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Stephanie Thompson – Not every disability is visible
Mon 05, Dec 2022 , Bridge Magazine
Stephanie Thompson lives with a non-visible disability, having experienced a traumatic childbirth injury and severe pelvic organ prolapse (POP). Birth trauma can cause significant debility for many women and Steph has had to consider a disabled parking permit as sometimes she cannot even walk 100 metres. Steph is a published author, advocate and founder of Bravemumma, a platform which supports women to make informed decisions before childbirth and beyond. Her mission is to continue the conversation about pelvic health and childbirth to support the many women with similar experiences of prolapse and other birth related injuries.
The definition of disability which resonates most with Steph is anything that literally dis-ables you from the life you've been previously living, or any type of physical condition that lasts for longer than six months. "And for me there is an additional element in that my disability is dynamic, which means that my needs and abilities change so much depending on the day, the time and the activities I do," she says. The term, 'dynamic disability,' was coined by Brianne Bessen, who says 'one of the kindest things we can do for people with chronic illness and disability is to believe them.'
However, Steph says it's one thing to ask for help, and another to receive it, especially with an invisible disability. "I still struggle with asking my Mum or sister to do the things that I should be doing around the house," says Steph. "I feel bad because I'm sitting on the couch, and I don't look like there is anything wrong with me. I watch them and feel guilty because they're doing the things I'm supposed to be doing."
For Steph, the mornings are her best time of day, where she has about one or two hours of pain-free and upright time, with the prolapse symptoms flaring up as the day goes on and forcing her to stop movement. She says it's important for her to have conversations with people so they can understand why sometimes she can't attend or participate or must suddenly leave a party or function, which is challenging when you don't look obviously unwell.
"I have a pain rating scale (from zero to ten), which I use with my husband, so he knows immediately where I'm at," she says. "If we're out, say at a family barbecue, and I tell him I'm a five he knows it's time to wrap things up, find the kids and start saying our goodbyes. If I'm seven, I'm already lying on the couch, and anything higher than that I'm tagging out for the night, and he has to get dinner and put the kids to bed and whatever else needs to be done. He never complains but this is not the life we imagined."
Steph says one of the constant challenges is having to explain her situation when she looks otherwise well. "We so easily make assumptions, especially based on the way people look and there is a need for all of us to check ourselves before we do so," says Steph. "Education and awareness can open people's eyes and get us to look and think in a different way. Having these conversations is so necessary to be able to tackle and reduce the stigma and obstacles in our society."
The other important point is that having any chronic condition, particularly a disabling one is both mentally and physically wearing. During our interview, Steph is waiting for her daughter a good forty minutes before school finishes for the day. "If I don't get here early then I'm forced to walk, and that's the thing with dynamic disability too, that even though I'm in pain and discomfort, because it's invisible, I have to do it because there is no other option. There's no support to say maybe I could just drive by and pick her up unless I tell the school about my broken vagina, and I don't want to do that. So, like a lot of women, I suffer in silence. And when I get home the kids really pay for it because I'm lying down with my feet up and I can't do much for or with them."
Steph says her time requires careful planning to enable her to get through each day, which involves thinking about how to allocate her energy and functionality. "We call it spending our 'bickies'," she says. "I mentally have to prepare for every step of every day. I need to know where I am going to spend my 'bickies' that day. If we're going to a family picnic lunch, I won't attempt to do anything else that morning. I'll just get dressed, then we'll go and that's it for me until the next day."
Steph is always pondering what she can do to live the best life she possibly can and how she can help others to do the same. "Even with my career, that's been a massive impact of dynamic disability," she says. "My previous employer, who I'd been with for twenty years, offered no support, and I also didn't have the language or the terminology at the time to clearly communicate what I needed. Now I think it would be a very different conversation."
When Steph returned to work as a teacher after the birth of her child, she requested the classroom closest to the toilet. There was only one and she needed close and frequent access. She was naturally concerned about having to leave her class of young children unsupervised for too long but despite her pleading, another teacher refused to swap. Steph kept working for as long as she could, but eventually had to make a tough decision. "The result was I had to medically retire myself from my career, because there was no choice, no support and no help," she says.
"Something I realised was that I had lost my voice," says Steph. "At the age of 31, I was the youngest female primary school principal in Sydney. I'd worked so hard and achieved so much, then by 35 I'd become this timid, shy person who said 'okay, I'll stand down,'" she says. "I didn't have the level of power to be my own advocate. I was very vulnerable and that's not who I was. I didn't get this far by shying away from things or giving in."
It may take time to find the strength in vulnerability and your voice. Firstly, being in a vulnerable space you need to find a way to just function in daily life, then you can move to the next stage where you can say to people 'this is what I need, and you need to hear what I need.'
Steph intends her future for Bravemumma is to be a human resources (HR) advocate for women with prolapse in the workplace. "They can go through rehabilitation and any adjustments they need to help them function then be supported to transition back to work, because their contribution is of huge value. They can still give a lot to a company or business but maybe they have to sit more often or even lie down from time to time or be close to a toilet, and the space and the understanding for that needs to be provided," she says.
She gives the example of a woman in her community who began experiencing faecal incontinence with the onset of menopause. "She works as a nurse but can no longer lift people so is also facing medical retirement before her time is up," says Steph. "I want to be an advocate for people in this situation. This is where I want to come in and point out that she can still do everything else, all the observations, administration, case reports etc. and if someone else can do the lifting, surely there is still a role for her here, surely, we need to be thinking like that."
"I think we need to be having these discussions with government bodies like the NDIS and Medicare who can provide support to women in this pelvic health space, "she says. "There are zero funding dollars. Any pessary I need to buy, and any physiotherapy has to be self-funded and yes, I'm privileged to be able to do that but there have been times for us when it was hard to find those funds."
Steph did go through the application process for funding from the NDIS but despite going through this lengthy procedure was rejected. "It turns out they hadn't assessed me based on my medical records. They just told me that a prolapse could be fixed with Kegel exercises!" she says. "I was dumbfounded by that. Because of the shame and taboo, we're not talking about it, but at what point are we going to start supporting the mums who are trying to raise the future generations of kids?"
Although Steph has had limited success with numerous treatments for her condition, she remains optimistic that the options will improve and is for now content to take 'small wins' along the way. She has been closely following the work of three young engineers in the United States who have developed a new type of pessary, designed to be inserted like a tampon applicator then open like a mushroom once inside. Steph is excited to also be sharing her lived experience as a keynote speaker and hopes to be a presenter at more conferences that address pelvic organ prolapse in the near future as well as working towards a Bravemumma LIVE forum one day.
Steph's courage and enthusiasm to facilitate change is both inspiring and powerful. After suffering in silence, she has achieved so much, and her motivation, despite her disability, is impressive. She is intent on supporting women at every phase and stage of their lives and has established a podcast community – The Lowdown with Bravemumma – where she talks to health professionals and women with lived experience to help other women navigate the pelvic health space. As it says on her website 'Bravemumma is also a community, a mummahood of women lifting each other up and supporting each other to heal.'
Listen to the podcast – The Lowdown with Bravemumma - What is a dynamic disability
Request to join the online free support group for women living with prolapse.
For further support – Australasian Birth Trauma Association
What is Pelvic Organ Prolapse (POP)?
The pelvic organs, which include the bladder, vagina, uterus and bowel, are held in place by the pelvic floor muscles and supporting tissues such as 'fascia' and 'ligaments'. These help to join the pelvic organs to the bony side walls of the pelvis and keep them in place.
Your pelvic floor muscles also work to support the pelvic organs from underneath. If the supporting tissues are torn or stretched, and the pelvic floor muscles are weak, then the pelvic organs may not be held in their right place. Pelvic organ prolapse (POP), occurs when one of the pelvic organs sags and may bulge or protrude into the vagina.
What is a Pessary?
A pessary is a removable device, often made from silicone, which is inserted into the vagina to support the pelvic organs. There are different types of pessaries, depending on the level of support a woman needs, requiring individualised assessment. For more information go to Let's talk more about pessaries
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JK Rowling responds to criticism over transgender comments
Wednesday 10 June 2020, 8:29pm
Video report by ITV News Correspondent Sejal Karia
JK Rowling has said she was partly motivated to speak out about transgender issues because of her experience of domestic abuse and sexual assault.
The Harry Potter author, 54, responded to criticism surrounding her comments in a lengthy blog post on her website.
In the post, she detailed five reasons she felt the need to talk about the issue – including her interest in "both education and safeguarding" and "freedom of speech".
Explaining her final reason, she wrote: "I've been in the public eye now for over 20 years and have never talked publicly about being a domestic abuse and sexual assault survivor.
"This isn't because I'm ashamed those things happened to me, but because they're traumatic to revisit and remember.
"I also feel protective of my daughter from my first marriage.
"I didn't want to claim sole ownership of a story that belongs to her, too.
"However, a short while ago, I asked her how she'd feel if I were publicly honest about that part of my life and she encouraged me to go ahead.
"I'm mentioning these things now not in an attempt to garner sympathy, but out of solidarity with the huge numbers of women who have histories like mine, who've been slurred as bigots for having concerns around single-sex spaces."
Harry Potter star Daniel Radcliffe responds to JK Rowling 'anti-trans comments'
Daniel Radcliffe was among those to criticise JK Rowling. Credit: PA
Daniel Radcliffe, the star of the Harry Potter film series, and Eddie Redmayne, who leads the cast of Fantastic Beasts, have both criticised Rowling for her comments about transgender issues.
Last weekend, Rowling took issue with a headline on an online article discussing "people who menstruate", and said: "I'm sure there used to be a word for those people. Someone help me out. Wumben? Wimpund? Woomud?"
And in December last year she voiced her support for a researcher who was sacked after tweeting that transgender people cannot change their biological sex.
Critics accused her of being transphobic, an allegation Rowling strongly denies.
In the blog post, Rowling also said she was motivated to address transgender issues via her Twitter account because of what she sees as an increasingly misogynistic society.
JK Rowling's first non-Harry Potter children's book The Ickabog will be released free online with a new chapter each day
"We're living through the most misogynistic period I've experienced," she continued.
"Back in the 80s, I imagined that my future daughters, should I have any, would have it far better than I ever did, but between the backlash against feminism and a porn-saturated online culture, I believe things have got significantly worse for girls.
"Never have I seen women denigrated and dehumanised to the extent they are now.
"From the leader of the free world's long history of sexual assault accusations and his proud boast of 'grabbing them by the pussy', to the incel ('involuntarily celibate') movement that rages against women who won't give them sex, to the trans activists who declare that TERFs [trans-exclusionary radical feminist] need punching and re-educating, men across the political spectrum seem to agree: women are asking for trouble.
"Everywhere, women are being told to shut up and sit down, or else."
Rowling said she had felt "mentally sexless" as a girl growing up in Gloucestershire, which had prompted her to develop mental health issues.
She wrote: "When I read about the theory of gender identity, I remember how mentally sexless I felt in youth."
Rowling said she had been influenced by Colette and Simone de Beauvoir's views of gender during this period.
She added: "As I didn't have a realistic possibility of becoming a man back in the 1980s, it had to be books and music that got me through both my mental health issues and the sexualised scrutiny and judgment that sets so many girls to war against their bodies in their teens.
"Fortunately for me, I found my own sense of otherness, and my ambivalence about being a woman, reflected in the work of female writers and musicians who reassured me that, in spite of everything a sexist world tries to throw at the female-bodied, it's fine not to feel pink, frilly and compliant inside your own head; it's OK to feel confused, dark, both sexual and non-sexual, unsure of what or who you are."

