text:
Over many a quaint and curious volume of forgotten lore,
As of some one gently rapping, rapping at my chamber door. "
"'Tis some visitor," I muttered, "tapping at my chamber door—
Only this, and nothing more."
Ah, distinctly I remember it was in the bleak December,
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow;—vainly I had sought to borrow
From my books surcease of sorrow—sorrow for the lost Lenore—
For the rare and radiant maiden whom the angels name Lenore—
Nameless here for evermore.
And the silken sad uncertain rustling of each purple curtain
Thrilled me—filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating, "
"'Tis some visitor entreating entrance at my chamber door—
Some late visitor entreating entrance at my chamber door;—
This it is, and nothing more."
Presently my soul grew stronger; hesitating then no longer,
"Sir," said I, "or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you"—here I opened wide the door;—
Darkness there, and nothing more.
Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortals ever dared to dream before;
But the silence was unbroken, and the stillness gave no token,
And the only word there spoken was the whispered word, "Lenore!"
This I whispered, and an echo murmured back the word, "Lenore!"—
Merely this, and nothing more.
Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
"Surely," said I, "surely that is something at my window lattice,
Let me see, then, what thereat is, and this mystery explore—
Let my heart be still a moment and this mystery explore;—
'Tis the wind and nothing more."
Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately raven of the saintly days of yore.
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door—
Perched upon a bust of Pallas just above my chamber door—
Perched, and sat, and nothing more.
Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore.
"Though thy crest be shorn and shaven, thou," I said, "art sure no craven,
Ghastly grim and ancient raven wandering from the Nightly shore—
Tell me what thy lordly name is on the Night's Plutonian shore!"
Quoth the Raven, "Nevermore."
Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning—little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blest with seeing bird above his chamber door—
Bird or beast upon the sculptured bust above his chamber door,
With such name as "Nevermore."
But the Raven, sitting lonely on the placid bust, spoke only
That one word, as if his soul in that one word he did outpour.
Nothing further then he uttered—not a feather then he fluttered—
Till I scarcely more than muttered, "other friends have flown before—
On the morrow he will leave me, as my hopes have flown before."
Then the bird said, "Nevermore."
Startled at the stillness broken by reply so aptly spoken,
"Doubtless," said I, "what it utters is its only stock and store,
Caught from some unhappy master whom unmerciful Disaster
Followed fast and followed faster till his songs one burden bore—
Till the dirges of his Hope that melancholy burden bore,
Of 'Never—nevermore'."
But the Raven still beguiling my sad fancy into smiling,
Straight I wheeled a cushioned seat in front of bird and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore—
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
Meant in croaking "Nevermore."
This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom's core;
This and more I sat divining, with my head at ease reclining
On the cushion's velvet lining that the lamplight gloated o'er,
But whose velvet violet lining with the lamplight gloating o'er,
She shall press, ah, nevermore!
Then, methought, the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose footfalls tinkled on the tufted floor.
"Wretch," I cried, "thy God hath lent thee—by these angels he hath sent thee
Respite—respite and nepenthe, from thy memories of Lenore;
Quaff, oh quaff this kind nepenthe and forget this lost Lenore!"
"Prophet!" said I, "thing of evil!—prophet still, if bird or devil!—
Whether Tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted—
On this home by horror haunted—tell me truly, I implore—
Is there—is there balm in Gilead?—tell me—tell me, I implore!"
By that Heaven that bends above us—by that God we both adore—
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels name Lenore—
Clasp a rare and radiant maiden whom the angels name Lenore."
"Be that word our sign in parting, bird or fiend!" I shrieked, upstarting—
"Get thee back into the tempest and the Night's Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken!—quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!"
And the Raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon's that is dreaming,
And the lamplight o'er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted—nevermore!
As he shares in his essay "The Philosophy of Composition," Poe selected the raven as his messenger of choice for two reasons. The raven serves as a "non-reasoning creature capable of speech" while adhering to the poem's funereal tone in the way, say, a parrot could not. Poe also cites the raven as "the bird of ill omen," which is consistent with many cultural depictions of the raven.
