sign of strengthening the exceptional relations binding Algeria and Iraq.


At the height of the holiday season, and with our enduring love for our growing designer community, we recently put together one last soirée of the year to honor the talent of our designers — and to do some good in the process! On December 12th we hosted a few of our favorite brands (and fashion editors!) at our New York Square for a morning of swapping and socializing. Each of our participating designers kindly curated a rack of clothing from their respective collections to swap with one another over coffee and croissants from our friends at Maman. We also partnered with Dress for Success to donate any of unswapped items to the organization.
Holidays aside, and since our inception, Brand Assembly has been a huge champion for emerging brands that are more socially aware and conscious of their processes. So to close out the year, we really wanted this event to engage our network of brands we love and introduce them to each other as well as invite the greater industry community into the mix to learn more about these incredible makers. And while we're known for our many panels and workshops, we love putting together more intimate gatherings with our designers (who genuinely admire each other's work and are willing to support and promote one another). Through collaboration and events like this, we believe that our brands can create more awareness and opportunities. Furthermore, this particular event also inspired a larger conversation around the role of social good and sustainability initiatives within our designer community. To learn more, we spoke to a few of our swap participants and Camille Aponte of Dress for Success about these ideas, why these kinds of events are important, and why it's important to support emerging designers and women during the holiday season — and beyond.
This event is all about treasuring relationships over possessions — but how do you think possessions can enhance relationships? How do you hope your brand embodies this idea this holiday season?
Wray Serna: I have a semi-unique answer to this. For me, possessions, especially ones you wear are about investing in yourself. When you do nice things for yourself, and you feel your best — whether it is an exercise class, a new cozy bed, or beautiful clothing, you tend to be more magnanimous to others. I hope that when people wear my clothing, they feel this way.
Christine Alcalay: This is a much bigger topic because there is such an over-saturation of product right now. The products that can tell a story and connect emotionally are the items that have true value. What I try to do with my brand is to create items that are meant to last while giving my customers something that is limited in the scope of production. Not only is it a special product because of the story behind the design but it is also made in small quantities to protect its uniqueness.
Whitney Pozgay: As a designer, I admire many of my friend's designs, but I don't often shop in the categories that we make. This event was a great opportunity to appreciate each other's work and leave with items we love from one another. We try to make clothing that can be layered and styled in many different ways. It was nice to see people mix them in with their own lines.
Teressa Foglia: I love walking into a friend's place and seeing their world! Whether it's a record, an incense burning, a book, a clothing piece — "things" can also open conversations and say so much about someone. As a brand, we love creating pieces that are an extension of someone and is a reflection of their personality.
Do you have any new year's resolutions to make your brand and design process more sustainable?
Wray Serna: I do actually! We have been researching factories that have the best compliance rates to meet standards of excellence. I also would like to produce closer to where my fabric and trim is manufactured so that there is less jet fuel being used to fly everything around.
Christine Alcalay: I'm always looking for ways to improve as a designer. We don't cut overstock, repurpose extra fabric, use deadstock fabric, and design quality garments here in NYC.
Whitney Pozgay: The last six months we have been trying to make our company more sustainable across the board. We are introducing new fabrics, printing practices and have really been diving into our supply chain. We are excited to push this even more in 2019.
Teressa Foglia: Since we started, sustainability has always been at the forefront of our business practices. In 2019 we have a huge goal to develop a vegan felt option that still allows us to create a luxury product that will last forever.
What drew you to participate in this holiday style swap event and why do you think Brand Assembly does a good job at fostering sustainable and conscious fashion?
Wray Serna: I am a huge fan of Brand Assembly. I feel that there has been a great need for a company to foster, work with, and be involved with independent brands. Brand Assembly fulfills this space. Not everyone knows this, but by purchasing and supporting small brands, you are supporting a sustainable practice. Our focus is on quality, and the way we work is an entirely different sustainable structure than say a fast fashion brand. I think bringing people together for a holiday swap really highlights this structure. To be able to meet the maker and head of the companies face to face is quite unique. It is so rare to be able to do that with a larger company.
