I'm fond of critters and subscribe to two blogs that satisfy my critter-picture-needs: The Daily Coyote and itty bitty kitty committee. On the Daily Coyote, there's a picture of a coyote, a dog and a cat all curled up together. Awwww, too sweeet.
Here's a picture of the kitty tolerating the pup. How I wish I could capture the moments right before, with the pup sitting, watching the cat, tail thumping wildly, and the cat saying, "Don't you dare come any closer."
The pup is four and half months old now ... and how she's growing!
Allyson Schrier and Molly Blaisdell both got Letters of Merit for the Barbara Karlin grant (for picture book) and SCBWI WIP grant (YA contemporary) respectively!!!! Woo-hoooo!!!
I know, too many exclamations!!! But I can't help it. I'm so proud of these ladies for sticking to it and submitting their work and getting this recognition. Way to go!
See, I controlled myself (but I'm grinning ear to ear).
I just came across this advice from Walt Disney: "find a job that you like so much that you'd do it without compensation; then do it so well that people will pay you to continue."
Gosh, how this resonates with my life -- scientist, mother, and now writer.
I needed to hear Disney's words as I revise.
I'm trying to get into the writing groove and finding it sooooo hard to do the revisions on my novel. Where's the love? I am not getting the same satisfaction from polishing a chapter as I get from polishing a short poem or article. When I work on a short piece, I can say that I'm finished. I don't see the end in sight for my novel.
The first half of the book is in decent shape. The second half, not. So I've decided to borrow a trick from my singing days ... start working on a piece backwards. Yes, I've sung Mozart and Verdi and Brahms and the only way to finish with a bang is to make each and every cell of your body knows the material. And you do this by working backwards. Because you practice, practice, practice getting to the end, you can finally not just sing the notes, but feel the music in your bones. That's what I want to accomplish with my words. As Dr. Green would say, "Once more, with feeling!"
So what does this have to do with a no good, horrible weekend? Nothing, except, when the worst thing that can happen is twisting your ankle so you have to keep off your feet, ice it and rest, life's actually pretty good.
So, tell me, how do you fall in love again so that you can make your stories sing?
The first week of school went surprisingly well. I feel grateful that not all the extracurricular activities started this week. I only had to deal with soccer and football. Dance and piano will be added next week. I've been a lazy mother in the past. I mean, I didn't even take my son to preschool because it was so much nicer to hang out at home, throw rocks in the pond, weed the garden, and read books.
Then they got old enough for school. Kindergarten was a blast. And just for two-and-half hours. But when my son started Grade 1, my daughter missed him terribly. He was gone six long hours. I missed him too. I looked around for other kids, but they were ALL busy -- in preschool and other activities. There were mothers who tried to fit in a playdate between gymnastics and kindermusik. I said, No thank you. So I enrolled my daughter in preschool. I think it was good for her. She seemed to enjoy it. But she was happiest at home.
I tried avoiding organized activities for as long as possible, but two years ago, my son wanted to play baseball. He was seven, and I felt it was too early for team sports, but gave in. Well, I was right. These kids were happiest when each of them had a ball to toss. What a difference a year makes. Last year, the kids were awesome. Not only did they learn the rules of the game, but they worked together as a team.
My daughter is seven and plays soccer. She's improved tremendously. But I have a feeling that all these kids will play not just for themselves, but for the team, in another year.
I have turned into a suburban carpooling mom, schlepping kids to this, that and the other thing. I wouldn't have believed this about myself even three years ago. I miss our evenings together. I miss not having to hurry supper. I miss my kids.
We do have some downtime. We walk together with our pup. We take long baths. And when one is busy with sports, we have time to spend with the other. I cherish this one-on-one time.
And the bright side of school is that I have time alone to be with my own thoughts. Granted, this week I have been getting the house in order. I let a lot of things slide this summer, especially after getting the new pup, but I cannot think in such chaos, let alone write. I am terribly envious of people who can tune it all out and just write.
My mind is finally quieting down, and my story people whisper a few things now and then. If I don't pay attention, they whisper a bit louder. They're not yet clamoring to be heard but it's their time now. It's fall. And I want to fall into my stories again. Wish me luck.


text:
Debel dyal is a village in Gabrovo Municipality, in Gabrovo Province, in northern central Bulgaria.

Debel dyal is the birthplace of Lazarus Bulgarski (Bulg. Лазар Български), a Christian martyr born 1774, death April 23, 1802.

References

Villages in Gabrovo Province

redpajama_set_name: RedPajamaWikipedia


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text:
TORONTO, ONTARIO--(Marketwired - March 30, 2015) - Belo Sun Mining Corp. ("Belo Sun" or the "Company") (TSX:BSX) announces the completion of a Feasibility Study on its 100% owned Volta Grande Project (the "Project") located in Brazil.
Highlights include (all results are reported in U.S. dollars):
Gold production of 205,000 oz averaged over a 17 year mine life
Post-tax Internal Rate of Return of 26% using a gold price of $1,200/oz
Post-tax Net Present Value of $640 million at a 5% discount rate
Initial capital costs of $298 million, including pre-production costs
Average cash operating costs of $618/oz and all-in sustaining costs of $779/oz
Proven and Probable mineral reserves of 3.8 million ounces of gold
Table 1: Summary of Volta Grande Economic Results by Gold Price
High Case Base Case Low Case
Gold Price (per oz) $1,300 $1,200 $1,100
Pre-Tax NPV (5%) $1,147 million $918 million $688 million
Pre-Tax IRR 43% 36% 29%
Post-Tax NPV (5%) $830 million $640 million $447 million
Post-Tax IRR 32% 26% 20%
The Feasibility Study was prepared in accordance with the definitions set out in National Instrument 43-101 (NI 43-101) of the Canadian Securities Administrators. The Feasibility Study capital and operating cost estimates for the Volta Grande Project are summarized below.
Table 2: Volta Grande Project Capital Expenditure Estimates Breakdown (Post - Tax)
Initial Capital
Process & Infrastructure $244 million
Mining $20 million
Pre-Production Costs - Process $3 million
Pre-Production Costs - Mining $32 million
Total - Initial Capital $298 million
Total - Expansion Capital $63 million
Average Sustaining Capital over life of mine $7.3 million/year
Table 3: Summary of Volta Grande Project Operating Cost Estimates
Average Life-of-Mine Operating Cost
Mining $10.89/tonne milled
Processing $7.26/tonne milled
G&A $0.84/tonne milled
Total Operating Cost $18.72/tonne milled
Cash Operating Cost $618/oz
All in Sustaining Cost $779/oz
Peter Tagliamonte, President and CEO of Belo Sun, commented, "The completion of the Feasibility Study marks an important milestone as Belo Sun moves towards its goal of becoming a significant low cost gold producer. The Project delivers positive results in all the areas we believe are important to investors, delivering a long life project with initial production spanning over 17 years; robust economics at reduced and current gold prices; and fundable capital. Also the geological setting of the property suggests a strong potential for the mine life to be extended beyond the projected 17 years presented in the Feasibility Study, making this a cornerstone mining Project. This economic robustness should allow us to internally fund exploration and development activities to realize additional opportunities and achieve growth. We believe the Project provides a strong foundation for building and growing the company in a mining friendly jurisdiction."
The Technical Report will be posted on Belo Sun's website at www.belosun.com and on SEDAR at www.sedar.com, within 45 days following this news release.
Volta Grande Mineral Reserves
The mineral reserves for the Volta Grande Project are based on the conversion of measured and indicated mineral resources within the current Feasibility Study mine plan. Measured mineral resources are converted directly to proven mineral reserves and indicated mineral resources to probable reserves. The total fully diluted mineral reserves for the Volta Grande Project are shown in Table 4.
Table 4: Volta Grande Project Proven and Probable Reserves*
Classification Tonnes (t) Gold Grade (g/t) Contained Gold (oz)
Proven 41,757,000 1.07 1,442,000
Probable 74,212,000 0.98 2,346,000
Proven + Probable 115,969,000 1.02 3,788,000
*This mineral reserve estimate is as of March 25, 2015 and is based on the new mineral resource estimate dated March 2015. The mineral reserve calculation was completed under the supervision of Gordon Zurowski, P.Eng of AGP Mining Consultants Inc, who is a Qualified Person as defined under NI 43-101. Mineral reserves are stated within the final design pit based on a $1020 gold price pit shell with a $1,200 gold price for revenue. The cutoff grade was 0.37 g/t for Ouro Verde and 0.40 g/t for Grota Seca. The mining cost averaged $10.90/tonne milled, processing was $7.25/tonne milled and G&A was $0.84/tonne milled. The process recovery averaged 93%. The exchange rate assumption applied was R$3.10 equal to US$1.00 The Feasibility Study only considers the Volta Grande open pit mineralized zones. The Feasibility Study does not include the South Block. Mineral resources that were part of the March 2015 mineral resource associated with South Block and underground mineral resources were left outside of the scope of the Feasibility Study.
The Feasibility Study considers open pit mining using a 100% owner operated equipment fleet including trucks, loaders and drills. The mine has been designed to deliver an initial 3.5 million tonnes per year (10,000 tonnes per day) of mill feed and expand to 7 million tonnes per year (20,000 tonnes per day) reaching full production in Year 3. The Feasibility Study contemplates a mine that will extract ore over a 17-year period not including eight months of pre-production stripping. The Feasibility Study optimizes the mine plan for the first 11 years with a delivered head grade of 1.30 g/t. Material from the last three months of pre-production stripping will be used to commission the process plant.
The average strip ratio for the life of the mine is estimated at 4.3:1. Open pit bench heights of 10 meters will be mined and ore hauled with 136-tonne haul trucks and matching loading equipment. Best practice grade control drilling will be done with reverse circulation drilling and rock sampling on mine benches prior to blasting. This provides the greatest flexibility for grade control during operations while maintaining reasonable mine operating costs and production capability.
During the mining operation a stockpile will be maintained adjacent to the primary crushing plant to be used as supplemental feed as required to meet production targets, weather events and as mill feed in the later years of the operation. Waste rock will be hauled to dedicated waste management facilities near the open pits.
Extensive feasibility level test work was completed by SGS, using representative run-of-mine composites, that confirmed the material from the Volta Grande mineral deposits is amenable to a conventional crush, grind, gravity concentration, leach and carbon-in-pulp (CIP) flow sheet.
Test work results indicated that 40% to 50% of the gold will be recovered in a gravity concentrate. The overall estimated gold recovery based on all ore types being processed during the life of mine is 93%.
The Company also completed feasibility level test work of bond work indices, JK drop weight and SMC tests. These results were used to model the crushing and grinding circuits that confirmed the run-of-mine material is amenable to semi-autogenous (SAG) and ball mill grinding circuit configuration.
The Volta Grande Project is located in Pará State, approximately 60 kilometres south-east of the city of Altamira. Altamira is a major regional centre with a population of 150,000 and is serviced by a local airport and the Trans-Amazonian Highway. Altamira acts as the service center for many large industrial projects in the region.
The climate in the area of the Project is tropical with a rainy season from January to April and a dry season from May to December. The mean temperature is constant throughout the year (25°C to 30°C) and the relative humidity ranges from 65% to 85%.
Access to the mine site from the city of Altamira is by an existing 60 kilometer road that is paved for the first 30 kilometers. The remaining 30km of access road will be upgraded and paved during the mine operation.
Power for the Project will originate from a sub-station located 20 kilometres away and will be brought to the mine project by a 230 kV power line.
Water requirements for the Project will be provided by capturing precipitation and surface run-off. The water collected in storage ponds and augmented by reclaimed water from the tailings management facility will be sufficient to meet the operating requirements.
Management Team Strengthened
The Company is also pleased to announce the appointment of Stéphane Amireault as Vice-President of Exploration. Mr. Amireault, MScA, P.Eng., holds a master's degree in Applied Sciences from École Polytechnique of the University of Montréal and is a member in good standing of the Ordre des Ingénieurs du Québec. Mr. Amireault has over 25 years of experience in mineral exploration, particularly in Central and South America. He was formerly the Vice-President of Exploration for Sulliden Gold Corporation Ltd. until its acquisition by Rio Alto Mining in 2014.
"Mr. Amireault's technical strength, proactive managerial experience, and exploration success, along with his long history of working in South America, will be invaluable to the Company and the Geological Team as we transition the Volta Grande Project from its current exploration phase into the development and operational phase," commented, Peter Tagliamonte, President and CEO of Belo Sun.
The scientific and technical information contained in this news release pertaining to the Volta Grande Project has been reviewed and approved by the following Qualified Persons under NI 43-101 who consent to the inclusion of their names in this release: Dr. Jean-Francois Couture, P.Geo., and Dr. Oy Leuangthong, P.Eng. (Mineral Resource), of SRK Consulting (Canada) Inc.; Gordon Zurowski, P.Eng (Mining), of AGP Mining Consultants Inc.; Alexandre Luz, MAusIMM (Economic Analysis) of L&M Advisory; Aron Cleugh (Metallurgy and Process) and Stefan Gueorguiev, P.Eng. (Infrastructure and Author of the Technical Report), of Lycopodium Minerals Canada Ltd., each of whom are independent of Belo Sun.
Cautionary Statement on Forward-Looking Information
Mark Eaton
March 30, 2015 - 4:23 PM EDT