— Zachary, Owl Eyes Editor
The lamplight serves as the catalyst for the poem's chilling closing image. The light—once again a representation of the harsh truth of Lenore's irreversible death—strikes the raven, casting a shadow on the floor. That shadow becomes a manifestation of the narrator's grief, from which he "shall be lifted—nevermore!"
The light shed by the narrator's lamp serves as a representation of the harsh truth of Lenore's death. Here we see the lamplight "gloating o'er" the cushion Lenore will never again sit on.
Two of the poem's scenic details are conspicuously purple: the "purple curtain" and the chair, with its "velvet violet lining." In both Greco-Roman and Judeo-Christian symbolic systems, purple serves as a mark of class and aristocracy. If nothing else, Poe likely uses these touches of purple to give the narrator some social context. These suggestions of class are consistent with his scholarly nature.
Pallas may also refer to the daughter of the sea-god Triton, who raised Athena alongside his own children. According to some stories, Athena killed the young maiden Pallas. In her sorrow, Athena took Pallas's name out of remembrance, referring to herself thenceforth as "Pallas Athena." This myth is helpful in our understanding of "The Raven" in that Pallas represents a parallel of Lenore. Both Pallas and Lenore are tragically killed maidens who live on only in name.
The final "nevermore" in this poem comes from the narrator. The narrator gives over to the bird and adopts a fatalistic attitude: he is resigned to a future trapped within his sadness and imprisoned by his loss of Lenore.
— Caitlin, Owl Eyes Staff
Plutonian means of or relating to the underworld. Pluto was the Roman god of the underworld, and the "shore" refers to the River Styx, one of the major rivers in the underworld. The narrator is banishing the Raven back to the hell he assumes it came from.
"Tempter" is another name for the Devil. The narrator begins to imagine the bird as an evil entity sent by the Devil. The Raven now takes on supernatural qualities—he is no longer a normal bird that learned a word from a former master, but the embodiment of death, the Devil's orders, and evil.
Nevermore, which the narrator originally interpreted as the Raven's name here becomes a menacing threat: the narrator will never forget his lost Lenore, he will never recover from his grief. Notice that the meaning of "nevermore" underscores the narrator's decline into madness.
"Gloated" in this context means to gaze with malignant pleasure; to feast one's eyes upon. Notice that the narrator personifies his surroundings with words that make them menacing. The narrator imagines everything as hostile, demonstrating his feelings of vulnerability.
The narrator is intrigued by the Raven, amused slightly out of his depression by his interest in the bird. Juxtaposing this happy feeling with the melancholy contemplated in the previous stanza suggests that the narrator is experiencing an unstable kind of happiness akin to mania.
A dirge is a lament sung for the dead, especially during funeral rites. Here the narrator plays on birdsong and blames the melancholy word for transforming the Raven's birdsong into a dirge. "Nevermore" thus becomes a symbol of death and dying that destroys hope.
The narrator realizes that the bird can only say this one word in a rote recitation. However, rather than dismissing his ability to speak as something random and meaningless, he creates a story to explain the Raven's word. He imagines a miserable master who repeated this word enough times that the bird learned it. Notice that the story the narrator ascribes to the bird's former master mirrors his own.
The second time the Raven utters this word, it suggests that he will never again leave this chamber. The narrator initially fears that the bird, a brief source of entertainment and levity, will leave him as his friends and hopes have. With this, he sees the Raven ominously promising to stay indefinitely, and the bird becomes more menacing than friendly.
Notice that the first repetition of "Nevermore" comes from the narrator, not from the Raven. The narrator immediately internalizes the word and repeats it in his own mind. This suggests that the narrator is susceptible to fantastical thinking.
The narrator first interprets the repetitive line as the bird's name. Nevermore, the state of being no longer, at no future time, or never again, recalls the narrator's first description of Lenore being "nameless here for evermore" because she has died. This suggests that the Raven is either an embodiment of his lost lover or death incarnate. The narrator sees the Raven is a symbol of loss and mortality.
The narrator perceives the Raven as a wandering ancient creature. In Genesis 8:7, Noah sends a dove and a raven in opposite directions to test if the water had receded enough for his family and the animals to leave the ark. The dove remains famous for returning and signaling the end of the flood. The raven never returns to the ark, and is lost to the night. Referencing the grim associations given to the bird since Greek mythology draws on a long standing history that relates this bird to wandering, absence, and omens.
