I was in an accident and my airbag did not deploy; do I have a case against the car manufacturer?
If you were not traveling at a very high speed, or if it was a side impact as opposed to a frontal impact, there is a greater chance that your airbags will not be triggered. Also, once they have been deployed, they must be re-installed in the car. If they have not been re-installed, or if they have not been re-installed properly, the car manufacturer cannot be held liable.
The extent of harm you suffered may also be an issue. Product defective cases against big manufacturers can be expensive and difficult. The additional harm you suffered as a result of the failure of the airbag to deploy must be sufficient to justify the risk, cost, time, and money of the litigation.
The best way to determine if you have a case against the car manufacturer is to contact a personal injury attorney and discuss the specific facts of your case. At Ringstad Law Office, P.C., we are here for you. Give us a call at (907) 452-1205 for a free consultation to discuss your specific situation.
For more information about defective product cases, click here. To see how we've helped other Alaskan residents, see our results page.


How to travel in Portugal by train: information, connections, blog and travel reports. Help in our forum to buy train tickets.
Portugal: To travel in Portugal by train, buy your ticket online via the following booking links or at a railway station. Train schedules and ticket prices are available via the links. If you buy your ticket online, you can get cheap advance fares for long-distance trains.
Online shop for train tickets of the Portuguese Railways CP.
Online timetable information, on which you can find relevant, up-to-date connections.
There are only two rail links between Portugal and Spain: the night trains from Lisbon to Madrid and Irun. And the Celta trains in the north from Porto to Vigo. There is no rail connection in the south. When travelling between Faro to Sevilla we recommend to take the direct bus instead.
New is the day train connection with changes between Lisbon and Madrid.
Tickets are available online via our partner ACPRail or directly from RENFE. International tickets from Portugal to Spain are not available directly from CP (Portuguese Railways).
To travel from Portugal to France by train, there are two main routes. It depends from where your destination is in France.
The first route is by direct night train from Lisbon to the Spanish-French border at Hendaye/Irun. There you change to a TGV train in direction of Bordeaux and Paris.
Buy your tickets in two steps: first from Lisbon to Hendaye or Irun via ACPRail (see booking links). Then a second ticket from Hendaye to your destination in France via Trainline or SNCF (see booking links).
The second route is from Lisbon by direct night train to Madrid. There you continue by high-speed-trains via Barcelona in direction of France (Marseille, ...).
Buy your tickets in two steps: first from Lisbon to Madrid for the night train via ACPRail (see booking links). Then a second ticket from Madrid via Barcelona to your destination in France via Trainline or SNCF (see booking links).
To travel from Portugal to India, there is no rail connection available. We recommend to book a direct flight via the given booking link. Train tickets in India are available via 12go.asia.
With the Celta train to Portugal.


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Watch Fulham F.C. live
Fulham Football Club is an English professional association football club b...
Fulham Football Club is an English professional association football club based in Fulham, London. They currently compete in the Premier League, the h...
Fulham Football Club is an English professional association football club based in Fulham, London. They currently compete in the Premier League, the highest level of the English football league system. Founded in 1879, they are London's oldest football club playing professionally. The club has spent 27 seasons in English football's top division, the majority of which have come in two periods during the 1960s and 2000s. The latter period was associated with former chairman Mohamed Al-Fayed, after the club had climbed up from the fourth tier in the 1990s. Fulham have reached two major finals: in 1975 they lost 2–0 against West Ham United in the FA Cup Final as a Second Division team, and in 2010 they played Atlético Madrid in the UEFA Europa League Final, losing 2–1 after extra time. Fulham's main rivalries are with fellow West London clubs Chelsea, Queens Park Rangers and Brentford. The club adopted a white shirt and black socks as its kit in 1903, which has been used ever since.
ⓘ Subject to availability in your area
Manchester United F.C.
West Bromwich Albion F.C.
Sheffield United F.C.
Crystal Palace F.C.
Manchester City F.C.
Aston Villa F.C.
Wolverhampton Wanderers F.C.
Southampton F.C.

redpajama_set_name: RedPajamaCommonCrawl


Employees today are more likely than ever to demand transparency about compensation practices at their organization. Total rewards leaders agree that pay transparency would benefit the organization in numerous ways. Yet even though everyone seems to be on board, organizations are slower to adopt this practice than you might expect. In our latest research at Gartner, 60 percent of the organizations we surveyed said they had not yet acted on pay transparency at all, while only 14 percent had fully realized it.
The pressure organizations are facing today to be more transparent about their compensation practices comes from several directions: Millennial employees expect more transparency than previous generations did, employees have more access to (often inaccurate) pay information from outside sources like Glassdoor or PayScale, and governments and the media are advocating transparency as a means of driving pay equity. For an executive wary of pay transparency, it may be tempting to reason that these trends will eventually pass, but there is good reason to believe otherwise.
While Millennials and Gen Z are the employee cohorts most commonly associated with demands for pay transparency, they're not the only employees who want it. Like other Millennial-driven trends in the workplace today, the younger generation of employees is simply more vocal in demanding things that in fact, employees of all ages would like. Their attitudes also influence their parents, neighbors, and older colleagues. Millennials aren't the only ones using Glassdoor: Many of the employees who use these external sources to compare their salaries with those of their peers are in senior positions at their organizations. Furthermore, Millennials aren't going away; they are already the largest segment of the workforce and Gen Z will eventually be even bigger. Gambling that these generations will stop caring about pay transparency later on is a very risky bet.
Sites like Glassdoor also aren't going away. In January 2012, Glassdoor registered 9.2 million visits; in March 2018, that number had risen to over 57 percent. If the current rate of growth holds steady, the site will be receiving over 100 million visits per month by 2020—and Glassdoor is just one of several sites offering external views of compensation. Business leaders in Europe and other parts of the world may think of Glassdoor as an American thing, but in fact these sites are having an impact globally.
In our pay communication benchmarking survey for 2018, only 37 percent of organizations agreed that pay transparency fit into their organizational culture. Those that did not think their culture was aligned with transparency were twice as likely to anticipate difficulty in securing stakeholder buy-in for a pay transparency initiative. Does your organization need to change its culture to make pay transparency work?
Fortunately, it doesn't. In our research, we tested 25 different cultural values, from integrity to efficiency to innovation, and found that none of these values had a statistically significant effect on whether the organization had taken action on pay transparency or how much of a priority it was for senior leaders. Whatever your culture is, we found, there's a way to align pay transparency to it. Indeed, approaching this issue in a way that fits your culture helps engage employees and managers in the process and helps build an authentic narrative around pay transparency for employees.
While pay transparency initiatives are born out of the HR function and the C-suite, the task of actually delivering on these initiatives falls to line managers, who may not be adept at discussing compensation frankly and transparently with their direct reports. Fewer than half of the managers we surveyed said they felt prepared to discuss pay or comfortable talking about it. Meanwhile, even though organizations are devoting more resources to training managers for pay conversations, organizations are becoming less confident in their managers' abilities in this regard.
The best practice we uncovered for involving managers in pay transparency entails using them to reinforce a narrative that originates from business leaders and the HR function, rather than to introduce it themselves. High-level communications about compensation strategy and practices should come from these central sources, while managers' role is to discuss with employees how their performance affects their pay on an individual level, respond to employee concerns, and escalate questions to HR. Guidance for managers is most effective when it focuses on what managers know best: Rather than getting managers to master all the technical details of your compensation process, effective guidance prepares managers for the questions they are most likely to face and prepares them for pushback from employees.
Gartner Total Rewards Leadership Council members can view our pay transparency benchmarking report and sign up for one of our upcoming meetings on Creating Effective Benefits Communication and Communicating Pay in the Age of Transparency.


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Q: Prevent MsgBox from overlapping existing alerts I'm using SetTimer() to check for the presence of emails older than 1h in a particular mailbox, and show a MsgBox() alert advising me of such. The problem is that if I leave Outlook open overnight, I can come back to 20-30 overlapping MsgBox() alerts.
How do I constrain my program to only show one alert, and not continue displaying more alerts until the currently shown MsgBox() is dismissed?

A: why not just setting a flag if you have an open alert? The next time the timer elapses, you check for the flag and do nothing. Once the user closes your alert, you reset your flag.
EDIT:
A slight optimization is to just stop the timer just before you show the first alert. Once the alert is confirmed by the user you restart your timer. That way you even get to save some CPU.
That way you prevent multiple alerts.
Am I missing something?

redpajama_set_name: RedPajamaStackExchange


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Credit – This page was created with the help of IT Donut.


Providing practice solutions for individual physicians by identifying opportunities in competitive practice climates.
We represent hospital-based positions, solo practices, multi-specialty and single specialty group practices. We represent opportunities in small rural communities, medium size progressive and developed areas, and in suburbs of major cities. We specialize in personalizing the job search experience by conducting an active search in the community of your choice.
I would recommend Murdock Consulting to anyone that needs an excellent medical recruiting agency to assist them with any future positions they are looking for in the medical field. On the client side, you will be very pleased with their services.
It's been a pleasure working with Murdock Consulting over the last few years. Steve's attention to detail, quick response time and courtesy to our candidates has made working with them a very positive experience. Their integrity and professionalism is apparent in everything that they do.
Steve of Murdock consulting seems to never sleep. He is always working. I am quite impressed with his work ethic. I only wish that all of the companies I work with have as much diligence as Steve does.
I did speak with Steve, this evening. It was a great conversation, and too brief. I am impressed with perspective and experience. Look forward to long term connection.


This is the first time I'm writing to gnustep mailing list.
limited knowledge of the subject.
I have a question related to this.
you can easily attach or detach pieces without breaking your system.
Stefan's mail suggects there is no such problem with GNUstep.
purpouse directory layout might need to be changed.


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Q: SQL how to get only one result from each value I have this sql query:
$result = mysql_query("SELECT * FROM chat WHERE `to_id` = '$user_id' AND `from_id`   IN($data)") or die(mysql_error());
    while ($row = mysql_fetch_assoc($result)) {
    print_r($row);
}

that returns this arrays:
Array ( [id] => 3505 [from_id] => 111 [to_id] => 109 [message] =>How are you? [sent] =>          1343109753 [recd] => 1 [system_message] => no )
Array ( [id] => 3506 [from_id] => 111 [to_id]   => 109 [message] =>well... [sent] =>   1343109759 [recd] => 1 [system_message] => no )
Array ( [id] => 3507 [from_id] => 141 [to_id] => 109 [message] => bye [sent] => 1343901524 [recd] => 1 [system_message] => no )

From_id is the user ID of the person sending the message but I would like to get only one (the most recent) result for each 'from_id'. (in this example I got 2 messages from the same 'from_id' - 111)

A: Maybe GROUP BY:
SELECT * FROM chat WHERE `to_id` = '$user_id' AND `from_id` IN($data) GROUP BY  `from_id` ORDER BY `sent` DESC

A: SELECT * FROM chat WHERE to_id = '$user_id' ANDfrom_idIN($data) GROUP BY from_id order by sent desc

A: Try something like this,
SELECT a.*
FROM chat a INNER JOIN
        (
           SELECT   from_id, to_id ,MAX(sent) maxSent
           FROM     chat
           GROUP BY from_id, to_id
        ) b ON a.from_id = b.from_id AND
                a.to_id = b.to_id AND
                a.sent = b.maxSent
WHERE `to_id` = '$user_id' AND
        `from_id` IN ($data)

A: SELECT * FROM chat WHERE to_id = '$user_id' AND from_id IN($data) order by sent desc limit 0,1
Order by will order the recent messgae and LIMIT 0,1 will return only one message.