redpajama_set_name: RedPajamaCommonCrawl


Hey guys, question from a new guy here who's relatively new into wines (been into 'em for 13 months or so, have tried somewhere in the range of 500-600 different wines, 50 or so varietals).
I bought a white southern rhone wine (a white chateauneuf-du-pape, guessing it's mostly Roussanne but not sure) recently to pair with a steak recipe I have for a friend who doesn't drink reds. Though I have a littany of authoritative resources with which to find ideal serving temperatures for wines, I have yet to find anyone who sems to know what the ideal temp to serve a white Chateauneuf-du-Pape is.
Do any of you guys have an idea? I'm completely lost here, and don't want to serve what sounds to be such a beautiful wine too warm or too cold.
This is one of those things that IMHO some people obsess about way too much. There's no correct answer, and no "perfect" serving temperature. Some people may prefer it on the cold side, right out of the ice bucket, and others may think it better near room temperature. That may vary, too, with the day (hot summer day vs. cold winter night) and the accompanying food (hot or cold, light or heavy, spicy or mild).
Stick the wine in the fridge for a couple of hours, open it, pour a couple of small glass, and leave the bottle on the counter (unless it's a hot day). The wine will warm in your glass, more slowly in the bottle, and you'll have the pleasure of seeing the wine change as it does.
The ideal temperature is where the drinker finds it most pleasurable.
Agree with Doug on this one..It's personal preference. For me as a general rule, I like mine more cellar then fridge temp. The acids seem to be out of balance if they're too cold. With that said, I also do what Doug suggested..put it in the fridge for a couple hrs, then let it warm up in the glass.
Well, guess I'm going with Winetech on this one... I am much more of a fan of cellar temp with most whites, and agree with the "balance" comment. With a Rhone like this, it'd be somewhere in the high 50's. I'll put it out there at about 55 and see where it goes from there as it warms in the glass. Would be interesting to see how it opens up anyway, I suppose. Thanks for the quick thoughts.
Every now and then you hear about blind (-folded) tastings in which people are not able to distinguish between a red and a white wine.
White CdP's may certainly produce such a problem and deserve to be treated as would be a quality red.
Serving such a wine to cold takes away half the complexity and that's a shame.
Serve the young sauvignons chilled on a hot day and enjoy them that way. But not this one.
In fact: what the others wrote... But I wanted to add a few lines, just for the fun of it.
So what CDP was it and how was it?
Cold is an anesthetic. Drinking a wine right of the ice bucket is wrong unless you don't really want to taste it. In that case, I highly recommend it.
I like to serve my whites at 57 degrees right out of my cellar. Most Americans drink their whites too cold.


***BREAKING NEWS*** July 2018 SER Group have moved to a Purpose built Warehouse and offices, for their unique 10,000 sq ft showroom experience. They still retain their 10,000 sq ft warehouse in Eastbourne to store all the new furniture for installations.
February 2018 SER Logistics Are proud to be Appointed as the official Logistics partner for the new Prestigious Hotel at Garlick Hill London. We are tasked with storing all of the FF &E and Case goods for the project and installing the items at the correct time to fit in with the project.
February 2018 SER Logistics have secured an installation project at the Marriott Bristol to work alongside Dimensions the main contractor. One of SER's other divisions is renovating the retained FF & E on site.
May 2018 SER Group will be launching its new rental business, which will enable any leisure company, film set, TV set and theatre to rent short term or long term, chairs, tables, dance floors, kitchen appliances, glasses etc, along with period props and specific props to suit all arena's. This will be headed up internally by Michael Cattee, who can be reached on our main number or mike@serlogistics.co.uk.