redpajama_set_name: RedPajamaCommonCrawl


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Q: Java version of matlab's linspace Is there a java version of matlab's colon operator or linspace? For instance, I'd like to make a for loop for evenly spaced numbers, but I don't want to bother with creating an array of those numbers manually.
For example to get all integers from 1 to 30, in matlab I would type:
1:30

or
linspace(1,30)

A: For the two variable call, @x4u is correct.  The three variable call will be quite a bit harder to emulate.
For instance, i think that linspace(1,30,60) should produce values 1, 1.5, 2, 2.5, 3, 3.5..., or maybe that's the values for linspace(1,30,59)--either way, same problem.
With this format you'll have to do the calculations yourself--Personally I'd create a new object to do the whole thing for me and forget the for loop.
counter=new Linspace(1,30,60);
while(counter.hasNext()) {
    process(counter.getNextFloat())
}

or simply
while(float f : new Linspace(1,30,60)) {
    process(f);
}

if you have your Linspace object implement Iterable.
Then the inside of the counter object should be pretty obvious to implement and it will easily communicate to you what it is doing without obfuscating your code with a bunch of numeric calculations to figure out ratios.
An implementation might be something like this:
(NOTE: Untested and I'm pretty sure this would be vulnerable to edge cases and floating point errors!  It also probably won't handle end < start for backwards counting, it's just a suggestion to get you going.)
public class Linspace {
    private float current;
    private final float end;
    private final float step;
    public Linspace(float start, float end, float totalCount) {
        this.current=start;
        this.end=end;
        this.step=(end - start) / totalCount;
    }
    public boolean hasNext() {
        return current < (end + step/2); //MAY stop floating point error
    }
    public float getNextFloat() {
        current+=step;
        return current;
    }
}

A: Do you want to do this?
for( int number = 1; number <= 30; ++number )

If you need them spaced by a fixed amount, i.e. 3 you can write it this way:
for( int number = 1; number <= 30; number += 3 )

The left part of the for loop initializes the variable, the middle part is the condition that gets evaluated before each iteration and the right part gets executed after each iteration.

A: I actually just had to do this for a java project I am working on.  I wanted to make sure it was implemented in the same way as in MATLAB, so I first wrote a MATLAB equivalent:
function result = mylinspace(min, max, points)
answer = zeros(1,points);
    for i = 1:points
answer(i) = min + (i-1) * (max - min) / (points - 1);
end
result = answer;

I tested this against the built-in linspace function and it returned the correct result, so I then converted this to a static java function:
public static double[] linspace(double min, double max, int points) {
    double[] d = new double[points];
    for (int i = 0; i < points; i++){
        d[i] = min + i * (max - min) / (points - 1);
    }
    return d;
}

In my opinion this is much simpler than creating a new class for this one function.

A: I think Bill K got the right idea, but I think there is no need to have a Linspace class.
// If you write linspace(start,end,totalCount) in Matlab ===>

for(float i = start; i < end; i += (end-start)/totalCount)
    something(i);

A: I was myself looking for a solution for this problem and investigated how MatLab implements its Linspace. I more or less converted it to Java and ended up with the method below. As far as I have tested it works quite nicely and you get the endpoints. There is probably floating point errors as with most cases.
I am not sure if there are Copyright issues with this though.
public static List<Double> linspace(double start, double stop, int n)
{
   List<Double> result = new ArrayList<Double>();

   double step = (stop-start)/(n-1);

   for(int i = 0; i <= n-2; i++)
   {
       result.add(start + (i * step));
   }
   result.add(stop);

   return result;
}

A: If you'd like to use Java Streams, one option would be:
    public static Stream<Double> linspace(double start, double end, int numPoints) {
        return IntStream.range(0, numPoints)
            .boxed()
            .map(i -> start + i * (end - start) / (numPoints - 1));
    }

A: Here's the main algo that works for matlab, you may convert this to Java with all the OOP details at your disposal:
>>> st=3;ed=9;num=4;
>>> linspace(st,ed,num)

ans =

     3     5     7     9
>>> % # additional points to create (other than 3)
>>> p2c=num-1;
>>> % 3 is excluded when calculating distance d.
>>> a=st;
>>> d=ed-st;
>>> % the increment shall calculate without taking the starting value into consideration.
>>> icc=d/p2c;

