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Izotope rx 5 tutorial
Izotope rx 5 tutorial. iZotope RX 6 Advanced Crack Latest Version Full Free download 2019-02-13
Wednesday, February 13, 2019 4:40:45 PM Ismael
iZotope RX7 New Features Explained®
Mike follows that with a pair of videos on treating distortion, a pair of videos on treating hum and buzz, a pair of videos on using the Spectral Repair module, and a pair of videos on how to restore vinyl and tape material. I tell every Audiobook narrator I know: this is built for you. At 1:04 in the User Interface tutorial, the instructor demonstrates making a selection; in the process his pointer turns into a cross and allows him to rubber band an area. You also get the stems used in the tutorial to follow along with and mix on your system. I've gotten to learn and sit under individuals who are way better than I am. If you own or create a movie and you want to adjust the sound level to a normal status then this program is what you need.
I assume he did it by key command. Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents. It took a while to get over those introvert tendencies and fear of public speaking and now I can't get enough. Learn what all the features and functions do, as well as how to apply them to your instruments and tracks along the way. Acoustic tracks for The Alarm, albums for Fairground Attraction, whilst I was at Piccadilly Radio in Manchester. I get to work with students and artists who are chasing their musical dreams.
RX 5 Quickstart
See how he was able to improve this clip using the Dereverb plug-in in Pro Tools. Learn just what the new features are and how to utilize them on your recordings. Moving on to the limiter feature, this can be optimised either for transparency or low latency, with three different sound-character options clear, smooth or thick , and the ballistics are intelligently programme-dependent. This features six separate parametric bands, plus configurable high- and low-pass filters with four slope options. The Final Mix plug-in is the only element of the suite that was entirely new to me, but I was impressed with the capabilities of its dynamic equalisation and limiter processes — although such powerful tools require great care, as they can wreck a mix more easily than improve one! Using this tool you have no want any sound editor, experts, and expert. I am also a media apprenticeship mentor and assessor for a variety of schemes here in Manchester, England where I am based. From that point on a began teaching myself and taking various online courses that offered subjects that excited me.
How Can I Watch These Videos? This product makes it possible to put off buying Pro Tools for a few years. From corrective to creative vocal production all the way to the final polish, Nectar 3 brings out your intended performance in isolation and in the context of the mix. Video 2 — Dialog De-noise Plugin — Mike shows how to use the Dialog De-noise plug-in to treat audio in real time with no latency as a plug-in in Pro Tools. When did you get into recording? When did you start dabbling in music? The plug-in can be employed on stems or the final mix bus, supports all surround formats up to 7. In these five video training tutorials, Mike shows you the unique features of this plug-in and how to get the most out of them. It specially designed for audio specialists in tune production, submit-production, best for visualizing, and audio getting to know. I should have invested in this training video earlier.
iZotope, Inc.
You then have to scramble around looking for bits of ambience to try and fill the gap, but it rarely works as well as you would like. Synth guru Scottie Dugan takes you on a tour of this awesome virtual synth, showing you all that it can do, as well as sound design examples that will kick start your programming frenzy. I've clicked every button on the user interface, searched every menu, and searched in help; I still don't know how to create the point cross that allows selection of an area. After thirteen years of private piano lessons I decided to pursue a formal degree. Another useful new facility for more complex repetitive work is the Module Chain, which allows a string of processes to be performed in one click.
They exchange sounds tracks in step with their choice. Well if you don't, Scottie Dugan is going to reveal the magic and mystery of these wonderful machines, teaching you the basics of analog synthesis from the ground up, using both classic and modern analog synthesizers. Ableton Live and the ability to make music with a computer were the two biggest reasons I didn't continue pursue a formal degree. Watching a student get that lightbulb breakthrough or seeing an ignition of passion after the transfer of knowledge creates such a sense of fulfillment for me. Mike shows you how in this video. This powerful collection of audio analysis and metering tools is what you need for visualizing changes made when mixing and mastering your songs and productions, as well as troubleshooting sonic problems, and complying with loudness requirements and standards. Goes to the grain and with simple explanations.
On the whole, the newest modules — such as De-plosive, Leveler and Ambience Match — are available only on the Advanced Version. That being said their tutorials are some of my favorites. It can seemingly do everything from editing out pops and clicks in dialog, removing hums background noise, isolating background noise and bringing it back in as a layer in a final mix thanks a million for Ambience Match , to exporting an Excel-style document to give with deliverables to a post-production team. The other main element of Final Mix is a simple-to-use limiter. If you have not yet signed up to our premium video platform, you can watch the first couple of minutes of these videos and if you want to watch the rest of any of these videos, and hundreds more like it, then sign up for a free 7 day trial. So, in the example of dialogue improvement, a module chain could include De-plosive followed by De-noise and Leveler.
The latter has both compression and expansion options with user-adjustable thresholds set independently per band. Now you can analyze your entire mix, and process it to whatever broadcast standard or particular settings you need. Learn more about Spire Studio: fosterthepeople spirestudio Get your vocals to sit in the mix with the most sophisticated set of tools designed for vocal production. The software itself is also very easy to use and offers valuable features which can solve problems in literally a couple of clicks. They're all here and Scottie gives you the knowledge you need to get the most out of these amazing plug-ins and more.


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Man who allegedly pushed parole officer, barricaded himself indicted
Larry Hicks
By Dorothy Sedovic | August 9, 2018 at 2:30 PM CDT - Updated August 14 at 5:52 PM
SMITH COUNTY, TX (KLTV) - A man who was taken into custody after a SWAT situation in May was indicted on related charges.
Larry Hicks, 46, of Tyler was indicted on an assault against a public servant charge and an unlawful possession of a firearm by a felon charge, according to judicial records. He was indicted by a Smith County Grand Jury on August 8.
According to the Smith County Sheriff's Office, Hicks was taken into custody on May 21 after he barricaded himself within a residence after a parole officer went to check on why his security ankle bracelet had stopped working.
When the officer approached Hicks to look for the bracelet, Hicks pushed the officer out of the house and locked himself inside, the sheriff's office reported. The officer then called 911.
Previous Story: Smith Co. identifies man taken into custody after SWAT standoff
SWAT surrounded the house, working to negotiate with the man to come out. He was taken into custody after about an hour and a half of negotiating.
Hicks remains in the Smith County Jail. His collective bond is set at $250,000.
Dorothy Sedovic
Dorothy Sedovic joined the KLTV news team in February 2018. She works as a Digital Content Producer for KLTV, KTRE and Noticias del Este de Texas.
7 Investigates: Health officials confirm three cases of infant botulism in East Texas
Health officials have now confirmed three cases of infant botulism in East Texas, and a possible fourth case is under investigation.
Blake Holland
Volunteer Central: Opportunities to serve for the week of July 15

redpajama_set_name: RedPajamaCommonCrawl


If you want the best Verizon plan, you've got a lot of options to pick from. Verizon has a smorgasbord of plans to choose from, with multiple tiers of unlimited data plans, a variety of shared data plans, and even a handful of prepaid options.
Having held onto this minor convenience for too long, Google is officially opening up its Chrome OS Instant Tethering feature to more devices with version 71 of its Chrome OS operating system.
Before Chrome OS 71, Instant Tethering allowed any Google-made Android phone to provide a nearby Google-made Chromebook with 3G or LTE internet access immediately once Wi-Fi signal was lost or the laptop was opened without an internet connection.
The best AT&T plan you can get depends largely on what you want. There are AT&T plans to fit a variety of needs, whether that's a load of data, features, and streaming services or a simple plan with a smidgen of data and an affordable price.
Now that's what I call a cheat sheet!


About Us: An Iraqi company established in 2004. Our specialization in Security & Communications Technologie provides solutions for all the needs of intelligent visual surveillance systems, satellite and navigational surveillance, radio communications. Surveillance and reconnaissance equipment, wireless and wired communications networks, survey towers.
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We are independent and have the freedom to choose the best solutions and technologies that meet the needs of the security reality, which in turn make Iraq a stable security environment to develop the wheel of the economy to improve the current reality.