Perched means both seated on a perch and to be presumptuous and assertive. The narrator ascribes power to the Raven in repeating this word three times. The Raven reflects the narrator's unstable mental state and dejected psychological state; he feels powerless against a mere bird.
Obeisance is the respectful acknowledgement of one's superior. Notice that the narrator immediately attributes human characteristics to this bird, even before it speaks. Because one would not normally expect an animal to bow or perform social customs upon entering a chamber, this expectation reveals the narrator's unstable mental state.
"Flung," meaning to open with haste or violence, directly contradicts the sense of calm the narrator tries to convince himself to feel in the previous stanza. His actions clash with his attempts to quiet his nerves, and this tension builds suspense within the poem.
A "window lattice" is a window in which the pieces of glass are set in diagonally crossing strips of wood, vinyl, or metal. In the 19th century, windows were made this way because large single sheets of glass were extremely expensive due to primitive glass-making technology.
Poe uses a common trope of gothic and horror genres. Rather than describing a particular fear, he invites the reader to fill in the "fear" and "dream" with their own imagination. He emphasizes the darkness, the emptiness, and the unknowable to allow the possibility for supernatural horror to creep into both his own mind and the readers.
This long and polite apology demonstrates two things about the narrator. First, the narrator's politeness and social etiquette suggest that he is a member of the upper class. Second, the speaker is nervously prattling to whomever he thinks is outside the door. This suggests that he is nervous and afraid of whomever, or whatever is on the other side of the door.
Notice how the "nothing more" that the narrator was using to reassure himself that he was not hearing things has now changed from something reassuring to something not only unsettling but also upsetting.
Repetition is a literary technique that Poe uses throughout this poem. In the beginning, the narrator uses repetition to reassure himself and calm his nerves. However, this same technique will later be the source of his distress when the Raven begins to repeat "nevermore."
"Silken sad uncertain rustling" is a type of alliteration called susurration. Susurration is soft repetition of the s sound. It creates an eerie sense of whispering, hissing, or swishing. But while eerie, it can also have a calming or lulling effect. This line simultaneously shows the narrator's discomfort at this uncanny experience and paints the image of a still, silent room.
The em-dash punctuation signals an abrupt change of thought or tone. Poe uses it frequently within this poem to build intensity and demonstrate the narrator's wavering mind. Notice how the narrator interrupts his train of thought, or attempts to stop his fantastical thinking using this punctuation.
In his "Philosophy of Composition," Poe claimed that "Beauty of whatever kind, in its supreme development, invariably excites the sensitive soul to tears. Melancholy is thus the most legitimate of all the poetical tones." He chose to make the death of a beautiful woman his topic because he believed that nothing was more poetical than the beautiful melancholy that this topic would evoke.
Poe begins his poem by playing with an opening well known in fairytales and folklore, "Once upon a time." This situates his story in the fantastical world of fairytales, but also establishes the dark and ominous setting of "dreary midnight."
Notice Poe's use of subtle alliteration of s sounds in these two lines. After sounds in "denser...unseen censer," the reader might expect that to be all. But since Poe is describing a swinging censer containing burning incense, it is pleasantly surprising when the weighty (literary) device seems to swing back at the beginning of the next line with, "Swung by seraphim," two more alliterative s sounds.
— Wesley, Owl Eyes Editor
"Nevermore" can be interpreted to mean no as well as never again. This first instance of speech captures the narrator's attention, and while he initially regards the Raven's refrain as nonsense, it soon takes hold in his mind as something meaningful.
— Jules, Owl Eyes Staff
Notice how the narrator repeats "nothing more" to comfort himself and dismiss his fears, and how the effect of the phrase changes with each stanza. Poe repeats this refrain to emphasize the narrator's increasingly agitated state of mind and to gradually develop the poem's mysterious, threatening atmosphere.
Disturbed by the way the Raven appears to have intentionally disagreed with him, the narrator rationalizes the repetition of the ominous word "Nevermore": He imagines that the Raven's master, having suffered unendurable disasters, taught the bird to utter the single word most expressive of the owner's sense of hopelessness.