Reggae singer Naâman arrives in New Zealand for shows as part of his Pacific Tour this November. The French artist, who will be accompanied by DJ/producer Fatbabs, kindly fielded some exclusive questions from The Groove Thief. Learn more about Naâman prior to his Auckland, Wellington and Christchurch gigs.
TGT: You're in the midst of bouncing around the southern hemisphere for nearly a month between Australia, New Zealand, New Caledonia, Vanuatu, and Tahiti – how has the tour been so far, what can your New Zealand fans look forward to, and what do you appreciate about being so far from home?
N: We are very grateful to see how the tour is going. All those countries we've crossed, venues have been sold out and the people were so lovely. They know the lyrics, they know the vibe, pure sharing.
Our New Zealand fans can expect a show with my DJ, Fatbabs. We will play a mix of the three albums we have released, much energy, much love.
Being far from home is a change. Our relationship with the people is easy and simple. We have a much lighter set up for the stage than we are used to in Europe, so it has been a bigger challenge to make it sound the way we want.
TGT: Creatively, do you prefer touring after an album is released – where there are expectations all around for new material to be played – or touring like you are now, less connected to a specific artistic release?
N: It's a nice feeling to promote an album we just finished; it is good to see how the people react to our new stuff. Touring without any expectation from the crowd is also very nice, giving more space to the freestyle is good for health! But this tour is kind of an extension of our European tour for the last album Beyond, so we're still promoting!
TGT: You've been laying down tracks with producer and DJ Fatbabs for some time now – how has your musical relationship evolved, and what are the pros and cons of working with a single producer on an album or project?
N: Making music with the same producer for many years has been for me a big plus. I believe that working with the same person improves very much the communication in the creative process, which is a crucial point. It helps me to strengthen my musical identity as well. It has been a choice until now but I'm free in the process and I like working with different beatmakers as well.
We founded our own label together, Big Scoop Records, so it's good for all of us to go that way.
TGT: I'm curious: with 200k+ followers on Facebook, how have you adapted your promotion and social media strategy in the last few years to ensure you are still reaching interested fans while attracting new ones?
N: Since the beginning of the project, the social medias have played a major role – we try to entertain the social community with more content, not only music but tour reports, and lately we have organized a cover contest. We do our best to keep the interaction and reply to the messages we receive.
TGT: What are your thoughts on the current French reggae scene, and also being a French reggae artist? Or do you prefer to be viewed as a reggae artist who just happens to come from France?
N: Despite the inexistence of reggae music on national medias, the reggae scene in France is very active and fills up venues and festivals. In France, a lot of people of different ages are real reggae supporters and, let's even say, French Reggae supporters.
Being a French artist has many advantages: our country helps culture a lot, our venues are very well equipped, and we have great musicians and technicians.
Anyway, our will is to have an international recognition so the "French label" is not a priority for us.


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Q: Equivalence of categories of modules over $U(\mathfrak{g})$ on which $Z(\mathfrak{g})$ acts by central characters $\newcommand{\g}{\mathfrak{g}}$Setting: $\mathfrak{g}$ is a semisimple complex Lie algebra. Here $\chi_\lambda$ denotes the central character corresponding to the action of $Z(\g)$ on a highest weight module of weight $\lambda$, i.e. Harish-Chandra says $\chi_\lambda=\chi_\mu$ if and only if $\lambda$ and $\mu$ are related by a SHIFTED action of the Weyl group, i.e. $w(\lambda+\rho)-\rho=\mu$. I emphasize this because lots of people use another convention such that Harish-Chandra does not use the shifted action. This notational/conventional difference is the source of my question. I let $\operatorname{Mod}U(\g)/\chi$ denote the category of modules on which $Z(\g)$ acts by $\chi$, i.e. mod out by $z-\chi(z)$.
Question: Is the following true: that for $\lambda$ antidominant and regular (both in the unshifted sense), one has $\operatorname{Mod} U(\g)/\chi_{\lambda+\rho}\cong \operatorname{Mod} U(\g)/\chi_{\lambda-\rho}$?
The reason I ask this is because different sources state Beilinson–Bernstein localization using different conventions. I sat down and picked two sources (in case it matters, Yi Sun's expository paper $\mathcal D$-Modules and Representation Theory and Miličić's preprint Localization and Representation Theory of Reductive Lie Groups) and unwound the conventions and got that this must be true in order for both of them to be correct.
I think something like this is true for category $\cal O$ due to translation functors, but I'm not sure what I can say for all $U(\g)$ modules.
(I guess it's also possible that this is false because I unwound the conventions incorrectly or because one of the sources I picked made a mistake in their conventions.)

A: False alarm —- upon revisiting my unwinding I have realized that I messed up a sign. So actually the question should read $\operatorname{Mod} U\mathfrak{g}/\chi_{\lambda-\rho}=\operatorname{Mod} U\mathfrak{g}/\chi_{\lambda-\rho}$, which is true. So I guess this is a warning to myself to be a little more careful in the future before posting questions on overflow.
In case anyone cares, let me record the different conventions of these sources:
(1) For Hotta et al's book, $\lambda$ acts by $\lambda$ on $\cal L(\lambda)$. What they call "$\chi_\lambda$" is actually $\chi_{\lambda-\rho}$, which are in bijection with shifted Weyl-orbits (in the usual sense). Most confusingly their definition for the shifted Weyl action also differs from the usual one. Hotta does not discuss the construction of the twisted sheaves for nonintegral weights.
(2) For Sun, $\lambda$ acts by $-\lambda$ on $\cal L^\lambda$, and again what he calls "$\chi_\lambda$" is actually $\chi_{\lambda-\rho}$. In his notation, the differential operators on $\cal L^{\lambda-\rho}$ are isomorphic to the universal enveloping algebroid modded out by $\xi-(\rho-\lambda)\xi$ for $\xi$ in $\mathcal O_X\otimes\mathfrak b$.
(3) For Milicic, again "$\chi_\lambda$" means $\chi_{\lambda-\rho}$. His definition of $\mathcal{D}_X^\lambda$ is the universal enveloping algebroid modded out by $\xi-(\lambda+\rho)\xi$.
(4) For Gaitsgory's notes, $\lambda$ acts by $\lambda$ on $\cal L(\lambda)$. His $\chi_\lambda$ actually means $\chi_\lambda$.
So a follow-up question: it seems like Milicic, Sun, and Hotta all agree. However Gaitsgory's statement of localization seems to be (let's say $\lambda$ integral) $\operatorname{Mod} U\mathfrak{g}/\chi_{-\lambda}=\operatorname{Mod} \mathcal{D}_{X,\mathcal{L}(\lambda)}$ (for $\lambda$ dominant), whereas the other three say $\operatorname{Mod} U\mathfrak{g}/\chi_{-\lambda-\rho}=\operatorname{Mod} \mathcal{D}_{X,\mathcal{L}(-\lambda+\rho)}$. These don't seem to agree —- what gives?


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Home / How To / Expert Tips / Using forced perspective
Using forced perspective
By Cody Grivno | February 1, 2022
Make scenes look deeper with this time-tested technique
Visual trickery has been part of model railroading for many years. John Allen used mirrors on his HO scale Gorre & Daphetid to make scenes appear deeper than they really were. John also made inches appear like miles on his model railroad using structures and scenery to create the illusion of distance, a technique known as forced perspective.
Some modelers confuse forced perspective with selective compression. However, they're not the same thing. In forced perspective, we use models from a smaller scale to convey the sense of distance. For this article, I used an N scale house and barn and various sizes of trees on the HO scale Milwaukee, Racine & Troy, our staff layout.
Selective compression, on the other hand, means reducing the size of the prototype when making a model without leaving out key identifying elements. For example, a prototype depot might have five freight doors. By modeling the structure with three freight doors, we can convey the look and feel of the real thing but save space.
The key to success with forced perspective is not placing models of different scales too close to each other. Initially, I'd planned to put this N scale farm scene on a different part of the layout, but there were two HO scale structures nearby that would have given the trick away. By putting the smaller structures in the background, just beyond the crown of the hill, I was able to make it look like our layout goes on forever, even though there is a mere 17″ between the backdrop and tracks.
The distance from the track to the backdrop is 17″, but with forced perspective, the scene appears much deeper.
Step 1 Planning
The illustration shows the relationship of the items in the scene to each other. Notice how the tallest trees are in the foreground, closest to the aisle and the viewer. The farther away the scene gets from the aisle, the smaller things get. I used small and medium trees near the top of the hill, planting them in a grove to prevent direct sight lines of the farm house and barn, the two background structures I used for this project.
Figures are another important element in forced perspective. The HO scale lumberjacks work fine as foreground figures. However, the effect would be ruined if they were near the crown of the hill.
This illustration shows how Cody placed the trees, structures, and figures into the scene on the HO scale Milwaukee, Racine & Troy. Theo Cobb illustration
Step 2 Perspective
Distance is the key to success with forced perspective. As you can see in the photo, the illusion of distance doesn't work when the N scale barn (American Model Builders kit no. 619) and Bachmann farm house (no. 45812) are close to the HO scale lumberjack figures and Milwaukee, Racine & Troy gondola. However, when the structures are placed farther back in the scene, as shown later in this article, forced perspective works as intended.
It's important to take your time when planning a scene that uses forced perspective. During this project, I wound up moving the structures and trees several times until I finally had the items arranged in a satisfactory manner.
Step 3 Structures
The Bachmann farm house is factory assembled, so all I had to do was weather it with thinned Polly Scale Steam Power Black and L&N Gray [Testor Corp. has discontinued the Polly Scale line. Acrylic hobby paints are available from Acrylicos Vallejo, Hornby, Mission Models, and Revell, among others. – Ed.] Since the house is in the background and farther from the viewer, I applied the weathering a bit heavier than normal so it would stand out.
The barn is a laser-cut wood kit that I had to modify slightly before assembly. To save space, I converted the barn from a full kit to a low-relief model by cutting off the back third of the structure. First, I used a steel square and a hobby knife to cut the end walls and roof. I made several light passes through the wood until I had cut through the wall. Then I lightly sanded the edge with 400- and 600-grit sandpaper until it was smooth.
Cody used an American Model Builders N scale barn for one of the two structures. Here, he's using a hobby knife to cut through the laser-cut wood.
Next, I assembled the barn. Though the structure includes cardstock roof braces, I reinforced the walls and corners with 1/8″ x 1/8″ stripwood and scrap wood. Because the barn has a milled siding pattern, the walls are strong with the grain but flexible across the grain. The stripwood helps prevent the walls from sagging or warping.
In addition to bracing the walls, I spray-painted the barn with Rust-Oleum Gray Automobile Primer, inside and out. The primer ensures an even finish on the exterior of the barn, and it discourages moisture from warping the wood from the inside.
Cody attached 1/8" square stripwood to the interior of the barn to prevent the wood from warping. He followed that up by priming the structure with Rust-Oleum Gray Automobile Primer inside and out.
Since I wasn't using the barn's far wall and part of its roof, I needed to reinforce this part of the structure so it wouldn't warp. I attached a piece of .030″ styrene sheet here and used 1/8″ x 1/8″ stripwood for the joints between the styrene and wood. I used cyanoacrylate adhesive to glue the styrene to the wood.
Next, I airbrushed the barn Polly Scale Rock Island Maroon (walls), Milwaukee Road Gray (roof), and Reefer White (trim). I then installed the clear window glazing to the back of the windows and set them in the factory-milled openings. I wrapped up the detail work by adding the peel-and-stick window frames and corner trim.
Finally, I weathered the barn with the firm's L&N Gray and Steam Power Black.
Other acrylic and solvent-based paints could be used to get the same results.
Step 4 Trees and more
My goal was to have the house and barn partially obscured by trees. In the foreground were Busch coniferous trees, which I wrote about in the July 2007 issue of Model Railroader. These trees vary in height from 5″ to 7½", so they do a good job of blocking direct views of the structures.
On the opposite side of the hill, next to the house and barn, I used 3″ deciduous trees from Scenic Express. These smaller trees look better next to the N scale structures. Using the hilltop to hide part of the trunks also makes it appear that the trees are farther away.
To make the illusion of forced perspective work, Cody placed the N scale structures on the side of the hill that slopes toward the backdrop. He reinforced the effect by using HO scale trees to partially obscure the structures.
After you've read, "Using forced perspective," check out more "Expert Tip" articles.


