Great shots Joe. I love the one with the red barn in it. I had to laugh at that mailbox. Now that is so sad when we have to protect our mailboxes from the bashes.
Great shots, great quotes...I love how you frame your pictures.
Be back soon to see what I missed... we get lots of picture ops on roadtrips but never have time to post or read...now it's time to catch up.
Some great shots, there!! My favourite is the one with the barn, and the cotton candy clouds!!
I love the quotations, too!
Gorgeous skies and superb captures for the day, Joe! I love the birds and the red barn along with the wonderful clouds! Thanks for sharing the beauty! Hope you have a great weekend!
Marvelous skies. And beautiful captures! Hope you have a great weekend!
Spectacular sky photos. I love the quotes too!
Great series of images!! Boom & Gary of the Vermilon River, Canada.
Great sky captures and I loved the quotes. Thanks for sharing, happy skywatching!
Truly wonderful Skywatch photos! Love your views and I loved the comment about us all living under the same sky but not all having the same horizon! Loved it!
Hope all is well with you and yours...I'm doing great after my surgery! Thanks for your comments!
Beautiful shots. Makes me want to get up and clean my computer screen! Hope all is well with you.


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Seth Godin writes about the post-industrial revolution, the way ideas spread, marketing, quitting, leadership and most of all, changing everything. In addition to his writing and speaking, Seth founded both Yoyodyne and Squidoo. His blog (which you can find by typing "seth" into Google) is one of the most popular in the world. He was recently inducted into the Direct Marketing Hall of Fame, one of three chosen for this honor in 2013.
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text:
Q: Getting 30 minute slots between time I have a Start Datetime and a End Datetime.
Eg: 10:00 am - 12:00 pm

I have to create 4 slots between the, each ranging for 30 minutes.
Eg:
10:00 am-10:30 am
10:30 am-11:00 am
11:00 am-11:30 am
11:30 am-12:00 pm

This 30 minutes can vary and is not a constant. I have tried a few things but they don't seem to work. Can someone please help. Thank you.
I have tried this but i only get the slot difference not the  slotfrom-slotto
with cte as
(
select   convert(datetime,CONVERT(VARCHAR(15), getdate(), 112)) as DATE
union all
select   c.DATE+'00:20:00' as QuarterTime
from cte c
where c.date<dateadd(minute,1422,convert(datetime,CONVERT(VARCHAR(15), getdate(), 112)))
)
select * from cte

A: My idea is not far from yours.
DECLARE @dtStart AS DATETIME ='20151028 10:00:00'
        ,@dtEnd AS DATETIME = '20151028 12:00:00'
        ,@iInterval AS INT = 30;  --30 min interval

WITH aCTE
AS(
    SELECT
        @dtStart AS StartDateTime,
        DATEADD(MINUTE,@iInterval,@dtStart) AS EndDateTime
    UNION ALL
    SELECT
        DATEADD(MINUTE,@iInterval,StartDateTime),
        DATEADD(MINUTE,@iInterval,EndDateTime)
    FROM aCTE
    WHERE
        DATEADD(MINUTE,@iInterval,EndDateTime) <= @dtEnd
)

SELECT
    -- 10:00:00 AM
    CONVERT(VARCHAR(10),StartDateTime,108)
    + ' ' + RIGHT(CONVERT(VARCHAR(30), StartDateTime, 9), 2)
    + ' - ' +
    -- 10:30:00 AM
    CONVERT(VARCHAR(10),EndDateTime,108)
    + ' ' + RIGHT(CONVERT(VARCHAR(30), EndDateTime, 9), 2) AS Result
FROM aCTE

And the output is:
Result
10:00:00 AM - 10:30:00 AM
10:30:00 AM - 11:00:00 AM
11:00:00 AM - 11:30:00 AM
11:30:00 AM - 12:00:00 PM

A: This works:

*

*without recursive CTE

*with any value in minute for @slot

*for up to 100 slots but it can be easily extended to 1.000, 10.000 ...

*the CTE only create a range of number from 0 to 99
Declare @start time = '10:00am';
Declare @end time = '12:00pm';
Declare @slot int = 30;

With inc(n) as (
    Select TOP(DATEDIFF(minute, @start, @end)/@slot) ROW_NUMBER() over(order by (select 1))-1
    From (
        Select 1 From (values(1), (1), (1), (1), (1), (1), (1), (1), (1), (1)) as x1(n) -- 0-9
        Cross Join (values(1), (1), (1), (1), (1), (1), (1), (1), (1), (1)) as x2(n) -- 0-99
        --Cross Join (values(1), (1), (1), (1), (1), (1), (1), (1), (1), (1)) as x3(n) -- 0-999
    ) as x(n)
)
Select [start] = DATEADD(minute, @slot*n, @start)
    , [end] = DATEADD(minute, @slot*(n+1), @start)
    , [slots] = CONVERT(varchar(10), DATEADD(minute, @slot*n, @start), 100)
    + ' - ' + CONVERT(varchar(10), DATEADD(minute, @slot*(n+1), @start), 100)
 From inc;

Output:
    start               end                 slots
    10:00:00.0000000    10:30:00.0000000    10:00AM - 10:30AM
    10:30:00.0000000    11:00:00.0000000    10:30AM - 11:00AM
    11:00:00.0000000    11:30:00.0000000    11:00AM - 11:30AM
    11:30:00.0000000    12:00:00.0000000    11:30AM - 12:00PM

redpajama_set_name: RedPajamaStackExchange


text:
Cephalaria gazipashensis är en tvåhjärtbladig växtart. Cephalaria gazipashensis ingår i släktet jätteväddar, och familjen Dipsacaceae.

Underarter

Arten delas in i följande underarter:

 C. g. gazipashensis
 C. g. pilifera

Källor

Externa länkar

Jätteväddar
gazipashensis

redpajama_set_name: RedPajamaWikipedia


text:
Q: Ncurses: Fails to write in previous window after next window is created I have created two Ncurses windows: Window 1 and Window 2.  I am able to write to Window 1 before Window 2 is called; however, after I call Window 2, I am unable to write to Window 1 using mvwprinw(window1, "Bla").  To illustrate:
...

initscr();
Window* window1 = newwin(10,10,0,0);
mvwprinw(window1, "i am writing to window");    // this works
wrefresh(window1);

Window* window2 = newwin(10,10, 12, 12);
mvwprintw(window2, "whee");             //works too
wrefresh(window2);

mvwprintw(window1, 0,0,"writing new sentence");
// this does not show on the screen
wrefresh(window1);

...

Why is that so?

A: SOLVED:
If anyone encounters a similar problem, be aware of coding windows within multiple C++ classes.
A listener class was built within one of the classes.  However, it called an infinite loop (not an optimal way to design code, but sufficient for the program).
Hence, the code was stuck in the infinite loop, causing the next line of code to remain unexecuted.
SOLUTION: Use multithreading libs if necesary.


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Just as the growing heat treatment industry, manufacturers such as automotive manufacturing, tractors and engineering machinery, machine tool manufacturing, bearing industry, railway transport, drilling rigs, metallurgical machinery, textile machinery, Construction materials and other industries have adopted quenched and tempered heat treatment.
With the development of China's industry, the improvement of the product quality requirements, the continuous improvement of the parts processing industry and the new products, the strict requirements of energy saving and consumption reduction and environmental protection have been realized, and the flame heating has been gradually developed to the electric heating direction. The new heating mode _ induction heating is accepted and accepted by most enterprises. The manufacturers that have used such equipment and put into production have already covered all the provinces, cities and towns of the country, and even the products are sold to the overseas countries.


