text:
Drakula (eng. Bram Stoker's Dracula), američki gotički, romantični horor film kojeg je 1992. godine režirao i producirao Francis Ford Coppola, a temelji se na romanu Drakula Brama Stokera. Glume: Gary Oldman kao grof Drakula, Winona Ryder kao Mina Harker, Anthony Hopkins kao Abraham Van Helsing, Keanu Reeves kao Jonathan Harker i Sadie Frost kao Lucy Westenra.

Drakula je općenito dobio pozitivne kritike i postigao je velik uspjeh na kinoblagajnama. Glazbu je skladao Wojciech Kilar, a na odjavnoj špici čuje se pjesma "Love Song for a Vampire" Annie Lennox.

Radnja

Godine 1462., Vlad Drakula, član Reda Zmaja, vraća se iz uspješnog noćnog napada na Turke i pronalazi svoju suprugu mrtvu: Elisabeta je izvršila samoubojstvo nakon što je primila lažnu vijest o njegovoj smrti. Bijesan zbog toga što je njegova supruga sada prokleta zbog samoubojstva, Drakula oskvrnjuje svoju kapelicu i odrekne se Boga, izjavljujući da će ustati iz groba da osveti Elisabetu sa svim silama tame. U nastupu bijesa probode križ svojim mačem i popije krv koja je potekla iz njega.

Godine 1897., mladi odvjetnik Jonathan Harker (Keanu Reeves) preuzima grofa Drakulu iz Transilvanije kao klijenta od svojeg kolege R.M. Renfielda (Tom Waits), koji je izgubio razum. Jonathan putuje u Transilvaniju da uredi njegove poslove oko kupnje nekretnine u Londonu, uključujući rezidenciju Carfax Abbey. Jonathan upozna Drakulu koji otkriva sliku Harkerove zaručnice Mine, te povjeruje da je ona Elisabetina reinkarnacija. Drakula ga prepušta svojim nevjestama koje ga zatoče, a sam otputuje u  Englesku s kutijama svoje zemlje, te se smjesti u Carfax. Njegov dolazak je predvidio Renfield u svojoj mahnitosti, koji je sada pacijent u susjednom azilu za psihički bolesne osobe doktora Jacka Sewarda.

U Londonu se Drakula pojavi kao biće koje nalikuje na vuka za vrijeme snažne oluje i hipnozom zavede, a zatim siluje i ugrize Lucy Westenra, kod koje Mina odsjeda dok je Jonathan u Transilvaniji. Lucyno loše zdravlje i promjene u ponašanju nagnaju Lucyne bivše udvarače Quinceya Morrisa i dr. Sewarda, zajedno s njezinim zaručnikom Arthurom Holmwoodom, da pozovu dr. Abrahama Van Helsinga, koji shvaća da je Lucy žrtva vampira. Drakula, koji se pojavi danju kao mlad i zgodan muškarac, susreće Minu i šarmira ju. Kad Mina dobije vijest od Jonathana, koji je pobjegao iz dvorca i oporavio se u manastiru, otputuje u Rumunjsku da se uda za njega. U napadaju bijesa Drakula pretvori Lucy u vampiricu. Van Helsing, Holmwood, Seward i Morris ju ubiju.

Nakon što se Jonathan i Mina vrate u London, Jonathan i Van Helsing vode druge u Carfax, gdje uništavaju grofove kutije sa zemljom. Drakula ulazi u azil i ubije Renfielda zato što je upozorio Minu na njegovu postojanje prije nego što ju posjeti u Sewardovim odajama dok ga ostali love. Priznaje da je ubio Lucy i terorizirao Minine prijatelje, ali zbunjena i ljuta Mina priznaje da ga još uvijek voli i prisjeća se svojeg prijašnjeg života kao Elisabeta. Na njezino inzistiranje Drakula ju započne pretvarati u vampiricu. Progonitelji upadaju u sobu, a Drakula položi pravo na Minu kao svoju nevjestu prije nego što pobjegne. Dok traje Minin preobražaj, Van Helsing ju hipnotizira i dozna putem njezine veze s Drakulom da plovi kući u svojoj zadnjoj kutiji. Progonitelji odlaze za Varnu da ga presretnu, ali Drakula pročita Minine misli i izbjegne ih. Progonitelji se razdvoje, Van Helsing i Mina putuju u Borgo Pass i dvorac, dok ostali pokušavaju zaustaviti Rome da prenesu grofa.

Noću Van Helsingu i Mini prilaze Drakuline nevjeste. Ispočetka plaše Minu, ali uskoro im se prepusti i pokuša zavesti Van Helsinga. Prije nego što se Mina uspije nahraniti njegovom krvlju, Van Helsing joj položi hostiju na čelo, ostavljajući trag. Okruži ih prstenom vatre da ih zaštiti od nevjesta, zatim se probije u dvorac i odsječe im glave sljedeće jutro. Kako se bliži zalazak sunca, Drakulina kočija dolazi u dvorac, tjerana progoniteljima. Dolazi do borbe između progonitelja i Roma. Morrisa rane u leđa tijekom borbe i za zalaska sunca Drakula iskače iz svojeg lijesa. Harker mu prereže grlo, a ranjeni Morris mu probode srce lovačkim nožem. Mina juri da zaštiti Drakulu koji posrće. Holmwood pokuša napasti, ali Van Helsing i Harker joj dopuštaju da se povuče s grofom. Morris umre okružen svojim prijateljima.

U kapelici gdje se odrekao Boga, Drakula leži i umire u drevnom demonskom obliku. Moli Minu da mu podari mir. Poljube se, a svijeće u kapelici se upale, te se Drakula pretvori u mladića, a Mina mu zabije nož u srce. Trag na njezinom čelu nestane jer je Drakulino prokletstvo skinuto. Odrubi mu glavu i zagleda se u fresku na kojoj se Vlad i Elisabeta zajedno uzdižu u nebo.

Uloge
 Gary Oldman - Grof Drakula / Vlad III. Drakula
 Winona Ryder - Mina Harker (djevojačko Murray) / Elisabeta
 Anthony Hopkins - Profesor Abraham Van Helsing / Svećenik / Glavni pripovjedač
 Keanu Reeves - Jonathan Harker
 Richard E. Grant - Dr. John Seward
 Cary Elwes - Sir Arthur Holmwood
 Billy Campbell -Quincey Morris
 Sadie Frost - Lucy Westenra
 Tom Waits - R. M. Renfield
 Monica Bellucci - Drakulina nevjesta
 Michaela Bercu - Drakulina nevjesta
 Florina Kendrick - Drakulina nevjesta
 Jay Robinson - Gospodin Hawkins

Produkcija
Winona Ryder je prva obratila Coppolinu pažnju na scenarij Jamesa V. Harta. Redatelj se složio da se sretne s njom tako da raščiste nesuglasice nakon njezinog povlačenja iz Kuma III. Film je kasnio zbog produkcije te je ona mislila da je Coppola omalovažava. Coppolu je privukao senzualni element scenarija, te je rekao da je htio da dijelovi filma nalikuju na "erotski san". U mjesecima nakon premijere upućeni u Hollywoodu koji su vidjeli film smatrali su da je Coppolin film previše nastran, nasilan i čudan da postigne komercijalni uspjeh, pa su ga nazvali Vatromet vampira prema uspješnici iz 1990. Vatromet taštine. Zbog kašnjenja i premašivanja troškova u nekim od svojih prethodnih projekata (Apokalipsa danas, Jednom iz ljubavi), Coppola je bio odlučan da završi film na vrijeme i bez dodatnih troškova. Da bi to postigao, snimao je na zvučnim pozornicama da izbjegne moguće probleme zbog lošeg vremena.

Coppola je odlučio investirati značajan dio novca u kostime da pokaže glumce koje je smatrao "draguljima" filma. Angažirao je crtača koji je napravio knjigu snimanja za cijeli film unaprijed pažljivo ilustriravši svaki planirani kadar, što je bio proces kojim je stvorio tisuće slika. Pretvorio je crteže u neujednačeni animirani film i dodao glazbu, zatim spojio scene iz francuske verzije Ljepotice i zvijeri Jeana Cocteaua iz 1946. sa slikama Gustava Klimta i drugih umjetnika simbolizma. Pokazao je film dizajnerima da im predoči ideju raspoloženja i teme na koje je ciljao. Coppola je također zamolio kostimografe da mu jednostavno donesu "čudne" dizajne. "'Čudno' je postalo šifra za 'Ne radimo po formuli'", prisjećao se kasnije. "'Dajte mi nešto što dolazi ili iz istraživanja ili iz vaših vlastitih noćnih mora.' Dao sam im slike i crteže, i govorio sam im o tome kako film mora izgledati vizualno."