>>> for idx=[1:p2c];
a(idx+1)=a(idx)+icc;
end;
>>> a

a =

     3     5     7     9

>>> diary off

redpajama_set_name: RedPajamaStackExchange


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Living Spiritual Teachers Project	Leonardo Boff
Catholic Brazilian theologian
Author of more than 60 books on liberation theology, eco-spirituality, philosophy, anthropology, and mysticism
Honored with
By	Frederic and Mary Ann Brussat
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Leonardo Boff was born in Concórdia, Santa Catarina, Brazil, in 1938. He joined the Order of the Franciscan Friars Minor in 1959 and received his doctorate in Philosophy and Theology from the University of Munich — Germany, in 1970. For 22 years he was the professor of Systematic and Ecumenical Theology at the Franciscan Theological Institute in Petrópolis. He has served as a professor of theology and spirituality in various centers of higher learning and universities in Brazil and the rest of the world.
He was present in the first reflections that sought to articulate indignance toward misery and marginalization with discourse, which later generated the Christian faith known as Liberation Theology. He has always been an ardent of the human rights cause, helping to formulate a new Latin American perspective on human rights with "Rights to Life and the ways to maintain them with dignity."
From 1970 until 1985 he participated in the editorial council of Editora Vozes. During this time he participated in the coordination and publication of the collection, "Theology and Liberation" and the entire edition of the works of C. G. Jung. In 1984, he was submitted to a process by the Sacred Congregation for the Doctrine of the Faith, former Holy Office, in the Vatican. This was due to his theses linked to liberation theology exposed in his book Church: Charism and Power. In 1985 he was condemned to "obsequious silence' and was removed from his editorial functions and suspended from religious duties. Due to international pressure on the Vatican, the decision was repealed in 1986, allowing him to return to some of his previous activities.
In 1992, under renewed threats of a second punitive action by authorities in Rome, he renounced his activities as a priest and "promoted himself the state of laity": "I changed trenches to continue the same fight." He continues as a liberation theologian, writer, professor, widely hear conference speaker in Brazil among other countries, also as an adviser of social movements of liberating popular matrix, as the Landless Movement and the Base Ecclesial Communities (CEBs), among others.
Boff has also been honored with various awards in Brazil and the rest of the world, for his struggles on behalf of the weak, the oppressed and marginalized, and human rights. On December 8, 2001 he was honored with the alternative Nobel prize, "Right Livelihood Award" in Stockholm, Sweden.
In 1993 he was selected as professor of Ethics, Philosophy of Religion and Ecology at the State University of Rio de Janeiro (UERJ). He presently lives in Jardim Araras, an ecological wilderness area on the municipality of Petrópolis, Rio de Janeiro. He shares his life and dreams with the defender/educator of Human Rights from a new ecological paradigm, Marcia Maria Monteiro de Miranda. He is the author of more than 60 books in the areas of theology, spirituality, philosophy, anthropology, and mysticism. Most of his works have been translated into the main modern languages.
Read For:
Theological understandings of justice issues and the dignity of the poor
Salient presentation of the need for eco-spirituality
Dramatic overviews of new paradigms needed for a world in chaos
Thought-provoking Christian reinterpretations of Jesus, scripture, and tradition
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Memories of heroines in memories of spectators: mythic, dramatic and theatrical time from the ancient drama to the modern greek theatre
If by "performance" we mean the "poetics of remembrance", since it is there that the playwright's and the actor's memory as well as the spectators' memory and social memory creatively meet, then theatre can be called the "art of memory".As a reflective and repetitive appearance of the past in the present, it represents a timeless presence or a timeless past, within which cultural memory (as a collective product) is embodied in the individual memory (as a subjective creation) of the viewer with an all-embracing reference. Subsequently, theatre becomes a privileged field of repetition, memory and mnemonic reconstruction of the texts and their performed visualisation, a timely cultural phenomenon comprising and deriving meaning from the individual memory of the viewer, as well as the collective memory of the audience, with which it is engaged in a constant dialogue.
Thus, theatrical performance is a unique occurrence that takes place just once, limited in time and artistically hovering between an elusive current assessment and a constantly decreasing mnemonic recording, which makes the expression of any judgment on the part of the viewing subject rather relative and precarious. This is because during the performance, in front of the viewer, a stage reality takes place that is naturally impossible to be perceived and decoded identically by all those present, due to the various subjective and objective, measurable and immeasurable factors, one of which, memory is very important indeed. The ceaseless change and transformation of pictures and symbols, which come out on stage as composite theatrical speech, results in emerging feelings and stimulates the viewers' conscience, thus finally being recorded as "memory". In its own turn memory becomes a starting point and a prerequisite for even more mnemonic processes, which, when accordingly added, it projects the past of the story onto the present of the theatrical expression (performance). This procedure of recording and memorising problematises any effort to later reflect upon the memories caused by the particular performance in the viewer's conscience every time s/he tries to recall the impressions of a spectacle s/he attended in the past in a critical and distanced manner.
We can thus conclude that the perception of the viewer and the audience (of one particular performance or any other in general) constitutes the sum of (possibly) different but similar ingredients, which as a whole derive (directly or indirectly) from the concept of memory. This is exactly the question posed here: how does memory work? What is the true relationship between memory and the actual occurrence itself? Is what remains in the viewer's memory after a performance a sum of words and phrases with a particular conceptual gravity and value content, or some facial expressions, the actors' movements and gestures, or elements of the setting, or eventually some occurrences irrelevant to the aesthetic result, connected to the place and time of the performance?
Those questions have been discussed in an earlier study. Here we aim to explore, with the same starting point and similar questions in mind, the Modern Greek Drama and its relationship to classical tragedy, mostly in the ways in which mythic time appears as a memory, an echo or a recollection in modern dramatic revisions or adaptations of ancient myths, especially through tragic heroines such as Clytemnestra, Andromache and Medea. Moreover, we focus on how mythic and dramatic time are projected on to the audience's consciousness, while the spectators watch the performance, in a closed or open theatrical space, and recall "classical" performances that they have already seen, opening up new interpretative possibilities for the perception of ancient myth and drama.
As Marvin Carlson comments in The Haunted Stage, drama "has always been centrally concerned" with "the retelling of stories already known to its public". For contemporary drama this comment is much more true, considering that most postmodern playwrights have dealt with adaptation, revision, transcription or retelling of Greek tragic myths in their plays. In Modern Greek theatre during the last decades, retelling of the already known myths, drawing on the rich sources of Greek Tragedy or suggesting different interpretations of mythic stories, seems to be a familiar element of the theatrical language. Playwrights use the canvas of the classical plays in a way that allows them to revise its elements, aiming to express their own concerns within an already known context. Thus, they sometimes focus on specific dramatic characters and re-examine their motivation, or choose some elements of the plot of a classical tragedy, which they expand and illuminate while reducing or completely eliminating other aspects. At other times they transpose the story to another time/place, thus creating analogies between contemporary characters and the familiar tragic persons.
Already in the 1970s, in the collection Fourth Dimension (1978), Yannis Ritsos took some very important steps towards an innovative observation of the tragic myth, which is considerably differentiated from the until then existing approaches that had already made their appearance since the eighteenth century. One of the ways in which myth is revised in Modern Greek plays is by exploiting memory; memory is assigned a special function, namely to give multiple levels of signification to the myth as retold by the modern dramatists. Memory, as a complex function of the human brain, has many unexplored properties; accordingly, the study of memory is related to psychology, neurophysiology, biology, medicine as well as sociology, history and cultural studies. Types of theatrical memory in particular are the neurophysiological or intellectual memory, the emotional memory, the physical or experiential memory, and the collective or social memory; these function together so that the performance is being recorded in a multidimensional way in the viewers' consciousness (and even in their unconscious), and its data are recalled whenever the conditions are appropriate.
In theatre, in general, the subject matter of the play, the values and the messages derived from it, the relationships and the circumstances experienced by the persons, the characters presented, all influence the viewers' consciousness and catalytically affect their memory, by intensifying or weakening oblivion brought about by the time-distance from the dramatic and scenic space and time on the one hand and the objective time on the other. The most interesting "implication" of memory appears in the case of classical texts, because they are the "most lasting repository of peoples' cultural memories". Thus characters such as Oedipus, Antigone, Clytemnestra, Electra or Medea, given the intensity of the circumstances they experience and the breadth of qualities they express, are difficult to forget, despite the variety of other impressions the viewer acquires from the theatrical experience. In addition, the visualised symbols and the objects inscribed in the text structures, the descriptions and instructions for place and time, as expressed by the playwright's stage-directions, acquire a special significance for the function of memory, being highly visualised symbols of circumstances and concepts inextricably connected to the play, thus enabling their mnemonic recording as signifiers.
In particular, tragic heroines of contemporary plays converse with their earlier intertextual personae and attack the certainties of the audience, recalling elements inscribed in the dramatic text, which characterise them, while they simultaneously refresh their image, adding new perspectives that affect the perception of drama. In Akis Demou's play Ανδρομάχη ή τοπίο γυναίκας στο ύψος της νύχτας [Andromache or Woman's landscape in the height of night] (1999) the well-known Homeric heroine whose fate is tied to the dramatic space of destroyed Troy, as depicted in Euripides' Trojan Women, is now transposed to Epirus "in an artificial Trojan landscape, imitation of Troy", as the author comments in the brief narration of the myth which precedes the text. Hector's wife, a former princess, is now found as a slave, away from Troy, which, however, she recreates with her own hands in the new landscape in which she was brought to live. The building materials for this utopia are the materials of memory; a foreign language, Greek, enables Andromache to find new names for things and to move on with her life. Her memory lures her to a dilemma between a happy then / there and an unbearable here / now, while she is trying with her words and her paintings to understand and conquer this present, filling it with the stuff of her memory.
The members of the audience on the other side are transferred, through the heroine's memory, to the past, which is known and retraced in their memory because of the intertextual journey of Andromache's character from Homer to the present days. Demou creates visual symbols for the audience, through a scenic space described as "three large painted surfaces, representing facades of public and private buildings of Troy, creating the illusion of a room-city". This space is constructed simply by the memories of the heroine while it simultaneously creates a scenic space that makes it easy for the audience to record in their own memory.
Another representative sample of mnemonic recording can be found in Avra Sidiropoulou's play Τα δάκρυα της Κλυταιμνήστρας [Clytemnestra's Tears]. Here the dramatic figure of Clytemnestra seems to struggle constantly with her memory, which is present in every part of the monologue as a driving force behind every thought, every judgment and every emotion. In an intertextual dialogue with Iakovos Kambanellis' trilogy The Supper, Clytemnestra is dominated by her grief for the loss of her beloved Iphigenia and reconstructs the past in the shadow of memories. Agamemnon comes again and again in her mind and speech as the husband, the lover and the murderer of her daughter, raking up strong emotions such as love, affection and hatred in an endless path, which Clytemnestra has to follow through her memories and the mandatory presence of the past. By exploiting postdramatic techniques and monologue the tragic heroine inaugurates a dialogue with her own dramatic personae from Aeschylus and Euripides to Ritsos and Kambanellis as well as with other tragic figures such as Iphigenia, Electra and even Medea, highlighting the power of memory in its diachronic dimension, which is by definition its essence.