Imagining a perfumed presence in the room, the narrator asks if the Raven has been mercifully sent by God to bring him nepenthe, a potion of forgetfulness mentioned in Greek mythology. The Raven, of course, replies with a bleak "Nevermore," which the self-tormenting narrator takes to mean that he will never find a moment's rest from his grief.
Notice how Poe creates a distinct transition here in both the structure of the poem and the way the narrator regards the Raven. After attempting to contemplate his visitor objectively, the narrator connects the Raven's refrain of "Nevermore" with his personal grief. The narrator begins to ask increasingly painful questions in masochistic anticipation of the inevitable response.
The narrator's ultimate question is if he will be reunited with Lenore in "Aidenn," a poetic spelling of Eden, after he dies. The contrast between his self-description and Lenore reveals how lowly the narrator regards himself and how highly he regards his memory of Lenore.
Gilead was a region known in biblical times for its healing plants. The narrator desperately implores the Raven to tell him if there is "balm" or medicine as promised in the Bible, metaphorically questioning whether there is any hope or remedy in religion for his grief.
The first seven stanzas establish the narrator's melancholic, impressionable state of mind. Now, the narrator playfully asks the raven its name, as if to reassure himself that it portends nothing ominous. However, although what the raven says initially has little relevance or meaning, the narrator is sobered by the bird's forlorn utterance and begins to try and rationalize it.
At first, the narrator tries to interpret the bird as a source of humor. However, his failure to continue to do so helps establish the prevailing tone. Notice how the narrator's choice of words when addressing the raven become more intense and extreme as the mood of the poem darkens to reflect the growing misery of the narrator.
This adjective relates to the underworld realm of the Roman god Pluto who ruled over the dead. The narrator's choice to associate this word choice with the night suggests his fear of the closeness of death, the supernatural, and the raven's association with these things as a messenger of sorts.
The notion that the rustling of the curtains thrills the weary and depressed narrator is perhaps a little odd. However, considering the time of night and his current mental state, it's very possible that Poe is implying that the narrator has a more vivid imagination than is good for him, especially considering how he soon behaves.
This is the first example of Poe's frequent use of alliteration, the repetition of initial sounds, and internal rhyme. Notice how Poe uses internal rhyme throughout the first and third lines of each stanza, and particularly how repetition represents an essential technique and theme in the poem.
"Its ghost" refers to the dying embers of the fire that is about to go out. By using mysterious and depressing words such as "bleak," "dying," and "ghost," Poe's metaphors and word choices help set the mood of the poem.
Pallas, a reference to Pallas Athena, the Greek goddess of wisdom, is representative of knowledge, reason, and logic, while the Raven embodies imagination, darkness, and the unknown. By having the Raven perch unceremoniously on the bust, Poe is possibly belittling wisdom itself, suggesting that when the two collide, imagination will overpower reason.
Also throughout the poem, Poe chooses words that rhyme with more in the second, fourth, fifth, and sixth lines to create a very strong, unified effect for the poem. In his "Philosophy of Composition," Poe states that he consciously chose the or-sound because of its sonorous quality.
Poe's poem is primarily about death—of his beloved Lenore, and of hope. Here, the narrator makes the implication that other friends have died, along with hope, and he hopes the bird will as well (which is a bit of a tongue-in-cheek joke that he would refer to the raven as a friend). However, the raven's reply suggests that the bird, as death personified, has arrived and will remain.
By whispering the name of the deceased Lenore, the narrator reveals the extent of his depression and how her loss has so affected him. This perhaps explains why the initial rustling of the curtains and tapping on the door provoked such a reaction within him.


Can anyone help explain this to me.
I am REPEATEDLY in my life getting excited about doing something-work or otherwise. I am full of enthusiasm, excited, feeling good about doing 'it', spending lots and lots of time and energy on 'it'. Then the day comes and I start doing 'it' and quite quickly It doesn't work, it 'fails' and what started off as all consuming and wonderful doesn't work. I am aware of this constant repetition in my life but there is obviously something I'm not getting. What do I need to learn?