Coppola je angažirao dramsku pedagoginju Gretu Seacat da pripremi Sadie Frost i Winonu Ryder za njihove erotske scene jer mu je bilo neugodno razgovarati o seksualnosti s mladim glumicama. Međutim, tražio je od Garyja Oldmana da govori zavodnički Sadie Frost iza kamere dok su snimali scenu u kojoj se previjala sama u svojem krevetu u ekstazi. Kasnije je nazvala stvari koje joj je Oldman rekao "prilično neponovljivima".

Francis Ford Coppola nije želio koristiti suvremene specijalne efekte poput kompjuterski animiranih slika, već zastarjele tehnike stvaranja specijalnih efekata s početka povijesti kinematografije, koje je smatrao prikladnijima zbog razdoblja u kojem se radnja filma poklapa s vremenom nastanka filma. Prvobitno je angažirao standardni tim za vizualne efekte, ali kad su mu rekli da su stvari koje želi postići nemoguće bez uporabe moderne digitalne tehnologije, Copola se nije složio i otpustio ih, zamjenjujući ih svojim 29-godišnjim sinom Romanom Coppolom. Specijalni efekti u filmu zato nisu dobiveni uporabom optičkog printera ili kompjuterski stvorenih efekata, već su stvoreni uporabom praktičnih efekata na setu i pomoću same kamere. Npr., bilo koje sekvence koje bi inače zahtijevale uporabu komponiranja kadra napravljene su tako da su glumci postavljeni ispred ekrana koji je projicirao sliku iza njih, ili višestrukom ekspozicijom, snimanjem pozadine, a zatim vraćanjem filma u kameri i snimanjem prednjeg plana na isti film, cijelo vrijeme koristeći se tehnikom kaširanja da se osigura da samo željena područja budu izložena. Linearna perspektiva je često korištena zbog kombiniranja minijaturnih modela ili naslikane pozadine s elementima u prirodnoj veličini, ili da se stvore iskrivljeni pogledi na stvarnost, kao što je držanje kamere naopako ili neobični kutovi čime objekti naizgled proturječe zakonima fizike.

Prijem

Kritike
Dracula je dobio općenito pozitivne kritike. Film je na temelju 46 kritika na portalu Rotten Tomatoes dobio ocjenu od 80% s konsenzusom: "Prenapuhano u najboljem smislu te riječi, Coppolina vizija 'Drakule' Brama Stokera spašava lik od desetljeća banalnih interpretacija - i karakteriziraju je neke nevjerojatnih izvedbe kao poticaj". Vincent Canby iz New York Timesa je opisao djelo kao film kojeg je stvorio "entuzijastičan i napredan student koji je magijom postao majstor svojeg umijeća". Richard Corliss iz Timea: "Coppola oživljava stare jezive priče... Svi znaju da Drakula ima srce: Coppola zna da je potrebno zabiti kolac u nešto više od organa. Za redatelja je grof nemiran duh osuđen na previše godina na pokop u lošim filmovima. Ovaj raskošan film vraća biću plemenitost i daje mu mir".

Roger Ebert je nagradio film s 3/4 zvijezde i napisao: "Uživao sam u filmu jednostavno zbog načina na koji je izgledao i osjećao. Scenografi Dante Ferretti i Thomas Sanders su nadmašili same sebe. Snimatelj Michael Ballhaus se toliko uživio da uvijek izgleda kao da sjaji sa sjenama". Međutim, kritizirao je "pripovjedne konfuzije i slijepe ulice" filma. Jonathan Rosenbaum iz Chicago Readera je smatrao da film pati od "ponešto raspršene i prenatrpane pripovjedne linije", ali da "ostaje fascinantan i često dirljiv zahvaljujući svoj svojoj vizualnoj i konceptualnoj energiji". Tom Hibbert iz Empirea je nagradio film s 2/5 zvjezdice i napisao: "Da li je film ikad obećavao tako puno, a dao tako malo? Bilo je toliko potencijala, no kad se dogodio, Coppola je napravio svojeg Drakulu previše starog da bi bio prijetnja, dao Keanuu Reevesu ulogu i izbacio svu akciju". Reevesova izvedba našla se kasnije na listi portala Total Film - 50 izvedbi koje su uništile filmove.

Uspjeh na kinoblagajnama
Film se našao na broju 1 na kinoblagajnama s 30,521.679 dolara. Međutim, pao je u sljedećim tjednima izgubivši 50,8% svoje publike nakon premijernog prvog vikenda i ispao iz liste pet najboljih nakon tri tjedna. Ipak je postigao uspjeh na kinoblagajnama zaradivši 82,522.790 dolara u Sjevernoj Americi, te je postao petnaesti film po zaradi te godine. Izvan Sjeverne Amerike je zaradio 133,339.902 dolara, a sveukupno 215,862.692 dolara, što ga čini devetim filmom po zaradi te godine u svijetu.

Priznanja
Film je osvojio tri Oscara, za najbolji dizajn kostima (Eiko Ishioka), najbolju montažu zvuka, (Tom C. McCarthy, David E. Stone) i najbolju šminku (Greg Cannom, Michèle Burke, Matthew W. Mungle), i bio nominiran za najbolju scenografiju (Thomas E. Sanders, Garrett Lewis). Također je osvojio četiri nagrade Saturn, zajedno s nagradom za najboljeg redatelja (Coppola) i najboljeg glumca (Oldman).

Kućna izdanja
Godine 1993. pojavilo se specijalno izdanje "Drakule" u obliku lijesa. Kutija je sadržavala film na VHS-u, na kojem su se nalazili dokumentarni film sa snimkama iza scene i originalni roman Brama Stokera s mekim koricama.

Drakula se prvi put pojavio na DVD-u 1999. i zatim kao Superbit DVD 2001. godine. Niti jedno izdanje nije sadržavalo dodatke. Dvodijelno izdanje "Collector's Edition" na DVD-u i Blu-rayu pojavili su se 2007. godine. Izdanje "Collector's Edition" sadrži uvod i komentar redatelja Francisa Forda Coppole, obrisane i produžene scene, kratku i uobičajenu najavu i dokumentarne filmove "The Blood Is the Life: The Making of Dracula", "The Costumes Are the Sets: The Design of Eiko Ishioka", "In Camera: The Naïve Visual Effects of Dracula" i "Method and Madness: Visualizing Dracula".

Bilješke

Vanjske poveznice

 Drakula na All Movie
 Drakula na Turner Classic Movies

Američki filmovi 1990-ih
Filmovi 1990-ih
Filmovi Francisa Forda Coppole
Horori
Romantični filmovi


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text:
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          public getEditingPath(arg0: javax.swing.JTree): javax.swing.tree.TreePath
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redpajama_set_name: RedPajamaGithub


Although there are a ton of bbq sauces available, I had been wanting to try making my own for a while and now was the perfect time as I had something in mind. As it turns out, making your own bbq is pretty easy and you probably have all of the ingredients that you need. Bbq sauce generally starts with a tomato base such as ketchup and adds something for sweetness, vinegar for a tanginess and some kind of heat. You can play around with the basic ingredients and you can add other ingredients to come up with whatever flavours you want. I stuck with a pretty simple bbq sauce for my first attempt and it turned out pretty good! It was a nice blend of tangy, sweet and spicy and it as full of flavour. I enjoyed the texture that the grated onion added and the smokiness that the chipotle chili powder and smoked paprika was really nice. Stay tuned to see what I use it in.
I just had a class this week on rubs and sauces with world champion competitive BBQr Mike Davis and learned quite a bit. I like that you used smoked paprika, good idea.
I used to swear I'd never give up my tomato use in barbecue, but now I substitute adobo paste – ancho – or pure ground dried peppers – Big Jims or red Anaheims or mixed Mexican meaty peppers such as anchos and negros and pasillas, etc. Hungarian paprikas are similar. Much more than just a few tablespoons.
My big three ingredients are that, the mustard, and the vinegar. The onion is a minor though absolutely delicious ingredient.
I just found this site and love it.
Okay Kevin, found the bbq sauce and it looks awesome. Silly me to think you didn't have one. LOL. Could you list it in your awesome sauces index. Gotta go add a couple of things to the one I am making right now. Thanks Kevin.
Think it would be really detrimental if I used yellow mustard instead of dijon?
Michelle Miesse: Yellow mustard should work as well!
Divine! How long would this keep in the fridge?
Anonymous: This will keep in the fridge for a few weeks!