text:
Las Meninas
Posted by Kenney Mencher at 11:41 PM
Some of My Latest Drawings of Beautiful Men
Santa Cruz Art League: All Mixed Up-Mixed Media Exhibit, Deadline May18
All Mixed Up-Mixed Media Exhibit, Deadline May18
A National Art Exhibit
"Do something, do something to that, and then do something to that." Jasper Johns.
Mixed Media can allow for great versatility in the creation of a work of art. Common media combinations include oil paint, graphite, textiles, or sculpture. However,mixed media pieces can include almost anything. Look around and see what you have -- then, do something to it!
Reception: July 19, 2014, 3-5pm
Juror: Andrea Borsuk
Artist / Teacher / Curator
The Juror will grant $1,000 in awards
Deadline: May 18 (11:59pm) 2014
Each artist may submit up to 3 digital/jpeg entries.
Go to : onlinejuriedshows.com
Download Prospectus & Entry
Santa Cruz Art League
(831) 426-5787 / www.scal.org
Hours: Wed-Sat 12-5pm
Sun 12-4pm
1st Friday: 12-9pm
Beautiful Sexy Figure Painting at Lyons Wier Gallery: AARON NAGEL Fathoms
Exhibitions Artists About News Follow
AARON NAGEL "Fathoms" May 9 - June 7, 2014
The Accomplice, The Abettor
2014, Oil on canvas, 64 x 38 in / 162.6 x 96.5 cm
2014, Oil on canvas, 48 x 36 in / 122 x 91 cm
Fathoms
2014, Oil on canvas, 20 x 16 in / 50.8 x 40.6 cm
AARON NAGEL
May 9 - June 7, 2014
6 - 9pm
"I happened upon Aaron Nagel's artwork while surfing the art-world blogosphere a few years back. His images had all the makings of a great painting--wonderfully composed, impeccably painted, and slightly ominous. The work was swiftly etched in my brain and I had to find who this painter was. Through due diligence, I learned that Nagel is an accomplished musician, graphic designer and self-taught artist. Being self-taught added extra intrigue for me, as his painting prowess is simply astonishing. I continued to watch Nagel's artistic growth and eventually added one of his pieces to our personal collection. Living with the work allowed me to truly understand that Nagel's painting ability shares equal footing with his graphic design interest and skills, and that the work somehow has its own distinct yet indescribable timbre.
"Fathoms" evidences Nagel's enduring admiration for classical oil painting both in technique and composition. This exhibition builds upon his last body of work by advancing his understanding and use of light and shadow. Working with live models and photography, Nagel seemingly sculpts the figure with brushwork and shadow play. His renderings recall a litany of historical and contemporary painters that work with the female nude. However Nagel transcends many of his contemporaries and comparisons in the way he encapsulates the spirit of his models with a blend of self-confidence, inner-peace and personal strength. There is a palpable sense of assuredness whereby one is immediately captivated by the conceptual context of the subjects' body language and eye contact (or lack of).
Another engaging element in Nagel's work is his use of typography as a compositional and aesthetic element. "The Accomplice Abettor MMXIV," (seen above) is not only the name of the painting but also a formal element that clearly pays homage to historical artwork as well as to the artist's skill in graphic design. I applaud these efforts as I have always contended that if the title of the piece is an integral part of the work, it should be a part its composition." - Michael Lyons Wier
Born in 1980 in San Francisco, CA, Aaron Nagel began drawing as a child and gradually made his way to painting. Upon discovering oils in his early twenties, he became enamored with the medium and has been obsessed with it ever since. He has exhibited in solo and group exhibitions in San Francisco, Los Angeles, Portland (OR), Philadelphia, Tampa, Miami, and New York and has shown at international art fairs such as Art Miami and Scope Art Fair. Nagel was a Semi-Finalist for the Outwin Boochever Portrait Competition (2009) at the Smithsonian National Portrait Gallery, Washington, DC. Aaron Nagel lives and works in Los Angeles, CA. This is his second solo show with Lyons Wier Gallery.
Lyons Wier Gallery
Tel: +1 212 242 6220 / gallery@lyonswiergallery.com
www.lyonswiergallery.com
Gallery hours: Tues - Sat, 11am - 6pm
Posted by Kenney Mencher at 10:18 AM
Art History Everyone Should Know: Expressionist Movements, Klimt, Munch, and Kirchner
Get all the lectures in order with the readings here:
https://www.udemy.com/art-history-survey-1300-to-contemporary/
Feel free to participate in the Survey Art History Facebook Group:
https://www.facebook.com/groups/SurveyArtHistory/
Expressionistic Movements: Life, Death and Anxiety at the turn of the Century
Gustav Klimt, Death and Life, 1916
Oil on canvas 178 x 198 cm
Private collection, Vienna
Stokstad calls him Art Nouveau
or Sezession-stil (Germany)
Form: Although painted in oil on canvas, the paint is applied in a rather thin often washy manner which exhibits little or no texture. The composition is asymmetrical and the figure of the robed figure with the skull is placed in an empty field that stands in stark comparison to the group of figures on the right side. The figures are painted in a strange combination of illusionism and flat unrealistic anatomy. There are passages of modeled value which are also in a formal tension against the flat graphic designs of the patterns on the figures' clothes.
The designs on the clothes vary in color and form from harsh angular crosslike forms, geometric shapes such as triangles and squares to rounded curvilinear forms.
Iconography: The composition is designed to create a tension between the figure which represents death at left and wields either a club or some sort scepter against the massed interwoven bodies of the sleeping unaware figures on the right.
The types vary from old, and young woman, to mothers and young well muscled male youths. The patterning of the clothing is also meant as a type of clue as to the roles each figure has. Death is wearing a cruciform pattern which could be a semi-sarcastic or caustic statement about religion and salvation. Each of the living figures seems to be sporting an individualistic pattern whose hues may be in accordance with there personalities as is the skin tone of the male and the pale females.
Klimt's work in general and this in specific exhibits a rather "expressionistic" quality. According to the Brittanica, "Expressionism" is an,
artistic style in which the artist seeks to depict not objective reality but rather the subjective emotions and responses that objects and events arouse in him. He accomplishes his aim through distortion, exaggeration, primitivism, and fantasy and through the vivid, jarring, violent, or dynamic application of formal elements. In a broader sense Expressionism is one of the main currents of art in the later 19th and the 20th centuries, and its qualities of highly subjective, personal, spontaneous self-expression are typical of a wide range of modern artists and art movements. Expressionism can also be seen as a permanent tendency in Germanic and Nordic art from at least the European Middle Ages, particularly in times of social change or spiritual crisis, and in this sense it forms the converse of the rationalist and classicizing tendencies of Italy and later of France. More specifically, Expressionism as a distinct style or movement refers to a number of German artists, as well as Austrian, French, and Russian ones, who became active in the years before World War I and remained so throughout much of the interwar period.
The roots of the German Expressionist school lay in the works of Vincent Van Gogh, Edvard Munch, and James Ensor, each of whom in the period 1885-1900 evolved a highly personal painting style. These artists used the expressive possibilities of colour and line to explore dramatic and emotion-laden themes, to convey the qualities of fear, horror, and the grotesque, or simply to celebrate nature with hallucinatory intensity. They broke away from the literal representation of nature in order to express more subjective outlooks or states of mind.
Context: According the Brittanica,
Gustave Klimt, b. July 14, 1862, Vienna, Austria d. Feb. 6, 1918, Vienna
Austrian painter and founder of the school of painting known as the Vienna Sezession. After studying at the Vienna School of Decorative Arts, Klimt in 1883 opened an independent studio specializing in the execution of mural paintings. His early work was typical of late 19th-century academic painting, as can be seen in his murals for the Vienna Burgtheater (1888) and on the staircase of the Kunsthistorisches Museum.
In 1897 Klimt's mature style emerged, and he founded the Vienna Sezession, a group of painters who revolted against academic art in favour of a highly decorative style similar to Art Nouveau. Soon thereafter he painted three allegorical murals for the ceiling of the University of Vienna auditorium that were violently criticized; the erotic symbolism and pessimism of these works created such a scandal that the murals were rejected. His later murals, the "Beethoven Frieze" (1902; Österreichische Gallery, Vienna) and the murals (1909-11) in the dining room of the Stoclet House, Brussels, are characterized by precisely linear drawing and the bold and arbitrary use of flat, decorative patterns of colour and gold leaf. Klimt's most successful works include "The Kiss" (1908; Österreichische Gallery) and a series of portraits he did of fashionable Viennese matrons, such as "Frau Fritza Riedler" (1906; Österreichische Gallery) and "Frau Adele Bloch-Bauer" (1907; Österreichische Gallery). In these works he treats the human figure without shadow and heightens the lush sensuality of skin by surrounding it with areas of flat, highly ornamental, and brilliantly composed areas of decoration.
Gustav Klimt, The Kiss, 1907-8
oil on canvas, 5'10"x6'
Vienna National Museum
Secessionist Form: This image shares in many of the same qualities as Death and Life. Although painted in oil on canvas, the paint is applied in a rather thin often washy manner which exhibits little or no texture. The composition is rather central and static but the filed of flowers in the foreground and the bending pose of the figures grants it a rather asymmetrical quality. Again here the figures are painted in a strange combination of illusionism and flat unrealistic anatomy. There are passages of modeled value which are also in a formal tension against the flat graphic designs of the patterns on the figures' clothes.
The designs on the clothes for the male figure are angular boxlike forms as opposed to the rounded curvilinear forms of the female figure's clothes. The same contrasts appear in the skin tones, the female is pale whereas the male is dark. This seems very similar to the depictions of male and female figures in Egyptian Art as well as in the murals at Knossos.
Iconography: The poses of the figures can be read immediately as a kiss, however, many of my students have noticed that the female's head seems bent back in an uncomfortable angle and to some she seems to be being accosted rather than kissed. Other students have read this as a passionate willing liaison.
The pose, skin tone and patterns on the fabrics seem to conform with stereo types concerning male and female roles. The pose of the male is more aggressive while the female's pose is at the very least the receptor of his advances. Traditionally in many cultures males are depicted as darker than females. Henry Sayre, in his text book A World of Art comments that males' bodies are often depicted as angular and square while the female form is often depicted with more curved line. The patterns of the figure's garments seem conform to Sayre's and societies' views that woman are softer and rounder while the male body is more angular.
Context: An interesting element in these works, and my own theory, is that Klimt was heavily influenced by the developments made in the fabric/weaving and printmaking industries. It is possible to make the connection that thanks to industrialization, textile design and the creation of brightly colored and printed fabrics may have been a primary inspiration for Klimt.
Edvard Munch The Dance of Life 1899 Form: Since this painting is both representational and also rather expressionist in it's rendering many of the forms are hard to decipher. The symmetrical composition is arranged in three bands. In the foreground of the image, rendered in thin washy oil paint are several anatomically inaccurate figures. A smiling female figure clothed in a pale patterned dress stands near a flower which may be growing out of the lawn on which they stand. This figure is balanced in the right of the composition by a scowling female figure, dressed in a dark gown with clasped hands. Both figures bracket a male and female figure who dance between them. These females eye sockets appear to be dark hollows. All the foreground figures' forms are delineated by the use of radiating contour lines. There is a small indication of light and shadow in the rendering of the facial features but the drapery does not demonstrate and tonal rendering. Similar figures dance on the lawn in the midground. Although it is rather hard to make out, in the background is an image of the sea with the moon reflected in it.
Iconography: The almost childlike drawing and rendering of forms in Munch's work is almost equally reflected by his rather unsophisticated iconography. As the title implies, this painting renders the artist's anxieties concerning the transient nature of life. For Munch, (who many of his family was sick and or had died) this image represent the scary nature of life as a waltz that is almost out of control. For Munch (who probably needed prozac or paxil) we dance through life in scary nocturnal environment perched between life and death.
Context: A colleague once related how that in many of the Northern countries in Europe, that often summer is so short that when the weather is warm enough great parties with dancing and music take place out of doors at all hours of the day and night to enjoy the weather. It is possible that Munch is using such events as a point of departure for his imagery.
Edvard Munch The Scream 1893 According to the Brittanica,
Edvrad Munch b. Dec. 12, 1863, Löten, Nor.d. Jan. 23, 1944, Ekely, near Oslo
Norwegian painter and printmaker whose intensely evocative treatment of psychological themes greatly influenced German Expressionism in the early 20th century. His painting "The Scream" (1893; see photograph "The Scream," tempera and casein on cardboard by Edvard Munch, 1893; in the Nasjonalgalleriet, Oslo...) can be seen as a symbol of modern man's spiritual anguish.
Early years.
Munch was born into a middle-class family that was plagued with ill health. His mother died when he was 5, his eldest sister when he was 14, both of tuberculosis--the latter event being recalled in his first masterpiece, "The Sick Child" (1885-86). Munch's father and brother also died when he was still young, while another sister developed mental illness. "Illness, insanity and death," as he said, "were the black angels that kept watch over my cradle and accompanied me all my life."
Munch showed a flair for drawing at an early age but received little formal training. An important factor in his artistic development was the Christiania Bohème, a circle of writers and artists in Christiania, as Oslo was then called. Its members were characterized by a belief in free love and a general opposition to bourgeois narrow-mindedness. One of the older painters in the circle, Christian Krohg, gave Munch both instruction and encouragement. But Munch soon outgrew the prevailing naturalist aesthetic in Christiania, partly as a result of his assimilation of French Impressionism after a trip to Paris in 1889 and his contact with the work of the Postimpressionist painters Paul Gauguin and Henri de Toulouse-Lautrec from about 1890.
Munch, The Vampire 1895
Munch Madonna 1902 Artistic maturity.
Munch's own deeply original style crystallized in about 1892. The flowing, tortuous use of line in his new paintings was similar to that of contemporary Art Nouveau, but Munch used line not as decoration but as a vehicle for profound psychological revelation. The outraged incomprehension of Norwegian critics was echoed by their counterparts in Berlin when Munch exhibited a large number of his paintings there in 1892 at the invitation of the Union of Berlin Artists. The violent emotionalism and unconventional imagery of his paintings created a bitter controversy. The scandal, however, helped make his name known throughout Germany, from where his reputation spread internationally. Munch lived mainly in Berlin in 1892-95 and then in Paris in 1896-97, and he continued to move around extensively until he settled in Norway in 1910. Paintings of love and death.
At the heart of Munch's achievement is his series of paintings on love and death. Its original nucleus was formed by six pictures exhibited in 1893, and the series had grown to 22 works by the time it was first exhibited under the title "Frieze of Life" at the Berlin Secession in 1902. Munch constantly rearranged these paintings, and if one had to be sold, he would make another version of it. Thus in many cases there are several painted versions, in addition to prints based on the same images. Though the Frieze draws deeply on personal experience, its themes are universal: it is not about particular men or women but about man and woman in general, and about the human experience of the great elemental forces of nature. Seen in sequence, an implicit narrative emerges of love's awakening, blossoming, and withering, followed by despair and death.
Love's awakening is shown in "The Voice" (1893), where on a summer night a girl standing among trees is summoned more by an inner voice than by any sounds from a boat on the sea behind her. Compositionally, this is one of several paintings in the Frieze in which the winding horizontal of the coastline is counterpoised with the verticals of trees, figures, or the pillarlike reflection across the sea of sun or moon. Love's blossoming is shown in "The Kiss" (1892), in which the faces of the kissing man and woman melt so completely into each other that neither retains any individual features. An especially powerful image of the surrender, or transcendence, of individuality is "Madonna" (1894-95), which shows a naked woman with her head thrown back in ecstasy, her eyes closed, and a red halo-like shape above her flowing black hair. This may be understood as the moment of conception, but there is more than a hint of death in the woman's beautiful face. In Munch's art, woman is an "other" with whom union is desperately desired, yet feared because it threatens the destruction of the creative ego.
Munch's acute awareness of the suffering caused by love is clear from such titles as "Melancholy" (c. 1892-93), "Jealousy" (1894-95), and "Ashes" (1894). If isolation and loneliness, always present in his work, are especially emphasized in these pictures, they are equally so in "Death in the Sick Room" (1893-95), one of many paintings about death. Here the focus is not on the dying child, who is not even visible, but on the living, each wrapped in their own experience of grief and unable to communicate or offer each other any consolation. The picture's power is heightened by the claustrophobically enclosed space and by the steeply rushing perspective of the floor.
The same type of dramatic perspective is used in "The Scream," or "The Cry" (1893), which is almost certainly Munch's most famous painting (see photograph
"The Scream," tempera and casein on cardboard by Edvard Munch, 1893; in the Nasjonalgalleriet, Oslo...). It depicts a panic-stricken creature, simultaneously corpselike and reminiscent of a sperm or fetus, whose contours are echoed in the swirling lines of the blood-red sky. In this painting anxiety is raised to a cosmic level, ultimately related to that intuition of death and the void which was to be central to Existentialism.
Munch's massive output of graphic art--consisting of etchings, dry point, lithographs, and woodcuts--began in 1894. The principal attraction of printmaking was that it enabled him to communicate his message to a much larger number of people, but it also afforded him exciting opportunities for experimentation. Munch's prints closely resemble his paintings in both style and subject matter. Munch's art had evident affinities with the poetry and drama of his day, and interesting comparisons can be made with the work of the dramatists Henrik Ibsen and August Strindberg, both of whose portraits he painted. Later years.
Munch suffered a nervous breakdown in 1908-09, and afterward his art became more positive and extroverted but hardly ever regained its previous intensity. Among the few exceptions is his haunting "Self-Portrait: The Night Wanderer" (c. 1930), one of a long series of self-portraits he painted throughout his life. An especially important commission, which marked the belated acceptance of his importance in Norway, was for the Oslo University Murals (1909-16), the centrepiece of which was a vast painting of the sun, flanked by allegorical images. Both landscapes and men at work provided subjects for Munch's later paintings. This increased emphasis on the outside world may well have reflected a greater personal maturity, but artistically Munch was no longer in the vanguard. It was principally through his work of the 1890s, in which he gave form to mysterious and dangerous psychic forces, that he made such a crucial contribution to modern art. Munch bequeathed his estate and all the paintings, prints, and drawings in his possession to the city of Oslo, which erected the Munch Museum in 1963. Many of his finest works are in the National Gallery (Nasjonalgalleriet) in Oslo.
Beastly Color! "Les Fauves" (Wild Beasts).
Henri Matisse The Green Stripe 1905