Recently, The Gospel Coalition posted a blog written by Sam Allbery, called "Where to Find Hope and Help amid the Sexual Revolution." In it, Sam identifies four significant cultural changes that have taken place over the past decade and seven ways Christians can respond. It's packed with insights, and since these topics have been part of recent discussions in our community and are part of an ongoing dialogue in our culture, we thought we'd share a few highlights from Sam's post. The whole article is well worth your time.
In his landmark book The Righteous Mind, psychologist Jonathan Haidt shows that our moral convictions tend to come about intuitively rather than rationally. We have a gut feeling about what is morally right and wrong—and the intuitions driving that gut reaction have changed in the past decade or so. Particular moral taste buds have come into play: Does a given course of action seem harmful or not; freeing or oppressive; and fair or discriminatory? These primary factors, Haidt argues, determine our moral conclusions.
This being so, we can see how Western culture so quickly embraced gay marriage. Applying the first of the three moral taste buds: Does it do harm to anyone else? Surely if the lovely gay couple down the street is allowed to marry, it's not going to affect me in any adverse way? Second, prohibiting gay marriage feels oppressive rather than freeing. Surely someone has the right to love whom they want and to express that love in the way they want. And, third, it seems deeply unfair to oppose this. How can it be fair or just for one couple to be able to marry but not another couple? Viewed this way, supporting gay marriage seems intuitively right. No wonder many once opposed have shifted their thinking in recent years.
Today, the "real" you is the you that you feel yourself to be deep inside. The hero narrative of our day is the person who searches deep within, discovers who they are, and then persists in expressing what they've found even in the face of opposition. The "real" you is someone only you can discover; no one else can determine your identity.
In addition, the physical body is entirely accidental. In atheistic evolution, the body is simply the lump of matter you're attached to. It has no intrinsic meaning or significance. Indeed, evolution shows us that any physical thing can literally become anything else, so there's no reason why we can't fashion our physical body into something entirely different from what it started out as. If accidental, then it follows that it's incidental. The body is canvas on which I can express my identity, but it doesn't in any way determine that identity.
If we have a problem with these positions, our problem isn't with the church, or evangelicalism, or Christianity, but with Christ himself. We can't turn away from these beliefs without turning away from him. We believe what we believe about marriage and sexuality because we believe what we believe about Jesus. If someone wants me to abandon my view of marriage, they must first persuade me to abandon my view of Christ. As the saying goes, "Those who hear not the music think the dancers mad." We can't expect people to fully understand how we live and what we believe unless they understand who Christ is to us.
The whole article is packed with important points and careful distinctions that help us think not only about gender and sexuality but about the Bible, the Church, and the God we love. You can read the whole thing here.


Certainly one of one of the most widespread electrical wiring questions is on how to wire a swap. Although utilizing switches in your house is sort of simple, wiring a single might not be that straightforward for everyone. An ON-OFF switch is actually quite simple to wire. You can find various kinds of switches, but for this example, let's say you will be installing a single-pole toggle switch, an extremely common change (and also the simplest).
You will discover 3 hues of wires in a common single-pole toggle switch: black, white, and environmentally friendly. Splice the black wire in two and hook up them within the terminal screws - one particular on best and the other about the bottom screw in the swap. The white wire serves being a resource of uninterrupted electrical power which is commonly related into a light colored terminal screw (e.g., silver). Link the inexperienced wire on the ground screw of your respective change.
These ways would frequently be enough to help make a standard change function with no issue. Nonetheless, should you are not assured that you choose to can carry out the job properly and safely and securely you greater enable the professionals do it rather. Just after all, there is a motive why this endeavor is without doubt one of the commonest electrical wiring issues questioned by the majority of people.
For many explanation, how to wire a ceiling fan can be among quite possibly the most widespread electrical wiring issues. To simplify this endeavor, you need to use just one change for any single ceiling fan. To wire the supporter, it truly is simply a subject of connecting the black wire with the ceiling fan towards the black wire of the switch. If there is a lightweight, the blue wire should be linked to the black wire of the swap at the same time.
There are actually causes why these are quite possibly the most normally requested electrical wiring inquiries. A single, a lot of assume it can be simple to try and do, and two, they're the popular electrical duties in your house. But you then must not put your protection at risk within your aim to save money. The stakes could even be significantly greater if you seek to save cash and do an electrical wiring task without ample understanding or knowledge.


It's widely believed that captains can marry that is, perform weddings for their passengers.
That's a myth - at least for most captains in California. BUT Captain Dan's other hat is a chaplain's. It's not as fancy as a Bishop's miter, but Captain-Chaplain Dan can legally perform marriages in California, and, as long as there is sailing involved, he's happy to do it. Why not get married in a ceremony at sea? Or at least near the sea, on the beach?
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think they cleaned up all the broken glass by now?
Thanks for a great read, its good that people like yourself take the time to write up a great post. I haven't really spent the time reading a blog before but I think that will be my new year's resolution starting now.
Next Next post: What Is It With This House and Leaks?


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Inter-American Commission on Human Rights to Consider "Home Country Liability" for the Extraterritorial Actions of Transnational Corporations
In an exciting development in the corporate accountability world, the Inter-American Commission on Human Rights, for the first time in its history, will directly consider the question: can a corporation's home country be held liable for the actions of that corporation abroad, or for failing to provide a remedy to its victims?
This question was squarely presented before the Commission on November 1, 2013 by a coalition of over 30 NGOs and organizations of affected peoples at a thematic hearing on "the human rights situation of those persons affected by mining in the Americas, and the responsibility of both the host countries and the mining companies' home countries." Up until this point, activists and the Commission have focused almost entirely on the responsibility of only the "host country" – the country where the actual operations take place – giving the "home country" – the country where the corporation is headquartered – a free pass.
The petitioners at the thematic hearing are looking to change that tendency. The petitioners were careful not to detract from the wealth of problems riddling the host countries – lack of prior consultation, the criminalization and violent repression of public protests, the weakness of norms intended to protect the environment and affected communities, and lack of access to justice. These issues, they noted, certainly contribute both to the persistence of human rights violations committed by mining companies and to the situation of vulnerability and hopelessness often felt by communities responding to these violations. But beyond those problems – which receive a lot of attention – the petitioners sought to bring an additional focus to the ways in which home countries are also responsible.
To make their case, the petitioners presented a report in which they analyzed patterns of human rights violations emerging from 24 mining projects in the Americas run by Brazilian or Canadian companies. Then they turned their attention to the conditions in Canada and Brazil that permit these abuses and allow for their impunity.
According to the petitioners, Canada represents a particularly important offender, as it is the home country for 75% of the world's mining companies, and two-thirds of their operations are in Latin America. The Canadian government provides financial support to many of these companies without implementing any human rights safeguards. Canada additionally works to influence host state laws, signs bilateral investment treaties, and exercises diplomatic pressure, all to make conditions more favorable for Canadian mining companies and to insulate them from any liability for environmental and human rights abuses.
Despite being informed of the negative consequences of these actions, Canada has failed to enact any effective mechanism directed at prevention, control, or remediation of extraterritorial human rights abuse. Petitioners could find no case where Canadian courts provided a remedy to victims of mining abuses abroad, and strongly critiqued the government's minimal efforts to address the problem through its national corporate social responsibility program (which was also recently critiqued in an op-ed by MiningWatch Canada's Catherine Coumans).
Brazil carries its own set of problems, most revolving around the government financing of Brazilian companies through the Brazilian Development Bank. The petitioners argued that this bank gives Brazilian companies a competitive advantage in their operations abroad, while providing no effective mechanisms to supervise or control the operations, or remedy the resulting human rights abuses. And like Canada, Brazil also lacks a system of access to justice for victims of abuses taking place abroad.
The Commission appeared to be very sympathetic to the idea of developing jurisprudence on the legal responsibility of home countries for the actions of their corporations abroad, but were still unsure of the legal justification for doing so. Principal among the concerns of the Commission appeared to be the issue of how a state could be held liable for the foreign actions of non-state actors. Would a state be liable for the actions of its tourists? Where, and how, should the Commission draw the line?
In an exciting back-and-forth, the petitioners and the commissioners discussed a number of possible legal hooks to establish liability. In real time, you could see the outlines of an important jurisprudence emerging as the petitioners and the Commissioners discussed creative interpretations of the Charter for the Organization of American States, the American Convention on Human Rights, and the system's existing jurisprudence, intended to demonstrate the legal obligations of home countries.
Now the decision, and the important task of defining the contours of home country liability, is in the hands of the Commission. While the Commission has recently been reluctant to shake things up too strongly, particularly when the interests of Brazil are involved, this hearing presents the Commission with an opportunity to make an important and needed contribution to the protection of human rights. It is hard not to get excited.
Original: http://www.earthrights.org/blog/inter-american-commission-human-rights-c...
Benjamin Hoffman on www.earthrights.org
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Home By Country India Farmer unions to ignore Supreme Court committee, seen as government 'ploy'
Farmer unions to ignore Supreme Court committee, seen as government 'ploy'
Farmer union leaders at press conference on 12 Jan 2020 rejecting Supreme Court set-up committee – Photo: Kisan Ekta Morcha Facebook video grab
By Asia Samachar Team | INDIA |
The farmer unions spearheading the massive protest to repeal the three farms laws ramped through the Parliament in mid-September 2020 have today (Jan 12) decided to ignore the committee set-up by India's top court.
Instead, they are determined to continue their protest at the highway entry points at Delhi and plan for a major protest on Jan 26 as India celebrate's its Republic Day.
"Let this be crystal clear: we did not go to any court. The government dragged us to the Supreme Court. We are not party to the petition. It has nothing to do with us. This is the government's ploy," farmer leader Balbeer Singh Rajewal told a press conference after the unions met to deliberate on the court's decision earlier in the day. Also present were other key farmer leaders.
TO VIEW THE PRESS CONFERENCE ON FACEBOOK, CLICK HERE
A three-judge SC bench, headed by India's chief justice Sharad A Bobde, had today put on hold the implementation of three controversial laws and announced the formation of a panel to facilitate talks with the protesting farmers staging.
The chief justice had earlier been reported to have said: "We are looking to solve the problem. If you want to agitate indefinitely, you can. Every person who is genuinely interested in solving the problem is expected to go before the Committee. The Committee will not punish you or pass any orders. It will submit a report to us. We are going to take the opinion of the organisations. We are forming the Committee so that we have a clearer picture."
India's top court suspends India's controversial farm laws, appoints committee to get 'clearer picture' (Asia Samachar, 12 Jan 2021)
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50 days into farmers protest, a camera team spends a day at Tikri border