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Lifestyle / Special Series
The architecture of Sao Vicente and Santo Antao, Cabo Verde: a marriage of modernity and tradition
by Ade Daramy · Published January 29, 2016 · Updated January 30, 2016
In many parts of the developed and the developing world, there is a seemingly, constant dialogue and inevitable tussle between modernity and tradition. This is as true of human relationships as it is in how buildings in close proximity 'relate' (complement or conflict) with or to each other. A trip in June 2015 by my companion, Isabella and I, to Sao Vicente and Santo Antao, two neighbouring (of 9 inhabited islands) in the Cape Verde archipelago, presented an ideal opportunity to see how the modern and the traditional either clash or co-exist on the same island. Sometimes, these contrasts are within a few metres of each other. In fact, the majority of the structures Mindelo on Sao Vicente looked at for this article can be covered within a maximum 10 – 15 minute walk. The exceptions are the buildings on Santo Antao, a 45-minute ferry-ride away.
Mindelo Map: Mindelo sea front; from here, all the structures discussed are a short walk away
On landing on the island, there are some things that are immediately apparent; there is a lot of building work taking place. Some of this is in constructing new buildings, some in the construction of whole neighbourhoods and some in the re-construction of whole streets, neighbourhoods and individual buildings. If this gives the impression that the island is a giant building site then I am doing it disservice, which I hope to rectify as I elaborate.
What it shows is that this is a prosperous, upwardly-mobile country. The newer buildings reflect not only the increasing numbers of 'returnees' (born-Cape Verdeans as well as their children born overseas) but is also a response to the country's increasing role as a tourist destination.
Mindelo's seafront along Avenida da Republica: the span, from left to right includes a variety of building styles – new build and restoration, hotels, restaurants and residential properties
Close-up of a section of Mindelo's seafront – Avenida da Republica – with newly built restaurant in the right of picture, refurbished properties in centre and left and behind them, rising up the hillsides, new residential constructions
The rise in prosperity is reflected in the fact that although there are large numbers of residential homes being built, there are also an impressive number of commercial and civic properties being erected – hotels, hospitals, restaurants, nightclubs, shops, banks, offices etc.
The islands' post-colonial legacy is evident in the buildings from the late 19th Century, that are an echo of those to be found in other former Portuguese colonies (e.g. Guinea-Bissau, Sao Tome e Principe and Mozambique).
The Town Hall at Ponta Do Sol, Santo Antao – the road leads straight down to the seafront – built circa 1895
The front of the university in Mindelo – crumbling brickwork on right side of upper level
Rear and side elevation of the university in Mindelo
Perhaps it is not surprising that the new, bold structures (built in the last 3 – 5 years – especially the commercial properties) are as far away, in look and feel, from the older ones as it is possible to get; This could be a conscious effort to shake off the colonial yoke or an attempt by bold, young Cape Verdean architects to establish a new aesthetic in designing and constructing buildings that, in many cases, would not look out of place in a so-called First World country.
I took a particular liking to what I assume must be the world's smallest, fully operational bar/restaurant in Praca Nova. The bar actually has seating for 5, serves a variety of fried and baked snacks and has an impressive (even to a teetotaller) range of wines and spirits. The area immediately surrounding the bar is cordoned off in the evening and tables and chairs placed there for patrons.
Possibly, the world's smallest bar/restaurant? In Praca Nova Mindelo
Postmark's Isabella Lisk in front of Restaurant Caravela, Laginha, Mindelo
This could be a conscious effort to shake off the colonial yoke or an attempt by bold, young Cape Verdean architects to establish a new aesthetic in designing and constructing buildings that, in many cases, would not look out of place in a so-called First World country.There is enough conservation of older properties to show that the country appreciates its past and yet does not want to be frozen in time or to be the guardians of protecting everything old in an effort to stem the tide of 'The Vanishing Africa'. This is a nation whose confidence is echoed in the bold, confident structures being built.
It should surprise no one that an island nation looks to the sea and as such, on the two islands looked at here, all the important buildings have been designed to look out to sea to such an extent that you almost imagine sentries on the balconies looking out for incoming ships. On Santo Antao, the road to the Town Hall actually leads in a straight, uninterrupted line down to the Atlantic Ocean.
Mindelo, from the Atlantic Ocean: Older buildings on the seafront (Avenida da Republica and Avenida Marginal) and newer buildings rising in the hills to left of picture.
The images chosen here show instances of what has been described above as well as buildings about to be refurbished in their old style and back to the former grandeur, next to buildings that have already been restored.
Ponta Do Sol, Santo Antao – on the road from the Town Hall to the sea, refurbished and neglected buildings stand side-by-side
For one who has visited quite a few African countries, an immediately impressive feature was the high quality of finishing in the old, the new and the refurbished. I would urge others from most of the countries I've visited in Africa to come here to see how these things should be done.
Department of Health, HQ, Mindelo – built circa 2013
Perhaps a bit of history might put this into context. The group of islands that make up Cape Verde, lie in the Atlantic, west of the west coast of Africa. In 2010, Cape Verde was officially recognised as having graduated from Low-Income to Middle Income country status. A remarkable feat given that 70% of African nations fall into the Low-Income category and lends some perspective to the achievements of a country that gained independence from Portugal as recently as 1975 and has only had a multi-party democracy since 1990. The UN ranks Cape Verde as the third richest country in Africa (per capita).
What it shows is that this is a prosperous, upwardly-mobile country. The newer buildings reflect not only the increasing numbers of 'returnees' (born-Cape Verdeans as well as their children born overseas) but is also a response to the country's increasing role as a tourist destination.The current building work appears to be driven by two significant factors: as the country attained Middle Income status, so too, many more of the Cape Verdean Diaspora viewed returning home as an attractive prospect. Another significant factor, as shown by the rise in hotel building, is that the country is becoming a recognised vacation destination for European visitors.
For the moment, the islands seem to be getting the mix right. However, the newer 'fashion' for building where there are no roads, amenities and utilities could leave the hinterlands, just beyond the coasts, looking like eyesores. Already, a younger generation of town planners is trying to fight for better laying out of the buildings, roads and amenities in the ever-expanding newer areas.
The buildings shown here can only hope to give the merest flavour of the range and diversity to be found across Cape Verde.
To see more photos from the Cape Verde Architecture album click here
Reporter: Ade Daramy
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Tags: architectureCabo VerdeCape VerdeMindeloSanto Antao
by Vincent Gasana · Published June 2, 2018
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text:
Elect II—2 Amazons, part 1 of 3
October 10, 2016 October 1, 2016 M G Kizzia Leave a comment
Emily got to the suite early on Wednesday and unpacked before the others arrived. She was not too impressed. There were three dorm rooms, a small common lounge area and a bathroom with two stalls, two sinks, two mirrors and a shower. That was not going to be enough for six girls. Emily shook her head. It was still just a college dorm after all.
Everyone said be there at six. They said they wanted to celebrate the beginning of a new school year, but Emily could not move that fast. She was going to be late. She had to visit Professor Schultz first and bring him up-to-date on her summer activities.
Heinrich Schultz, history professor, was born in 1640, though he hardly looked over sixty. He was a member of the council of fifty men from around the world that were raised up to keep a careful eye on the women known as the elect. He told her last year that when the goddesses made the elect at the beginning of history—the so-called "one in a million" warrior women, they neglected to take into account human fallibility and weakness in the face of temptation. The gods responded by making a small council of plain ordinary men but for the long life who could be activated and empowered for short periods of time to deal with things unseen by the goddesses—like an elect gone rogue. Heinrich's mere presence made Detective Lisa nervous, but Emily thought he looked like Santa Clause. She kissed his cheek and thanked him again for her sword, and smiled when she left him.
Emily also smiled when she talked to her sister elect Lisa earlier in the day. She was glad to hear that everything around Trenton and around the New Jersey State campus was quiet. After freshman year, she needed a quiet semester. Lisa had the good sense to only mention Pierce once, and that was to say she was there if Emily ever wanted to talk about it. Emily did not want to talk about it, but she appreciated the offer and said so.
Emily made sure she talked to Latasha early as well. Latasha was going to be a sophomore at the high school near the campus. Emily felt it was important to encourage the girl in her schooling every chance she got. God knew the girl got little encouragement from her family, friends and neighbors. Sure, Latasha's mother loved her well enough, and she had a couple of good friends in Keisha and Janet, but that was it. She struggled against a terrible cultural headwind designed to keep her down and isolated, and isolation was especially dangerous for an elect. Given her power, if Latasha was ever tempted to lash out, the consequences could be dire. Lisa and Emily discussed it. It was important for them to remind Latasha that she was not the only one, that she was not alone and that they were there for her no matter what.
Emily made a quick stop at the student center and her post box. She found a note regarding the fall schedule. They hired a teacher for Anatomy and Physiology, which was good because she needed that class, but they could only schedule the classes as night classes, so her schedule got changed. The note from the new Professor, a man named Vladimir Orlov said he had other daytime obligations until the end of the year, but do not worry. He was not a vampire. Emily rolled her eyes.
She lifted her head and saw Ms Morgan Granger float by. The woman now had seven hunks and two gorgeous women in her train. Emily knew the woman was dabbling with Professor Hilde's Jekyll and Hyde juice, but it was something she wanted to ignore.
When Emily looked toward the door, she saw a woman she only vaguely recognized. She was prepared to ignore this woman too, but the woman went straight for her and even attempted to trap her by the mailboxes so she couldn't escape. The woman put out her hand to introduce herself.
"Courtney Chase, Channel 5, Eyewitness News."
Emily opted not to shake the woman's hand by putting her hand to her ribs instead. "You surveying students?"
"You are Emily Hudson? I understand you had quite a year last year, and I missed it all."
Emily had to think about how to answer the woman. The last thing she wanted was publicity, but then she was hoping for a dull, uninteresting year where she could actually focus on her nursing studies. "You didn't miss much, and I expect this year will be just as unexciting."
"I heard the freshman ROTC got into some bad drugs. Did you have to kill any of those young men?"
"Most of the freshmen transferred out." Emily shrugged. "That's all. It happens. We have a few sophomores in the class this year."
"But what about the dead people walking around campus. You were seen cutting off people's heads."
"Actually, there was a person last year who was into mass hypnosis, but she was taken care of by someone else. It wasn't me."
"But I heard—."
"You heard a bunch of nonsense. This is a college campus, for crying out loud. College kids do crazy things, but I am not sure any of them are newsworthy. Excuse me." Emily squeezed past the woman and limped toward the door.
"How did you manage to get hurt?" The woman seemed to notice for the first time.
"I fell off a dog."
"You fell off a dog?"
"It was a really big dog."
"Interesting. I would love a camera interview. Say, a week from Thursday, four o'clock so it is after classes?"
Emily stopped in the doorway. She put on a big smile. "You want to hear about my nursing classes? That could be good. Maybe we could encourage young people to consider going into nursing. All projections say there will be a shortage of nurses in the near future."
Courtney Chase, Channel 5, Eyewitness News frowned. She did not have her cameraman with her. She showed a thousand questions on her face, but all she said was, "Maybe later." Emily escaped.
She limped away from the center with her hand still around her middle. Her chest was wrapped. One of her lungs collapsed back when they first got her to the hospital, but she survived. She did not doubt that she would.
Latasha felt good about being back in school even if Janet and Keisha were being dips about it. She only had a couple of years to get her grades up to where she could go to Mercer Community and study Criminal Justice, Law Enforcement. She had her heart set on the Police Academy and following in Detective Lisa's footsteps. Sadly, everything around her, including her friends dragged her down. At least she got along well with her science teacher.
"Ms Riley, I thought you weren't coming back after freshman year and, you know, the succubus incident." Latasha glanced at her friends. They did not remember much about it.
"What suck-you-bus incident?" Keisha asked.
"You mean that time Mister Santos the bus driver tried to shoot you?" Janet asked. Latasha just shook her head in response.
"That was my plan," Ms Riley explained to Latasha. "But things have changed. Right now there is something going on in this community and I have been asked to stay for a while."
"If there is something bad happening, Latasha could beat them up," Janet offered. Latasha gave Janet a mean stare before she looked again at her teacher.
"Something I should know about?" Latasha asked. Latasha was not exactly sure who Ms Riley was except she knew the woman was no ordinary teacher. Last year Latasha caught a glimpse of the woman all skinny with pointed ears kissing a man of the same description that she said was her husband. Latasha was not sure what all that meant, but she knew Ms Riley was one of the good guys and that was all that really mattered.
"Right now all you need to know is your biology homework," Ms Riley said with a smile, and that rather ended the discussion. Once in the hall, Keisha had another thing to say.
"Why did she move up a grade with us? Wasn't it bad enough we had to have her last year for environmental science?"
With that word, Latasha had a moment of insight and stopped walking so the others stopped. A year ago, she would have been right in there with Keisha, agreeing with the girl and badmouthing the teacher, but the truth was, Ms Riley was not only one of the good guys, she was a good teacher. Sure, biology was going to be hard, but damn it! Latasha was going to the Police Academy. She was going to do something with her life and she was going to get ahead. And maybe that meant she had to stop listening to her friends. Maybe she had to close her ears to the whole culture in which she lived. She did not know if she could do that, but she was going to give it her best try.
Latasha started to walk again and realized Keisha and Janet were talking about all of their teachers and classes in the most negative terms they could devise. Staying out of it was not going to be easy.
When they got to the parking lot, Keisha pointed. "Hey look, Bobby Thompson." She nudged Janet in the side.
Latasha looked, but all she saw was a drug deal going down. "Hey!" She shouted at the boys. She started forward, but the boys noticed and ran off. Latasha would have run after them. Bobby Thompson appeared to be the one with the drugs, but Janet moved faster than Latasha thought possible for such a big girl and she got in front of Latasha to block Latasha's way
"You leave him alone!" Janet said with a wag of her head like her mother did when she meant to be obeyed.
"Bobby Thompson? He's dealing."
Janet shook her head again and pouted her lips. "I don't care what he is doing. You stay away from him."
"Janet?"
"Janet is sweet on him," Keisha stepped up. She thought it was funny.
Latasha tried to talk sense. "Janet, the guy is scum."
"He is not scum to me," Janet said.
"What, he was nice to you once? He's been nice to half the girls in school. You are nothing special to him."
"Fuck you. I am. You don't know nothing." Janet's hands went to her hips and she wiggled them for emphasis.
Latasha backed away. She got out her phone. She had to call Detective Lisa and she had to decide what she was going to do about her friends. She wondered briefly if Janet was pregnant.
creative Writing, Fantasy, Science Fiction, Speculative Fiction, StorytellerAmazons, Elect
← Elect II—1 Summer Fun, part 3 of 3
Elect II—2 Amazons, part 2 of 3 →