text:
Sally Hawkins on how 'The Shape Of Water' is 'beyond words'
By Jeremy Kay2017-12-24T08:36:00+00:00
Sally Hawkins radiates an inner goodness on screen — a quality Guillermo del Toro has exploited to the full in The Shape Of Water.
Source: Fox Searchlight
Sally Hawkins is in thrall to life's coincidences and "overlaps", so it seems only right that some essence of The Shape Of Water was inside her head before director Guillermo del Toro came calling. "He captures a part of your psyche you're not quite sure of," the UK actress says down the phone from Los Angeles before a recent Screen Actors Guild Q&A. "I don't know how he does it."
About five years ago, Hawkins started thinking about "a little tale that wouldn't go away", an idea for a short she fancied directing: "It was about a mermaid, a woman whose body is completely different, set in a non-specific future and her body is disintegrating."
Then in 2013, her agent called, saying del Toro had a feature idea and would Hawkins be interested in discussing it. "The vague premise was this was a woman who was a cleaner in a government facility in the 1960s and she falls in love with a fish-man," she recalls. "It gave me goose bumps — it still does — and I said yes."
Time passed and Hawkins, a rare combination of outsized talent and minuscule ego who understands the slings and arrows of making movies, resigned herself to the fact that the opportunity had dissolved. Then everything changed in early 2014 as Hawkins left a Golden Globes party with a friend and was spotted by del Toro. "He had been there celebrating Gravity with his comrades," she says. "He was very drunk, and he swept me up in his arms and said, 'Will you do my film? It's about a fish-man and you fall in love.' And I was saying, 'Yes I know — I've already said yes — and will do whatever you want.'
"The next day you wake up and wonder if it was all a dream, and he was drunk and it was in the dark and he might have had the wrong person."
In fact, del Toro had exactly the person he wanted for the lead role of Elisa Esposito, a mute cleaner at a US government facility during the Cold War who falls for an amphibious creature. However, the filmmaker had been somewhat preoccupied for a while, fighting behind the scenes to keep the project alive and investing some $200,000 of his own money to develop Daniel Kraus's story idea for a cross-species romance after studios baulked at the scope and premise.
Eventually Fox Searchlight agreed to do it for $19.5m and del Toro, who had admired Hawkins from the 2005 BBC miniseries Fingersmith, was ready to move towards an August 2016 production start in Toronto. A year later, The Shape Of Water premiered in Venice and dazzled critics, winning the Golden Lion. It opened in limited release in the US on December 1, where it has grossed $3.62m to date, and leads the field with seven Golden Globe nods, including one for Hawkins.
Hawkins has a disarming penchant for self-deprecation, considering her status as a beloved screen veteran and Mike Leigh regular who has consistently delivered distinctive work, winning a Golden Globe for playing the impossibly upbeat Poppy in Happy-Go-Lucky in 2009 and more recently Oscar and Bafta nominations for her performance as Cate Blanchett's working-class sister in Woody Allen's Blue Jasmine.
She could not believe it when she landed the part of Elisa. She still cannot believe it, despite already earning recognition from the HFPA, a SAG nomination and prizes from the Los Angeles Film Critics Association and others for a heart-stopping, sensual performance of quiet power. She is a strong bet for an Oscar nod come January.
"[Del Toro] is interested and sees something in us all that we may not be aware of," she says. "He brings out the best and he brings out the strength in people. I believe he sees into your soul. You know, with my mermaid story [in mind when I got the call], it's odd and just brilliant. Only in Guillermo's world could that happen. It's like the film started years before and it did with this amazing writer Daniel Kraus, and then [del Toro's co-screenwriter] Vanessa Taylor. It's all these lovely links and loops that I love about life."
She describes del Toro as "a beautiful man, a beautiful soul" and a "hard taskmaster", adding: "This film is beyond words. That's why it's so brilliant that she's a mute. Love is beyond words. Guillermo says himself when you see this film it's a feeling; he can't tell you what it's about beyond basic terms. It's different things to different people.
"[Elisa] has an inner dialogue that's so strong and so rich, and you're not quite ever sure why she is mute until the end. I loved that so much." Before production, Hawkins challenged herself by taking American sign language (ASL) classes and trained with deaf actor Justin Jackson. "You have a responsibility to the ASL community even though she isn't deaf and she has her own particular style of language, and you're never quite sure where she gleaned it from," she says. "I discussed with Guillermo how she probably picked it up from an ancient 1960s ASL tome she found, maybe in the library of the orphanage. It was never specific and I loved that, I was freer in that way…"
A doorbell chimes, yanking her out of what is beginning to sound like a reverie. Hawkins returns, a stream of apologies. The publicist is asking her to wrap up. She carries on, waxing lyrical about Doug Jones, the del Toro regular who plays Elisa's amphibious love interest: "Doug is just a genius. The most extraordinary human being I've ever met. I never saw Doug in this suit; I only saw this god-like creature. It's such a delicate performance and so powerfully strong. [The character] is capable of killing and capable of this incredible passion. He vibrates with it. I didn't feel alone within that. I felt a part of this incredible team and you're pinching yourself that you're even there, within it all, existing."
Hawkins has existed within a celebrated orbit for a decade-and-a-half now, ever since her breakout as an unemployed London teenager in Mike Leigh's All Or Nothing in 2002. "Mike Leigh is like my schooling in film," she says, pointing to Happy-Go-Lucky as a milestone. "That was huge and it was embraced. I'm forever thankful to Mike. You learn so much and you feel like your vocab increases a thousand-fold whenever you work with him. He's the person you want to learn from, as you do with Guillermo."
An arthouse specialist, Hawkins cherishes the intimacy, rehearsal time and artistry on lower-budget passion projects: "Sometimes it's so easily forgotten in the world of [blockbusters] where it's all about money. It really has to be the other way round." Yet she declares herself a fan of good genre films and has done a few tentpoles in her time — a scientist in Godzilla, Mrs Brown in the hit Paddington series — and is in post on Legendary's Godzilla: King Of Monsters, which Warner Bros has scheduled for March 2019. "Oh God, I'm so worried about that," she says with a nervous chuckle. "I was lost in that world of a big-budget film. I hope I did it right."
Only time will tell. Meanwhile, she awaits the start of production in 2018 on the latest directorial effort from Craig Roberts, the Welsh actor/filmmaker with whom she starred in Submarine.
Does she want to pursue directing? Yes, but "quietly, without anyone noticing". And what of her idea, the overlap with The Shape Of Water? She goes quiet, then sighs. "It would look weird if I did a short film about mermaids now, so I think I'll have to keep it for me. Maybe several years down the road… I don't know. I'm kind of embarrassed even talking about it, to be honest, but Guillermo has mentioned it very generously in interviews so I suppose I'm allowed."
Sally Hawkins awards history:
Academy Award nominations
2014: Blue Jasmine
Bafta Film Award nominations
How working with Tarantino and Baumbach made David Heyman "a better producer"
David Heyman has two contenders in the Oscar race for best picture.
Joaquin Phoenix, Renée Zellweger eye Oscars after 2020 Screen Actors Guild wins
Parasite first foreign-language film to win outstanding performance by a cast in a motion picture.
'1917' boosts Oscar prospects with Producers Guild of America triumph
Awards are reliable bellwether of best picture Oscar triumph.
Leading German filmmaker and LGBT+ activist Rosa von Praunheim: "I made a lot of difference and I was controversial"
von Praunheim will receive the inaugural Max Ophüls Prize Film Festival lifetime achievement award.
When Greta Gerwig heard Sony was planning another big-screen adaptation of her favourite book, she fought her way into the room to pitch her vision.
The filmmakers behind Booksmart recall its journey to the big screen.


It's nearly August in Oregon, and our state is absolutely beautiful. There's nothing quite like a Pacific Northwest summer, so today we're sharing a few of the many photos we collected that capture aspects of what makes Oregon summers so wonderful. Enjoy!


American Chamber of Commerce in the Czech Republic and the Association for Foreign Investment, in cooperation with the Technology Agency of the Czech Republic announced the third annual Cooperation of the Year awards and the TAČR Prize. The project is being implemented under the auspices of the Ministry of Education, Youth and Sport and the Ministry of Industry and Trade.
Projects (and parts thereof) and transfers (e.g. sales of licenses) that were implemented or completed in the period from 1 January 2012 to 1 June 2013 can be entered in the competition. Eligible projects must involve research, development and innovation realised through cooperation between a research organisation and a legal entity based in the Czech Republic or the transfer of the results of research and development from the research sphere to the application sphere.
The deadline for registering projects and transfers in the competition is 23 August 2013. The grand-prize winner will receive a financial award in the amount of CZK 100,000. More detailed information about the competition, including the registration form, is available in the attachment and at http://www.spolupraceroku.cz/nejlepsi-spoluprace/prihlaska-2013.


The Moss Vale Wine District is part of the boutique Southern Highlands Wine Region, located about 130 km south-west of Sydney and west of Nowra and the Shoalhaven Coast Wine Region. Moss Vale has a delightful setting and is surrounded by rolling green pastures and hills, with tree-lined streets and wonderful gardens that thrive on the volcanic soils and the cool climate and reliable rainfall of the area. Moss Vale is renowned as a fabulous places for a week-end visit to enjoy the bed and breakfasts, the country hospitality, the wonderful local foods and delicious cool-climate wines and the divers array of arts, crafts and antique shops at the many small villages dotted throughout the district. The area has an interesting heritage that is showcased at the many historic buildings and farmhouses throughout the area. Moss Vale developed after the arrival of the railway in 1867, and Moss Vale was one of the first towns in NSW with electric lighting that was installed in the early 1900s. Today tourism, olives wines and cattle grazing are the main industries. You can catch a train to Moss Vale from Sydney and ,many local residents commute for jobs in the big smoke. Some of the local attractions, events and activities include: # Tours to visit many of the historic buildings in the area, such as the Anglican church, the Dominican convent, Kalourgan, the historic Briars Inn, that was built in 1845 # Enjoy tasting the cool-climate wines and fine foods along the Food and Wine Trail. Visiting the historic township of Bong Bong, and see Christ Church, which was consecrated in 1845.# Enjoy an historic train trip aboard the historic carriages of The Cockatoo Run that carries passengers to Robertson or to the coast stations. # Farmers Markets, Moss Vale Agricultural Show, Moss Vale Golf Course, the Southern Highlands Regional Gallery and bushwalking in the many natural areas in the district such as the Cecil Hoskins Nature Reserve near Bong Bong.


