I love Target! I know, "join the club" right? But really, they make sprucing up your home on a seasonal basis really affordable. They always seem to have the on trend design that other more expensive stores do, but at a more accessible price. Now don't get me wrong, I also love higher end stores and the quality of products they offer, but when it comes to an accent piece or a detail that may come into fashion then be gone in a year ....or even less, I feel much better paying Target prices.
1. Island Light - I'm looking for something like this for over my dining room table. I love the rectangle shape with the Edison bulbs and it's fun, not too formal.
2. Bowling Pins - When styling table tops or shelves tall, thin, not to busy items always come in handy. These bowling pins are just that and help fill out a vignette, without being too imposing. Plus they're cute!
3. Throw Pillows (here and here) - Our sofa is a revolving door for throw pillows and I change them out constantly. These are both fun and neutral.
4. End Table - This table can work next to your sofa or put two together as a coffee table. Then when your get tired of them, they'd make a cool night stand in a boy's room.
5. Iron Bed Frame - These never really go our of style, it's just a matter of how you "style" them. Left as is for a classic, rustic look or drape the headboard with a rug or fabric to change it up.
6. Umbrella basket - Now I don't know how often people use umbrella stands or baskets in this case, but it's blue and it's cute, so what else really matters.
7. Area Rug - So I'm a sucker for anything gray and striped to begin with. This rug has just enough of a pattern to be interesting, without being busy. It could ground a room quite nicely.
8. Seeded Glass Up Light - This is a fun and unexpected accent lamp that would work just about anywhere you would need additional lighting.
9. - Metal Basket - Everyone needs a catch all. Something to drop the mail in or keep the remotes all together and this would be a great way to use this basket. It comes is a couple of finishes, but I especially like the bronze one.
This is not a sponsored post, but I'll love to work with Target. Hey Target, contact me!
So it's been a while, huh. This past year has been a series of starts and stops for me, and this blog reflects that. I had lots of good plans and high hopes. But life is busy and I got side-tracked. Unfortunately, that means many things don't get off the ground and are left in the planning stages. Or at least, that's what I tell myself to justify why things are not going as planned. But I think my main issue is fear.
Fear of not doing something perfectly. Sure, I would think about a project I wanted to do and a post I wanted to write. I'd even plan it out. But in addition to having a full life, I am a classic over-thinker and perfectionist. And if I can't do something right, right now, I put it off until I can. And all to often, I never end up setting aside the time to make it happen.
Fear of not fitting in. There seems to be a common thread among many of the design blogs I read, they have been at it for a while, yet still come across as very youthful. Am I coming too late to the party? Would my point of view be relevant? Would anybody care?
Fear of being judged. There are so many good blogs out there. I especially love the ones about design, lifestyle and family. But again, there are a lot of great ones out there. Do I have anything different to say? Do I have any fresh ideas?
These are some of the thoughts that hold me back. But this time it's going to be different. This time I am going to try my best to not let fear hold me back. This time I am going to be brave.
Welcome. My name is Jill. I live in Colorado with my husband and young son. I am a professional designer, as well as an amateur photographer, avid traveler, long time baker, maker and mouseketeer. My point of view is one part Martha Stewart and two parts Alice in Wonderland. Please join me on Instagram @interiorsandicing and on Pinterest and Twitter @jjillcamp.


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redpajama_set_name: RedPajamaGithub


Noah Gragson came to Chicagoland Speedway in Joliet, Ill., needing to win in order to make the NASCAR playoffs in his rookie season. Although his night did not end with a trip to Victory Lane, he did come away with his 11th top-10 finish of the season as he crossed the finish line in eighth place.
Gragson started the race in sixth and said the Switch Tundra was a bit free early in the run. He had fallen back to 10th when a caution came on lap 31, just before the end of Stage One. Many teams, including the Switch team elected to pit now and stay out when the stage ended. Four teams stayed out on track, so Gragson was 12th when the race resumed, but was up to 10th when the stage ended at lap 35.
By pitting early and staying out when Stage One ended, Gragson started the second 35-lap stage in sixth place. With a good restart he was up to fifth, but as the run went on he fell back to 10th to end Stage Two. He came to pit road for four tires and some major adjustments to see if that would help the handling.
Gragson started the final 80-lap stage in 14th on lap 77. He was up to 10th, but still not happy with his Tundra's handling. When a caution came on lap 107, the team used the opportunity to pit for fresh tires. With a good pit stop, he restarted seventh on lap 111. He eventually settled into eighth, where he finished the race.


Auspion, Inc.'s vision is to provide a unified and novel wireless platform to consumers and commercial customers. Auspion's technology enables a broad range of new applications and enhances the user experience in many existing ones. The company utilizes its own advanced IP as well as the IP licensed from the California Institute of Technology (Caltech), which was developed over the last two decades as part of funded research programs and grants. While growing its technical and executive team, Auspion is targeting its proven technology for mass production.
Kairos Ventures Invests in Auspion Inc.


text:
Is Mainstream Media Becoming A Threa To Democracy ?
in Life/Philosophy — by Vidya Bhushan Rawat — 29/11/2017
I had long left watching the PR agents on the TV studios discussing nationalism or pushing the particular agendas of their political parties. It is over 5 years that I stopped buying newspapers or magazines. I do go through the news through my twitter handle as well as some other forwarded material but that too I am quite selective. In the morning, I go through the important tweets that i follow including some of them coming from prestigious dailies internationally as well as nationally. The new web news-portals are doing far better work than the çhaudhuries' of our so called mainstream media.
In the past, when I used to read a whole bunch of papers and magazine, I only read them for getting news. One news in 5 different dailies would be presented in different ways. During the Babari Masjid demolition period, I found that the owners of the biggest dailies and news conglomerate did a balancing act. Most of the owners had group of publications in English and Hindi. Some of them went to the other languages too. So, one publication was dedicated to promoting Hindutva while other would be chasing them out. But it was basically a division of work between Hindutva brahmins versus socialist brahmins. A Padgaonker would write against BJP while a Vidya Niwas Mishra, sitting in Navbharat Times would be giving them sermons of greatness. And it was not the story of the Times. All the major newspaper houses were doing that. All of them had two commonality of ideas. One, to portray Hindu Dharma as the greatest of the world, most liberal and second all of them happened to be opposing Mandal Commission recommendations and hated reservations. Some of them had open hatred while others had concealed hatred for reservation. There was other combination. Arun Shourie in the Indian Express and Prabhash Joshi in Jansatta. Both had mastery over their languages. While Shourie was a hard core anti Mandal who used VP Singh and later started abusing him, Joshi remain his friend yet condemn his Mandal Act. Both of them would interact with their readers. Arun Shourie was dismissed unceremoniously by Ramnath Goenka when he wrote a nasty piece against VP Singh which the Express owner felt was against the policy of the paper. Shourie slowly made his way to Hindutva camp abusing all the seculars and minorities. His third class work on Ambedkar became a talk of town among the middle class casteist Hindus who jumped on his anti reservation rhetorics.
Not many people knew that the first ever book that Shourie published was a kind of critique of Gita and Hinduism itself but he perhaps has disown that. I don't know whether the copies are available but later he became an unabashed fan of brahmanical Hindutva. Prabhash Joshi became the champion of the secular brigade who considered that Hindus can not be represented by the Sangh Parivar. His viewpoint was clear that the Sanghi brahmins cannot represent the secular-socialist brahmins but Joshi was arrogantly proud of his brahmin faith. He would quote copiously from those texts. Joshi was the 'progressive' editor who supported the Sati and felt that it was the highest tradition of sacrifice of the Indian woman.
Once Prabhash Joshi wrote an article in Jansatta : Jaat pe mat jaao meri baat pe aao', where he responded in details the accusation of being castiests. I wrote a letter regarding that as an editor he will have the last laugh. He can interact, write and unilaterally be selective. I told him that all his arguments can be countered very easily but I respected him because I loved his language. He personally wrote and send me a handwritten letter giving in details why he felt pained because people charge him with being casteist but then the facts remain. I did not enter into an argument but in his later stage he perhaps was more visible in the social movements on economic issues as most of the time they are afraid of caste issues because of their uncomfort.
Today, our media is doing the same. The media war is a reality today. I wrote about it long back when Times Now unleashed a campaign against the screening of a documentary made by a British documentary maker and was supposed to be broadcasted at the NDTV. So, the corporate houses are jumping into it as profit is the main motive. As I said, we have a Mirror Now, started by Times Houses and it is taking political position in contrast to Timesnow. The woman who is main anchor speak absolutely like Arnab Goswami, perhaps his student with only difference is that she is taking on the Hindutva fringe too. I don't know this is her ideological position or a guidelines by the Jains of Times of India.
So journalists whose job was to give us unbiased news have now become news themselves. And most of them have their followers or Bhakts who quote them like Gita, Quran and Bible. Whether pro and anti, we are victims of the new world order that work on branding so we have a few brands in each segments. Many Brahmins, Banias and a few of them from the others to get fixated into their scheme of things. Some are raising the issue of Hindu pride and suggesting why can't we do it while others are championing the cause of 'secularism" but in these two dividing lines and their followers, there is no space for the segments who are victims of both these high class sawarna perception. There is no space for an alternative vision and thought. If somebody is secular and want to discuss about Ambedkar, the panelists are the same on their identity lines. This fixing will not help as media has lost its credibility. Whether you pretend to be secular or non, most of you don't want diverse voices in your newsrooms.
The recent CARAVAN-Express spat is another point. The story of Judge Loya's suspicious death was reported very boldly by Caravan magazine. None of the 'mainstream' media picked it up but suddenly an Express story tried to debunk the entire issue of 'suspicion'. It picked holes in the Caravan story but embarrassingly got stuck into those holes itself. So far the Express has not bothered to answer those questions which have been raised. This is the second biggest fiasco that the Express has done in recent years. The first one was Shekhar Gupta's so called "scoop' of General V K Singh and army attempted coup several years back. The Express neither regretted nor challenged those who questioned. Some time, in their attempt to look different these things comes up.
While we appreciate Express's investigative journalism and stories and definitely among these crowd they stood apart but we must not depend on them too much. People have found their ways out. We know ultimately all these newspapers and channels have their own interests and they can't go beyond a limit. During the UPA period too, media, had an understanding not to target a few individuals which included the PM, Chidambaram, Manmohan Rahul, Sonia, Arun Jaitley, Sharad Pawar, Naveen Patnaik and all those who were in power to get their thing done. Media may look divided on 'secularism-communalism' issue but on broader issues of economic liberalisation, they remain the same. Almost, all of them, have been speaking for it and singing jai ho for the opening up of our economy and selling of the public sector and handing them to private corporations. All these ópinionmakers" remain highly anti Dalit and casteism as can be reflected in the nature of people they have in their newsrooms and the mindset which hate the issue of Dalit Bahujan identity and their issues of fair representation in all walks of our lives.
The only way is now that people should take the best and leave the worst. Look for news and not the views. Verify news from various ways and focus on developing our own. Today, they hate social media, call it uncontrolled and want it to be regularised but are our channels better. They have become trolls themselves and teaching hatred and contempt for the opponents. When we are in a position to do on our own, they want to close. Indian mainstream media can not even match the great warriors in Sri Lanka and Pakistan who are courageously taking a bold stand against the misdeeds of their government and publishing people's stories. Of Course, the loudmouths may claim them the best and biggest champions of nationalism but we don't need to respond to them as they have openly exposed themselves and the ideology underneath which reflect in their venomously cooked up stories spreading poison of hatred and conflict just for attaining farcical TRPs. Their high decibel sound bites have created thousands of semi literate bunch of goons who don't know the repercussions of their act towards integrity and unity of the country. Mainstream media therefore, has become the biggest obstacle in our free and fair choices. Rather than defending the rights of the people, it has become the lapdog of those in power and defending their misdeeds with planting stories, defaming the opponents, killing and defaming civil society and human rights movements and therefore who else can we blame for the degradation except this mainstream media whose acts have now become a threat to democracy.
Vidya Bhushan Rawat is a social and human rights activist. He blogs at www.manukhsi.blogspot.com twitter @freetohumanity Email: vbrawat@gmail.com
Pretending democracy
Darkness at Noon
46 % of Indians perceive news coverage of PM Modi as biased
Public Opinion in the Digital Era: Neumann's Spiral of Silence
Suppression of contrarian voices
Silencing The Lambs, How Propaganda Works
Ten Truths that Can't Be Published Under the U.S. Regime
Journalists in India Face Many-Sided Threats
Tags: Media
Author: Vidya Bhushan Rawat
Gallows Humor in Washington and Brazil
Karen J Greenberg | 30/01/2023