In the heart of Lichfield, just a short walk from the city centre and the magnificent cathedral, this charming hotel offers newly refurbished rooms with flat-screen TVs and free wireless internet access. Formerly the Little Barrow, the Cathedral Lodge Hotel has now refurbished all of the rooms to a very high standard. Each room has a flat-screen plasma TV with Sky channels and an en suite bathroom with a power shower over the bath.
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In March 2016, Louis Dowler and other Jennifer's Way Bakery investors filed a $43 million lawsuit against Esposito. According the New York Post, Lawrence Wenner and David Drake invested "$250,000 each" and loaned the bakery an additional $1 million to "expand the business with a commercial plant in Queens," to open an online store.
The investors alleged Esposito was challenging to work with, and when the online store struggled financially, they claim she bad mouthed the company on her official Facebook page and refused to help secure a loan. "Esposito has instilled and promoted a groundless and downright false sense of fear that the very same products with the same recipes, coming from the same facility, that she once stood behind, are now unsafe to consume," the lawsuit stated.
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It is appropriate that today, the winter solstice, the Sun is shining here in Central Vermont, even if weakly and not for long. When people tell me that using solar energy is not realistic, I love to suggest "Let's turn the sun off for a week and see what it's like to live without it!" Even on this shortest day of the year, the power of the Sun is so obvious.
As it happens today is also the day Catamount Solar LLC is installing an array of photovoltaic panels on our roof. Despite the snow and bitter cold, the crew is working safely and as efficiently as possible and we hope to be offsetting much of our electric use by the end of the week and, throughout the next year, the system should generate more than we use.
As I've shared previously, we have another system that uses the sun to warm all our hot water from mid-April to the end of October and some of the water the rest of the year. California, Florida, the rest of the country—are you listening?! If it can work here, it can work nearly everywhere else!
President-elect Trump, come visit us and see what a real investment in the future and our infrastructure could look like.
21 Dec	This entry was published on December 21, 2016 at 10:46 am. It's filed under John Snell, John Snell Photographer, Vermont, Winter and tagged Catamount Solar LLC, photovoltaic array, President-elect Trump, solar hot water heater, solar PV, sun, winter, winter solstice.	Bookmark the permalink.	Follow any comments here with the RSS feed for this post.
YES!! Agree 1000%. Most folks who get solar save as much just by noticing – and cutting back on – areas where they can use less energy – with little or no effort and little or no loss of comfort.


One of our favorite online destinations is YouTube, isn't it? What is that makes people cling to this app like no other smartphone apps? It's the entertainment factor!
But for those people who are always on the go, data and the phone battery becomes crucial of all. In order to save on the data, you may skip on using the YouTube, and listen to the offline songs instead.
With the help of the Vidmate app, you can download videos or movies that you wish to see before leaving out for work. Then, watch the video or movie while you are on the go.
Vidmate is a popular video downloader app which is used by millions of YouTube lovers out there. Using the Vidmate app, you could download and save any video file and set them on your smartphone for watching it later.
Another cool thing about this app is that it offers the user to select the video quality in which they want to make the download.
What's the Vidmate v3.34 Update about?
The v3.34 update has improved the Downloading of the YouTube videos in general. You could set the right pixel resolution which suits the best for your smartphone. With Latest Vidmate Download you get one inbuilt mp3 converter, using which you could extract mp3 files out of a video file!
So, if there is a video song, you can download the audio version using the video URL. Extracting has never been made so easy!
On a happy note, I could say that Vidmate is among those few apps whose updates are out every week. This ultimately improves the app performance and the user experience! Kudos to all the developers who are on it!


text:
A tridentate ligand (or terdentate ligand) is a ligand that has three atoms that can function as acceptor atoms in a coordination complex.

Well-known tridentate ligands include diethylenetriamine with three nitrogen donor atoms, and the iminodiacetate anion which consists of one deprotonated amine nitrogen and a pair of carboxylate groups.

An octahedrally coordinated atom has six positions around it. Two tridentate ligands may form a complex with such an atom. There are two possible arrangements for such a complex: fac where the coordination is in a triangle on one face of the octahedron, and mer where the coordinating atoms are in an arc around the central atom, with two atoms of the ligand opposite each other. Fac tridentate ligands are termed scorpionate ligands, especially in reference to polypyrazolylborates.

If the tridentate ligand is not symmetrical, then in the fac complexes in octahedral coordination there are three possible isomers. In the mer complexes there are two enantiomers, mirror images of each other.