oil and tempera on canvas Form: Oil on canvas, broad strokes of thick impastos, using non- local color, and visible brush strokes. Vivid, saturated colors. "He has used color alone to describe the image. Her oval face is bisected with a slash of green and her coiffure, purpled and top-knotted, juts against a frame of three jostling colors. Her right side repeats the vividness of the intrusive green; on her left, the mauve and orange echo the colors of her dress. This is Matisse's version of the dress, his creative essay in harmony." (http://www.ibiblio.org/wm/paint/auth/matisse/green-stripe/) Iconography: Here the subject matter wasn't so much his wife as it was playing eith color. With this he's moving away from representation and is now playing with the idea of color. "The green stripe down the center of Amélie Matisse's face acts as an artificial shadow line and divides the face in the conventional portraiture style, with a light and a dark side, Matisse divides the face chromatically, with a cool and warm side. The left side of the face seems to echo the green in the picture's right, the corresponding is true for the right side of the face, where the pink responds to the orange on the left. The natural light is translated directly into colors and the highly visible brush strokes add to the sense of artistic drama."
(matisse.hypermart.net)
Context: "Matisse was born the son of a middle-class family, he studied and began to practice law. In 1890, however, while recovering slowly from an attack of appendicitis, he became intrigued by the practice of painting. In 1892, having given up his law career, he went to Paris to study art formally. His first teachers were academically trained and relatively conservative; Matisse's own early style was a conventional form of naturalism, and he made many copies after the old masters. He also studied more contemporary art, especially that of the impressionists, and he began to experiment, earning a reputation as a rebellious member of his studio classes. Matisse's true artistic liberation, in terms of the use of color to render forms and organize spatial planes, came about first through the influence of the French painters Paul Gauguin and Paul Cezanne and the Dutch artist Vincent van Gogh, whose work he studied closely beginning about 1899. Then, in 1903 and 1904, Matisse encountered the pointillist painting of Henri Edmond Cross and Paul Signac. Cross and Signac were experimenting with juxtaposing small strokes (often dots or "points") of pure pigment to create the strongest visual vibration of intense color. Matisse adopted their technique and modified it repeatedly, using broader strokes. By 1905 he had produced some of the boldest color images ever created, including a striking picture of his wife, Green Stripe (Madame Matisse) (1905, Statens Museum for Kunst, Copenhagen). The title refers to a broad stroke of brilliant green that defines Madame Matisse's brow and nose. In the same year Matisse exhibited this and similar paintings along with works by his artist companions, including Andre Derain and Maurice de Vlaminck. Together, the group was dubbed les fauves (literally, "the wild beasts") because of the extremes of emotionalism in which they seemed to have indulged, their use of vivid colors, and their distortion of shapes."
"What I dream of is an art of balance, of purity and serenity devoid of troubling or depressing subject matter - a soothing, calming influence on the mind, rather like a good armchair which provides relaxation from physical fatigue."~Henri Matisse
Matisse Woman with the Hat 1905
oil/canvas 31.75"x 23.5" SF MOMA Form: Oil on canvas, broad strokes of thick impastos, using non- local color, and visible brush strokes. Vivid, saturated colors. He used bright, saturated analogous colors to create the lights and darks, instead of traditional skin tones. The hat itself is wild and abstract looking, perched precariously atop her head. The composition is symmetrical, she looks directly over her shoulder at the viewer from the center of the canvas. "Brisk strokes of colour--blues, greens, and reds--form an energetic, expressive view of the woman. As always in Matisse's Fauve style, his painting is ruled by his intuitive sense of formal order". ( http://www.ibiblio.org/wm/paint/glo/fauvism/) Iconography: "The painting exemplifies the fundamental characteristics of fauvism with its choice of subject (a portrait), energetic paint strokes, and use of unnatural colors. Madame Matisse's dress, skin, and feathered hat — as well as the background — are all portrayed with unrealistic shades of vivid colors applied with active brushwork." (http://www.matisse-picasso.com/artists/matimages.html) The portrait wasn't made for just a portraits sake. It was used as a "pretext for pictorial innovation sometimes leading toward pure abstraction".
Context: "Matisse's portraits are almost always of family, or of friends - people in his circle, painters, painters wives, musicians, actresses, collectors who had become friends. There are very few commissioned portraits. And as to his models, it is only occasionally that he made portraits of them. The family, Mme Matisse and Marguerite in particular, are like hard driven laboratory assistants. During the crucial years 1905/6 his wife is the model for the paintings in which he summarized the Fauve style, The Hat and The Green Stripe. And it is she again who sits through endless sittings for the great portrait that is his major response to cubism. These paintings mark radical turning points. She had supported him through thick and thin. These sittings which stretched her nerves to breaking point, and the results of which brought down storms of ridicule from conservative critics and the ardent support of critics like Appolinaire, were strenuous tests of her support and understanding."
(Full text at http://www.giotto.org/vasari/portraits.html)
Van Gogh Self-Portait September 1889
oil/canvas 65"x54"cm
Saint-Rémy, Paris
Musèe d'Orsay Form: Oil on canvas. Painting done with thick impastos of paint in a very 'painterly' manner, which means that the brush stroke is visible. This piece was done in hues of blues, greens, and red. The composition is symmetrical, and the colors used are non-local. Iconography: "The compulsive, restless alluvia ornament of the background, recalling the work of mental patients, is for some physicians an evidence that the painting was done in a psychotic state. But the self-image of the painter shows a masterly control and power of observation, a mind perfectly capable of integrating the elements of its chosen activity. The background reminds us of the rhythms of The Starry Night, which the portrait resembles also in the dominating bluish tone of the work. The flowing, pulsing forms of the background, schemata of sustained excitement, are not just ornament, although related to the undulant forms of the decorative art of the 1890's; they are unconfined by a fixed rhythm or pattern and are a means of intensity, rather, an overflow of the artist's feelings to his surroundings. Beside the powerful modeling of the head and bust, so compact and weighty, the wall pattern appears a pale, shallow ornament. Yet the same rhythms occur in the figure and even in the head, which are painted in similar close packed, coiling, and wavy lines. As we shift our attention from the man to his surroundings and back again, the analogies are multiplied; the nodal points, or centres, in the background ornament begin to resemble more the eyes and ear and buttons of the figure. In all this turmoil and congested eddying motion, we sense the extraordinary firmness of the painter's hand. The acute contrasts of the reddish beard and the surrounding blues and greens, the probing draughtsmanship, the liveness of the tense features, the perfectly ordered play of breaks, variations, and continuities, the very stable proportioning of the areas of the work - all these point to a superior mind, however disturbed and apprehensive the artist's feelings."
Context: Vincent VanGogh is famous for his self portraits, he painted 24 during a two year stay in paris 1886-88. . He has done many over the years, all chronicling his unstable state of mind and descent into madness and depression. Van Gogh, as a mentally disturbed individual, seemed committed to painting the world the way that he experienced it in his mind, not the way it truly was. His self portraits are often disturbing and bizarre, and share a glimpse into his own distorted self perception. "He sold only one painting during his lifetime (Red Vineyard at Arles; Pushkin Museum, Moscow), and was little known to the art world at the time of his death, but his fame grew rapidly thereafter. His influence on Expressionism, Fauvism and early abstraction was enormous, and it can be seen in many other aspects of 20th-century art. His stormy and dramatic life and his unswerving devotion to his ideals have made him one of the great cultural heroes of modern times, providing the most auspicious material for the 20th-century vogue in romanticized psychological biography." (http://www.ibiblio.org/wm/paint/auth/gogh/)
Matisse, Harmony in Red (La Desserte), 1908
Oil on canvas 180 x 200 cm The Hermitage Museum, St. Petersburg Form: This painting is done with a very saturated color-pallete, it has a flattened picture plane and little attention is paid to concepts of proportion or depth. Has a feel of graphic design. Iconography: Matisse was interested in making things 'happy'. He wanted his paintings to show the joy he felt for life, so they are often whimsical and filled with patterns and scenes of everyday life, the thing that he enjoyed the most. "Matisse also limits his perspective in this work. He makes elisions in the line around the table, frames the chair, the window, and the little house in an innovative manner by cutting them off, and encloses two of the planes, the green and the blue in a window." (http://www.mystudios.com/art/modern/matisse/matisse-red-room.html)
Context: Matisse was often sick at various times throughout his career, but it did not seem to dampen his passion for creating. This painting started out as 'Harmony in Green', then it became 'Harmony in Blue'. The canvas was actually painted entirely blue to begin with, and then he decided it was better as 'Harmony in Red'. This may be a motivating factor in the choice of red used, as it had to cover a whole lot of blue without it peeking through.As he gets older, his works simplify.
Matisse, The Horse, the Rider, and the Clown,
Plate V from the Jazz series, 1947
Color pochoir. 25 5/8 x 16 9/16 in. (65 x 42 cm) Form: An early form of stencil, these images are actually cut-out shapes. The colorful cut-out shapes known as pochoir. Iconography: "The two principal themes to be found in Jazz are the noise and excitement of the circus (the series was originally named Le Cirque, but Matisse changed it before publication) and the syncopated rhythms of popular jazz music. In the The Horse, the Rider, and the Clown the horse is the only distinct figure; the equestrienne is implied by her fan shaped skirt, overlapping the horse's flank, and the clown by his vibrant costume in green, black, and yellow." (www.museum.cornell.edu)
Context: "Matisse's twenty cut-outs called Jazz, depicting circus scenes, folklore subjects, life in Parisian music halls, and the artist's own travel experiences. It was in the early 1940s, when he was confined to his bed for most of the day, that Matisse began to pursue the cut-out as an art form. His assistants painted opaque watercolor onto white sheets of paper, which Matisse in turn cut into a variety of shapes, often retaining both the primary form (the "positive") and the cut-away piece (the "negative"), arranging them in vibrant juxtapositions. He pinned and re-pinned the pieces to the wall of his studio until he was finally satisfied with the overall harmony of the composition."
(www.museum.cornell.edu). Matisse is once again focusing on what he observes, what is lighthearted, what makes him feel "happy." He is also going beyond painting and pioneering new ways to create his images.
Matisse Icarus 1947 Form: The colorful cut-out shapes known as pochoir. Gouche on paper. It was also screen printed and used as an illustration for a book entitled "Jazz". Iconography: "In his Jazz series, Matisse used prepared, gouache-painted papers of various vibrant colors to compose collages that related to his memories of the circus, popular stories, myths and journeys he took. They are very personal expressions of his imagination, feelings, and inspirations." (www.neworleansonline.com.)
Context: The story of Icarus is an old one, in which a man and his son wanting to fly to escape a certain doom, fashions wings for his son and his self with wax and feathers. The father warns him not to fly too close to the son. But Icarus, becoming too confident and perhaps rebellious, flies to close to the sun, the wax melts, the wings fall apart, and he falls to the ground far below. Here, Matisse has Icarus falling against a night sky filled with stars, and the figure looks more joyful than death bound. This may have been Matisse's' way of changing the story to make the context one of happiness and salvation rather than death and defeat. Being confined to his bed did little to dampen his love for life or the energy of social events such as the circus or musical performances. Matisse was determined to not allow politics or social mores affect the message of his work. "Like many artists of his time, Matisse took an active interest in creating artwork to accompany written texts. The resulting illustrated books are works of art in their own right and exemplify his style. Matisse's Jazz, printed in 1947, is such a book."
(www.neworleansonline.com)
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S1, E8: Difference Maker – Brent Sopel
Meet NHL star defenseman Brent Sopel, whose life off the ice began to make sense when he discovered he was dyslexic.
S1, E8: Boosting Self-Esteem in LD Kids
Jack Canfield, the co-author of the Chicken Soup for the Soul series, once observed that "self-esteem is made up primarily of two things: feeling lovable and feeling capable." Low self-esteem doesn't play favorites. But it can betray a fondness for children with learning disabilities.
S1, E7: Difference Maker – John Crossman
Meet nationally renowned real estate executive John Crossman, who learned later in life that the successful real estate career he built was constructed upon a foundation of dyslexia.
S1, E7: Helping High School Seniors with Learning Disabilities Successfully Transition to College
Season 1 | Episode 7 "Helping High School Seniors with Learning Disabilities Successfully Transition to College" February 2021 Synopsis: As high school seniors await entry letters from their dream and "safety" schools, they dream of ditching the constraints of high school for the freedom that college life brings. For parents of aspiring collegians who learn Read More…
S1, E6: Difference Maker – Willard Wigan
Willard Wigan is a micro sculptor, creator of the world smallest handmade micro art in history, who grew up with undiagnosed autism and dyslexia. In 2007, he was honored by Queen Elizabeth II with the distinction of Member of the Most Excellent Order of the British Empire (MBE), the third highest ranking Order of the British Empire award, for his services to art. In 2018, he received an honorary doctorate from the University of Warwick in recognition of the significant contributions he has made to art and sculpture. He also holds two Guinness World Records.
S1, E6: Pushing Students Who Learn Differently — but not over the edge
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S1, E4: Difference Maker – Dawn Prince-Hughes
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S1, E3: Difference Maker – Jhillika Kumar
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Minnesota Girls Class A/AA State Championships
by Archive Team
23 November 2010, 12:57pm
By Lauren Sampl, Swimming World intern
MINNEAPOLIS, Minnesota, November 23. RACHEL Bootsma of Eden Prairie shattered the National High School record in the 100 back, racing to a time of 51.53 at the Minnesota Class AA State Championships, held Nov. 18-20. The previous mark was 51.85, set by Cindy Tran last year. Edina took home the team title with 247.50 points, followed by Eden Prairie with 223, and Stillwater Area with 220 points.
In the opening 200 medley relay, Eden Prairie broke the Minnesota all-time state record with a time of 1:44.80. Katie Bootsma (26.74), Rachel Bootsma (27.94), Sarah Coolidge (26.12) and Ellie Suek (24.00) comprised the record-breaking relay. Edina (1:46.61) and Stillwater Area (1:47.67) rounded out the top three.
Fast times continued to roll in as Cre-Der Hall's Kiera Janzen cracked the 1:50 barrier to win the 200 free in 1:49.70, well off her Minnesota all-time state record of 1:47.86 from two years ago. Nikki Larson of Edina was right on her heels in 1:50.13.
Another state record went down in the 200 IM, as Abby Duncan of Champlin Park set a new Class AA record with her preliminary time of 2:01.38. Duncan won finals in 2:01.97.
Stillwater's Hannah Bowen rocketed to the 50 free state title, swimming a time of 22.99. She just missed her all-time state record of 22.73, set back in 2008.
In the diving well, it was Jenna Karrow of East Ridge taking home a state title. Karrow scored 453.10 points on her way to victory.
Following the diving break, Eden Prairie's Rachel Bootsma continued the record-setting rampage with a new Minnesota all-time state record in the 100 fly. Bootsma flew to a time of 52.73, just missing Misty Hyman's National High School record of 52.41 set in 1996.
Hannah Bowen of Stillwater picked up her second win of the meet with a 49.94 in the 100 free. It was just off her own Minnesota all-time state record of 49.78 from the 2008 season.
Kiera Janzen of Cre-Der Hall, winner of the 200 free, raced to another win in the 500 free, recording a time of 4:56.71.
In a tight battle for the 200 free relay state championship, the quartet of Heather Arseth (23.44), Laura Peterson (24.58), Kelly Caprio (24.84) and Sarah Deis (23.21) of Wayzata snared victory in 1:36.07. Stillwater (1:36.39) and Edina (1:36.45) duked it out for second and third place.
Rachel Bootsma of Eden Prairie returned to her record-setting ways in the 100 back, recording a 51.53 en route to breaking Cindy Tran's National High School record of 51.85, set in May 2010. Bootsma also broke her own Minnesota all-time state record of 52.99 in the process.
200 IM champ Abby Duncan of Champlin added another title to her collection, racing to a time of 1:01.16 in the 100 breast. Duncan's prelim effort of 1:01.08 established a new Minnesota all-time state record. In the battle for second place, three Edina swimmers finished two-tenths apart, as Heather Laedtke (1:04.01), Olivia Anderson (1:04.05), and Madeleine Eden (1:04.25) rounded out the top four finishers.
Wayzata closed out the championships with another relay victory, as Heather Arseth (51.26), Emma Paulson (51.03), Anna Petty (53.71) and Sarah Deis (50.89) combined for a 3:26.89. Eden Prairie, led by Rachel Bootsma's 48.34 anchor split, finished runner up in 3:28.13. Stillwater Area, paced by Hannah Bowen's 49.87 anchor split, finished third in 3:28.92.
In the Class A portion of the meet, Hutchinson High (213 points) won by a narrow margin over Monticello (205 points) and Sartell-St. Stephen (191 points). New Class A state meet records were set in eight events.
Anna Jensen (27.42), Kieran Bender (31.13), Caley Oquist (25.44) and Amanda Paulson (22.69) of Monticello kicked off the meet with a 1:46.68 in the 200 medley relay, establishing a new Class A state record.
Marisa Wood of Sartell-St. Stephen added her name to the record books with a new Class A state record of 1:49.69 in the 200 free.
Monticello's Caley Oquist then took the 200 IM state crown in another Class A state record time of 2:03.65. She just missed the Minnesota all-time state record of 2:02.85, set in 1996 by Katy Christoferson.
Another Monticello swimmer added her name to the record books as Amanda Paulson sprinted to a new Class A state record in the 50 free with a speedy time of 22.97. It was just off the Minnesota all-time record of 22.73 set by Hannah Bowen in 2008. Heidi Busack of Fergus Falls was close behind at 23.10
The 1-meter diving competition was won by Michole Timm of Sauk Rapids-Rice. Timm scored 438.75 points en route to victory.
Melissa Paakh of Detroit Lakes led a trio of swimmers under 57 seconds in the 100 fly, winning the event in 56.38. Hutchinson's Audrey Kumm swam to second place in 56.51, and third went to Marcela Sanchez-Aizcorbe of Marshall in 56.88
Heidi Busack of Fergus Falls added to her second place finish in the 50 free with a victory in the 100 free. Her time of 50.56 established a new Class A state record.
Sartell St.-Stephen's Marisa Wood broke her second state record of the day with a swim of 4:55.44 in the 500 free. Wood also set a new Class A record in the 200 free earlier.
Fresh off her 500 free win and new state record, Marisa Wood threw down a 22.72 anchoring split to lead Sartell-St. Stephen to a win in the 200 free relay. Tarin Anding (24.33), Molly Peichel (25.26), Lauren Martens (25.10) and Marisa Wood (22.72) teamed up for a time of 1:37.41, just touching out the team from Northfield (1:37.69).
Caley Oquist of Monticello, the 200 IM state champion, added another state record and first place finish to her collection as she swam to a 55.35 in the 100 back. Oquist broke her own record of 56.62 from last year on her way to victory.
In the 100 breast, Kathryn Ostrom of St. Louis Park took home the state title, winning with a time of 1:05.53.
The meet concluded with another record-setting performance, as Hutchinson's tandem of Haley Cassens (53.82), Rebecca Lauer (53.03), Kaylee Kucera (51.54) and Audrey Kumm (52.05) posted a 3:30.44 to set a new Class A record. Monticello finished just over a half second back at 3:31.19, while Sartell St.-Stephen rounded out the top three in 3:33.30.