Saudi al-Watan newspaper recovers its site after hackers outside the kingdom seized it on Thursday, publishing false reports over Saudi-led military coalition's operations in Yemen.
The Crown Prince was cited saying the Saudi-led military coalition's operation in Yemen had gone on longer than expected, comments which al-Watan said were "not based on any reality."
The coalition began airstrikes in Yemen in March last year to support the government of President Abedrabbo Mansour Hadi after Houthi rebels, backed by Iran, seized much of the country.
A fragile truce has been in effect for almost two months while UN-brokered talks between the rebels and government take place in Kuwait.
Al-Watan is a privately-owned paper linked to a member of the royal family and is based in the southwestern city of Abha.
It is considered as one of the most liberal and pro-reform newspapers in the kingdom, although journalism in Saudi Arabia remains very limited and most outlets express similar views on critical matters.
Columnists challenged the teachings of the kingdom's strict Muslims clerics as well as the role of the religious police force.
The kingdom's religious conservatives began referring to al-Watan as "al-Wathan," Arabic for "the idol," suggesting that the newspaper was idolatrous.
Amnesty International says beheadings in Saudi Arabia are at the highest in years, and underlined fundamental flaws in the country's justice system.


This article traces the origins of the word stålsko (steel shoe) and its frequent interpretation as an ice skate in literature and visual culture. This discussion focuses in particular on a specific reference in Esaias Tegnér's Frithiofs saga (1825) where Frithiof is said to be wearing stålskor. The author of this article analyses the implications of translating this reference as 'ice skates' and proposes the alternative interpretation of 'crampons', devices used to walk and fight on slippery surfaces. This interpretation is explained and supported using both textual and archaeological evidence.
Critics often speak of Carl Theodor Dreyer's treatment of religious themes, his sense of history, and his austere style, but few recognize any tragic intentions on his part. The director himself, however, writes that in the films The Passion of Joan of Arc , Vampire , Day of Wrath , and The Word , he 'ended up with a [...] form which [...] has characteristics in common with that of tragedy'. Using a model based on that of classical Aristotelian tragedy, this essay attempts a detailed consideration, from a dramatic as well as a cinematic point of view, of the tragic aspects of Dreyer's film Day of Wrath (1943), whose script is adapted from the 1909 theatrical melodrama Anne Pedersdotter .
This article offers an analysis of the cultural references and social critique embodied in the trolls in Trolljegeren (2010, The Troll Hunter ), a mocumentary directed by André Øvrelid. The author demonstrates how this film combines late modernity with folklore and tradition. While offering a complex critique of the welfare state, the director uses creatively elements drawn from Asbjørnsen and Moe's folk tales and from the illustrations of Theodor Kittelsen.
This article explores the relationship between recollection and lyrical poetry while analysing Emil Aarestrup's poem 'Paa Sneen'. According to the author of this article the reception of the Danish poet Emil Aarestrup has long been influenced by two main themes: exile and naturalism. Taking his starting point from Jørn Vosman's essay 'Værkets verden, værkets holdning', Andersen revaluates the importance that the dimension of time and the process of recollection have in Aarestrup's work and offers a new interpretation of his poem 'Paa Sneen'.
Despite almost making the cut for what later became Seven Gothic Tales (1934), Karen Blixen's tale 'Carnival' has so far had little attention by scholars. The tale was developed in Africa in the years 1926-1927 in a period where Blixen was very occupied with the works of Søren Kierkegaard. In the tale we find one of the female characters, Annelise, to be dressed as 'the young Soren Kierkegaard'. She is described as a 'macabre dandy' and has her own radical views on Kierkegaard's work The Seducer's Diary . This article sets out to examine the metanarrative connections in 'Carnival' to the works of Kierkegaard from the first part of his pseudonymous authorship, particularly with regard to narration strategies, notions of gender, art and seduction. The article also elaborates on the depiction of the young, rich and disillusioned smart-set of the Roaring Twenties as a group of Kierkegaardian aesthetes. In the tale a connection between dandyism of the 1840s, in which category Kierkegaard is placed, and the new female flapper of the 1920s is established as a way to examine the androgynous, which, I will argue, in 'Carnival' is connected to a notion of trans-gender humanism and eventually to the modus vivendi of the artist.
The full text of this article will be available soon.
Continuum, London 2011. Pp. 258.
This work has a rather antiquated sounding title and subtitle, evoking such early popular works as Guerber's Myths of the Norsemen (1909). The back of the dust-jacket likewise gives the impression that this is a popular retelling of the myths of early Scandinavia, quoting from the opening of Abram's summary of the myth of Thor and the Miðgarðsormr. Abram's work is in fact a scholarly account of Old Norse myth which addresses a gap in generalist works on Old Norse mythology which included in the 1980s and 90s mainly dictionary-like works such as those by Simek, Lindow and Orchard. In the last decade the field has been dominated by major international projects to analyse and document Old Norse religion and its poetic sources, including the Lund-based 'Roads to Midgard: Old Norse religion in long-term perspectives', the German 'Edda-Kommentar' and the international 'Skaldic Poetry of the Scandinavian Middle Ages'. There is a need for a scholarly work for a wider audience that brings together the findings of these projects into a simplified account of Old Norse myth. This work, while in some ways addressing this lack, draws little from these projects and is likely to be superseded by the current international effort, 'Pre-Christian Religions of the North' and the forthcoming relevant volumes of Edda-Kommentar (vol. I) and Skaldic Poetry of the Scandinavian Middle Ages (vols I and III, due 2012).
Abram's approach takes the primary sources and their historical context as its starting point, rather than the myths themselves. The first chapter is a broad and largely accurate account of the types of sources for Old Norse mythology. The dates assigned to Eddic poems ('most of these poems were composed in the pagan period' (19) but Hymiskviða is 13th century (31)) contradict the findings of the Edda-Kommentar project and as the book progresses this impacts on Abram's analysis, which relies heavily on historicising the sources of Old Norse myth. Archaeological and other sources are dealt with judiciously here and the synthesis of the myth of Þórr's fight with Miðgarðsormr provides an example of a sound approach. The second chapter attempts to reconstruct religious culture in order to contextualise myth in the earliest period. Here archaeology is treated much more skeptically and briefly, and place names and early foreign sources are included with sometimes undue confidence (such as Adam of Bremen's account of human sacrifice). In chapter 3 Abram enters his most convincing mode: the use of skaldic poetry to understand myth and religion in its historical environment, here c. 850-950. He gives a persuasive account of some mythological figures and phenomena which appear to be attested in the skaldic corpus. Chapter 4 builds on this approach, looking at myth within the context of religious conflict at the end of the pagan period. The discussion of pagan belief and practice at the court of Hákon jarl is detailed and insightful, involving the analysis of various skaldic poems, as is the account of the patron goddess figure Þorgerðr Holgabrúðr. Two eddic poems, Hyndluljóð and För Skírnis are discussed here but it is unclear why: the link to the court of Hákon jarl is non-existent, as admitted by Abram himself. Chapter 5 looks at the period of conversion, analysing more skaldic poetry such as the conversion verses of Hallfreðr. In Chapter 6 the work starts to resemble the hints of the dust-jacket, with a number of reconstructions of myths based largely on 13th-century works, especially Snorra Edda.
A problem affecting the utility of this book is the lack of references to scholarly literature. This is no doubt due to the demands of the publisher and such references would be unnecessary in a work that simply reconstructs the myths for a lay audience. The book instead abounds with phrases such as 'scholars argue', 'historians tell us', 'scholars have hypothesised', and on some notable occasions these formulae allow Abram to eschew some significant scholarly contributions to the matter under discussion. Occasionally the author seems unaware of such contributions, for example, when discussing the prose directions in the Poetic Edda (146 - 'the original poem would not have had these "stage directions"'). Gunnell's contributions to this matter, although disputable, deserve some mention here. The lack of references also causes problems, for example, when errors creep in (e.g. misspelling the 'Trengården' mould (sic for Trendgården)) and the reader is left without any means of following up the reference (online searches for 'Trengården', for example, find only Abram's work, creating a ghost reference).
This is a well-written and enjoyable work to read, with an often humorous take on the material in question. Its interest for a general audience is largely in the final chapter and to a lesser extent, the first. The strength of this work is its use of literary history to create a picture of a Scandinavia moving from paganism to Christianity, looking effectively at skaldic poetry in particular contexts. It dwells as much on religion and religious practice as myth, and much of the insights come from contextualising mythological material within religious practice, which in turn is based on historical evidence. It is a work that therefore relies heavily on sound dating of literary sources, and is at its most convincing when dealing with skaldic poetry and late sources, but less so when dealing with Eddic poetry and other sources. The book's utility for students and scholars is somewhat limited because it is not based on the most recent and authoritative scholarship and the lack of references means that it cannot be used as a starting point for independent study or research.
Litteraturveteskapliga institutionen, Uppsala 2010. 411. Illus.
Encomia in any age are tedious things to endure and printing has ensured that the plethora of adulation applied to Gustaf III is still with us. Censorship and control of the press has seen to it that we, as were his subjects, have been well-supplied with a complete range of pro- Gustaf admiration. Expressions of disapproval of that king, however, are much harder to come by, and Annie Mattsson's new dissertation does us the great service of putting before us the opposite case. Drawing on the bibliographic work of Ingemar Carlsson with respect to political manuscripts of the time, she has given us useable editions of and commentaries on a range of manuscript libels against Gustaf III from 1778 (the earliest known) to 1792. Usefully, she gives us all the bibliographic information and a brief description of each of the 120 + 31 known libels, as well as editions of eleven of them, covering the whole period, with readable photographs of the first pages of ten of these.
Though Gustaf III was indubitably one of the most public of Swedish monarchs, a neutral understanding of his acts is difficult to come by. Erik Lönnroth, Beth Hennings, and Marie-Christine Skuncke have all shed valuable light on his life, education, and context, and Sten Carlsson, H. Arnold Barton, and others have attempted to make sense of his political career. Yet only Charles IX seems to have engendered as much spiteful public controversy about himself as a person and a ruler.
The twenty-six year old Gustaf became king at a constitutionally rocky moment in Swedish history. Though his political views were not completely unknown, it was in no way clear what form they would take when put into action. His inaugural speech to the Riksdag, on July 25 1771, was rhetorically brilliant in placing himself among rather than above the parliament. He subtly reminded them that he was the first Swedish-born monarch in fifty years and then called himself 'the first citizen'. It would not have been unknown to his listeners that he was without a drop of Swedish blood in him, so it was important to stress his Swedishness. Indeed, apparently his first political act as king, some months before, was to fire his mother's French theatre troupe. This was in itself a rhetorical gesture, as it signalled Gustaf's patriotism and saved money. (That it was also a signal to his mother of who was now in charge was not as public a fact.) Rhetoric is the art of persuasion and reaction to the speech was generally favorable; he enjoyed broad popularity in the first seven or eight years of his reign.
But he had learned his political lessons well from his parents and was well aware they had failed to bring about the enlightened despotism that was his political model. He was well aware, too, that it was the Estate of the Nobility and its privileges that he needed to master. This began with a bloodless palace coup d'état in August 1772, was reinforced by a parliamentary maneuvre in September 1778, and significantly bolstered by the move to absolutism in the parliament of 1789, when most of the privileges of the nobility were circumscribed or abolished. He was assassinated in March 1792, in a plot hatched by some members of the nobility and carried out by one of them.