redpajama_set_name: RedPajamaCommonCrawl


NEW: Roll Damping up to 25 Knots!
The RotorSwing 140 Multi model is equipped with the patented ZeroSpeed function. The ZeroSpeed function is extremely efficient at anchor, idling up to 3 knots and while drifting. This latest model is a highly multi-functional roll damping system that is quiet and adaptive while fighting almost any type of wave!
Our newest development is our patented Adaptive Rake™ with the positioning control function. Whether the vessel is AtZeroSpeed™, AtCruiseSpeed™ or AtFullSpeed™ the system maintains performance regardless of vessel speed. Both models have the significant benefits of being retractable when not in use, extremely low maintenance and quiet due to the brushless electric motors with significantly larger lift force capabilities and moment arm compared to fins.
The ZeroSpeed RotorSwing has an extended elbow to maximize lift forces. AtZeroSpeed™, AtCruiseSpeed™ and AtFullSpeed™ is included in this system for roll damping at almost any velocity.
The ATCruiseSpeed Function provides roll damping while cruising starting at 3 knots. During this function, the Rotors swing 90 degrees outward to offer great roll damping results up to 13 knots.
The AtFullSpeed™ function is brand new and produces excellent roll damping up to 25 knots! The patented RAKE system swings the Rotors adaptively towards the aft to minimize drag.
The RotorSwing yacht stabilizer has many additional benefits compared to other roll damping systems. It provides roll damping while cruising and roll damping at anchor (Zerospeed). The RotorSwing is also extremely efficient while fighting a following sea.
The patented RAKE function can be set in a preset trailing angle to decrease drag. Less drag means lower fuel consumption! Since our yacht stabilizers extend the ship's hull boundary (hull envelope), they are far more effective than regular fin stabilizers. Our mission is to provide you with highly efficient roll damping while cruising and at anchor!
Would you like to schedule a test ride?
There is nothing more convincing than to participate during one of our objective testing and measurement rides. Schedule a test ride on one of our yachts to feel the difference!


text:
8 - January - 2023
Russia says it killed over 600 Ukrainian soldiers in rocket attack
A view shows an empty street, as Russia's attack on Ukraine continues, in the village of Torske, Donetsk region, Ukraine December 30, 2022. REUTERS/Yevhen Titov
In a major rocket attack on facilities in eastern Ukraine that were temporarily housing Ukrainian military, Russia's defense ministry claimed on Sunday that it had killed more than 600 Ukrainian servicemen.
According to the report, Ukraine attacked a Russian barracks in Makiivka, a portion of the Donetsk region that is under the authority of Moscow's military, fatally, earlier this year.
Reuters was unable to quickly confirm the allegation made by the defense ministry.


Pets are allowed on request. We accept no holidays. The apartment is on the third floor and there are stairs. To go to the pool there are also stairs.
Interaction with guestsThere is always someone available during the stay of our clients. When guests arrive I'm there to give keys and provide information.
Lovely apartment with enormous balcony right on the waterfront.
A very beautiful area with small beaches, rocks. Ideal for water sports. There are a lot of restaurants in town and shops, terraces etc. Cap Creus National Park is next with its spectacular scenery. Pretty villages like Cadaques. Barcelona is two hours away and Girona an hour of Rosas. Figueres with its Dali Museum is 35 minutes from Rosas.
From the moment when the customer has paid for the stay at home, we sent a welcome letter with details of the address and contact number, Gijb Kranenburg and pictures of access to the apartment. The nearest airport is Girona, which is about an hour from the apartment. During the middle season and low season, the nearest airport is Barcelona. In Barcelona there is a fast train in Figueres. Figueres is a half hour of Rosas. We have a two-car garage.


text:
West Bend teen's car destroyed in garage fire
WEST BEND -- A teenager's car was destroyed after the family's garage caught on fire Sunday night, April 29th. Officials say the fire broke out around 10:00 p.m. Sunday in a garage near Lilly Avenue in West Bend.
The family says they were sitting in their living room when they realized smoke and large flames were pouring out of their garage.
"I ran outside and I saw my car caught on fire, the gas tank blew up, a fire ball went outside of the garage and that's about it," Brad Sauve said.
Authorities say when they arrived on the scene, the garage was on fire and it was spreading to the home. Witnesses say the fire caused the teen's car to explode, totaling his Mustang, which he received last month as a 16th birthday present.
West Bend's Fire Battalion Chief says the fire appears to have started in the garage, however, the incident remains under investigation. The fire department says one firefighter suffered minor injuries but no one else was hurt.
Gov. Evers to extend public health emergency, mask mandate
MPD: 18-year-old fatally shot near 23rd and Nash


The Quintal ET straight Transfer Board is designed to assist the user when transferring from one location to another.
The Quintal ET straight Transfer Board is designed to assist the user when transferring from one location to another. It has a maximum user weight of 100kg and is purely used to transfer across gaps and not for lifting the user. It features a single hand hold which provides assistance with both positioning and transportation.


I'd like to add nivo slider to my front page and dynamic headers(WP plugin) for all inner pages. I can add one or (both)easily to the thematic_header, so it shows both on all pages, but how would I construct PHP to tell it to only show the Nivo on front page (and not inner pages) and the dynamic header on inner pages(not front page).
I am PHP rookie, I have tried to work it out by looking through forums.. but I'm struggling.
Any help would be muchely appreciated!! Loving Thematic BTW! Thanks for any help in advance!
EEEEEK... code in header-extensions.php!!!????? FULL-STOP!!!
Thanks for the advice Helga - appreciate it!
I'm new to Thematic, but I'm loving it for all the CSS possibilities, my PHP is patchy despite spending months trying to get head around it. Got the child theme under control... will NOT play w headerextensions.php, will go away and learn these tutes - thanks again!


What do you feed your monkey?
As I mentioned in the diet section of this site, it is important you take the necessary time to prepare the diet of your monkey(s) and also to provide a varied diet. While that is all easier said then done, many primate owners often have a hard time coming up with changes in the diet of their monkeys. On top of that, the goal of this blog is to point out that many primate owners often deviate from the suggested ideal diet just like us human primates. While reading this blog, please keep in mind that the goal of this page is only to inform you what others feed their monkeys, not to help you choose the right diet. Special thanks to Irwin for the above picture.
» Read more: What do you feed your monkey?


text:
Q: Output line counts for files with 1 number filename difference We have a requirement to report on the number of lines written to a 7 day cycle of log files.  The log files are called - [filename].log.1.gz for today, [filename].log.2.gz for yesterday up to [filename].log.7.gz for the 7th day
I was hoping to create a script that would output the numbers at once, instead of running the zcat [filename].log.1.gz | wc -l command against each line.  I was also hoping to have a meaningful message against each outputted value
I can write a bash script that will do each line as the name of the files are the same, but I was hoping for something a bit more elegant
Instead of this
zcat position.log.3.gz | wc -l
zcat position.log.4.gz | wc -l
zcat position.log.5.gz | wc -l
zcat position.log.6.gz | wc -l
zcat position.log.7.gz | wc -l

I was hoping for something more like this
for i in {1..7}
c=$(zcat position.log.$i.gz | wc -l)
message=$"The count for "
date1=$(date --date='$i days ago')
result=$"$message$date1$c"
echo $result
done

However, I can't get this to run.
Any ideas?

