text:
Q: Beamer: handout/article mode - produce multiple copies of a frame with distinct overlay numbers Similar questions have been asked before, but I was unable to come up with a general purpose solution out of the answers provided.
First, here is a MWE:

%\documentclass{beamer}
\documentclass[handout]{beamer}
%\documentclass{article}
%\usepackage{beamerarticle}

\begin{document}

\begin{frame}[label=foo]\frametitle{My only frame}
  \begin{enumerate}[]
    \item Item \arabic{enumi}
    \item Item \arabic{enumi}
    \item Item \arabic{enumi}
    \item Item \arabic{enumi}
    \item Item \arabic{enumi}
    \item Item \arabic{enumi}
    \item Item \arabic{enumi}
    \item Item \arabic{enumi}
    \item Item \arabic{enumi}
    \item Item \arabic{enumi}
  \end{enumerate}
\end{frame}

\againframe{foo}
\againframe{foo}
\end{document}

As can be seen in the example, the challenge is in producing two snapshots of the evolution of the frame that is built. In the example, I try, but fail to produce two such snapshots: one at overlay 5 and another at (the final) overlay 10.
I am search for a solution that would make this possible, without modifying the overlay instructions within the frame. If this is not possible, I guess not only me, but others would be interested in a solution that uses O(k) modifications to the frame, where k is the number of snapshots (rather than O(n) work, where n is the total number of overlays.
It would be really nice to achieve this in both the article and the handout modes. I suspect that the former is more challenging.
I conjecture that this is not possible. If this is indeed the case, a definite answer will also be useful. At least one stop searching if this is the case, and perhaps beamer will offer this some day.
Related previous questions

*

*How can I distribute beamer overlayareas in handout mode across multiple frames?

*How to handle only overlays while printing a latex beamer notes

*Can I declare a different overlay specification in different beamer modes?

*Fading out slides in latex-beamer with the option "handout" produces empty slides

*Selecting specific slides for handout?

A: You do need to tell beamer what you want to appear in each frame of the handout version. You can use \onslide specifications to do this so that you do not need to modify the existing overlay specifications at all. (I'm not sure this is what you want - probably not.)
The following code modifies your MWE so that, in presentation mode, there would actually be 10 slides within the frame. These are then placed on slides 1 or 2 of the handout. This is a waste of code: if you only want to show slide 5 and slide 10, you do not need two \againframe but only one. But, anyway, with the two:
\documentclass[handout]{beamer}

\begin{document}

  \begin{frame}<1-| handout:0>[label=foo]{My only frame}
    \begin{enumerate}[<+->]% or whatever you like for presentation mode
      \onslide<1-| handout:1-2>
      \item Item \arabic{enumi}
      \item Item \arabic{enumi}
      \item Item \arabic{enumi}
      \item Item \arabic{enumi}
      \item Item \arabic{enumi}
      \onslide<1-| handout:2>
      \item Item \arabic{enumi}
      \item Item \arabic{enumi}
      \item Item \arabic{enumi}
      \item Item \arabic{enumi}
      \item Item \arabic{enumi}
    \end{enumerate}
  \end{frame}

  \againframe<0| handout:1>{foo}
  \againframe<0| handout:2>{foo}
\end{document}

More efficiently with only one repeat:
\documentclass[handout]{beamer}

\begin{document}

  \begin{frame}<1-| handout:1>[label=foo]{My only frame}
    \begin{enumerate}[<+->]% or whatever you like for presentation mode
      \onslide<1-| handout:1-2>
      \item Item \arabic{enumi}
      \item Item \arabic{enumi}
      \item Item \arabic{enumi}
      \item Item \arabic{enumi}
      \item Item \arabic{enumi}
      \onslide<1-| handout:2>
      \item Item \arabic{enumi}
      \item Item \arabic{enumi}
      \item Item \arabic{enumi}
      \item Item \arabic{enumi}
      \item Item \arabic{enumi}
    \end{enumerate}
  \end{frame}

  \againframe<0| handout:2>{foo}
\end{document}

I'm not sure how this could apply to article mode since then there are no frames or slides.

A: I have been trying to solve the same problem but - as you - failed to find a beamer-only solution. A possible workaround could be to extract the interesting frames from the 'slides' version of the presentation. In linux, the following works for me:
MWE (example of merge sort):
\documentclass{beamer}

\usepackage{tikz}

\begin{document}

\begin{frame}{Merge Example}

\begin{center}
  \begin{tikzpicture}
    \tikzstyle{num}=[rectangle,draw,minimum size=1.65em]
    \tikzstyle{invis}=[rectangle,minimum size=1.65em,draw,color=gray!30]
    \tikzstyle{head}=[circle,draw,inner sep=1,minimum width=2em,node distance=3em]
    \tikzstyle{sorted}=[rectangle,draw,green,inner sep=0.3em,very thick]
     \node[head] (s) {S};
    \node<3->[num,right of=s] (s-1) { 5};
    \node<5->[num,right of=s-1] (s-2) { 6};
    \node<7->[num,right of=s-2] (s-3) { 7};
    \node<8->[num,right of=s-3] (s-4) { 9};
    \node<9->[num,right of=s-4] (s-5) { 19};
    \node[head,right of=s,node distance=14em,yshift=8ex] (s1) {S1};
    \node[head,right of=s,node distance=14em,yshift=-8ex] (s2) {S2};
    \node<-4>[num,right of=s1] (s1-1) {6};
    \node<5->[invis,right of=s1] (s1-1) {6};
    \node<-6>[num,right of=s1-1] (s1-2) {7};
    \node<7->[invis,right of=s1-1] (s1-2) {7};
    \node<-2>[num,right of=s2] (s2-1) {5};
    \node<3->[invis,right of=s2] (s2-1) {5};
    \node<-7>[num,right of=s2-1] (s2-2) {9};
    \node<8->[invis,right of=s2-1] (s2-2) {9};
    \node<-8>[num,right of=s2-2] (s2-3) {19};
    \node<9->[invis,right of=s2-2] (s2-3) {19};
    \draw<2>[latex-latex] (s1-1) edge[out=-90,in=90] (s2-1);
    \draw<4>[latex-latex] (s1-1) edge[out=-90,in=90] (s2-2);
    \draw<6>[latex-latex] (s1-2) edge[out=-90,in=90] (s2-2);
   \end{tikzpicture}
\end{center}

\end{frame}

\end{document}

With the above example stored in the file merge.tex, the following commands will generate a 2-by-2 handout version with overlays 1,2,3,9:
pdflatex merge.tex
pdftk merge.pdf cat 1 2 3 9 output - | pdfnup --nup 2x2 --outfile merge-2x2.pdf

The obvious drawbacks are:

*

*You would need to keep track of the actual page numbers in merge.pdf as
they would shift if you insert/remove a frame and/or overlay before the
interesting frame.

*The generated 2-by-2 page would need to be spliced into the "vanilla"
handout generated by the beamer handouts mode.

There might be ways to automate that, e.g., using Makefiles, but I haven't tried that yet.
Still, if you have a long enough animation and want to capture, e.g. the first, some intermediate, and last overlay, it might be acceptable.

redpajama_set_name: RedPajamaStackExchange


The Hollywood power couple discussed the brave decision for Angelina to undergo preventative surgery in a new joint interview.
Brad and Angelina opened up about the decision to undergo a preventative double mastectomy in 2013 and removal of ovaries earlier this year, in a recent interview with the US version of The Today Show.
"There was no vanity to my wife's approach," Brad shared. "It was mature."
The 51-year-old actor explained that Ange could only just make the best of the situation.
"There was a strength in that. It was just another one of those things in life that makes you tighter and she was doing it for the kids, and she was doing it for her family so we could be together," he said.
With a defective BRCA1 gene, Angelina, 40, learnt that she had an 87 per cent chance of developing breast cancer. She also had a 50 per cent chance of developing ovarian cancer.
Angelina's mother Marcheline Bertrand passed away at the age of 56, after being diagnosed with cancer.
Ange revealed how her mother had a secret pact with her surgeon.
"We had some of the same nurses, some of the same doctors," the actress shared with The Today Show.
"So, the doctor that did my ovary surgery was my mother's doctor," Ange went on to say. "And apparently my mother had said to her, "promise me you will take Angie's ovaries out. So when we kind of got together, we both had a big cry, and she said, "I promised your mother, and I gotta do this.'"
Angelina's new film By The Sea, which also stars husband Brad, was inspired by the pain of losing her mother.
"We can't say what the whole film is about, but a lot of the film was when I went to visit my mum in the hospital, when she found out she had cancer the first time, she was gonna have her ovaries removed, (and) she was very upset, feeling like...they're taking out her parts that were female, and there was a woman down the hall who was wailing," Angelina revealed. "I later found out it was a young woman who had not had children yet, and that put everything into perspective."
"Every woman is different when they go through menopause, and...I didn't know emotionally how I would feel," Ange went on to say. "I knew the breast would be a bigger surgery and physically changing. The ovaries is more, your hormones changing and your emotions changing, but it's different. You feel different."
The whole ordeal brought the pair closer together. "She was doing it for the kids," Brad gushed about his wife. "And she was doing it for her family so we could be together."
"I knew through the surgeries that he was on my side and that this wasn't something where I was gonna feel less of a woman because my husband wasn't gonna let that happen," Ange added. "To face these issues together and speak about them and talk about what it is to be human, I think can be a beautiful thing."
By The Sea will be the first time the pair have reunited on screen, since Mr And Mrs Smith in 2005.
Brad and Angelina have six children, and married in 2014 after nine years together.