List

See also
Tripodal ligand

References

Coordination chemistry
Ligands

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Politics and the American Trucker Song
The blue-collar economy as seen through songs of the road…
Emily Bartlett Hines
filed 05 June 2018 in Uncategorized
The 1973 country hit "Awful Lot to Learn About Truckdrivin'" tells a tale most people who've ever held a job can relate to. The song's narrator, voiced by Red Simpson, starts off thinking he's chosen the perfect life path:
"I knew that someday I just had to be a truck driver 'cause it holds a fascination for me/ To have somebody payin' you a living wage to travel all over the country."
When he shows up to present his application, his naïvete becomes clear: "I told the man at the terminal I would work real hard, even 8 or 9 hours a day!" The veteran trucker laughs and offers a response that's also the chorus of the song: "It's a heck of a life bein' married to a diesel, but son, you got an awful lot to learn."
Awful, indeed. The nature of the American workplace is such that you're unlikely to get paid a living wage to do something pleasant and engaging for eight hours a day. In trucking, the reality is a bit more extreme. The once-popular trucker music vividly described truckers' long hours and exhausting lifestyle long before it was national news. A driver in Joe Maphis' "Ten Days Out, Two Days In" complains that:
"I've had to drive 'em every night and day just to make enough to pay my bills / Lately I've been seein' two of everything and I ache from my head to my toes."
A long-haul trucker in the 1970s could expect to work over 60 hours a week (exact numbers are hard to come by, since drivers rarely record their hours accurately), including time spent driving, loading, unloading, making repairs, and filling out paperwork. He'd usually end his 10-, 12-, or 16-hour day far from home and crawl into bed in a sleeper cab. Hence Maphis' complaint that "I kiss my baby and I'm gone again…. My old dog bites me every time I come home…. I came home today, heard my little boy say, 'well mama, who is that man?'"
Grueling hours and strained relationships aren't unique to trucking. What's most remarkable about "Awful Lot to Learn" and its ilk is hearing these realities depicted in a mass-market radio hit. Throughout the twentieth and twenty-first centuries, popular music has studiously ignored the time its listeners spend working for a paycheck. Even the rawest of country music typically takes place in homes, hollers and honky-tonks. The trucker subgenre stands out as unique for being set in a workplace—the cab of a truck. During the decade and a half that trucker music made its mark on the country-western airwaves, it offered listeners a portrait, albeit romanticized, of the perils, frustrations, and petty triumphs of life on the job.
Although the figure of the lonely long-haul driver has appeared occasionally in song since the early days of recorded sound, the genre as such got its start with "Six Days on the Road," a 1963 track by the then-unknown Dave Dudley that made it to #2 on the hot country charts. The time was ripe—with work having begun on the US interstate system seven years earlier, tractor-trailers were replacing railroads as the main avenue for getting goods from point A to point B. "Six Days" is a first-person account of a gear-jammer's journey home to his sweetheart, and it established many of the tropes of the trucker genre.
The lyrics are a detailed evocation of the things that might frustrate or please a trucker. He's in control of a fine piece of machinery—"I got my diesel wound up and she's a-runnin' like never before"—and has nothing to slow him down—"I don't see a cop in sight." If his highest gear isn't fast enough, he has "Georgia overdrive"—the practice of coasting downhill in neutral, used (illegally) by truckers to overcome the inherent speed limitations of a 20- to 40-ton vehicle. The danger of getting caught for violating safety regulations is ever-present—"the ICC is checkin' on down the line" and "my log book's way behind," but "I can dodge all the scales." He misses his girl, but after all, "I'm gonna make it home tonight." The deep-voiced Dudley's swaggering vocals suggest the thrill of speed, even as the title suggests the tedium of overwork.
The song struck a chord with its detailed evocation of workplace jargon and routine. Truckers would have recognized the reference to the Interstate Commerce Commission, an agency which, starting in the 1930s, mandated that drivers keep a logbook recording their activities in 15-minute increments. The books were intended to enforce "Hours of Service" regulations, which, at the time, required the worker to take a break after 10 hours of driving. The HOS are meant to keep exhausted drivers off the road. Given that the driver is "taking little white pills" to stay awake, he's clearly flouting them.
Another source of the song's appeal is the figure of the freight-hauler himself: a wily anti-authoritarian who's nonetheless deeply wholesome. ("I could have a lot of women" while on the road "but I'm not that kind of a guy.") As the years passed, this version of the trucker would become a pop culture archetype—in the words of a 1978 Journal of Country Music article, "the Last American Cowboy, a free spirit, a knight of the road, and the one hero for our time, the ultimate proletarian."
As the hits piled up, subject matter came to include "road tragedies, good Samaritan deeds, tall tales and comic happenings" (as Frederick Dankers' JCM article describes it). Tales of self-sacrifice abound. In Red Sovine's 1967 "Phantom 309," a hitchhiker encounters the ghost of a driver who deliberately crashed his rig to save "a school bus full of kids." But lighthearted tales are just as common. The jaunty Red Simpson piano boogie "Country Western Truck Drivin' Singer," released in 1972, explores the downside of team-driving. The narrator's partner, Homer Gooch, has bought a guitar in pursuit of Nashville stardom. "When I'm layin' in that sleeper trying to rest my bones/ He's up there trying to sing like George Jones." The untalented Gooch is finally spotted "driving the Nashville garbage truck."
Sentimentality is a common thread. In Red Sovine's 1965 "Giddyup Go," a trucker finds his long-lost son against all odds when he spots a rig with the same distinctive name as his. Sovine had a string of hits for Starday Records, many exploring the saccharine side of driving trucks. The 1976 #1 hit "Teddy Bear" tells of a paraplegic boy who talks to truckers via CB to ease his loneliness after his father's fatal wreck. When he tells the narrator of his wish for a ride in a big rig, the man visits his home, only to see "18-wheelers lined up for 3 city blocks." Sovine narrates these events in a voice that seems to be choking back tears. (In the bizarre answer song "Teddy Bear's Last Ride," a family friend describes how the little boy's condition worsens until he becomes too weak to use the CB and eventually dies. At his funeral, "the sound of 100 engines filled the air" as weeping truckers line up to pay their respects.)
By depicting it in song, this music acknowledges the strong emotions of working life. The protagonist of the Willis Brothers' 1964 "Give Me 40 Acres" has an emotional meltdown when he gets his unwieldy vehicle stuck in a tight spot and can't change direction:
"The tears were streaming down his face, and they all heard him yell/
'Give me 40 stick of dynamite, I'll blow this rig to [repeat chorus]."
Per Danker, the music had traits in common with "the traditional occupational songs of the cowboy, railroader, miner, lumberman." But despite these songs centering the worker as hero, any political message they offer is ambiguous. Mining songs might blame their woes on management greed and exploitation; trucker songs depict the hardships of the job as inescapable facts of nature.
Illustrations by Nick Sirotich
Workers in many industries risk dying for their employers' profits, but truckers, imperiled by high speed and exhaustion, die the most overall, with around 750 on-the-job deaths per year. Steve Viscelli's The Big Rig: Trucking and the Decline of the American Dream records an interview with a driver, Claudio, who was ordered by his dispatcher to haul a load from Texas to Miami just as Hurricane Katrina was about to make landfall. Directly in the path of the storm, he sheltered from high winds in his truck and barely survived the trip. "And I came back all the way to home, tossed the keys on the table of my dispatcher, and I told him, 'Next time you want to drive through that, get your license and drive…. No one is going to tell me to risk my life!'"
The risk of on-the-job mortality haunts trucker music, as titles like "Tombstone Every Mile" suggest, but moments of clarity like Claudio's are rare. The classic "Diesel Smoke, Dangerous Curves" is a first-person account of a disaster in progress:
I was out last night drinkin' beer with the guys
Got an achin' head and bloodshot eyes
I ended up with a pretty little dame, I didn't even know her name.
The speaker is in bad shape, but must keep on:
If I deliver this hotshot freight
I gotta get a-goin, I'm runnin' late….
Can't stay awake, ain't had no sleep
The final stanza leaves us right at the moment of the inevitable fatal crash:
I must have closed my eyes for a while
Cause here I am, I'm runnin' wild
I burned my brakes, stripped my gears
Gonna have to ride her down, I fear…
I wish I'd left the women alone
It's too late now, I think I'm gone