Moreover, in this way, another quality of memory is explored, which is directly related to the audience, who probably carry in their mnemonic "baggage" the whole information and the theatrical experience that includes the image and the speech of these heroines from other performances of Greek Tragedies or contemporary performances or films based on the revision of classical myth. From the tragedies of Aeschylus and Sophocles to the monologues of Marguerite Yourcenar and the trilogy of Eugene O'Neill, the plays of Iakovos Kambanellis and Andreas Staikos, as well as movies such as Trojan Women and Electra directed by Michael Cacoyannis, spectators have already read or watched various revisions of the Tragic Myth and have already recorded in their memory various interpretations of the tragic heroines which are recalled during the present performance.
Clytemnestra in Sidiropoulou's monologue comes via an intertextual dialogue through the memory of viewers, and eventually rises above and beyond entrenched images, combining elements from all of them but refusing to be entrapped in any of them. Is she a mother in pain for the loss of her daughter, is she a betrayed woman who asks for revenge, is she an unfaithful wife, is she a regretful assassin, or is she all of the above at the same time? At the beginning of the monologue, she expresses her emotions primarily as a mother who suffers for her lost daughter ("I had once Iphigenia", p. 12), a part of her personality which recalls memories of Clytemnestra in Kambanellis' Letter to Orestes, but later she presents herself as a woman bent on revenge, an aspect already known from Aeschylus' Oresteia. In this respect, she brings back memories of Clytemnestra of Agamemnon who is characterised as ἀνδρόβουλος γυνή (Αgam. 10-11), because of her decisive and strong character, which is deemed inappropriate for a woman. This aspect of a strong and proud queen is emphasised when the heroine of Clytemnestra's Tears says: "My husband is back. I am a woman again" (p. 19).
Beyond this mnemonic function of the textual elements, stage instructions play a more important role, as indicators of a communication between present and past and as mechanisms of accessing and understanding what has irrevocably happened but mimetically reoccurs via its stage configuration. During the performance, the playwright's discourse, as inscribed in the text (consciously or not), sometimes as memory and sometimes as oblivion, it eventually has a redeeming effect on the spectator's conscience whether suppressing, or reforming, or even silencing issues from the past, in a way that a renegotiation takes place, or moreover a re-signification of the circumstances and experiences referred to within it. Playwrights with a different voice and means, everyone from their own point of view, aesthetics and ideology, submit their own proposals for an approach and renegotiation of the past by the present, via the development of a particular way of managing the collective memory created for it. The case of plays whose subject matter or heroes have been used by different playwrights with different aesthetics and at different times are really representative, as the creators of one historic period attempt to intervene creatively in the memory of the past, thus adjusting it or describing it according to their own expectations.
An indicative example of the exploitation of the spectator's memory as far as a different meaning to be given is concerned, is Lia Vitali's play Ροστμπίφ. Ο δισταγμός της Κλυταιμνήστρας πριν απ' το φόνο [Roast Beef. Clytemnestra's Hesitation before the Murder], where Clytemnestra, Iphigenia, Aegisthus, and Agamemnon are transposed to a very different dramatic time and space from the mythical palace of Argos, in a nursing home for elderly people. The stage-directions are significant: "A surgical table. Everything is white. Surgical table with surgical tools, scissors and knives well sharpened. On the operating table, a simple crystal vase with red, bushy roses". Blood is present in every way through its presence (red colour) and its absence (the white colour of the pale face of Iphigenia and her light-coloured dress), while Clytemnestra loves to sharpen the knives and cuts the roast beef into thin slices. Iphigenia, the young daughter, sings in whispers: "my mother for my sake sharpens knives" thereby recalling the sacrifice of her tragic namesake and the revenge taken by her mother. Another element of the secondary text, the title and the subtitle, is also meaningful. When the time of murder comes again, this modern heroine of the postfeminist era hesitates to kill her husband and prefers to live with him passionately. With this transposition of time and space, the diegesis moves the story to another time and place (in the "pension for the elderly", present time), but without losing its core, while at the end an essential change happens: the ethical values radically change, as Clytemnestra obeys new rules within the new social and cultural conditions of our era.
In Anna-Maria Margariti's play Παρασκήνιο [Backstage], three female actors in a small English town, in the modern age, reside in the same apartment and blame one another for the conditions of their lives. The bond that ties this play with the myth of the Atreids (as happens also in Andreas Staikos' play Κλυταιμνήστρα; [Clytemnestra?]) is a postdramatic one, whereby two modern actresses revive, in speech and action, the relationship of the tragic heroines Clytemnestra and Electra. Here, the female characters of the play are three actresses who take part in a performance of Sophocles' Electra. Two of them, Cynthia and Evelyn, mother and daughter respectively, perform the parts of Clytemnestra and Electra. It transpires that their relationship is essentially analogous to that of the tragic heroines they impersonate, while a third figure, Martha from Ukraine, who has left her father's home together with a stranger called Jason, finds out that her husband has abandoned her for a younger woman, leaves taking her children with her, and later murders them. In this way, Clytemnestra, Electra, and Medea transfer their tragic fate to this modern team of three actresses. This transposition of ancient myth into contemporaneity highlights the analogy between the tragic heroines and the dramatic figures of the modern play, and allows spectators to recognise the well-known characters and to use their mnemonic recordings as interpretative keys for the perception of the play. In addition, the mnemonic connection between the contemporary play and the ancient drama is reinforced here by the sight of Cynthia's knife, which evokes memories of a murder. It is notable that a scene that strongly recalls Clytemnestra holding a knife in Lia Vitali's Roast Beef (mentioned above) acquires special significance for the function of memory, as it becomes a visualised symbol strongly connected to the tragic heroine, so that it can easily be recorded as signifier.
As we can see from this selective survey of modern Greek plays that revise ancient myths, most playwrights or directors often make use of familiar historic and mythological themes and elements, and employ stagecraft and dramatic techniques that help them manipulate, in the best possible way, the distance between stage and auditorium. This is why they reclaim stereotypes and elements commonly accepted by the entire audience, so that their work becomes more intelligible and accessible to the audience, thus more easily recalled to memory. They are based on the concept of "collective" or "cultural" memory, which is mostly a result of social procedures. Focusing on that kind of memory we can say that what the viewer remembers, or may remember, does not only originate in their personal but to a great extent their collective cultural experience. It has a familiar and commonly accepted language, its subject matter and characters rely on predetermined stereotypical values, which in their turn constitute a form of "contemporary mythology". The individual memory of those belonging to this culture (readers, audience) relies upon and is determined to a great extent by the collective, since subjects "remember what they already know", what is more familiar and accessible. Such a memory function can be identified in Maria Kyriaki's play Medea—De Profundis. In the preface of this work, the author states: "Medea is registered in our collective memory as a mysterious, magical being, an unexplained creature", and continues by exploring the ancient myth of Medea and its various versions, focusing on the Euripidean version of the tragic heroine which is the most accessible in the memory of viewers. A similar version of the myth is presented by Vassilis Bountoures in his play The Other Medea, whose title is indicative of the playwright's intention to present a tragic Medea with characteristics that differ from those assigned to her stereotypical image by collective memory. This mnemonic recording of creative revisions of the well-known myths by modern writers feeds back and enriches the collective memory of the viewers. The historical, social and political conditions of life, the experiences of the modern viewer, the current attitudes, affect decisively the way in which audiences perceive these new forms. Present conditions shape the collective memory of the spectator, who decodes this new theatrical language with the elements provided by the conditions of his life.
Based on the multidimensional interpretation of the myth, by exploiting to the full the rich cultural inheritance and by embodying to the mythological the original historic background of the contemporary Greek society, the above playwrights recall to the memory of their spectators, not only the intertextual presence of already familiar characters and events of the Ancient Greek Tragedy, but also the collective memory that these possess as a group. These are the reasons why metadramatic texts and in general all theatrical modernism plays that fully exploit the Tragic Myth, find a fertile ground to develop in contemporary Greek reality and surpass the traditional ways of approaching the Ancient Drama by expanding the dimensions of the regional and the Greek example within the frame of modern global dramaturgy. In this sense, we can maintain that retelling, revision and transcription of well-known tragic myths is one of the most significant and interesting tendencies in contemporary Greek dramaturgy, directly linked to the various functions of memory, which, in this way, becomes a key factor in the formation of the audiences' opinion of a play, an actor, a performance or theatre in general.
Theodore Grammatas
Maria Dimaki-Zora
Th. Grammatas, M. Dimaki-Zora, (2018). "Memories of heroines in memories of spectators. Mythic, Dramatic and Theatrical Time from the ancient drama to the Modern Greek Theatre", στον συλλογικό τόμο Debating with the
Eumenides. Aspects of the Reception of Greek Tragedy in Modern Greece, Vayos Liapis, Maria Pavlou, Antonis K. Petrides (eds.), [Pierides Studies in Greek and Latin Literature, VII], Newcastle upon Tyne: Cambridge Scholars Publishing, σσ. 122-131
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News > How to Complete the Far Cry New Dawn Expeditions
How to Complete the Far Cry New Dawn Expeditions
Once you start one of the Far Cry New Dawn Expeditions, Roger will drop you off near to a Highwaymen Stronghold in the new area. This base of operations is much larger than the Outposts you'll see in Hope County, and has more Highwaymen guards. Before you set off, be sure to replenish your ammo and reassign your weapons at either of the yellow boxes on the back of the helicopter. Once you start walking away, Roger will take off and you'll be on your own.
Once you return to Prosperity, you'll be rewarded with a huge cache of resources for your efforts. You'll also unlock the next Expedition. What's more, you can actually choose to replay Expeditions, in a similar manner to Scavenging Outposts. The next time you go on that Expedition, the Highwaymen will have moved back in. The rewards will be greater, but the enemies you'll face will be more numerous and higher tier. But the idea of combining Far Cry 5's base game with a silly, violent, colorful post-apocalyptic setting seemed like the perfect recipe, one that would showcase the series for what it truly is: a big, dumb action game where you can do virtually anything you want. Instead, New Dawn is an overly familiar experience that, while a lot of fun, gets away from the best part of its predecessor without adding enough that really feels new. Even when the world ends, Far Cry stays the same.
The same can be said of the world itself. Far Cry 5's Hope County already felt a bit post-apocalyptic the rural setting was isolated from the world thanks to antagonist Joseph Seed so even though there are plenty of visible differences to the region, the impact of those changes isn't massive. There are a few key locations that provoke some amusement in their discovery, but the strength of Far Cry 5's Hope County was its natural environments the forests, lakes, rivers, and mountains.
This is a pretty cool secret in Far Cry New Dawn. If you have any issues pertaining to wherever and how to use Far Cry New Dawn Credits, you can get hold of us at our own web page. You can get hold of Sam Fisher suit but do note that this is a mere cosmetic item and doesn't have any impact on gameplay. In order to get this, you need to complete the first four expeditions. After completing them, you will unlock the Government Plane Wreck expedition. Once you reach your destination, you will see a plane, enter it. You will then come across a large TV set, switch it on and you will hear a noise. Head up stairs and voila. You will see the suit in its full glory.
From the starting point, look for pink smoke; this smoke designates the location of a special pack of resources which you're there to steal. Get to the smoke, look around nearby for the package, and pick it up. Whether or not you've been stealthy up to that point, an alarm will immediately sound once you grab the package. What's more, the package has a GPS tracker on it, so the Highwaymen will always know where you are. At this point, you'll be facing endless waves of Highwaymen, so run to the extraction zone and hold the Highwaymen off while Roger lands.