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Design and create: beaded, fabric, and button bracelets to gift and trade with your friends.
Springtime conjures up wonderful images of flowers blooming and birds singing, and in Barberton it also signals the return of the swans to Lake Anna. Today, Lake Anna is blessed with the presence of two swans, which are a popular attraction in the downtown Barberton area. Learn how the swans came to Barberton.
Get a Library Cat's Meow!
Add one of the 100 Cat's Meow Village keepsakes of the library to your Cat's Meow collection. The keepsakes document the new building facade, where the atrium used to stand. The keepsakes are being sold for $10 at the Customer Services Desk at the Main Library and at the Community Health Branch located on the first floor of Summa Barberton Hospital.
Read more about Get a Library Cat's Meow!


Call it 'double punishment' or a case of 'hyperactive skin'- sensitive skin is everyone's headache and nightmare. Most women with sensitive skin forbid the daily pleasure of dolling up with the choicest of makeup products, simply because of the redness and irritation thereafter. Au contraire ladies, you now can use our 5 important rules and bring down the redness too – your skin would glow and there wouldn't be a sluggish appearance on your face as well. Read on and follow the 5 rules religiously- these are basic yet powerful tips to manage sensitive skin while dolling it up.
Ordinary skin has ways to tolerate the elements around; sensitive skin does not. This is why, before buying any of the reputed makeup products, it is but important for you to do a 'test'- choose a small zone on your face or neck for the same and apply your makeup. If you do experience discomfort in the next 24 hours- the product then isn't for you.
Choose makeup brands that clearly mention the list of ingredients used- be very wary of brands that claim to have 'secret ingredients' in them- they could do more harm than good. Makeup products of repute meet all criteria where safety and regulations are concerned- they are derma tested and hypoallergenic too. If you do come across products that claim to be 'nickel tested'- stay away from it, or else you would be a victim of allergies.
Sensitive skin has enemies and allies in equal measure; get to know the latter! With regard to the makeup being chosen, it would be best to choose products that are non-greasy and hypoallergenic. Look also for makeup that is rich in antioxidants and moisturizers- non-comedogenic to be precise. Choose makeup that doesn't block pores and would allow the skin with easy breathing too. Finally, always choose products that keep the skin safe from the UV rays of the sun.
Spring water or mineral water when sprayed over the face- before and while removing makeup would do wonders for the sensitive skin. The minerals found in the water would help soften and moisten the skin- keeping the skin protected from the elements around that cause more harm than good. Selenium for example, found in most spring and thermal water has antioxidant properties- excellent for sensitive skin.
Never keep your makeup kits uncared for- after you finish using the product, ensure to close the lid and store them in a cool and dry place. This would keep the product pleasant and effective for a very long time. The same would be for your brushes, wash them after every use.
We all want to have healthy skin, but do we take enough time to care for it? With the 5 golden rules on managing and planning makeup for sensitive skin, we sure hope this comes in handy- check with an expert if the conditions are too wary to deal with, you could have an underlying issue that needs attention.


The Greater Phoenix Chapter of IFMA's Community Outreach Committee recently supported UMOM Day Centers with a $300 donation in the form of 12 gift cards in the amount of $25.00. UMOM serves nearly 600 people each month and concurrently helps participants in teaching people and families the benefits of taking ownership of life circumstances and the overall responsibilities of self-sufficiency. The gift cards will assist UMOM participants in the purchase of school supplies, and clothing.


text:
Q: SQL Server : return list real week of startdate and enddate I'm in trouble with a hard case. How can I get every real weeks base on startdate and enddate?
Example:
@startdate datetime = '2021-05-01',
@enddate datetime = '2021-05-31'

Expected result:
|datefrom|   ~   |dateto|
2021-05-01      2021-05-02
2021-05-03      2021-05-09
2021-05-10      2021-05-16
2021-05-17      2021-05-23
2021-05-24      2021-05-30
2021-05-31      2021-05-31

A: you need recursice cte :
declare @startdate date ='2021-05-15',
        @enddate date ='2021-06-15'

;with cte as (
Select
    @startdate weekstart
    , DATEADD(DAY, 8 - DATEPART(WEEKDAY, @startdate), CAST(@startdate AS DATE)) weekend
union all
select
    DATEADD(day , 1 , weekend)
    , case when DATEADD(DAY, 8 - DATEPART(WEEKDAY, DATEADD(day , 1 , weekend)), CAST(DATEADD(day , 1 , weekend) AS DATE))  >= @enddate then @enddate
    else DATEADD(DAY, 8 - DATEPART(WEEKDAY, DATEADD(day , 1 , weekend)), CAST(DATEADD(day , 1 , weekend) AS DATE)) end weekend
from cte
where DATEADD(day , 1 , weekend) <= @enddate
)

select * from cte

weekstart  | weekend
:--------- | :---------
2021-05-01 | 2021-05-02
2021-05-03 | 2021-05-09
2021-05-10 | 2021-05-16
2021-05-17 | 2021-05-23
2021-05-24 | 2021-05-30
2021-05-31 | 2021-05-31

db<>fiddle here
Note : I used date as date type to simplify , but there should be no issue working with datetime , just change casting to datetime everywhere in query


AUEA understands the impact of a student's diet on their ability to learn effectively. With students working slightly longer days and travelling across the city, it is vital students have access to good quality, healthy food. Therefore AUEA has a professional catering team within a dedicated restaurant to meet each student's needs. We have a wide range of menus throughout the week.
Should you have any specific dietary requirements or food allergies we request that you notify AUEA at the earliest opportunity. Students are also able to bring sandwiches and packed lunches which are also to be eaten in the restaurant. Year 12 and 13 students are allowed off site for lunch on Mondays and Thursdays.
Physical education and sport at AUEA reflects our innovative approach to the other areas of our curriculum. Working in partnership with Aston University ensures we have access to outstanding sports facilities from across the Aston University campus. Sport in enrichment time and core PE will therefore benefit from facilities which include astro turf pitches, swimming pool, sauna, ball hall, badminton and squash courts and multi gym. AUEA also has its own sports hall and multi gym facility.
In Year 12 our students have the exciting opportunity for use of Sport Aston's facilities once per week during enrichment time or you can join at the discounted student rate of Full membership for just £19 per month (smaller packages available to suit your needs).
Life at AUEA Sixth Form is based around independence, responsibility and respect. It is a thriving community with a strong feeling of togetherness and teamwork between students and teachers alike.
A reflection of this is the appointment of a Student Leadership Team led by our Senior Students within the Sixth Form.
There are numerous opportunities for our students to develop their character and personal skills beside their academic journey. This includes our strong involvement with National competitions.
Bronze and Gold Duke of Edinburgh Award.
All Year 10 and Year 12 students have the chance to join our outstanding DofE teams at Gold Level, regardless of previous experience with DofE. Led by wonderful staff and previous students, you will undertake expeditions in the Brecon Beacons and Dartmoor along with climbing trips, completing Volunteering, Physical, Skill and Residential sections of the award.
See www.dofe.org for more information. It is hard work for Gold but the outcome is a prestigious award that makes your CV stand out. As well as the chance to go to Buckingham Palace to be presented with your award.
Our students have the opportunity to compete in many national STEM competitions across their time at AUEA. This includes the Royal Navy Challenge, Field Gun Challenge, Girls in Engineering, F1 in Schools, Engineering Education Scheme and Vex robotics to name a few. These opportunities not only provide additional experiences supporting CV's and applications, but introduce new skills and teamwork development.
Every student at our UTC has at least one opportunity to apply to participate in a once-in-a-lifetime opportunity as part of the Erasmus+ foundation. Students travel to Austria to complete a cultural exchange project together with our partner 14-19 technical school, HTL Mödling.
The project involves specialist engineering workshops, industry visits, cultural tours and adventurous activities which provide our students with a worldwide outlook of the industry they are about to enter.
We firmly believe that all students should develop wider skills and consequently Tuesday nights are always busy at AUEA with our club night programme. Whether it is arts, music or sports, we have a wide programme of activities for you to get involved with.
Many of our clubs are supported by sponsors including Aston Villa, England Cricket, Redpoint Climbing Centre.
AUEA has a strong ethos and reputation for competitive sport and our teams regularly compete in local leagues and national competitions. Basketball and Football remain our strength, most recently with our Basketball team winning the U16's Birmingham Schools Tournament.
Several of our students have gone onto success in Cricket, Rowing, and Cycling, representing county and national teams. Most recently this includes our recent graduate Henry Brookes for England Cricket Under 21's and signed professional with Warwickshire County. Current student Jordan James Hall-Wallace is in training for future olympic success with the British Track Cycling development team.