Mattsson's choice of libels to submit to extensive discussion shows, among other things, a certain shift in their character from those in 1778 which portray Gustaf as a "ridiculous and incompetent" monarch to those from 1789 on, in which the criticism is that he is a crafty and power-hungry tyrant. One also notes a rise in the sheer vitriol poured upon the king, not least after his death.
'Rhetoric' is one of the guide-words of this thesis (it is a special interest of the literature department at Uppsala). Each of the libels Mattsson discusses is preceded by a fine survey of the political situation in which it is found: she has a welcome good sense of their context. She then submits the text to a naming of its rhetorical parts, and has useful observations about its generic and and attitudinal expression. Looking at her reproductions, for instance, one of the things which stuck me strongly, and which she deals with only in passing, is how æsthetically elegant most of these pieces are, or are intended to be. This is not hastily-scratched samizdat, where it is only the content that is important, but rather carefully-produced objects whose import lies not only in the words, but in the visual form in which they are placed. The rhetoric embraces more than the words themselves.
For almost all the libels, she makes it clear that their anonymous authors and, presumably, their recipients and transcribers are noble, a conclusion supported by their visual presentation, and this chimes well with the attitudes and compositional abilities we associate with that class. There is, alas, almost no evidence available of whether or not this rhetoric succeeded in persuading its readers, and there is a strong sense that it was essentially reaching the already-converted.
That Gustaf III had enemies, that they were mostly noble, that the opposition was greater in the last decade of his life than in the first, and that he was assassinated by a disaffected nobleman are all cold facts, long known. What Annie Mattsson has done is to put color and flesh onto those facts which articulate the growing dissatisfaction of one cohort of the Swedish population at the end of the eighteenth century. This is a dissertation and it is subject to all the inherent, but inevitable, compositional expectations and drawbacks of such a document. But it needs to be read by everyone interested in the social history of the Gustavian period and it is welcome on my bookshelf.
Aschehoug, Oslo 2005-2010. 17 vols.
Finally it is published: the whole of Henrik Ibsen's collected writings, together with exhaustive introductions, commentaries and indexes. It was to have been completed by 2008; the last volume actually saw the light of day just before the end of 2010. It was to have been in fifteen double volumes with a comprehensive index volume; in the event we have sixteen double volumes, and the ambition to produce a comprehensive index volume has been dropped – the last slim volume 17 is an account of the philological principles behind the edition. Of the sixteen double volumes, the first halves are the texts: ten volumes of plays, four of letters, one of poems, one of other prose writings. The reason for the extra volume is the discovery of far more letters than had been previously collected which were written by Ibsen, and which made the anticipated three volumes of letters swell to a very large four (the last one just shy of 1000 pages). The second halves of the double volumes contain the introductions and commentaries – and these volumes in most cases fill more pages than those containing the texts.
A bookcase full of books, then, extending to just a little short of six feet in width by my tape-measure. It may have been late, it may have been over budget – when are such editions not? – but it is an achievement to be celebrated. At last we have the definitive text of what one of the world's greatest dramatists actually wrote. Vigdis Ystad and her team are to be congratulated on a fine piece of work. Any criticisms of the criteria used for selection or methodology must first acknowledge that, just as any future translations or adaptations will need to refer to this text as the touchstone.
In my review of the first three volumes to be published (see Scandinavica 2, 2006) I expressed some disappointment at the decision not to include Ibsen's drafts for the plays in this edition. I understand that the drafts will be made available in the online version of the edition when that is ready; however, I do still feel that it is a pity that they were not included here. They provide invaluable insight into Ibsen's working methods. Room could have been made for them by cutting down on the repetition of information, for example about Ibsen's correspondents or the people and events he mentions in his letters. An index including a little more information could have supplied some facts once and for all which as it is take up space time and again.
On the other hand, having now worked with one of the volumes more intensively – in the preparation of a new translation of Peer Gynt – I must admit that I have found the extensive textual commentaries very useful indeed. The explanations of words which have become archaic or changed their meaning, the analysis of the different verse forms used, the information about the frequent references to folk tale or local legend – all these have greatly facilitated the translator's task. And the introduction – literary-historical background, process of composition, publication, performance, reception (85 pages in the case of Peer Gynt) – is a distillation of contemporary scholarship.
The edition is not cheap any more than it is pocket-sized. Advertized originally with a prepublication price of Nkr 9990 (£1100), it will now cost the purchaser Nkr 14,685 (£1600). But in terms of kroner per page, it still represents very good value – and it is a work which all libraries with any pretensions to serious scholarship in the humanities ought to acquire.
This review also covers KWOK-KAN TAM, TERRY SIU-HAN YIP AND FRODE HELLAND (eds.), Ibsen and the Modern Self , Acta Ibseniana VII-2010, Open University of Hong Kong Press 2012, 328pp, ISSN 1503-2981, ISBN 9789627707738.
The two volumes under review, though both containing the words 'Ibsen' and 'Modern' in some form, could not be more different. Kierkegaard, Ibsen og det moderne is the fruit of two conferences (held in 2006 and 2008) which brought together a group of mainly Nordic theologians, philosophers and literary scholars who had agreed that although both writers belong to world literature they should for once be discussed and written about in their own languages. Ibsen and the Modern Self is a collection of papers from a conference held in Hong Kong in 2008, where about half the papers were given by Chinese scholars with an interest in Ibsen.
As is noted in the Introduction to Kierkegaard, Ibsen og det moderne one has to go almost ninety years back in time to find a systematic study of Kierkegaard's influence on Norwegian cultural life and Ibsen in particular, but this study says little about that influence, the impossibility of which is elegantly argued for by Dag Solstad – the only non-academic represented in this volume – and more about parallels and points of contact. The book is divided into three sections. In the first 'Literatur, Teater og Eksistens', Vigdis Ystad looks for possible explanations as to why both Kierkegaard and Ibsen used dramatic forms to present the issues that concerned them and argues that the form makes possible in an embodied way the expression of deeper existential questions, not just in words, but in movement and situation. In this way she argues that the theatre can have something of the same function as religion, though of course only if it aims at something more than entertainment. Joakim Garff's contribution follows on from Ystad's in showing how and why Kierkegaard through his alias Constantin Constantius in The Repetition can see the German farce or posse as more significant in its effect on the individual members of an audience than a performance of a traditional drama. This is because it breaks down conventional and therefore inauthentic responses, and in this works like the sublime, as opposed to the beautiful in art. In the final article in the first section George Pattison explores 'Den gådefulle familie', or how the individual, born into the actuality of a biological family, can find its way to recognizing itself as spirit, and how this journey is made more difficult if, as in Kierkegaard's case, the father is caught in darkness and a mysterious sense of guilt about a sin for which he believes there is no forgiveness.
The second section on 'Selvet, sannheten og historien' opens with an exploration of 'Endelighedens æstetik' in which Leonardo Lisi argues that in his idea of how the self is constituted through religious faith Kierkegaard can provide an alternative model of modernism to those usually advocated by French and British theorists, who rely heavily on defining modernism either as being based on the autonomy of the work of art or the avant-garde. Lisi argues that in contrast to the idealists who see the absolute as 'den oprindelige totalitet af alle enkelte repræsentationer, som går forud for [og] ligger under for og retfærdiggør en empirisk syntese' (106) for Kierkegaard God is not 'i kontinuitet med vores subjektivitet, men snarere absolut forskellig fra den' (107) and so the self is constituted through its relationship to the absolute which is outside itself. Interestingly he then goes on to show how the same æsthetic works in Ibsen's A Doll's House, where Nora's decision to leave is not fully explained by any of the preceding events or explanations, but rather by a reference to reality when she throws off her masquerade costume and re-enters with a different perspective, which explains what went before. In 'Gjenferd i filosofien og i litteraturen' Róbert Haraldsson explores the split and danger that occurs when characters do not inhabit the words they speak and examines this in relation to Torvald in A Doll's House and An Enemy of the People.
In the final section 'Tro, Fortvilelse og Forsoning' three of the four contributors focus on Ibsen's play Brand. Niels Jørgen Cappelørn sees the protagonist as a dramatised version of Anti-Climacus, the pseudonymous author of Practice in Christianity, Karl Gervin looks at models for Brand, including the Old Testament prophet Ezekiel, and asks in particular whether Brand is in despair. Eivind Tjønneland's article concludes the volume by putting the opposite view to Dag Solstad, namely that of course Ibsen knew his Kierkegaard, but that references to the Dane and his writing function as 'Kierkegaard-kritikk' (207). The one article not on Brand in the final section is Svein Aage Christoffersen's which is an exploration of vocation in Little Eyolf, which takes as its starting point Luther's belief that true vocation was to serve one's neighbour in the community, not one's relationship to God in the monastery.
If one asks what was gained by the renewed bringing together of Ibsen and Kierkegaard, I think one can say that the Ibsen scholars managed to highlight how and why dramatic presentation played such an important role in Kierkegaard's writing, while the Kierkegaard scholars added new perspectives to readings of Ibsen's social and late plays, but less to plays such as Brand where the Kierkegaardian link has already been fairly thoroughly explored.
The first thing that has to be said about Ibsen and the Modern Self is that the editors should be ashamed of themselves; if they expect readers to take the contents seriously they should not have let a volume go out under the imprimatur of the Centre for Ibsen Studies with such a slew of mistakes: typos, names of characters in Ibsen's plays spelt any which way, - 'Botlette' for 'Bolette' 'Mrs Alvin', factual errors – Allmers did not go into the forest, but up into the mountains (194), and English that really does not pass muster – 'the narratable self consists of the desire for one's own story as being told by the necessary other' (65). The volume should have been gone through by a native English speaker. All this is all the more important since the Centre for Ibsen Studies has in recent years done a great deal to foster and support the long-standing Chinese interest in Ibsen, and if they treat the efforts of Chinese and other non-English speaking scholars with such lack of attention, they are undermining their own efforts of promotion. Enough said.
If one thing emerges from this volume it is that there is no such thing as a modern self; there is a multiplicity of modern selves, although they are all non-essentialist and post-Freudian. The theoretical scholar most often cited is Charles Taylor, who sees the modern self as created in a process of interaction between intra- and inter-personal dialogues and encounters. His ideas are quoted by Knut Brynhildsvoll writing of Peer Gynt and the plural self as revealed by neuropsychology, by Ewa Partyga discussing the narrative self in Rosmersholm and Xie Qun who explores the problem caused by the ethical aspect of Taylor's theories in relation to gender norms in The Lady from the Sea. Kwok-kan Tam writes of the dialogic self in A Doll's House and The Wild Duck more from a Bakhtinian perspective, and Kristin Gjesdahl of Hegel's æsthetic self also in A Doll's House. Xie Lanlan discusses the eco-enemy self of John Gabriel Borkman, while Jasminka Markovska explores the dilemma of the self of the artist caught between Romantic idealism and a modernism that celebrates the moment.