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Home › Philosophy › Bakhtin's Impact on Postmodern Sensibility
Bakhtin's Impact on Postmodern Sensibility
By NASRULLAH MAMBROL on April 5, 2016 • ( 5 )
Although active in the debates on aesthetics and literature that took place in the Soviet Union in the 1920s, Mikhail Bakhtin, the Russian philosopher, literary critic, semiotician and scholar who worked on literary theory, ethics, and the philosophy of language, became a prominent figure during the postmodern age, with his highly influential concepts of dialogism, polyphony, the carnivalesque, the chronotope, heteroglossia and "outsidedness". Together these concepts outline a distinctive philosophy of language and culture that has at its centre the claims that all discourse is in essence a dialogical exchange and that this endows all language with a particular ethical/political force.
In Problems of Dostoevsky's Poetics, Bakhtin introduces three important concepts – the unfinalizable self, relationship between the self and others, and, polyphony. Bakhtin's conception of unfinalizability respects the possibility that a person can change, and that a person is never fully revealed or fully known in the world. About the relationship between the self and others, Bakhtin argues that every person is influenced by others in an inescapably intertwined way, and consequently no voice can be said to be isolated. In Dostoevsky's work, Bakhtin found a true representation of "polyphony", that is, multiple voices. Each character in Dostoevsky's work represents a voice that speaks for an individual self, distinct from others. This idea of polyphony is related to the concepts of unfinalizability and self-and-others, since it is the unfinalizability of individuals that creates true polyphony. Bakhtin briefly outlined the polyphonic concept of truth. For Bakhtin, truth is not a statement, a sentence or a phrase. Instead, 'truth is a number of mutually addressed, albeit contradictory and logically inconsistent statements. Truth needs a multitude of carrying voices. It cannot be held within a single mind, it also cannot be expressed by "a single mouth". Through these concepts, Bakhtin anticipates the postmodern engagement with the concepts of constructedness of reality, truth:and human subjectivity.
In Rabelais and His World, Bakhtin studies the interaction between the social and the literary, by analysing the Renaissance social system in order to discover the balance between language that was permitted and language that was not, following which he pinpoints two important subtexts: the carnivalesque which he describes as a social institution, and grotesque realism which is defined as a literary mode. According to Bakhtin, carnival is the context in which distinct individual voices are heard, flourish and interact together and is characterised by subversion or mockery of authority through crudity, scatological humour, violence, and explicit or vulgar insults. The carnival creates the "threshold" situations where regular conventions are broken or reversed and genuine dialogue becomes possible. The notion of a carnival was Bakhtin's way of describing Dostoevsky's polyphonic style: each individual character is strongly defined, and at the same time the reader witnesses the critical influence of each character upon the other. That is to say, the voices of others are heard by.each individual, and each inescapably shapes the character of the other. The absolute unconventionality, celebration of fragmentation, decentered nature and absurdness of postmodern literature take cue from Bakhtinian polyphony, carnivalesque and grotesque realism.
In The Dialogic Imagination Bakhtin introduces the concepts of heterogIossia, dialogism and chronotope, making a significant contribution to the realm of literary scholarship. Bakhtin explains the generation of meaning through the "primacy of context over text" (heteroglossia), the hybrid nature of language (polyglossia) and the relation between utterances (which Kristeva identifies as intertextuality). In the essay Forms of Time and of the Chronotope in the Novel Bakhtin describes chronotope as "time space" and as "the intrinsic connectedness of temporal and spatial relationships that are artistically expressed in literature." For the purpose of his writing, an author must create entire worlds and, in doing so, is forced to make use of the organizing categories of the real world in which he lives, that engages reality. In the final essay, Discourse in the Novel, Bakhtin provides a model for a history of discourse and introduces the concept of heteroglossia, qualities of a language that are extralinguistic, but common to all languages. These include qualities such as perspective, evaluation, and ideological positioning. In this way most languages are incapable of neutrality, for every word is inextricably bound to the context in which it exists. Thus Bakhtin, with his concepts being highly relevant to postmodernism, can be considered as one of its earliest precursors.
‹ Foucault's Concept of Power
Historiography ›
Tags: carnivalesque, chronotope, Dialogism and Carnival, Discourse in the Novel, Fydor Dostoevsky, grotesque realism, Heteroglossia, intertextuality, Julia Kristeva, Mikhail Bakhtin, outsidedness, polyphony, Problems of Dostoevsky's Poetics, Rabelais and His World, The Dialogic Imagination
Analysis of Robert Frost's Skeptic
Analysis of Stopping by Woods on a Snowy Evening
The Sublime
Narrative Theory – Literary Theory and Criticism Notes
Spatial Criticism: Critical Geography, Space, Place and Textuality – Literary Theory and Criticism Notes
Alterity in Post-colonialism – Literary Theory and Criticism Notes
Homi Bhabha's Concept of Hybridity – Literary Theory and Criticism Notes
Postcolonial Magical Realism – Literary Theory and Criticism Notes