CombatCritic's "TravelValue": Pushkar, India: Great Breakfast, Reasonable Prices, Great View ... Excellent Advice!
Pushkar, India: Great Breakfast, Reasonable Prices, Great View ... Excellent Advice!
My wife had the Rose Muesli (130 rupees/$2.10), handmade muesli with Pushkar rose syrup, dates, and pomegranate seeds (you CAN eat them) in a creamy yogurt (curd). It was quite exotic, delicious, and filling. I had my standard peanut butter and banana on toast. The bread was a brown (whole grain) variety, thick and tasty with the included ingredients. Their lattes are also very good and very reasonably priced, equaling some of the best coffee houses in New Delhi.
We were "scammed" by a couple of self-proclaimed Brahmin at a Hindu temple, of all places, on Pushkar Lake the day prior and we were looking (unsuccessfully) for the "tourist police" to report the culprits (I had taken a photo of one of them). The manager was quite helpful, sitting with us and empathizing with our assessment of the unsavory experience and pointing us in the right direction to make our report (the "Brahmin" was captured, detained, and forced to repay the 500 rupees ($8) he stole from my wife).
We had breakfast there two mornings and were very happy with our experiences on both occasions.
CombatCritic Gives Laura's Cafe 8 Bombs Out Of 10 ... Bombs Are Good!
Title: Pushkar: Great Breakfast, Reasonable Prices, Great View ... Excellent Advice!
Translation for Civilians: WTFO! = "What-The-F*** ... Over!"


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text:
Q: "Generate rents for favored political people" what does "rents" in this sentence mean? I know rent is the amount of money that you pay regularly to use a house, flat, or piece of land. But in this sentence, it seems that it's not true.

For example over half of all distortionary trade policy instruments worldwide consist of subsidies including production and export subsidies. Such subsidies introduce economic distortions, generate rents for favored political people and are difficult to remove once they're in place.

A: This is an obscure meaning of "rent", mostly used by early anti-capitalism economists, for what we now commonly call "profit".

redpajama_set_name: RedPajamaStackExchange


Beginning October 1st, the Elders are calling our church to a month of prayer for spiritual renewal and the needs of our congregation. It is vital that everyone participate in this time of crying out to God both individually and as a church family. During this time there will be a prayer guide made available each week with key verses and topics for prayer.
The first week's prayer guide will focus on the contrast between our sinfulness and God's glory. Each day there will be a passage of scripture to read and a direction for prayer. On Sunday evenings during October the Elders will lead the congregation in corporate prayer in the sanctuary from 5 to 5:45pm. Please make every effort to attend.


Leishmaniasis is a neglected tropical disease responsible for the ninth largest disease burden in the world threatening 350 million people mostly in developing countries. The lack of efficacy, severe adverse effects, long duration, high cost and parenteral administration of the current therapies result in poor patient compliance and emergence of resistance. Leishmaniasis' unmet need for safer, affordable and more effective treatments is only partly addressed by today's global health product pipeline that focuses on products amenable to rapid clinical development, mainly by reformulating or repurposing existing drugs for new uses. Excipients are necessary for ensuring the stability and bioavailability of currently available antileishmaniasis drugs which in their majority are poorly soluble or have severe side-effects. Thus, selection of excipients that can ensure bioavailability and safety as well as elicit a synergistic effect against the Leishmania parasites without compromising safety will result in a more efficacious, safe and fast to market medicine. We have evaluated the in vitro activity of 30 commercially available generally regarded as safe (GRAS) excipients against different Leishmania spp., their cytotoxicity and potential use for inclusion in novel formulations. Amongst the tested excipients, the compounds with higher selectivity index were Eudragit E100 (cationic triblock copolymer of dimethylaminoethyl methacrylate, butyl methacrylate, and methyl methacrylate), CTAB (cetyltrimethylammonium bromide, cationic), lauric acid, Labrasol (non-ionic, caprylocaproyl polyoxyl- 8 glycerides) and sodium deoxycholate. An ideal excipient needs to possess amphiphilic nature with ionic/polar groups and possess a short or medium fatty acid chain such as lauric (C12), capric (C10) or caprylicacid (C8). Inclusion of these excipients and identification of the optimal combination of drug and excipients would lead to a more effective and safer antileishmanial therapies.
Keywords: Excipients, Leishmaniasis, Amphiphile, Surfactant, Lipids, Eudragit, Labrasol, Medium chain fatty acids, Lauric acid, Sodium deoxycholate.
Keywords:Excipients, Leishmaniasis, Amphiphile, Surfactant, Lipids, Eudragit, Labrasol, Medium chain fatty acids, Lauric acid, Sodium deoxycholate.
Abstract:Leishmaniasis is a neglected tropical disease responsible for the ninth largest disease burden in the world threatening 350 million people mostly in developing countries. The lack of efficacy, severe adverse effects, long duration, high cost and parenteral administration of the current therapies result in poor patient compliance and emergence of resistance. Leishmaniasis' unmet need for safer, affordable and more effective treatments is only partly addressed by today's global health product pipeline that focuses on products amenable to rapid clinical development, mainly by reformulating or repurposing existing drugs for new uses. Excipients are necessary for ensuring the stability and bioavailability of currently available antileishmaniasis drugs which in their majority are poorly soluble or have severe side-effects. Thus, selection of excipients that can ensure bioavailability and safety as well as elicit a synergistic effect against the Leishmania parasites without compromising safety will result in a more efficacious, safe and fast to market medicine. We have evaluated the in vitro activity of 30 commercially available generally regarded as safe (GRAS) excipients against different Leishmania spp., their cytotoxicity and potential use for inclusion in novel formulations. Amongst the tested excipients, the compounds with higher selectivity index were Eudragit E100 (cationic triblock copolymer of dimethylaminoethyl methacrylate, butyl methacrylate, and methyl methacrylate), CTAB (cetyltrimethylammonium bromide, cationic), lauric acid, Labrasol (non-ionic, caprylocaproyl polyoxyl- 8 glycerides) and sodium deoxycholate. An ideal excipient needs to possess amphiphilic nature with ionic/polar groups and possess a short or medium fatty acid chain such as lauric (C12), capric (C10) or caprylicacid (C8). Inclusion of these excipients and identification of the optimal combination of drug and excipients would lead to a more effective and safer antileishmanial therapies.


text:
Cyclosorus guamensis är en kärrbräkenväxtart som först beskrevs av Holtt., och fick sitt nu gällande namn av David H. Lorence. Cyclosorus guamensis ingår i släktet Cyclosorus och familjen Thelypteridaceae. Inga underarter finns listade.

Källor

Kärlväxter
guamensis


Bill Tanner, chief financial officer, helps Mindset Digital create and execute business strategies, raise capital and manage growth. He has more than two decades of experience in corporate finance, venture capital and business valuation, with a particular focus on emerging growth companies. Bill has worked with a wide range of clients, including Foresight (software), Manta Media (digital media) and Webbed Marketing (digital marketing). He has also worked as a CFO for Ohio-based venture capital firms, Reservoir Venture Partners and Athenian Venture Partners. He has a bachelor's degree in Business Administration from Ohio State and an MBA from the University of Minnesota – and he's a Certified Public Accountant and Certified Valuation Analyst. Beyond all of the serious financial stuff, he gets fired up about being part of a creative team and a startup culture. While he's still not too crazy about LinkedIn or Twitter, working with Mindset Digital has given him a whole new respect for (er, at least a new understanding of) the power of social media.


The G20 in 2017: born in a financial crisis - lost in a global crisis?
The special issue The G20 in 2017: Born in a Financial Crisis, Lost in a Global Crisis? provides an overview of the achievements of the German G20 presidency (December 2016 to November 2017) and puts it in the context of an increasingly contested global environment. It includes an assessment of the areas in which the German presidency has successfully carried through its initial priorities and the extent to which the G20 in 2017 has contributed to improved multilateral cooperation. This assessment is based on the contributions to the special issue and includes an overview of their main results in key policy areas, such as climate, taxation, trade, sustainable development and cooperation with Africa.


Spend your Indian summer at OdessaPY Conference!
If you're a Python developer who wants to improve professional skills and meet new like-minded people – come and spend your Indian summer at OdessaPY Conference! Syndicode invites you to attend the second Python conference – OdessaPy Conference that will be held in Odessa on September 30th.
The conference will last for one full day and will feature three formats that will help the attendees to get the in-depth knowledge of current Python technologies as well as share their own experience, have their questions answered, and meet up with likeminded people.
What to expect from OdessaPY Conference?
The experts will share their results, will speak about their successful cases and failed sprints.
Once they are done with the speeches, we'll invite all our speakers to the Speakers' Coach/Corners zone. Come over, say 'hi', ask all questions that you wanted to ask during Q&A but did not due to any reason.
These spaces will be made to create a possibility to ask a lot of questions even if you don't have experience on the given topic but really want to get into it now. It will also be a great place to meet like-minded people to discuss the technologies you've tried and liked.
Workshops will allow focussing on an intense and in-depth study of a definite technology.
We'll organize a nice space to get to know new people, meet up with the old friends, ex-colleagues you have not seen for a while and with whom you would love to chat while having your coffee.
The pre-party will happen on September 28th. Our speakers will talk about a very important topic for developers, team leads, and CTOs – soft skills' development. Attendees will be able to listen to the speakers, as well as discuss the issue during the breaks.
Spend Indian summer at OdessaPY Conference!
The organizing team has already held 6 successful conferences, such as OdessaJS, web- conference WeBukovel, and Python conference OdessaPy.
Follow the event updates on Facebook, Twitter, and Instagram!