Other interesting contributions are those by Julie Holledge who explores what effect playing Nora had on the lives of early actresses who performed that role and Camilla Chun-pai Hsieh who examines parallels between Shakespeare's The Tempest and Ibsen's The Master Builder. Jessica Tsui Yan Li looks at the reworking of Nora's bid for selfhood in Marjorie Chan's play China Doll, where the protagonist throws off her foot-binding in her bid for freedom, but instead of seeing this from an entirely western perspective where it is regarded as positive, Li highlights the original cultural meaning of the practice.
For this reader the really eye-opening contribution was that by Lin Wei-yu on Lin Zhaohua's minimalist production of The Master Builder in Beijing in 2006. Not only was the stage set reduced to 'two pieces of white board […] obliquely clipped to each other to form a geometric space' (283), and the stage furniture to a single red sofa and a side table but the performance was directed so that the dialogue between Solness and the other characters became like aspects of a meditative soliloquy in Solness's mind. To this end the style of dialogue was brought close to narration, and everything focused so that the whole should work like a flash-back or moment of consciousness before Solness ascended the ladder, which appeared three minutes before the end when the two white boards slowly parted to reveal 'a steep and towering ladder' (283). It seems Zhaohua's experiment worked and held the audience, showing that 'Chinese interest in Ibsen's plays has shifted from "a new self in action" in his early plays to a "new self capable of reflection" in his later plays' (292). In a production that would have been demanding even in the west, this production must have shown Chinese interest in Ibsen at the cutting edge.
Open University of Hong Kong Press, Hong Kong 2010. Pp. 328.
This review also covers NIELS JØRGEN CAPPELØRN, THOR ARVID DYRERUD, CHRISTIAN JANSS, MARIUS TIMMANN MJAALAND AND VIGDIS YSTAD (eds.), Kierkegaard, Ibsen og det moderne , Universitetsforlaget 2010, 238 pp., ISBN 9788215016061.
University of Toronto Press, Toronto 2010. Pp. 216.
The centenary of August Strindberg (1849–1912) is quickly approaching, and Strindberg scholars all over the world have sharpened their pencils to contribute something new to the vast flora of research on the giant, who wrote in numerous genres for over forty years in both Swedish and French, and produced more than seventy volumes of prose, drama and essays, as well as over ten thousand letters.
Anna Westerståhl Stenport, associate professor and director of Scandinavian Studies at the University of Illinois at Urbana-Champaign, has published a fascinating and substantial study of spatial setting in Strindberg's works, showing how settings can be used as a tool for exploring European literary modernism. By contextualising Strindberg against other early modernist writers, Stenport emphasises the burgeoning transnationality of literature at the turn of the last century and challenges previous Strindberg studies that have mostly focused on identity and subject formation.
Research on Strindberg has generally been either interpretations along identity/autobiographical lines, or studies in the aesthetic, social and cultural constructions of his works. Stenport's interpretations of five Strindberg texts in terms of transnationality and modernism are fresh and innovative. Her analyses show that setting is much more than 'an anonymous, interchangeable backdrop', that setting not only structures the story but speaks through the structure: setting is social relations such as gender, class and (trans)nationality.
Locating August Strindberg's Prose is divided into five chapters, where Stenport deals with five different Strindberg texts. The first is dedicated to Le Plaidoyer d'un fou (A Madman's Defence; written 1887-1888), one of Strindberg's most famous novels. It was written in French in Denmark, the setting rapidly changing from Stockholm to France, Switzerland and Germany. Here Stenport explores several issues, for example the implications of using a first-person narrator (traditionally seen as a 'female' genre) and how frustration with rigid gender conventions is represented through social transgressions such as lesbianism and divorce as public, rather than private actions. The tension between public and private is represented through settings such as the 'private' flat and the public railway station, and through a seemingly never-ending European tour. The transnationality of the text, the genre-shift in narrator, the languages involved: all contribute to what Stenport calls 'a document of infidelity, of treason toward Sweden and Swedish literary history' (53). With Le Plaidoyer d'un fou, Strindberg wrote an early European modernist novel.
Chapter two focuses on the travel narrative Bland franska bönder (Among French Peasants; 1889), where Strindberg explores the rural and agrarian setting through modernist ethnography and photography. Stenport especially analyses how the technologically mediated mechanisms of recollection and remembrance are a part of the text's modernist aesthetics and how spatial transience is represented through them. In Bland franska bönder, Paris is destabilised as the Centre of modernism and the rural is both de-idealised and undemonised, while the work embraces ethnography as a form of modernist representation.
In chapter three, Stenport turns to Inferno (1898), a first-person prose-narrative written in Paris, in French. She discusses the novel's use of street names and public locations in Paris, and how both Breton and Rilke were probably influenced by this technique. Based on how the novel 'gestures to and is echoed in other literary representations explicitly concerned with displacements and transience – from those of Nerval and Rimbaud to Mann, Kafka and Rilke' (124), Stenport suggests the inclusion of Strindberg's French narratives into the canon of early European modernism.
The fourth chapter deals with Klostret (The Cloister), a fragmented novel about Berlin written in Swedish in 1898, in Sweden. Stenport shows how the text emphasises transience and speed as 'a rhetoric of displacement fully operable in the Grobstadt' (17), and she connects The Cloister to Georg Simmel's theories of urban alienation. The Berlin setting in The Cloister is analysed as displaced and detached from realistic spatial markers, making it metaliterary. The text is also interesting from the gender aspect, presenting an 1890s Berlin with 'intriguingly fluid and unstable gender relations' (125), where unmarried cohabitation, working women and open homosexuality are represented as the norm.
In the last chapter Stenport places the novella Taklagsöl (The Roofing Ceremony; 1906) under the magnifying glass. The text is an internal monologue by a male narrator dying in a Stockholm flat, and the spatial representation points to literary modernism's interest in dismantling boundaries between interiority and exteriority. Stenport shows how setting is used to envisage new models for psychological interiority in Taklagsöl, and the kinship with works by Conrad and Beckett. Again she points to Strindberg's representation of modern technology, such as the recording practices of a grafophone, which enhances the modernist approach to the text.
Locating August Strindberg's Prose is an interesting and original study, where Stenport challenges the notion of modernism as a paradigm of the geographic-central. She demonstrates the transnationality of Strindberg's prose through analyses of the settings and through contextualising it with other European modernist writers of the time. All five texts, as Stenport points out (17), have in common their dependence on spatial setting to convey the experience of modernity. Of the five chapters in the book, I find the first, about Le Plaidoyer d'un fou, extra discerning and proficient – it is a sophisticated analysis of social transgression expressed through spatiality. As a whole, this is a rich and competent study. Stenport writes in an elegant academic prose, which contributes to making the book a pleasure to read. Stenport has published a couple of works on Strindberg earlier – with Locating August Strindberg's Prose she is rapidly becoming a prominent Strindberg scholar.
Örebro University Press, Örebro 2010. Pp. 219.
Is there such a thing as l'écriture strindbergienne? The implicit thesis of Erik van Ooijen's dissertation is that there is such a thing, and it manifests itself especially clearly in the five plays Strindberg published under the title Kammarspel or Chamber Plays.
Van Ooijen's title, The Mold of Writing, draws on a quotation from Strindberg's letter to Ola Hansson of October 1 1890, in which he compares the process of writing to the proliferation of grapes or mold in the head of the writer (Van Ooijen, 14). Mold, which grows on and within other structures, transforming them as it spreads, is a particularly apt metaphor for Strindberg's writing, which derives much of its force from the ways in which it evokes structures, conventions, and meanings, while simultaneously subverting and transforming them. This process comes into focus, Van Ooijen argues, in the many glitches or loose ends in The Chamber Plays, such as the old man's reference to people who mispronounce fönster at the beginning of The Ghost Sonata. These loose ends do not point to a 'counter-position always already at work within a text' (66), but instead to 'what Ulf Olsson calls the abruptive or asyndetic nature of Strindberg's style, according to which the components of a work remain unordered, isolated and simultaneous rather than stratified and hierarchically organized' (66).
The chapters on the individual chamber plays unravel previous readings, as well as the texts themselves. Thus, the first in the series, Oväder, undermines what Peter Szondi posited as one of the main features of modern drama, the presence of a central subjectivity in the text. Other inconsistencies, as well, work against the unity of this text, which nonetheless is more coherent than the later plays.
Van Ooijen's reading of Brända tomten takes as its point of departure the many interpretations that emphasize the incoherence or even failure of this work. This play, he argues, assembles elements from several genres, especially tragedy and detective narratives, but does not fuse them into a whole. The ruin suggested by its title turns out to look remarkably like the rhizome as described by Deleuze and Guattari.
Spöksonaten is a chamber play that could not have been performed within the small spaces of 'chamber theaters' such as Reinhardt's Kammerspiele in Berlin or Strindberg's Intima Teatern in Stockholm. The references within the play to 'parody' and 'sabotage' point to the work's relation to previous forms and conventions, but the play offers a version of parody that is more in line with what Jean Baudrillard has described as 'simulation'. In Strindberg's play, 'simulation would suggest the wraithlike recurrence of form that camouflages its perversion of function by appearing familiarly strange or strangely familiar' (128). The contradictory scenes of this work offer a 'total effect of perplexing complexity'.
Although Pelikanen is sometimes described as the most conventional and coherent of the Chamber Plays, it too has some notable loose ends, such as characters who disappear or change professions, or furniture that seems to materialize without warning. These glitches, Van Ooijen argues, are not meaningful in themselves. Instead, they point to a particular style in which such inconsistencies are an essential feature.
The Mold of Writing concludes with a chapter on Svarta handsken. Is this work a 'chamber play'? Many Strindberg scholars have argued that it isn't – that it is instead a féerie or fairy tale play or simply an inferior work that doesn't belong in the same category as the first four Chamber Plays – but for van Ooijen, the play's differences point to the dynamism of Strindberg's notion of genre. He writes: 'To treat the plays as a closed system … is to force closure upon a whole which is itself founded on principles of openness and disorganized transformation' (206).
In his opening chapter, van Ooijen refers to some apparent glitches in the structuralist studies of Barthes and Genette. Barthes, it seems, could not quite exclude the author from the text; Genette acknowledged in an early study of Flaubert's L'éducation sentimentale that some episodes in the novel cannot be accounted for in terms of narratological codes, but represent traces of the author and his experience. The Mold of Writing demonstrates that such episodes and traces proliferate in Strindberg's Chamber Plays. Indeed, on van Ooijen's reading, the progression of the plays suggests that Strindberg discovered the importance of such traces, such glitches, in the process of writing them. In so doing, he also invented a style in which these heterogeneous elements also found their (uncertain) place.
The Mold of Writing offers a series of compelling readings of Strindberg's five Chamber Plays that demonstrate that they are consistent in their inconsistency and strikingly postmodern. I wonder, though, about the context of the kind of writing that emerges here. Van Ooijen's readings bear an uncanny resemblance to Paul de Man's interpretations in Allegories of Reading. And any focus on avant-garde writing at the turn of the last century must call to mind Julia Kristeva's La révolution du langage poétique with its evocation of a series of male writers whose works bear witness to the discovery or invention of l'écriture féminine. What, I wonder, does the latter have to do with 'the mold of writing'?