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With Robert home from the hospital, things are returning to some sense of normal, but that doesn't mean that they're calm or without their own sense of craziness. Sol's inability to spend time alone with Robert for fear of ruining the relationship completely with his confession about his indiscretion with Frankie was really paralyzing him, and there's no way that can go on for too long. Bud, Coyote, and Brianna all had humorous reactions to Sol's trouble functioning, and I liked Brianna's harsh motivational response coupled with her attempt to make the fancy chair seem like a great idea. Robert's constant pushing of the boundaries in terms of what he can eat and drink didn't help matters too much, but they did provide a good distraction to get Sol upset. Frankie definitely crossed a line looking up Grace's onetime fling, and that didn't end up turning out too well. I suppose it's not too surprising that Frankie isn't one for highway driving and was ready to take side streets for three hours rather than go an hour with traffic, and the reason for that was exemplified by Frankie freezing when she was supposed to merge on the freeway until Grace hit the gas for her. I smiled when I saw Sam Elliott was the actor cast as Phil since he played a similar part in last year's film "Grandma" opposite none other than Lily Tomlin. We'll see if he continues to be a part of the plot, but this was certainly a sobering experience for Grace.


text:
The heterogeneous effect of affirmative action on performance
Anat Bracha*, Alma Cohen, Lynn Conell-Price
This paper experimentally investigates the effect of gender-based affirmative action (AA) on performance in the lab, focusing on a tournament environment. The tournament is based on GRE math questions commonly used in graduate school admission, and at which women are known to perform worse on average than men. We find heterogeneous effect of AA on female participants: AA lowers the performance of high-ability women and increases the performance of low-ability women. Our results are consistent with two possible mechanisms—one is that AA changes incentives differentially for low- and high-ability women, and the second is that AA triggers stereotype threat.
Journal of Economic Behavior and Organization
https://doi.org/10.1016/j.jebo.2018.11.019
GRE performance
Stereotype threat
10.1016/j.jebo.2018.11.019
Dive into the research topics of 'The heterogeneous effect of affirmative action on performance'. Together they form a unique fingerprint.
Affirmative Action Business & Economics 100%
Tournament Business & Economics 31%
Performance Business & Economics 27%
Stereotype Threat Business & Economics 24%
Admission Business & Economics 15%
Incentives Business & Economics 14%
Trigger Business & Economics 13%
Bracha, A., Cohen, A., & Conell-Price, L. (2019). The heterogeneous effect of affirmative action on performance. Journal of Economic Behavior and Organization, 158, 173-218. https://doi.org/10.1016/j.jebo.2018.11.019
Bracha, Anat ; Cohen, Alma ; Conell-Price, Lynn. / The heterogeneous effect of affirmative action on performance. In: Journal of Economic Behavior and Organization. 2019 ; Vol. 158. pp. 173-218.
@article{ba47f803703144829106f1bf15113711,
title = "The heterogeneous effect of affirmative action on performance",
abstract = "This paper experimentally investigates the effect of gender-based affirmative action (AA) on performance in the lab, focusing on a tournament environment. The tournament is based on GRE math questions commonly used in graduate school admission, and at which women are known to perform worse on average than men. We find heterogeneous effect of AA on female participants: AA lowers the performance of high-ability women and increases the performance of low-ability women. Our results are consistent with two possible mechanisms—one is that AA changes incentives differentially for low- and high-ability women, and the second is that AA triggers stereotype threat.",
keywords = "Affirmative action, GRE performance, Gender differences, Stereotype threat",
author = "Anat Bracha and Alma Cohen and Lynn Conell-Price",
doi = "10.1016/j.jebo.2018.11.019",
journal = "Journal of Economic Behavior and Organization",
Bracha, A, Cohen, A & Conell-Price, L 2019, 'The heterogeneous effect of affirmative action on performance', Journal of Economic Behavior and Organization, vol. 158, pp. 173-218. https://doi.org/10.1016/j.jebo.2018.11.019
The heterogeneous effect of affirmative action on performance. / Bracha, Anat; Cohen, Alma; Conell-Price, Lynn.
In: Journal of Economic Behavior and Organization, Vol. 158, 02.2019, p. 173-218.
T1 - The heterogeneous effect of affirmative action on performance
AU - Bracha, Anat
AU - Cohen, Alma
AU - Conell-Price, Lynn
N2 - This paper experimentally investigates the effect of gender-based affirmative action (AA) on performance in the lab, focusing on a tournament environment. The tournament is based on GRE math questions commonly used in graduate school admission, and at which women are known to perform worse on average than men. We find heterogeneous effect of AA on female participants: AA lowers the performance of high-ability women and increases the performance of low-ability women. Our results are consistent with two possible mechanisms—one is that AA changes incentives differentially for low- and high-ability women, and the second is that AA triggers stereotype threat.
AB - This paper experimentally investigates the effect of gender-based affirmative action (AA) on performance in the lab, focusing on a tournament environment. The tournament is based on GRE math questions commonly used in graduate school admission, and at which women are known to perform worse on average than men. We find heterogeneous effect of AA on female participants: AA lowers the performance of high-ability women and increases the performance of low-ability women. Our results are consistent with two possible mechanisms—one is that AA changes incentives differentially for low- and high-ability women, and the second is that AA triggers stereotype threat.
KW - Affirmative action
KW - GRE performance
KW - Gender differences
KW - Stereotype threat
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JO - Journal of Economic Behavior and Organization
JF - Journal of Economic Behavior and Organization
Bracha A, Cohen A, Conell-Price L. The heterogeneous effect of affirmative action on performance. Journal of Economic Behavior and Organization. 2019 Feb;158:173-218. doi: 10.1016/j.jebo.2018.11.019

redpajama_set_name: RedPajamaCommonCrawl


A dishwasher is integrated into the back of the island, while a second dishwasher is found in the scullery of this new home. The kitchen is designed so the chef can talk to guests on the island stools or in the living areas or enjoy the view out to the garden and pool beyond the wall-height sliding doors. The open fireplace just across from the kitchen is finished in the same marble-look porcelain panels as the island creating a sense of balance through the large, open plan area.
It's a simple balancing act you want your kitchen to have refined surfaces but then you don't want to labour away your hours cleaning everything down when the party or even family breakfast is over.
This large kitchen is set directly across from the living spaces in a three-level riverside home created by Urbane Projects with Steve Gliosca as architectural designer.
"The home is set up for entertaining on a large scale as well as catering to the needs of a young family," says Gliosca. "As such it had to look glossy and upmarket and yet stand up to day-to-day use."
And it was this double-requirement that led Gliosca to create the feature island and cabinetry in marble-look pressed porcelain panels, matched with a durable wood-look laminate product and wipe-down two-pac cabinetry paint finish. The same porcelain panels are used to clad the fireplace opposite, and the laminate is also repeated on cabinets in the living area, creating balance through the interior.
In this new home by Urbane Projects the dramatic LED-lit island with its sculptural folding planes is a stand-out feature and helps define the kitchen zone.
"The match of wood-look laminate and marble-look surfaces creates an eye-catching two-tone aesthetic which is also used to delineate the kitchen. A band of the dark brown laminate separates the perimeter upper cabinetry from the white ceiling."
And the interplay of surfaces isn't the only stand-out element in the kitchen. The large island is positioned out towards the living spaces and features a dense counter-top that appears to wrap back, downwards and out again at floor level to form a footrest for the island stools. Sets of concealed LEDs highlight the island's sculptural form.
Another aesthetic consideration came from a spiral staircase which is the central feature of the home. The curves from this stair are intentionally echoed in the curving landscape window beside the kitchen and living spaces and by the curvaceous wall that helps shape the rear scullery.
Along with stand-out good looks, the kitchen delivers big-time on functionality.
This panoramic window and the kitchens scullery wall are shaped to echo the home's spiral staircase.
"The kitchen boasts large fridges in the end joinery block, which also forms the outer wall of the large walk-in scullery," says Gliosca. "The scullery continues the finishes of the perimeter cabinetry and has a second oven, second dishwasher and a wealth of bench space. As the scullery is only seen from the rear of the kitchen it was felt a door was unnecessary.
"The owners frequently entertain on a large scale and having an easy flow from prepping scullery to living area was a must. There are also lots of cupboards to hold large platters, such as in the high cabinets above the fridges."
Upper wall cabinets hide a minimalist, quiet rangehood with its motor on the roof.