Christine Alcalay: I've never participated in a clothing swap before but it was so much fun, and it feels great to be able to wear fellow designers while sharing my designs with them as well. It not only is fostering sustainability but makes me aware of what other small designers are creating. I love that I can wear and represent their brands too! What a genius and fun idea! Thank you, Brand Assembly for organizing.
Whitney Pozgay: I love the idea of swaps like these. Brand Assembly did a great job getting us all together. It was really fun styling each other and was a nice way to do a sustainable gift exchange with things that we had. Brand Assembly does a great job of getting people to think outside of the box as a group.
Teressa Foglia: It was an amazing time to get out of the day to day and spend time with, support, and get to know other designers. Anyone that I've ever met at Brand Assembly is very conscious with how they make their products and operate their businesses — it's something that I really admire.
Why is it essential for the public to support emerging and sustainable designers this holiday season and what are some ways they can do this/make informed purchasing decisions?
Wray Serna: I could write an essay just on this question alone. The best thing to do when making informed purchasing decisions is to do your research. There are actually apps that help with this! I use them. They tell you what impact different fabrics and dying methods have on the environment. At times it may seem that natural fibers like cotton, for example, are eco, but sometimes those fibers use up the most water and have a higher impact on the land. Sustainable, fair trade and eco are a lot of words that get thrown around. Manufacturing overseas, for example, gets a bad rep but people don't really know why. Buying local isn't like buying vegetables, it doesn't work that way. Small brands simply do not work with factories that are unethical. Mainly because they can't (we wouldn't even come close to meeting their minimums), and bad compliance factories work with fast fashion. We produce at such a small level that it goes hand in hand. The smaller more sustainable factories work with us along with the smaller mills, by default. The very very best thing you can do if you want to be sustainable in your buying is to buy small and independent. You can't go wrong.
Christine Alcalay: Small designers are very aware of costs, waste and every single product that we make. We don't have the money to overcut or overspend on our products which cuts down waste to the minimum making it much more sustainable. It's important to know where you buy your product and exactly where it comes from. That backstory should be the driving force in your decision to buy.
Whitney Pozgay: The fashion industry is the second largest polluter in the world. We all need to be looking at our impact and how we all shop is a major part of this. Educating yourself on where and how your things are made is really important. The more customers demand transparent supply chains from designers then the more even larger brands will shift towards responsible practices.
Teressa Foglia: I think during the holiday season (or just every day) that it's so important to support businesses who are creating consciously. I love brands that are transparent in their practices, and even if they are not local to my community, knowing they are making a difference with my purchase is important to me. Following brands on social that are often partnering with like-minded brands I often find is the best way to find out about their events. I also love to Google independent pop-ups and sustainable brand pop-ups depending on where I am and plan to travel to.
Thank you for joining us, Camille! Tell us more about your role at Dress for Success and how the company has evolved since its inception.
Dress for Success is an international nonprofit organization that empowers women to achieve economic independence, popularly known for providing professional attire to women-in-need for job interviews that they have secured. However, celebrating our 21st year, Dress for Success offers a continuum of services to provide women with a network of support and career development tools throughout every phase of a woman's career — from being unemployed and searching, to recently employed and adjusting, to gainfully employed and succeeding. Since Dress for Success first opened its doors in 1997, the organization has served over ONE MILLION women. Each year, Dress for Success reaches more than 70,000 women worldwide, with a network of 153 affiliates in 160 cities across 30 countries.
How do you think events like these will help enhance the conversation around using fashion as a vehicle for positive social and economic empowerment for women everywhere?
No doubt that the fashion industry's support and donation of apparel, accessories, shoes, handbags, cosmetics, and fragrances enable women to feel beautifully self-confident to assist her to secure, retain and develop a professional career. Partnerships and events offer the opportunity to learn that Dress for Success offers a continuum of services to help women find jobs and remain employed. Dress for Success believes that "self-sufficiency" is more than just a suit or a job – it is an overall commitment to being independent in all aspects of life.
How would you advise individuals to get involved in Dress for Success during the holiday season?
There are many ways to support Dress for Success during the holiday season and throughout the year: Individual volunteer opportunities to assist in the DFS Affiliate boutiques, gift card donations, and monetary donations to support the programs. Individuals can access our website to support women with a monetary donation.