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Williamson, PA
Solar in Williamson PA
How much do solar panels cost in Williamson, PA in 2022?
As of January 2022, the average solar panel cost in Williamson, PA is $3.02/W. Given a solar panel system size of 5 kilowatts (kW), an average solar installation in Williamson, PA ranges in cost from $12,835 to $17,365, with the average gross price for solar in Williamson, PA coming in at $15,100. After accounting for the 26% Federal Investment Tax Credit (ITC) and other state and local solar incentives, the net price you'll pay for solar can fall by thousands of dollars.
Average solar panel cost by system size in Williamson, PA
2022 average solar panel cost graph in Williamson, PA
Note: Showing cost data for Franklin County, PA.
Top solar installers in Williamson, PA
See more solar companies in Williamson, PA


Be the driver of change!
Become a Mentee in an european project "Disability Leadrs of Tomorrow".
The mentees will benefit from the participation in an innovative and tailored capacity building programme and it is envisaged that the improvement of their leadership and management skills will lead to more resilient and efficient organisations able to lead the innovation on disability service provision service provision in line with UN CRPD framework. Why apply?
- The candidates should be on a payroll in a service provider organisation. Candidatures from volunteers or trainees working in service provider organisation will be only exceptionally considered.
GET 3 documents and read below.
dissemination events at local level.


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Democracy Is the Bedrock of This Country
Incited rioters stormed the U.S. Capitol on Jan. 6
BY ARA KHACHATOURIAN
The President of the United States was impeached for a second time—an unprecedented reality in U.S. history. The House of Representatives voted on charges of "incitement and insurrection" after last week's deadly siege of the U.S. Capitol.
The riot, the violent break-in, the destruction and the death that took place last Wednesday was an affront to American democracy. It was also a culmination of four years of reckless disregard for democratic norms and principles.
We, as Americans, had a front row seat and watched as the President one-by-one defamed and dismantled democratic institutions beginning with the press and ending with his attempts to rob the American people of their votes, laying bare the cracks in our democracy, which often times gave way to partisan politics that was driven by the rabid desire of some elected officials to hold on to their seats—and levers—of power.
The president and his supporters brushed off the serious charges levied against him when he was impeached by Congress the first time—the withholding of Congressionally-mandated funding to a foreign government in return for information he could use against his political opponents.
The fervent support he received from his allies then and throughout his presidency empowered him to push the envelope further and farther, with his last act being the belligerent lies he spread about the results of last November's elections, which he lost by all—and many—counts.
His disdain for the rule of law and the constitution pivoted him to embrace despotic leaders, such as his Turkish counterpart Recep Tayyip Erdogan who governs his country without any consideration for human rights and democratic values.
One glaring example of the U.S. administration's disregard for democracy was the slow and anemic reaction to the beating endured by American protesters by Erdogan's bodyguards, who were from Turkey, during a peaceful protest in 2017. The fact that a foreign leader got away with inciting and ordering violence against Americans in their own country where they were exercising their constitutionally-guaranteed democratic freedoms of expression and assembly demonstrated the president's lack of understanding of democratic norms and showed how far he was willing to go to appease a despot, whom he sought to emulate.
The attack on and erosion of democracy has been on the rise in recent years around the world where leaders are using violence and subversion to quash the people's right to vote and self-determination. Last year, we saw Alexander Lukashenko of Belarus crush his opponents and force himself back into power. Unfortunately, a similar scenario is playing out in Armenia, where Prime Minister Nikol Pashinyan, who was elected in what can be deemed as the first democratic election, is relying on and deploying the country's security apparatus to silence opponents in order to maintain his grip on power, despite leading Armenia to a crushing defeat during the Karabakh war this fall.
American democracy has its flaws. What our founders put on paper was an ideal whose implementation has become murky as financial, economic and self interests have rocked the system, which has spurned loopholes for the powerful to advance. Despite this, American democracy, as practiced here in the U.S., remains a true beacon for the world.
This is why organizations such as the Armenian National Committee of America have been expending resources to educate and empower our community to vote and make our voices heard in the halls of power in America, always underscoring that one's vote is one's voice, and no one has the right to silence it. That simple concept has helped catapult issues of importance to the Armenian community on the agendas of city halls, state houses and Congress. Our community's advocacy and engagement has also helped us achieve successes in advancing justice and our national aspirations.
When the president lost the election in November, he used lies, threats and intimidation to advance a fictional—and false—narrative, egging on his supporters to adopt and use the same vile tactics that culminated in the violent siege of the U.S. Capitol.
This past week I spoke to some staffers who work for some of our allies and advocates in Congress. They recounted in horror what they witnessed as the attack on Congress unfolded and spoke of the dangers if decisive action is not taken to punish those who organized and incited the violence against America's symbol of democracy.
Despite witnessing and living through last Wednesday's events, some are still wavering in their condemnation and the need to preserve, protect and advance democracy, setting a dangerous precedent for future generations of Americans.
Democracy is the bedrock of this country. Whoever—regardless of the position they hold—attempts to breach that must be held accountable, in order to strengthen those principles and ensure that no one can shake the foundations of the country.
Ara Khachatourian


Is it OK to wear an outfit for the whole day if you're also going to wear it to a job interview later on?
I liked the outfit so much that I wanted to wear it to school for the day, but my mother didn't allow it. We got into an argument which resolved itself when I offered to wear it the next day instead. But it still left a sour taste in my mouth – does she not trust me to keep myself clean? And I'm 20 years old, so I think I'm capable of making decisions for myself. To top it all off, I had to do my hair all over again the next morning.
Is it a bad idea to wear an outfit to school if you're going to have it on for an interview that same night?
It general, yes. The problem isn't so much staining it or spilling something as lint and wrinkles which look unpolished and unprofessional. There's also the problem of sweat stains. In general, when you wear job interview clothes all day they look "lived in" which is not a good look for the interview. Your mother should have explained herself, but she was operating on general wisdom and desired for you to look your best so you would have a better chance landing the job.


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Q: Moving wordpress site from subdomain to domain with 1 caveat I already have wordpress installed in my root, but I haven't built anything on it.
All these while I have been building on my subdomain, which is also using wordpress.
Now I have come to the conclusion to move everything I have from the subdomain to the root.
Are there anything I should take note of? Should I remove the wordpress installation that is in my root?
I'm using cpanel @ hostgator

A: Remove the wordpress installation that is in your root directory, then copy all the files from the sub-domain's folder to your root directory. You should note that before moving the files, log into the existing Wordpress dashboard and under Settings -> General you need to change the URLs of your site first, otherwise you won't be able to log in once your site is moved. That's it.