New World #1 – I'd lost faith in Ales Kot after some of his titles just fizzled out on us, but his Days of Hate has been terrific, so I figured I'd gladly give this title a chance.
Shanghai Red #2 – I really got a lot of pleasure out of the first issue of this series, which is about a woman who fights back against her captors who shanghaied her onto a boat for a couple of years. Now she's back in Portland, looking for the people who sold her into servitude, and for revenge. The series had a great launch, so I want to see where it goes from here.
X-Men Grand Design Second Genesis #1 – I loved Ed Piskor's first series that unifies the history of the X-Men into one coherent story. Now he's coming back with the All-New, All-Different era, and I couldn't be more excited. This should be a great trip down memory lane (for books that I originally read as Classic X-Men).
Also, this week, I'm looking forward to the conclusion of Descender, and new issues of Royal City (the last one came out last week!), Saga, Marvel 2-In-One, Multiple Man, Punisher, Doctor Aphra, and since it's still only $3, Detective Comics.
I still have a few weeks to catch up on, so there are a couple DC series I'm behind on.
Descender #32 – The epic conclusion! I was glad to hear about the release of Ascender, due out sometime early next year. Dustin Nguyen's painted style has always been a favorite of mine, I'm glad it won't be long for this return.
Justice League Dark #1 – I'm a few weeks behind so I haven't read the regular JL series yet, but this is the one I've really been waiting for, especially the members. Zatanna and Swamp Thing make sense of course, even Man-Bat I can see, but Wonder Woman and Detective Chimp are the real cool additions. Should be a good book.
The Terrifics #6 – Still the best of the New Age series.
Redneck #13 – Third arc!
Saga #54 – Arc finale!
10 books this week and 1 HC.


People who don't enjoy the repetitive nature of shaving or waxing often turn to laser hair removal as a permanent option for removing unwanted body hair. Laser hair removal is so popular, that is has topped the list as one of the most requested cosmetic procedures performed in recent years. While relatively safe, it's important to follow a few simple aftercare guidelines to ensure that your skin is protected and the healing process progresses quickly.
Immediately following your laser treatment, you should apply ice packs to the area to calm the irritation and reduce redness. The area treated will feel like a mild sunburn and looks about as red. The ice packs are a great way to combat swelling and ease any pain. Make sure to always cover your ice pack in a towel to prevent aggravating the skin, apply the ice to the treated area in 10-minute blocks of time, with a one hour gap in between.
Raw Aloe Vera is a great way to calm redness and swelling after a laser treatment. This plant is good for the skin and encourages healing. If you are not able to find it in its raw, form, check the skincare aisle at your local market for the gel form. Simply apply cooled gel to the treated area and allow it to be fully absorbed into your skin. This can be repeated several times a day until the skin is healed from the procedure.
In most cases, laser hair removal is painless, but if you are facing higher levels of discomfort, you can take an over the counter pain relief aid such as Tylenol or Advil. If you are still feeling high amounts of pain more than 24 hours after the initial treatment, it's important to get in touch with your doctor right away.
It's important to protect your skin from the sun and harmful UV rays all of the time, but following a laser hair removal treatment, you will need to be extra vigilant. When you go outside, cover the treated areas with fabric or clothing, if your treatment area was on your face, wearing a hat is a great way to protect your skin from the sun. Avoid visiting tanning booths until your skin has healed completely, and stay out of direct sunlight for at least 2- 6 weeks following your procedure. Make sure to always use sunscreen, with a minimum SPF of 30.
Heat is used to kill the hair follicles and prevent your hair from re-growing in the treated areas. It's important to limit or avoid exposing those areas to high amounts of heat for at least 2 days following your laser hair removal procedure. That means no extra hot showers, hot tubs, or saunas.
Skip harsh or overly scented soaps while your skin is healing, instead choose mild cleansers that are designed for skin that is sensitive to clean the treated areas while they heal. Use a moisturizer that doesn't have harsh additives to replace lost moisture and reduce irritation. This will help keep the pores open and encourage quicker healing. For facial laser treatments, you should avoid wearing makeup and other skin care products until your skin is healed, typically 24-48 hours after the procedure.
For more information on aftercare for your skin, or to schedule an appointment with one of our technicians, give Atlantis Clinic a call at (905) 237-1354 today.


text:
The Institute does not deny employment opportunities to qualified persons who have been convicted of any crime. Ex-offenders may be referred to Human Resources by treatment or assistance agencies. They may seek employment while on parole through the Massachusetts Parole Board, or they may be in work release status from one of the Massachusetts Correctional Institutions.
When applying for a position at the Institute, ex-offenders are asked to complete the Supplement to the Application for Employment, which contains guidelines regarding the release of information about criminal offenses, prior to interview and referral to departments. The Supplement is kept in confidence in the Faculty and Staff Information Services Office and its contents shared with appropriate supervisors only when the Human Resources Officer has received reasonable assurance that the supervisor is intending to hire the ex-offender. The nature of the offense may be discussed with the supervisor to determine whether a position and its responsibilities combine to create an atmosphere that will be conducive to the success of the ex-offender in employment. Certain positions may have special requirements, such as a security clearance, permit to carry firearms, etc., which could restrict the consideration of ex-offenders for these positions.


text:
Cooper named MPHS Senior of the Month
Staf report
Olivia Cooper, daughter of Janette and Chad Cooper of Mount Pulaski, has been named November- Senior-of-the-month at Mount Pulaski High School. She was selected for this honor based on the criteria of scholarship, leadership, service, and character.
Cooper stays actively involved at MPHS with sports and clubs. For the past four year she has been a member of FFA, serving as secretary this year. She has also been a member of Spanish Club for four years and is an officer this year. She has been a member of the yearbook Committee for three years and on NHS and Prom Committee for the last two years. She has played Softball all four years, Basketball three years, and Soccer for a year.
Cooper earned science student of the year recognition her Freshman year and has been on High Honor Roll since her freshman year.
She plans to attend Millikin University to pursue and degree in Teaching and to play Softball.
The Senior-of-the-Month program is sponsored by Conaway Handyman Service and Downing, Przykopanski, Clements, & May Insurance Agency, Inc.. They are also in the running for the $500 Senior-of-the-Year award sponsored by Illinois National Bank.