Now out in Frontiers in Psychology: Language Sciences, "Hyper-active Gap-filling" by Akira Omaki, Ellen Lau, Colin Phillips, and RAs Imogen White, Myles Dakan and Aaron Apple. The paper studies the processing of sentences in verb-medial languages where a wh-object has been fronted. It asks whether comprehenders wait to consult verb transitivity information before constructing filler-gap dependencies, or instead make representational commitments on the gap position before verb transitivity information becomes available. In the latter case, disruption should be observed when the verb is intransitive. In three reading experiments (self-paced and eye-tracking) that manipulated verb transitivity, the authors found evidence for reading disruption when the verb was intransitive, although no such reading difficulty was observed when the critical verb was embedded inside a syntactic island structure, which blocks filler-gap dependency completion. These results are consistent with the hypothesis that in English, as in verb-final languages, information from preverbal NPs is sufficient to trigger active dependency completion without having access to verb transitivity information.


Thanks for sticking it out with us this year. We've had a whole lot of ups and downs but we're learning as we go and hopefully improving on our services to those living on the streets and in shelters.
We've helped 23 people this year in various capacities ranging from shelter placements to rehabilitation placements, job readiness courses to health care etc... A super special thanks to you for all the financial support that allows us to help those move from the street into independence.
New Hope SA is moving towards being registered and we're still on course for getting all our paperwork ready by the end of the year. We're also joining the Street Peoples Forum and have been attending those monthly meetings over the course of this year.
New Hope People: We are currently journeying with and supporting 11 people.
Lyle completed his 32 days in Toevlug Rehabilitation successfully and was awarded some accolades for his attitude and performance in recovery. I (Richard) was able to pick him up in Worcester and had a really great catch up with him on our drive back down to Cape Town. We had arranged his placement at The Carpenter Shop and successfully got him in there and settled. He was encourage to seek employment and after a few phone calls he had arranged some part time work with a caterer. He did about 5 days worth of work and was dropped off back at The Carpenter Shop is R1000 in his pocket. This unfortunately hit a trigger and he relapsed that night and several nights after that. As far as we're concerned we had placed all the right measures and support for Lyle to make correct decisions but he chose to relapse and forget his training and recovery. Both The Carpenter Shop, New Hope and his employer have decided to suspend our services to him as this is his 3rd strike. After going into 3 different rehabs this year (Beth Rapha, Inner Peace and Toevlug) there is nothing more we can provide and Lyle needs to take time to think about his decisions in life and work out a solution. We have a backlog of people wanting help and we have to move onto those people in order to give them a chance at recovery. It's very sad news and I really hope we can remain in community with Lyle while he goes through this. After 6 months we will re-address what capacity we have to serve Lyle again and move towards his recovery.
We received an email from his rehabilitation house, uCan, to say that Rudolph has been transferred back to Inner Peace. uCan were dropping off another client at Inner Peace (Rudolph had come along for the trip) when he refused to leave and said that he was on the brink of relapse and preferred to stay at Inner Peace. After much deliberation the decision was made that he was going to stay and enter back into primary rehabilitation. This is obviously a step backwards but we're hoping that it prevented relapse and therefore we can take two steps forward once he feels strong enough to move on. We have put his welding course funding on pause for now until we have clarity on his recovery.
No news from Mike. He has come a few times to Community Dinners but we havn't managed to talk much to him.
Michael is doing well despite being on the streets. We have agreed that if he can successfully attend a shelter for 3 months we will contribute R3700 for him to get a pair of dentures.
As far as we know, Greg, is still on the streets and hasn't managed to get back into a shelter. He is still attending Community Dinners.
We have successfully completed our support for Damien. We have sponsored 5 months of his shelter fees and paid for two courses (job readiness and hospitality course) through The Zanokhanyo Network. We wish him the best of luck for the future. Our doors are always open but we feel he is strong enough to support himself independently.
David unfortunately was dismissed from Inner Peace for gang behavior despite getting several chances to change his behavior and attitudes towards the staff and peers at Inner Peace. He has moved back onto the streets and has been coming to Community Dinners each week. This is David's 3rd strike after attending 3 different rehabilitation this year and being dismissed from all 3 due to gang and violent behavior. We have agreed that if he can get himself into a 1st phase shelter as well as an outpatient course at Living Grace we'll assist him in doing his learners license.
All is good with Jonathan. He is currently still in recovery at Inner Peace.
Likewise for Alfred. He is doing well at Inner Peace and is still in recovery there.
is still at Loaves and Fishes and as far as we know is doing well and is continuing on his recovery journey.
We have not seen or heard from Charles since we attempted to place him at Stikland.
He approached us at Community Dinners asking for a placement into rehabilitation. He has been regularly attending the dinners and due to the above clients situations we felt we can continue with Robert. He will be going to Stikland Hospital for detox on Tuesday morning and then will be placed at Inner Peace from Thursday or Friday.
*Names changed for anonymity and dignity unless given permission to use their first name.