A: You script with small fixes:
# for loop starts with a 'do'
for i in {1..7}; do
   # indentation makes everything redable
   # always quote your variables
   c=$(zcat "position.log.$i.gz" | wc -l)
   # The "" is just a string, no '$' sign before it
   message="The count for "
   # The '$i' is literally `$i`, if you want to _expand_ a variable, you have to use "$i"
   date1=$(date --date="$i days ago")
   # same as above, drop the $
   result="$message$date1$c"
   # always quote your variables
   echo "$result"
done

Or maybe a tiny little bit shorter:
for i in {1..7}; do
   echo "The count for $(date --date="$i days ago") is $(zcat "position.log.$i.gz" | wc -l)"
done

redpajama_set_name: RedPajamaStackExchange


text:
Plain-English Drafting for the 'Age of Statutes'
University of Missouri School of Law Legal Studies Research Paper No. 2008-05
Precedent, Vol. 2, No. 1, pp. 20-22, Winter 2008
10 Pages Posted: 10 Mar 2008 Last revised: 9 Sep 2009
See all articles by Douglas E. Abrams
Douglas E. Abrams
University of Missouri School of Law
Professor Abrams authors a column, Writing it Right, in Precedent, The Missouri Bar's quarterly magazine. In a variety of contexts, the column stresses the fundamentals of quality legal writing - precision, conciseness, simplicity and clarity. Future columns will be posted as they are published, every three months or so.
Keywords: legal writing, legal research and writing
Abrams, Douglas E., Plain-English Drafting for the 'Age of Statutes'. University of Missouri School of Law Legal Studies Research Paper No. 2008-05; Precedent, Vol. 2, No. 1, pp. 20-22, Winter 2008. Available at SSRN: https://ssrn.com/abstract=1104065
Douglas E. Abrams (Contact Author)
University of Missouri School of Law ( email )
Missouri Avenue & Conley Avenue
Columbia, MO MO 65211


text:
calendarclockdisplayeurstatsuservideo-camera
Values & History
From Edouard to Alfred
Art of la soirée
One family, one destiny
Cointreau is inextricably linked to Angers, a town in the Loire Valley known for its gentle way of life. For the last four centuries, the Cointreau family have exercised their various traditional crafts and know-how in the Anjou region.
In 1849, the first distillery was established on Rue Saint Laud under the name "Cointreau Frères," (Cointreau Brothers). They moved to the Quai des Luisettes (which later became Quai Gambetta) and it was in that secret world of stills and aromas that they built the reputation of the House.
For over 150 years, five generations have succeeded one another to lead La Maison Cointreau. The founders' generation gave the distillery its first success. The following generation was one of discovery, innovation, and creation: Triple-Sec orange liqueur, or Cointreau liqueur, was developed by Édouard Cointreau in 1875. This age of expansion continued with his two sons, Louis and André Cointreau, who broke down borders and opened the door to the United States in the 20's, marking the signature Cointreau as a Global Brand. Cointreau exports its très Parisian liqueur over 5 continents. It is an impressive success.
On the company's centenary in 1949, Pierre Cointreau, the fourth generation of the family, became CEO. Working with passion and fervor into his 90's, Pierre Cointreau made La Maison Cointreau what it is today. Driven by the values inherited from his grandfather Édouard, and his grandmother Louisa, Pierre instilled in everyone the importance of a job well done. This is especially true of Alfred, his grandson and the sixth generation of the family, who joined Cointreau in 2010. From his grandfather, Cointreau retained the idea that the best path to success is, first and foremost, humility, as only strict discipline can drive progress and evolution. Alfred Cointreau, Brand Heritage Manager, travels the world to meet with mixologists, telling his story, that of his ancestors, and above of all, the story of Cointreau which remains incredible. A prolific creator, Alfred Cointreau enjoys concocting both simple and complex cocktails, always with the idea that each signature be elegant, knowing that the first sip of a cocktail is taken with the eyes…
Country Select your countryAustraliaBelgium (Nederlands)Belgium (Français)ChinaFranceJapanLuxembourgRussian FederationSpainUnited KingdomUnited States of America----------------------------------------Other countries
In order to enter this site, it must be legal drinking age.
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Excessive drinking may harm your health, you must drink responsibly
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© Cointreau 2020


This happens most often with projections about how products will work and with financial models. I won't name companies but one we spoke with recently was building a three sided marketplace. They were pre-launch but had developed a complicated six step transaction flow they thought their customers would go through which included commission splits and transaction timelines. They had taken users through the potential flow and got positive feedback but I was left thinking that the questions they asked those users wouldn't have passed the Mom Test and that there was a high chance that when they launched the process would bamboozle even their early adopters. For me, it would have been much better if they had focused on describing the value participants would garner from using the service and either planned to manage transactions manually in the early days or documented a very simple transaction flow. That would have shown me that they understood the inherent uncertainty in building products and would have had the additional benefit of really hammering home the value proposition.
When it comes to financial models people sometimes take false comfort from the spurious detail they've built in, which results in relying on the model rather than on common sense. I'm thinking now of an ecommerce company that was in its first six months post launch. Pretty much all their traffic came from Google and in their plan they had projections for growth in organic traffic and for traffic from Facebook, referrals, and other new channels. That showed they were planning to diversify their sources of traffic and understand the different options available to them which isn't a bad thing in and of itself. However, when we asked them to explain why they believed their customer acquisition costs would reach the levels they were projecting their answer was pretty much "because the model says so". Models can, of course, be made to say anything and their answer left me feeling that they didn't really understand the drivers of their unit economics. It would have been better to say "We believe the major levers for reducing customer acquisition costs will be increasing organic traffic and reducing our CPAs on Google. Based on [insert justification here] we believe that X and Y are achievable." Modelling at that level would have been sufficient too, with commentary about plans to expand to other channels in the pitch deck.
Don't let over detailed plans distract you from the bigger picture and the flexible thinking required to navigate the startup ecosystem successfully.


City Profile - Guangzhou: Comprehensive overview of the city, PEST analysis and analysis of key industries including technology, tourism and hospitality, construction and retail.
Guangzhou metropolitan area is the capital and political, economic and cultural center of Guangdong Province in China. The area's nominal GDP accounting for 2.3% of the national GDP in 2017. Improvements in the service and secondary sector, mainly by manufacturing, trade activities, hotel and restaurants are expected to be major drivers of growth.
"City Profile - Guangzhou" provides historical and forecast data on key city level metrics along with analytical coverage of the latest political, economic, social, technological, infrastructural, legal and environmental issues affecting Guangzhou. The report contains detailed tourism, retail, construction, technology and public infrastructure data and insight into economic, social, and industry trends.
Guangzhou is a key tourist destination for both domestic and international tourists and experienced healthy growth in 2016.
Product: City Profile - Guangzhou: Comprehensive overview of the city, PEST analysis and analysis of key industries including technology, tourism and hospitality, construction and retail.


Alonzo Mourning believes Pat Riley has the Miami Heat on the brink of being a "special" team once again.
MIAMI – Considering he was the centerpiece to Pat Riley's first rebuilding effort in Miami, Alonzo Mourning is as familiar with how the Heat president works as anybody.
Now, 22 years and four make overs later, Mourning, the organization's vice president, is confident Riley will succeed once again as the Heat officially move on from the Big Three era.
"This is going to be even more special. I think this is going to be even more special considering how it all fell apart," Mourning told the Palm Beach Post, referencing the departures of LeBron James and Dwyane Wade and Chris Bosh's health.
Since James, Bosh and Wade led the Heat to four consecutive Finals appearances and two titles, James returned to Cleveland in 2014, Wade signed with Chicago last summer after 13 seasons in Miami and Bosh has missed the equivalent of nearly two full seasons, including all of last season, because of issues with blood clots. The Heat are expected to release Bosh by the end of the month and after an NBA doctor agreed that Bosh is dealing with a career-ending illness Miami will receive full cap relief.
The Palm Beach Post sat down with Mourning to talk about the 25th anniversary of Shaquille O'Neal and Mourning being the top two picks in the NBA draft and how he and O'Neal went from adversaries to great friends. Mourning also talked about how he then became the first piece to Riley's initial rebuild in Miami and how Riley once again is attempting to turn the Heat into a contender.
Mourning was impressed with how last season's team turned an 11-30 start into a 30-11 finish, missing the playoffs by one game. And he believes Miami would have been the team facing Golden State in the Finals and not Cleveland if Bosh were healthy.
"Obviously if Chris was playing healthy it's a different story in the Eastern Conference with us," he said. "We probably go through Cleveland. … Right through them. We probably beat them. We really do. I think we had enough tools to get it done.
Nobody knows, not even Zo, what the Heat will look like in six weeks, when free agency settles down. First there is the question if Miami is able to retain one or both of its two main free agents – Waiters and Johnson. And then if Riley pursues a big name free agent like Jazz small forward Gordon Hayward or Clippers power forward Blake Griffin.
But Mourning is confident Riley will find the right combination for the Heat to be back near the top of the conference, regardless of the quality of the free agent class.
And one reason is what he is witnessing this off season.
"There's enough out there to make it work," he said. "It's enough out there to get us back again. Listen, this team and the pieces that we have, the coaching staff, the culture that we have, the mentality of the guys coming here. … unseen before guys coming in this early this summer.


William Haloupek, Far-called. Smashwords, 2011. 75k words. ISBN 978-1-4660-2935-4. $3.99.
Far-Called by William Haloupek is a hard science fiction novel that pursues so many 'what-if' questions that it is as much just pure 'speculative fiction' as it is a hard scifi. This blend is what makes this book stand out. If you're a fan of questioning society and 'what would happen if' scenarios, all of which are founded in a great deal of science and research, this is very likely a book that you will enjoy.
This is the story of Matej, a man with a very special ability. He can remember numbers and letters, words and facts, with a memory that goes beyond the photographic. It is this talent that propels our intrepid professor into an adventure better left to folks like Indiana Jones and James Bond. Things go from bad to worse in a twisting and complicated series of events that put the lives of 400 million at risk. To give credit where credit is due, Matej does well enough for someone who wasn't born with the innate awesome of Indiana Jones or James Bond.
For those who are used to softer, lighter science fiction, be prepared to have to take this book in small doses. It sticks to hard science fiction with the same adhesive strength of duct tape and super glue. Depending on your stance, this is either a good thing or a bad thing. Almost the entire first half of the book deals with the social consequences of the exploration of space, the evolution of the human race, the recording of people, and just about everything except religion. Curiously enough, religion is practically non-existent in this novel, which is an interesting way to consider how the human race might change with the development of technology and the expansion of colonies throughout the universe.
If political sciences aren't your forte, your eyes are going to glaze over after the first three or four chapters. There is a lot of information, and much of it is presented in that dry, hard science fiction way that turns many off to the genre in the first place. I enjoy a good hard science fiction every now and again, but in truth, it took me a long time to get through this book. There is the expectation that you under political sciences, hard-core sciences, and all of those little tidbits that hard science fiction fans already know. Those looking for a mild introduction to hard science fiction should pursue a different book, because this one doesn't pull many punches in regards to how hard science fictions are presented.
With that said and out of the way, there are many moments in this novel that are positively brilliant. How society is tracked, how society has changed, how languages have evolved (and de-evolved) and how cultures have changed, all find their way into this book in a rollercoaster ride of 'what if' scenarios that can as easily enthrall as it can overwhelm. When the action starts up—about halfway through the book—we start seeing these concepts applied in how the characters react and make choices, which make it worth having read through all of that build up on the societies of the galaxy. As our character is a regular Joe with a special gift, it is all the more enjoyable as he risks life and limb for a cause that is noble and for the better good of everyone.
The problem I had with this book is something I struggle with in almost every hard science fiction I get a hold of: I felt that the characters were not nearly as deep as they could have been. The character development and depth that is found in soft science fictions (or even fantasy novels) just didn't translate well to this novel. While Matej is ever-present, he is often lost in the theory and the pursuit of how and why society changed as it did. In a way, this book reminds me of a history that has sections of action and adventure. The action, adventure, and moments where the characters stand out are really entertaining, but, just as the author warns at the front of the book, the focus is very much on the sciences.
At least if you do decide to stick with this title, you will inevitably learn something. That is something that was rewarding about sticking with this book. It was a hard read for me, but at least I walked away with some new insights, fiction that was grounded in fact, and enough fiction to make someone seeking speculation quite pleased.
While Far-Called wasn't one of my favorite hard science fictions, I think it will definitely appeal to those who have more interest in political science, social science, and hard science compared to action, adventure, and all of the elements of a space opera. There is just enough action and adventure that it is rewarding for those of us who do really love a good space-based brawl with lots of explosives.