Tandem Mass Tag (TMT) is a powerful technique for comparing protein (and peptide) amounts between six or ten conditions. This technique involves labeling samples after digestion, meaning this technique can be used on in vivo samples, unlike SILAC.
Samples to be analyzed by TMT quantitation should be submitted as in-solution samples, in 50 mM triethylammonium bicarbonate and 5% SDS. Analysis of acquired mass-spectrometry data will be performed with Proteome Discoverer 2.2 software.
$1500 for TMT 6-plex, $2000 for TMT 10-plex.
We run your TMT samples on our Orbitrap Fusion Lumos mass-spectrometry platforms, using an appropriate LC-MS/MS method. We identify and quantify peptides and proteins from samples using Proteome Discoverer 2.2, and send you a spreadsheet including a list of proteins present and the relative amount of each protein in each sample.
Contact us before beginning the experiment to discuss experimental design. Ensure all samples have similar amounts of protein.
Put each sample into an Eppendorf 1.5ml tube, which has been rinsed with 50% organic solvent and millipure water.
Appropriate experimental design and statistical analysis of results are key to a successful quantitative proteomics experiment. You must contact us before beginning your quantitative experiment. Biological and technical repeats are necessary for robust results, so quantitative experiments can be lengthy and expensive. Careful consideration upfront prevents wasted time and money later.
If you are planning TMT samples please always contact ProteomicsCore@UTSouthwestern.edu before you prepare and submit your samples.


"Live bait fishing with Captain David Hilton and Ronnie Watt on the Santee Cooper Lakes for some stripers. We had a little bit of rough water for the day but we still had a great time catching some great Santee Cooper Striped Bass."
nestled under majestic Oak Trees, and a home style cooking restaurant.
Bell's Marina is ideal for families, family get togethers, waterfront weddings, group and corporate outings, as well as the dedicated fishermen or hunter.
Call Gary West 803-492 -7924. Dates are limited.
Bells Marina has a gas station, convenience store and bait and tackle shop that can satisfy the needs of locals and marina guests. Whether you are looking for your morning paper and coffee or snacks, milk, food stuffs or other essentials were here for you with the best merchandise and prices that you will find in the area. But we are more than just a convenience store. We have everything that fisherman, campers, motel guests or hunters needs while here to take advantage of Santee Cooper lakes and all the beautiful Lake Marion surroundings have to offer. With all that we have to offer you are not going to have to travel any further to satisfy your needs. We have it all. More importantly we have a friendly, knowledgeable and hospitable staff that is here to make your vacation experience memorable.
We offer guided fishing trips and Hunting packages. Our Hunting areas offer exceptional hunting experiences.
Ask about our Whitetail Deer Hunting Outings Packages.
Call Gary West for Fishing & Hunting Guide information. 803-492-7924.
Content copyright 2015-2018 Bells Marina. All rights reserved.


A really nice portrayal of the evolution of a new illustrated boxed-set of Malcolm Gladwell's three best-selling books: The Tipping Point, Blink and Outliers. Designer Paul Sahre, illustrator Brian Rea, Malcolm Gladwell and other participants sit down with Debbie Millman, host of Design Matters, to discuss their experiences with the formation of the Malcolm Gladwell: Collected book project. Such a nice collaborative achievement, and three years in the making.


text:
e-Learning Home
2022 Talent Summit - March 10
Talent Forum Series: The Power of Language: Mistake-Making & Moving Forward in the Workplace
Includes a Live Event on 01/27/2022 at 9:00 AM (EST)
Member - Free!
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Contents (3)
*Please note: this forum is 90-minutes long.
Join the team from LEAD, an organization committed to empowering employers with no-fluff mental health and DEI training, as they facilitate an engaging session on mistake-making in the workplace, and how to move forward.
In this session, participants will be empowered to:
Practice identifying and correcting their written and verbal communication errors through a HR & DEI lens.
Learn to acknowledge and apologize for one's mistakes, biases, and language errors to move forward appropriately, without victimizing themselves or falling victim to "Cancel Culture."
Adopt cultural humility and avoid optical allyship and tone-deaf messaging to attract and retain diverse talent now and in the future.
Use Brene Brown's rumble language to model authentic and vulnerable leadership after an apology has been made
Kyrah J. Altman (she/her)
Lead, Inc.
Kyrah J. Altman's story of social entrepreneurship began at nine years old. As a result of growing up in a broken home, she began experiencing severe post-traumatic stress disorder and depression in middle school. While mental illness followed her throughout adolescence, she channeled her loss of childhood and early adverse experiences into planning local fundraisers to support historically marginalized groups in her community, including children with disabilities, mothers recovering from substance use disorders, and survivors of domestic violence.
Despite battling mental illness, suicidal ideation, and a loss of childhood throughout adolescence, Kyrah continued channeling her internal struggles by working passionately with seven high school peers to establish a student-led social enterprise called Let's Empower, Advocate, and Do (LEAD). At the time of LEAD's founding in 2012, Kyrah was already a seasoned, 16-year-old social entrepreneur who had spent years planning community service initiatives and working as a Certified Nurse Assistant with Hospice patients. LEAD's founding was directly catalyzed by the Newtown CT, tragedy, as many of the school shooting's victims were similar ages to Kyrah's younger siblings. Since Kyrah began raising her younger siblings as a pre-teen herself, this horrific tragedy catapulted her and her peers into action.
Despite being displaced from her home at age 17 and surviving an abusive romantic relationship, Kyrah continued to simultaneously direct LEAD and manage her mental health. By her high school graduation, LEAD donated over $10K to its Leominster, Massachusetts community through sustainable social justice initiatives and community service events.
In 2016, and as the only female and freshman social entrepreneur in the George Washington University New Venture Competition, Kyrah won $32,500 of seed funding and incorporated LEAD as a 501(c)3 nonprofit. From her dorm room, Kyrah scaled LEAD into the international mental health literacy organization it is today, dedicating the organization to providing training and curriculum to strengthen mental health literacy, promote lifelong well-being, and build community resilience. Kyrah graduated from the George Washington University in 2019, with a degree in Human Services & Social Justice, Public Health, and Innovation & Entrepreneurship. During that time, Kyrah also served as the nation's youngest Youth Mental Health First Aid instructor and was honored to represent her home state as the MA Cherry Blossom Princess for the National Cherry Blossom Festival in Washington, D.C.
The Power of Language: Mistake-Making & Moving Forward in the Workplace
01/27/2022 at 9:00 AM (EST) | 90 minutes
01/27/2022 at 9:00 AM (EST) | 90 minutes *Please note: this forum is 90-minutes long. Join the team from LEAD, an organization committeed to empowering employers with no-fluff mental health and DEI training, as they facilitate an engaging session on mistake-making in the workplace, and how to move forward. In this session, participants will be empowered to: Practice identifying and correcting their written and verbal communication errors through a HR & DEI lens. Learn to acknowledge and apologize for one's mistakes, biases, and language errors to move forward appropriately, without victimizing themselves or falling victim to "Cancel Culture." Adopt cultural humility and avoid optical allyship and tone-deaf messaging to attract and retain diverse talent now and in the future. Use Brene Brown's rumble language to model authentic and vulnerable leadership after an apology has been made
You must register to access.
Survey - The Power of Language: Mistake-Making & Moving Forward in the Workplace
6 Questions A quick survey to evaluate the effectiveness of this NEHRA session (1-2 minutes)
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1.00 SHRM & HRCI credit | Certificate available
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A petite version of the original Cirrus, made in a smaller width for versatility. The slightly domed band features filigree scrolls creating a full bezel and capturing round cut diamonds. The hand applied stipple background creates a lovely contrast to the high polish filigree work. This design can be made for any type, shape, or size center stone.


text:
Виктор Григорьевич Миронов () — российский политик, член Совета Федерации (2002).

Биография
Окончил Казанский химико-технологический институт им. С. М. Кирова. Награждён орденом Почета, медалью ордена «За заслуги перед Отечеством» II степени, юбилейными медалями «60 лет Вооруженных Сил СССР», «70 лет Вооруженных Сил СССР», «За доблестный труд. В ознаменование 100-летия со дня рождения Владимира Ильича Ленина».

С 1981 в центральном аппарате КГБ: помощник начальника отдела, начальник отдела. С 1988 зампред КГБ Татарстана. С декабря 1991 начальник УАФБ Омской области. С октября 2000 главный фединспектор по Омской области.

Политическая карьера

Примечания

Ссылки

Члены Совета Федерации России (с 2000)

redpajama_set_name: RedPajamaWikipedia


text:
Marguerite Duras [] (* 4. April 1914 in Gia Định bei Saigon, Vietnam (damals Französisch-Indochina) als Marguerite Donnadieu; † 3. März 1996 in Paris) war eine französische Schriftstellerin, Dramatikerin, Drehbuchautorin und Filmregisseurin.

Leben
Marguerite Donnadieu, Tochter eines Lehrerehepaars, nahm den Künstlernamen Marguerite Duras nach dem Familiensitz ihres Vaters im Département Lot-et-Garonne an. Sie wuchs in Vietnam in ärmlichen Verhältnissen auf. Die Mutter zog sie und die zwei Geschwister alleine auf und kämpfte mit den Folgen einer Fehlinvestition in Reisfelder im heutigen Kambodscha. Duras verarbeitete diese Erfahrung in dem erstmals 1950 auf Französisch veröffentlichten Roman Un barrage contre le Pacifique (1988, dt. Heiße Küste).