First recorded by Doye O'Dell in 1952, the song was memorably revived for the trucker music era by Red Sovine, Bobby Sykes, and others. The drama of the tale is variously enhanced by diesel-horn sound effects, anxious sixteenth-note playing, steel guitar slides to suggest the driver's uncontrolled descent, and, in one version, a climactic female scream. Its message is one of the dangers of overindulgence. The driver "got myself into this fix" (the "natural" dangers of hilly roads and tempting female bodies are also to blame). Listeners aren't encouraged to wonder who decided he's "late," or designed a schedule that doesn't allow time to sleep off an occasional hangover.
How much can companies demand of the people they hire to haul freight? One might begin with the 1935 Motor Carrier Act, which sought to end wasteful hypercompetition by creating high barriers to entry. In doing so, it "cartelized" the industry: The relatively small number of carriers could set prices among themselves, keeping profits high. Carriers were required to publicize the rates they paid drivers. That way, if the Teamsters negotiated a higher wage with one company, others would follow. During the midcentury, under the canny leadership of Jimmy Hoffa, the International Brotherhood of Teamsters became the biggest and most powerful union in the nation's history, and trucking the country's highest-paid blue-collar job.
The legislation also gave the Interstate Commerce Commission the authority to create rules for trucker hours of service. The ICC originally limited truckers to 15 working hours and 10 driving hours a day. Interestingly, the 8-hour day envisioned by the rookie in "Awful Lot to Learn About Truckdrivin'" was once broached as a serious option. "Representatives of organized labor (including the American Federation of Labor, the Teamsters, and the Machinists) petitioned for a stay of the original regulations…. Labor wanted HOS limits of 8 hours per day and 48 hours per week."
The ICC responded that although the 8-hour day was "now… generally recognized as the normal standard for workers," an exception was called for. Unlike "factory operations, generally sustained in character," truck driving is "generally characterized by frequent stops for refreshments, gas, or rest…. Monotony or nervous and physical strain… is alleviated by these breaks." This decision still stands. Hours of service have varied over the years, but have never approached a "normal standard."
The hours of service have also never been consistently obeyed. The problem is that drivers were, and still are, paid by the mile, not the hour. Every hour spent waiting at docks or fixing flats is one not spent doing paid work. As a result, drivers systematically mis-record this "on duty not driving" time as "off-duty." A trucker today can spend 30 or 40 hours just on this unpaid work, and is likely to record only 60 percent of their actual work time. Even in the union era, many drivers would have worked much more than the 60 weekly hours the ICC permitted. The situation is deeply paradoxical. The regulations are meant to limit exhausting workdays, but truckers only get paid for one category of the work that they do. So they falsify their logbooks, work far more than is allowed, and feel that they are gaming the system by doing so.
When drivers voiced discontent, it was often at regulators like the ICC. A recent journal article points out that they saw the "intrusions of state power into their work routines" as a threat to their status as "kings of the open road." These complaints kicked into high gear in the wake of the 1973 Arab Oil Embargo, when the government lowered the national speed limit to 55 to conserve gas. Fuel costs spiked and the same trip took more time. Livelihoods were threatened.
That year, the trucker magazine Overdrive published an interview with University of Chicago economist Milton Friedman, praising his "daring and outspoken" belief that "governmental agencies are far worse than the problem they were created to solve" and that "there is no justification for the ICC whatsoever." In late 1973 through early 1974, independent truckers engaged in a series of rather chaotic actions, including blockading highways and protesting oil terminals, hoping for relief from the gas crisis. This flurry of activity concluded with an 11-day "strike" that won a small concession from the Nixon administration: a freeze in diesel prices.
These events also led to a surge in popularity of CB radios. Truckers used them to communicate about the newly urgent matter of avoiding speed traps, while the general public was fascinated by the possibilities of a seedy proto-ChatRoulette.
1975's slickly produced "Convoy" presents these possibilities in overheated fictional form. Using CB dialogue and first-person narration, the song depicts a spontaneous trucker rebellion. A few drivers decide to "put the hammer down." As more join, they use their strength in numbers to speed through a roadblock and defiantly "tear up their swindle sheets [logbooks]." Coordinating their action through CB, the now-1,000-strong group finally insists "we ain't gonna pay no toll" and "[crashes] the gate doing ninety-eight," proving the chorus's assertion that "ain't nothing gonna get in our way." If the 1974 strike failed to accomplish much, "Convoy" is a fantasy of what might have been. It offers a vision of solidarity and cooperation that's completely ad hoc—no union required.
By the mid-'70s, as Shane Hamilton writes in Trucking Country: The Road to America's Wal-Mart Economy, "truckers' antistatist, antiunion, and antiauthoritarian neopopulist politics" were beginning to gel. More drivers than ever were self-employed, and these non-unionized owner-operators believed they could make more money if they could freely compete with big firms.
1979 saw a repeat of the anti-regulation strikes and blockades. A repeal of the 1935 Motor Carrier Act was inevitable. When the Motor Carrier Act of 1980 passed, undoing the reforms of the '30s, it did so with nearly everyone's support—mainstream economists, Overdrive magazine, even Ralph Nader.
Within a few years things changed dramatically. With barriers to entry lowered, new companies were undercutting existing ones by hiring cheap non-union workers, carriers were going bankrupt, and profits for surviving firms were razor-thin.
The deregulators had gotten their wish: manufacturers were paying much less to ship their goods. Meanwhile, membership in the Teamsters fell to below 10 percent, and wages per mile for drivers declined by 44 percent. The already-long hours expanded. Today it's not uncommon to work 90 or 100 hours a week. Most drivers are unhappy, but they're quickly replaced. Taxpayers subsidize high turnover through government assistance to industry-run Commercial Drivers' License schools. In Steve Viscelli's words, "A class project has transformed trucking from an industry with some of the best-paid workers and one of the strongest unions in American history into one in which unions play almost no role, and workers live for weeks at a time out of the machine they operate, often earn less than minimum wage, and work hours equivalent to two full-time jobs, sometimes more." Big rigs have become Sweatshops on Wheels.
Of course, by 1980, the public's interest in the romantic trucker figure was already fast waning. The public spotlight moved elsewhere as the dream of independence and high wages quietly died. Country music's brief moment of class consciousness died too. If the reality of blue-collar work is becoming ever more grim, you'd never know it from anything you hear on the radio. Protagonists of contemporary country music aren't workers—they're consumers, either of tequila and Bud or of inspirational bromides. (One recent hit informs the listener that "most people are good" and "every breath's a gift.") Some veteran drivers notice what's changed. On a Youtube upload of "Ten Days Out, Two Days In," user "1500 Mike" comments: "Someone should make a modern [version] of this. 6 weeks out 2 days in. Thanks deregulation."
In the end, the song that most insightfully reflects drivers' woes may be Red Simpson's "I'm a Truck." This 1976 hit gives voice to the exploited worker through a striking creative sleight of hand: The narrator is a sentient eighteen-wheeler complaining about his boss, the driver.
"You've heard songs about truck drivers, many times their story's told…. But if you could spare a minute, I'd like to tell you mine." In the truck's telling, drivers are a sort of self-involved management class: "Look at him sippin' coffee and flirting with that waitress. And where do you think he left me? That's right, next to a cattle truck." Drivers can make mistakes with no repercussions: "If we're on time he takes the credit, if we're late I get the blame." Meanwhile, the truck's efforts go unacknowledged: "I take him south and bring him back without a word of thanks… Hadn't've been for me, we'd've both wound up in the ditch."
If the trucks have so little power that their needs are easily disregarded, they can reflect that their obscure, thankless work keeps everything rolling along:
There'd be no truck drivers if it wasn't for us trucks
No double-clutchin', gear-jammin', coffee-drinkin' nuts
They drive their way to glory
And they have all the luck
There'd be no truck drivers if it wasn't for us trucks.
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Definitely very different from your usual. Enjoyable nonetheless. Already looking forward to the next installment- what will happen when David goes to help Hauwa with her big suitcase at the end of term?
Loved the smooth movement between writing male and female characters.
Well done Tats- very elegantly written.