P.E. is on a Thursday. Please make sure that your child has their P.E. kit in school.
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There are many things you can do to help your child at home which will help them in all areas of the curriculum.
It is vital that your child reads everyday at home for at least 15 minutes. This increases their fluency (speed of reading) and their understanding of the texts. Have a look at the links above which contain a range of fun activities which promote learning.


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Q: how to understand the following code about golang slice? Recently I found some code that I can't understand, below is my code:
func subsetsWithDup(nums []int) [][]int {
    if len(nums) == 0 {
        return [][]int{[]int{}}
    }
    sort.Ints(nums)
    result := [][]int{}
    backtracking(nums, &result, []int{}, 0)
    return result
}

func backtracking(nums []int, result *[][]int, tempList []int, start int) {
    *result = append(*result, tempList)
    for i := start; i < len(nums); i++ {
        if i > start && nums[i] == nums[i-1] {
            continue
        }
        tempList = append(tempList, nums[i])
        backtracking(nums, result, tempList, i+1)
        tempList = tempList[:len(tempList)-1:len(tempList)-1]
    }
}

and another approach:
func subsetsWithDup(nums []int) [][]int {
    sort.Ints(nums)
    return subsets(nums, []int{}, [][]int{})
}

func subsets(nums []int, result []int, results [][]int) [][]int {
    newR := make([]int, len(result))
    copy(newR, result)
    results = append(results, newR)

    if len(nums) == 0 {return results}

    for i := 0; i < len(nums); i++ {
        if i > 0 && nums[i] == nums[i - 1] {continue}
        result = append(result, nums[i])
        results = subsets(nums[i + 1:], result, results)
        result = result[:len(result) - 1]
    }

    return results
}

In the first approach, I use the following code :
tempList = tempList[:len(tempList)-1:len(tempList)-1]

it works, but if I change it to:
tempList = tempList[:len(tempList)-1]

it dose not work.In the second approach which use copy function also works. I want to know what happens behind the code, any help is appreciated, thanks.

A: In Go, slice is a pointer type to maintain information about underlying array, so change of the underlying array would cause changes of the slice value, which sometimes might be surprising.
The second part of the puzzle is that append modifies the underlying array if the cap of the slice is sufficient. Document:

The append built-in function appends elements to the end of a slice.
  If it has sufficient capacity, the destination is resliced to
  accommodate the new elements. If it does not, a new underlying array
  will be allocated. Append returns the updated slice. It is therefore
  necessary to store the result of append, often in the variable holding
  the slice itself.

So in you failed attempt, tempList = append(tempList, nums[i]) will possibly change value of previously stored slices in result.
On the other hand, the second approach creates a new slice with new underlying array and copy to it explictly, so the error is avoided. The first approach is more subtle, as it use  a full slice expressions: tempList[:len(tempList)-1:len(tempList)-1]. The code limits the new slice's cap so append would have to allocate a new underlying array each time instead of using the orignal one.
More about full slice expressions(spec):

For an array, pointer to array, or slice a (but not a string), the primary expression

a[low : high : max]

constructs a slice of the same type, and with the same length and elements as the simple slice expression a[low : high]. Additionally, it controls the resulting slice's capacity by setting it to max - low. Only the first index may be omitted; it defaults to 0. After slicing the array a

a := [5]int{1, 2, 3, 4, 5}
t := a[1:3:5]

the slice t has type []int, length 2, capacity 4, and elements

t[0] == 2
t[1] == 3


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This rivalry packs real punch
By Kevin Baxter
SAN JUAN, Puerto Rico -- Carlos Palomino knew something was wrong the minute he saw the boxing ring laid out in San Juan's main baseball stadium beneath a blazing Caribbean sun.
"The ring's in the middle of the field with a tarp over it," he remembers of his welterweight title fight against Puerto Rico's Wilfredo Benitez. "Half the ring's in the shade, half the ring's in the sun. He's in the shade, I'm in the sun."
That wasn't the worst of it. In the week leading up the bout, promoters threw open the doors to Palomino's San Juan gym, allowing Puerto Rican fans to swarm the Mexican-born boxer and disrupt his workouts. And then there were the locker rooms.
"The dressing-room situation was criminal as far as I'm concerned," Palomino said. "I was sitting there soaking wet, sweating from the humidity. No fan, nothing."
Next door, he learned after the fight, Benitez prepared in air-conditioned comfort before going out and taking the world championship in a split decision Palomino still insists, nearly 30 years later, he really won.
But while that bout marked the beginning of the end of Palomino's career -- he fought just six more times, losing twice and retiring twice -- it also helped fuel one of the most passionate rivalries in sports. And it's a rivalry that will be renewed later this month in Las Vegas when Puerto Rico's Miguel Cotto puts his world welterweight crown and unbeaten record on the line against Tijuana's hard-punching Antonio Margarito.
Depending on who's doing the counting, there have been nearly five dozen world title fights between boxers from Mexico and Puerto Rico and most have been classic brawls.
"In other countries people go crazy to see a soccer game between Spain and Italy, Italy and England," said boxing writer Gerardo Fernandez of the Puerto Rican daily Primera Hora. "Well, it's the same ambience for a boxing match between Mexico and Puerto Rico."
It's not hard to figure out why. They are Latin American lands with similar backgrounds and cultures. And in both lands, boxing is revered.
"They're two countries in which boxing is the national sport," said Jose Sulaiman, president of the World Boxing Council. "It's the sport that's in their hearts. There's a special rivalry over which Latin country has the best boxers."
Adds Francisco Valcarcel, president of the competing World Boxing Organization: "When you have Puerto Ricans and Mexicans, for sure that will be a war. You are fighting for you, your country and your heritage and the history."
The rivalry even extends to the sport's sanctioning bodies since Sulaiman's Mexico City-based WBC recognizes three Mexicans and no Puerto Ricans among its 16 world champions while Valcarcel's San Juan-based WBO lists two Puerto Ricans and one Mexican among its 17 titlists.
But there's little disagreement that the fight that got the rivalry started was the 1978 super-bantamweight title bout between Puerto Rico's Wilfredo Gomez and Mexico's Carlos Zarate, who were a combined 75-0-1 when they faced off in San Juan.
"I was sick. I didn't want to fight," Zarate remembers. "I tried to get out of it, but I was told I'd have to pay three times more than my purse not to fight."
The brutal fight was over soon enough, though, with Gomez knocking him out in five rounds -- after repeatedly punching Zarate while he was down.
The rivalry grew more heated three years later when the still-unbeaten Gomez met featherweight champion Salvador Sanchez. And that was five months before they even stepped into the ring.
According to Valcarcel, during negotiations for the bout Gomez grabbed a pair of scissors off the table and charged Sanchez, who soon grew tired of the Puerto Rican's trash talking.
"He told me 'I'm not going to knock him out. I'm going to punish him,' " said Palomino, who served as an interpreter for Sanchez. "He had him out in the second round and he let him [go]. Then he just started pounding and pounding him."
And Gomez's fights didn't always end in the ring -- at least not as far as his fans were concerned. Valcarcel was leaving the arena after one bout when he came across the mayor of Guaynabo, one of Puerto Rico's most prominent cities, trading punches with a Mexican fan in the parking lot.
"The rivalry, I think it's more intense between the fans. There's more fights in the stands than there is sometimes in the ring," Palomino said. "And that's what fuels it, the fans. It's more than just a bout. It's like the fourth 'Rocky' movie. It's for the country."
Yet when Sanchez died in a traffic accident a year later a solemn Gomez, who would knock out Mexican Roberto Rubaldino five days later, left his training camp to fly to Mexico where he laid flowers at Sanchez's grave site.
"In the ring it's another thing. We have to fight. I've got to kill him," said Puerto Rican featherweight Mario Santiago, who earned a draw in his first title fight last month against Mexican American Steven Luevano. "But after the fight or before the fight, I don't have anything personal with any Mexican."
It's personal for the fans, though. Which is why the rivalry continues to thrive, said Bob Arum, who is promoting the July 26 Cotto-Margarito bout.
"What people forget about boxing is that it's a sport like other sports," he said. "In order to catch the attention, people have to care, they have to have a rooting interest. That's why the old fights, where they had Jews against Italians in New York, were well-attended and the fans cared. They identified with one or the other of the fighters.
"Now when you have a Mexican and a Puerto Rican, Mexican fans and Puerto Rican fans identify with that fight because it's a natural rivalry. It's like the Dodgers playing the Giants."
Only the Dodgers and Giants represent cities. Cotto and Margarito will be representing something far larger.
That's why Julio Cesar Chavez said he feared Mexico would never forgive him if he lost his title fight with Puerto Rico's Hector Camacho. And that pressure hasn't faded over time.
"I want to give this title to Mexico," Margarito said. "Because of the rivalry you try harder to win, you try harder to beat Puerto Rico."
kevin.baxter@latimes.com
Begin text of infobox
Fists of fury
The long and storied rivalry between Mexican and Puerto Rican fighters has produced some of boxing's best bouts. Here are five of the more memorable ones:
* Escobar-Casanova, June 26, 1934: Bantamweight Sixto Escobar, who now has a stadium named after him along San Juan's shoreline, becomes the island's first world champion with a ninth-round knockout of Rodolfo "Baby" Casanova in Montreal in what's believed to be the first title fight matching a Mexican and Puerto Rican.
* Gomez-Zarate, Oct. 28, 1978: Puerto Rico's Wilfredo Gomez hands Carlos Zarate his first loss in 53 fights with a fifth-round knockout in a super-bantamweight title fight in San Juan.
* Sanchez-Gomez, Aug. 21, 1981: Gomez's promise to die in the ring before he'll lose almost comes true with Salvador Sanchez breaking Gomez's jaw and his spirit while nearly closing both eyes before the featherweight title fight is stopped in the eighth round in Las Vegas.
* Gomez-Pintor, Dec. 3, 1982: An exhausted Gomez takes Lupe Pintor's junior-featherweight title with a 14th-round knockout in New Orleans.
* Chavez-Camacho, Sept. 12, 1992: Julio Cesar Chavez said he wouldn't be able to return to Mexico if he lost to Hector Camacho, so he doesn't, winning a unanimous junior-welterweight decision in Las Vegas.
-- Kevin Baxter
Kevin Baxter
Kevin Baxter writes about soccer and other things for the Los Angeles Times, where he has worked for 24 years. He has covered five World Cups, three Olympic Games, six World Series and a Super Bowl and has contributed to three Pulitzer Prize-winning series at The Times and Miami Herald. An essay he wrote in fifth grade was voted best in the class. He has a cool dog.