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Alexandre Jaume i Rosselló (Montevideo, 1879 - Palma de Mallorca, 24 de febrero de 1937) o Tano Jaume fue un periodista y político socialista español y diplomático uruguayo  que desarrolló su actividad en las Islas Baleares, ejecutado víctima de la represión del bando franquista en la Guerra Civil.

Biografía
Miembro de una acomodada familia, estudió Derecho en Barcelona, Valencia, Madrid y París. En su condición de ciudadano uruguayo, fue dispensado del servicio militar conforme al Tratado de Reconocimiento, Paz y Amistad de 1870.
Concluidos sus estudios, se instaló definitivamente en Mallorca, siendo nombrado cónsul de Uruguay allí en 1903, si bien no se publica en la Gaceta de Madrid la concesión del Regium Exequatur hasta el 29 de marzo de 1904. Sus gestiones al frente del Consulado son recordadas especialmente por generaciones de mallorquines que contaron con apoyo a la hora de emigrar: "me recomendó ese país como un lugar de tranquilidad, similar a nuestra tierra y por sobre todo con la posibilidad de mejorar. Por su relación diplomática me solucionó todos los papeles y pronto me embarqué para Uruguay llegando a estas costas el 23 de noviembre de 1929 en el barco Reina Victoria Eugenia". Un proceso al que incluso los tíos y primos uruguayos de Alexandre contribuían solidariamente: "Por recomendación a la firma Jaume Hnos. que tenían el jabón Bao con un depósito que estaba en la calle Yaguarón entre San José y 18 de Julio, logré un puesto de chofer dado que al titular le habían suspendido la licencia de conducir por año". Los periódicos de la época dejan igualmente constancia de su empeño durante décadas para que los productos uruguayos tuvieran presencia en ferias y muestras del archipiélago balear y Barcelona.

Siguiendo la tradición familiar (era sobrino del diputado liberal y ministro Alejandro Roselló y Pastors durante el reinado de Alfonso XIII) se incorporó al Partido Liberal de Sagasta con el que fue elegido Concejal del Ayuntamiento de Palma, aunque renunció al poco tiempo debido al caciquismo que estuvo presente durante el periodo de la Restauración.

A partir de este momento inicia una aproximación a miembros del Partido Socialista Obrero Español (Gabriel Alomar Villalonga y Llorenç Bisbal), integrándose en el mismo en 1919. La llegada de la dictadura de Primo de Rivera y las diferencias con el PSOE a consecuencia de la actitud condescendiente del partido con el régimen, le hacen alejarse momentáneamente del mismo, uniéndose a las tesis de Indalecio Prieto. Mientras tanto, sus trabajos y colaboraciones en distintos medios de comunicación de Mallorca le reportan un gran prestigio intelectual.

Tras su breve experiencia anterior como regidor por el Partido Liberal en el Ayuntamiento de Palma, en las elecciones municipales del 12 de abril de 1931 fue elegido nuevamente concejal por la candidatura socialista, ejerciendo durante el 14 de abril como alcalde interino por enfermedad de Lorenzo Bisbal, el nuevo alcalde republicano. Palma fue la segunda capital española en proclamar la República, siendo suyo el primer bando de la corporación republicana: "... espera por el buen nombre de España y de la República, que los ciudadanos de esta provincia, al cumplir con su deber manteniendo el orden y respetando los derechos de todos, darán la más contundente prueba de cultura y civismo que todos esperamos".

Tras la proclamación de la segunda República, es elegido diputado a las Cortes Constituyentes por Baleares en la Conjunción Republicano-Socialista. Después volverá a presentarse en 1933 y, sin llegar a ser elegido, en las elecciones de 1936 en las listas del Frente Popular.

En abril de 1936 resultó elegido compromisario por Baleares para la elección del nuevo Presidente de la República (Manuel Azaña).