Now that I've realised I'm doing this I say let go, and instead of giving up soon I say no the old me used to do that so believe in yourself, keep going, but still it seems to 'fail' and I give up fairly quickly.When I've given up the thing I was enthusiastic about I get a sense of relief and I can wash my hands of it,and sort of get rid of it even though I had been so enthusiastic originally! It's like I go from so enthusiastic to dropping it like a red hot brick!
I also realise it is scary if it works and some of me doesn't want it to, and when I recognise I'm doing this I say to let go. inside I know I am so capable. I know I have confidence issues, and I have come a long way over the years from what I was. I do feel the fear, and aim, and sometimes get to the eye of the storm where it is calm. I know the only way is through. I have got strong feeling of I'm fed up of repeatedly fighting with myself internally, I don't want to play the game any longer,I know it so well.
At the moment I so want to give up on the job I'm doing,as I entered into it to help in an eco way but management aren't helping me and I have repeatedly asked what I can do to help with food waste which is the issue I've gone on and on about. It's like I haven't got a voice, nobody is listening. I've stuck it out because I have given up on so many other jobs in the past and why do I keep doing this.
I love to cook, and I love sharing food with people. I like to make people happy through food. I have had the idea to sell my homemade food via a market cafe, or use food that would be wasted to make meals for people who need them. Then my mind says you've done so many things in the past and been really enthusiastic and then give up on them,and what if you start this and repeat the cycle yet again and give up like all the other times. Then I say can I physically do this six days a week,I won't have any free time. Do I want to do this six days a week.
So I feel I'm in a dilemma. Can anyone shed any LIGHT on this for me please.
I am also going through something similar to what you mention. I only realized my own patterns very recently. It felt as though I was clinging on to outer careers, goals and projects to bring happiness to me because I was not feeling fulfilled in the present moment. I got excited about everything...teaching, getting into business, writing a book etc. I thought every one of these would finally be "the answer". But everything I tried, I somehow failed at or quit. I then realized I was not accepting what is here, now, and in front of me. Acceptance is key for me. Acceptance that everything is around me for a reason. The more I tried to attach and force an outcome, the more I failed and the more I wasted my energy on things that were not in the flow. I was in a job I resented very much, but when I became more aware, I was pulled effortlessly into another job. I now have more enjoyable work yes, but still have so much more to learn about myself before I can move on yet again.
I get the strong sense you're coming into 'doingness cold turkey'. What's that all about?
Humanity is just so conditioned to doing and achieving things - even if it be simple things. Most people's lives are based on an endless string of goals throughout the day - things they must do and achieve: shopping, washing, cleaning, working, cooking etc etc etc. Even spiritual practice like meditation and yoga become something we must do and achieve.
The soul isn't like that - rather there are arising flows of sensation, impulse and feeling about a 'sensation of being' - right in this moment. There is no end goal to it, no achievement, no particular creation. The paradox is, that when we're in this free flowing state, we're likely to be the most creative we could ever be.
It's a real challenge holding and embodying this state on a daily basis when we have some kind of job to do, something we're committed to most of the time. It's so often a total contradiction to the absolute spontaneity of the soul.
That's why when people do get free time, then often still need to schedule or achieve something. Most are addicted to some kind of activity.
You have to work really hard at just being. With no objective. Not even meditating and definitely no 'entertainment'. Try just sitting with yourself increasingly, just watching, feeling, experiencing. Set plenty of time aside where there is absolutely nothing to achieve or do - simply let the pull take you and observe (it's something I get people practicing on the Openhand level 2 course Path between Worlds).
I suggest concentrating more and more on how you feel to be, and seeking a way of expressing that. It could be how you walk, speak, move, express - always it's about aligning with an authentic feeling.
But you do have to work very hard at this non-working state before you break through these constraints of the soul. And to do that, often the soul will take you through a constant rising and falling, a constant ebbing and flowing where you're apparently moving towards a goal only for it not to complete.
It's a great way to give up the struggle and break into being.
I recognise what you say Open. I feel iim aware in lots of moments but sometimes I get caught up in the mind games and not always aware.
Since reading your replies I have let go more and seeing what I feel to do in the moment.