text:
Now You're Speaking My Language: NSA's Linguistic Resources (Part II)
Describes the NSA's "comprehensive, long-term plan" to address the shortage of qualified language analysts.
Jul. 6 2004
Cite for Public Name
Link showing a lesser-known person in the document was already publicly associated with the NSA.
Renee Meyer; Richard Quirk
DYNAMIC PAGE -- HIGHEST POSSIBLE CLASSIFICATION IS TOP SECRET // SI / TK // REL TO USA AUS CAN GBR NZL (U) Now You're Speaking My Language: NSA's Linguistic Resources (Part II) FROM: SIGINT Communications and Renee Meyer, NSA/CSS Senior Language Authority (SLA) Unknown Run Date: 07/06/2004 FROM: SIGINT Communications and Renee Meyer, NSA/CSS Senior Language Authority (SLA) Unknown (S) In part one of this series, we noted that half of the cryptologic missions lack the qualified linguists to do the job. Let's look at these shortages a little more closely. Four-fifths of the entire cryptologic language workforce is military . Currently, only 25% of them are at the operational standard (level 3/3) in the languages they are working; only 51% of the civilians are 3/3. This is the primary cause of the severe language deficiency. (This was caused by a number of factors, such as the downsizing of the military and civilian cadres over the last 10 years, high turnover rates, etc.) (U//FOUO) NSA/CSS has drawn up a comprehensive, long-term plan -- worked jointly by all cryptologic military and civilian sectors -- to remedy the situation, as described below: (U//FOUO) Life-cycle learning/enhancement throughout career. Training must be continuous and sustained, even beyond level 3. (U//FOUO) NSA Action to Date: The Language Analysis Professional Health Program (PHP) aims to transform military and civilian linguists into language analysts through a concentrated program that develops language proficiency, performance skills, and congruity judgment for cryptologic language work. "Congruity judgment" is the crucial ability to fit an English product to the content and context of the original, critical to the intelligence process. It goes far beyond a superficial word-for-word, machine-like substitution of English words for target-language ones. (U//FOUO) The National Cryptologic School (NCS) handles the job of teaching languages at NSA/CSS. NSA/CSS has also sponsored the addition of Defense Language Institute (DLI) "language training detachments" at NSA Fort Meade and all three NSA/CSS Regional Security Operating Centers (RSOCs); these teachers provide high-quality training at the very sites where the language analysts are working. Finally, new Accelerated Cryptologic Language Programs are in place and operational at two of the three RSOCs, with the third to come on-line in early FY2005. These programs blend upper-level cryptologic and global language. (S) NSA/CSS has programmed a total of $395 million for the years FY05-09 specifically to address higher-level (beyond level 2) training for military and civilian language analysts throughout their careers and around the world. SERIES: (U) Linguistic 1. Now You're Speaking My Language: NSA's Linguistic Resources (Part I) 2. Now You're Speaking My Language: NSA's Linguistic Resources (Part II) 3. Now You're Speaking My Language: NSA's Linguistic Resources (Part III and Final) 4. Filling 'Critically Needed Language' Gaps
(U//FOUO) Systemic adjustments in career management . Cryptologic language analysts must be assigned to language work in order to minimize the decaying of their language skills. In a study performed by the NSA/CSS Senior Language Authority (SLA), the number one reason for military language analysts leaving the career field or service was the fact that they were not assigned to language work. (U//FOUO) NSA Action to Date: NSA/CSS began reorganizing the management of its language cadre into a single component to enable maximum flexibility and agility and optimal fit of language competence to mission need. Deployment Services (S214) is the first big step. It manages the deployment of language analysts throughout S2 , based on mission requirements and priorities. (U//FOUO) Comprehensive modernization of the Defense Language Institute/Foreign Language Center (DLI/FLC) in Monterey, California. While there are some excellent language programs in existence at universities and colleges across America, DLI is responsible for language training for all military. It is the model for general language training in terms of methodology and approach, incorporating a learner-centered, task-based curriculum from the first day of class. In this decade, over 98% of DLI's training has been devoted to the basic level, the outcome of which is a level 2/2. There is virtually no existing curriculum in any language at DLI above Level 2/2. In order to provide training to the 3/3 level (NSA/CSS's operational standard), DLI will thus have to substantially increase its resident and extended programs. (U//FOUO) NSA/CSS Action to Date: NSA/CSS personnel collaborated with DLI experts and then coordinated with the US Army's Training and Doctrine Command, the Army's Executive Agent for DLI, on "what it would take" for DLI to offer upper level courses and curricula. Through DoD's Joint Requirements Oversight Council process, NSA/CSS has championed increased funding required for DLI to support the 3/3 requirement. Additionally, NSA/CSS sponsored three pilot Proficiency Enhancement Programs in Arabic in 2003. All three pilots proved conclusively that 12 additional weeks of training at DLI to high aptitude, high potential, level 2/2+ military language analysts resulted in at least a plus point increase in proficiency, plus additional skills in Iraqi. (U//FOUO) Higher level language and advanced cryptologic skills curriculum development. While 3/3 is the operational standard, 3/3 language proficiency alone is not sufficient to handle the SIGINT factors regularly encountered by the CLA. The NCS, as Responsible Training Authority for intermediate and advanced cryptologic language training, has for years led the Intelligence Community and DoD in providing upper level work-related and jobspecific language training. NCS will work with the Language Analysis Skill Community, DLI and the Services to ensure that 3/3level CLA have not only the required general language proficiency, but the SIGINT language skills as well. (U//FOUO) NSA/CSS Actions to Date: Over the past three years alone, NSA/CSS has given almost $10 million to DLI for training expansion and test development. At the same time, the NCS continues to increase the cryptologic focus throughout its curricula in order to more effectively reflect job requirements. Finally, General Quirk has declared that
language training is mandatory for all civilian and military CLAs. (U) Watch for the conclusion of this series next! "(U//FOUO) SIDtoday articles may not be republished or reposted outside NSANet without the consent of S0121 (DL sid_comms)." DYNAMIC PAGE -- HIGHEST POSSIBLE CLASSIFICATION IS TOP SECRET // SI / TK // REL TO USA AUS CAN GBR NZL DERIVED FROM: NSA/CSSM 1-52, DATED 08 JAN 2007 DECLASSIFY ON: 20320108


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text:
Duineser Elegien ist der Titel einer Sammlung von zehn Elegien des Dichters Rainer Maria Rilke, die 1912 begonnen und 1922 abgeschlossen wurden.

Ihr Name leitet sich vom Schloss Duino bei Triest ab, wo Rilke 1912 Gast der Gräfin Marie von Thurn und Taxis-Hohenlohe war. Dort entstand die erste Elegie.

Die Duineser Elegien changieren zwischen der Darstellung glücklicher Momente – wie beispielsweise in der Liebe – und der Klage über allgemeine Probleme des menschlichen Bewusstseins. Rilkes ästhetischer Anspruch an die Elegien war die Zusammenführung der traditionellen Formen der Hymne und der Elegie. Mit dem Titel und der klagenden Haltung stellen sie sich in den Gattungszusammenhang der Elegie, ohne das formale Kriterium einer Elegie, in Distichen verfasst zu sein, immer streng zu erfüllen. Es wird das Versmaß des Distichons in Variationen und freirhythmischen Abweichungen umspielt. Die vierte und die achte Elegie sind sogar ganz in Blankversen geschrieben.

Beschreibung und Deutungsaspekte

Inhalt
In den Duineser Elegien entwickelt Rilke ein metaphysisches Weltbild. Der literarische Gehalt der Elegien erschöpft sich jedoch keineswegs in der Ausformulierung eines philosophischen Gedankens, sondern besteht zu einem wesentlichen Teil auch in der Form, in der dieser ausgedrückt wird. Daher kann die bloß paraphrasierende Inhaltsangabe dem Text nicht gerecht werden. Die Duineser Elegien beschäftigen sich mit den Widersprüchen der conditio humana, d. h. der menschlichen Daseins und seiner Bedingungen. Problematisch wird die menschliche Existenz für Rilke ebenso durch die "selbstreflexive Gespaltenheit des menschlichen Bewußtseins", also die Möglichkeit, sich selbst zu betrachten und die daraus resultierende Unsicherheit, wie durch die Unbegreiflichkeit von Vergänglichkeit und Tod:

In den Duineser Elegien thematisiert Rilke das Leben mit diesen Widersprüchen auf poetische Weise. Die Probleme werden dabei nicht linear nacheinander abgehandelt und gelöst. Vielmehr wird der Raum der Probleme im Laufe des Zyklus immer weiter ausgeschritten, was sich darin zeigt, dass scheinbar gelöste Probleme wieder aufgegriffen und ihre Lösungen verworfen oder relativiert werden; so wird die Möglichkeit des mythologischen Trosts aus der ersten Elegie in der zweiten Elegie hinterfragt und negiert.

Um zu zeigen, was der Mensch ist, nutzt Rilke ein gängiges Verfahren der literarischen Anthropologie: Er verweist darauf, was der Mensch nicht ist, um die Seinsweise des Menschen zu beschreiben. Mythopoetisch stellt er dem Menschen einerseits die "Gegenbilder" von Tier und Engel gegenüber, andererseits verweist er auf die "Grenzbilder menschlichen Seins" wie das Kind, den Helden, den Jungverstorbenen und großen Liebenden. Engel und Tier sind frei von den oben beschriebenen Widersprüchen des menschlichen Bewusstseins. Doch auch in den "Grenzbildern" schildert Rilke Situationen, in denen der Mensch die Grenzen der "gedeuteten Welt" überschreitet, also die Grenzen der Welt, in der das menschliche Bewusstsein gefangen ist.