Con el golpe de Estado que dio inicio a la Guerra Civil, fue detenido por los sublevados en Pollensa un día después, el 19 de julio de 1936, y encerrado en el Castillo de Bellver, aunque por problemas de salud, fue trasladado a finales de año al Hospital Provincial.

En febrero de 1937 se le acusó sin pruebas por un Tribunal Militar en Consejo de Guerra de auxilio a la rebelión y de preparar una insurrección con fuerzas soviéticas, siendo condenado a muerte el día 16 de febrero y ejecutado en el cementerio de la capital el 24, junto a Emili Darder, último alcalde republicano de Palma, Antoni Mateu Ferrer y Antoni Maria Ques Ventayol, sin que sirvieran las acciones en su favor del vicenconsulado de Argentina.

Escritos

Denominado por Pere Gabriel Sirvent como "el primer intelectual socialista mallorquín", fue un prolijo escritor conocido por su afán de buscar el consenso a través de sus artículos de contenido social y político: "Libertad absoluta para todas las ideas y para todas las doctrinas, por opuestas que sean a las nuestras. Las ideas no delinquen. La fuerza pública, en vez de perseguir, ha de amparar la difusión de todas ellas". Sin embargo, ese mismo esfuerzo intelectual fue usado en su contra por el tribunal militar, que le sentenció por contribuir a la rebelión "con su pluma y gran influencia política".
Fue colaborador habitual de distintas publicaciones como El Socialista, La Última Hora, Aires de Fuera, Justicia Social de Mahón y El Obrero Balear (diario del que fue director en 1923 y que se opuso activamente a la dictadura primoriverista).

Publicó igualmente:
 Impresiones de un constituyente (1933), recopilación de artículos.
 La insurrección de octubre: Cataluña, Asturias, Baleares (1935).
 Colaborador de Documentos socialistas (1935) de Indalecio Prieto.
 Mi calvario (Castillo de Bellver, julio - diciembre de 1936).
 Escrits des de la presó (1936-1937), edición póstuma.
 Por último, redactó el texto pedagógico El guion del socialista, inédito y quemado por su familia tras su arresto.
Tano Jaume es un personaje polifacético y de gran dinamismo. Como ensayista y escritor de origen latinoamericano la tragedia de su asesinato cuenta igualmente con una dosis de realismo mágico: el escudo nacional de la República Oriental del Uruguay que identificaba la vivienda familiar Jaume-Planes, en calidad de residencia del Jefe de la Oficina Consular de la R.O.U. en Palma, "cayó de su sitio en la madrugada del 24 de febrero de 1937 mientras le fusilaban".

Archivo
Si bien sus escritos y biblioteca personal fueron destruidos por sus familiares por motivos de seguridad, en agosto del 2016 éstos incorporaron -por la carga simbólica- un ejemplar de la 'L'armeé nouvelle' del dirigente socialista Jean Jaurès al acervo de la nueva Biblioteca Auxiliar Alexandre Jaume en el castillo de Bellver. Se trata de uno de los pocos textos de la biblioteca de Tano Jaume que "sobrevivió a la quema de libros de la Guerra Civil" y por su postulado de un socialismo pacifista fue precisamente un referente en el pensamiento de Tano Jaume.

Sin embargo, la documentación administrativa generada por el Consulado de la República Oriental del Uruguay desde que tomara posesión del cargo Alexandre Jaume el 22 de julio de 1903, tuvo mejor suerte, ya que forma parte del Fons Andreu Jaume i Rovira (consolat de l'Uruguai a Mallorca, 1903-1989). Éste fue incorporado en 1992 al Archivo Histórico de la Universidad de las Islas Baleares por medio de un Acuerdo Normativo. Así, con el Diario del Consulado de 1903, se genera este archivo compuesto por documentación administrativa, de asuntos consulares, visados, documentos aislados, así como libros de registro, libros de actas, libros de contabilidad, correspondencia, publicaciones, fotografías..., fundamental para la investigación de la emigración balear al Río de la Plata en el SXX.