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Visor de obras.
Opciones de navegación
Anales galdosianos
Selecciona una palabra y presiona la tecla d para obtener su definición.
—97→ —98→ —99→
Galdós and the aesthetic of ambiguity: Notes on the thematic structure of Nazarín146
Peter B. Goldman
The body of criticism which accompanies Nazarín is interesting and at the same time contradictory. Not long ago, for example, several fine essays in vol. II of the Anales suggested that in writing Nazarín, Galdós was inspired variously by Renan, by Tolstoy, by the Passion of Christ as novelizable narrative content, and by Christ as a novelizable figure147. Other criticism has concentrated on the themes of charity and Christian humility in the novels of Galdós, and in that connection cogent reference has been made to the protagonist of Nazarín as embodying such characteristics148.
It would be presumptuous to attempt a critique of the fine work of scholars such as Scatori, Correa, Pattison149 and Parker, to name but a few. Rather, I should merely like to add a few observations of my own, gleaned from several readings of Nazarín, and thus attempt to integrate some of my own ideas about Galdós into the general body of Nazarín criticism.
Recently, in an examination of Galdós' newspaper and magazine articles written during the last 15 years of the 19th century, it was suggested that Galdós had developed what was called «an aesthetic of ambiguity»150. It was further emphasized that Galdós' skill as a reporter, and even more so as a novelist, lies precisely in his grasp of the ambiguous, in his ability to see and portray all points of view, all contradictions, all conflicts within a single personality or class. Ambiguity and conflicting impulses became the cornerstones in the thinking of the man and the reporter as he saw the 19th century coming to an end without the resolution of any of the gnawing social problems of the time. The failure of Restoration Spain and its liberal middle class ethic, it was pointed out, was clearly stated in Galdós' essays. In «Confusiones y paradojas», written in 1893, he observed151:
Hemos luchado por las libertades, conquistadas al fin con mil sacrificios. ¿Estamos contentos? No. Con tantas franquicias vivimos como antes, rodeados de injusticias, de desigualdades, de monstruosas aberraciones del sentido moral.
To this we must add an earlier reflection, written in 1885:152
[...] resulta que la tiranía subsiste, sólo que los tiranos ahora somos nosotros, los que antes éramos víctimas y mártires, la clase media, la burguesía, ... los desheredados de entonces se truecan en privilegiados.
How is it, Galdós seems to be asking, that yesterday's oppressed are today's oppressors, that last year's victims are this year's victimizers? Why have the measures liberating one class been, at one and the same time, the instruments for increased subjugation of another class?
Such contradictions, basic to the life of his time, also provide the starting point for his later novels, particularly the three works -which I firmly believe must be considered a trilogy, an evangelical trilogy- Nazarín, Halma and Misericordia. And therefore the contradictory nature of existence in Spanish society, and the resolution of that situation on both the individual and social levels, lie at the very heart of the evangelical trilogy. As such, the trilogy represents a continuation of Fortunata y Jacinta and Ángel Guerra, but it also exceeds them, since salvation and redemption may now occur, indeed must occur, within the social structure both figuratively and in reality. Salvation and redemption are no longer alternatives if they occur outside the social structure, e.g., the death of the protagonist or his/her madness, as in the earlier novels. In a sense, the trilogy represents the rebirth in society of Fortunata, and may be seen as an attempt by Galdós to work out some of the answers to existence and to the social dilemmas of his day. This should in no way be construed as an attempt to deny or de-emphasize the enormous aesthetic richness of the three novels. I would therefore agree with Russell that the trilogy is the fictional record of Galdós' progressive preoccupation and experimentation with specific social and novelistic problems153. On the other hand, I would differ with him to the extent that I cannot consider Nazarín or Halma to be «failures» as novels. They are merely the first and second stages, rather successful ones at that, in a progression which ends with Misericordia, wherein the agonizing ambiguities of the first two works are resolved by Galdós. The trilogy, furthermore, is not united by character but by an idea, and hence the dominant character alterations from Nazarín to Misericordia, which occur in typically dialectical fashion. The shift from Nazarín to Benina is made possible precisely because of the lack of a dominant protagonist in Halma, as well as by the introduction of a female on an equal footing with Nazarín.
Let us now state the basic motivating premise or idea of the trilogy, and then suggest how Galdós deals with it in Nazarín. That basic premise is enunciated by Nazarín himself during his interview with the reporters. Explaining why he behaves as he does, Nazarín observes:
No sé más sino que a medida que avanza lo que ustedes entienden por cultura, y cunde el llamado progreso, y se aumenta la maquinaria, y se acumulan riquezas, es mayor el número de pobres y la pobreza es más negra, más triste, más displicente.
(1687, b)154
The correspondence between this point of view and Galdós' opinions as stated in the articles just cited is evident. However, we must proceed cautiously, on two accounts. First, because in the novel no single character speaks for the author. Nazarín is voicing preoccupations similar to those of Galdós, but we must not therefore equate Nazarín with Galdós, or even assume that Nazarín will, for more than this moment, be Galdós' voice. Our second reason for proceeding cautiously is that Nazarín's statement is above all else ideological, and is not necessarily buttressed by the literary fact. That is to say, the reader —101→ must discriminate between what is said and what is done in the novel, between Nazarín's proclamations and his subsequent behavior. On the basis of this distinction between word and deed we may say that there are at least two levels of novelistic development in Nazarín. One level is verbal or ideological, and corresponds to the theoretical deliberations on the problem of life in society as stated by the protagonist. Another is the novel's functional level. It consists, among other things, of Galdós' presentation of the novel to the reader, and of his introduction of the characters to us, especially Nazarín. The reader's task is to understand the implications of this presentation, by considering not only how Galdós' characters seem to exist on the ideological level, but also how they function and interact within the narrative, the literary framework of the novel. Nazarín, after all, is the creature of a master craftsman whose stock in trade consists, among other things, of humor and irony, the very stuff of which ambiguities are made. And in fact, the functional level frequently undercuts the ideological level, giving us, rather than a Christ-like follower of quintessential Catholicism, a good-hearted but nevertheless misguided bumbler, who sometimes degenerates into an egocentric and unselfconscious hypocrite.
I. The Birth
First of all, let us consider the author's presentation of the protagonist to the reader, which we may term the novelistic birth of the protagonist155. The birth comprises all of Part I of the novel, and exhibits a pattern of movement from concreteness and typification to fluidity and the confusion of reality with illusion.
Everything about these first pages tells us that things are not what they seem. In the dimension of space, we first come upon the calle de las Amazonas «cuya mezquindad y pobreza contrastan del modo más irónico con su altísono y coruscante nombre... (1679, a)». There then follows a brief temporal excursus into the historical derivation of the street's name, something which at first glance might seem unnecessary, a threatening diversion of our attention from the action of the novel. Yet nothing is ever gratuitous in Galdós' novels; in this case, the «official» history of the name deals with a celebration during the reign of Philip II, in which matrons dressed up as Amazons to do honor to the Queen. Whereas the «official» history speaks respectfully of these women, our author-narrator states «Tengo yo para mí que las amazonas de que habla el cronista de Felipe II, muy señor mío, eran unas desvergonzadas chulapas del siglo XVI... (1679, b)». Chronicles lie at worst, exaggerate at best, our narrator implies; something which we ought to keep in mind since the narrator also considers Parts II-V as a chronicle156.
After the discussion of the derivation of the street name we see before us the rooming-house of Chanfaina. But we are told that it is simultaneously less than a rooming house and more than one:
No tome nadie al pie de la letra lo de casa de huéspedes que al principio se ha dicho, pues entre las varias industrias de alojamiento que la tía Chanfaina ejercía en aquel rincón, y las del centro de Madrid, ... no hay otra semejanza que la del nombre.
(1679, b)
As we pass through the main gate of the building into the patio, we enter a fantastic world of ill-defined realities, of incomplete and dislocated existences157: a building which is a «broma arquitectónica: ventanas que querían bajar, puertas que se estiraban para subir... (1680, a)»; openings in walls which can be «boca de una cueva» as easily as «puerta» or «aposento» (1680, b); violins which have only half their complement of strings and are therefore not violins at all.
It is here that Galdós again moves from the dimension of space back into that of time. Now, however, temporality does not take the form of historical discourse; it is merely a seemingly insignificant recollection of a date: «Un martes de Carnaval, bien lo recuerdo... (1680, a)». Yet, as just stated, nothing is ever gratuitous in Galdós' novels: this offhand remark fixes, indeed defines our spatial dimension. For what was Carnival, if not the suspension, however temporary, of the accepted limits and definitions of reality?158 Carnival in Galdós' Spain was the one time of year when reality was invested with total fluidity159 and when masks, which hid or altered the reality of the face and body, were customary. Masks could, of course, be used not only to confuse or hide the reality of the individual, but also to provide a new identity160.
It is in fact the confusion of physiognomic reality which next confronts our reporter-narrator. After the temporal fixing of the world of Chanfaina's rooming house, the spatial context is centered in its occupants. The narrator moves across the patio, among the people preparing for the festivities. Their most striking feature is their costumes, particularly the masks (1680, b - 1681, a). Some, rather than use masks, paint their faces or blacken them with soot, and two of these individuals strike the narrator's eye because they are women dressed as men (1680, b)161. Finally, the reporter and his companions meet the ama de casa. She is in fact the androgynous incarnation of Carnival itself162, reigning over the strange world of her establishment, massively concrete by virtue of her size which defeminizes her in the eyes of her beholders:
[...] vimos a Estefanía en chancletas... la panza voluminosa, los brazos hercúleos, el seno emulando en proporciones a la barriga y cargando sobre ella, por no avenirse con apreturas de corsé; el cuello ancho, carnoso y con un morrillo como el de un toro...
(1681, a-b)
Up to this point, despite the confusing array of people and things, the narrator has been able to distinguish their true identities and define the paradoxical and contradictory aspects of their reality. Now, however, just after meeting Chanfaina, he sees some women of the house, about whom