In einem Wechsel von Klage und Lob stellen die Duineser Elegien ein spannungsvolles Verhältnis zur Welt dar. Einerseits wird die nahezu erreichte Sehnsucht nach dem Leisten, nach einem sicheren, objektlosen Können und Glücken geschildert, wie es der "Held" der sechsten Elegie beispielhaft verkörpert. Dem steht andererseits das Brauchen und Nichtgebrauchtwerden gegenüber. Dieser Spannung entspricht eine widersprüchliche Darstellung des Lebens, das teils als Dasein, Hiersein gerühmt, teils als Dauern – als Leben in Erwartung des Todes – beklagt wird. Dieser Widerspruch resultiert aus dem Bewusstsein des Menschen und aus seinem Wissen um die Sterblichkeit und den Tod: "Blühn und verdorrn ist uns zugleich bewußt." Als Illustration der Widersprüchlichkeit durchzieht das Motiv von Auf- und Abwärtsbewegung, von Hinaufgeworfenwerden und Hinunterfallen die Duineser Elegien als Bild für eine Bewegung, die ihr Gegenteil bereits in sich trägt. Dieses Steigen und Fallen veranschaulicht Rilke insbesondere in der fünften Elegie, indem er Straßenartisten beschreibt, aber auch mehrmals in den Bildern der Fontäne und des Baums: Dieser ragt aus der Erde auf, und zeigt dennoch mit seinen Blüten oder den fallenden Früchten wieder auf die Erde nieder.

Stil

Schwierigkeiten beim Verständnis ergeben sich vor allem aus dem Stil der Duineser Elegien. Die Schwierigkeit, die Duineser Elegien zu lesen, entsteht nicht nur aus der starken Verwendung von Relativ- und Vergleichssätzen. Die Elegien weichen von grammatischen Normen in der Verwendung der Konjunktionen daß, aber und und ab, indem Rilke oftmals den Bedeutungsgehalt der Konjunktion ignoriert und sie als Signalworte verwendet. Bei den häufigen Tempuswechseln ist mitunter der Modus des Verbs syntaktisch uneindeutig und kann oftmals auch durch semantische Analyse nicht eindeutig erschlossen werden.
Ein weiteres Beispiel für sinnerzeugende und daher verständnisrelevante Abweichungen von der grammatischen Norm ist Rilkes Verwendungsweise des Verbs können, das Rilke oftmals nicht als modales Hilfsverb verwendet, sondern eigenständig ohne ergänzendes Vollverb.
Außerdem sind die Duineser Elegien durch zahlreiche Verweise untereinander besonders dicht mit Motiven gefüllt, die durch diese Verweise einen eigenen Sinn erhalten, der vom gewöhnlichen Wortsinn mitunter abweicht. Ein zentrales Beispiel hierfür ist der "Engel", der nicht mit einer christlichen Vorstellung von Engeln zu verwechseln ist. Besonders für die Duineser Elegien ist auch die bildhafte, metaphernreiche Sprache, die oftmals sehr konkrete Beobachtungen zum Anlass analogisierender poetischer Betrachtungen nimmt.

Wiederkehrende Motive

Der Engel

Der Engel ist ein Leitmotiv der Duineser Elegien. Die Existenz des Engels ist problematisch: Zwar leben die Engel "hinter den Sternen", dennoch ist dies keine von der Immanenz abgeschiedene Transzendenz – es wird als möglich angesehen, "einer [nähme] mich plötzlich ans Herz". Doch ist zugleich die Existenz des Engels überhaupt fraglich, die Beziehung zwischen Mensch und Engel ist hypothetisch. Die Engel sind "Vögel der Seele". Das ist so interpretiert worden, dass die Engel Geschöpfe der menschlichen Seele, dann also reine Vorstellungen, oder aber Geschöpfe der göttlichen Seele seien.

Der Engel dient, wie auch die Gegenbilder des Tiers und der Puppe, der Beschreibung dessen, was der Mensch nicht ist. Besonders die immer wiederkehrende Klage über die Aporien des menschlichen Bewusstseins werden durch den Engel konterkariert: Der Engel verfügt über unendliches Bewusstsein, hat dabei aber keine körperliche Existenz. Dies, und die Unzeitlichkeit des Engels ("Engel (sagt man) wüßten oft nicht, ob sie unter / Lebenden gehn oder Toten"), ist "schrecklich" für die Menschen: Die Differenz von Mensch und Engel ist eine schmerzliche Differenz, die in einer Vorzeit, von der die Mythologie berichtet, geringer war als heute.

Einzelbeschreibungen

Die erste Elegie
Am 21. Januar 1912 aus Duino an Marie Taxis gesandt, wohl unmittelbar nach der Entstehung

Am Beginn der Elegie steht die Unmöglichkeit, einen Engel zu rufen. Auf der Klage über diese Unmöglichkeit aufbauend schlägt die Elegie wesentliche Motive des Zyklus an: Als Gegenbilder des Menschen werden Engel vorgestellt, welche schön und schrecklich zugleich sind, und Vögel, die vielleicht befähigt sind, die Leere zu fühlen, und die damit über das menschliche Bewusstsein hinausgehen. Denn diese Leere steht in der ersten Elegie exemplarisch für die Probleme des menschlichen Bewusstseins: Leere ist der Raum, den der Sterbende hinterlässt, aber auch der Inhalt der Umarmung, also der andere Mensch, der geliebte Mensch, ist Leere. Damit steht die Leere für die Unzulänglichkeiten des menschlichen Bewusstseins, den Tod und den Geliebten zu begreifen.
Neben den Gegenbildern von Engel und Tier führt Rilke in der ersten Elegie auch die Grenzbilder des menschlichen Seins ein, welche im Zyklus immer wiederkehren: die Liebenden, der Held und die jungen Toten. Der Unterschied zwischen Toten und Lebenden wird als nur scheinbar und für Engel als unerheblich beschrieben. Damit stiftet die Seinsweise der Toten einen Sinn, mit dem sich das Dasein der Lebenden deuten lässt.

Der Tonfall der ersten Elegie wechselt zwischen klagend und preisend. Mit dem Leitmotiv des Brauchens gehen die verschiedenen menschlichen Probleme einher, das Problem, nicht zu brauchen und nicht gebraucht zu werden, aber auch die glücklicheren Momente des Frühlings. Die Nacht, "die ersehnte, / sanft enttäuschende" und die Musik werden als entgrenzende Erlebnisse geschildert, an denen es sich erweist, dass "wir nicht sehr verläßlich zu Haus sind / in der gedeuteten Welt."

Das mythologische Beispiel des Linos – eines griechischen Halbgotts, der im jugendlichen Alter getötet wurde – demonstriert, wie die Menschen mit dem Bewusstsein des Todes umgehen können: Im Klagelied über Linos' Tod ist der Trost der Musik enthalten, die in der Lage ist, die Leere, die ein Toter beim Sterben hinterlässt mit Schwingung zu erfüllen, "die uns jetzt hinreißt und tröstet und hilft."

Die zweite Elegie

Duino, Ende Januar / Anfang Februar 1912

Die zweite Elegie greift die Motive der ersten auf und vertieft diese.
Wie die erste Elegie beginnt auch die zweite Elegie mit der Reflexion über die Anrufung des Engels. Die ersten drei Strophen der zweiten Elegie kontrastieren Engel und Mensch. Die Engel werden dabei mit den gleichen Worten wie in der ersten Elegie als schrecklich bezeichnet.
Im Vergleich vom Jetzt mit dem Mythos der apokryphen Schrift des Buchs Tobias wird die heutige Distanz von Engel und Mensch dargestellt: Im Buch Tobias hilft der verkleidete Erzengel Raphael dem Tobias. In der Zeit des Mythos reichte also die Verkleidung des Engels aus, um die Differenz von Engel und Mensch zu überbrücken. Das Verschwinden dieser Zeit und damit der Verlust des – nicht explizit genannten – biblischen Paradieses werden beklagt, und die Distanz zwischen Mensch und Engel wird als unüberbrückbar dargestellt: Auf die ekstatische Preisung der Engel folgt die Klage über die Vergänglichkeit und Vergeblichkeit aller menschlichen Versuche, also über das, was zum Schluss der ersten Elegie mithilfe des Mythos als bewältigbar erschien. Damit wird die in der ersten Elegie beschworene trostspendende Fähigkeit des Mythos relativiert und eingeschränkt.

Wie in der ersten Elegie werden auch in der zweiten Elegie die Liebenden thematisiert. Die Liebe wird hier aber, im Gegensatz zur ersten Elegie, als paradoxes Erlebnis zwischen zwei Menschen dargestellt. Wird in der ersten Elegie die Einsamkeit selbst des Liebenden beklagt, löst sich in der zweiten Elegie vielmehr die Individualität in der Liebe auf. Das Bild des gegenseitigen Einander-Trinkens beim Kuss dient Rilke als Modell für die Liebe als eine wechselseitige Handlung, in der beide aktiven Subjekte zum passiven Objekt werden: Wenn beide Liebenden im gegenseitigen Kuss einander trinken, werden beide zum Getränk und der einzelne Trinkende als Handelnder verschwindet auf seltsame Weise.
Die Bilder flüchtiger Berührungen auf attischen Grabsteinen könnten dieses Paradoxon auflösen, indem sie den Liebenden die Vorsicht in der gegenseitigen Berührung lehren. Weil wir aber zu unruhig sind, weil uns "das eigene Herz übersteigt", können wir Heutigen diese Vorbilder nicht in einer apollinischen, mäßigend-gestaltenden Kunst fruchtbar machen.

Die dritte Elegie

Anfang 1912 auf Duino begonnen; erweitert und vervollständigt im Spätherbst 1913, Paris

An das Ende der zweiten Elegie anknüpfend, problematisiert Rilke in der dritten Elegie den Gegensatz zwischen Liebe und Sexualtrieb. Der dem Jüngling unbewusste ("was weiß er selbst von dem Herren der Lust") Trieb wird mit der mythisierenden Metapher des Neptun, des "verborgenen schuldigen Fluß-Gott des Bluts" und mit dessen klassisch-mythologischen Attributen "Dreizack" und "Muschel" beschworen, mit denen er in der Mythologie Stürme, hier "dunkele[n] Wind", die Stürme der Leidenschaft erregt. Dem wird die Leichtigkeit der Geliebten gegenübergestellt, die mit dem Frühwind verglichen wird. Zwar löst die Geliebte die Liebe in dem "Jüngling" aus. Aber sie bildet damit nur den Anstoß für die Freilegung des schon im Knaben angelegten, von der Mutter noch eingelullten Sexualtriebs: "Zwar erschrakst du ihm das Herz; doch ältere Schrecken / stürzten in ihn bei dem berührenden Anstoß."
Das "Antlitz / seiner Geliebten" ist rein und befindet sich, wie das Sternbild, in kosmischer Ordnung, wohingegen der Trieb unkenntlich ist. Die chaotische Gewalt des Triebs wird im Verlauf der Elegie gelindert und in etwas Vertrautes verwandelt. Als Beispiel für eine solche Linderung wird die schützende Kraft der Mutter genannt, die dem Kind die Finsternis vertraut macht.