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Trevor Manuel, has accused the Economic Freedom Fighters of issuing a false, racist and libelous statement about himself and new Sars boss, Edward Kieswetter.
Manuel was Chair of the panel appointed to interview and select the new commissioner. The EFF has contested Kieswetter's appointment with several objections - including the allegations that the new commissioner is related to Manuel.
The other claim is that Kieswetter and Manuel are business partners. The party insists the process was not transparent.
READ: Ramaphosa appoints Edward Kieswetter as new Sars Commissioner ALSO READ: I want to bring back public trust and confidence in Sars, says Kieswetter Manuel has disputed the EFF's claims in a statement and has threatened to take legal action. He says EFF spokesperson Mbuyiseni Ndlozi is plainly racist for assuming that Kieswetter is connected to him on the sole basis that the two of them are coloured.
He further called on Ndlozi to provide evidence that he and the new sars commissioner are in business together - saying no such evidence exists.


It has been a long while since my last post, to catch you all up, I moved back to New Zealand, started building again and I'm loving it! I will get around to writing a bit of a summary post at some stage, but for now, here is my Xmas trip.
A couple of months ago a good friend of mine Sarah asked me if I would be keen to join her for a tiki tour around the south island with her friend Bry by motorbike, it did take me a full 13 seconds to make my mind up, then it was all go. I just needed a rough date for departure to book the ferry and a rough date for the return, once that was sorted I figured the rest would just happen!
It has been a very full on year for me, packing in all sorts of challenges and learning experiences so a break was well needed and what better place to go than the stunning south island of New Zealand?! I left Auckland on the 24th of December heading down to Papamoa to spend Christmas with my parents at the beach as per tradition, the sun came out in a big way roasting us to a crispy golden. It was an early night for me Christmas evening as I was up at 5 am to gun it down the north island to Wellington to catch my afternoon ferry, and they rains came.
I have done my fair share of riding in the rain, south east Asia rain can be like a psychotic fireman with a serious need for keeping things damp for 6 months of the year. How ever, it is never fun riding in the rain no matter how much you do it, especially on New Zealand roads where all you want to do when on two wheels is get your knee scraping the ground on every corner. I managed to get down to the ferry in time and caught up with fellow motorcyclists who were doing a trip down to Queenstown, they had also ridden through Vietnam so we did some reminiscing on the madness that ensues on the roads there. Ah how I miss it.
I spent my first night with good friends of mine in Nelson who welcomed me with a warm blanket and food to eat, exactly what I needed after a long day in the cold. The next day the sun was out in full strength and it was off to the beach for some skim boarding/ falling on my already sore (from the motorbiking) backside. Good fun!
Next stop was to see family in Westport, it has been 4 years since I last caught up with them on my last motorbike trip around the south island so it was really nice to see them all and some new second cousins that have been produced in the subsequent years. On the way to Westport I popped into Takaka to see a friend I met at a Yoga teacher training I did recently, what a place! It was like being at Woodstock, bohemian vagabonds with their arts and crafts and awesome paraphernalia I was in my element and the best part was the road to get there heading over Takaka hill, 25km of pure awesomeness made road. The smile on my face was immovable as I winded up and over the hill basking in the sunshine and enjoying the glorious view of the Golden bay area.
It was a long haul down the west coast the next day, 9 hours on the bike to get to Queenstown to catch up with Sarah and Bry. The roads again are stunning, too much to take in with such a limited amount of time, I really wish I had more of it this trip to spend months exploring every hiking track, every beach, every summit, one day soon I'm sure. It was good to catch up with the girls down there we stayed at one of their friends places Rob who turned out to be an amazing chef cooking up a storm for us vego's like you wouldn't believe.
Always love your writing and stunning photos Nathan!!
I'll message your company about whether you're up for a road trip to Rotorua for some work, maybe in Winter – we can do the accommodation for free in my Airbnb cottage.
Hey Victoria! Thanks! It has been too long since I have posted any of my writing so I thought why not.
That would be great, we are always looking for work, accommodation in your cottage sounds amazing! I hope you and the family are doing really well! Will be in touch soon!