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Atlanta Gay Men's Chorus to give Christmas concert | Arts & Culture
Atlanta Gay Men's Chorus to give Christmas concert
Thursday, December 6th, 2012, 8:37am
Topics: Arts & Culture, Events
ATLANTA -- The Atlanta Gay Men's Chorus will perform three Christmas concerts at the Cathedral of St. Philip this weekend.
Shows are at 8 p.m. Friday, Dec. 7 and 2 p.m. and 8 p.m. Saturday, Dec. 8.
The chorus will also sell copies of its latest album with some of the songs featured in its And on Earth, Peace Christmas show. The album can be purchased from the iTunes store and on the chorus website as well.
Visit brownpapertickets.com for tickets to the concert. They are $40 for premium seating and $30 for regular seating. A limited number of $15 tickets are available for the Saturday matinee.
The Cathedral of St. Philip is located at 2744 Peachtree Road NW in Buckhead.


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Home » Something to Stew
Something to Stew
Soup or stew can serve as a side dish, a snack or a complete dinner. Manufacturers formulating soups should take into consideration the end-user's needs in order to ascertain nutritional, functional, sensory and economic targets.
Today, the food choices of many consumers are based on the individuals' food ethics, meaning they eat based on their personal dietary guidelines. Some are concerned with reducing sodium and cholesterol levels in an effort to avert heart problems, while vegetarians want full-bodied flavor without actually eating meat.
A report published by Mintel International (Chicago) found that popular "low in…" positioning claims, such as low-calorie and low-fat, increased by 51% during the second half of 2004, in comparison with the first half, to meet with growing demands from health-conscious consumers.
Sodium content also has been slashed in response to recent research, which has highlighted the recommended daily intake as between 1,100mg and 3,300mg for an adult. "Soups, stews and side dishes that provide a variety for those seeking to adhere to similar guidelines will likely flood grocery aisles in coming years," reports Mintel.
"One of the most common and simplest ways to reduce calories from fat is with natural gums," says Carlos Sanchez, vice president of quality and technology at Juanita's Foods (Wilmington, Calif.). Fat has major functionality in flavor delivery. Suppliers have come up with improved types of gums to lower calories and still provide a good flavor delivery.
Also, suppliers have formulated dietary fiber into meat analogs. Fiber is a component that is beneficial in combating heart disease and certain types of cancer. Using soy or whey protein can enhance the healthfulness of the food. An FDA heart healthy claim can be assigned to a product containing 6.25g of soy protein per serving if the requirements for sodium and fat also are met. Additionally, naturally occurring soy isoflavones have been shown to reduce the incidence of breast and prostate cancers.
The Meatless Menagerie
"Processors typically use meat analogs with meat and poultry to improve nutritional quality and sensory acceptability, but incorporating vegetable protein as a meat extender can foster economic advantages, also," advises Matthew K. McMindes, global director of applied technology at a soy protein company.
Oftentimes, meat analogs are used in combination with real meat to enhance flavor or for cost benefits. The most common meat analog will use 70% of a meat ingredient, while the other 30% would include a blend of gums with flavorings, says Sanchez. The most typical example would be re-formed meat or meat that would otherwise be discarded or wasted. The other kind of meat analog contains 10%-20% meat, with the other 80% of ingredients consisting of another component, such as soy protein. There also are vegetarian meat analogs that can be made with soy, dairy or wheat proteins.
"The protein nutrition from textured soy protein concentrates is similar to meat, milk or egg protein and since they are high in protein (70% on a moisture-free basis), protein per serving targets can more easily be achieved [in soups]," explains McMindes.
Furthermore, meat alternatives do not contain cholesterol, are typically lower in fat and calories, and appeal to consumers who have religious dietary restrictions, those who have made vegetarian lifestyle choices or "flexitarians," those who want to reduce their consumption of meat products.
Textured soy protein (TSP) is very easy to use in a soup or stew, says McMindes. Meat analogs are prepared by hydrating high-quality vegetable protein ingredients such as soy protein isolate, soy protein concentrate, textured soy protein concentrates, wheat gluten and textured wheat gluten, either singly or in combination with flavorings, colorings and other minor ingredients. "High-quality meat analogs and high-quality meat used in soups or stews have a similar shelflife," offers McMindes. However, these textured soy proteins do not require pre-cooking, as do their meat counterparts.
"Meat analogs can be formulated to have eating qualities indistinguishable from their meat counterparts," says McMindes. The products can take the form of meat granules, chunks, flakes or shreds. They can emulate emulsified meats such as frankfurters; whole muscle meats such as shredded chicken breast, pork or beef; ham-type cubes; and even fermented meats such as pepperoni. All of these can be added to soups or stews. With the addition of caramel coloring, TSP can be formulated to look like cooked beef in soups and stews.
When using protein ingredients, moisture retention can be impacted by the pH of the soup or stew. Low-pH soups, such as those that are tomato-based, reduce the water-holding capacity of the protein ingredients. In high-pH soups, the protein ingredients will hold more moisture, explains McMindes. "This can be advantageous if a softer texture is desired or be challenging if a firm texture is desired." Discussing texture targets and pH levels with a protein supplier prior to formulation will help fashion the ideal protein for the application.
Soup'erior Flavor
Natural, artificial and WONF (with other natural flavors) flavors can be added to meat analogs to achieve meat flavors. "Upon heating, meat analogs typically will assume the flavor of the soup or stew, as the flavors infuse into the meat analog," says McMindes. The fibrous, textured soy protein products are well-suited to absorb and hold onto flavors in soups and stews.
In the last five years, there has been tremendous progress in reducing the salt content in foods, using natural flavor salts and flavor enhancers. Some of these sodium-reduced products employ substances such as soy sauces, some milk-derived components and spices such as rosemary, peppermint and amino acids from chicken, adds Sanchez. In the U.S., Pritikin Foods (Bloomfield, N.J.) launched a range of 99% fat-free, low-sodium soups, with 65% less sodium than other brands.
Depending on their characteristics (cream, broth, etc.), stocks, roux and bases are used in soups, stews and other soupy side dishes to create flavor. A roux blends ingredients with butter and flour and most often is used in cream-based soups.
At Juanita's Foods, the company's mission is to design authentic Mexican foods that deliver the most natural and appealing products with the most basic recipes. Sanchez says one question is always at the top of mind. "What can we do to enhance the recipe or compensate for the flavor or texture loss? Finding the equilibrium is the key," he offers.
"The flavor for our soup comes from a natural stock that is made by cooking meat on the bone," says Sanchez of his company's traditional products like Menudo, Meatball Soup, Chile Verde, Chile Colorado and Pozole. Stocks are formed from the concentrated broth of cooked meat. Commercially, bone stock is used as an ingredient that adds to and rounds out the flavor.
Some meats like beef and pork are more sensitive to heat processing. "In return, depending on the type of recipe, we might compensate with hydrolyzed vegetable protein (HVP) and other natural flavor enhancers," states Sanchez. HVP is made from soy or corn. It is a flavor enhancer that commonly is used in soups, broths, sauces, gravies, flavoring and spice blends to improve upon or create the umami flavor of meats and poultry.
One of the problems the R&D team at Juanita's encountered while formulating the ready-to-serve and condensed soups was the flavor loss which normally occurs during heat processing. For example, the pork used in the Pork Pozole soup had a tendency to lose more flavor than other meats when heated. After trying different flavor enhancers, a flavor supplier helped reach the solution.
Several ingredient technology trends have allowed for advances in the soup and stew category. For example, to achieve a better meat flavor, a protein mix can be heated in a reactor to break down the protein into amino acids. Natural blends of vegetables and a combination of spices also help add flavor in a healthy manner. "Like us, some soup manufacturers are going back to fresher, natural spices and herbs," offers Sanchez.
The loss of color also was a problem at Juanita Foods, and it was solved by developing natural spice blends to make the soup's color more resistant to heat.
There are several technologies on the market to enhance aroma and flavor. With flavor encapsulation, the essence of the flavor is put in a starch or dextrose base, made into a paste and then spray-dried. The result is a powder with flavor inside each capsule. Flavor encapsulation is good for beverages but, unfortunately, it is not as resistant to heat processing. "A canning company would have limited use of this type of enhancer," says Sanchez.
Crystallized encapsulation, however, leads a new generation of flavor delivery systems that protect the flavor inside a crystallized substance--like a blend of sugar, salt or a gum, for example--instead of a spray-dried starch base.
"When heating the stew, aroma is a major factor because aroma attracts consumers to a product first," says Sanchez. After aroma, delivery becomes important and then texture. Sometimes, manufacturers want components to release aroma to make the product more appealing. Crystallized matrix encapsulation can help to achieve more intense aromas.
Souped Up!
"In terms of improving texture, the most important treatment is controlling the heat process," says Sanchez. There is an optimum cooking time and temperature that will provide the best texture for vegetables and meat components. Exceeding the optimum temperature will cause mushy results, and flavor loss. "A stew that is mushy is [unappetizing]," he remarks.
The most common process that extends shelflife is high-temperature, short-time cooking (HTST). Unfortunately, at times, it can reduce flavor perception and cause textural problems. "In the past, when we used HTST, it only was possible to pasteurize liquid products but not stews," recalls Sanchez. The machinery would not allow large pieces of vegetables and meat to flow through the heat exchangers without burning. "Recent advances in technology can prevent those challenges," advises Sanchez.
If a manufacturer plans an industrial scale-up of a kitchen soup or stew recipe, the flow of ingredients will have relevant consequences on the formulation, advises Sanchez. Vegetables like carrots and potatoes should be washed, diced and sliced, washed again and then boiled. Problems will arise if the time between slicing and weighing is not minimized before vegetables are put in a kettle.
"When a manufacturer does not have a continuous flow, the other characteristics suffer," warns Sanchez. Meat is more resistant to longer preparation times, but harvested vegetables need to be stored in a refrigerated room.
The texture can be enhanced by boiling the vegetables in food-approved chemical solutions like calcium chloride. Blanching inhibits the enzymes responsible for destroying and softening the texture of vegetables. "If a diced carrot or potato will be used, but not immediately, then blanching the vegetables will prolong the texture," instructs Sanchez.
A Running Soup Opera
Convenience has caused soup processing to evolve from canned and conventionally heated soups to microwaved convenience products that do not require cooking spoons or bowls.
According to a Mintel report, microwaveable soups increased by approximately 60% in the second half of 2004.
"Very thin broths and simple stocks that pour out of the packaging easier can add to the convenience of a product," says Sanchez. Manufacturers can include texture improvers like hydrocolloids/gums and calcium chloride, which will prevent clumping.
When formulating microwave soups, manufacturers should consider how the product will absorb the energy from the microwave. The heat will advance in higher temperatures in the center. "They should account for whether or not the stew or soup will be put in a microwave dish, the configuration of the vegetables, and the flavor that can be lost when the microwave soup is being heated," says Sanchez.
When formulating meat analogs into soups or stews, the product developer should have clearly established objectives, constraints, methods of measurement and a definition for what success looks like.
Re"stew"rant Trends
Stew, the quintessential comfort food, is getting a makeover from fine dining restaurants. According to Mintel's Menu Insights (Chicago), fine dining restaurants account for 43% of the menu mentions of stew, surprisingly trailing slightly the family and casual dining stew mentions by only 6%.
Family and casual operators serve up traditional favorites such as Brunswick, beef and seafood stews. These ingredients are traditional and include key meal staples such as onions, corn, okra, lima beans, potatoes, beef and fish. In contrast, fine dining restaurants are overhauling the basic stew formula by using innovative ingredients, incorporating stew into entrées and restoring old traditions. These restaurants are not just serving their stews in a traditional large bowl. One fine restaurant is serving Plantain Crusted Mahi-Mahi over a braised beef short rib stew, with tomato escabeche.
According to Menu Insights, fine dining restaurants are using an inventive assortment of ingredients such as sherry, gnocchi, yogurt, Black Trumpet mushrooms, Chayote squash, Oaxaca cheese, corn meal (corn masa and polenta), and Kumamoto oysters to contrive their stews.
The fine dining operators are also tailoring stews common to the restaurant's cuisine and traditions. Fine Mexican restaurants are serving Pozole Rojo, Mexico's classic pork and hominy stew, infused with rich red chiles, topped with all the classic crunchy, aromatic garnishes and served with one poached egg. Fine dining Italian restaurants are offering the traditional Zuppe Di Pesce, mixed seafood stew with Maine scallop, shrimp, mussel, clam, calamari and fish in a spicy tomato broth with garlic rubbed crostino, and the Cioppino, savory Italian seafood stew accented with fine herbs and fresh fennel. Other fine dining restaurants are bringing back the old tradition of the Bouillabaisse, French style stew with clams, shrimp, mussels and fish served in a saffron broth. Clearly, there is much ado about stew.
Maria Caranfa, Menu Insights, Mintel International
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I collect original early 19th century prints – costume prints, London views and, whenever I can lay hands on them, the work of William Henry Pyne (1769–1843). Pyne is not a great artist, but he had the knack of catching the everyday lives of English people, especially the working classes, in a vivid and revealing way.
But the work I enjoy the most are the sketches he made and published to help amateur artists populate the landscapes they made with suitable figures. With virtually everyone claiming any degree of gentility being expected to sketch creditably, this must have been a huge market. The first of these came out in Microcosm, or a Picturesque Delineation of the Arts, Agriculture, and Manufactures of Great Britain; in a Series of above a Thousand Groups of Small Figures for the embellishment of Landscape … the whole accurately drawn from Nature and etched by W. H. Pyne and aquatinted by J. Hill, to which are added Explanations of the Plates by C. Gray. That was published in 1803 and was followed by Etchings of Rustic Figures for the Embellishment of Landscape in 1815. I own a number of plates from the first (which I can't scan at the moment as they are in store: the joys of building work!) and several from the second.
The countrywomen and children at the top of this post are from Etchings of Rustic Figures… as are the Gypsies below.
My favorites are from On Rustic Figures in Imitation of Chalk, (1817) and I'm lucky enough to own the whole volume. It was published by Ackermann, of Repository fame and would have fitted in well with the artists' supplies that they sold from the shop at 101, Strand. Below is the Woodcutter.
His drawings, even of the poorest, avoid any kind of attempt at caricature or 'humour' as so many other images of the day do. These charming children, for example, or the spinner at her wheel, seem to me to be genuine attempts to depict the subjects sympathetically, and realistically, in their setting.
I love the detail in these drawings – the construction of a bucket, the way the spinning wheel works and, in the final example, the man sharpening his scythe. We can see the construction of his clothes but also the holder for the sharpening stone fixed to his belt in the small of his back.