I've felt more peaceful inside rather than turbulence.
Great that you see it Yvonne.
In the Openhand approach, we consider there are 7 rays of consciousness that make up the soul, all of which are likely to have various distortions as they come into being. So it might feel like we've already dealt with an issue, but actually we're dealing with something different that's related.
I can relate such a lot to the 7 Rays. I especially recognise thinking I've dealt with an issue only for it to resurface again. It feels like the more aware I become the more I have to deal with my 'stuff' at a deeper level.
One strong thought I get is I don't want to play the game any more, I've been there so many times and am tired of it, I feel I want to totally surrender, or maybe it would be better to say I feel I have surrendered but Im not ready to accept i have. I'm tired of game playing, repeating the cycle of my fears. A sort of feeling of submission. A felling of full circle I suppose, I started off moving round the circle of my own life journey only to end up where I started but to really know myself, and smiling once I'm there.
I do believe a working understanding of the 7 rays helps greatly. That's why we often talk about them and help people work with them.
Perhaps it might help to contemplate what being "there" really means? And what does tired of the "game" mean? Because there is no fixed place to be. There is no plateau to rest upon - at least not as an experience - not when one is continually in presence. Can you hear that, can you feel that? Can you soften into the place that needs it to be any other way? Perhaps one that feels it's arrived or needs to arrive?
There is the continual game, the continual movement, the continual opening out, the continual moving through, the continual surrender, and there's nothing else going on!
Yes it's tough. I can feel for anyone arriving in the midst of this realisation. It's especially tough because of the density and incongruency of this place. But once accepted, it does get easier, especially in the higher densities.
I do so appreciate your replies, and it is heartwarming to know you are with me.


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Home » India » Arrangements in place to provide vaccine to all health workers
Arrangements in place to provide vaccine to all health workers
42,100 doses assigned for Vellore region in the first phase
With the COVID-19 vaccine (COVISHIELD) reaching Chennai, the district administration in Vellore, Tiruvannamalai, Tirupathur and Ranipet are gearing up to administer the vaccine to all the health workers on the list.
In the first phase, 42,100 doses have been assigned for the Vellore region. While 18,600 doses have been allocated for Vellore, 4,400 have been set aside for health workers in Ranipet. The number stands at 4,700 for Tirupathur, 10,000 for Tiruvannamalai and 4,400 in Cheyyar. "The number varies depending on the number of government and private hospitals and medical colleges," said an official from the Health Department.
There are a total of 248 Cold Chain Points in all these districts together. Health officials in these districts said that though there are plans to start the drive from January 16, the exact date is yet to be communicated by the government.
"We already have the infrastructure ready and we are prepared to launch it the moment the government gives the go ahead," said Sandeep Nanduri, Collector, Tiruvannamalai.
The District Collectors also held a review meeting a few days ago to assess the preparedness. "The entire machinery is ready to start administering the vaccines. We already conducted a dry run to ensure smooth implementation of the process," said A. Shanmuga Sundaram, Collector, Vellore.
However, officials from the Health Department said that they have to wait to see how many doses they recieve. "Per day we will vaccinate 100 beneficiaries in each centre. Every district will have multiple centres for the process," said a health official from Tirupattur.
The official said that the vaccine would be administered only for those health workers who have registered in the CoWIN portal.
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'Making Professional Friends': Mentees' and Facilitators' Experiences of a School-Based Peer Mentoring Intervention to Support Primary to Secondary School Transition
Lakin, S. 2020. 'Making Professional Friends': Mentees' and Facilitators' Experiences of a School-Based Peer Mentoring Intervention to Support Primary to Secondary School Transition. Prof Doc Thesis University of East London School of Psychology https://doi.org/10.15123/uel.8884y
Lakin, S.
Secondary school transition is a significant marker in children's education, which can have widespread negative impacts for some young people (Riglin, Frederikson, Shelton, & Rice, 2013). Preventative interventions to support social and emotional needs during the transition are gaining popularity (Department for Education, 2015); yet research into understanding approaches that work is limited. Young people prefer support from people who can relate to them; therefore peer approaches, predominantly peer mentoring interventions are increasingly being used in schools (Podmore, Fonagy, & Munk, 2018).