This was just before the satellite and multi-channel revolution truly took hold, when only four channels were widely available (BBC1, BBC2, ITV and Channel 4). The BFI wanted to capture the nation's viewing habits while they were still so neatly contained here in the UK, still so much easier to capture.
At the behest of Blue Peter (natch) I kept a diary* and posted (yes, posted) it to the BFI.
To my delight and surprise, several months later I received a letter and a parcel; my entry had been shortlisted for their competition and, while I hadn't won, I had been awarded a large Collins dictionary (which I'm sure I still have but which I can't lay my hand to *panics*) and a lockable five-year diary (still unused).
So in a funny kind of way, today's my 30th anniversary of being a published writer (pages 215-216 in the anthology, people, don't all ask for my autograph at once).
It feels oddly appropriate to have this moment for reflection. A couple of weeks ago I found myself in a room with a few hundred other aspiring authors, finding out how to publish my first book.
Through the combined generosity of both Hay House and a friend, I was able to take up a sponsored place at their annual Writer's Workshop, which is specifically (but not exclusively) for authors and writers in the personal growth and spiritual development field.
The main focus was on the how of publishing; the processes involved, the market's landscape, how publishing houses choose which books to publish, etc. A key decider was revealed to be one's "platform"; followers, clicks, your mailing list. Which, as a sensitive introvert, almost makes me break out in hives.
Yeah. I've been feeling torn about the experience (and, by extension, writing) ever since.
Don't get me wrong; I'm deeply grateful. It was a hugely useful weekend, full of information and laughter, and a true privilege to attend. Everyone I met was lovely, and it was a dream come true to see the doyenne of creativity herself, Julia Cameron, in full flow.
I understand the nature of the modern book market; publishers rely on the author to sell their book, not the other way around. In such a crowded market, you're gonna back the horse which can compete in the race, and now I have the information I need to get my first saddle (or something).
I'm also aware that marketing oneself can be less about self-promotion and more about reaching those who may be in need. It's hard to be in service to others if they don't know you exist, right?
But as the friend who supported me** noted, and as affirmed by Marianne Williamson in her Teaching the Teachers course (which I highly recommend), there's an unavoidable conflict between being mindful (and focusing on the work) and being marketing-orientated (and focusing on clicks). Things get transactional and, lord knows, there's enough of that in the world right now.
It's never been easier to become a published writer (especially with the ability to self-publish books "on demand", and the ubiquity of e-books) .. and it's probably never been harder to get people to cast their eyes over your work.
For when there's a hell of a lot of noise, it feels too overwhelming to search for a signal. As Marianne also notes, "Everyone's asking "How do I get published?" and no-one's asking, "How do I become a better writer?". And after 30 years of practise, I'm still more drawn to the latter.
Not for its own sake (okay, mostly not for its own sake). But because I know what it's like to read something illuminated by grace and to feel a sense of expansion, a sense of self reflected, a sense that I'm not alone.
To feel the hand of another reach out from between the lines, from between the pages, and rest gently on top of mine to say: yes, me too. Not transactional, but relational, sometimes even akin to a transmission of said grace.
And isn't that what we all crave; a deep sense of being understood, of being known and accepted? Of being touched by grace?
That's the kind of thing I want to be the vessel for if, of course, I ever get lucky enough to be in such a position.
The hand I see extended through social media sometimes feels like it's held open to take, not to gently hold, reassure or lessen the weight of another. Sometimes it feels like it's doing both simultaneously, depending on the angle you choose to look at it. Hence my ambivalence.
But hey. I'm officially old school. I've been in the "pushing words around a piece of paper" malarkey for so long, I should get time off for good behaviour.
All I know is the thought struck me the other day: What if I can serve God through my writing?
And that's the kind of thought which might get me through the next 30 years.
** Literally, he pushed my wheelchair, bless him!


text:
Download from iTunes Quantity in Basket: None EASTMAN SCHOOL OF MUSIC Eastman Series, Vol. 5 TROY261 - Price: $16.99
New music featuring an early appearance by Renée Fleming.
This album features René Fleming in what has to be one of her earliest recordings, if not the earliest. Renée Fleming received her M.M. degree from the Eastman School of Music. The music she sings on this recording was recorded in 1983, while she was still a student at Eastman. As well, the presence of the great Jan DeGaetani (1933-1989) makes this a special disc. For many years she taught at Eastman, as well as Aspen. Bruce MacCombie studied with among others, Wolfgang Fortner. For several years he taught composition at Yale University, and in the last decade he moved from teaching to administration, serving as Dean of the Juilliard School from 1986-92 and now as Dean of the School for the Arts at Boston University. Leaden Echo, Golden Echo is the setting of a poem by Gerard Manley Hopkins. Sydney Hodkinson received his earliest training at Eastman under Louis Mennini and Bernard Rogers. He also studied with Carter, Sessions, Leslie Babbitt and Ross Lee Finney. He has been on the faculty of Eastman since 1973, teaching both composition and conducting. The Alte-Liebeslieder or "Old Fashioned Love Songs" are based on contemporary poems. Stanley Walden studied composition with Ben Weber and has been a faculty member at Juilliard, Sarah Lawrence College, and the State University of New York, College at Purchase. In addition to his Broadway Musical Oh! Calcutta, which has been produced throughout the world, he has written scores for film and dance.
Alte Liebeslieder, Book IV
Jan DeGaetani, mezzo, Robert Sylvester, cello, Philip West, oboe, John Beck, percussion, Robert Spillman, piano, Sydney Hodkinson, conductor
Bruce MacCombie, composer
Leaden Echo, Golden Echo
René Fleming, soprano, Richard Bado, piano
Stanley Walden, composer
Some Changes
Jan DeGaetani, mezzo, Stanley Hasty, electric clarinet
Gee, Jan DeGaetani and René Fleming on the same disc. Like the composers and the other performers hereon, they share the Eastman connection. This marks the fifth volume of the Eastman American Music Series on Albany, which series has already provided valuable additions to the catalog....This disc shares a high quality of production and performance with the others of the Eastman series that I've heard, and in its program makes available music that deserves to be heard. Once again, I commend Eastman's collaboration with Albany in this series." (Fanfare)
iTunes NEW MUSIC MIX Eastman Series, Vol. 9


Pregnancy outcome in 98 women exposed to diethylstilbestrol in utero, their mothers, and unexposed siblings.
The reproductive capability and labor complications of 98 women exposed to diethylstilbestrol (DES) in utero were compared with those of 3 separate control groups. The controls consisted of 167 age-matched, normal women, 20 siblings not exposed to DES who had achieved pregnancy, and their mothers. Spontaneous abortion, ectopic pregnancy, incompetent cervix, and premature labor occurred significantly more often in the DES-exposed population than in the normal controls. The controls also achieved a higher percentage of desired pregnancies overall; this was statistically significant (89.6 versus 75.0%, P less than .001). When compared with their mothers, however, the DES-exposed population achieved a greater percentage of desired, viable pregnancies (75.6 versus 67.0%, P less than .001). The unexposed siblings of the DES women achieved a higher percentage of desired, viable pregnancies than did their exposed sisters (86.9 versus 73.6%, P = .274), but less than the normal population (86.9 versus 89.6%).
1814297 - Comparison of nifedipine and ritodrine for the treatment of preterm labor.
7195837 - Maternal and fetal oxytocin levels at parturition in a paraplegic woman.
12850607 - Maternal and neonatal outcomes in patients with a prolonged second stage of labor.
12730487 - Iron and oxidative stress in pregnancy.
Previous Document: Luteolytic effect of azastene in the nonhuman primate.
Next Document: Late meconium passage in labor--a sign of fetal distress?