Today, May 16, has been declared a National Day of Action for the Stepping Up initiative. Stepping Up was launched in May 2015, to address the prevalence of people who have mental illnesses in jails and provide counties with resources to create sustainable, data-driven plans to impact this crisis.
Since Stepping Up's launch, more than 420 counties, including Nevada County, have passed a resolution or proclamation committing to acting on this issue. Locally, collaboration between Probation, Behavioral Health, District Attorney, Public Defender, Nevada County Sheriff's Office, Nevada County Superior Court and our Board of Supervisors has been formed to address this very important issue.
On the national Day of Action, counties are encouraged to hold events or participate in local activities to share with constituents the progress they have made toward reducing the number of people who have mental illnesses in their jails, raise public awareness and understanding of this issue, and emphasize their commitment to creating data-driven, systems-level changes to policy and practice to achieve their Stepping Up goals.
About 2 million people with serious mental illnesses are committed to county jails and state prisons across the country each year, according to the Council of State Governments Justice Center. According to estimates from local behavioral health experts and medical staff at the jail there are up to 40 percent of jail population that is or should be diagnosed with a significant mental illness.
Stepping Up is a smart program that will help our community become safer and healthier going into the future.
Yet, in Nevada County and elsewhere, those broad numbers are not matched by detailed data that could help find better solutions than jail for more of those people.
To that end, Leaders in Nevada County have committed to work with Council of State Governments Justice Center program, Stepping Up, that aims to reduce the number of people with mental illnesses in county jail and connect them with the service they need to keep them out of jail and ensure public safety.
Richard Cho, the national center's director of behavioral health, said generally about 5 percent of people in the general population suffer mental illnesses, compared with at least 17 percent of people in prison. About 80 percent of those inmates are drug addicted, which is a mental illness itself, but also often derives from other underlying illnesses.
Stepping Up focuses on county jails, Cho said, because their data in many jurisdictions is not as comprehensive as that at the state prison level. Turnover is higher because of shorter sentences at the county level, but the recidivism rate for mentally ill inmates also is much higher — a situation that calls for greater access to mental health treatment. Implementing strategies to guide the mentally ill away from incarceration are already underway in Nevada County.
Our Mental Health Court program holds offenders accountable but also gives them a means to work themselves out of the "system." The participants receive intensive supervision, case work, treatment appropriate for their illness and an opportunity to reintegrate into our community.
Stepping Up is a long-term program that begins with counties gathering specific data on the mental health of their inmate populations and tracking recidivism and other factors. Then, with the center's help, counties can devise plans to steer more mentally ill people away from jail or prison and into treatment.
Not only the individual participants, but taxpayers and the justice system have a huge stake in the project's success. Mentally ill inmates typically wait longer for trial or other resolutions of their cases. Coupled with the higher recidivism rates, that is a major cost driver.
Our success will only be achieved with the community's involvement and support. Stepping Up is a smart program that will help our community become safer and healthier going into the future. More information on the Stepping Up initiative is available at http://www.StepUpTogether.org.
Cliff Newell is Nevada County District Attorney.


Car interiors are where we spend a lot of our time. This environment should be pleasant and comfortable so we feel relaxed when travelling with our fellow passengers.
Caring for leather interiors is our contribution to maintaining the value of the whole vehicle which is often considered to be a long, laborious chore.
Car Leather Care Kits contain safe, ecological, simple to use products in practical packaging to avoid waste.
So, Fenice has made this a fast, efficient process for everybody!
All you need to give your car interior 3 complete clean and protection cycles. Comes with a handy ink and chocolate stain remover.


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Q: Prevent modal dialog/div from going off screen I have an absolute positioned div centered on the screen and I'd like to prevent it from going off screen. I've seen similar question here on SO, but in my case I don't know the size of the div so I align it using translate/transform.
But when the browser window gets smaller than the div height it goes off screen.
I hoped that adding "max-height: 100vh" will solve the problem, but it doesn't.
Is it possible to keep the whole div on the screen somehow, preferably with CSS?

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A: You could set a media query to the same min-height of your dialog and change the min-height.

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redpajama_set_name: RedPajamaStackExchange


pring is slowly, lethargically springing, Easter is over, and we can all start looking forward to a day with six or more consecutive hours of sunshine and not eating root vegetables. The Farmers' Market will provide its usual bounty of overwhelming edible glory, but don't forget farm shares through local Community Supported Agriculture (CSA) farms!
A farm share entitles you to pick up a weekly box of produce at your farm and take part in other activities your farm may offer. It makes the farmers happy, because they can actually plan on how many of which harvests they can sell, and it ensures you'll get a full spread of the best of the weekly crop.
Garlic chive green onion soup.
Bayside Park Farm on Old Arcata Road boasts an admirable fleet of goats and, during a recent open air luncheon, delicious garlic green onion soup. Farmer Jayme is looking forward to broccoli, kale chard, onions, cauliflower and later summer crops of tomatoes, pepper and eggplant. There's also a "U-Pick" herb garden that will sport parsley, basil, cilantro, oregano, catnip, lemon balm and dill.
To purchase a farm share, visit the farm or call 'em up at (707) 822-7091. Farms shares are $450 for 21 weeks, which may be paid in two installments, or split with a buddy. Every week you just bike, hop or skip over to your farm and pick a box of literally the freshest vegetables possible.
Over at DeepSeeded Community Farm, Eddie Tanner grows a wide variety of yummy veggies on offer for farm share purchase. Lettuce, spinach, peas and broccoli will be going all summer, and having lots of greenhouse space allows Eddie and his crew to add tomatoes, peppers, eggplant and melons to the mix.
Other crops coming include, but are not limited to, arugula, basil, beans, beets, bok choi, celery, cucumber, fennel, garlic, leeks, onions, potatoes, radishes, squash and sweet potato. Praises have been sung over the fully ripened strawberries!
DeepSeeded's 36-week CSA harvest season is beginning in less than two weeks; it also offers U-Pick Flowers, raspberries, and a kids-only Strawberry Patch as part of the package.
Well put, sir! Check the DeepDeeded website for registration and details.
Janet Czarnecki owns Redwood Roots Farm, which offers not just veggies, but educational opportunities. Field Internships run in spring and summer, and their Farm to School Program offers field trips to the local town-bound schoolkids.
They're in the middle of their Spring Share now, ending in May. The Main Season Share runs 22 weeks, from mid-June through October, and offers the full complement of what's grown, from veggies to flowers to herbs and berries. They grow all the usual green staples along with apples and strawberries, as well as "seasonal specialties." If you prefer home decor to cooking, they also offer a Flower Share from July to October. redwoodrootsfarm.com, and they can be phoned at (707) 826-0261.
We're blessed around here farmshare-wise; there's also Luna Farms, Green Fire Farms, Earthly Edibles, Neukom Family Farms and more. Check duhc.org/page/community-supported for a good listing.
Meaty, meaty, delicious meat. Full of grilled meat meatiness. With the exception of about one-third of Arcata, who doesn't love meat? If there was a place that had sliders chock full o' pork or beef for two bucks, wouldn't you want to know?
Now imagine said meat bedazzled with the delicious salty-sweet taste of rich garlicky Korean BBQ sauce and mounded like a oniony breast on a grilled roll. Or perhaps you're down to the change in your sofa cushions?
The same abundant juicy goodness can be had for only a dollar-eighty, smothered in fresh cilantro-y pico de gallo and drizzled with hot sauce. Pickled jalepeños are optional.
The frosting on the meat cake is the friendly proprietor Armando, who loves being nice to customers as much as he loves grilling.
This entry was posted on Wednesday, May 1st, 2013 at 4:34 pm	and is filed under News, Community, Scene. You can follow any responses to this entry through the RSS 2.0 feed.