text:
Mark Hamill deletes Facebook account: 'Mark Zuckerberg values profit more than truthfulness'
By Justine Coleman - 01/13/20 05:15 PM EST
"Star Wars" star Mark Hamill deleted his Facebook account on Sunday, saying that Mark Zuckerberg Mark ZuckerbergHillicon Valley — States probe the tech giants Executives personally signed off on Facebook-Google ad collusion plot, states claim States push forward with Facebook antitrust case, reportedly probe VR unit MORE, the co-founder and CEO of the social media outlet, "values profit more than truthfulness."
Hamill announced his departure from Facebook in a tweet, saying, "I know this is a big 'Who Cares?' for the world at large, but I'll sleep better at night."
So disappointed that #MarkZuckerberg values profit more than truthfulness that I've decided to delete my @Facebook account. I know this is a big "Who Cares?" for the world at large, but I'll sleep better at night. #PatriotismOverProfits > https://t.co/seb2eJMTo6
— Mark Hamill (@HamillHimself) January 12, 2020
The post has received more than 19,000 retweets and 165,000 likes as of Monday evening.
Hamill, who played Luke Skywalker in the original "Star Wars" trilogy, made his announcement after Facebook declared it does not plan to make changes to its political advertising policy that allows misinformation in ads ahead of the 2020 election.
The Hill reached out to Facebook for comment.
The "Star Wars" star is not the only actor to criticize Facebook.
"Borat" actor Sacha Baron Cohen also attacked Facebook during a November speech while accepting an award from the Anti-Defamation League, saying that if Facebook had been around during Adolf Hitler's reign, he could have posted "30-second ads on his 'solution' to the 'Jewish problem.'"
Facebook denounced Cohen at the time, saying he "misrepresented Facebook's policies" since hate speech is banned on the website.
Tags Facebook Mark Zuckerberg political ads


text:
Women Rising: In and Beyond the Arab Spring
Edited by Rita Stephan and Mounira M. Charrad
New York University Press, 2020, 432 pp.
Reviewed by Lisa Anderson
Women in the Middle East and North Africa are typically portrayed as victims—of patriarchy and poverty, war and violence, Orientalism and imperialism. This book suggests, very convincingly, that they are victimized just as much by the antiquated platitudes, stereotypes, and distortions with which they are portrayed. In a collection of 40 short pieces by scholars and activists, the editors showcase a stunning variety of domains in which women are operating on their own behalf and in the service of others. Graffiti artists, journalists, filmmakers, teachers, bloggers, government ministers, community organizers, and political activists are debating constitutional reform in Tunisia, advocating feminism in Islam in Syria, supporting independence in southern Yemen, developing gender studies in Morocco, calling for restorative justice in Libya, demanding an end to sexual harassment in Egypt, advancing gay rights in Lebanon. Although the seeds of this activism were planted as early as the 1920s, Stephan and Charrad argue compellingly that the Arab uprisings of 2010–11 emboldened a generation of women who are now more active, more visible, and more influential in the politics and social life of the region than ever before. Despite all appearances, the editors suggest, there has been a subtle democratization of politics, as bottom-up pressure is forcing greater accountability on often reluctant regimes. The Arab Spring left important traces, visible today in the growing prominence and authority of women.
More By Lisa Anderson
Politics & Society Civil Society Gender Middle East
Turkish Kaleidoscope: Fractured Lives in a Time of Violence
By Jenny White and Ergun Gunduz
Archive Wars: The Politics of History in Saudi Arabia
By Rosie Bsheer
You Can Crush the Flowers: A Visual Memoir of the Egyptian Revolution
By Bahia Shehab