With the launch of Super Mario Odyssey around the corner we wanted to look back and review the whole saga. This article belongs to a series in which we investigate and analyze the most influential deliveries of the main saga for the new game of the plumber with mustache.
Mario has a creator, Miyamoto, and you need Mr. Miyamoto when you're doing a Mario game. We shared thoughts from one side to another, Yoshiaki Koizumi, director of Super Mario Galaxy (among others) the interview for Wired what we have already reviewed the previous article. Over time, as all of these common ideas are defined a little more carefully, the feedback becomes a little more subtle, until it finally reaches the point where Miyamoto gives us feedback, and the only person An idea of what that means is me. And all the others in this email from Miyamoto have absolutely no idea what he is talking about.
Through a relationship of full confidence in which there is one-sided communication that nobody else can understand, Miyamoto has succeeded in releasing Koizumi to manage Super Mario Sunshine and later Super Mario Galaxy. Koizumi receives abstract concepts from Miyamoto; they never had a subject, they were dependent on the context and sometimes even Miyamoto didn't even know what he wanted to say. It can deliberately just be vague to stimulate thinking, just to give people the opportunity to develop their own ideas and not limit themselves to the kind of solutions they might find. And it has always been so. Koizumi was able to interpret and work from these cryptic messages, and that is how Miyamoto wanted to oversee what he did with his work without actively participating. According to Koizumi, the best example to understand this way of working is the initial concept of Super Mario Galaxy. For a long time, Miyamoto says nothing more specific than what he hears, can you do something with spherical worlds?
Super Mario Galaxy comes to us as a glove to come to a conclusion to all these reflections, ideas and articles, so much so that it is deliberately done. Mario, his mechanics and his way of playing, are somehow sacred and inalienable, but what makes him truly eternal is how he can rediscover himself in every major delivery. Turn on the formula, add & # 39; a key variation, expand in & # 39; new direction, or see yourself from another prism. The latter is the one I would most like to apply to the Galaxy case, which explains why it is the idea of the game itself: Super Mario Galaxy is literally a change in position. As it was the three dimensions, although in a lesser extent, this 3D version takes as a starting point and changes other variables of the equation to get another result. In this case, and in the first place, it's about gravity, applying the Mario jump under completely new rules, less obviously but more incident in the game with the surfaces.
If we represent any action by Mario as a grammatical or a mathematical equation, it has been simple so far. The launch of 3D in Super Mario 64 has already led to a certain depth and multiplied the playable possibilities by the way it marked the difference with 2D, but it is still a superficial complexity, even argaïs. But the rapture of Mario 64 did not go the same way: it was an extension of possibilities, space, freedom, but not so much of reforms or structures. Super Mario Galaxy, however, says. It was time, and it changed everything. In the beginning, Mario could only walk from one side to another, and despite different heights and materials, there was only the surface or its absence. With 3D, the same surface has not changed, but it has expanded and Mario could now run 360 degrees, as long as it was on a physical and stable surface. Super Mario Galaxy breaks all the schemes here and forms a universe where Mario must first run through surfaces of variable state, with changing physical characteristics and where the element plays a leading role.
Gravity is the first important point because it is the most important change and one we can internalize first. The jump and Mario's each is nothing more than an ingenious application of the small object that feels attracted to a bigger one, and it has always been one, the ground. The second important point is the surfaces, because in the Super Mario Galaxy that element once was one, hundreds, thousands or millionsand both Mario and we have to learn from scratch to move every space, every little planet or attractive object, each with different characteristics to each other. Finally, ending with the unification of such a uniform mixture are the perspectives. So important is where Mario moves from where we see him, because Mario's movement is now the result of the sum of these two elements. Earlier, in the vast majority of events, the direction of Mario translates into a persistent stockpile. Right is equal to the right and north-west means northwest. In Super Mario Galaxy, right does not always mean right, or the same bat always means the same direction, since changing Mario's shoes constantly changes. The minimum sample unit is that it runs straight from A to B, involves making several corrections to the stick during the movement, depending on the perspective and the nature of the surface, and it takes a new dimension terms of the game. In addition, in the Super Mario Galaxy, the perspective is a more authoritative problem, as we don't have as much control over them as in Mario 64, where the camera was a major element of the game. In the Milky Way, Mario's control is changed enough so you don't have the camera or the camera, so the game makes it easy for you and you can concentrate on learning and internalizing this new variant.
Deca my friend Enrique Alonso in An article for AnaitGames, Nintendo is always a quality guarantee, but it's just absolutely great when it comes to constraints. Working under a certain pressure, forced or self-imposed, they enabled a unique adaptability and versatility when designing new ideas. Super Mario Galaxy, under the responsibility of re-learning the player to control Mario under completely new conditions, shows that they have not lost the balance between learning, challenge and fun. This progression improves with the control, with distance measurement, in visual perception and in the three-dimensional spatial vision, and the game ends with several combinations of all the concepts. One way or another, the greatest value of Super Mario Galaxy, is exactly what Nintendo dominates: that adaptability, the ability to respond to changes and complications, and the idea culminates in a spectacular way in its successor , crowned one of the best in Nintendo history. It is not nonsense to think that Mario's saga is the slim of this reflection, as it has developed at the same time as technology and has grown by eliminating limitations. The expressive limitation, limiting three-dimensionality, limiting freedom, limiting perspective and surface and now, with Super Mario Odyssey, limiting control in many ways. That is why these changes, the obstacles that are overcome, feel like they always would have been: Mario's formula in its most primitive form has always been the same, but over the years Miyamoto and his heirs can take different aspects of that equation and free them from their chains every time in an overwhelming way.
As the Galaxy is considered by many to be the true successor of Mario 64, due to its features, Odyssey is positioned as an authentic sequel to the alternative action that Koizumi began through the abstractions of Miyamoto, Sunshine. A line of design that differs from the ordinary that looked dead and abandoned by the doubt that sembr, but it comes in style that makes it clear that it is more lively than ever and comes to be the most ambitious and great Mario game we've ever seen. . Odyssey feels like being final: a colossal extension of the concept Hakoniwa, and a coherent element that somehow starts in both previous deliveries with concepts and spirit mix 2D and 3D.
As I have mentioned a few paragraphs above, Super Mario Galaxy is perfect to make a conclusion because it was born from the intent to study the formula from a different point of view. A view such as that of Koizumi, now that of Kenta Motokura, and generally that of the new and younger generations. Certainly, it seems that Miyamoto has a reason to use this level of abstraction, Koizumi continued in the same interview as before. I feel that you are making our work to solve these puzzles because it is a process that evokes creativity on our side. Although Miyamoto may have some ideas, the fact that all these challenges are set before us is very grateful because it helps with the process.
After passing several relays, Koizumi changes as a producer with the new director, Kenta Motokura, with the new ways to see the saga through new creators. Mario meets years, his creators too, and there's a point where you have to stop the witness. When asked if the time came when he left Miyamoto and he was the one asking such questions to someone else, Koizumi responded that it would be right if that happened. But I already feel I have included that style of work. Indeed, it is likely that this moment has already arrived and spread among all its companions. Maybe Koji Kondo Mahito Yokota helped with the soundtrack in the same way, being the theme of Odyssey the first in all its history with lyrics and main voice. Perhaps Koizumi and Motokura scored in record time to build a band as strong as Miyamoto and Koizumi built in ten years. And Motokura could possibly have translated an abstraction from Koizumi, from which Super Mario Odyssey will be born: let Mario leave the neighborhood.
I really have no idea about that, but there are things that are certain now. After a long journey, trying to analyze twenty-five years of history, playing almost all of the saga titles and trying to keep the secret of the success of & # 39; an intact but changing formula at the same time find, I think I got answers. Answers that are reflected in each line and in each paragraph, but in reality are insufficient, because there are things that cannot be conveyed with words. In them all, there is a common element, a constant, and that is something intangible, spiritual, from a spiritual state that repeats itself. It seems that behind all these complex combinations, mathematical equations and exhaustive analysis is a much less methodical and pure purpose than the process itself, a process at the disposal of emotions. Every game, every world, every level and everybody jumping with Mario, somehow, is always tasted like little injections of happiness, and because of the inexplicable human level that comes out, it looks magical.
The infallible famous formula is because it responds to natural needs such as abstraction, as Miyamoto did, and to smile, to be happy for a few moments, and it doesn't even understand ages. The recipe for happiness doesn't exist, it's an impossible comparison to solve, and that's because we've persecuted it for centuries without really understanding what it means. English, we believe happiness was a state that could be extended in time, but it has never been: happiness is measured in small capsules for small moments, in short drinks. By believing that those moments were not enough and that we could stretch them indefinitely in time, we underestimated them and harmed ourselves. But now, a little more mature, we have it much clearer, and Mario, giving away many of those little caps of happiness, helps us never forget. You should have seen the smile drawn on my face every time I get a new star … but what I'm going to tell you is the vast majority of you already know what I'm talking about. Now they will be moons, but the sensation is, and that is something that will not change.
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J.D. Application Information
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Welcome From Dean Risa L. Goluboff
When I applied to law school some 20 years ago, there were things I knew and things I didn't know. I knew that the law could offer a path to public service and professional fulfillment. I had gathered, from one movie or another, that law school would teach me to "think like a lawyer." I had no idea what that meant, and even less of an idea where a law degree would lead me. Nor did I know that what I learned in law school would yield dividends far beyond my chosen profession — in virtually every decision, in every boardroom, on every committee, in every situation that I have faced since. I had no idea then that law school would transform the way I thought and how I would spend the rest of my life.
Twenty years later, I can tell you that transforming my life is exactly what law school did for me. And that is what it can do for you.
There is no better place to experience that transformation than the University of Virginia School of Law. UVA Law combines the highest level of scholarly and teaching excellence with every professional opportunity imaginable and an unparalleled student experience suffused with humanity, diversity and collegiality.
Our mission is to challenge you intellectually, set you on a path to a fulfilling career, and make sure that you have every resource you will need to succeed. Our expansive curriculum provides you with hundreds of courses in which to learn the analytical reasoning and blackletter law that will enable you to think like a lawyer; wide-ranging experiential opportunities — including 24 clinical programs, externships and study abroad programs — that will provide you with the practical skills and real-world experience you need to enter the workforce practice-ready; and a broad toolkit of extralegal perspectives — from history to psychology to jurisprudence to economics — that will enable you to see the bigger picture of the law, to think not only about what the law can do, but what it should do.
The professors who teach our courses are among the finest anywhere. They are deeply committed to our students' success and to an intellectual environment that is simultaneously challenging and supportive. Their doors are open, they hold classes in their homes, and they value frequent and meaningful dialogue with our students. They are also leading scholars who define and redefine fields as disparate as policing, business law, privacy, race and law, international law and intellectual property. Our professors are as varied in experience, outlook and background as their scholarship is pioneering.
We are dedicated to making this remarkable education accessible to students from all backgrounds, and who intend to pursue all types of legal careers. In recent years, we have increased both overall scholarship funding and the proportion of students who receive scholarships, with roughly two-thirds of current students receiving support. As part of our commitment to enabling our students to pursue careers in public service, summer funding and postgraduate loan forgiveness are guaranteed for eligible students in public service positions.
Our goal for you as a UVA Law student is not only that you will excel and succeed, but thrive as whole people. We aim to foster a deeply rooted sense of belonging in all of our students, both to enable that thriving and to make possible robust dialogue across our differences. You come to Virginia with a wide set of interests, backgrounds and ambitions. But you all come ready to be transformed, and you will be, both intellectually and personally. You will gain a broad intellectual outlook, an enhanced ability to analyze and persuade, a more developed sense of character and integrity, and the ability to work collaboratively with colleagues and clients — all of which will prepare you for careers of distinction and meaning. You will make great friends during your three years here, and you and your colleagues will emerge as great lawyers, great leaders and great public servants. You will leave law school with both a twinge of sorrow for the end of three wonderful years and a sense of great anticipation for the path that lies ahead.


