Andrea White is a paralegal in the firm's Litigation Department who has worked at Bowditch & Dewey for 11 years. Drawing from over 20 years of legal experience, Andrea offers personalized, client-focused solutions in a variety of matters in all phases of the litigation process, including discovery and trial preparation, document reviews, management, appeals, and more.
Andrea is particularly experienced in the arena of business litigation, including contract disputes and business torts, product liability, intellectual property litigation, insurance-related disputes, corporate control, and professional malpractice. She works with the client's best interest in mind, carefully evaluating each situation to develop and deliver a strategy that best suits the client's needs.
Andrea's legal career started in Pennsylvania, primarily focusing on matters involving domestic relations, insurance litigation defense, toxic tort, and personal injury. Following her time in Pennsylvania, she worked at a Connecticut firm before taking time off to raise her family.
In her spare time, Andrea enjoys reading, knitting, and has recently started a small engine repair class.


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A Stumble in the Dark Wiki
Infobox character/doc
Infobox character
Infobox album/doc
Infobox album
Name: Gunnar "Biggest Dickess" Aronsson
Place of Birth: Viking "Capital" Jorfsdarl
Parents: Bjarke & Some-Random-Gal
Current Occupation: Servant of the King
Description: Gunnar was a tall man, as was most vikings, standing at six foot four inches. Though young, he was still two hundred and forty pounds of pure muscle and tattoos; the one of which brought him the most pride was the tree of life which he rooted onto his chest. He had a shaved head and a beard that seemed to flow and blend into the upper branches of his tattoo. Light scar tissue riddled it's way throughout the young vikings body, he had seen many battles and bore souvenirs from most of them. Though Gunnar was strong and brutish like most vikings, his deep brown eyes gave a sense of wisdom. Gunnar knew that not every fight could be won with fists, but strong enough to if it had to be he could easily.
Additional Notes: Gunnar was always seen as different in the viking community as he would usually think about things before he acted upon them. This is not to say that he always knew what to do or what the outcome would be, but he always made sure his actions made sense to him based on the situation at hand. As time went on, and Gunnar grew up, be looked to become more sad or put off to the viking way. He felt an emptiness that he didn't understand. Where the rest of the vikings killed for their way of life, Gunnar killed because he was told to and because of this did not put in his full effort in most battles. Bjarke was usually the only person that could notice this, but said nothing in hopes that it was simply due to his youthful mind.
Retrieved from "https://a-stumble-in-the-dark.fandom.com/wiki/Gunnar?oldid=111"
A Stumble in the Dark Wiki is a FANDOM Games Community.

redpajama_set_name: RedPajamaCommonCrawl


When eating becomes excessively unbalanced and unhealthy, a person could be dealing with an eating disorder. People suffer from a variety of unhealthy eating disorders, including anorexia, bulimia, binge eating, and restrictive food intake. Symptoms vary, but commonly, eating is associated with or followed by psychological distress.
Eating disorders are likely caused by environmental or cultural factors. Obsession with body weight is prevalent in society, and coexisting mental health conditions, such as depression, can exacerbate this preoccupation.
Psychotherapy is perhaps the best treatment available to those dealing with unhealthy eating. A therapist can improve a client's relationship with food and can help the client seek any underlying cause.


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Home » Reviews » CD » H » Haken - Virus
Haken - Virus
by Dave "That Metal Guy" Campbell at 18 May 2020, 11:49 AM
HAKEN is a UK based Prog machine, akin to the early days of DREAM THEATER. They have really taken the Progressive Metal industry by storm, forcing people to stand up and take notice. "Virus" has been in the works since they release "Vector" and toured heavily from it. I am only assuming it is about the current pandemic we find ourselves involved in. The album contains eleven tracks.
"Prosthetic" opens the album. It opens with an angry tone…an attacking element. The music is dark and the guitars, drums and bass attack in perfect unison. The vocals are very sterile in the verses, but open up in the chorus. Keys make their presence known a bit as well. "Invasion" has a little more levity, but still the seriousness of the subject matter comes through in the lyrics, "why is it we haven't learned from the mistakes we've ever made." Though the band is clearly super-talented, they let the subject matter tell the tale, rather than overly technical musical elements.
"Carosel" is a ten-minute epic, taking early about "wish we could go back to the way it was." The music remains dark, fitting the theme of the album. The vocal harmonies in the chorus are strong, but the overall melodies are a bit lost in the new, darker sound. A heavy, Djenty sound makes an appearance as well, amidst the lighter and dreamier passages. "The Strain" features more of that darker sound, which is now embedded into the album. The lighter passages are where the melody shines. "Canary Yellow" opens with light instrumentation and a softer sound. It has a dreamy sound overall; sort of like that moment when the worlds of hope and despair collide.
"Messiah Complex I – Ivory Tower" is where the heart of the album comes into play. It opens with more of those light and dreamy tones, allowing the heavier passages to take on more power. "Messiah Complex II – A Glutton for Punishment" is a shorter number, focused more on the musicianship of the band, with shifting meters and keys featured. This is more of the HAKEN I know and love. They are masterful at hitting the notes at the required time, in perfect unison. The next two movements are progressively shorter. "Part III – Marigold" is just over two minutes in length, and hears the sound of the previous track continue on a bit, with dark and heavy accents. "Part IV – The Sect" is a two-minute continuation of the previous track, where they seem to be really digging into the middle/latter parts of the concept.
"Messiah Complex V – Ectobius Rex" is the five-minute closer to the mini-concept on the album. As you would expect, it features ominous tones and Djenty rhythms. Their musicianship takes on a new life here, complete with a fancy guitar solo. "Only Stars" closes the album in a short two-minute track with dreamy lines, and a terse ending. Overall, I thought the concept on the album connected to the listener quite easily. You can easily get lost in the message, which is the goal for any concept album for sure. The band is obviously talented, but they let this album breathe a bit more than previous albums. When they want to "turn it on," it is game on. But they let it ride here a little more so that you can soak up the concept.
Musicianship: 10
1. Prosthetic
2. Invasion
4. The Strain
5. Canary Yellow
6. Messiah Complex I – Ivory Tower
7. Messiah Complex II – A Glutton for Punishment
8. Messiah Complex III – Marigold
9. Messiah Complex IV – The Sect
10. Messiah Complex V – Ectobius Rex
11. Only Stars
Charlie Griffiths – Guitars
Ray Hearne – Drums
Richard Henshall – Guitars
Ross Jennings – Vocals
Diego Tejeida – Keys
Conner Green – Bass
Record Label: InsideOut Music