1931 ging Duras nach Frankreich, um in Paris zunächst Mathematik, dann Jura und Politikwissenschaft zu studieren. Sie engagierte sich mit Philippe Roques für ein Wiedererstarken des französischen Kolonialreichs, schloss sich dann ab 1940 aber einer Résistancegruppe von Buchhändlern an, wodurch sie Zugang zu rationiertem Papier hatte und auch den späteren französischen Präsidenten François Mitterrand kennenlernte. Ihr Ehemann Robert Antelme, der ebenfalls in der Résistance aktiv war, wurde von der Gestapo verhaftet und ins KZ Dachau verschleppt. 1985 publizierte Duras die während dieser Zeit entstandenen Tagebucheinträge unter dem Titel La Douleur. 1944 trat Duras der Kommunistischen Partei Frankreichs bei. Später protestierte sie gegen die Behandlung von Schriftstellern in der Sowjetunion, was 1950 zu ihrem Parteiausschluss führte. Während der Zeit ihrer Partizipation in der Résistance lernte Duras Dionys Mascolo kennen, der 1947 ihr zweiter Ehemann und Vater ihres Sohnes, Jean (Outa, geb. 1947), wurde.

Ähnlich wie ihre Mutter Marie Donnadieu mit der Erziehung ihrer Kinder Pierre, Paul und Marguerite überfordert war, hatte auch Marguerite Duras, die unter Alkoholismus litt, bei der Erziehung ihres Sohns Jean größte Schwierigkeiten, die dazu führten, dass ihre Umgebung sie drängte, Jean auf ein Internat zu schicken.

Die letzten sechzehn Jahre ihres Lebens verbrachte Duras mit dem knapp 40 Jahre jüngeren Schriftsteller Yann Andréa (eigentlich Yann Lemée). Ihm hat sie das Buch Yann Andréa Steiner (1992) gewidmet. Andréa selbst widmete seinem Leben mit Duras mehrere autobiographische Werke, darunter M. D. (1983) und Cet amour-là von 1999 (2000, dt. Diese Liebe), das im Jahr 2001 von Josée Dayan mit Jeanne Moreau verfilmt wurde.

Wirken

Ihr Erstlingsroman Les impudents (1943) wurde von der Öffentlichkeit mehr oder weniger übersehen. Bereits ihr zweites Werk jedoch, Un barrage contre le Pacifique (1950), war ein Erfolg und brachte ihr beinahe den Prix Goncourt ein. Internationale Bekanntheit erlangte sie schließlich 1959 mit dem Drehbuch zu dem Film Hiroshima, mon amour, das zum ersten Mal die noch bis in die 1990er Jahre als Tabu behandelte Demütigung und Ächtung französischer Frauen thematisierte, denen sogenannte "horizontale Kollaboration" vorgeworfen wurde, in erster Linie Liebesbeziehungen mit deutschen Besatzungssoldaten.

Ihre Romane waren fast alle autobiographisch geprägt, so beispielsweise L'amant (1984, dt. Der Liebhaber), für den sie 1984 den Prix Goncourt erhielt, oder L'amant de la Chine du Nord (1991, dt. Der Liebhaber aus Nordchina). In beiden Werken beschrieb sie ihre turbulente Kindheit und ihre frühen Liebeserfahrungen im Indochina der ersten Hälfte des 20. Jahrhunderts.

Die Autorin war auch für das Theater tätig und verfasste 1965 z. B. das Drama La musica. In den 1970er und frühen 1980er Jahren trat sie auch als Filmregisseurin in Erscheinung, wobei sie nicht nur bereits erschienene eigene Texte (India Song, 1975; Les enfants, 1984) auf die Leinwand brachte, sondern auch eigenständige Arbeiten für das Kino produzierte (Le Camion, 1977). Während dieser Zeit erschienene literarische Publikationen von Duras standen immer im Zusammenhang mit ihrem filmischen Schaffen – L'amant ist die erste wieder "rein" literarische Publikation nach dieser Phase.

Charakteristisch für ihre Sprache ist eine große Schlichtheit in Vokabular und Satzbau, die sich zudem auszeichnet durch zahlreiche Ellipsen, Anspielungen, Unausgesprochenes, das jedoch im Hintergrund steht, sowie fragmentarisch zusammengefügte Sätze. Ihr Gesamtwerk ist keiner der großen literarischen Strömungen des 20. Jahrhunderts zuzuordnen.

Gegenüber der Tendenz, Duras wegen der häufigen Wiederholung von Motiven und Topoi in ihren zahlreichen Büchern für eine oberflächliche Schriftstellerin zu halten, äußert sich Duras in einem kurzen Interview mit Leslie Kaplan von 1988 zu ihrer eigenen Schriftstellerei, gibt aber auch ihre Meinung über das entfremdete Leben in der Neuzeit wieder:

Diese Unendlichkeit des Menschen war letztendlich ihr Thema.

Werke

Romane
 1943: Les Impudents
Die Schamlosen, dt. von Andrea Spingler; Suhrkamp, Frankfurt am Main 1999, ISBN 3-518-41077-6.
 1944: La Vie tranquille
 Ein ruhiges Leben, dt. von Walter Maria Guggenheimer; Suhrkamp, Frankfurt am Main 1962.
 1950: Un barrage contre le Pacifique
 Heiße Küste, dt. von Georg Goyert, Biederstein-Verlag München 1952.
 1952: Le Marin de Gibraltar
Der Matrose von Gibraltar, dt. von Walter Tritsch, Holle-Verlag, Baden-Baden 1956
 Neuübersetzung: Der Matrose von Gibraltar, dt. von Maria Dessauer; Suhrkamp, Frankfurt am Main 1989, ISBN 3-518-40165-3.
 1953: Les Petits Chevaux de Tarquinia
 Die Pferdchen von Tarquinia, dt. von Walter Maria Guggenheimer; Suhrkamp, Frankfurt am Main 1960
 1954: Des journées entières dans les arbres
 Ganze Tage in den Bäumen, dt. von Elisabeth Schneider; Suhrkamp, Frankfurt am Main 1964.
 1955: Le Square
Im Park, dt. von Andrea Spingler; Suhrkamp, Frankfurt am Main 1987, ISBN 3-518-02677-1.
 1958: Moderato cantabile
 Moderato Cantabile, dt. von Leonharda Gescher und Walter Maria Guggenheimer; Suhrkamp, Frankfurt am Main 1959.
 1960: Dix heures et demie du soir en été
Im Sommer abends um halb elf, dt. von Ilma Rakusa, Suhrkamp, Frankfurt am Main 1990, ISBN 3-518-40230-7.
 1962: L'Après-midi de Monsieur Andesmas
 Der Nachmittag des Herrn Andesmas, dt. von Walter Boehlich, Suhrkamp, Frankfurt am Main 1963.
 1964: Le Ravissement de Lol V. Stein
 Die Verzückung der Lol V. Stein, dt. von Katharina Zimmer; Suhrkamp, Frankfurt am Main 1966.
 1966: Le Vice-Consul
 Der Vize-Konsul, dt. von Walter Maria Guggenheimer; Suhrkamp, Frankfurt am Main 1967.
 1967: L'Amante anglaise
Die englische Geliebte, dt. von Regula Wyss; Stroemfeld/Roter Stern, Basel/Frankfurt am Main 1984, ISBN 3-87877-214-9.
 1969: Détruire, dit-elle
 Zerstören, sagt sie, dt. von Walter Boehlich; Luchterhand, Berlin/Neuwied 1970.
 1970: Abahn Sabana David
Abahn Sabana David, dt. von Maria Dessauer; Suhrkamp, Frankfurt am Main 1986, ISBN 3-518-02593-7.
 1971: Ah! Ernesto
 Ach, Ernesto!, dt. von Elisabeth Borchers, Insel, Frankfurt am Main 1972.
 1972: L'amour. 1970
Liebe, dt. von Barbara Henninges; Suhrkamp, Frankfurt am Main 1986, ISBN 3-518-01935-X.
 1980: Véra Baxter ou les plages de l'Atlantique
Véra Baxter oder Die Atlantikstrände, dt. von Andrea Spingler; Suhrkamp, Frankfurt am Main 1987, ISBN 3-518-11389-5.
 1980: L'Homme assis dans le couloir (Erzählung)
Der Mann im Flur, dt. von Elmar Tophoven; Brinkmann und Bose, Berlin 1982, ISBN 3-922660-07-X.
 1982: L'homme atlantique
 Atlantik-Mann, dt. von Regula Wyss, Stroemfeld/Roter Stern, Basel/Frankfurt am Main 1985.
 1985: La Maladie de la mort (Erzählung)
Die Krankheit Tod, dt. von Peter Handke; Fischer, Frankfurt am Main 1985, ISBN 3-596-27092-8.
 1984: L'amant
Der Liebhaber, dt. von Ilma Rakusa; Suhrkamp, Frankfurt am Main 2006, ISBN 978-3-518-45843-3
 1985: La douleur
Der Schmerz, dt. von Eugen Helmlé; Hanser; München 1986, ISBN 3-446-14489-7.
 1980: Les Yeux bleus, cheveux noirs
Blaue Augen schwarzes Haar, dt. von Maria Dessauer; Suhrkamp, Frankfurt am Main 1987, ISBN 3-518-04437-0.
 1986: La Pute de la côte normande
 1987: Emily L
Emily L., dt. von Maria Dessauer; Suhrkamp, Frankfurt am Main 1988, ISBN 3-518-40135-1.
 1990: La Pluie d'été
Sommerregen, dt. von Andrea Spingler; Suhrkamp, Frankfurt am Main 1991, ISBN 3-518-40372-9.
 1991: L'Amant de la Chine du Nord
Der Liebhaber aus Nordchina, dt. von Andrea Spingler; Suhrkamp, Frankfurt am Main 1993, ISBN 3-518-38884-3.
 1992: Yann Andréa Steiner
Yann Andréa Steiner, dt. von Andrea Spingler; Suhrkamp, Frankfurt 2000, ISBN 3-518-39672-2.
 1993: Écrire
Schreiben, dt. von Andrea Spingler; Suhrkamp, Frankfurt am Main 1994, ISBN 3-518-40611-6.