Setting up a new conservation group for the IUCN, advising the President and missing the morning teas at CEED.
I arrived at CEED as a Professional Fulbright Scholar in Climate Change and Clean Energy in 2013-2014. I chose CEED because of its pool of talented scholars who were making advances in decision support science using a range of qualitative and quantitative approaches.
The CEED morning tea gatherings at the UQ node helped to foster a truly collaborative community. In general, we don't have these social breaks in the US, and I miss them now that I have returned home. I think tea is a small thing, but it truly helps cement teams.
The International Landscape Conservation Cooperative Council of the US Fish and Wildlife Service which oversees 22 large-scale federal conservation collaborative operations from the Pacific Islands to the Caribbean Sea, from the Arctic realms to the tropical forests of Puerto Rico.
The National Invasive Species Council that advises the Secretary of Interior on the latest threats and potential solutions to address the nation's invasive species problems.
In 2016, I was asked by the IUCN World Commission on Protected Areas to chair a new technical group to advance ecological connectivity conservation – the Connectivity Conservation Specialist Group. We are developing a new conservation designation to conserve a critical ecological process – connectivity – through Areas of Connectivity Conservation. We hope that as the world develops more ambitious targets for conservation, connectivity will figure more prominently.
Being exposed to the CEED cohort of innovators proved to be an inspiration for my work helping policymakers and conservation practitioners make better decisions. I still stay in touch with my colleagues and collaborators at CEED who continue to help and inspire me.


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Home Politics Scott Morrison announces Climate Solutions Fund to reduce emissions
Scott Morrison announces Climate Solutions Fund to reduce emissions
Prime Minister, Scott Morrison. Photo: Australian Embassy Jakarta, Wikimedia Commons
Prime Minister Scott Morrison is announcing a new climate change election policy that will see $2 billion allocated towards projects to reduce Australian emissions.
The policy is an extension of The Emissions Reduction Fund introduced by former prime minister Tony Abbott and is designed to ensure Australia meets its 2030 emission reduction target as set out in The Paris Agreement.
The program is designed to run for 10 years and supply money to local governments, farmers and businesses in order to fund projects like replacing refrigeration and lighting systems, revegetating land plus reducing the risk of bushfires.
He said that "We acknowledge and accept the challenge of addressing climate change, but we do so with cool heads, not just impassioned hearts,"
In spite of government projections creating doubt about Australia's ability to meet its 2030 target, the Prime Minister stressed otherwise.
Mr Morrison said that the Emission Reduction Fund had "been an incredibly successful program", citing that it had supplied 193 million tonnes in reductions and that it was "always our intention" to expand the policy "to ensure we meet our 2030 targets, which we will."
Some experts have expressed concern about whether or not the 2030 goal will be reached based on the counting of credits leftover from the prior Kyoto targets.
The Coalition's National Energy Guarantee was dropped shortly after Scott Morrison replaced Malcolm Turnbull as Prime Minister in a leadership spill.
Mark Butler, the Shadow Climate Change Minister, said that if Labor won the election it would scrap such a policy. He said that the Coalition was going to make taxpayers "foot the bill for something that big polluters should be doing".
Mr Butler questioned the Government's sincerity in suddenly announcing a climate change policy so close to an election, saying that "the question really here is whether people would trust a Government that has spent five years trashing climate policy" and "led by a Prime Minister who brought a lump of coal into the Parliament,"
Labor has announced its own reduction target of 45% by 2030. Mr Morrsion said that Labor's policy was "reckless" and that it would ruin Australia's economy.
As our Managing Content Editor, James works hard to ensure that our readership gets a variety of engaging and accurate content every day. No matter what the subject matter is, he is eager to tackle the issue head on and give readers the information they desire. Having graduated with a Bachelor of Communications, James is well-equipped to cover today's most relevant topics. On Best in Australia, James writes about a wide variety of topics, but is primarily responsible for authoring our politics section.
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Limbus Press Publishing House was established in 1990 and therefore is one of the oldest privately owned publishing houses in post-Soviet Russia. From the very beginning, Limbus has been involved with high quality literature – both Russian and foreign. We have been honoured to introduce such celebrated Russian authors as Sergey Dovlatov, Mikhail Kononov, Irina Denezhkina, Garros-Evdokimov and Andrey Rubanov, among others, to a wide public.
At the same time, Limbus is actively publishing prominent foreign authors in Russian. By now we are proud to have presented Salman Rushdie, Philip Roth, Henry Miller, Iris Murdoch, Sebastien Japrisot, Alberto Moravia, Catherine Millet, Agota Kristof and many others to our Russian readers.
Since the mid-90s we have also been performing as a literary agency. Limbus is glad to represent the World rights for a number of Russian-language pens published in other Russian houses. Among them are Pavel Krusanov, Viktor Toporov, Alexander Prokhanov, Valentin Tublin, Dmitry Savitsky and others. Over the course of the last twenty years Limbus has positioned itself on the international rights market. We take pride in our accomplishments in that field and strive to deliver our very best to both our colleagues and readers all over the globe.
Limbus Press is proud to collaborate on a long-term and friendly basis with such distinguished and world acknowledged parties of the publishing business as The Wylie Agency (US/UK), Alfred A. Knopf (US), FSG (US), Arcade (US), Harvill (UK), Random House (UK), Chatto & Windows (UK), Hodder (UK), Bloomsberry (UK), Granta (UK), Penguin Books (UK), Aufbau (Germany), Suhrkamp (Germany), Bertelsmann Verlag (Germany), Fischer (Germany), DVA (Germany), Gallimard (France), Denoel (France), Editions du Seuil (France), Contact (Netherlands), Meulenhoff (Netherlands), Prometheus (Netherlands), Rosinante (Denmark), Adelphi (Italy), Mondadori (Italy), Bompiani (Italy), Sperling and Kupfer (Italy), Minimum Fax (Italy), Carmen Balcells (Spain), Ediciones B (Spain) and many others.
Here at Limbus Press we are particularly grateful to our subagents. In Great Britain our exclusive agent is Anna Benn, in Germany we work alongside and with great assistance of Christina Links and Galina Dursthoff, in France – with Anastasia Lester, in Spain – with the Transmit Agency , in Greece – with Iris Agency. From the bottom of our heart we thank them all.
So far, Limbus Press has sold translation rights on the following titles:
Mikhail Zoschenko: Selected Works
Penguin Books (UK) Angel Books (UK) Yilin (China) Persona Verlag (Germany) Quaderns Crema (Spain) Europa (Slovakia)
Mikhail Kononov: Naked Pioneer Girl
Serpent's Tail (UK/US) Antje Kunstmann Verlag (Germany) Stock (France) Meridiano Zero (Italy) Arbeiderspers (Holland) W.A.B. (Poland) Bonguard (Czech Republic) Uniscorp(Bulgary) Laguna (Serbia)
Garros-Evdokimov: [Headcrusher]
Chatto & Windus (UK) Hanser (Germany) Mondadori (Italy) Grijalbo (Spain) Sony (Japan) Laguna (Serbia)
Irina Denezhkina: Give Me! (Song for Lovers)
Chatto & Windus (UK) Simon & Schuster (USA) S. Fischer (Germany) Giulio Einaudi Editore (Italy) Editions de l'Olivier (France) Vassallucci (Holland) Forum (Sweden) WSOY (Finland) Swiat Ksiazki Publishing House (Poland) Presvika (Lithuania) Gabo (Hungary) Ikar (Slovakia) Isupov dtv (Germany) Uniscorp (Bulgary) Curtea Veche (Romania) Pegasus (Estonia)
Dmitri Bakin: Reasons for Living (Strana Proiskhozhdenia)
Granta (UK) VW/Luchterhand (Germany) – expired Gallimard (France) Minimum Fax (Italy) Vassallucci (Holland)
Anna Starobinets: The Awkward Age
Isbn (Italy) Prosynski (Poland) Colibri (Bulgria) FILM RIGHTS: Art Pictures (Russia)
Yuri Mamleyev: Wandering Time
Suhrkamp Verlag (Germany) Le Serpent a plumes (France)
Andrey Rubanov: Do Time – Get Time
Old Street Publishing (World English Rights) Colibri (Bulgaria) FILM RIGHTS – Phenomen Films (Russia)
Victor Astafiev: Merry Soldier
Meulenhoff (Holland)
Sergey Nosov: The Rooks Have Gone
Voland (Italy)
Alan Cherchessov: Wreath for the Grave of the Wind
DVA (Germany)
Requiem for the Living
S. Fischer (Germany)
Grigory Ryazhsky: Vanyukhin's Kids
Vassallucci (Holland)
Ergali Ger: Electric Liza
Fanucci (Italy) MIOB Publishing (Croatia)
Vladislav Otroshenko: An Appendix to the Photoalbum
Fanucci (Italy)
Danzig Baldaev: Criminal Tattoo Encyclopedia
Fanucci (Italy) – extracts Steidl Verlag (Germany) – world rights
Vladimir Berezin: The Witness
Chinese Youth (China)
Leningrad in the 70s. Optimism of Memory
Editions du Rocher (France) – selected photographs