Reconocimientos
 Cuando se hizo público su asesinato, un grupo de los mallorquines refugiados en Barcelona se constituyeron en el Socor Roig Internacional Grup Alexandre Jaume.
 En abril de 1937, la junta administrativa de Mahón,  acordó por unanimidad poner su nombre a la calle de San Bartolomé.
 En 1989, el Ayuntamiento de Palma colocó una placa de homenaje a la entrada del Castillo de Bellver: "A la memoria de Alexandre Jaume i Rosselló, diputado en las Cortes Constituyentes de 1931, que va a conseguir para la ciudad este Castillo y Parque de Bellver. Ajuntament de Palma, 1989".
 En la calle Anselm Clavé en Palma, en donde se ubicaba la vivienda de la familia Jaume-Planes, se dedicó una Plaza en homenaje a Alexandre Jaume.
 En 2007, coincidiendo con el aniversario su asesinato se constituyó la Associació per a la Recuperació de la Memòria Històrica.
 En el muro del Cementerio Municipal de Palma que se usó para el fusilamiento existe igualmente una placa de homenaje, y su nombre se incluye entre los 1500 del Mur de la Memòria.
 En 2013, "el pleno del ayuntamiento de Palma acuerda apoyar la solicitud de reparación y reconocimiento personal del alcalde Emili Darder y del diputado socialista Alexandre Jaume, según el artículo 4 de la ley de la Memoria Histórica". Lo mismo resolvió el Ayuntamiento de Artá, y anteriormente, el Ayuntamiento de Inca había aprobado en pleno municipal solicitar la nulidad de la sentencia.
 En 2016, la nueva biblioteca y la Sala VII situada en la planta noble del Castell de Bellver pasó a llamarse Sala Alexandre Jaume y Rosselló por decisión municipal. Los fondos de esta Biblioteca Auxiliar de la red de bibliotecas municipales se especializan en la vida de Jaume, la memoria histórica en Baleares y la propia historia del castillo-prisión.
 Con el aval del departamento de Ciencias Históricas y Teoría de las Artes de la Universidad de las Islas Baleares, en la fiesta del Estandarte del 31 de diciembre de 2016, el pleno del Ayuntamiento de Palma de Mallorca le nombró Hijo Ilustre de la Ciudad. La ceremonia incluyó la incorporación de su retrato (elaborado por Ángeles Cereceda) a la sala de plenos de Cort.
 El 24 de febrero de 2017, coincidiendo con el 80 aniversario del fusilamiento, el parlamento balear presentará la nueva Ley de Memoria Democrática de las Islas Baleares. La misma dispone -en otras- la declaración del 24 de febrero como "Día del Recuerdo de las Víctimas de la guerra civil y del franquismo".
 El Pleno de la Junta Departamental de Montevideo del jueves 9 de marzo de 2017 incluyó una exposición verbal referente al "80 aniversario del asesinato de Alejandro Jaume".
En enero de 2020, el Intendente de Montevideo resuelve la tramitación ante la Comisión Especial de Nomenclatura la inclusión en el nomenclátor de una calle dedicada a su memoria con carteles identificados como "ALEXANDRE JAUME 1879-1937 VÍCTIMA DE LA GUERRA CIVIL ESPAÑOLA".

Referencias

Enlaces externos
 Alexandre Jaume Rosselló en la Gran Enciclopedia de Mallorca, en catalán.
 El PSOE homenatja a Alexandre Jaume, en el Diario de Baleares del 16 de junio de 2006, en catalán.
 Copia de la reseña del artículo del Diario de Mallorca de 20 de julio de 1936 sobre El final de Alejandro Jaume
 JAUME I ROSELLÓ, ALEXANDRE, en La Columna Uruguaya: Historia de los Uruguayos en la Guerra Civil Española.