text:
Home Tibet Page 6
Tibet slowly sliding off global radar as Dalai Lama ages
HONG KONG (AFP) - Sixty years after the Dalai Lama fled into permanent Indian exile, the cause of Tibetan freedom that earned him a...
China tech giants elbow into fast-growing Tibet
BEIJING -- Major Chinese tech players are advancing into the Tibet Autonomous Region, seizing on the chance to market their artificial intelligence and big-data...
China Defends Tibet Policies 60 Years After the Dalai Lama's Exile
BEIJING (AP) — China is defending its often-criticized rule in Tibet 60 years after the Dalai Lama fled into exile amid an abortive uprising...
The Tibetan uprising of 1959 that led to the Dalai Lama's long exile
March 10 marks the 60th anniversary of the 1959 Tibet uprising against Chinese rule. The rebellion ultimately failed, leading to the decades-long exile of...
Chinese official insists no love for Dalai Lama in Tibet
admin - March 8, 2019
BEIJING — China's Communist Party chief in Tibet insisted Wednesday that the Tibetan people feel more affection toward the government than to the region's...
China Questions Tibetan Pilgrims in Lhasa as Sensitive Anniversaries Approach
Chinese authorities in the Tibetan regional capital Lhasa are closely questioning Tibetan pilgrims visiting the city and watching the movements of Tibetan businessmen during...
Has the 'Free Tibet' Movement Fizzled Due to China's Rise?
Where has the "Free Tibet" rallying call gone? Resistance to the Chinese occupation continues within Tibet, but the visibility of that resistance in the West seems...
Tibet and its people have always found a true friend in the USA: President
Since Tibet was occupied by China sixty years ago, the United States has been an ardent supporter of the rights of the Tibetan people...
Congressman Jim McGovern joins student activists to ring in Tibetan New Year
AMHERST — A festive Losar, the Tibetan New Year, was filled with dancing and singing at the University of Massachusetts Amherst to celebrate the...
China closes Tibet to foreigners ahead of Tibetan uprising anniversary
China is barring foreign travellers from Tibet over a period of several weeks that includes a pair of sensitive political anniversaries questioning the legitimacy...


text:
Wenge (czyt. ) – drewno tropikalne o bardzo ciemnym kolorze, charakterystycznej budowie oraz mocnym deseniu przypominającym upierzenie kuropatwy. Drewno wenge jest ciężkie i twarde, nadaje się do konstrukcji podłóg i schodów. Ze względu na jego oryginalny wygląd często wchodziło lub wypadało z mody. Od nazwy tego drewna wywodzi się również nazwa koloru - wenge.

Sposób wykorzystania
Wielu wytwórców instrumentów muzycznych wykorzystuje wenge w swoich produktach. Alembic, Inc. (producent wysokiej klasy gitar basowych i przedwzmacniaczy) wielokrotnie wykorzystywał ten rodzaj drewna do instrumentów na zamówienie. Ibanez oraz Cort stosują wenge do gryfów niektórych gitar basowych. Warwick wykorzystuje je do podstrunic.