text:
The Rules of Petanque
The comprehensive English-language source for the rules of petanque
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Petanque Libre
2020 rules – removing the "moistening" rule
Posted on December 29, 2020 by Jules Lenoir
[For other posts about the 2020 rules and changes to the rules, see THIS.]
For many years, Article 16 of the FIPJP rules said this: "It is forbidden to moisten the boules or the jack." Its counterpart in the rules of Petanque Libre was: When a player plays a boule, the boule must be clean and dry (weather permitting). I assumed that it was an anti-mud rule, like the rule that you must clean mud off of a boule before measuring. (You have to measure to the surface of the boule, not to the surface of a mud coating.)
It seemed a straightforward rule, so I was surprised when it was removed in 2020. If it was so straightforward, then why, I wondered, was it removed? And I began to wonder— If the FIPJP international umpires were so willing to remove it, why was it in the rules in the first place? I started surfing around the web, looking for answers.
Why did the moistening rule exist in the first place?
When I was a beginning player, a friend told me that a wet boule will pick up dirt as it rolls, slowing it down. To my friend, playing with a wet boule was like playing with a stuffed boule— a form of cheating. Just as stuffed boules are forbidden, so wet boules are forbidden.
This seemed implausible to me. It seemed unlikely that a wet boule could pick up enough dirt as it rolled to significantly affect its motion. If it could, the amount of dirt and its effect would be unpredictable.
Another theory is that the rule is designed to keep players from spitting on their boules, a gross, unhygienic practice that harms the image of the game. Not likely. If you want to prohibit players from spitting on their boules, write a rule prohibiting spitting on boules, like the rule that prohibits smoking during a game.
There is another theory. With a bit of moisture on a boule, some players can throw a boule whose trajectory will curve in mid-air, like a spitball in baseball. That gives skillful players an unfair advantage over less-skillful players, an advantage that is somehow "outside the spirit of the game." But I don't buy that, either. First, I doubt that it is possible to throw a curving spitball with a petanque boule. Certainly, it has never been shown to be possible. Even if it is possible, I don't think that it would be a useful skill in petanque— unlike in baseball, a shooter or a pointer isn't trying to get around an opposing player standing in the head. And even if it is useful, I see no reason to ban it. Certainly there is nothing unfair about some players being more skillful than others.
Another theory is that a little moisture on the hand (and so on the boule) gives a player a better grip on the boule. This seems to me plausible and true. Jac Verheul says—
During a lot of years I played with a wet towel. Not in order to moisten my boules, but just to moisten my hand. In that time I played with stainless steel boules that always slipped out of my hand, even when they had some grooves. But since about 2004 I play with carbon steel boules, and there is no more reason to moisten my hand. It's all a question of a good 'grip'.
Behind many of these theories, in addition to the idea that playing with wet boules must provide some kind of advantage, is the idea that that advantage— whatever it is— must somehow be unfair. I don't understand that idea, and 15 years ago neither did Graeme Burnard. Graeme was (still is?) a member of Petanque New Zealand. In 2006, he wrote a post called Rules, Rules, Bloody Rules in which he rails against petanque rules that make no sense— stupid rules. One of the stupid rules is the moistening rule, aka the "wetting the rag rule".
I understand it is illegal to wet one's rag as "it gives one an unfair advantage". Excuse me? Isn't that about as silly as banning sunglasses, hats with a brim, sleeveless shirts… Wouldn't they all give you some advantage over someone who was wearing no hat, and wearing overalls and woolen long johns when it's 30 degrees Centigrade.
Listening to Jac and Graeme, I'm beginning to understand that for all practical purposes, the moistening rule wasn't a rule against moistening the boules. It was a rule against playing with a wet boule towel.
This is from Graeme's post.
Anyway, the whole reason for putting pen to paper was about a rule I discovered whilst playing in the Kapiti Open Doubles last weekend and I have to confess that I cheated during the tournament. Not only did I cheat, I knowingly cheated, and not only did I knowingly cheat, I enjoyed cheating knowingly. It is so bad, I can't bring myself to mention it, but I have to because I wouldn't be able to face my conscience ever again. I…….., I………, I………(come on Graeme, be brave), I……… WET MY RAG!!! There, I've said it!!. Oh, the relief!!!!
Yes, I wet my rag. Oh my God. I gave myself an advantage over the other 47 teams. It worked too. We went from 27th to 26th place. Now, I understand it is illegal to wet one's rag as it gives one an unfair advantage over the opposition. Excuse me? Isn't that about as silly as banning sunglasses, hats with a brim, sleeveless shirts, crutchless underwear. Wouldn't they all give you some advantage over someone who was wearing no hat, and wearing overalls and woolen long johns when it's 30 degrees Centigrade.
I actually used my rag to put around my neck to cool off. Having suffered in the last 12 years from Legionnaires Disease, a heart attack and a mild stroke (and I am not yet 50) I get tired easily and feel the heat and now some tosser is going to tell me I cannot wet my rag to cool off. Apparently the rule actually relates to wetting your boule, but I cannot see how that can give you an advantage. What scientific studies have been done to ascertain this and wouldn't the boule blow dry itself as it sailed through the air on its way to a perfect carreau so any advantage would soon disappear?
I understand that one player in last year's Trans Tasman had his wet rag taken off him. I mean, really, have you ever heard of anything so stupid.
In a comment on the post, Andy Gilbert (National & International Arbiter) wrote—
As you mentioned there was a recent incident at the Trans Tasman. Unfortunately I was the official at that infamous game. Acting on direct instructions from the international arbiter, Andre Deramond, to enforce the 'wet rag rule' throughout the tourney I called the Tahiti team captain for using a wet rag and asked her to take it away from the terrain. With ill grace she tossed it to the side. The other team members also made a hasty effort to change rags before I inspected them. I assume they were all using moistened rags.
So again we see the moistening rule being interpreted as forbidding players from playing with a wet boule towel.
There are a couple of comments on Graeme's post that I find especially interesting. In the first, Tom van Bodegraven says—
I agree with the essence of what Graeme Burnard wrote. If a rule makes absolutely no sense and can not be justified through common sense or science, it should be removed. [Other commenters] have brought up many examples of the absurdity of Art. 16. I do not know how and when this Article 16 came about, but I feel the people responsible [i.e. the FIPJP international umpires who wrote Article 16] should be charged with bringing the game into disrepute. Maybe a submission should be tabled at the forthcoming PNZ AGM for the removal of Art. 16 from our NZ playing rules.
In the second, Michael E writes—
If the rule is stupid then we (or PNZ) do have the right to change it. We're not beholden to FIPJP as to how the game is played in this country.
Note that what we're seeing in these two comments is a grassroots call for the removal of the moistening rule. This is in 2006, 15 years before the FIPJP actually did remove it.
In another comment, Michael E notes that although New Zealand umpires interpret the moistening rule as a ban on wet boule towels, some other umpires do not.
During the World Championships 2006 Final, one of the Belgian players grabbed a bottle of water, wet his rag, and rung it out over the terrain. This was in front of the crowd, the opposition, on national TV, and with two arbitres… who watched him and took no action.
Michael goes on to make the same point that Jac Verheul made earlier.—
Most of the reasons given for a supposed advantage [of playing with a wet rag] are ridiculous and unfounded. I know myself, and I've spoken to many players who play with a wet rag, and the perceived benefit is only that the contact between the ball and the hand is 'cleaner' if the hand is slightly damp. Remember the rag is damp, not wet. Any moisture applied to the ball will evaporate before it is played anyway.
All of that was being floated as long ago as 2006. And it still is. Apparently, not long ago, at an international competition, there was an incident involving an umpire, a wet boule towel, and a Thai player who was using the wet boule towel to help keep cool. (I don't know any more details of the incident. If you do, I'd appreciate it if you left a comment.)
What was the moistening rule REALLY about?
I think it's fair to say that nobody has been able to offer a good reason for the moistening rule, and that nobody knows why the rule was originally inserted into the FIPJP rules. What is certain, however, is that umpires widely interpreted the rule as banning players from playing with wet boule towels or rags.
This is a problem. Many players actually do like to use a wet boule towel, and they have good reasons for doing so. In hot, tropical climates, carrying a wet boule towel can help a player stay cool. A wet boule towel can help keep a player's hands from becoming uncomfortably dry. Above all, a wet boule towel may improve a player's grip by keeping his/her hands slightly damp.
These benefits (or "advantages" if you will) should be available to all players. Some players believe that the FIPJP rules forbid players from wearing gloves because wearing gloves gives a player an "unfair advantage". They are mistaken. The FIPJP rules do not forbid glove-wearing, and any benefits/advantages that gloves confer are not unfair— they are available to all players equally. If I'm wearing gloves and you want to wear gloves too, you can. The same (now, in 2021) is finally true of carrying a wet boule towel.
Why was the moistening rule removed?
Now that it's gone, we can ask: Why was the moistening rule removed?
Mike Pegg says that the rule was removed "because it is extremely difficult if not impossible for the umpire to enforce/check that each and every player is not using a damp cloth." Note Mike's reference— not to damp boules but to a damp cloth.
I doubt if we're ever going to find out why the moistening rule was removed now, in 2020. But given that there never was a good reason for the rule, and given the fact that players have been deeply unhappy with the rule for decades, it seems silly to ask why the rule was removed now. The appropriate question is— Why wasn't it removed years ago?
This entry was posted in 2020 rules by Jules Lenoir. Bookmark the permalink.
2 thoughts on "2020 rules – removing the "moistening" rule"
Boudewijn Waijers on February 12, 2021 at 1:13 am said:
Op 10.02.21 om 23:57 schreef The Rules of Petanque:
Hi Jules,
As always, an interesting post.
As a former secretary of our Dutch Rules Committee, I am always interested in your opinions. They help us in translating the rules from French/British English to Dutch, and sometimes give new insights when interpreting them in case of unclear wordings.
One of the other members of the committee (Niek Tholen) reminded me that the late chairman of our rules committee (and of the Dutch Federation), Frans van Voorst, had another plausible explanation for the existence of this rule. He reasoned that this rule originated from the time where Tuberculosis was a non-neglectible risk — by spitting, the other players might risk being infected as well.
If he was right, abandoning this rule has been a bad idea, especially in the current Corona crisis…
Boudewijn Waijers, currently member of the Dutch Disciplinary Committee.
> WordPress.com > Jules Lenoir posted: "For many years, Article 16 of the FIPJP rules > said this: "It is forbidden to moisten the boules or the jack." Its > counterpart in the rules of Petanque Libre was: When a player plays a > boule, the boule must be clean and dry (weather permitting). I " >
Jules Lenoir on February 12, 2021 at 10:46 am said:
Hi Boudewijn, That's an interesting theory… and it's at least as plausible as the other that I've heard! 🙂
Post a comment, or send us a message Cancel reply