Die Liebe eines Jünglings zu einem "Mädchen" ist nicht unabhängig vom Trieb, sondern die ganze Stammesgeschichte der menschlichen Sexualität geht darin ein: "sondern die Väter, die wie Trümmer Gebirgs / uns im Grunde beruhn; sondern das trockene Flußbett / einstiger Mütter – ; sondern die ganze / lautlose Landschaft unter dem wolkigen oder reinen Verhängnis – dies kam dir, Mädchen, zuvor"

Die Elegie, die stellenweise an Sigmund Freuds Triebtheorie erinnert, schließt mit dem Aufruf an die Geliebte, den Trieb des Jünglings zu lindern: Den "Ranken" und dem "Urwald" – eine gängige Metapher für triebhaftes Leben – wird der kultivierte "Garten" gegenübergestellt, an den das Mädchen den Geliebten nah heranführen soll.

Die vierte Elegie
München, 22. und 23. November 1915

Die vierte Elegie ist eine Kritik des menschlichen Bewusstseins. Das menschliche Bewusstsein ist "nicht einig", das heißt, es produziert Widersprüche: "Uns aber, wo wir Eines meinen, ganz / ist schon des Andern Aufwand fühlbar." Als Kontrast dient, wie auch in der achten Elegie, das Bewusstsein der Tiere: Die Zugvögel und die Löwen wissen nichts vom Tod und sind einig mit sich selbst.
Die Spaltung des menschlichen Bewusstseins entsteht einerseits durch Erinnerung, durch das Bewusstsein des Vergehens der Zeit ("Alles / ist nicht es selbst. O Stunden in der Kindheit, / da hinter den Figuren mehr als nur / Vergangnes war und vor uns nicht die Zukunft") – dieses Problem wird gesondert in der achten Elegie behandelt. Andererseits wird das Bewusstsein durch zwischenmenschliche Beziehungen gespalten. Als Beispiel dafür wird die Liebesbeziehung herangezogen, deren bruchlose Vereinigung – wie in der zweiten Elegie beschrieben – scheitert: "Treten Liebende nicht immerfort an Ränder, eins im andern, / die sich versprachen Weite, Jagd und Heimat." Deutlicher wird die Konfliktsituation zwischen Eltern und Kind dargestellt: Die Angst des Vaters, die im Widerspruch zur Hoffnung des Kindes steht, sucht den Sohn noch über den Tod des Vaters hinaus heim.

Im Zentrum der Elegie steht die Beschreibung eines inneren Theaters hinter des "Herzens Vorhang". Dabei werden die Puppe und der Engel als Extrempole und Gegenbilder menschlichen Seins beschrieben: Die Puppe als reine Äußerlichkeit, reines Objekt – das Gesicht der Puppe ist reines "Aussehn" –, der Engel als reine Innerlichkeit, reines Subjekt. Auf der "Puppenbühne", wenn die Marionettenpuppen von einem Engel gespielt werden, wird die Spaltung des menschlichen Bewusstseins aufgehoben: "Dann kommt zusammen, was wir immerfort / entzwein, indem wir da sind."

Die letzte Strophe spricht vom reinen Bewusstsein des Kindes: Es ist noch ungespalten und kennt keine Zeit. Es wird danach gefragt, wer das Kind dieser Bewusstseinsform beraubt hat, und beklagt dies als Mord.

Die fünfte Elegie
Château de Muzot, am 14. Februar 1922

Der fünften Elegie dient eine Gruppe von Akrobaten als zentrales Symbol für die Bemühungen der Menschen, insbesondere der Liebenden.
Die Akrobaten, die "Fahrenden, diese ein wenig / Flüchtigern noch als wir selbst", werden als rastlos beschrieben, der Antrieb zu ihrer Aufführung ist ihnen nicht bewusst. Ihre Auf- und Abwärtsbewegungen, insbesondere die Menschenpyramide, der "Baum der gemeinsam / erbauten Bewegung (der, rascher als Wasser, in wenig / Minuten Lenz, Sommer und Herbst hat)", dienen als Bild für trügerisches Gleichgewicht und Vergänglichkeit. In ihrer Auf- und Abwärtsbewegung verkörpern sie einen Prototyp der Rilkeschen Daseinsfigur, wie er auch in der siebenten Elegie mit der "Fontäne, / die zu dem drängenden Strahl schon das Fallen zuvornimmt", dargestellt wird.

Das harte, schmerzhafte körperliche Training bewahrt die Akrobaten vor seelischen Schmerzen. Die eingeübte Leichtigkeit und Könnerschaft der Akrobaten ist schließlich eine Hoffnung für die unvollkommenen Liebenden, "die's hier / bis zum Können nie bringen". Die beiden Ebenen des Bildes, die Ebene der Akrobaten und die der Liebenden, werden dabei durch die Gemeinsamkeiten in der Schilderung ihrer Orte verbunden: Der "Teppich" des Straßenpflasters, auf dem die Artisten auftreten, kehrt wieder als "unsägliche[r] Teppich", als Ort der Liebesvollendung.
Die Allegorie der "Modistin, Madame Lamort" – Frau Tod – verbindet diese beiden Bildebenen: Sie hat einerseits ihre Boutique auf einem Platz in Paris, auf dem die Akrobaten auftreten, andererseits "schlingt und windet" sie "die ruhlosen Wege der Erde" – ebenso wie die Fahrenden geschlungen werden – und erfindet daraus "Rüschen, Blumen, Kokarde, künstliche Früchte –, alle / unwahr gefärbt, – für die billigen / Winterhüte des Schicksals."

Die sechste Elegie

Erster Ansatz: Februar/März 1912, Duino. Vers 1–31: Januar/Februar 1913, Ronda. Vers 42–44: Spätherbst 1913, Paris. Vers 32–41: am 9. Februar 1922, abends, Château de Muzot

Zu Beginn der sechsten Elegie wird der Feigenbaum bewundert, von dem Rilke schreibt, dass er Früchte beinah ohne vorherige Blüte ausbilde. Dieses Bild ist der Ausgangspunkt einer Klage über die Menschen, die es für rühmlich halten zu blühen, das heißt also: in der Blüte des Lebens, der Jugend, zu stehen, weil die "endliche Frucht", das Alter, schon zu sehr mit Tod konnotiert ist.

Der Held dagegen ist eines der geglückten Gegenbilder zu den Nöten der condition humaine. Wie die Fahrenden (in der fünften Elegie) verkörpert er eine extreme Möglichkeit des menschlichen Daseins, hier ins Positive gewendet: "Wunderlich nah ist der Held doch den jugendlich Toten." Weil der Held unbekümmert um Tod und Vergänglichkeit lebt, unterscheidet sich seine Existenz von dem "Verweilen" und "Dauern" der gewöhnlichen Menschen: "Sein Aufgang ist Dasein."

Die siebente Elegie
Château de Muzot, am 7. Februar 1922. Endgültige Fassung des Schlusses: 26. Februar 1922

Wie die erste, die zweite und die zehnte Elegie beginnt auch die siebente Elegie mit einer Reflexion über das Dichten. Zwar ist die siebente Elegie in dieser Hinsicht parallel zu den ersten beiden Elegien konstruiert. Anders als in den ersten beiden Elegien ist aber nicht eindeutig ein Engel angesprochen: Zunächst scheint offen, wer angesprochen wird, dann wechselt das angesprochene Gegenüber gleitend von der Geliebten zum Engel.
Die "Werbung" des Dichters wird als "Schrei" mit dem Balzruf des Vogels verglichen. Die zweite und dritte Strophe vergleichen dieses Werben mit der eskalierenden Aufwärtsbewegung des Tages: "Dann die Stufen hinan, Ruf-Stufen hinan". Diese Aufwärtsbewegung, die aber "schon das Fallen zuvornimmt / im versprechlichen Spiel", wird parallelisiert mit der steigenden Jahreszeit des Frühlings und gipfelt schließlich in der Erfahrung der hohen Nächte des Sommers.

Der Ruf des Dichters nach der "Liebende[n]" riefe nicht nur die Geliebte, sondern auch die toten Mädchen aus ihren Gräbern hervor. Diese erinnern an die Herrlichkeit des Daseins: "Hiersein ist herrlich. Ihr wußtet es, Mädchen, ihr auch".
Die Reflexion über das aufsteigende Werben schlägt um zu einer nach innen gewendeten Weltsicht. Rilke geht zu einer "Verwandlungslehre" über: Alles ist scheinbar, solange es nicht "innen verwandel[t]" wird. Die Moderne, der "Zeitgeist" macht die durch "Tempel" und "Dom" repräsentierte Religion verschwinden und verrückt sie damit ins Unsichtbare. Dabei wird aber der "Vorteil, / daß sie's nun innerlich baun, mit Pfeilern und Statuen, größer!" nicht eingelöst.

Die letzte Strophe verweist auf den Anfang der Elegie, indem sie wiederum das Werben verneint. Die hier durchgeführte Denkfigur ist verwandt mit der in der ersten Elegie: Würde das lyrische Ich der ersten Elegie nicht gehört werden, selbst wenn es schrie, so käme hier der Engel nicht, selbst wenn um ihn geworben würde. Diese Paradoxie und Unmöglichkeit, um den Engel zu werben, wird mit dem Wortspiel des "Hinweg" angedeutet – als Hin-Weg oder, in umgekehrter Richtung, als hinweg zu lesen – und im Bild des ausgestreckten Arms illustriert, der gleichzeitig Einladung und Abwehr bedeutet. In dieser Abwehr unterscheidet sich die schließende von der anfänglichen Absage an die Werbung: Zu Beginn der Elegie vergleicht das Aufgeben der Werbung den Sänger noch mit dem balzenden Vogel: Der singende Vogel vergisst "beinah" seine Individualität, wird beinah eins mit seiner Umgebung, dem Frühling, und vergisst beinah seine Dürftigkeit. Die Äußerung des lyrischen Ichs, das sein eigenes Dichten betrachtet, "mein Rufen" ist am Ende der Elegie gewandelt zu einer "Abwehr und Warnung". Die Absage an die transzendente Figur des Engels, der nicht kommt, steht in Zusammenhang mit der Verwandlungslehre, nach welcher Sinn allein in der Transformation des Äußerlichen in Innerlichkeit zu finden ist, nachdem die Modelle zur Erklärung des Daseins dem Zeitgeist gemäß unanschaulich-abstrakt geworden sind, nach der unabwendbaren "Abrückung der Ereignisse ins Unsichtbare".