Russia's hopes of rebuilding in time for the World Cup suffered another blow on Sunday as repeated defensive lapses allowed Costa Rica to claim a win.
90'+5' Second Half ends, Russia 3, Costa Rica 4.
90'+4' Corner, Russia. Conceded by José Salvatierra.
90'+3' Corner, Russia. Conceded by Kendall Waston.


But still, we haven't experience that kind of Summer that we thought we will have this year. More on heavy rains, gloomy skies and even more rain. It started to get chilly at night time meaning, Fall is fast approaching. Then after that we'll have 6 months of winter, cold days and night. I'm not sure if I'll be able to handle this cold while at work and while having this pregnancy. Who knows might be exciting. But we will see.


Checking Crusher Gap -Measuring Crusher Chamber SpacingMar 17, 2017 . To check the gap on a crusher a procedure called LEADING is done. A lump of lead, whose dimensions are greater than the gap of the crusher, is lowered through the crusher while the crusher is running. The lead is pulled back through the crusher very slowly to be sure that it is flattened as far as it can be.cone crusher checks,Engineer's Safety Inspection - Mobile Cone Crushers - QNJACOnce these checks have been carried out, they will enable the employer / quarry operator to have a more detailed inspection of the equipment documented. SERVICE ENGINEERS SAFETY INSPECTION – CONE CRUSHER. It is important that a machine operator is able to do an "informed" and "knowledgeable check" of.
Tips for caring for your cone crusher - Aggregates ManagerDec 29, 2015 . A well-maintained and properly operated cone crusher can process material for 20 to 25 years without major overhaul or junking. However, this expected life span shrinks when operator inspections are cursory, or bad operating procedures are regularly practiced. All the best practices in the world are of no.cone crusher checks,engineers safety inspection – crushers & screens - SafequarryInformation Sheet 7. March 2012. Mobile Jaw Crushers. Service Engineers Safety Inspections. This Information Sheet has been developed by the Quarries National Joint Advisory Committee (QNJAC) to help quarry operators, contractors, managers and others learn how to make health and safety improvements in the quarry.
wear parts. Excessive wear and mechanical damage must be avoided as downtime and reduced output quality are so costly. Regular checking and maintenance are essential to keep your crusher – and your output – in prime condition. Follow these basic tips to ensure profitable and trouble-free cone crusher operation.
The crusher is which of the following: (check) jaw crusher gyratory crusher (pivoted spindle, fixed spindle, or cone) roll crusher (single roll or double roll) impact crusher (hammermill or impactor). 2.0. Air Pollution Control Equipment: If a control device is used, go to the appropriate checklist for type of control equipment and.
Oct 11, 2012 . It covers the safe operation of the mobile crushing operation and includes guidance on clearing blocked crushers. This guidance cannot cover every risk .. Wherever possible any inspection of the crushing cavity of a jaw crusher should be carried out from below the crusher, not from above. Remember: -.
Weir launches Trio TP cone crusher range Pit & Quarry. Jul 14, 2016 Weir Minerals released its Trio Top Performance (TP) cone crusher range. In addition, the crushers boast advanced lubrication and hydraulic systems. needs, which is why we developed the Trio TP cone crusher range,". Check price.
Cylinder Hydraulic Cone Crusher is a new and efficient crusher researched and designed autonomously on the base of our twenty years' experience in the . Before proposing the optimized configuration of granite HCC cone crusher, Great Wall Company check detailed requirements on stone crusher in crushing plant.
Crushers. The largest wear part for a mobile crushing plant is the crusher itself. On a jaw crusher, wear parts include the jaw die and side wear liners. In an impact crusher, wear parts are more extensive, and include blow bars, hood liners, apron liners and apron tips. A daily visual inspection of the crusher is recommended.
How to Use the Cone Crusher Effectively? | Cathy Bai | Pulse .
Oct 10, 2017 . 7. Check whether ammeter pointer is in the zero position and the dust collector is good. The correct operation is the security protection of equipment safe running. Machinery specializes in the production of cone crusher. With the excellent quality and reasonable price, cone crusher of .
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Home > About Jamia > Centres > Centre for Spanish and Latin American Studies > Programmes/Courses > Regular/Part Time > Ph.D.(European Studies /Latin American Studies)
Centre for Spanish and Latin American Studies
Ph.D.(European Studies /Latin American Studies)
No. of Seats: 10
Programme/Course Fee: Please refer Prospectus of the current Session
Programme/Course overview
Examination Rules:Ordinance 15 (Academic)
Course Structure & Syllabi
CENTRE FOR EUROPEAN AND LATIN AMERICAN STUDIES
M.Phil. Programme in Latin American Studies/European Studies 2016
The Centre for European and Latin American Studies offers since the academic session 2011-2012, an M.Phil programme in two fields: European Studies and Latin American Studies.
Intake of Students
10 candidates for the two streams.
The programme in European Studies deals with contemporary and historical features of European culture in its various national and social contexts. It provides the opportunity to make an in-depth study of specific aspects of European societies, their media, literature and culture, and to write a short thesis on a topic of personal interest. The major areas covered by the M.Phil. in European Studies are: French and Francophone, Italian, Portuguese, Spanish, and Russian Studies.
The programme in Latin American Studies is designed to enable students to work on contemporary themes in order to develop a body of research in India on issues relating to Latin America and the Caribbean. It builds on a foundation of language, history, and cultural studies to further the understanding of the societies and cultures of this region and its interaction with India.
Language competence is an important component of the European Studies as well as the Latin American Studies programme in order to enable researchers to use original sources in one or more languages other than English or their L1. Students are expected to acquire, in the course of this programme, a working knowledge of one or more of the following languages on offer: French, Italian, Portuguese, Russian, or Spanish, depending on their area of study. Students will have the choice to write their dissertation in English or in any one of these languages if they have the competence.
The faculty members at the Centre are able to supervise students with a background in humanities and social sciences and in the broad area of literary and cultural studies. However, given the interdisciplinary thrust of our programme, we encourage students with diverse research interests.
1. The M. Phil programme has both course work and dissertation. The course work will be completed in first two consecutive semesters followed by dissertation within the maximum permissible period of two semesters.
2. Semester I will have 4 courses out of which the course on Research Methodology and two modules of the course on Empires and Colonies will be common to both the streams. The Language Proficiency Course will be allotted as per the option and level of prior knowledge of the language concerned (beginners, intermediate, advanced). Semester II will have three taught courses and one seminar course.
Details of the course content and structure are as follows:
I. Research Methodology
II. Modern Latin American Intellectual Thought
III. Empires and Colonies
IV. Language Proficiency Course
V. Contemporary Latin America
VI. Latin America: Major Intellectual Currents
VII. Seminar Course
VIII. Language Proficiency Course
II. Modern European Intellectual Thought
V. Contemporary European History
VI. European Union
VII. Seminar Paper
Content Awaited
` Content Awaited
Other Programmes/Courses
Regular/Part Time
B.A. (Hons) in Spanish and Latin American Studies
Advanced Diploma in Spanish (part-time)
Advanced Diploma in Portuguese (part-time)
Advanced Diploma in Russian (part-time)
Advanced Diploma in Italian (part-time)
Diploma in Spanish (part-time)
Diploma in Portuguese (part-time)
Diploma in Russian (part-time)
Diploma in Italian (part-time)
Certificate in Spanish (part-time)
Certificate in Portuguese (part-time)
Certificate in Russian (part-time)
Certificate in Italian (part-time)


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