Little is known about the mechanisms of change in peer mentoring, particularly when used to support secondary transition. Therefore, the current study was developed to both explore the experiences of young people participating in a transition peer mentoring project; and to understand from the perspectives of the mentees and programme facilitators what aspects of the intervention they thought facilitated change. The study took a critical realist epistemological position and utilised a qualitative design to enable the voices of the mentees to be fully heard.
Three focus groups were held with thirteen mentees in year seven and three facilitators participated in individual interviews. The transcripts were subjected to two separate thematic analyses. Twelve of the mentees noticed positive outcomes following the intervention; including increased confidence, preparation for secondary school and relational changes. The participants emphasised the importance of building trusting, supportive relationships in facilitating change, and reflected that the peer support model worked well, as mentors could relate to the mentees' experiences.
This research supports the need to promote positive mental health and prevention in schools, and demonstrates the benefits of a continued relationship across the school transition. The limitations of the study are explored, along with recommendations about future research, including longitudinal explorations of peer mentoring and the importance of collaboration between education and mental health settings.
https://doi.org/10.15123/uel.8884y
2020_ClinPsychD_Lakin.pdf
https://repository.uel.ac.uk/item/8884y


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Home News Parts Continental AG Strengthens Interiors Unit with Hornschuch Acquisition
Continental AG Strengthens Interiors Unit with Hornschuch Acquisition
Posted By: Hamid Moarefon: Sunday, November 6, 2016 In: PartsNo Comments
Renowned German company, Continental AG which manufactures premium tires and automotive components has strengthened its automotive interiors unit by acquiring another company based in Germany which specializes in automotive interiors, Hornschuch.
Continental is the second largest automotive supplier in the world in terms of revenue and the the deal will be funded completely from its liquid assets and the available lines of credit. Further financial details were not disclosed. Continental took over Hornschuch from private equity firm Equistone (formerly Barclays Private Equity) through its subsidiary Benecke-Kaliko AG.
Hornschuch has a history going back more than 100 years as it was established in 1898 as Textilgesellschaft Weissbach. The company designs and produces artificial leather, compact films and foam laminates for the automotive sector as well as the construction and the furniture industry. The company has over 1,800 employees and four production units in Germany and the United States.
Hornschuch,, which is headquartered in the Kocher Valley, in Weissbach near Heilbronn, had sales revenue of 410 million euros last year.
Benecke-Kaliko, is part of Continental's subsidiary, ContiTech, which specializes in development and manufacture of surface materials for passenger and commercial vehicles, the off-highway sector, and other industries. The company, which generated sales revenue of 550 million euros last year, has 16 international sales offices spread across Europe, Asia, and North and South America in addition to factories in Poland, Germany, China, Mexico and Spain.
The Hornschuch acquisition will be the largest such deal in Benecke-Kaliko's history and according to Dr Dirk Leiß, CEO of Benecke-Kaliko AG the deal will bind two strong companies who both have expertise of many years and will be able to operate with greater synergy and cater to the needs of customers with a more tailormade approach as a result of the deal.
Dr. Hans-Hinrich Kruse, CEO of the Hornschuch said, "The merger with Benecke-Kaliko now offers an outstanding opportunity in terms of our future continued development in our markets worldwide. We are certain that both companies will benefit from this strategic step."
Tags: acquisitionautomotive interiorsContinental AGfeaturedHornschuch
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Hamid Moaref
Hamid Moaref has always been fascinated by cars and the automotive industry. His family has a longstanding association with the industry and has been in the tire business for the past 35 years. Raised in Dubai, Hamid attended Capilano University in Vancouver where he graduated with a BBA in marketing before attending an intensive course in magazine publishing in 2005. He has been the publisher and chief editor of Tires & Parts magazine for the past ten years.
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Thuraya Solar Charger can power up your Thuraya phone and recharge its battery in areas where no electricity is available. Now you can go anywhere with the Thuraya phone and you won't have to look for an electricity outlet! Just connect the Solar Charger with your Thuraya handset (a car cigarette lighter adaptor is required) and the sunlight will do the rest!