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Billiards exhibition Competition result.
Drawn Sunday by The Duty Manager and the winner was Mr B. Stancliffe who has now been notified.
Arts & Heritage project
Part of Meeting Point, a year long project led by contemporary arts agency Arts&Heritage (www.artsandheritage.org.uk).
Leading UK and international artists have partnered with six museums in Yorkshire, the North West and the North East to produce new artworks inspired by the museums and their collections.
Funded by Arts Council England through Arts&Heritage's National Portfolio Organisation funding, Meeting Point presents artworks in unexpected places and supports small and medium scale museums to commission artists, who will create a piece of work in response to the venue.
Join the conversation on social media by using #MeetingPoint
We're very excited to be able to reveal the name of the artist we'll be working with on our @artsheritage #MeetingPoint project.
Ed Kluz will be working with us to create a new piece of artwork, inspired by our collections.
We're one of 6 Northern museums taking part in @artsheritage's #MeetingPoint programme and today we can reveal the artist we've selected to create a new artwork inspired by our museum.
Ed Kluz said: "Having spent the last 12 years researching historic buildings and objects as part of my own practice, I was really excited by the opportunity presented by Arts&Heritage to work directly with a museum and its collection as a means of pushing my own processes and ideas. I'm absolutely delighted to have been selected to work with the Colne Valley Museum. The collection housed in the museum is very much alive and being used as intended by the wonderful community of volunteers. The hub of expertise and specialisms in various aspects of craft and making gives the museum the feel of an art school. As a maker I'm looking forward to exchanging ideas and skills in both directions which will result in an exciting collaborative series of artworks."
For full details of the press release please click here
Volunteer pass 2018/19 List of Museums
Download the PDF from here
Clog Shop Automaton
Come and see the new Clog Shop Automaton made by Matt Smith of Fourteen Balls Toy Company
www.fourteenballstoy.co.uk
Heritage Lottery Grant
Our dedicated team of volunteers have kept the museum running since 1970 and it was always our dream to have the whole row of Spring Rock cottages back under single ownership and to create an entire weaver's cottage complete with living kitchen, wash cellar, bedroom and loom chamber.
A new meeting room is now available for the use of local groups, as well as providing better facilities for our visitors and schools.
We are creating a Community Heritage Resource Centre, which will give greater access to the museum's collection, especially for those tracing their family history, and many of our documents and photographs will be digitised.
Colne Valley Museum is run entirely by its volunteer members and receives no core funding. We know that our museum is valued by our visitors and if you feel able to make a contribution you can do so either on-line or by old fashioned cheques (payable to Colne Valley Museum, addressed to The Treasurer, Colne Valley Museum, Cliffe Ash, Golcar, Huddersfield. HD7 4PY.)
www.totalgiving.co.uk/charity/colne-valley-museum
Thank you – and come and see us!


1x37x I came. I saw. I won.
I came. I saw. I won.
Hey, I'm 1x37x and I'm the guy that makes sure those kids called KeCa/Itami wont sell a single cracking tool anymore. No matter what tool you copy and pasted, I'll get it, crack it and release it for free. Greets to Criminality, that died pretty fast. Not enough sales made, hu? However, here is CloudReaper that's on sale for $90. Enjoy.
The Cracked Version is the same and works the same way, don't fall for it!
He's just trying to grab your money.
It's a checker for an online cloud called box.com, where people store their personal files.
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Merged A Single Act Is Enough To Change Future.
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Rabbi Yael was interviewed on April 30 regarding the attack at Chabad of Poway by radio station WWDB-AM in Philadelphia. Click here for the link to the audio. Rabbi's interview begins at 1:06:10 (numbers on left) and is approximately 24 minutes long.
Dor Hadash/Rabbi Ridberg in the News
Articles published online The Times of Israel
Articles published online HuffPost
When I Lost My Hair to Chemo, This is What Helped by Rabbi Ridberg published in Kveller
Interview with Rabbi Ridberg by Joseph O'Brien of The Reader
Hamantashen Big Bake in the UT Photo Gallery
Interview by radio station WWDB-AM in Philadelphia. Rabbi's interview begins at 1:06:10 (numbers on left) and is approximately 24 minutes long.
Ecumenical Civility: How Religious Diversity Builds Our Common Community Identity. Carl Luna interviewed Rabbi Yael Ridberg, Rt. Rev. Bishop Susan Brown Snook (Episcopal Diocese of San Diego), Imam Taha Hassane (Islamic Center of San Diego). Recorded December 13, 2019 at San Diego City College. Click here to watch.
Reconstructionist Links
Reconstructing Judaism (Reconstructionist movement)
Reconstructionist Rabbinical College
Camps: Camp Havaya (Pennsylvania) and Havaya Arts (California)
Local Jewish Resources
Jewish Federation of San Diego
Center for Jewish Culture
On the Go - Transportation Solutions for Older Adults
Lawrence Family Jewish Community Center - Jacobs Family Campus
Hillel of San Diego (UCSD, SDSU, CSUSM)
San Diego Jewish World – online local, national and international Jewish news
Other Jewish Resources of Interest
Judaism on Campus – College Resources and Scholarships for Jewish Students
All Jewish Links.com – Jewish directory and search
Interactive Hebrew Calendar
Ritual Well – Source for Innovative, Contemporary Judaism
Shamash
Camp Mountain Chai – A Jewish Summer Camp in California - Located in the San Bernardino mountains of Southern California, Camp Mountain Chai is a sleep-away summer camp for Jewish children and teens.
The Daily Rabbi – an online pluralistic Jewish magazine
The Shiksa in the Kitchen – Blog written by Tori Avey and explores the history of Jewish cuisine as well as other historical and anthropological culinary topics. Great recipes.
National Center to Encourage Judaism
HIAS (formerly known as Hebrew Immigrant Assistance Society) — HIAS works around the world to protect refugees who have been forced to flee their homelands because of who they are, including ethnic, religious, and sexual minorities. For more than 130 years, HIAS has been helping refugees rebuild their lives in safety and dignity.
Sharsheret – national not-for-profit organization of cancer survivors dedicated to addressing the unique needs of young Jewish women living with breast cancer.