Diplomáticos de Uruguay
Emigrantes uruguayos hacia España
Escritores de España del siglo XX
Diputados de la I legislatura de la Segunda República Española
Guerra civil española en las Islas Baleares
Periodistas de España del siglo XX
Políticos del Partido Liberal de España de la Restauración
Políticos del Partido Socialista Obrero Español
Diputados por la circunscripción electoral de Baleares durante la Segunda República
Víctimas de la represión en la zona franquista
Fallecidos en Palma de Mallorca

redpajama_set_name: RedPajamaWikipedia


Pest Control The Secrets – Countryman's Diary Magazine.
I had arranged a second visit to go back and meet up with the Managing Director of the company, I had in hand the full comprehensive site survey for the entire site inside and out with all the accompanying photographs too, also all the risk assessments for each job in turn as well as method statements our health and safety policy and much more documentation that is a legal requirement, as you can see this was a costly 2 day affair before I had even started the contract let alone earned any money.
Also its been said that for baited traps the rats will send in a taster rat, if he stays unharmed the others will eat it, so often I try baits that are just testers, let them gain confidence in my traps and not arm the traps so they get used to going in and out without harm, rats are intelligent animals and learn quickly, so you have to be smart to out whit them, you will only get one chance so don't educate them or your job will become a 1000 times harder.


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text:
Jindřich Vančura (31. srpna 1855 Klatovy – 2. ledna 1936 Praha) byl český středoškolský profesor, historik a překladatel z francouzštiny. Je především překladatelem díla Ernesta Denise do češtiny a autorem podrobných dějin města Klatov.

Život

Narodil se v rodině klatovského truhlářského mistra Matěje Vančury a jeho manželky Evy, rozené Höšlové. Vystudoval gymnázium v Klatovech, kde se spřátelil s Karlem Hostašem, a poté na Universitě Karlově historii, zeměpis, románské jazyky a angličtinu. V listopadu 1890 promován na doktora filosofie. Působil jako středoškolský profesor dějepisu a zeměpisu v Praze (1879–1884), Kolíně (1884–1891), Hradci Králové (1891–1897) a od roku 1897 opět v Praze na smíchovském reálném gymnáziu, které roku 1936 přijalo jeho jméno do svého názvu.

Rodinný život
V srpnu 1885 se oženil, manželka Jiřina, rozená Nekutová, pocházela z Chýnova. Manželé Vančurovi měli dceru Stanislavu (Ašu), provdanou Jínovou (1. prosince 1888 – 20. února 1964).

Zemřel v Praze, jeho urna byla uložena v rodných Klatovech.

Dílo
Patřil ke stoupencům T. G. Masaryka ve sporech o pravosti rukopisů Královédvorského a Zelenohorského i ve sporu o smysl českých dějin. Na toto téma napsal řadu článků v časopisech Athenaeum, Naše Doba i jiných.

Přeložil do češtiny dílo Ernesta (Arnošta) Denise. Denisovy Čechy po Bílé hoře  (La Bohême depuis la Montagne-Blanche) doplnil rozsáhlými poznámkami. Je rovněž autorem monografie o Denisovi, která vyšla v roce 1923 v edici Zlatoroh.

Vlastní díla (pouze první vydání)
 Pokud v kronice tak řečeného Dalimila užito jest podání ústního (Kolín, Obecné reálné a vyšší gymnázium, 1884)
 Arnošt Denis a životní jeho dílo o dějinách českých (Úv. stať k dílu Arnošt Denis: Čechy po Bílé Hoře, Praha, Bursík a Kohout, 1905)
 Almanach vzpomínek býv. žáků gymnasia klatovského; Praefektové a ředitelové gymn. klatovského 1812-1912, (na oslavu 100 let. jub. znovuotevř. tohoto ústavu uspořádal Jindřich Vančura, Klatovy, Nákladem rodáků klatovských: O. Čermák-distributor, 1912)
 Jak národ český ostříhal dědictví Husova (přednes. ve shromážd. konan. na výroč. upálení Mistra Jana Husi, péčí vzděl. odboru Sokola ve Valaš. Meziříčí dne 6. července 1911, Valašské Meziříčí, Polit. pokrok. spol., 1912)
 Padesát let Měšťanské Besedy klatovské (1863-1913) (Klatovy, Měšťanská Beseda, 1913)
 Dějiny někdejšího král. města Klatov (Klatovy, Město Klatovy, 1927-1936)
 Arnošt Denis (V Praze, Spolek výtvarných umělců Mánes, 1923)
 Přehledné dějiny města Klatov (podle Jindř. Vančury a jiných pramenů zveršoval František Švec, v Klatovech, František Švec, 1937)