text:
Aloysia citrodora
Aloysia citrodora Ortega. ex Pers. nom illegit.
Aloysia sleumeri Moldenke
Aloysia triphylla Britton
Cordia microcephala Roem. & Schult.
Lippia citrodora (Ortega.) Kunth
Lippia citrodora (Palau) Kunth
Lippia triphylla (L'Hér.) Kuntze
Lippia triphylla Kuntze
Verbena citrodora (Palau) Cav.
Verbena fragrans Salisb.
Verbena triphylla L'Hér.
Zappania citrodora (Palau) Lam.
Common Name: Lemon Verbena
Photograph by: Klasse im Garten
Cultivated plant in a tub growing in the Botanical Garden Karlsruhe, Germany.
Photograph by: H. Zell
Creative Commons Attribution-Share Alike 3.0
Flowering stem
Lemon verbena is an attractive, deciduous shrub with very aromatic lemon-scented leaves, growing up to 3 metres tall[
Ornamental Shrubs, Climbers and Bamboos.
Thomas. G. S.
Contains a wide range of plants with a brief description, mainly of their ornamental value but also usually of cultivation details and varieties.
The plant is often cultivated as an aromatic, ornamental and medicinal herb in the garden and is used to make a drink or as a source of essential oils[
A Modern Herbal.
Grieve.
0-14-046-440-9
Not so modern (1930's?) but lots of information, mainly temperate plants.
The essential oil from the plant might sensitise the skin to sunlight[
Encyclopaedia of Herbs and their Uses.
Bown. D.
Dorling Kindersley, London.
0-7513-020-31
A very well presented and informative book on herbs from around the globe. Plenty in it for both the casual reader and the serious student. Just one main quibble is the silly way of having two separate entries for each plant.
Trees and Shrubs Hardy in Great Britain. Vol 1 - 4 and Supplement.
Bean. W.
A classic with a wealth of information on the plants, but poor on pictures.
S. America - Argentina, Chile, Peru, Uruguay. Locally naturalized in the Mediterranean[
Flora Europaea
An immense work in 6 volumes (including the index). The standard reference flora for Europe, it is very terse though and with very little extra information. Not for the casual reader.
Fields and roadsides[
]. Open scrub[
Conservatory and Indoor Plants Volumes 1 & 2
Phillips. R. & Rix. M.
Pan Books, London.
Excellent photos of over 1,100 species and cultivars with habits and cultivation details plus a few plant uses. Many species are too tender for outdoors in Britain though there are many that can be grown outside.
Habit Deciduous Shrub
Pollinators Insects
Cultivation Status Cultivated, Ornamental, Wild
A plant of the semi-arid to moist tropics, where it is found at elevations up to 2,000 metres. It grows best in areas where annual daytime temperatures are within the range 18 - 28°c, but can tolerate 14 - 33°c[
Ecocrop
http://ecocrop.fao.org/ecocrop/srv/en/home
Basic information on a wide range of useful plants, plus details of environmental needs where available.
]. Mature, dormant plants can be killed by temperatures of -12°c or lower, although new growth will be badly damaged at 0°c[
]. It prefers a mean annual rainfall in the range 600 - 1,800mm, but tolerates 500 - 1,000mm[
Requires a sunny sheltered position[
The Milder Garden.
Taylor. J.
A good book on plants that you didn't know could be grown outdoors in Britain.
]. Succeeds in most moderately fertile soils if they are well-drained[
]. Prefers a light soil[
Gardening on Walls
Grey-Wilson. C. & Matthews. V.
0-00-219220-0
A nice little book about plants for growing against walls and a small section on plants that can grow in walls.
]. Prefers a pH in the range 5.5 - 7, tolerating 5 - 7.5[
Any pruning is best carried out in the spring[
This species is notably resistant to honey fungus[
Leaves - occasionally cooked as a spinach[
Plants for Human Consumption.
Kunkel. G.
Koeltz Scientific Books
An excellent book for the dedicated. A comprehensive listing of Latin names with a brief list of edible parts.
] but more commonly used as a flavouring in salads, fruit salads etc[
Complete Guide to Herbs.
Holtom. J. and Hylton. W.
Rodale Press
A good herbal.
The Herb Book.
Lust. J.
Lots of information tightly crammed into a fairly small book.
The Garden. Volume 111.
RHS.
Snippets of information from the magazine of the RHS, including an article on Crambe maritima and another on several species thought to be tender that are succeeding in a S. Devon garden.
Cornucopia - A Source Book of Edible Plants.
Facciola. S.
Kampong Publications
0-9628087-0-9
Excellent. Contains a very wide range of conventional and unconventional food plants (including tropical) and where they can be obtained (mainly N. American nurseries but also research institutes and a lot of other nurseries from around the world.
]. A delicious lemon-like flavour, it is adored by most people who try it[
Ken Fern
Notes from observations, tasting etc at Plants For A Future and on field trips.
A delicious and refreshing tea is made from the leaves[
Flowering Plants of the World.
Haywood. V. H.
Very readable and well illustrated, it lists plants by families giving the basic diagnostic features and some details of plant uses.
]. The dried leaves will retain their lemon aroma for many years[
An undervalued medicinal herb, lemon verbena contains a strong lemon-scented essential oil that has calming and digestive qualities[
The Encyclopedia of Medicinal Plants
Chevallier. A.
Dorling Kindersley. London
9-780751-303148
An excellent guide to over 500 of the more well known medicinal herbs from around the world.
]. The plant has a gentle sedative action and a reputation for soothing abdominal discomfort. It has a mildly tonic effect upon the nervous system and helps to lift the spirits and counter depression[
The leaves and the flowering tops are antispasmodic, digestive, emmenagogue, febrifuge, sedative and stomachic[
Encyclopaedia of Medicinal Plants.
Chiej. R.
Covers plants growing in Europe. Also gives other interesting information on the plants. Good photographs.
Glossary of Indian Medicinal Plants (Including the Supplement).
Chopra. R. N., Nayar. S. L. and Chopra. I. C.
Council of Scientific and Industrial Research, New Delhi.
Very terse details of medicinal uses of plants with a wide range of references and details of research into the plants chemistry. Not for the casual reader.
Medicinal Plants of Brazil
Mors W.B.; Rizzini C.T.; Pereira N.A.
Reference Publications; Michigan.
An extremely concise book, listing approximately 1,500 species and varieties of plants with their botanical name, common name in Brazil, regions in Brazil where the plant is found, a brief list of uses and any medically active compounds in the plant.
]. A tea made from the leaves has a deliciously refreshing lemon flavour and is used mainly in treating digestive disorders[
] such as flatulence, indigestion and acidity[
Phillips. R. & Foy. N.
Pan Books Ltd. London.
Deals with all types of herbs including medicinal, culinary, scented and dye plants. Excellent photographs with quite good information on each plant.
]. Some caution is advisable though, since prolonged use or large internal doses can cause gastric irritation[
The Encyclopedia of Herbs and Herbalism
Stuart. M. (Editor)
Orbis Publishing. London.
Excellent herbal with good concise information on over 400 herbs.
]. The herb is also useful as a stimulant for treating lethargy or depression[
] whilst it is also used to treat feverish colds[
The essential oil is used in aromatherapy in the treatment of nervous and digestive problems and also for acne, boils and cysts[
The growing plant repels midges, flies and other insects[
A - Z of Companion Planting.
Allardice.P.
Cassell Publishers Ltd.
A well produced and very readable book.
An essential oil obtained from the leaves is extensively used in perfumery, especially in making toilet water and eau de cologne[
A Dictionary of Plants Used by Man.
Usher. G.
Forget the sexist title, this is one of the best books on the subject. Lists a very extensive range of useful plants from around the world with very brief details of the uses. Not for the casual reader.
]. An average yield of 0.5% is obtained[
]. There is some evidence that the use of this oil can sensitise the skin to sunlight and so its use has been largely replaced by the tropical plant lemongrass, Cymbopogon spp.[
The dried leaves retain their fragrance well and so are used in potpourri[
The essential oil is an effective insecticide in 1 - 2% concentration[
Seed - sow in a container, only just cover the seed and keep in a light position, making sure the compost does not dry out. When large enough to handle, prick the seedlings out into individual pots and plant out when 25cm or more tall.
Cuttings of softwood in a frame. The cuttings root quickly and easily[
Cuttings of half-ripe wood in a frame. The cuttings root quickly and easily[
Cite as: Tropical Plants Database, Ken Fern. tropical.theferns.info. 2021-01-21. <tropical.theferns.info/viewtropical.php?id=Aloysia+citrodora>