text:
ProZ.com - https://wiki.proz.com/translation-articles
Lu Xun: A Case Study in Foreignising Translation
https://wiki.proz.com/translation-articles/articles/1204/1/Lu-Xun%3A-A-Case-Study-in-Foreignising-Translation
Author: Hanyi Magnusson
English to Chinese translator
http://proz.com/pro/141165
By Hanyi Magnusson
Published on 04/3/2007
This essay aims to conduct a brief exploration on the quiet side of Lu Xun's literary work—the progress of his translation style from domesticating to foreignising during early twentieth century. It also proposes a hypothetical link amongst such a progression, the translator's political belief as well as a historical and cultural description of that period. This illustrates the possible cultural and political purpose a translation strategy is chosen to serve. This echoes with Venuti's belief that "'domesticating' and 'foreignising' can only be defined by referring to the formation of cultural discourses in which the translation is produced".
"...At last he grows old and dies of old age in the lines of nothingness. He is not a fighter after all, and the nothingness is the victor. In such a place no tumult of fighting is heard, but there is peace...."
--Lu Xun, Such A Fighter (Yang,G. T&E, 1973: 128)
This essay aims to conduct a brief exploration on the quiet side of Lu Xun's literary work—the progress of his translation style from domesticating to foreignising during early twentieth century. It also proposes a hypothetical link amongst such a progression, the translator's political belief as well as a historical and cultural description of that period. This illustrates the possible cultural and political purpose a translation strategy is chosen to serve. This echoes with Venuti's belief that "'domesticating' and 'foreignising' can only be defined by referring to the formation of cultural discourses in which the translation is produced"(Venuti, L. 1995: 38).
Lu Xun is regarded as the father of modern Chinese literature. He revolutionized the story writing style from Chinese classical language (guan hua) to vernacular language (bai hua) in order to let literature reach ordinary people. Lu Xun grew up with an educated gentry family background and received a traditional education before he went to Japan where he studied Japanese language and medicine. In 1906 he stopped medical study to devote himself entirely to writing. His decision to take up writing instead of becoming a doctor was primarily due to his encounter of a slides show about a Chinese man who was beheaded by Japanese troops for spying during the Russo-Japanese War of 1904-05. The lack of spirit and numbness of the Chinese audience evoked him. In his "Preface to Na Han" he stated "the best way to effect a spiritual transformation--or so I thought at the time--would be through literature and art" (Lyell, W. Trans, 1990: 24). Such decisiveness shows Lu Xun's revolutionary ability. His sensitivity as a Chinese towards his own country's political, literal, cultural aspects determined his controversial approaches throughout his entire life.
Over the time, translation studies in China still poses a mysterious and possible amateur status. However, it earns its rights through long history of exploration by devoted Chinese translators and theorists. From six dynasties' Buddhist monk-translator Zhi Qian's "xin, da, ya", Lin Shu's "free translation or rewriting" and later Yan Fu's restated of Zhi Qian's three rules into "faithfulness, fluency and elegance" (Chan, L.T.H. Vol 14, No. 2 2001) until Lu Xun's "stiff translation" or "yingyi" during early time of last century, and the recent discussion of domesticating and foreignising translation(Luo, X.M.), Chinese scholars have never stopped experimenting different strategies in literary translation. Straightforward translation (zhiyi) or literal translation, sense-for-sense translation (yiyi) and free translation (ziyouyi) were summarized by Chan as (Chan, op.cit., p.201):
Zhiyi:
straightforward translation /direct translation
Formal correspondence
word-to-word translation (zuziyi)
stiff translation (yingyi)(Lu Xun)
Yiyi:
Sense-for-sense translation / Sense translation
Semantic correspondence
free translation (ziyouyi)
distorted translation (waiyi)(Lin Shu)
Lu Xun's translation works amounted to about 200. In contrast to his achievement and recognition in the history of modern Chinese literature, his translation works generated little attention. Lu Xun was viewed by some later theorists as the pioneer of foreignisation method from his stiff translation in China. (He insisted "he would rather be faithful to the original than be fluent to the translation (nin xin er bu shun)" (Fan, S.Y. 1999). It is crucial, however, to revisit the paths and thoughts he experienced as a prominent writer who brought in foreign knowledge via translation to China. It is also important to point out that Lu Xun initially did not choose the foreignising over the domesticating method, rather it was "at least a combination of both methods" (Fang, op.cit.). Further, his later stubbornness on stiff translation (foreignising) had both political and cultural implications. As suggested by Schleiermacher: "translation strategies are situated in specific cultural formation where discourses are canonized or marginalized," (Venuti, op.cit.,: 102).
Lu Xun's translation works ranged from science fiction to novels and criticism. His translation style varied over the time. Researchers tend to focus on his preference for extreme literalism towards Russian literary works and Marxist literary critics. Yet, I think it is fair to review both his early translation work and his later ones to observe the changes.
Let us start with one of his earlier works to allocate his clear "domesticating" strategy. Example is chosen from a French author Jules Verne's "From the Earth to The Moon in 97 hours 12 minutes," which Lu Xun translated from its Japanese translation in 1903 (He is fluent in Japanese). Since my knowledge of French and Japanese is very limited, and Lu Xun chose to translate from second source language, it would be acceptable to compare his translation work to my translation from an English translation version (Mercier, L.& King, E.E. Trans. 1873) of the original to see the possible difference (given that we are both native Chinese).
In his preface, Lu Xun stated that he had altered the original 28 chapters of the novel into 14. He also used a combination of classical/formal language (guan hua) and vernacular language (bai hua) to achieve both readability and simplicity towards the readership (i.e. normal Chinese) (鲁迅全集 第十一卷).He did not mention "faithfulness." What concerned him was how his readers would perceive this "new" fiction. His decision of "leave the reader in peace, as much as possible, and move the author towards him" (Venuti quote on Schleiermacher, op.cit., p.101) illustrated Lu Xun's initial belief of producing a fluent/transparent translation.
Lu Xun strictly chose to inherit the traditional style in classical Chinese novels to create new titles for each section. For example, his first section title was written as:
第一回 悲太平会员怀旧 破寥寂社长贻书
My back translation is:
Section One: Members moaned about the peace and chatted about old times.
The chief resigned from the post to break the loneliness.
In English version's first two chapters' titles were:
Chapter I. The Gun Club
Chapter II. President Barbicane's Communication.
My Chinese translation is:
第一章枪械俱乐部
第二章巴比肯主席的交流
It is obvious through compare to the English back translations that Lu Xun gave a great deal of extra information in the title to the reader, the title almost served as a summary of the two chapters. He deliberately omitted words like "gun" and "Barbicane" in the title to minimize the 'foreignness' to target-culture. In order to make the title more Chinese, he even tried to echo the words in the title: 悲 (v. 'moan') echoes with 破 (v. 'break'); 太平 (n. 'peace') with 寥寂 (n. 'loneliness'); 会员 (n. 'members') with 社长 (n. 'chief'); 怀旧 (v. phrase 'chat about old times') with 贻书 (v. phrase 'resigned from the post'). He rewrites the titles of the novel to serve the only purpose of familiarizing his reader of the story environment.
Let's continue with the first sentence from novel's English version:
During the war of the Rebellion, a new and influential club was established in the city of Baltimore in the State of Maryland.
在独立战争期间,马里兰州的巴尔的莫市中成立了一所全新并具有影响力的绅士俱乐部。
Lu Xun's approach, however, was very different :
凡读过世界地理同历史的,都晓得有个亚美利加的地方。至于亚美利加独立战争一事,连孩子也晓得是惊天动地;应该时时记得,永远不忘的。今且不说,单说那独立战争时,合众国中,有一个麦烈兰国,其首府名曰拔尔地摩,是个有名街市。真是行人接踵,车马如云。这府中有一所会社,壮大是不消说,一见他国旗高挑,随风飞舞,就令人起一种肃然致敬的光景。
Without conducting back translation of this, one can tell that Lu Xun's translation is at least four times longer than mine. Now let me try to back translate his Chinese translation:
Of those who have studied global geography and history, they should all know about a place called America. With regards to the War of the Rebellion in America, even to children, it is well known; and it shall always be remembered and shall never be forgotten. Let's leave this aside and talk about during the War of the Rebellion, in the United States, there was a country named Maryland, its capital was Baltimore which was a famous place. Lots of people walked on the street and so many carriages strolled around like clouds. In the capital there was a club, the size of it was really grand. One can see the national flag flying high in front of the club and one will form a respect right away.
A simple introductory sentence was manipulated into a paragraph with a combination of background information, situation describing and introduction. Lu Xun added his own opinion and knowledge towards certain facts and events. He created an environment which involved the reader. Sometimes, he even faked some facts either due to his limited knowledge or purely to achieve the easiness of reading. Considering his written style, it is obvious he still followed the traditional way of Chinese storytelling by creating lots of situational information which did not exist in the source text. And it is obvious that he almost 'forgot' that he was translating from someone else's work. He could be so involved that he would 'rewrite' the whole thing. Lefevere said "rewriting manipulates, and it is effective."(Lefevere, A. 1992: 9) It seems Lu Xun recognized this power early. In the translation's preface, Lu Xun stressed that the lack of scientific novels in China during that period (presumably early twentieth century) had caused the stupidity of the Chinese people. Because a good scientific novel can help the reader learn new knowledge unconsciously, therefore s/he would be able to challenge the traditional non-sense way of approach, revolutionize the way of thinking and achieve a pure material civilization. His idea was to use this new type (whether through translation or other form) of literature to smoothly introduce a revolution to the long sleeping China. To achieve such smoothness, he chose to domesticate his translation. Contrary to Venuti's conclusion that Anglo-American cultural dominance has forced its translators choose domesticating translation strategy (Venuti, op.cit., p.1), Lu Xun was little influenced by culture dominance. Rather, his choice reflected the ideological status of himself as a modern literature of early twentieth century China, as Lefevere pointed out: "rewritings are inspired by ideological motivations" (Lefevere, op.cit., p.7). Though probably naive, Lu Xun believed by introducing science into imperial China, normal people would start to think and to explore themselves of the real world. He obviously believed the best way to bring such alien to them was to make it look as familiar to others as possible.
Whether or not this translation served its purpose and how much, I do not know. However, Lu Xun moved on. Since his encounter with Russian literature in the early 1920s, especially with works produced by 'the fellow travellers' of Revolution from early 1900s , communism and Marxism started to make impact on his ideology. His written works focused on those poor people from the very bottom of the society who struggling with their life. His choice of translation also switched to the similar area. He realized to truly wake up the sleeping majority by using literature, one must start to reflect the real life of those who suffered the most. He was not alone on this, the May-Fourth-Movement (1930s) supported and fought with him. However, we shall leave this aside and focus on his translation work during this period (1920s-1930s). Has his ideological change made any influence over his translation strategy and how significant was the impact? The example below is chosen from a short story collection named "The Harp"( 鲁迅全集 第十九卷 竖琴). In it, I chose Lu Xun's translation of a Russian writer Evgeni Zamyatin's (1884-1937) "The Cave". The English translation of the same story is from an American writer Clarence Brown (Brown, C. 1993: 91).
Lu Xun wrote the title as:
Its back translation:
Brown's translation title:
Notice Lu Xun left the title as mysterious as it intended, no further information was given to ease the reader compare to the previous example.
Let's continue with him:
冰河,猛犸,旷野。不知什么地方好象人家的夜的岩石,岩石上有着洞穴。可不知道是谁,在夜的岩石的小路上,吹着角笛,用鼻子嗅出路来,一面喷起白白的粉雪。
Icy river, mammoths, waste land. I don't know where it is, perhaps it is in someone's house with rocks of the night's, there are caves on those rocks. And don't know who he is, playing a flute, sniffing his way out of the rocks of the night, meanwhile blows up white powdery snow.
To my astonishment, I was lost in Lu Xun's words at first glance. The awkwardness derived from the twisted grammar and the meaning was distorted.
Brown's English version starts:
Glaciers, mammoths, wastes. Black, nocturnal cliffs, vaguely like houses; in the cliffs—caves. And there is no telling what creature trumpets at night on the rocky path among the cliffs and, sniffing the path, raises clouds of powdered snow.
冰川,猛犸,荒野。漆黑的,夜晚的峭壁,模糊看去像房屋;在这峭壁中有—洞穴。也不知是什么样的生物在这夜里吹着小号沿着峭壁间的岩石小路,嗅着方向,掀起云雾般的粉状白雪。
The pure length comparison shows Lu Xun's translation and mine are similar.
The English versions contain almost exactly the same lexical units. Equivalence can also be located down to word level. However, in Lu Xun's work, he did not even make any linguistic adaptation, let alone cultural integration. Opposite to his early method, Lu Xun deliberately chose to use 'yingyi', or stiff translation, to maintain the foreignness of the target text.
To what extent does Lu Xun's translation illustrate such foreignness? From a cultural point of view, both "glacier" and "mammoths" are alien concepts for the target readership at that time due to limited travelling and scientific reading. A 'domesticated' translator probably would replace them by something familiar to Chinese such as 'frozen lake' and 'dragon'. On linguistic level, the resistance (Venuti, op.cit., p.24) became much harder. Lu Xun refused to make any grammatical change to make the text more readable. The cohesion (Baker, M. 1992:180) at both lexical and grammatical level is very loose, sometimes even wrong. For example, in Chinese, if one uses a noun to modify another noun it creates a subordinate relationship with a reasonable dependence. Here, Lu Xun used three nouns: 人家 ('renjia' n. someone's house), 夜 ('ye' n. night) and 岩石 ('yanshi' n. rocks) to modify one after another. It created a chaotic grammar, a reader would not be able to understand which belongs to which. It is grammatically wrong. Little reference or other cohesive devices can be located in these three short sentences. The loose cohesion directly influenced the coherence and implicature on a pragmatic level (ibid., p.218). Not one native Chinese could understand the text by reading it once. This certainly produced a strong resistancy in the target language culture because it challenged every angle of it as Venuti suggested "Foreignizing translation signifies the difference of the foreign text…by disrupting the cultural codes that prevail in the target language." (Venuti, op.cit., p.20) Lu Xun reached almost full extent of 'foreignising' in this translation.
Why did Lu Xun switch translation strategy? There is no doubt that with his knowledge and ability of comprehending the language he could produce a fluent/transparent translation. My understanding of his change is directly related to his ideological status as well as the political environment he was in at that period. Although he had never physically involved in any kind of political movement, Lu Xun always wanted to use his pen as a fighting weapon. His encounter with Russian literature redirected his target audience as well as his smooth way of approaching. By addressing those who struggled at the bottom of the society, he found his literal work had effect. The same reason probably could be applied to his choice of translation works—they were almost all about normal poor people who lived a distressful life in Russia at that time. Lu Xun intended to maintain all those unsettled, bitter, angry, sad feelings from the original text, his way of achieving so was by being extreme faithful to the source texts. He entirely abandoned the method of domesticating, but registered every "linguistic and cultural difference of the foreign text" (ibid., p.20) and sent his readers abroad.
Meanwhile, the political conflicts were at heat during that period in China. Lu Xun represented those leftist or Maxist of the intellectuals while the opposite "right-wing" had a strong hold of prominent literature. Lu Xun's stiff translation was broadly criticized by the "right-wing" intellectuals. For example, Liang Shiqiu (1902-1987) thought "Lu Xun had followed the original text too closely and ended up with syntax much too convoluted to be understood; they are nothing more than 'dead translation' (siyi)" (Chan, op.cit., p.202). In the preface of "The Harp", Lu Xun stated those Russian literary works he translated were far from those the real communism works, but they had already received unwelcome amongst Chinese intellectuals. "Some of them used 'Art for Art' as slogan, raised up Persian glasses, waved 'pure Art' stick to put down all such 'Philistinism'; others were 'purified' by Anglo-American novels, once they heard such screaming and moaning from the lower classes, they would wave their white-gloved hands and shout loudly: get out of this place!" His choice of foreignising method therefore served a specific political purpose: a signal of bringing in new political and ideological belief. He stressed "Extreme faithfulness to the original was a way of ensuring that 'true' Marxist literary thought be presented to those who wanted the facts as they were." (Chan, op.cit., p.203)
Venuti believes translation "to be called a cultural political practice, constructing or critiquing ideology-stamped identities for foreign cultures," (Venuti, op.cit., p.19). Lu Xun ventured such practice to a great extent. From theoretical point, Lu Xun was not the pioneer in foreignising method. "Zhiyi" and "yiyi" was a debate started long before him. But he probably was the first one who managed to raise translation strategy from pure linguistic practice to cultural and political practice. What is interesting in Lu Xun's case is that he used both domesticating and foreignising methods to achieve his ideological and political belief, only under different historical environment. This confirms Venuti's view of "This does not mean that translation is forever banished to the realm of freedom or error, but that canons of accuracy are culturally specific and historically variable." (ibid., p.37) Therefore, like Lu Xun, a translator as rewriter shall always see him/herself beyond the role defined by the environment s/he is in and ready to practice more than just producing a nice piece of translation.
BAKER, Mona. In Other Words: A Coursebook on Translation. London, Routledge, 1992.
BROWN, Clarence. The Portable Twentieth Century Russian Reader. New York, London, Victoria Australia, Toronto, Auckland, Penguin Books 1993.
LEFEVERE, André. Translation, Rewriting and the Manipulation of Literary Fame. London, Routledge, 1992.
LU Xun, Diary of a Madman and Other Stories. Translated by William Lyell. Honolulu, University of Hawaii Press, 1990.
VENUTI, Lawrence. The Translator's Invisibility A History of Translation. London and New York, Routledge, 1995.
Silent China Selected Writings of Lu Xun. Edited and translated by Gladys YANG, London, Oxford University Press, 1973.
Electronic Resources:
http://sshtm.ssreader.com/html/13/10316086.htm
http://jv.gilead.org.il/pg/moon/
http://www.erudit.org/revue/meta/1999/v44/n1/002716ar.html
http://www.hjenglish.com/doc/enpaper/513_1285.htm
http://www.erudit.org/revue/ttr/2001/v14/n2/000576ar.pdf
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The Head of the Lagos office of Indian Embassy Rani Malick, has disclosed that India's export to Nigeria during the past few years has tripled to the tune of 11 billion dollars due to a robust bilateral trade relationship existing between the two countries.
Malick who made the disclosure during the opening of a three-day Indian Products and Services Exhibition (IPASE) organised by the India High Commission, which is the 4th edition of the annual event after three successful editions, noted that the exhibition was aimed at promoting Indian products and services in Nigeria as well as bringing together all stakeholders and encouraging them to increase synergy in business development.
As part of the successes recorded, she disclosed that "India has long been Nigeria's privileged business partner in various sector and the engagement is outstanding. Today, Nigeria is India's largest trading partner in Africa with 16.67 billion dollars in bilateral trade.
During the past few years, India's export to Nigeria has tripled to the tune of 11 billion dollars.