Drewno wenge jest powszechnie używane w dekoratorstwie ze względu na swoją wymiarową stabilność i kontrast kolorów, jaki pojawia się przy zmieszaniu z jaśniejszym drzewem, np. klonem. Sprawia to, że wenge jest szczególnie pożądane w produkcji wysokiej jakości parkietów.

Czasami stosuje się wenge do wytwarzania łuków, zwłaszcza jako laminatu w produkcji łuków płaskich. Może być również używane do wyrobu szyn i pałeczek w cymbałach.

Zagrożenia dla zdrowia
Pył powstały podczas cięcia albo szlifowania wenge może wywoływać wysypkę podobną do powodowanej oparzeniami sokiem sumaka jadowitego, jak również podrażnia oczy. Pył ten może również powodować problemy z oddychaniem, jak i senność. Drzazgi wenge są septyczne, podobnie do drzazg pochodzących z drzew rodziny wawrzynowatych (drewno Chlorocardium rodiei).

Pochodzenie drewna
Drewno wenge pochodzi z liściastego drzewa Millettia laurentii, które może osiągać 20m wysokości i średnicę 1m. Występuje naturalnie w Republice Konga, Demokratycznej Republice Konga, Kamerunie, Gabonie oraz w Gwinei Równikowej. Gatunek ten figuruje na liście gatunków zagrożonych wyginięciem w Czerwonej księdze gatunków zagrożonych publikowanej przez Międzynarodową Unię Ochrony Przyrody i Jej Zasobów (IUCN), głównie ze względu na zniszczenie jego siedliska oraz nadmierną eksploatację drewna. Inne nazwy czasami stosowane wymiennie z wenge to palisander afrykański (nazwa stosowana częściej do drewna z drzew z rodzaju Dalbergia), palisander kongijski, faux ebony (pseudoheban), dikela, mibotu, bokonge oraz awong.

Bibliografia

Gatunki drewna


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Wireless Sensor Networks (WSNs) inherently are resource-constrained in terms of available energy, bandwidth, processing power and memory space. In these networks, congestion occurs when the incoming traffic load surpasses the available capacity of the network. There are various factors that lead to congestion in WSNs such as buffer overflow, varying rates of transmission, a many-to-one communication paradigm, channel contention and interference. Congestion leads to depletion of the nodes energy, deterioration of network performance and an increase in network latency and packet loss. As a result, energy-efficient and reliable state-of-the art congestion control protocols need to be designed to detect, notify and control congestion effectively. In this paper, we present a review of the latest state-of-the-art congestion control protocols. We analyze these protocols from various perspectives such as, their deployed environments, internal operational mechanisms, their advantages and disadvantages. Depending on their inherent nature of control mechanisms, these protocols are classified either as traffic-based congestion control or resource-based congestion control. Based on our analysis, we further subdivided these protocols based on their hop-by-hop and end-to-end delivery modes.
Copyright © 2018 Syed Roohullah Jan et al., licensed to EAI. This is an open access article distributed under the terms of the Creative Commons Attribution licence (http://creativecommons.org/licenses/by/3.0/), which permits unlimited use, distribution and reproduction in any medium so long as the original work is properly cited.


You are not in it alone!
It is tempting to look the other way when you know your school is going through a problem that needs to be addressed judiciously. It is also easier to blame others for the problems that your school faces—be it internally or externally. What most of us do as Principals of Schools is to hesitate to discuss these problems with our seniors or fellow Principals or the Management for fear of being labeled inefficient or being labeled a troublemaker.
Problems at school could range from organizing your time to the school to poor planning to dealing with difficult students, parents and also discipline problems to legal issues. But then being the 'change agent' is what you need to bear in mind. Change agents do not hesitate to solve these problems or atleast make an attempt to solve these problems. Leadership at school can be an isolating profession and given the many bureaucratic demands that we have to face in our day to day administration, I guess most of us choose to close our doors and focus our energy on one thing that we consider our forte in school administration. Unfortunately this may not support the progress of the school and very soon we may realize that it is causing more harm to our school than good.
When I perceive a problem in any of the domains that I am responsible for I would rather like it to be resolved than let it have a cascading effect in the Institution. I try to come up with as many solutions as possible to solve the problem, do not hesitate to discuss this with colleagues, share my concerns and of course do so without dumping my problem on somebody else. I consider it important to mull over the problem, study the problem and if found appropriate even confront the problem. Discussing the problem with a mentor certainly helps.
I go back to my statement on Leadership at Schools and reiterate that School leadership can be isolating. I observe Principals at gatherings and conferences and meetings even hesitant to smile or talk to another fellow Principal. Why are we so guarded about ourselves, our school systems and settings? Why is it that our relationship cannot be non-evaluative and collegial rather than supervisorial? Why is that we have to be critical about the other school or leader rather than build a relation of comfort and co-existence? Times have changed, we need to now get into professional dialogue with each other, raise the level of discussions at conferences and view our schools and our roles with a progressive vision. This type of a relationship and understanding infact needs to seep into our school culture and it is a must that we look to colleagues within and beyond our schools for support and professional growth!
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Why High School Pass Outs Need to be approached for Summer Trainings?
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gyan on How to Tackle Office Politics?
Ирина Пономарева on How to Tackle Office Politics?
RobertNok on How to Tackle Office Politics?


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text:
Justice League Dark Recommended Reading List
My first issue as writer of DC Comics Supernatural/Superhero mash-up Justice League Dark is out tomorrow and features some of my favourite characters from the DC Universe including John Constantine and Black Orchid.
I wrote my first issue as a totally accessible jumping-on point for new readers, but I thought some people might like a few suggestions of other comics and graphic novels that might help inform them on the rich and eclectic histories of these characters. So these are my Top 5 Recommended Reading Suggestions after you finish JLD #9...
1. HELLBLAZER: ORIGINAL SINS by Jamie Delano and John Ridgeway: These first half dozen issues of the monthly Vertigo series, Hellblazer, are a great primer for the Justice League Dark's master manipulator/leader John Constantine and his twisted world. Delano mixes horror with a sharp political edge and gives you a quintessential Constantine tale.
2. BLACK ORCHID by NEIL GAIMAN and DAVE McKEAN: Recently re-released in a beautiful deluxe hardcover edition this stunningly illustrated story introduces us to the Vertigo version of the Black Orchid character. Neil Gaiman's poetic prose and McKean's lush illustration make this a must have. While the version of Black Orchid that appears in JLD is a brand new take on the character, I still recommend this book.
3. HELLBLAZER: DANGEROUS HABITS by Garth Ennis and Will Simpson: Delano's first story is a great primer to the world of Constantine, but it is probably Garth Ennis' take on the character that really hooked me when I was a teenager. While Delano provided Constantine with a post-Thatcher political edge, it was Ennis who made him a tragic romantic. A fool for love who damages everything, and everyone he touches. Some of my favourite comics.
4. SEVEN SOLDIERS OF VICTORY: ZATANNA by Grant Morrison and Ryan Sook: All the 7 Soldiers mini-series are terrific, but Zatanna is a key player in JLD and the series' artist Ryan Sook is also our cover artist, so this is an essential read in many respects. This is a great intro to the character of Zatanna and Sook's art is gorgeous.
5. DEADMAN by Neil Adams: I love writing the character of Boston Brand aka Deadman. These classic stories by comics legend Neil Adams tell the origin and early adventures of Deadman as he searches for his killer. Adams art never looked better.
And in addition to these I would also be remiss if I didn't recommend Alan Moore's Swamp Thing run. There would be no Constantine, no Vertigo and no Justice League Dark without Mr. Moore's incredible comics.


text:
Shipping lines seek review of PPA's "redundant" central ticketing system
The Philippine Inter-Island Shipping Association (PISA) is asking the Anti-Red Tape Authority (ARTA) to review a Philippine Ports Authority (PPA) order implementing a central ticketing system (CTS) which it claims is "redundant", "impractical" and an additional cost to the riding public.
PPA Administrative Order 12-2019 was also "issued without a thorough regulatory impact assessment" and was "strongly objected" to by stakeholders, the group said.
In addition, PISA in a July 12 letter to ARTA director general Jeremiah Belgica, requested ARTA to stop PPA from bidding out an electronic terminal management system (ETMS). The group's opposition is centered on the system's unified electronic ticketing feature.
AO 12-2019, issued in November 2019, provides rules on the implementation of PPA's central ticketing system, an online application procedure that will support an integrated vessel booking and payment system for roll-on/roll-off ports.
The CTS aims to serve as a real-time system with a single window for processing all transactions of government, shipping companies, port terminal operators, passenger terminal building operators, and the general public.
(For the full article, please visit PORTCALLS)
Demand for healthier, natural products rising
Improve supply chain planning process, firms told
Filipino SMEs employ innovation model requiring least capital expenditure—study


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FROM I-5,TAKE EXIT 154 TO SR 518. FOLLOW SIGN TO SEA-TAC AIRPORT/HWY. 99. TAKE HWY. 99 NORTHBOUND EXIT INTERNATIONAL B LVD. OR PACIFIC HWY. 1 MILE TO HOTEL. I-5 S EXIT 158 TO PACIFIC HWY. 2 MILES DOWN ROAD ON LEFT.