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Category: Hermeneutics :: Permalink
In his response at the end of Jesus and the Restoration of Israel, N. T. Wright draws some helpful distinctions:
Strictly speaking, the opposite of metaphorical is literal. These two words refer to the way words refer to things, not to the things themselves. Confusion arises, not least in present discussions, because this pair is regularly muddled up with the words abstract and concrete, which indicate not the way words refer to things but rather the sort of things words refer to. Thus "Plato's theory of forms" refers, literally, to a doubly abstract entity (the forms themselves, by definition, are abstract, and the theory is an abstract idea about those abstractions). If I say "Plato's whole box of tricks," intending to refer to that same theory, I am referring metaphorically to the same abstract entity (or entities). Alternatively, if I talk about "my car," I am referring literally to something concrete; and if I say "my old tin can," I am referring metaphorically to that same concrete entity. Matters are made much worse because, in popular usage, literally is regularly used to add emphasis to a sentence without any serious intent to mean what it says ("we were literally driving at the speed of light"; "my grandfather is literally as old as the hills"). We are thus bereft of the literal meaning of literal, and we find ourselves wallowing in all too many metaphorical meanings of metaphorical (pp. 261-262).
In a footnote, Wright then adds this, which should be of interest to all the many concrete workers in my congregation:
The word concrete is interesting in itself. We today may think of it as referring literally to the compound regularly used in building and so on; hence, we may think of it as referring metaphorically, as in the last sentence, to solid physical entities as opposed to abstract ones. But its original meaning, from the Latin concrescere, had to do with the putting together of solids, so that the meaning "physical, nonabstract" is the more literal meaning and the meaning "the substance used in building" the more metaphorical (p. 318n23).
Confused yet?
Jesus and the Restoration of Israel
Category: Bible :: Permalink
Yesterday, I finished Jesus and the Restoration of Israel, a collection of essays which interact with and sometimes critique N. T. Wright's Jesus and the Victory of God.
As with almost every essay collection, it's a mixed bag. Craig Blomberg's essay, for instance, is largely just a summary of Wright's book. Blomberg's only significant criticism, it appears, is that Wright isn't a premillennialist. In fact, much of the criticism Wright receives in this volume relates to his preterist approach to Mark 13, as might have been expected.
Klyne Snodgrass's charge that Wright overreads the parables may have some validity. Craig Evans offers extensive evidence that many Israelites in Jesus' day did see themselves as being in exile, though he doesn't ask whether the Jews were correct in their attitude toward the Romans. Richard Hays offers some helpful comments with regard to Christian ethics in the light of Jesus' life and death.
Some of the comments in the book, however, were downright strange. Alister McGrath, for instance, says, "If Sanders or Wright is correct, Martin Luther is wrong" (p. 169), an overblown claim which certainly deserves more explanation (and justification) than McGrath gives. Later, McGrath suggests that Wright gives more emphasis to the Last Supper than to the cross., a criticism that baffles Wright.
C. Stephen Evans misunderstands Wright at several points, not least Wright's statement that "many other people" besides Jesus healed people and performed what we would call "miracles." That statement disturbs Evans (p. 191) because he sees it as "naturalizing' Jesus' mighty works. But all Wright means is that the prophets (e.g., Elijah and Elisha) did things that were similar to the things Jesus did and therefore we shouldn't conclude that the performance of "miracles" proves that Jesus was God (see Wright's response on p. 294). Wright also adds this about Evans' essay:
I am amused, by the way, by Stephen Evans's speculations about what might be helpful for me to think "as a clergyman." I wonder how many Episcopal priests he actually knows?" (pp. 316-317n4).
Luke Timothy Johnson completely misses the boat when he criticizes Wright for having a minimalist view of the resurrection, a charge that's really funny in the light of Wright's new massive The Resurrection of the Son of God. Here's Wright's response:
I intend to address the question head-on in the next volume in the series, which should also put paid to the (frankly very funny) suggestion by Johnson that I hold "minimalist" view of Jesus' resurrection. Why Johnson thinks I describe the resurrection as a "resuscitation" (p. 219) I don't know. Why he thinks I restrict its significance to Jesus as an individual I can't imagine. What he means by the "radical character" of the resurrection is not clear. And why he supposes I "dislike" such a view (p. 221) I have no idea. It is strange that Johnson, who is so skilled as an exegete of first-century texts, has such trouble reading one or two texts by a twentieth-century colleague that he must needs first invent a view for me to hold and then tell me off for holding it. If, of course, he means that when the early Christians said, "Jesus is risen from the dead," they were referring not to something that had happened to Jesus but to an experience that they had had, then not only is it he who is the minimalist but it is he who is inventing a story that none of the New Testament writers corroborate (p. 268).
It was helpful to have Marcus Borg's comments toward the end of the volume, largely because it helped to highlight what Borg rightly recognizes as Wright's fundamental orthodoxy. Wright's own response to all the essays, though necessarily brief and sometimes too brief, is quite helpful. It's somewhat unfortunate that the editor, Carey Newman, then tacked on a conclusion in which he critiqued Wright, without allowing Wright a chance to respond to him (and his critique really does seem to be a ball that Wright could easily knock out of the park).
Jesus and the Restoration of Israel, then, is a moderately helpful book. Some of the essays are rather dull. Some aren't all that helpful. A couple are challenging. And Wright's response is worthwhile.
Narrative Space and Mythic Meaning in Mark
Category: Bible - NT - Mark :: Permalink
The other week, I read through Elizabeth Struthers Malbon's Narrative Space and Mythic Meaning in Mark. On the whole, I found Malbon's work much more helpful than either Smith's or Rhoads and Michie's.
Malbon's treatment, however, seems to be valuable, not because of but rather in spite of the theory which undergirds it. Malbon is following in the footsteps of Claude Levi-Strauss, whose theory about myths is that "myth operates to mediate irreconcilable opposites by successively replacing them by opposites that do permit mediation. In other words, myth is a way of thinking that involves the progressive mediation of a fundamental opposition" (pp. 2-3).
In yet other words, a myth always seeks to mediate two things that are really complete opposites. To do that, the myth talks about two other things which represent the irreconcilable opposites. Those two other things are slightly closer together. As the story progresses, however, those two not-so-irreconcilable opposites get replaced by two more things which are even closer together and even less radically opposed. And eventually, toward the end of the story, there is a sort of mediation, bringing together two things which aren't that far apart but which represent the previous set of opposites which represent the previous set, and so forth, all the way back to the two irreconcilable opposites which the story was created to mediate.
Clear as mud? Well, I can't say that Malbon's opening chapter, in which she set forth this approach, was all that clear to me either. But as she went along, applying this approach to Mark's Gospel, what she meant became clearer. I should point out, as Malbon herself does, that she isn't claiming Mark's Gospel is myth; rather, she thinks the structure of the gospel may be similar to that of the myths Levi-Strauss examines.
Here's how it works in practice. As you read through Mark, you notice that the first part of Mark involves the sea and the land. The land itself is either foreign land or Jewish homeland. And the Jewish homeland is either Galilee or Judea.
Malbon posits that the basic contrast, which is outside the story and which itself is irreconcilable, is between order and chaos. In the story, which seeks to mediate these opposites, order is represented by the land and chaos by the sea. That fairly radical contrast is replaced in turn by the contrast between the Jewish homeland (order, land) and the foreign lands (chaos, sea). Finally, that not-so-radical contrast is replaced by a contrast which is much more easily mediated, namely the contrast between Galilee (order, land, Jewish homeland) and Judea (chaos, sea, foreign lands). Now the fascinating thing, as Malbon points out, is that we'd expect Judea to be on the side of order and Galilee ("Galilee of the Gentiles") to be lined up with chaos, but in Mark's Gospel it's the other way around and that means that Mark is standing some of our expectations on the head (as Jesus did).
Well, fascinating as it may be, I don't buy it. For one thing, I don't know how we get from these opposites in the story to the contrast between order and chaos outside the story. Why pick that particular contrast? To be fair, some of the extra-textual contrasts which Malbon posits make more sense, but the positing of extra-textual contrasts in general seems suspect.
For another thing, the whole approach seems to be a matter of imposing a scheme on the text. Malbon wants to see everything in the text, it seems, in terms of contrasts (with occasional intermediaries, such as mountains which mediate between earth and heaven). I can't say that I'm even all that clear as to how the supposed mediation is taking place in her approach or, for that matter (and it's no small matter) exactly how Jesus fits into all of this.
Nevertheless, in spite of Malbon's questionable theory, I did find the book quite helpful. Malbon focuses closely, as her title suggests, on narrative space. She spends a chapter on geopolitical space in Mark (e.g., Galilee, Judea, foreign lands), another chapter on topography (e.g., mountains, sea, land), and a third on architectural space (e.g., synagogues, houses, tombs, temple). It's interesting to think about the role space and the different kinds of space play in the Gospel of Mark.
For instance, much of the Gospel works with a contrast between Galilee and Judea. At the beginning of the Gospel, Jesus goes from Galilee to Judea to be baptized by John and then returns to Galilee again, where He begins His work. That Galilee-Judea-Galilee pattern at the beginning of the Gospel appears later. As Malbon explains:
In addition to establishing a link with John, Jesus' initial journey from Nazareth of Galilee to Judea, near Jerusalem, serves another function: it foreshadows Jesus' final journey to Judea, to Jerusalem. In the beginning Jesus journeys to Judea to be baptized by John into a ministry that leads, in the end, to a journey to Jerusalem to be crucified. The Markan Jesus would appear to interpret the first journey as a metaphor for the second in asking James and John, "'Are you able to be baptized with the baptism with which I am baptized?'" (10:38). But Jesus' initial return to Galilee from Judea also foreshadows Jesus' final return to Galilee from the tomb in Judea (16:7). The crucial importance of 1:14 as the inauguration of Jesus' ministry is generally recognized, but it must be noted that his ministry opens with a return to Galilee from Judea. In the opening of Mark, Jesus' return to Galilee is reported; in the closing of Mark, Jesus' return to Galilee is anticipated. At the initial return to Galilee, Jesus comes "preaching the gospel of God" (1:14). At the final return to Galilee, it would appear, Mark comes preaching "the gospel of Jesus Christ, the Son of God" (1:1). The preaching of Mark follows the preaching of Jesus, which follows the preaching of John (pp. 24-25).
Cool stuff. I've often wondered about that rather mysterious return to Galilee at the end of Mark's Gospel, and Malbon's explanation is helpful. Jesus' first return led to preaching and mission (including mission to foreign lands) and opposition. Jesus' second return will lead to the disciples' preaching and mission (including mission to the Gentiles) and opposition. They also will have to take up their crosses and they may die. But the mission will continue.
Malbon also points out a parallel between the healing of the Gerasene demoniac and Jesus' later work:
Among tombs lived the Gerasene demoniac, though his life was more death than life; his possession by a legion of unclean spirits had exiled him beyond society, beyond the realm of the living. As the tombs among which he lived (5:2, 3, 5) foreshadow the tombs of John (6:29) and Jesus (15:46a, 46b; 16:2, 3, 5, 8 ), so his departure from the tombs, his renewal of life through Jesus, his return to the realm of the living to preach, foreshadow Jesus' response to the tomb (p. 115).
One of the oppositions which Malbon sees in Mark is the one between the synagogue and the house. She posits that the synagogue represents sacred space and the house profane space. Well, maybe. But the interesting thing is that in the early part of Mark's Gospel, the house seems to parallel the synagogue and then, at a certain point (6:4ff.) to replace it:
Initially in the Gospel of Mark, the actions enclosed by a house parallel those enclosed by a synagogue. Jesus enters a house and heals "immediately" after having left the synagogue where he has healed (1:29). "At home" (2:1) Jesus preaches and heals. So many come to Jesus that the house cannot contain them; they spill out the door (1:33; 2:2). Jesus' table fellowship with "tax collectors and sinners" in his home (2:15) disturbs the scribes, and later his family "at home" (3:20; RSV 319) joins the scribes in being disturbed at Jesus' activity. Following that controversy, Jesus is no longer reported to be in his own home, but he continues to heal in the houses of those who call out to him (5:38). After healing persons, Jesus frequently sends them to their homes (2:11; 5:19), but the healer himself, like a prophet, is rejected "in his own house" (6:4).Jesus has declared his family to be "'whoever does the will of God'" (3:35), and he appears to have that family in mind in sending his disciples out among houses not their own (6:10). Wherever Jesus goes now, the house replaces the synagogue as the architectural setting for teaching; the questioning disciples replace the accusing scribes as listeners (7:17; 9:28, 33; 10:10); the new community has a new "gathering place" (p. 118).
Later on, the disciples will follow that same pattern: controversy in synagogues will lead to being outside the synagogues (13:9) and eventually they will also need to flee their houses (13:15).
A bit later in that chapter, Malbon spends some time on the significance of Jesus' leaving the Temple to sit on the Mount of Olives opposite the Temple (ch. 13), which makes clear the contrast between the Temple (which will be destroyed and the band of disciples around Jesus (pp. 123-124). Malbon, rightly I think, sees a parallel between Jesus' departure from the Temple to sit on the Mount of Olives and the departure of the LORD's glory-cloud from the Temple to the Mount of Olives in Ezekiel's vision (Ezek. 11:23) (p. 161).