Překlady (jen první vydání)
 Konec samostatnosti české (napsal Arnošt Denis, v Praze, Bursík & Kohout, 1893)
 Čechy po Bílé Hoře (napsal Arnošt Denis, přeložil a poznámkami opatřil Jindřich Vančura, Praha, 1904) Dostupné online
 Otázka rakouská; Slováci (spisy z doby války světové, napsal Arnošt Denis, V Praze, F. Šimáček, 1919)
 Čechy po Bílé hoře. díl 2., kn. 1, Probuzení, kn. 2., Revoluce a reakce, kn. 3, K federalismu (Autor Arnošt Denis, Praha, Šolc a Šimáček, 1920)
 Články a úvahy z La Nation Tchéque. Řada I. (autor A. Denis, v Praze, Šolc a Šimáček, 1920)
 Čechy po Bílé hoře. díl 1., kn. 1, Vítězství církve, kn. 2, Absolutism katolický, kn. 3., Osvícený despotism (Autor: Arnošt Denis, Praha, Šolc a Šimáček, 1921)
 Denisova čítanka (Ze spisů a článků Denisových vybral a přel. Jindřich Vančura, Praha, Šolc a Šimáček, 1921)
 Válka (Příčiny bezprostřední a vzdálené – Otrávení národa – Smlouva) (Autor E. Denis, Praha, Šolc a Šimáček, 1932)

 Pseudonym
 J. V. Řehnický (v letech 1896-1916 v Českém časopisu historickém a v Naše doba (zakladatel a redaktor TGM).

 Posmrtné pocty
 Ulice Vančurova je v Chýnově, odkud pocházela jeho žena. Jindřich Vančura zde v létě pobýval ve svém domě.
 Pamětní deska je umístěna v Praze 5, Holečkově ulici 22.
 Pamětní deska je též v Klatovech, na budově muzea.

 Galerie

 Odkazy

 Poznámky

 Reference

 Literatura

 Olšáková, D.: Český překlad Denisova díla v kontextu sporu o smysl českých dějin, Dějiny a současnost, 2001, č. 5, s. 28–32

 Aubrecht, Radek a kol.: Jubilejní almanach – 125 let smíchovského gymnázia (1883–2008), Gymnázium Na Zatlance a Spolek přátel Gymnázia Na Zatlance, Praha 2008, 128 s., .

 Aubrecht, Radek a kol. autorů:  130 let a osobností smíchovského gymnázia (1883–2013) '', Gymnázium Na Zatlance, Praha 2014, , s. 67.

Související články
 Ernest Denis
 Spor o Rukopisy
 Spor o smysl českých dějin

Externí odkazy

Čeští historikové
Čeští překladatelé
Čeští pedagogové
Překladatelé do češtiny
Čeští překladatelé z francouzštiny
Osobnosti Českobratrské církve evangelické
Čestní občané města Klatovy
Narození v roce 1855
Narození 31. srpna
Narození v Klatovech
Úmrtí v roce 1936
Úmrtí 2. ledna
Úmrtí v Praze
Muži
Historikové 19. století
Historikové 20. století


text:
Q: How to add Annotation pin for source and destination in iOS using two color? I am developing a small project, which will display the source and distance trace route, I did complete till that, now the thing is I am unable to add two annotation pin of different color for source and destination, suppose I am using red for source and green for destination.
This might be huge help for everybody who are learning and working.
Thanks