Bühnenstücke
 1959: Les Viaducs de la Seine-et-Oise
 1963: Miracle en Alabama (nach William Gibson, adaptiert von Marguerite Duras und Gérard Jarlot)
 1965: Théâtre I: Les Eaux et Forêts. Le Square. La Musica.
 1968: L'Amante anglaise
 1968: Théâtre II: Suzanna Andler. Des journées entières dans les arbres. Yes, peut-être. Le Shaga. Un homme est venu me voir.
 1977: India Song
India Song, dt. von Sigrid von Massenbach; Brinkmann und Bose, Berlin 1984, ISBN 3-922660-16-9.
 1977: L'Éden Cinéma
 Eden Cinema, dt. von Ruth Henry; Suhrkamp, Frankfurt am Main 1978.
 1981: Agatha
Agatha, dt. von Regula Wyss; Stroemfeld/Roter Stern, Basel/Frankfurt am Main 1982, ISBN 3-87877-173-8.
 1982: Savannah Bay
Savannah Bay, dt. von Elisabeth Plessen, Fischer, Frankfurt am Main 1985, ISBN 3-596-27084-7.
 1984: Théâtre III: La Bête dans la jungle (nach Henry James, adaptiert von James Lord und Marguerite Duras). Les Papiers d'Aspern (nach Henry James, adaptiert von Marguerite Duras und Robert Antelme). La Danse de mort (nach August Strindberg, adaptiert von Marguerite Duras).
 1985: La musica deuxième
La musica zwei, dt. von Simon Werle; Suhrkamp, Frankfurt am Main 1989, ISBN 3-518-11408-5.
 1991: Le Théâtre de l'amante anglaise
 1999: Théâtre IV: Vera Baxter. L'Éden Cinéma. Le Théâtre de l'amante anglaise. Home. La Mouette.
 2010: Der Schmerz – dt. Bühnenadaption – UA: 11. April 2010, Kammertheater Stuttgart, inszeniert und gespielt von Corinna Harfouch

Sammelbände
 1980: L'Été 80
Der Sommer 1980, dt. von Ilma Rakusa; Suhrkamp, Frankfurt am Main 1984, ISBN 3-518-11205-8.
 1981: Outside – Papiers d'un jour
 1987: La Vie matérielle – Marguerite Duras parle à Jérôme Beaujour
Das tägliche Leben, dt. von Ilma Rakusa; Suhrkamp, Frankfurt am Main 1988, ISBN 3-518-11508-1.
 1987: Les Yeux verts
Die grünen Augen: Texte zum Kino, dt. von Sigrid Vogt; Hanser, München/Wien 1987, ISBN 3-446-14965-1.
 1993: Le Monde extérieur – Outside 2
 1995: C'est tout
Das ist alles, dt. von Andrea Spingler; Suhrkamp, Frankfurt am Main 1996, ISBN 3-518-40792-9.
 1996: La Mer écrite, textes d'après des photographies d'Hélène Bamberger
 1999: La Cuisine de Marguerite
 2006: Cahiers de la guerre et autres textes
 Hefte aus Kriegszeiten: Autobiografische Aufzeichnungen und frühe Erzählungen, dt. von Anne Weber; Suhrkamp, Frankfurt am Main 2007, ISBN 3-518-41924-2.
 2010: La Beauté des nuits du monde, textes choisis et présentés par Laure Adler
 2014: Deauville la mort.

Filmografie
Literarische Vorlage
 1957: Heiße Küste (La diga sul pacifico) – Regie: René Clément
 1960: Stunden voller Zärtlichkeit (Moderato cantabile) – Regie: Peter Brook – nach dem Roman Moderato cantabile
 1967: Nur eine Frau an Bord – Regie: Tony Richardson – nach dem Roman Der Matrose von Gibraltar
 1991: Der Liebhaber (L'amant) – Regie: Jean-Jacques Annaud – nach dem Roman Der Liebhaber
 2008: Un barrage contre le pacifique – Regie: Rithy Panh
 2017: La douleur – Regie: Emmanuel Finkiel

Drehbuch (und soweit nicht anders angegeben auch Regie)
 1959: Hiroshima, mon amour (Hiroshima mon amour) – Regie Alain Resnais
 1960: Noch nach Jahr und Tag (Une aussi longue absence) – Regie: Henri Colpi
 1965: Der Augenblick des Friedens (Les rideaux blancs) – Regie der ersten Episode: Georges Franju (Drehbuch der ersten Episode)
 1966: Mademoiselle – Regie: Tony Richardson (Drehbuch nach einer Vorlage von Jean Genet)
 1966: Halb elf in einer Sommernacht(10:30 P.M. Summer) – Regie: Jules Dassin – nach dem Roman Dix heures et demie du soir en été
 1966: La Musica
 1966: Schornstein Nr. 4 (La voleuse) – Regie: Jean Chapot
 1969: Zerstören, sagt sie (Détruire, dit-elle)
 1971: Jaune le soleil
 1972: Nathalie Granger – auch Musik – mit Jeanne Moreau, Gérard Depardieu
 1975: India Song
 1976: Ihr Name aus Venedig im verlassenen Kalkutta (Son nom de Venise dans Calcutta desert)
 1976: Ganze Tage in den Bäumen (Des journées entières dans les arbres) – nach dem gleichnamigen Roman
 1977: Baxter, Vera Baxter
 1977: Der Lastwagen (Le camion) – auch Darstellerin
 1979: Le navire night
 1979: Césarée
 1979: Les mains négatives
 1979: Aurélia Steiner (Melbourne)
 1979: Aurélia Steiner (Vancouver)
 1981: Agatha ou les lectures illimittées
 1982: Dialogue de Rome
 1981: L'homme atlantique
 1984: Les Enfants – Die Kinder (Les enfants)

Preise und Auszeichnungen
 1984: Prix Goncourt für L'amant (Der Liebhaber)
 1986: Prix Ritz Paris Hemingway für L'amant (Der Liebhaber)
 1986: Hörspielpreis der Akademie der Künste für Savannah Bay

Siehe auch
 Autorenfilm
 Frauen in der Résistance

Literatur
 Laure Adler: Marguerite Duras. Eine Biographie. Suhrkamp, Frankfurt am Main 2000 ISBN 3-518-41175-6
 Yann Andréa: Cet Amour-là. Pauvert, Paris 1999
 Übers. Andrea Spingler: Diese Liebe. Suhrkamp, Frankfurt am Main 2000 ISBN 3-518-39673-0
 Christine Bange: Die zurückgewiesene Faszination. Zeit, Tod und Gedächtnis als Erfahrungskategorien bei Baudelaire, Walter Benjamin und Marguerite Duras. Beltz, Weinheim 1987 ISBN 3-407-58301-X
 Christiane Blot-Labarrère: Album Maguerite Duras. Gallimard, Paris 2014 ISBN 978-2-07-013485-4
 Laetitia Cénac: Marguerite Duras : l'écriture de la passion. Édition de La Martinière, Paris 2013 ISBN 978-2-7324-5739-0
 Benjamin Cieslak, Yve Beigel (Hrsg.): Marguerite Duras. L'existence passionnée. Actes du Colloque de Potsdam 18 – 24 avril 2005. Universitätsverlag Potsdam, 2005 ISBN 3-937786-82-1 (Volltext)
 Marguerite Duras, Michelle Porte: Die Orte der Marguerite Duras. 2. Aufl. Suhrkamp, Frankfurt 1985 ISBN 3-518-11080-2
 Marguerite Duras: Die grünen Augen, darin: Das Schreiben ist stärker als alle Gewalt. Marguerite Duras im Gespräch mit Karsten Witte. (Texte zum Kino) Hanser, München 1987
 Rike Felka: Indiasongkomplex. Brinkmann & Bose, Berlin 1996 ISBN 3-922660-66-5
La Douleur – Zeugnis oder Literatur. In dies., Vorläufig Beiseitegelegtes. Brinkmann & Bose, Berlin 2000 ISBN 3-922660-76-2
 Im Haus. In dies., Das räumliche Gedächtnis. Brinkmann & Bose, Berlin 2009 ISBN 978-3-940048-04-2
 Lars Henrik Gass: Das ortlose Kino. Über Marguerite Duras. Schnitt, Bochum 2001 ISBN 3-9806313-3-8 (Diss. FU Berlin 1996)
 Doris Kolesch, Gertrud Lehnert: Marguerite Duras. Edition Text und Kritik, München 1996 ISBN 3-88377-527-4
 Frédérique Lebelley: Marguerite Duras. Ein Leben. Suhrkamp, Frankfurt 1996 ISBN 3-518-40810-0
 Susan Marson: Women on Women and the Middleman. Narrative Structures in Duras and Annie Ernaux, French Forum, vol. 26, no 1, Winter 2001, S. 67–82
 Jens Rosteck: Marguerite Duras: Die Schwester der Meere. Mare, Hamburg 2018 ISBN 978-3-86648-285-2
 Marcus Steinweg, Rosemarie Trockel: Duras. Merve, Berlin 2008 ISBN 978-3-88396-230-6
 Peter von Matt: Wenn Glück und Unglück zusammenschießen: Marguerite Duras. In ders., Sieben Küsse. Glück und Unglück in der Literatur. Hanser, München 2017 ISBN 978-3-446-25462-6 S. 205–239
 Alain Vircondelet: Marguerite Duras. Beck & Glückler, Freiburg 1992 ISBN 3-89470-305-9
 Gisela von Wysocki: Anonymität als Eigenschaft. Über Marguerite Duras. In: Hans-Jürgen Heinrichs: Der Körper und seine Sprachen. Athenäum, Frankfurt 1989 ISBN 3-610-04736-4 S. 37–58

Filme
 Les lieux de Marguerite Duras. Dokumentarfilm, Frankreich, Buch und Regie Michelle Porte
 Das Jahrhundert der Marguerite Duras. (OT: Le siècle de Duras.) Dokumentarfilm, Frankreich, 2014, 52:40 Min., Buch und Regie: Pierre Assouline, Produktion: arte France, Cinétévé, Les Films du Carré, RTBF, INA, Erstsendung: 6. April 2014 bei arte, Inhaltsangabe von arte.
 Diese Liebe (OT: Cet amour-là). Film-Biographie, Frankreich, 2001, 95 Min., Buch: Yann Andréa, Regie: Josée Dayan, Produktion: Le Studio Canal +, Les Films Alain Sarde, Studio Images 7, arte, Inhaltsangabe von arte, u. a. mit Jeanne Moreau als Marguerite Duras, Besprechung in artechock.
 Marguerite Duras – Schreiben. (OT: Marguerite Duras – Ecrire.) Gespräch, Frankreich, 1993, 43:50 Min., Buch und Regie: Benoît Jacquot, Produktion: INA, Inhaltsangabe mit Audiopassagen von arte.
 Pornotropic – "Heiße Küste" von Marguerite Duras. Dokumentarfilm. Regie: Nathalie Masduraud, Valérie Urrea, Arte, Frankreich 2019

Weblinks

 Marcus Steinweg: Bacon with Duras.
 Björn Hayer: Marguerite Duras – 100. Geburtstag. Die Eisheilige der Liebenden. In: Neue Zürcher Zeitung vom 29. März 2014.
 Sabine Mann: 04.04.1914 - Geburtstag von Marguerite Duras. WDR ZeitZeichen vom 4. April 2014 (Podcast).