Those are just a few of the neat things Malbon points out. One doesn't need to buy into her scheme or into Levi-Strauss's approach to appreciate Malbon's invitation to meditate on space in Mark's Gospel. There's a lot worth thinking about here!
Reading in Red Deer
Category: Updates :: Permalink
Today, I preached twice (morning and late afternoon services) at Grace Reformed Church in Leduc. I drove down to Red Deer, to my parents' place, on Saturday, pleased to see that Friday's snow had all disappeared and that the roads were bare and dry. This evening, it started snowing again, but the weather report says that Monday's weather is supposed to be good again.
While here, I finished reading P. G. Wodehouse's The Indiscretions of Archie. It was fun in spots, but not my favourite Wodehouse. Though it purports to be a novel, it is very episodic. Each episode is about two or three chapters long, but each has little connection to the preceding or following episodes.
I often felt that I wanted to know more about what happened after certain events. For instance, we meet the Sausage Chappie at a certain point in the book, but he disappears from the plot as quickly as he appeared. So, for that matter, does the waiter Salvatore, though he, at least, makes a brief appearance later on. The unscrupulous but Bible-quoting valet appears in the early part of the book but fades away.
In other novels, Wodehouse has the knack of tying things together. My guess is that The Indiscretions of Archie may originally have been a series of short stories for magazine publication (later slapped together as a "novel"). Either that or Wodehouse just had a number of story ideas all starring Archie and decided to write them up as a quasi-novel.
Oh, well. It was fun. I'm moving on now to Tim Powers' On Stranger Tides.
In non-fiction, I've been reading Doug Wilson's Federal Husband. It's a quick read, and I was familiar with much of what Wilson has to say already (in part, from Reforming Marriage), but it's been profitable. Here's a quotation with regard to honouring pregnancy … or rather, with regard to the way that people fail to honour pregnancy:
We have rejected the contempt the world shows for the results of pregnancy, but we have not yet learned to honor pregnancy ourselves. If a pregnant woman enters a modern gathering of Christians in the condition that Luke describes concerning our Lord's mother (i.e., great with child), the chances are good that she will hear three rude comments before the evening is out. Two people will want to pat her stomach, as though being pregnant makes one's body public property, and one person will set up shop as a wit. "Does the doctor know what causes this?" A few more serious individuals will express some concern for her, the kind of concern that baits the snare for discontent. "Is Joe taking care of you? You look awfully tired" (p. 84).
Posted by John Barach @ 1:07 am | Discuss (0)
Le Voix Baroques
Category: Music :: Permalink
It's not every week that Grande Prairie gets two great concerts. But this week is an exception. Last night, I heard the Vancouver Chamber Choir. Tonight, I got to hear Le Voix Baroques, a three-piece chamber ensemble featuring Grande Prairie's own Chloe Meyers on baroque violin, Amanda Keesmaat on baroque cello, and Marie Bouchard on harpsichord. They're touring with a soprano, Shannon Mercer.
Le Voix Baroques, as their blurb announces, is "dedicated to historically informed performances and recordings of unexplored 17th and 18th century repertoire for voice and instruments." Their recent CD Elegiae won th Cannes International Classical Music Award.
They began tonight's performance in Italy with Dario Castello's Sonata Ottava, followed by three pieces by Claudio Monteverdi: Si dolce e il tormento, Maledetto sia l'aspetto, and a piece apparently inspired by Psalm 150 and possibly titled Laudate domino in sanctis. The Italian set closed with Antonio Bertali's Ciaccona.
From Italy, we moved to England for Handel's War, He Sung, Is Toil and Trouble from the oratorio Alexander's Feast (as is typical for Le Voix Baroques, this isn't one of the Handel songs most people know). Then, after Henry Purcell's Plaint from The Fairy Queen, they performed three traditional English songs, A Trip to the Boar (I think), Allie Crocker (I think), and The Prickeli Bush (I'm sure; and no, that's not a typo).
After a short intermission, Marie Bouchard, the harpsichordist, returned for a brief lesson on the harpsichord and a performance of Rameau's Le Vezinet. She was joined by the rest of the ensemble for Marin Marais's Sonnerie de Ste. Genevieve du Mont du Paris and, with Shannon Mercer joining in on vocals, some excerpts from Louis Nicholas Clerambault's opera Orphee. As you've guessed, that set was from France.
The final set, of course, was from German composers, starting with Chloe Meyer's favourite, Johann H. Schmelzer, represented here by his Sonata Quarta. It was followed by a piece from a cantata by Bach. During the introduction, I thought I heard that this piece was from Cantata 30, but the opening words sounded a lot like "Hort, irh Volker," which would be Cantata 76, No. 3. (I know that only from the program). The final piece was Reinhard Keiser's Cara luci from his opera Masaniello Furioso.
The concert was delightful and quite instructive. The performers took the time to explain why they play strictly the original baroque instruments instead of more modern steel-stringed instruments. They also explained some of their technique. In Bertali's Ciaccona, for instance, the continuo plays the same ground bass 185 (or so) times, while the violin soars above and the harpsichord, still part of that continuo, varies the chords from time to time.
It was an evening well spent. And when I emerged from St. Paul's United Church one of the first things I saw was a magnificent display of northern lights rippling across the sky from northwest to northeast. Glorious!
Posted by John Barach @ 12:19 pm | Discuss (0)
Five Points & Five Sacrifices
Category: Theology :: Permalink
Here's something James Jordan writes in the latest Biblical Horizons newsletter (no, it isn't online yet). The article is entitled "Misusing the Westminster Confession":
… it is important to realize that to a large extent the Standards were intended for pastors, for ordained clergymen. The writers knew that what laymen need is the Bible, the whole Bible. The Confession set up standards for the guardians of the Church. But there are churches today that are full of people who know the five points of Calvinism, but who cannot tell you the five basic "sacrifices" of the Bible, because these laymen have been indoctrinated primarily in the Westminster Standards rather than in the Bible. That was not the intention of the writers, though of course they expected pastors to teach the content and theology of the Standards along with teaching the Bible.
Symbolism and Leviticus
Category: Bible - OT - Leviticus,Hermeneutics :: Permalink
A thesis for discussion: The modern exegete's reluctance to deal with symbolism and typology and his quest for quasi-scientific certainty in exegesis (i.e., a strict grammatical-historical approach) has produced few, if any, helpful, Christ-centred commentaries on Leviticus.
Vancouver Chamber Choir
Tonight, after supper with James (whose blog I don't know the link for yet), Alex, and Calvin, I went (with James) to hear the Vancouver Chamber Choir, which is reputed to be the best professional vocal ensemble in Canada.
The concert opened with Buxtehude's Missa Brevis, a Lutheran mass which was beautifully performed though perhaps somewhat heavy as an opener. It was followed by Brahms's Shaffe in mir, Gott, a rendition of the first part of Psalm 51, which ended with a delightful and unexpected fugue, signifying (I suspect) the answer to the prayer "und der freudige Geist erhalte mich" ("Let Thy spirit of joy come over me").
Next, the choir sang Healey Willan's Behold the Tabernacle of God. Willan was Canada's first great composer, and much of his work was written for liturgical use. This piece was written in 1934. I had never heard any of Willan's music before, but I quite enjoyed this piece and so I picked up the Choir's recording of many of Willan's works: An Apostrophe to the Heavenly Hosts.
From Canada in the 20th century, the Choir moved to Russia in the 19th and sang Tchaikovsky's Otche Nash, a beautiful rendition of the Lord's Prayer. They then returned to Canada for Stephen Chatman's Two Rossetti Songs, a setting of "Song and Music" by Dante Gabriel Rossetti and "Remember" by Christina Rossetti, before closing their first set with Ralph Vaughan Williams's rather complex Three Shakespeare Songs ("Full Fathom Five," "The Cloud-Capp'd Towers," and "Over Hill, Over Dale").
After the intermission, the Choir started its second set with four Nordic songs: Hugo Alfven's Aftonen, Matti Hyekki's On suri sun rantas' autius (what an odd and interesting and very un-Germanic language Finnish is!), HafliÄ'i Hallgrimsson's Nú vil ég enn í nafni ţínu, and Niels Gade's Morgensang. I enjoyed all four. But the next two songs I didn't care for. R. Murray Schafer's Felix's Girls was a loose collection of short songs based on poems by Henry Felix, a Polish-Jewish poet. It was stylistically challenging, but both the content and the music left me cold. Eric Whitacre's Leonardo Dreams of His Flying Machine was better, but shared what seems to be the shapelessness of much modern "classical" music.
With Jon Washburn's Balm in Gilead, the Choir returned to more accessible material. Washburn is the Choir's director. This piece was based on a traditional spiritual, and it was fairly enjoyable, though (to my ear) a bit meandering. I would have preferred it to have more punch (as the second stanza's baritone solo did). The concert ended with Bob Chilcott's The Runner, a fairly engaging piece based on a Walt Whitman poem. For the encore, the Choir sang a Cuban song, whose title and composer weren't mentioned.
All in all, it was a very enjoyable evening, though I much preferred the first half of the program to the second.
Posted by John Barach @ 11:50 am | Discuss (0)
Category: Literature :: Permalink
If you were about to plunge into a study of Geoffrey Chaucer (which is something I've been wanting to do for some time), which books on Chaucer would you most recommend? I'm looking in particular for books which will explore Chaucer's literary art, symbolism, and so forth.
By the way, this book, edited by Roy Battenhouse, looks great. I believe I read the article by Nevill Coghill back when I was in university and loved it.
Trollope's Symbolic Names
Category: Hermeneutics,Literature :: Permalink
Often exegetes of Scripture get nervous about symbolism and typology, or even about conclusions drawn from literary features of the text (repeated words, chiasms, and so forth) — after all, those things aren't completely provable or (as one person expressed it to me once) they aren't "falsifiable." You never have the kind of certainty about symbolism that you do about Greek grammar or about the identity of the Pontius Pilate referred to in the Gospels.
As I read through Anthony Trollope's Doctor Thorne a question came to mind: How would you respond to someone who asked you to prove that many of the names in this book are plays on words or have some symbolic reference? I'm thinking of names such as Dr. Fillgrave or the pub manager Mr. Reddypalm who just wants his little bill paid (by the candidate for the election).
Clearly those names aren't just random syllables Trollope has put together, nor are they simply common English names which Trollope happened to pick because they sounded nice. Trollope crafted those names, intending them to have significance (and intending them, especially, to make us chuckle).
But if you were exegeting the novel using the sort of strict grammatical-historical approach many exegetes apply to Scripture, what would you do with those names? If you were to approach Trollope with the same caution with which some exegetes approach Scripture, with the fear of not having quasi-scientific certainty in your exegesis, could you say anything about the significance of those names? What kind of proof would you provide someone who claimed that Dr. Fillgrave's name isn't funny?
The proof wouldn't be grammatical or historical. Part of your response, I suspect, would be to take the questioner to a number of other books (including perhaps The Pilgrim's Progress) in which characters have significant names: It's a common feature of English literature. But your questioner would likely say that you haven't proven anything; you've simply moved his question from Doctor Thorne to the rest of English literature.
You might also want to assert that the meanings of the names do fit well with the way the characters are described in the book and with the events that involve them. In other words, within the framework of the story, this interpretation of the names seems to fit and make good sense and even contribute something to the story. Would that satisfy your questioner? Probably not. But I'm not sure how much more proof you need.
Bad Books
In the latest Credenda/Agenda, Nathan Wilson has an article on "Bad Books for Boys," with which I concur wholeheartedly. I haven't read all the books he mentions, but I have read a fair bit of John Buchan and H. Rider Haggard. (One quibble with Wilson's comment: I'm not sure that the Buchan books contain "inadequacies." Maybe they do, but I don't spot 'em when I'm reading.)
Which brings me to this comment: I'm sure there are some people who hear about classical Christian education and start making plans to have their kids read all the classics and nothing but the classics — no mysteries, no science fiction, no fantasy, no swashbuckling adventures.
I don't want to say too much against the classics, though some of them are overrated and several are rather dull. I would remind you of James Jordan's beef with much classical education. But I'm very thankful that my parents didn't raise me reading nothing but "good books" (in the sense Wilson is using the term "bad books"). Give me some of the classics, sure, but I'll take Buchan any day — to say nothing of Gene Wolfe and Rafael Sabatini and P. G. Wodehouse and Colin Dexter and….
Doctor Thorne
My first encounter with Anthony Trollope took place when I was 10 years old. I read The Warden and Barchester Towers and then plunged into most of the rest of Trollope's Barchester books. I didn't finish the series, however. In fact, at the end of that year, I reread Barchester Towers. Eleven years later, I reread both The Warden and Barchester Towers. And last year, I reread them again.
This time, however, I'm once more moving on to the rest of the Barchester books. The other night, I finished Doctor Thorne, the third in the loosely-connected series. While the book was enjoyable, marked by Trollope's usual good humour, I didn't enjoy it quite as much as I did the previous two books in the series. Part of the reason for that may be that those books dealt with the ecclesiastical situation of the town of Barchester and this one didn't. But it also strikes me that some elements of this book are a bit too contrived. I'm not going to give anything of the plot away, but it did strike me that the book might have been more interesting if Trollope hadn't introduced a deus ex machina which allowed a resolution within the expectations of the people of the day. It seemed to me that he took the easy way out.
Nevertheless, I did enjoy the book and someday I'll move on to Framley Parsonage and the rest of the series. Right now, however, I'm about halfway through Colin Dexter's Death Is Now My Neighbour and I'm having a hard time putting it down. (I love Chief Inspector Morse and Sergeant Lewis!)