It is believed that the effects of stigma - the manifestations of discrimination - are far more serious than the direct consequences of mental illness itself. There are different forms of discrimination.
This category covers cases where people with mental health problems suffer from a direct unjustified (stigma-based) negative attitude and related behavior. Discrimination finds expression both in what others do, and in what they do not. Below these aspects will be noted for the different spheres of life. In addition to the numerous stories that anyone with a mental illness can tell, there are studies that confirm the existence of these attitudes.
People with mental health problems have difficulty finding a home: most homeowners and municipal housing administration prefer not to work with them and most often just refuse to rent a room.
Unemployment is a huge problem for people with mental health problems: According to estimates, 80 to 90 percent of people with serious mental health problems do not work in the US. The situation in our country is most likely similar, but data is missing. Employers most often simply refuse to take on people with mental health problems. They also do not adapt jobs for people with mental health problems, even if they have the opportunity and the financial incentive to do so.
The stigma is also manifested in working people with mental health problems. Many of them complain about the negative attitudes of the employer and colleagues. A disease that started when someone is employed is a guarantee that the employer will look for a way to get rid of the unwanted worker.
Similar is the problem of obtaining education. Access to education is restricted to people with mental health problems; Moreover, the curriculum and the training process are not adapted to their special needs.
Mental health problems dramatically reduce the likelihood of marriage. But the likelihood of divorce, if already married, is growing.
People often lose old friends and find it hard to create new ones. In general, social exclusion, including on the part of relatives, is one of the consequences of stigma.
People with mental health problems receive fewer and lower quality health and social services. Research shows that people suffering from schizophrenia are less likely to receive modern treatment after a myocardial infarction compared to people with the same cardiovascular problems that do not have a mental illness. Similar is the situation in psychiatric care. Stigma may change the quality of the health services offered, as well as the conditions under which they are offered. The latter may be related to excessive security measures (strong doors, lattices, latches, all the fruits of the belief that people with psychosis are dangerous) or the lack of sufficient means (which may cause the rooms to be dirty, unsupported and unpleasant ). Less research is being done to contribute to the development of psychiatry.
Stigma may contribute to changing the course of the disease in the negative direction. This is due to the stress that the stigmatized individual feels (related to the way of life and the attitude of others). Stress can contribute to the onset of new seizures or their more severe lesions.
Stigma may contribute to the development of another illness - besides, the individual is stigmatized.
Despite all health problems, stigma contributes to reduced demand for health care. Less than 30% of people with mental health problems seek treatment. It is not just about people with mild problems, as one might suppose; only 60% of people with schizophrenia take part in treatment, and this applies to those suffering from all serious disorders. Similar is the picture with people abusing alcohol or narcotics. These problems are exacerbated by patients' reluctance to adhere to the prescribed treatment: more than 40% of patients receiving psychotic disorder treatment do not fully adhere to the treatment regimen. It is believed that as a result, the number of hospital admissions increased threefold. People also refuse to use outpatient day care and rehabilitation programs. Or, they started to use them, give up at some time.
It is no secret that people with severe mental health problems live shorter than others (according to some estimates, up to 8.8 years less). This high figure also contributes to this figure. Suicide is one of the main causes of death in people with severe mental illness; it is believed that stigma, in turn, is a serious cause of suicide. Another reason for high mortality is the limitations in receiving healthcare (especially from cardiovascular diseases). There is a tendency for these people's complaints to be ignored because they often sound as part of the symptom of the disease.
People with mental health problems are easier victims of all kinds of violence and other crimes.
The rights and capabilities of people with mental health problems can be restricted not only through direct refusal to access certain services or opportunities. Discrimination can occur through laws or regulations, unwritten norms and rules of conduct or practices that nobody disputes. For example, allocating fewer resources (compared to those allocated to other health problems) for the treatment of serious mental health problems and their rehabilitation, whether in hospital or in the community, is a manifestation of structural discrimination.
Behavior produces a vicious circle: desperate people refuse to fight for their rights and interests, they create the surrounding impression of incompetence and helplessness, which reinforces their negative ideas, which in turn strengthens the lack of faith in one's own powers.
Relatives and friends can also suffer from stigma due to their relationship with a person with a mental health problem. In response, many of them are making an effort to hide the existence of problems.
Mental healthcare professionals also have difficulty recognizing that they suffer from mental health problems, even from the depression that is perceived as the least stigmatizing of all serious mental illnesses. If a relative or colleague gets sick, psychiatrists are trying to conceal this fact.
Most accept people with mental health problems as members of society but prefer to avoid having a closer relationship - such as working or living with them. In English, this phenomenon is called "Not In My Back Yard" (shortened NIMBY). A study conducted in 6 German cities within the Anti-Gypsy Campaign of the World Psychiatric Association focuses on attitudes towards people with schizophrenia. Only about 10% of the 7,246 respondents considered that they would be concerned about talking to someone with schizophrenia. But almost 16% would be a problem to work with someone with this disease. One third would worry if a group of 6 to 8 people with schizophrenia lives in their neighborhood. More than 40% would oppose sharing a room with schizophrenia (for example, in a hospital). Over 70% would not marry a person with schizophrenia.
Is there a personality type more prone to stigmatization? There are studies of people prone to prejudice: they can not tolerate ambiguity, have rigid authoritarian beliefs and are hostile to other ethnic groups (ethnocentricity). Other studies have shown that people with "cynical outlook" are more likely to stigmatize.
The very people with mental health problems seem to talk most about the discrimination they have to endure from the mental health system, the doctors in general and their relatives. They seem to be most impressed by such attitude from the people they would like to rely on most.
For example, a study by the British organization Mind shows that one-third of the participating patients complain of unfair treatment from their personal doctors. They point out that personal doctors are indifferent, they are quick to dismiss them and rely heavily on prescribing medication. The negative attitudes of doctors tend to change over time to worse: according to a 1986 study, at the end of the follow-up period, the number of stigmatizing doctors has doubled.