[...] habría podido creerse que eran máscaras, y el colorete una forma extravagante de disfraz carnavalesco... pero no tardé en conocer... que vivían siempre en Carnestolendas.
(1682, a)
The narrator has, for a moment, been unable to distinguish the reality of these grotesquely made-up women from his own pre-conceived ideas, i.e., his illusion, about them163, and at that instant reality and illusion therefore become one. Finally, the attention to space is concentrated on the person of Nazarín himself, and we are told that
[...] vimos que se abría una ventana estrecha que al corredor daba, y en el marco de ella apareció una figura, que al pronto me pareció una mujer. Era un hombre.
(idem)
The reporter is completely deceived by physical appearances. Reality and illusion do not merge here, as in the preceeding incident: illusion actually replaces reality. Furthermore, it is an illusion generated not by the preconceived ideas of the beholder, the reporter who sees Nazarín, but by Nazarín's own appearance.
Thus, at the very beginning of the novel, we have been witness to a point-counterpoint movement in the narrative between the dimensions of space and time. This pattern continues: the narration now moves back to the temporal dimension as the narrator-reporter recalls the interview he has had with Nazarín. The ambiguous physical reality of Nazarín is now related to an equally ambiguous spiritual reality.
The interview deals with Nazarín's character, his views on society, his motivations for behaving as he does, etc. The impressions of our reporter go first from humorous scepticism to non-commitment and finally to agitated doubt concerning Nazarín's integrity. At first, «le tenía más bien por un humorista de los que cultivan la originalidad (1687, a)». Then, «Tan pronto el buen Nazarín me parecía un budista, tan pronto un imitador de Diógenes (idem)». The spiritual image of Nazarín thus begins to lose concreteness and takes on a more fluid form. With the interview over, the narrator's doubts as to whether Nazarín is an impostor or a saint are intensified:
Pues yo, esperando aún más datos, y mejor luz para juzgarle, sospecho o adivino en el bienaventurado Nazarín una personalidad vigorosa.
But this position is confused even more by the extreme opinions others have about Nazarín. The reporter's friend is convinced that the priest represents «la ausencia de todo carácter y la negación de la personalidad humana (idem)». Chanfaina and the old gypsy, on the other hand, think Nazarín is a saint (1690, a, b). The narrator is completely befuddled:
De la indiferencia desdeñosa con que mi amigo hablaba de él colegí que poca o ninguna huella había dejado en su pensamiento. A mí me pasaba lo contrario, y días tuve de no pensar más que en Nazarín, y de deshacerlo y volverlo a formar en mi mente, pieza por pieza...
And he does not know how much of his conception of Nazarín is a figment of his imagination, and how much, if indeed any at all, is due to his precise grasp «del verdadero y real personaje... (idem)».
Finally, time is focused on the story of Nazarín which is to follow. Is it a true story, or
[...] una invención de esas que por la doble virtud del arte expeditivo de quien las escribe, y la credulidad de quien las lee, resultan como una ilusión de la realidad?
(1691, b, italics mine)
Indeed, the narrator even questions from whose viewpoint the story of Nazarín is written, that is,who the true author is; he asks himself, «Ha sido —104→ usted, o el reportero, o la tía Chanfaina, o el gitano viejo? (idem)» And the reporter-narrator can only answer that he does not know.
This latest movement through time has led us from the accepted reality of a concrete person who reported an interview which actually occurred, to the confused story of uncertain authenticity written by an unknown author. We are presented with an apocryphal novel within a novel164. And while the truth of the outer novel is unquestioned by our narrator, that of the inner, apocryphal novel is completely questioned.
We have, consequently, a most unusual beginning. As we penetrate the spatial and temporal world of Nazarín, we move along a trajectory taking us from readily discernible, concrete realities, to complete ambiguity, the fusion of reality with fiction or illusion. The novelistic birth, furthermore, is filled with documentary pretense, from the discourse concerning the name of the street and the documented (and quixotic) uncertainty of the names of the characters165, to the presentation of Parts II-V as a chronicle of unknown authorship. Both Ruiz Ramón and Nimetz have commented on this latter aspect, the separation of the author from the novel. They note that this leads to what Ruiz Ramón calls the «independización del personaje (194)». In cervantine fashion, the creation has begun to develop itself. Nimetz also points out that such a separation had two effects which puzzled him: first, a «dilution» of objectivity by means of the ironic undercutting of the subject matter, and the consequent introduction of levity; secondly, what Nimetz calls the «forcible» detachment of the reader from Nazarín in spite of the fact that the subject matter ostensibly requires the reader's identification and empathy166.
This puzzling situation dissolves, however, if we reconsider the earlier remarks made concerning the functional versus the ideological levels in the novel. What Nimetz had noted was nothing less than the tendencies of these two levels to conflict. The entire beginning of Nazarín in fact announces Galdós' intentions. Galdós does not want the reader to identify with the protagonist any more than he, Galdós, does. By not identifying and yet not being alienated, the reader may remain aloof, to use Nimetz' term, and therefore analize Nazarín and his adventures in Parts II-V. For as was suggested earlier, Nazarín as a novel is merely one in a series of fictional experiments, and we as readers must study its development, not only on the ideological or theoretical level, but also on the practical, or in novelistic terms, functional level. In Parts II-V, the latter is nothing less than the narrative itself: the protagonist's practical application of his theoretical formation; not what Nazarín says or professes to believe, but his actions, what he does in his dealings with others. The ambiguous quality of his novelistic birth at once separates us from Nazarín and makes us wary; it warns us against taking anything at its face value, or making precipitous judgements. The contradictory nature of the hero will resonate throughout the novel as a cautionary device, as a constant reminder that things and people are not what they seem to be. Furthermore, the preponderance of ideological content in Part I is emphasized by the stationary nature of Nazarín, who remains in his rooms in the casa de vecindad and is visited by others. In Parts II-V, the protagonist is physically active and the functional content dominates the —105→ narrative, undercutting (as will be shown) rather than obscuring the ideological level.
Opening his novel in this way, Galdós thereby challenges his audience to read the apocryphal inner novel in Nazarín, to move among its strands of «fact» complexly woven with illusion. In terms of the Carnival metaphor, Galdós is daring us to discriminate true faces from among the masks, and also to distinguish those masks which hide faces from those masks which have become the faces of their wearer. At the outset of the novel, Galdós, in the guise of a narrator-reporter, does not present the reader with any personal opinion regarding the veracity of the chronicle which is about to be related. But in the last three sentences of the novelistic birth, i.e., Part I, we are informed that the chronicle which is to follow was indeed written with a specific intent by its unknown author:
No respondo del procedimiento; sí respondo de la exactitud de los hechos. El narrador se oculta. La narración, nutrida de sentimiento de las cosas y de historia verídica, se manifiesta en sí misma, clara, precisa, sincera.
By implication we are also told that we must approach what follows without any preconceived notions concerning Nazarín's character. His own behavior as he confronts people and situations, the narration, in other words, of his encounter with life, will tell us everything we need to know. Our task is therefore to proceed from the theorizing Nazarín of Part I to the activist of Parts II-V. We must examine Nazarín from the point of view of the implementation of his ideals and determine whether his actions are in harmony with them.
II. Nazarín in Practice: Belmonte
Let us now analyze what some readers may well consider Nazarín's most spectacular achievement: the «taming» of the leonine Don Pedro de Belmonte.
This is the first time that Nazarín goes in search of a sinner. Yet contrary to appearances, he is not intent on saving the soul of Belmonte but rather seeks to encounter «algún padecimiento grande, o cuando menos, castigos, desprecios y contrariedades, ambición única de su alma (1721, a)».167 To the women accompanying him, this seems excessive, gratuitously dangerous. The women draw the fine distinction between facing up to trouble which comes one's way, and the active search for self-mortification. But Nazarín only continues to view the encounter as a confrontation with a dragón, as he puts it (1721, a; 1724, a).
Once the two men meet, something in Nazarín's countenance strikes Belmonte, and instead of mistreating him Belmonte curiously questions the priest about his Semitic appearance. Belmonte's reaction immediately throws Nazarín into a state of confusion; as the following passage demonstrates, he had expected to be beaten and killed:
Ahora -pensó Nazarín- este buen señor coge la escopeta y me destripa de un culatazo, me da con el cañón en la cabeza y me la parte. Dios sea conmigo.
On the other hand, Belmonte does abuse his servants mercilessly (1723, a), and Nazarín feels constrained to deliver a sermon in which he likens Belmonte first to Goliath, then (for the second time) to a dragon (1723, b - 1724, a). Again, contrary to Nazarín's expectations Belmonte reacts peaceably. It is as if Nazarin had scolded Belmonte with the intention not of reforming him, but of exciting his ire:
Grande fué la sorpresa de Nazarín al ver que el señor de la Coreja no sólo no se enfurecía oyéndole, sino que le oía con atención y hasta con respeto...
In a daze, Nazarín is led into a room in Belmonte's house, where he is instructed to wait; we are told, «Pues, señor, seguía sin entender la casa, ni el dueño de ella, ni nada de lo que veía (1724, b)». Finally, Nazarín is summoned. He does not know where he is being led, and tries to imagine his fate:
¿Para qué me querrán? -se decía [...]- Dios sea conmigo, y si me llevan por aquí para meterme en una mazmorra o arrojarme en una cisterna, o segarme el pescuezo, que me coja la muerte en la disposición que he deseado toda mi vida.
Tersely and matter-of-factly Galdós undercuts our protagonist, commenting ironically:
Pero la mazmorra o cisterna a que le llevaron era un comedor espacioso, alegre y muy limpio, en el cual vió la mesa puesta con todo el lujo de fina loza y cristalería que se estila en Madrid, y en ella dos cubiertos, no más, uno frente a otro.
During the meal the two men discuss the problems of contemporary society, and Nazarín again repeats his analysis of its ills (1725, b)168. As he speaks, he begins to regain his composure. The meal comes to an end, and Belmonte now informs Nazarín of the reasons why he had treated him so well. Nazarín, Belmonte explains, is wearing a «cristiano disfraz (1727, b)». Nazarín is not a poor beggar but the bishop of Armenia, patriarch of the Armenian Church, who after surrendering his authority to that of the Pope, gave up power and wealth; thereupon, continues Belmonte, this same bishop, disguised as a beggar, began a «santa peregrinación (1727, b - 1728, b)». He has been wandering for two years (1727, b), and the women accompanying him are also «santas»: «La una es dama principal, canonesa de la Turinga; la otra, una sudanita descalza... (1730, a)». Nazarín's protestations to the contrary only make Belmonte more certain; in utter dismay, Nazarín finally leaves la Coreja (1730, a).