Being a good negotiator doesn't have to be difficult. Sooner or later everyone has to negotiate with someone if they want to get a good deal on a purchase.
When you are trying to negotiate with a car dealer, you should know that they are very practiced in the art already. You will need to know how to get through their car speak in order to be successful.
Since you now know how to calculate your offer and already know what the dealer paid for it, you should get a copy of the paperwork from a friend that recently bought a car, so that you can become familiar with what you will see on your paperwork. They are all generally the same.
If you've followed the above mentioned tips, you will also be pre-approved for a loan. The key is for you to get in and out of the dealership as quickly as possible because the salesman will definitely find more loopholes to up your charges if you stay.
Here are a few tips to successful negotiating.
Something that you should look out for from salesmen is the extra little tricks that you will likely encounter that will try to force or rush into a buying decision.
You have to remember that they are trying to negotiate you into paying more money just as you are trying to negotiate paying less. Here are some of the things that you can expect to hear from them.
2. This deal is only good for today. If you come back tomorrow I can't guarantee that the deal will be the same.
3. I'm an honest man. Look at how many cars I've sold this weekend (This is where he will show you his list of sold cars. If he does this, then tell him that he doesn't need your money).
4. I hate to tell you this but I have another offer on the table from a man that is willing to pay more money than this. I am just waiting for his paperwork to be returned. (Tell him that if he promised the car to someone else, you don't want to step on someone else's toes and that you should leave then).
5. To cover the overhead costs, we have paid $13,000 for this car (Just check your paperwork in your folder and prove them wrong).