Einzelnachweise

Autor
Literatur (20. Jahrhundert)
Literatur (Französisch)
Literatur (Frankreich)
Drama
Roman, Epik
Erzählung
Novelle
Erotische Literatur
Tagebuch
Autobiografie
Filmregisseur
Drehbuchautor
Hörspielautor
Pseudonym
Journalist (Frankreich)
PCF-Mitglied
Dichterjurist
Résistancekämpfer
Träger des Prix Goncourt
Träger des Österreichischen Staatspreises für Europäische Literatur
Franzose
Geboren 1914
Gestorben 1996
Frau


text:
Q: Save Information User Inputs to Program I am writing an inventory based C# Windows Form Application as a "for-fun" project during my free time in school.
I want to save all the users info so that when they exit the app and reload it again, all of their information is still there. I could do extremely basic and go with a text file but I would like to learn something from this project other than something I already know how to do already.
What would be the next-level up from a text file (if that is the right terms) ? Would it be best to use a small local database for the information.
I am currently using a Linear Linked List for the data structure of choice and I have a merge sort written for it already for when adding products.
Would it make sense to stick to a text file or just go to small local database within the app?
Thank you.


If you've read up on salt facts, you'll know that too much salt can cause raised blood pressure, which increases the risk of heart disease and stroke. When you are applying for any type of risk cover, your general health plays a large part in the algorithms that are used to asses your risk… and ultimately how high or low your monthly premiums will be.
Eating healthily and getting regular exercise is crucial to keeping your body at its optimum and reducing your risk cover premiums. This blog is full of tips to reducing the amount of salt that you eat and came from England's National Health Service's Livewell campaign on their website. If you would like to know anything else about reducing your premiums, go to my contact page and let's hook up!
So… back to the salty truth. You don't have to add salt to your food to eat too much of it – around 75% of the salt we eat is already in everyday foods such as bread, breakfast cereal and pre-made meals! Yes – without even trying, you're already eating lots of salt a day. Don't get me wrong, salt in your diet is essential for energy and electrolytes, but too much (as well as too little) can have long term negative effects on your health.
Remember, whether you're eating at home, cooking or eating out, don't add salt to your food automatically – taste it first. Many people add salt out of habit, but it's often unnecessary, and your food will generally taste good without it.
• Compare nutrition labels on food packaging when buying everyday items. You can really cut your salt intake by checking the label and choosing the pizza, sauces or breakfast cereal that's lower in salt. Try choosing one food a week to check and swap when you're food shopping.
• Go for reduced-salt, unsmoked back bacon. Cured meats and fish can be high in salt, so try to eat these less often.
• Watch out for the salt content in ready-made pasta sauces. Tomato-based sauces are often lower in salt than cheesy sauces or those containing olives, bacon or ham.
• For healthier snacks, choose fruit or vegetables such as carrot or celery sticks. If you are going to have crisps or crackers, check the label and choose the ones lower in salt.
• Go easy on soy sauce, mustard, pickles, mayonnaise and other table sauces, as these can all be high in salt.
1. Use black pepper as seasoning instead of salt. Try it on pasta, scrambled egg, pizzas, fish and soups.
2. Add fresh herbs and spices to pasta dishes, vegetables and meat. Try garlic, ginger, chilli and lime in stir fries.
3. Make your own stock and gravy instead of using cubes or granules, or look out for reduced-salt products.
4. Try baking or roasting vegetables such as red peppers, tomatoes, courgettes, fennel, parsnips and squash to bring out their flavour.
5. Make sauces using fresh, ripe, flavourful tomatoes and garlic.
If you're eating in a restaurant or café, or ordering a takeaway, you can still eat less salt by making smart choices of low salt foods.
• Pizza: choose vegetable or chicken toppings instead of pepperoni, bacon or extra cheese.
• Pasta dishes: choose one with a tomato sauce with vegetables or chicken, rather than bacon, cheese or sausage.
• Burgers: avoid toppings that can be high in salt, such as bacon, cheese and barbecue sauce, and opt for salad instead of chips.
• Chinese or Indian meal: go for plain rice, it's lower in salt than egg-fried rice or pilau rice.
• Sandwiches: instead of ham or cheddar cheese, go for fillings such as chicken, egg, mozzarella, or vegetables such as avocado or roasted peppers. And try having salad and reduced-fat mayonnaise instead of pickle or mustard, which are usually higher in salt.
• Breakfasts: instead of a full English breakfast, go for a poached egg on toast with mushrooms and grilled tomatoes. If you do have meat, have either bacon or a sausage but not both.
• Salads: ask for dressings or sauces on the side, so you only have as much as you need. Some dressings and sauces can be high in salt and fat.
Posted in health, lifestyle goals, risk cover.


text:
« First Investment Stories from Personal Finance Experts Episode 1
Three Key Mistakes Investors Make | Personal Finance | Minyanville … »
Tennessee Court Denies Transfer of Workers' Compensation Payments
By About Cash Flow Editor | 2 July, 2012 - 6:12 pm | 26 April, 2013 Structured Settlement
The Chancery Court of Anderson County, Tennessee has issued an order denying a payee's transfer of workers' compensation settlement payments. In the matter of R & P Capital Resources, Inc. and Donald Watson, No. 12-CH-3896 (Tenn. Chan. Ct. June 19, 2012), Judge William E. Lantrip held that (i) workers' compensation payments are not within the definition of "structured settlement" under the Tennessee Structured Settlement Protection Act, Tenn. Code. Ann. § 47-18-2601, et seq. (TN SSPA), and (ii) the transfer of payments received as the proceeds of a workers' compensation settlement is prohibited by the clear language of the Tennessee Worker's Compensation Law, Tenn. Code. Ann. § 50-6-101, et seq. (TN WCL).
On December 19, 2011, Donald Watson entered into a Sale and Assignment Agreement (the Purchase Agreement) with R & P Capital Resources, Inc. (R & P). Under the Purchase Agreement, Mr. Watson purported to sell the right to receive certain periodic payments due to him pursuant to a workers' compensation settlement agreement effectuated in June 2008. The Prudential Assigned Settlement Services Corporation, the obligor under the workers' compensation settlement, and Prudential Insurance Company of America, the annuity issuer (collectively, Prudential), objected to the proposed transfer on the grounds that, inter alia, R & P failed to invoke the court's jurisdiction because the TN SSPA only confers jurisdiction to consider the transfer of payment rights arising from tort claims, not workers' compensation claims, and the proposed transfer violated the clear anti-assignment language of the TN WCL.
The TN SSPA provides, in pertinent part, that a "structured settlement" is defined as "an arrangement for periodic payment of damages for personal injuries established by settlement or judgment in resolution of a tort claim." Tenn. Code Ann. § 47-18-2602(11) (emphasis added). The court found that this clear language did not apply to a workers' compensation settlement. Furthermore, the TN WCL provides that "[n]o claim for compensation under this chapter shall be assignable, and all compensation and claims for compensation shall be exempt from the claims of creditors." Tenn. Code Ann. § 50-6-223(a). Despite arguments by the factoring company that this anti-assignment provision does not apply to workers' compensation payments, Judge Lantrip disagreed, holding instead that the proposed transfer was prohibited by the clear language of the TN WCL.
Tennessee court denies transfer of workers' compensation payments – Lexology (registration)
Tagged Prudential Insurance Company of America, R & P Capital Resources, Sale and Assignment Agreement, Tennessee Structured Settlement Protection Act, Tennessee Worker's Compensation Law, The Prudential Assigned Settlement Services Corporation, TN SSPA, TN WCL, workers' compensation settlement payments. Bookmark the permalink.


text:
package com.microsoft.azure.cognitiveservices.vision.contentmoderator.models;

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    }

    /**
     * Get the metadata value.
     *
     * @return the metadata value
     */
    public List<VideoFrameBodyItemMetadataItem> metadata() {
        return this.metadata;
    }

    /**
     * Set the metadata value.
     *
     * @param metadata the metadata value to set
     * @return the VideoFrameBodyItem object itself.
     */
    public VideoFrameBodyItem withMetadata(List<VideoFrameBodyItemMetadataItem> metadata) {
        this.metadata = metadata;
        return this;
    }

}

redpajama_set_name: RedPajamaGithub


text:
MOVIE IS courtroom riveting cinematic incredible excellent financial
100 % Certified Fresh
$ 0 Million
12 Angry Men is a 1957 American English-language Crime Drama film featuring Henry Fonda, Lee J. Cobb, Ed Begley, E. G. Marshall, Jack Warden, Martin Balsam and Walter Stocker. There are two witnesses: a lady from across the street and an old man who lives below the defendant. Orion-Nova Productions was the production house involved in the project along with executive producer(s) Henry Fonda and Reginald Rose. The movie is directed by Sidney Lumet. United Artists acquired the distribution rights for the motion picture. 12 Angry Men was released on 3rd April 1957 and takes a screen time of 96 minutes. and it received positive reviews from critics when it was released and became successful at box office. 12 Angry Men was made on a budget of $0 million and it was a super hit at box office gross of $2 million. The screenplay for the movie was written by Reginald Rose. Cinematography was done by Boris Kaufman and editing by Carl Lerner. The music was composed by Kenyon Hopkins.
Positive Rating 94%
courtroom riveting cinematic incredible excellent financial
It is a masterpiece of stylized realism the style coming in the way the photography and editing comment on the bare bones of the content. Rogerebert
A closer look at the performances reveals a minimum of Method fussiness, the grace notes of Jack Wardens jokey baseball fan and Robert Webbers Mad Men .. Time Out
Henry Fonda, perfectly cast in 12 Angry Men as a man who values reason, leads a troupe of familiar character actors in a movie that makes a virtue out .. Common Sense Media
The excellent performances by the entire talented cast make this one a solid and impactful drama. Sover
The gradually turning tide is a case tried twice, evidence and reenactments and allthe switchblade in the scene of the crime, the dragging foot of a w .. Cine Passion
Budget $ 0 MILLION
Crime , Drama
Drishyam
Aparajito
Epic Movies
Captivating Courtroom Movies
english - 2021
Mortal Kombat Legends: Scorpions Revenge
Qlimax: The Source


Central Regional TAFE Carnarvon have joined forces with the Carnarvon Roadwise Committee in a bid to raise awareness about the dangers of driving in and around the region.
Local high school students, who have been completing a Certificate II in Rural Operations at CRTAFE Carnarvon's campus, were asked to build a life-sized cow statue made from recycled materials in order to raise awareness about the threat of livestock on our highways.
Acting Chairperson of the Gascoyne Roadwise Committee Nadine Brown said the Cow Project collaboration is part of the award winning Horns and Hooves on the Highway campaign that was launched by Kimberley RoadWise Committees together with Main Roads WA.
Central Regional TAFE Portfolio Manager Tami Maitre said The Cow Project was a great community partnership.
"The Cow Project provided the perfect opportunity for our students to put their skills to good use whilst working together with a local organisation that is doing really positive things for our community," Ms Maitre explained.
The cow will be launched during the Carnarvon community Christmas party on December 7.


> dot to say a cross) in a ListPlot environment?
> axes. Which environment is better for which occasions?
> Thank you all for your help, I am really new to Mathematica!
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