Once again, we are confronted by a spectrum of disorienting elements. There is, first, a fusion of reality with illusion; there is, secondly, a purported disguise, i.e., the beggar's outfit worn by Nazarín; and there are realities so misunderstood that they are considered to be disguises: the clothing Ándara and Beatriz wear is so pitiful because they could not afford to buy anything better (Nazarín, it must be remembered, chose his clothes [1706, b - 1707, b; v also n. 14 above]). The reader also encounters mistaken identities and people who are not what they appear to be169. The irony of the situation is heightened by the fact that if Belmonte knew who Nazarín really was, he would probably have made short shrift of our ermitaño andante. The taming of the lion has been a sham. It was —107→ his own good luck, not his faith which saved Nazarín from Belmonte's wrath. Also, Galdós takes pains to point out, Belmonte is possessed of a startlingly quixotic vein of madness, for after leaving la Coreja, Nazarín and the reader meet señá Polonia who provides the following data (1730, b):
Cuentan que [Belmonte] se pasó mucho tiempo en tierras de moros y judíos, y que al volver acá se metió en tales estudios de cosas de religión y de tiología, que se le trabucaron los sesos... Cuentan que cuando le hablan de las cosas de religión católica, o pagana, o de las idolatrías... es cuando pierde el sentido, por ser esta leyenda y el revolver papeles de Escritura Sagrada lo que le trastornó.
We are immediately reminded of Don Quijote and his reactions to the mention of the topic of chivalry.
We must also keep in mind that Belmonte will still treat other people brutally, for he admits to Nazarín that one of his pleasures is «el pelearse con la servidumbre... (1729, b)». Indeed, throughout the episode Nazarín has been passive, a blind beneficiary of circumstance. Even though Belmonte treats him with respect, he is left humorously unincited by Nazarín. In a post-prandial stupor, he murmurs
La pobreza..., ¡qué hermosura!...; pero yo no puedo, no puedo... ¡Qué delicia!... Hambre, desnudez, limosna... Hermosísimo...; no puedo, no puedo.
(1727, a, Galdós' punctuation)
And following Nazarín's final admonition prior to taking his leave:
Créame a mí: cuando al pobre cuerpo le queda poco más que vivir, es crueldad negarle aquello a que está acostumbradito... Todo ello es inocente. La vejez necesita juguetes como la infancia. ¡Ah! Cuando tenía algunos años menos, se pirraba por otras cosas..., las buenas chicas, por ejemplo... De eso sí que le he privado en absoluto... No, no, ¡no faltaba más! Prohibición radical. Que se fastidie... No le dejo más que las fruslerías del pecado, el comer, la bebida, el tabaco y el pelearse con la servidumbre...
What appears to be a conquest of faith is due merely to an ironic quirk of fate. Nazarín's inability genuinely to convert Belmonte, placed in the context of ambiguous identities, of Nazarin's constantly frustrated expectations and subsequent confusion, and of Belmonte's madness, makes Nazarín appear as a gentle, sincere bumbler. The irony of the episode generates a pathetic image of Nazarín.
More serious, however, is the possibility that Nazarín may also have perverted the Gospel. Despite his professed aim of saving not only himself but others170, the unavoidable fact is that Nazarín sought out Belmonte in order to test his own strength of character; he courted suffering in order to prove his humility. He had no true interest in saving the soul of Belmonte. His sermons, designed to alienate it appears, are unheeded and ineffective because they are unimaginative, formula-ridden monologues, vacuous examples typical of Galdós' Spain. Even Nazarín's humility is forced, self-conscious, and in fact a source of pride171. That Nazarín registers dismay and confusion when Belmonte listens instead of lashing out, suggests that Nazarín would prefer Belmonte to react more violently and give him the opportunity to test his fortitude. Clearly, Nazarín did not want or expect to be well-received.
It has been suggested in the foregoing paragraphs that Nazarín is not what he seems. Although essentially good-hearted and well-meaning, Nazarín is not a saint or Christ-like paradigm and does not have the capacity for becoming one. If we listen only to his words and fail to penetrate beyond the general outlines of his conduct, if we do not examine closely the details of his actions and behavior, the very texture of the novel, we too will discern only what Belmonte sees: a man who gives up everything and by choice becomes a mendicant, a man about whom, in Belmonte's words, «se susurró que había hecho milagros! (1728, a)». The miracles of Belmonte's fictional patriarch are no more real than the miracles attributed to Nazarín172. Only a close textual analysis will permit us to elucidate the real Nazarín. A careful examination of his behavior reveals him as a creature of ambiguous proportions, neither a saint nor a huckster: as suggested above, Nazarín is simply a well-intentioned individual, deeply disturbed by the problems of life in society, and, with one notable exception (v n. 32 below), both unwilling and incapable of dealing with them except by evasion. How evasive and unsaintly indeed is the utterance «¡Cuán hermosa la Naturaleza, cuán fea la Humanidad! (1705, a)».173
If we take our lead from the incisive yet somehow ignored observations on Nazarín by César Barja174, we come closer to a beginning:
Pobre y vagabundo, practicando el bien, indisciplinado y soñador, su figura expresa en forma contradictoria lo que en la vida y la actitud místicas puede haber de buen sentido y de locura, sin que el novelista se pronuncie resueltamente por uno ni por otra. Representa el mayor esfuerzo de Galdós para la comprensión de la ideología mística y cristiana, más cristiana que mística; y en total, por la oposición que en la sociedad y la iglesia encuentra el héroe, y por lo infructuoso de su carrera, la obra envuelve una crítica del cristianismo social y militante, (italics mine)
Galdós is an independent observer, trying to puzzle out an ambiguous situation: the problem of survival, both individually and collectively, in 19th century Spain. It is this ambiguity and its resolution which unites the three novels Nazarín, Halma and Misericordia into an organic whole.
Such a resolution is embodied by the Christ figure. But the latter cannot be efficacious, however, if it is allowed to be defined merely by the configuration of a deliberately glorified, unspontaneous individualization of an impersonal ideal (Nazarín). This posture is formalistic: it is not enough for Nazarín to bear that name, to appear Christ-like, and to suffer. The form of Christ without the content, Galdós tells us ironically, is insufficient, in the same way that an «anonymous» chronicle bearing the title «Nazarín» may not necessarily be about a truly evangelical figure175. We must not attempt to recreate through formalistic imitation the historical Christ, but rather, in our own selves and in our own behavior, reify the principles which the historical Christ personified. The Christ figure then becomes important to Galdós and his readers because it provides a model for individual action in a collaborative social effort (Benina). If humanity does not emulate the model, it will perish, becoming merely Juanito Santa Cruz made flesh. Personal salvation in this context retains its total connection with —109→ the salvation of society. Nazarín, seeking his own salvation while turning away from Ándara and the rest of society, can only fail. Halma likewise is unsuccessful, for in serving others she neglects herself and denies her humanity (in her refusal to become a wife and mother). Benina is the dialectical synthesis176.
Galdós does not say then that we should all fashion ourselves after the model of the Biblical Christ. The significant question for Galdós and his readers is neither Morón Arroyo's «How may one achieve a formal, pietistic delineation of the historical Christ?» nor Parker's «How would the Passion be re-enacted if He were to return to the world in 19th century Spain?» It is, rather, «How may we, mere humans, implement Christ's teachings in order to save ourselves and our world? What actions, in the world of the industrializing 19th century, would be most consonant with His doctrine? How, in other words, are His principles to be adapted to meet the exigencies of modern society?» In seeking to define his model for society, to be emulated by all men and women, Galdós proceeds from a quixotic character who unwittingly proves that all attempts to be an orthodox, individualistic imitatio Christi are doomed to failure; he next experiments novelistically with a progressive, outward directed and self-effacing democratic Christian, finally developing a truly Christian soul who does not separate herself from society or humanity; Benina accepts them as part of herself. Don Manuel Flórez, in many ways the incarnation of the attitude of acción católica, is, I believe, Galdós' spokesman in framing the problem (1814, b; 1815, b):
Cada tiempo trae su forma y estilos de santidad... Yo soy social, él [Nazarín] individual; [...] Cierto es que si miramos a la doctrina pura y a su aplicación a nuestras acciones, él aparece con ventaja, y yo con desventaja; pero miremos a los resultados prácticos de una y otra forma de ejercer el ministerio, y entonces, ¿cómo dudar que la supremacía está de la parte acá?... Señor, Señor, llevar a la práctica la doctrina en todo su rigor y pureza, no puede ser, no puede ser. Para ello sería precisa la destrucción de todo lo existente. Pues qué, Jesús mío, ¿tu Santa Iglesia no vive en la civilización?
The evangelical trilogy then is not an examination of what would happen if Christ walked the earth again and repeated His works. The three novels show us that dogmatic imitation of Christ is obsolete and counter-productive; that Christ, if He were on earth in 1895, would do not as Nazarín but as Benina. In agrarian Palestine, for example, Christ would seek out His people and carry out His mission in the countryside. But in a fast urbanizing Spain177, He must come to and remain in Madrid. Galdós is saying that the teachings of Christ must be put into a more contemporary form -into an up-to-date vocabulary addressed to current problems, without sacrificing the eternal principles178. In Nazarín, therefore, Christ is not destroyed as some aver179; as Barja and Russell suggested, Nazarín is only a poor imitation180.
Queens College. The City University of New York
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Keith Morris says that the band was about having a good time:...
"People want to live on the edge. Dancing on the...
"People want to live on the edge. Dancing on the razor's edge. That's what the music embodied"- Keith "Lucky" Lehrer
This documentary shows us the complete story of the Circle Jerks, a...
Punks might jump all over me for it. I mean no...
Punks might jump all over me for it. I mean no harm.
They actually do have a career- their records still sell well, they are Icons.
Elton John gave them huge props and one night Chuck Berry himself...
I just might do that. Yes, I got the title...
I just might do that.
Yes, I got the title wrong. I think it should be called "My Life as a Jerk" simply because the Circle Jerks didn't exactly have a "Career". It was more of a lifestyle....
My life as a jerk
This recent film by Dave Markey is fantastic.
It is a documentary on the CIRCLE JERKS, a seminal hardcore L.A. punk band.
It's all here, and the extras on this DVD are even better than the film...