text:
Dallas Municipal Archives
City of Dallas History
City Hall Buildings History
City of Dallas "Firsts"
City Seal
New Deal History in Dallas
Origin of the name Dallas
Timeline of Dallas Government
WRR History
City of Dallas Officers
City Auditors
City Managers
City Secretaries
City Council Election History
City Charter Amendments 1968-2014
Archives Collection Guides
What is an archives collection guide?
Archives Pathfinders
History of Dallas City Hall Buildings
JFK/DPD Collection
JFK/DPD at the Portal to Texas History
New Deal Dallas
Radio Station WRR
The 14-1 Ruling
About the Dallas Municipal Archives
Location, Hours, and Parking
L2DN
Suing for Single-Member Voting Districts
This online exhibit contains governmental history, 14-1 details, involved voices, and images of Dallas politics leading up to the game-changing ruling that
came to be known as the 14-1 decision. It is dedicated to Roy Williams and the countless other citizens of Dallas desirous of receiving equal representation, for all Dallasites, from the City Council.
Exhibit background
The population of Dallas has contained blacks, whites, and Latinos since its earliest days. City leaders, however, have not equally represented Dallas' citizens' neighborhoods and needs. Racial, financial, and geographical issues have impacted the political debates on economic, education, and social welfare programs. Blacks were restricted from serving on the Dallas City Council for Dallas' first hundred years. For most of the twentieth century, the City Charter contained a Segregation of Races section that authorized the Council to divide Dallas into specific areas for whites and the colored races. The following text shows the language of the 1931 City Charter; this section was not removed by City Council until the 1968 charter revision.
Permanent change
In 1991, the system of Dallas government was forever changed when Dallas was redistricted into fourteen single-member voting areas. The fourteen districts could elect their own representative to City Council, and the one at-large seat would be held by the mayor and elected by all the citizens of Dallas.
Marching on City Hall in support of the 14-1 Council
Photo courtesy Diane Ragsdale
How did Dallas get to that fifteen-person ballot for the November 1991 election? A lawsuit.
In May 1988, lawyers Betsy Julian and Mike Daniel filed a lawsuit on behalf of Roy Williams and Marvin Crenshaw. The suit argued that the existing system of eight single-member districts and three at-large seats discriminated against blacks. The Ledbetter Neighborhood Association, a group of Latino residents from West Dallas, joined the suit later.
Timeline of the Path to 14-1
Roy Williams and Marvin Crenshaw v The City of Dallas was filed in 1988, but the black and Latin citizens of Dallas began overtly pushing for change in the 1960s. The following table shows highlights of those activities. More details are provided on the governmental and 14-1 history page of the exhibit.
Year
1969 10-1 Council was eleven council places, including the mayor. All places were elected at-large. Two seats were reserved for minorities. Anita Martinez and George Allen won those seats giving the Mexican-American and black populations their first elected City Council members.
1971 The first case against Dallas' at-large system of electing council members was filed by Al Lipscomb and seventeen other plaintiffs. The suit, Lipscomb v. Jonsson, was dismissed for failure to state a claim upon which relief could be granted.
1975 The lawsuit, now Lipscomb v. Wise after a change in Dallas mayors, was addressed under appeal in 1975. U.S. District Judge Eldon Mahon ruled that the City of Dallas at-large system was unconstitutional because it diluted the black vote. The city used an 8-3 system, under which the mayor and two City Council members ran citywide and eight others ran in single-member districts. Mahon permitted the city to determine a new plan.
The 8-3 mixed plan won approval and became part of the City Charter on April 13, 1976.
Lipscomb v. Wise concludes after almost a decade of litigation. By this time, two blacks, but zero Latinos, had been elected by single-member districts. At the insistence of the Justice Department, Dallas created a third minority district by redrawing the lines in a 45.11% black and 24.3% Latino distribution.
1981-82
Council Member Elsie Faye Heggins led a move to study maps and demographics then reapportion the existing eight districts. In seven of the 11 reapportionment plans produced by the city, it was evident that the Council could create not only three black-majority districts but also a fourth swing district with a minority population over 50%. All proposals met with immediate opposition, but on March 24, 1982, Council passed Ordinance 17346 and reapportioned the eight districts.
May 1988 Roy Williams and Marvin Crenshaw filed a federal voting rights lawsuit, contending that the city's election system dilutes minority voting strength. The Ledbetter Neighborhood Association, representing Latino residents, joined the plaintiffs asserting that the 8-3 plan "also discriminated against Mexican-Americans."
August 1989 In a referendum, voters approved a 10-4-1 election system, which provided for 10 single-member districts and four regional seats, with the mayor elected at large. Most minorities opposed it, and the U.S. Justice Department did not approve the plan. Elections were not held using it.
March 1990 U.S. District Judge Jerry Buchmeyer wrote that minority participation in Dallas politics had been a question of "what blacks and Hispanics have been permitted to do by the white majority" and struck down the city's 8-3 election system.
Voters rejected the Council's initial 14-1 plan 45,624 to 45,252 (372 votes).
February 1991 Judge Buchmeyer ordered elections held May 4, 1991, using a 14-1 plan. The City Council voted to appeal his ruling to the 5th U.S. Circuit Court of Appeals in New Orleans.
March 1991 The City sent a 10-4-1 map to the Justice Department for the pre-clearance required under the Voting Rights Act. The 5th Circuit stayed Judge Buchmeyer's ruling to give the Justice Department a chance to review the merits of 10-4-1.
May 1991 The Justice Department did not approve 10-4-1.
August 1991 Judge Buchmeyer ordered elections on November 5, 1991, using the 14-1 plan.
November 1991 The first elections under the 14-1 plan were held. Nine whites, four blacks, and two Latinos were elected to represent Dallas. This Council included four women, also a first for Dallas.