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Kidnap fears for crew of Spanish air force helicopter after Canary Islands crash
Mystery over disappearance of three crew members who were earlier said to have been rescued by Moroccan authorities after their craft ditched in the sea
A Spanish air force helicopter Photo: Alamy
By James Badcock, Madrid
9:16AM GMT 27 Oct 2015
Spanish and Moroccan forces were on Monday searching for the three missing crew members of a Spanish air force helicopter who may have been kidnapped by pirates after their aircraft ditched into the Atlantic off the coast of Western Sahara.
The whereabouts of the three crew members of the Super Puma search and rescue helicopter, which went down 280 nautical miles south of its Canary Islands base, remain shrouded in mystery four days after Thursday's accident after initial reports suggested the men had been successfully rescued and were in the hands of authorities from Morocco, the country which governs the disputed Western Sahara territory.
The helicopter went down shortly after making a technical stop in Nouadhibou, Mauritania, when it was heading northward towards its base in Gran Canaria. On Friday Spain's defence ministry said that the three crew had been rescued and were being taken to shore in a Moroccan patrol vessel. The information came from the Moroccan government, but later it was revealed that it was not confirmed. The possibility that the three crewmen had instead been picked up by a fishing vessel began to emerge.
The alert went up at 4pm Spanish time on Thursday after the helicopter's electronic beacon was activated. Three and a half hours later the crew of a Moroccan search and rescue helicopter reported that they had located the stricken craft floating on the surface with its life raft next to it. But they could not confirm whether the three crew members were present or not, and it is unclear whether any vessel subsequently reached the crash site.
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Spanish Defence Minister Pedro Morenés on Monday admitted that kidnapping was "one of the hypotheses" being investigated, while military sources said the possibility that the three men had died inside the helicopter had almost been ruled out.
"We believe it is a kidnapping," Fernando Ojeda, the father of one of the missing men, said after meeting Mr Morenés.
As well as continuing to look for the wreckage, Spanish and Moroccan forces are stopping and checking vessels in the area, and undertaking searches in Western Saharan ports. The defence minister said this will probably be extended down the West Africa coast, including areas where pirates are known to operate.
The ministry believes the helicopter crashed due to a technical problem.


Gloria Jean Esposito, 72, of Goose Creek, South Carolina, wife of Patrick A. Esposito, died Friday, March 22, 2019. Her funeral service will be held Tuesday, March 26, 2019 in the J. Henry Stuhr, Inc., Northwoods Chapel, 2180 Greenridge Road at 12:00 pm. Interment will follow at Live Oak Memorial Gardens, 3093 Ashley River Road, Charleston, SC 29414.
The family will receive friends Monday from 6:00 pm to 8:00 pm in Stuhr's Northwoods Chapel. Gloria was born May 23, 1946 in West Virginia, and raised in Indiana. She was the daughter of the late Edward McIntyre and the late Esther Formanski McIntyre. She met Patrick on a blind date and they were married for 52 years; she was a homemaker and taking care of her family was what she enjoyed most. Gloria was Baptist by faith and liked crafting.
She is survived by her husband Patrick; a son, Patrick Esposito II of Goose Creek, SC; two daughters, Sharon Brigman of Bennettsville, SC and Trisha Esposito of Goose Creek, SC; granddaughters, Jessica Brigman and Hannah Price; brother, Dennis McIntyre (Diana) of LaPorte, IN; two sisters, Sue Wiltfong (Chuck), and Alice Hovey (Chuck) all of Michigan City, IN.
Memorials may be made to American Cancer Society, 5900 Core Road, Suite 504, North Charleston, SC, 29406.
I am so sorry to hear of Gloria Jean's passing. It's good to know she is safe in the arms of Jesus. Paul & I are praying for you all.
To the family you have my deepest sympathy and my prays go out to you and may you endure as each day passes by.
I am deeply saddened to hear of the loss of your wife, mother and sister. I never really knew Gloria Jean, only having met her once when I was a young child. Her and her family were in WV visiting our Grandmother and Grandfather McIntyre. Her father, Uncle Ed, would visit us in Ohio when I was growing up. May prayers and Gods blessings be with you.
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