Die achte Elegie
Château de Muzot, 7./8. Februar 1922

Die achte Elegie schließt inhaltlich, und mit dem Metrum des Blankverses auch formal, an die vierte Elegie an. Auch hier dient die Vorstellung vom Tier, das kein Wissen vom Tod habe, als Gegenbild dafür, das menschliche Bewusstsein als eines um sein Ende wissendes hervorzuheben. Doch nun wird das Gegenbild zur Gegenüber-Stellung erweitert, und darüber als Umkehrung vorgeführt. Im Wechsel der Perspektiven wird der Blick geöffnet für dieses "Schicksal: gegenübersein und nichts als das und immer gegenüber", und Sichtweise hinsichtlich verschiedener Aspekte vorgestellt als umgekehrt, umgedreht, umgewendet.
Im Kontrast zu menschlichem Bewusstsein erscheint das Tiergesicht somit als "Frei von Tod. Ihn sehen wir allein". Und so sehe der Mensch "Gestaltung" und "Welt", nicht aber das Offene, "denn schon das frühe Kind wenden wir um und zwingens, dass es rückwärts Gestaltung sehe".

Die Sicht auf das Offene sei dem Menschen damit verstellt, durch seinen Blick auf den Tod. So: "Immer ist es Welt und niemals Nirgends ohne Nicht: das Reine". Als Menschen hätten wir "nicht einen einzigen Tag, / den reinen Raum vor uns" – jenes: das von Verneinung Freie, "Unüberwachte, das man atmet" und "unendlich weiß". Als Kind kann sich "eins im Stilln [sic]" an dies verlieren und "wird gerüttelt"; im Sterben wird ein jeder dazu werden und "ists", denn er sieht den Tod so nah nicht mehr "und starrt hinaus, vielleicht mit großem Tierblick"; und mancher denn wird dem "wie aus Versehn" nahe kommen, staunend, in der Liebe – aber dann bleibt es "aufgetan hinter dem anderen ...", "der die Sicht verstellt", und "über ihn kommt keiner fort". So "wieder wird ihm Welt".

Nach der Gegenüberstellung von "Bewußtheit unsrer Art" und dem "sicheren Tier, das uns entgegenzieht / in anderer Richtung", werden die Stellungen der Tiere relativiert und abgestuft. Die Säugetiere kennen zwar den Tod nicht, wohl aber die "Erinnerung" an ihre Herkunft aus dem Mutterschoß. Nur die nichtsäugenden Tiere, die Mücke und der Vogel, haben diese Erinnerung nicht, wobei der Vogel, weil er aus dem Ei stammt, eine Zwischenstellung einnimmt.
Um diese Ambivalenz, "die halbe Sicherheit des Vogels", zu illustrieren, verwendet Rilke das Bild etruskischer Sarkophage, die das Bild des Begrabenen auf dem Deckel tragen, sodass der Verstorbene sowohl im Innern als auch außerhalb des Sarkophags ist.
Rilke spielt damit auf die Scheinbarkeit der Unterscheidung von Leben und Tod in der ersten Elegie an. Die Eigenschaft, keine Erinnerung an einen Mutterschoß zu haben, setzt Rilke ins Verhältnis zur Fähigkeit des Fliegens. Zwischen den fliegenden Nichtsäugern und den Säugetieren steht damit die Fledermaus als fliegender Säuger, gleichsam als Irritation: "Wie vor sich selbst / erschreckt durchzuckts die Luft, wie wenn ein Sprung / durch eine Tasse geht. So reißt die Spur / der Fledermaus durchs Porzellan des Abends."

Auf die Darstellung der Tiere folgt die Klage über die ordnende Tätigkeit des menschlichen Bewusstseins als nach innen gerichteter Versuch des Einschließens, mit welcher der Mensch zugrunde geht: "Uns überfüllts. Wir ordnens. Es zerfällt. / Wir ordnens wieder und zerfallen selbst."

Die neunte Elegie
Vers 1/6a und 77/79: März 1912, Duino; der Kern: 9. Februar 1922, Muzot

Die neunte Elegie wechselt von der Klage über menschliche Unzulänglichkeit zum Lobpreis
menschlicher Existenz und Lobpreis der Welt ("Preise dem Engel die Welt"). Entscheidend für diesen Umschlag ist die Einsicht des lyrischen Ichs in die Einmaligkeit alles Seienden und in die Notwendigkeit, sich zu bescheiden. Die großen Gefühle sind "unsäglich". Sie gehören zum Bereich des Engels ("…ihm kannst du nicht großtun mit herrlich Erfühltem"). Für den Menschen – genauer: für den Dichter – gilt es, das Einmalige jedes einzelnen Dings zu erfassen ("…Einmal jedes, nur einmal…"), im Wort zu erfassen, also zu "verwandeln" und so die "Erde… unsichtbar in uns erstehn" zu lassen. Das ist "Auftrag", die Dinge "zu sagen so, wie selber die Dinge niemals innig meinten zu sein." Mit diesem Auftrag bekommt menschliche Existenz einen Sinn. Fragte das lyrische Ich in der ersten Elegie: "Ach, wen vermögen wir denn zu brauchen?", so heißt die Antwort nun: Die Dinge, die Erde, sie brauchen uns.

Die zehnte Elegie
Vers 1–15: Duino, Anfang 1912; erweitert, aber nicht vollendet im Spätherbst 1913, Paris. Erste Fassung des Ganzen, fragmentarisch: Paris Ende 1913; im Februar 1922 verworfen und am 11. Februar 1922 durch die – ab Vers 16 völlig neue – endgültige Fassung ersetzt

Die zehnte Elegie beginnt mit der Hoffnung, "Daß ich dereinst, an dem Ausgang der grimmigen Einsicht, / Jubel und Ruhm aufsinge zustimmenden Engeln". Das zu Lebzeiten erduldete Leid wird dann in Freude umschlagen. Denn das Leid ist nicht nur Vorübergehendes, sondern ist "Siedelung, Lager, Boden, Wohnort": Der Schmerz muss ernstgenommen werden, und kann nicht nur im Hoffen auf sein Ende vergeudet werden.

In einem zweiten, neun Jahre später entstandenen Teil der Elegie wird die dennoch bestehende Fremdheit des Leidens beschrieben. Dies geschieht mit dem gleichen einleitenden Wort "Freilich", wie in der ersten Elegie in die Welt der Toten eingeführt wurde. Damit wird die Fremdheit des Leidens, der Gegensatz zwischen Leiden und Nicht-Leiden als ähnlich scheinbar wie der Gegensatz zwischen Leben und Tod angedeutet.

In einer Topographie des Leids – das Leid wird als "Leid-Stadt" und als "Leidland" verbildlicht – wird die Erfahrung des Leidens verräumlicht. Das lyrische Ich kritisiert die Tröstungen der Kirche: "O, wie spurlos zerträte ein Engel ihnen den Trostmarkt / den die Kirche begrenzt, ihre fertig gekaufte:" Jenseits der Grenzen der Leidstadt ist Wirklichkeit zu finden.
Das Glück wird in satirischen Wendungen als unstet und zufällig dargestellt.

Nach der Beschreibung der unzureichenden, fremden Leid-Stadt steht am Schluss der zehnten Elegie ein "Gleichnis": Auch die "Kätzchen der leeren / Hasel, die hängenden" und der "Regen, der fällt auf dunkles Erdreich im Frühjahr" weisen nach unten, aber sie zeigen uns "die Rührung, / die uns beinah bestürzt, wenn ein Glückliches fällt." Der in den Duineser Elegien oftmals verbildlichte Gegensatz zwischen Steigen und Fallen verbindet sich darin, dass "steigendes Glück" uns "beinah bestürzt".

Entstehung

Schaffenskrise
An der Entstehung der Duineser Elegien ist bemerkenswert, "daß ein schmales lyrisches Werk, ein Zyklus von zehn Elegien, über einen Zeitraum von eineinhalb Jahrzehnten hinweg so ausschließlich das Dasein seines Autors bestimmt, daß biographisch und literarisch kaum anderes daneben Eigengewicht zu erlangen vermochte." Nahezu alles, was Rilke in der Zeit nach dem Malte beeinflusste, sollte später in die Arbeit an den Duineser Elegien Eingang finden.

Die Niederschrift der Duineser Elegien im Zeitraum von 1912 bis 1922 fällt in eine biographische und werkgeschichtliche Krise Rilkes.
Diese Krise wird einerseits auf äußere Ursachen zurückgeführt: Der Erste Weltkrieg erneuerte Rilkes Kindheitstrauma. Vor allem stellte die Wiener Militärzeit Rilkes Lebenskonzept als Dichter in Frage: Er wurde eingezogen, nachdem er die Vierte Elegie niedergeschrieben hatte, und so die unterbrochene Arbeit an den Elegien gerade wieder in Gang gekommen war.
Andererseits wird sie als Symptom einer modernen Künstlerentwicklung gesehen. Nach der Arbeit am Malte hemmten ihn aber auch seine hohen Ansprüche: "Die Verzweiflung meiner Verhältnisse wird mir langsam klar: wie nach jenem Buch nichts mehr kommen (kann), wie es nicht mehr weiterging, nicht einmal ins Sterben. Ich war mit ihm irgendwie hinter den Tod gekommen, dorthin, wo nichts ist."