Offices and data centres hold a huge amount of information. This information is transferred through a large number of cables which run through the server and computer rooms. People in the workspace are not really concerned about static electricity. However, while choosing the server room flooring, it is important to consider what might lead to short circuits in these rooms. Customized flooring can be installed so that it prevents static electricity from occurring. Tankaria Access Floors provide server room flooring solutions which are anti-static.
Server rooms in large offices and control rooms in factories house all the cabling in workspaces.
Huge amounts of information and electricity are passed through these cables.
A single stray static charge could cause damage beyond repair and be hazardous in more ways than one.
High Pressured Laminate tiles are used by Tankaria Access Floors for server rooms.
The HPL tiles are treated to make them anti-static Zinc whiskers are completely eliminated to stop even the remotest chance of static being generated.
Carpet flooring is not recommended while choosing a flooring solution for server floors.
Because of its primary properties of catching static electricity, it is a bad option in the case of power equipment failure.
Instead, using a perforated panel system takes care of air flow as well as prevents static electricity from occurring.
Contact us Today for Server Room Flooring Free of Any Static Electricity!
Server Room floors have a lot of responsibility to protect your data and premises. Contact us now to get the safest possible raised access flooring solution!


Hi again Paper Made Bakery Friends! Ryann here for Ashley who is feeling a bit under the weather this week so I'm helping out today. I have a fun Cherry Blossom CAS card to share with you today.
For my card, I started by adhering down a piece of the Konnichiwa patterned paper by Basic Grey onto the green card base. I then used a border punch to cut out the row of scallops and adhered it onto the card. I then threaded the two buttons with the jute twine included in the kit and adhered them onto the card.
Ohhhhhhhhhh I love love love this Ryann!! LOVING those cherry blossoms!!! This is gorgeous!!!
Oh I so love this and those flowers are just perfect...love pink..
This is beautiful, Ryann! Thanks so much for your help!
I am so excited to get my hands on this cherry blossom set! The cards you have been posting are awesome!
OHHHHHHHH! I love this! I love that you only paper pieced some of the blossoms on the tree branch! BEAUTIFUL!
Uh-huh! THAT'S what I'm talkin' about!! Great to meet you on Friday night, Ryann! FUN!!