A: You could use images for your pins or you could use a subclass of MKAnnotationView - MKPinAnnotationView and just change the pinColor property, it's documentation can be found here:
http://developer.apple.com/library/ios/#DOCUMENTATION/MapKit/Reference/MKPinAnnotationView_Class/Reference/Reference.html#//apple_ref/occ/cl/MKPinAnnotationView


text:
Sarah Michelle Gellar Calls Out 'Extremely Toxic' Masculinity While Filming Buffy the Vampire Slayer
by Rhonda Clarke
Almost twenty years after the end of the series buffy the vampire slayer, lead actress Sarah Michelle Gellar spoke out to denounce "extremely toxic" filming conditions at the time. She is far from the first to denounce this toxic environment.
VSIt's a series that rocked the adolescence of many of us. Over its seven seasons, which aired between 1997 and 2003, buffy the vampire slayer and its heroine, played by Sarah Michelle Gellarhas managed to become one of the most popular and iconic soap operas among young viewers of millennials. Besides that, it can be considered an avant-garde and feminist production, especially thanks to its powerful female characters. Yet behind the scenes, the show is actually much less progressive than it seems.
After several testimonials from actresses including Charisma Carpenter, Amber Benson and Michelle Trachtenberg who had denounced the "hostile and toxic work environment"imposed by producer Joss Whedon, it's Sarah Michelle Gellar's turn to break the silence, nearly twenty years after the series ended. As reported Missthe 45-year-old actress spoke at a feminist roundtable organized in Los Angeles by The Wrap, December 14. In particular, she described a "extremely toxic male platter".
Related: ⋙ Dua Lipa Opens Up About Toxic Masculinity: 'It Keeps Us From Expressing Our Feelings'
⋙ Oscars 2022: Why Will Smith's slap is a pure example of toxic masculinity
"I got used to the idea that all sets were like that"
"For a long time I was on a set that I think was known to be an extremely toxic male set. So I got used to the idea that all sets were like that, that women were turned against each other – that if they became friends, then they became too powerful. And that it was therefore necessary to remain discreet to ensure that this does not happen", explained Sarah Michelle Gellar.
"Now that I have had the opportunity to work with so many women and men who support women, I realized how easy the experience can actually be", continued the actress. "But, unfortunately, we are still at this stage where all the departments [de production dans l'industrie du cinéma, ndlr] must be occupied by women so that we have a voice", she lamented, before declaring simply that she no longer wanted to be associated with the name of Joss Whedon.
Read also: ⋙ Toxic masculinity in Christmas movies, myth or reality?
⋙ #UnJourMonExCeConnard, a hashtag to denounce the toxic masculinity of his ex
Categories Characters Tags Buffy, calls, Extremely, filming, Gellar, Masculinity, Michelle, Sarah, Slayer, toxic, Vampire
I migliori open world del 2022
Every Movie In The Franchise, Ranked | Pretty Reel


text:
'I Educate People On Primate Biology'
Jared Cannonier's gorilla hat (it's not a monkey …. better get that right) took center stage last night at UFC Vegas 66's post-fight press conference.
Cannonier defeated Sean Strickland via split decision in the main event, which took place inside UFC Apex in Las Vegas, Nevada. The victory over "Tarzan" put Cannonier back into the win column after suffering a disappointing loss to Israel Adesanya at UFC 276 for the Middleweight championship.
Cannonier called for a No.1 contender elimination fight night next at the post-fight press conference; however, the focus of the conversation quickly turned toward the origin of his "gorilla hat," which first appeared during his official weigh-in on Friday and then made a second appearance after the fight.
"Well, I've had it for quite a long time — I bought it at the Alaska State Fair," Cannonier told reporters. "I think it was the 2011 or 2012 Alaska State Fair, and it's fitting that 'Tha Killa Gorilla' has a killer gorilla hat.
"The thing is, when I moved to Phoenix it's so freaking hot down there that this Alaskan hat doesn't really do too well," he continued. "It keeps getting a lot of heat, and I end up sweating. And on top of it, I was like a freaking jackass with this hot ass hat on my head in the Arizona sun. But, it's winter time, and it's gotten cold here in the desert. And who would have thought, right? It gets cold in the desert, so I broke it out.
"Finally, I'm able to break out the killer gorilla hat after 10 long years of sitting in my closet," Cannonier added. "I get to sport it, and everybody gets to ask, 'why are you wearing a monkey hat for?' and I get the pleasure of telling them, 'no, it's a gorilla hat because it doesn't have a tail.' Monkeys have tails. I got to educate the people on primate biology. Monkeys have tails … great apes do not."
For complete UFC Vegas 66 results and coverage click here.
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