To lay down the procedure for issuance, maintenance & dispose of HPLC / GC Column.
This SOP shall be applicable for use of new column and, maintenance and retrieval of old HPLC/GC columns.
5.1.1 QC executive shall indent the required HPLC/GC column and send to purchase department for procurement after approval of Head QC/QA.
5.1.2 QC person shall receive the new column & verified the physical verification of column against indent, bill.
5.1.3.1 Wash the Column with 100% with degas Solvent such as HPLC grade Methanol /Acetonitrile for 30 min.
5.1.3.2 Wash the Column 100% with degas HPLC /filtered & degas distilled water up to 30 min.
5.1.3.3 Wash the Column with 60:40 ratio of degas TKA/Milli Q water and solvent up to 30 min.
5.1.3.4 Now check the performance of column as per given method prescribe & directed by manufacturer provide with column OR check the performance of column with the first injection of standard, should be meet the system suitability criteria as given in respective method of analysis of the product.
5.1.3.5 Chiral Column to be the condition as per manufactures guidelines.
5.1.3.6 Washing or conditioning of proteinus, silica-based or chiral column should not be used water, a ratio of low polarity solvent & water can be used for conditioning of this type of column or as per method directed by the manufacturer.
5.1.4 QC person shall assign I.D.No. of the column if the performance of column found satisfactory.
5.1.5 QC person shall take the entry of new column in issuance and destruction register & acknowledge receipt and send the duplicate copy to purchase dept if the performance of column found satisfactory.
5.1.5 If the performance of column does not meet with in-house/ manufacturer criteria then immediately inform to QC HOD, purchase department and supplier to replace the column.
5.2.1 Analyst shall rewash the column with 100% degas water 1hr & then the ratio of water & solvent (60:40 water: solvent) 1 to 2 hour if performance or system suitability of column fails during routine analysis.
5.2.2 QC person shall check the performance of column after washing with the first injection of standard as per given method of analysis, should be meet the system suitability criteria as given in method of analysis of the respective product.
5.2.3 Column to be regenerated if found poor performance after rewash with Acetonitrile/ Methanol/ THF/ Butanol/ IPA as per requirement & description of the column and then wash with 60:40 Ratio of degas water: solvent 1-2 hr.
5.2.5 QC Head shall retrieve and dispose failure old column with detail entry in issuance and Destruction register and take in own custody to avoid reuse of column if it is not meeting the criteria of tailing factor, theoretical plates, resolution, fronting, splitting/ damage etc.
5.2.6 After disposal of old column QC head issue the new column with given identification number of new column.
5.3.1 Follow the same procedure for indent & issue of the column as mentioned in receipt of HPLC column.
5.3.2 Condition the issued new column up to 4-5 hour at 220°C oven temperature and calculate the theoretical plate and resolution of the column should comply as given criteria in the method of analysis.
5.3.3 Immediate inform to QC manager if not meet the performance given by manufacturer /supplier.
5.4.1 Analyst shall wash the in-use column with degassing distilled water after every analysis up to 45 min and then 30 min wash with the ratio of 60:40 water: solvent (solvent use whichever used in testing).
5.4.2 If using a high concentration of buffer during analysis then wash the column by filtered 50°c hot water & then 100ml with degas solvent.
5.4.3 Analyst shall ensure that column should wash with a mixture of methanol/ acetonitrile or acetonitrile & methanol or as per the specification recommended by the manufacturer if store for a long time.
Degassed solvents, water and mobile phase should be used.
Flush several volumes of 100% methanol (or similar) through the HPLC system after water washing a prior to shutting down.
Clean pump, Injector loop and syringe with hot water in twice a week.
Filter sample to be injected to avoid deposition of contamination at column end.
The column should store at room temp.
5.6.1 Discard the column if it is not meeting the criteria of Tailing factor, theoretical plates, Resolution, Fronting, Splitting/ damage etc.
5.6.3 Discarded columns shall be kept separately and affixed to the label as "Discarded column-Do not Use".


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text:
Albi Tibul (; Gabis, 55 aC - Roma, 19 aC) fou un poeta líric llatí. Va florir en temps d'August, i pertanyia al cercle de Messal·la.

Biografia
Nascut a Gabis, una ciutat del Laci, procedia d'una família acabalada de l'orde eqüestre, que havia sofert les confiscacions del segon triumvirat. De la seva joventut no se'n sap res. Les terres dels seus ancestres eren a Pedum, entre Tibur i Preneste. Probablement part de la seva propietat o tota fou perduda en les guerres civils, per confiscació, però en va conservar una part o la va recuperar, potser gràcies a Messal·la, que després va ser el seu patró. Com a membre de la classe eqüestre, es va veure obligat, contra la seva voluntat, a convertir-se en soldat i complir el temps de servei habitual (deu anys).

Va figurar en el cercle de Marc Valeri Messal·la Corví, de qui era íntim amic i a qui dedicà un famós panegíric, que s'ha conservat. No va voler seguir al seu patró Messal·la en la guerra entre Octavi (August) i Marc Antoni fins al 31 aC (en el bàndol d'August) però sí que el va acompanyar com a contubernalis (una mena d'ajudant de camp) el mateix  per reprimir una revolta a Aquitània. La campanya fou victoriosa i Messal·la va obtenir el triomf el 27 aC després de 4 anys. Tibul va estar present a la batalla d'Àtax (Aude), que fou decisiva per sufocar la revolta; probablement fou Tibul qui va rebre la submissió de les tribus o d'una part i va acompanyar al seu patró en el triomf. El 30 aC Messal·la fou enviat a Orient per organitzar l'Imperi sota la direcció única d'August, i Tibul el va acompanyar però pel camí es va posar malalt i va haver de romandre a Còrcira, d'on, quan es va recuperar, va tornar a Roma. Es va dedicar llavors a la poesia, acabant així la seva activitat política.

La seva poesia és, tanmateix, pacifista, i enyora la pau i la senzillesa dels vells costums camperols romans. Entre els seus amics hi hagué altres poetes pertanyents al cercle de Gai Cilni Mecenàs, com Horaci, Virgili, Properci i el jove Ovidi, que va dedicar-li a la seva mort una elegia sentida.

Obra
S'han conservat dos llibres d'elegies seves, que conformen l'anomenat Corpus Tibullianum; conté, a més, un tercer llibre amb poemes tradicionalment atribuïts a Tibul, però modernament assignats a altres autors o a imitadors.

El primer llibre, de sis o deu elegies, està dedicat a Dèlia, una dona casada d'origen plebeu, el veritable nom de la qual, mètricament equivalent, era Plània, Plància o Plàucia (Dèlia és el seu equivalent grec). Aquesta Dèlia era probablement una hetera a la qual aspirava a tenir com a amant i amb la que havia començat la relació abans de partir cap a Aquitània. Però sembla que Dèlia no li fou fidel en la seva absència; quan va tornar de Còrcira, Dèlia era malalta, i la va atendre afectuosament, esperant començar amb ella una vida tranquil·la, però un home més ric el va substituir, fins que ella finalment es va casar.

El segon es compon de sis poemes dirigits a una nova amant anomenada Nèmesi, nom de la deessa de la Venjança, dona per la qual va experimentar una gran passió, però la identitat de la qual és segurament fictícia i inventada pel mateix poeta. Amb tot, podria ser una cortesana als braços de la qual va caure quan va ser rebutjat per Dèlia.

De les poesies d'Horaci també es coneix el seu amor per una dona de nom Glicera, que no pot ser confós amb Dèlia o amb Nèmesi. Horaci li retreu la dedicació a aquesta nova amant, despietada i que no li fa cas. Ovidi, en canvi, parla només de Dèlia i Nèmesi com a amants de Tibul. Els poemes dels seus contemporanis mostren a Tibul com una persona senzilla i amable, i Horaci lloa la puresa del gust de Tibul i els seus exquisits poemes.

Els seus temes preferits són l'amor, malaltís i gairebé romàntic, la mort i el rebuig a la guerra, al comerç i a la riquesa, en pro del conreu de la vida camperola senzilla i tranquil·la al costat de l'aimia. La seva predilecció pel fet bucòlic l'acosta a Virgili. L'estil de Tibul és clar i clàssic, al contrari del de Properci, i prescindeix de l'ornamentació mitològica alexandrina.

Corpus Tibul·lià
El tercer llibre del Corpus Tibullianum, i al seu torn, d'ençà del , se sol dividir en dos: el tercer llibre pròpiament dit i el quart llibre. En el tercer llibre pròpiament dit, l'autor es fa dir Lígdam, un imitador, que havia de ser més jove, car havia nascut el 43 aC (l'any de la batalla de Mutina). Dins el quart llibre hi ha poemes d'autors del cercle de Messal·la, entre els quals onze de la poeta Sulpícia, neboda de Messal·la, i altres composicions, qualcuna atribuïble a Tibul i d'altres que, amb tota seguretat, no són obra seva. Les poesies de Sulpícia parlen dels seus amirs amb el jove Cerint (nom que cal considerar com a fictici), que probablement reflectia la seva vida. Per encàrrec del seu oncle Tibul hauria escrit els poemes del cercle de Messal·la.

Tíbul Flac
Fulgenci, un gramàtic tardoantic, cita un vers d'un autor que anomena Tíbul Flac () en una obra que anomena Melaene. Durant un temps es considerà un autor de mims d'època desconeguda; actualment es considera que tal autor no va existir mai: es tracta d'un vers de reminiscències plautianes i el nom correspon als cognomina de Tibul i d'Horaci (Flac).

Referències

Bibliografia

Poetes romans
Poetes elegíacs
Morts a Roma
Escriptors antics en llatí de tradició directa


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    <title>Школьный журнал</title>
    <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" />
    <link type="text/css" rel="stylesheet" href="../ui-theme/<?php echo $config['ui']['theme']?>/jquery-ui.css" />
    <link type="text/css" rel="stylesheet" href="../thickbox.css" media="screen" />
    <link type="text/css" rel="stylesheet" href="../style.css" />

<?php
if (isset($_SESSION['admin_id'])) {
?>

         Главная

         Классы

         Учителя

         Дисциплины

         Пользователи

         Учебный план

         Сервисные операции

         Выход

<?php
}
?>

redpajama_set_name: RedPajamaGithub