text:
Q: In Elixir, how to mock a function that was defined in a 'used' module? I'm using meck and it works great in most cases. However, I encountered the following error:
elixir
(ErlangError) erlang error: {:undefined_function, {OAuth2.Strategy.AuthCode, :new, 2}}

I found that :new was a function defined in OAuth2.Strategy's __using__ macro. That means :new wasn't defined OAuth2.Strategy.AuthCode. How do I mock out :new in this case?

A: Meck creates mocks in runtime, thus it will never be able to mock macros in Elixir. If your macro eventually creates a function, that is then compiled into a module, you should be able to mock that (provided that you know the name of the function).

redpajama_set_name: RedPajamaStackExchange


text:
HomeRegistrationProgramTHINGS TO KNOW AT THE SUMMITFlight, Lodging and Visa InformationSponsorship and Exhibit OpportunitiesSponsors and PartnersHealth ProtocolsSHUTTLES
July 19 - 22, 2022 (GMT+1) // Marrakech, Morocco
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A Flagship Conference by the Corporate Council on Africa
Under the High Patronage of His Majesty King Mohammed VI of Morocco
Corporate Council on Africa in partnership with the Kingdom of Morocco is proud to announce that the 2022 U.S.-Africa Business Summit will be hosted in Marrakech, Morocco on July 19-22, 2022.
This year's Summit themed "Building Forward Together" will explore a renewed commitment by both public and private sector stakeholders to building stronger U.S. and Africa trade, investment and commercial ties as we emerge from unprecedented health and economic challenges.
Click here to view the 2022 U.S.-Africa Business Summit brochure.
Watch our teaser video!
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Hear from an exceptional line up of 100+ business and government leaders on industry-tested solutions to today's business challenges in agribusiness, finance, energy, health, infrastructure, ICT, security, and more.
Invest in Africa Country Forums
Interact with high-level government officials and business leaders from countries with some of the most promising markets for investments and hear about business opportunities, government policies and success stories.
Welcome Reception and Gala Dinner
Kick off the Summit by attending the welcome cocktail reception on Tuesday, July 19th and a gala dinner hosted by the government of Morocco on the following day. Both events will highlight the richness in architecture, beauty and taste of the Moroccan culture.
Engage in closed-door conversations with key decision makers to discuss business needs and concerns.
High-Level Dialogues
Connect with high-level African government delegations including heads-of-state, senior U.S. government officials, and CEOs and senior executives of U.S. and African companies.
Doing Business in Africa with Prosper Africa Agencies
Engage with representatives from key USG agencies and discover the resources and tools to aid businesses investing in Africa.
B2B and B2G Networking
Access a trusted network of 1000+ business and government leaders and discover new business partners. Networking is the #1 reason participants attend the Summit.
Exhibition Center
Showcase your company to leading businesses and key government officials and amplify your brand in the U.S.-Africa business and investment community.
Making Business Connections & Contacts
Face-to-face engagements are recognized as the best way to develop strategic and trusted relationships.
Golf Tournament Title
Register before June 20th to take advantage of the 20% off early bird discount!
Register now to receive 10% off on Royal Air Maroc business and economy fares.
Please email summit@corporatecouncilonafrica.com to receive an individual discount code to book your flight on Royal Air Maroc.
A list of hotels with discount rates will be sent via email after completing registration.


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text:
The British School of Sculpture, c.1760-1832
Jason Edwards
Sarah Burnage
$260.37 AUD, inc. GST
Format: Hardback, 262 pages , 246mm x 174mm
Imprint: Routledge
Publisher: Taylor & Francis Ltd
Description - The British School of Sculpture, c.1760-1832 by Jason Edwards
The British School of Sculpture, c. 1760-1832 represents the first edited collection exploring one of the most significant moments in British art history, returning to centre stage a wide range of sculpture considered for the first time by some of the most important scholars in the field. Following a historical and historiographical introduction by the editors, situating British sculpture in relation to key events and developments in the period, and the broader scholarship on British art more generally in the period and beyond, the book contains nine wide-ranging case studies that consider the place of antique and modern sculpture in British country houses in the period, monuments to heroes of commerce and the Napoleonic Wars, the key debates fought around ideal sculpture at the Royal Academy, the reception of British sculpture across Europe, the reception of Hindu sculpture deriving from India in Britain, and the relationship of sculpture to emerging industrial markets, both at home and abroad. Challenging characterisations of the period as 'neoclassical', the volume reveals British sculpture to be a much more eclectic and various field of endeavour, both in service of the state and challenging it, and open to sources ranging from the newly arrived Parthenon Frieze to contemporary print culture.
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History of art & design styles: c 1800 to c 1900
Other Editions - The British School of Sculpture, c.1760-1832 by Jason Edwards
(March 2021)
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Paperback , Aug '08
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