The all new Rachael Ray Home Collection provides your home with beautiful furniture that incorporates unique features for functionality. Three distinct collections each includes furniture for the whole home including bedroom pieces, dining room options, occasional furniture, and even desks and dogbeds. Rachael was involved in designing each and every piece and drew inspiration for each collection from a different home.
How Vaughan Bassett Helps Our Environment Everyday, Not Just Earth Day!
Vaughan Bassett's solid wood furniture is made in Galax, Virginia, only a few hours away from Belfort Furniture. We're proud to see the generosity Vaughan Bassett has when it comes to creating jobs in our home state and replacing trees used during their manufacturing process. Celebrating Earth Day this week, it's particularly important to reflect upon these great strides of Vaughan Bassett, but we're glad to see that their impact reaches everyday of the year.
With stylish home furnishings, the HGTV™ HOME Collection provides excellent texture, color, shape and form for your space. At Belfort Furniture, we're all about creating beautiful rooms in your home and we love the options for every room from HGTV™ HOME Collection. The upholstery collection provides many customizable options so you can be your own designer, or browse the fabulous pre-designed combinations.
Small Space? Thom Filicia says, Dont shrink from the challenge.
Thom Filcia is our guest this weekend. We have introduced you to him in our last few blogs and we are excited for his talk, "A Conversation on Design" and the unveiling of his furniture collection this Saturday. If you haven't already…sign up to attend! His work is well known. Whether you have seen him on Oprah, Ellen, Bravo's "Queer Eye for the Straight Guy", Style Network's "Dress My Nest" or read articles about his celebrity interior design work for Jennifer Lopez, or the W hotel chain.
Thom Filicia's Tips for Inspired Decorating.
You're invited! Thom Filicia is coming to Belfort Furniture on March 31st at 11:30am for "A Conversation on Design." Thom will speak at 11:30am and then there will be time to ask questions, mingle and enjoy light refreshments. Not only does Thom Filicia have a unique flair for interior design but he has the ability to offer advice that gives novice decorators the confidence to decorate their homes with style. Here are some of Thom's top 10 tips for success.