Schaffensorte

Rilke suchte lange Zeit nach einem geeigneten Ort, um die Elegien zu schreiben. "Eine hohe Anzahl von Briefen belegt, welch hohe Bedeutung Rilke den äußeren Schaffensbedingungen, dem Auffinden einer »Retraite« [eines Rückzugsorts], die die Vollendung der ›Elegien‹ gewähren könnte, beimaß."
Vom 22. Oktober 1911 bis zum 9. Mai 1912 befand sich Rilke auf Schloss Duino bei Triest zu Besuch bei der Gräfin Marie von Thurn und Taxis-Hohenlohe. Als er an einer Stelle an den Klippen vorbeizog, soll er im Wind eine Stimme gehört haben, die ihm die Worte "Wer, wenn ich schrie, hörte mich denn aus der Engel Ordnungen?" zurief. Angeblich von diesem Ereignis inspiriert, begann er seine Erste Elegie mit diesen Worten. Die Orte des Schreibens: Schloss Duino, Schloss Berg und Chateau Muzot boten Rilke nicht nur Sesshaftigkeit und Zurückgezogenheit, sondern auch eine bedeutende Landschaft, "sichtbare Äquivalente für die Geräumigkeit der unsichtbaren »Landschaft«, die er in seinen zehn Gesängen erschaffen wollte."

Phasen der Niederschrift
Die zehn Jahre dauernde Niederschrift der Duineser Elegien fand in sechs zeitlich eng begrenzten Phasen statt. Auf Schloss Duino entstanden zwischen dem 21. Januar und März 1912 nur die ersten Elegien. Fortgeführt wurde das Werk zu den folgenden Zeiten und Orten:

 Januar–Februar 1913, in Ronda: VI. Elegie, Verse 1–31;
 Spätherbst 1913, Paris: IV. Elegie, Verse 42–44, Erweiterung der X. Elegie;
 22.–23. November 1915, München: IV. Elegie;
 12. November 1920 – 10. Mai 1921, auf Schloss Berg;
 7.–26. Februar 1922, Chateau Muzot: VII. (7. Februar), VIII. (7.–8. Februar), IX. (9. Februar), IV. (Verse 32–41; 9. Februar), X. (11. Februar, neu ab Vers 13) und V. Elegie (14. Februar).

Ausgaben
 Erstausgabe: Rainer Maria Rilke: Duineser Elegien, Insel, Leipzig 1923
 Rainer Maria Rilke: Werke. Kommentierte Ausgabe in vier Bänden. Hrsg. v. Manfred Engel u. a., Band 2: Gedichte. Insel, Frankfurt am Main und Leipzig 1996.

Literatur
 Karen Gloy: Philosophie zwischen Dichtung und Wissenschaft anhand von Rainer Maria Rilkes Duineser Elegien. Königshausen & Neumann, Würzburg 2020, ISBN 978-3-8260-7211-6.
Hannah Arendt, Günther Stern: Rilkes Duineser Elegien in: Neue Schweizer Rundschau / Wissen und Leben Nr. 23, 1930, S. 855–871.
 Günther Däss: Wirklichkeitsintuition und Wirklichkeitstreue in Rilkes Duineser Elegien. Haarlem University Press 1970.
 Manfred Engel: Rainer Maria Rilkes "Duineser Elegien" und die moderne deutsche Lyrik. Zwischen Jahrhundertwende und Avantgarde Metzler, Stuttgart 1986 (Germanistische Abhandlungen, 58).
 Ulrich Fülleborn, Manfred Engel (Hrsg.): Materialien zu Rilkes "Duineser Elegien" Bd. 1: Selbstzeugnisse; Bd. 2: Forschungsgeschichte; Bd. 3: Rezeptionsgeschichte Suhrkamp, Frankfurt 1980–1982.
 Romano Guardini: Rainer Maria Rilkes Deutung des Daseins. Eine Interpretation der "Duineser Elegien" Kösel, München 1953.
 Gerhard Oberlin: Sein im Untergang. Rainer Maria Rilkes Schreibblockade und seine letzten poetologischen Dichtungen. In: New German Review, Vol. 20/2005–6, S. 8–40.
 Jacob Steiner: Rilkes "Duineser Elegien" Francke, Bern 1962.
 Anthony Stephens: "Duineser Elegien" In: Manfred Engel, Dorothea Lauterbach (Hrsg.): Rilke-Handbuch. Metzler, Stuttgart 2004, S. 365–384.

Weblinks

Einzelnachweise

Lyrik
Literatur (Deutsch)
Literatur (Österreich)
Literatur (20. Jahrhundert)
Werk von Rainer Maria Rilke
Sammlung (Literatur)

redpajama_set_name: RedPajamaWikipedia


"my educational practice, how I engage within the site, and with my learners, and in fact how I approach all aspects of my life – my practice, and my self – is within a Learning Organisation paradigm" (Page 2004).
A Learning Organisation paradigm fits appropriately along side of the andragogical movement of adult educational practice (Knowles et al 2012). The andragogical movement differentiates itself from a pedagogical perspective of practice primarily around the age and dependence of the learner. Pedagogy, based on the greek word for child assumes the learner is a dependent, reliant upon the educator in the learning environment. In contrast, the andragogical movement defined as "the art and science of helping adults learn", assumes the learner is self-directed, and responsible for their own learning (Knowles in Merriam 2001, 5).
There is some debate as to the validity of the andragogical approach being used in the same breath as a pedagogical method. However, my view is both approaches have their place in contemporary adult and education and learning practice. Whilst fundamentally I am predisposed to a andragogical approach to my education and learning practice, it does not exclude instances where I consider a pedagogical approach may be more appropriate in order to optimise the effective student learning experience of a particular learner or learners at that time (Boud in Ashwin 2006,19). I rely on sound sustainable and replicatable methodological approaches within my education and learning practice. As mentioned, I am in a position to draw on developed content, information knowledge and skill gained across a wide range of experience in different learning theories and approaches. I have yet to experience one theory or approach that is optimal in every contemporary adult education and learning practice context.
I also rely on my life experience to assist in the learning process as I see appropriate. I regularly draw on a broad range of roles and faces to assist me in my educational practice. Assuming that within a learning practice session of say twenty-four (24) learners, there is expected to be a wide range of backgrounds, personalities, thinking and learning orientations. I as the learning facilitator approach the learning experience knowing I need to be flexible and adaptable to cater to, or relate to, the individual learner. Some of the roles or faces I see my self as having include that of: an educator, a teacher, a facilitator, an authority, a coach, a motivator, a guide, a mentor, a consultant, a manager, a delegator, a performer, an adviser, a supervisor, a curator, a learner, a peer, a team member, an empathiser, a friend, a parent, a disciplinarian, a court jester, a cajoler, a philosophiser, an administrator, a carer, or a (small c) counsellor, to name a few (Light et all, 2009, 122). I find having such a multiple facetted role and face approach in the practice of education and learning is particularly necessary when approaching students who have varying degrees of learner experience and development. For instance, as Knowles et al summary of four (4) stages in Adult Learner Learning Autonomy highlights, for each stage of a student's development, the learner facilitator will require a different role or face.
Stage 4 learner development: student self-directed, in which the teacher may need to be one of a consultant or delegator (Knowles et al 2012, 185).
Further to this, I have regularly found that even within the one learner, they may be at different stages of their learner development depending upon what the task at hand is. For example, if a learner is expected to engage in four (4) tasks during a 180 minutes learning session – for example researching, analysing, discussing and writing – a learner may have differing levels of aptitude, competence and development across these four (4) functions. Therefore, as a professional learning practitioner, I am likely to draw on a range of my multiple facetted practice roles and faces within the learning environment context in order to optimise my interaction with the learners.
My sole purpose of engaging in these multiple practice faces is to assist the learner in gaining an understanding or insight of their learning challenge at that particular point in time. My goal is always first and foremost to assist the learner, and optimise the effective student learning experience at that moment in time. I would also like to state: I would be incongruent if I was to claim that I always get the correct balance when approaching a particular learner or group of learners. I don't. However, as a practitioner and social being I need to take ownership of what choices and decisions I have made at any point in time, and at a later time, make the time to reflect on my decisions, actions and outcomes that presented themselves within the learning environment I was responsible for.
Some observers could consider such a multi facetted practice approach as being problematic in terms of institutional management, given that such an individual practitioner approach may not be a replicatable or duplicatable methodological approach across faculty. As most are aware, the landscape of higher education has rapidly changed over the past decade, and is continuing to evolve. Business measures of success have increasing become measures of higher education institutions – economic effectiveness and efficiency. Accepted business processes are being developed in order to attempt to control the three (3) pillars of higher education activity: teaching, research, administration & service (Light et al 2009, 3-8). I believe the parameters surrounding these three pillars can be and should be defined to benchmarked best practice in order to maintain levels of service delivery to all learners irrespective of the institution they attend. But I do not agree that learning practitioners could ever, or should ever have their unique practitioner approaches restricted – as long as these practices are aligned with optimising the effective student learning experience of those particular learners. I rely on sound sustainable and replicatable methodological approaches within my educational practice. However, as developed across the preceding Layers, my view is that each practitioner is a unique self, with potentially differing culture, education, age (generational experience), work experience, previous experiences in learning, learning styles, motivation to learn, and prior experience in the pending agreed learning experience discipline or subject area. Each practitioner should also have a uniquely personalised and developed content, information knowledge base and skill level. Each practitioner will therefore bring to a learning experience a unique approach to practice, in order to optimise the effective student learning experience of those particular learners. I consider the uniqueness of the professional practitioner to being a valid and exciting aspect of the contemporary education and learning field.
It is important to note: in order for me to practice to a level of personal integrity – being professionally congruent with my practice – irrespective of who my learners are. I must ensure that my educational philosophy is aligned to the executive leadership of the education institution where I am conducting my practice. As a professional education and learning practitioner, I accept one of my core values is to assist people with their learning. Having experienced issues with learning at certain stages of my development, I consider my self to have an empathy and a holistic care for people, wanting to assist them in any way that they need, to ensure they are developing their content, information knowledge base and skills level, maximising their development, their personal empowerment, in order for them to ultimately realise their full life potential.
It would be problematic for me to engage in educational practice within an organisation or institution where their educational philosophy was not aligned to my philosophy and approach. In approaching an educational or learning program, I either commence by creating a curriculum from this philosophical stance. However, if I am in a learning institution where I have not been part of the curriculum development process, I need to ascertain and absorb the specifics of the content; determine how best this content can be delivered to address the learning outcomes in way that is aligned to my philosophy; develop a teaching program across the full duration of the course; and then at that point I can begin to draft the individual learning experience plans.
As mentioned in Layer 2 of my previous blog, my over riding philosophical stance embraces the 10,000 hours trades philosophy of skilled craftworkers (Ericsson et al 1993). I value and believe in the merit of developing of a skill, a trade, a craft, or art – for that practitioner developing specialist knowledge and tools over many thousand's of hours of practice, to ultimately express one self through uniquely personalised and developed content, information knowledge base and skill level. I consider this approach integral to becoming a professional practitioner.
This blog series is planned to continue with Educational Philosophy Part 3b.