Gefticip (Gefitinib) is a cancer medication that interferes with the growth and spread of cancer cells in the body. Gefticip is used to treat non-small cell lung cancer. Gefticip Gefitinib is sometimes used to treat cancer that has spread to other parts of the body.
Gefticip is an anticancer medicine which is used in the treatment of cancer of the lungs. It works by slowing or stopping the growth of cancer cells.
The following is a list of possible side effects that may occur from the use of Gefticip Tablet. This is not a comprehensive list. These side-effects are possible, but do not always occur. Some of the side-effects may be rare but serious. Consult your physician if you observe any of the following side-effects, especially if they do not go away.
Before starting Gefticip treatment, make sure you tell your doctor about any other medications you are taking (including prescription, over-the-counter, vitamins, herbal remedies, etc.). Do not take aspirin, or products containing aspirin unless your doctor specifically permits this.
Do not receive any kind of immunization or vaccination without your doctor's approval while taking Gefticip.
For both men and women: Do not conceive a child (get pregnant) while taking Gefticip. Barrier methods of contraception, such as condoms, are recommended. Discuss with your doctor when you may safely become pregnant or conceive a child after therapy.
Drink at least two to three quarts of fluid every 24 hours, unless you are instructed otherwise.
This medication causes little nausea. But if you should experience nausea, take anti-nausea medications as prescribed by your doctor, and eat small frequent meals. Sucking on lozenges and chewing gum may also help.
In general, drinking alcoholic beverages should be kept to a minimum or avoided completely. You should discuss this with your doctor.
If you experience symptoms or side effects, be sure to discuss them with your health care team.
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Густа́в Густа́вович Шпет (; , Киев — 16 ноября 1937, Колпашево) — русский философ, психолог, теоретик искусства, переводчик философской и художественной литературы, педагог. Полиглот, знавший 17 языков. Действительный член (1921) и вице-президент (1923—1929) Государственной академии художественных наук.

Биография

Густав — внебрачный ребёнок офицера австро-венгерской армии по фамилии Кошиц и Марцелины Иосифовны Шпетт из обедневшей польской дворянской семьи.

В 1898 году Густав Шпет окончил 2-ю киевскую гимназию и поступил в местный Императорский университет Святого Владимира на физико-математический факультет. За участие в революционном студенческом движении он был исключён из университета и выслан из Киева.

В 1901 году, вернувшись после высылки, он снова поступил в университет, теперь на историко-филологический факультет, который закончил с дипломом 2-й степени в 1905 году. Участвовал в «психологической семинарии» Г. И. Челпанова. Его конкурсное сочинение «Ответил ли Кант на вопросы Юма» было удостоено золотой медали и опубликовано в университетском издательстве.

После окончания два года работал учителем в частных гимназиях. Среди прочего, преподавал в 1906/07 учебном году в киевской Фундуклеевской женской гимназии, где среди учениц выпускного 7-го класса была Анна Горенко (в будущем — поэтесса Анна Ахматова).

В 1907 году Шпет переехал в Москву, где читал лекции во многих вузах и гимназиях, в частности в университете Шанявского, Высших женских курсах, педагогическом институте. Ездил в Сорбонну, Эдинбург. В 1910 году получил звание приват-доцента. В 1912—1913 годах стажировался в Гёттингенском университете. Слушал лекции Гуссерля по феноменологии. Результатом стажировки стала работа Шпета «Явление и смысл» (1914), в которой представлена интерпретация гуссерлевских «Идей к чистой феноменологии и феноменологической философии». Диссертация Шпета «История как проблема логики» была защищена в Московском университете в 1916 году. В этом же году он был избран профессором Высших женских курсов и приват-доцентом Московского университета. Преподавал в Алфёровской гимназии, известном московском либеральном учебном учреждении для девочек, и женился на его выпускнице Наташе Гучковой.

В 1918—1921 годах — профессор историко-филологического факультета Московского университета; читал лекции по логике и педагогике.

В 1918 году подготовил к публикации сочинение «Герменевтика и её проблемы», но работа была издана только в 1989—1991 годах. С 1921 года — действительный член Российской академии художественных наук, с 1924 года — вице-президент РАХН (с 1927 года — ГАХН). В этот период Шпет продолжал работу над «Историей как проблемой логики», издал работы: «Внутренняя форма слова», «Эстетические фрагменты», «Введение в этническую психологию» и др.

В 1921 году возглавил Институт научной философии, созданный при факультете общественных наук 1-го МГУ, уволен с занимаемой должности в 1923 году.

С 1932 года — проректор Академии высшего актёрского мастерства.

Философия
Шпет считал, что философия должна быть «чистым знанием». Парменидовско-платоновское учение должно быть обновлено в свете герменевтики, таким образом получается онтологическая связка «бытие — мышление — слово». Разрешая психофизическую проблему постулированием тождества предмета мысли и предмета бытия, Шпет сосредотачивает внимание на том, как это тождество являет себя в мире — в слове. Слово — это не только единица герменевтического анализа, слово — это целое. Разум порождает словесный мир, за рамками которого невозможно познание, однако в слове можно выразить любую вещь, в том числе и сам мир.

«Чистая философия» Шпета вступает в конфликт с «софийной» мудростью русской философии конца XIX — начала XX века. В связи с этим Шпет констатирует неудовлетворительное состояние мысли в России, поэтому следует говорить о философствовании в России, а не о наличии самостоятельной философской школы. Оригинальным было лишь философствование о судьбе России, заключает Шпет.

Эстетика
Искусство и эстетика в понятии Шпета являются синонимами. Задачей искусства является бесцельное украшение, красота. Ввиду того, что весь мир есть слово, а слово — архетип культуры, в сфере искусства может быть только фиктивное, то есть культура. Природа в себе в отличие от культуры сохраняет «естественное безобразие» и не может стать предметом искусства.

Стержневым понятием в философии искусства является «структура слова», которая охватывает не только форму и содержание слова, но и связь между значением и предметом. Слово при этом есть многозначное понятие, которое относится не только к отдельным вещам, но и к более крупным грамматическим единицам: предложение, текст, язык и т. д. Поэзия не истолковывает мир, как научная речь, и не направлена на эмоциональное воздействие на слушателей, как риторическая речь, но преобразует сам язык, приобретая тем самым исключительное значение. Поэзия образует саму культуру, которая является предметом искусства.

Репрессии и гибель
В ночь с 14 на 15 марта 1935 года был арестован. После окончания следствия (следователь Терёхин) был осуждён по статьям 58-10 и 58-11 УК РСФСР, приговорён к 5 годам ссылки и отправлен в Енисейск, затем по его просьбе переведён в Томск, куда прибыл 24 декабря 1935 года. Жил в Колпашевском переулке, д. 9. Поддерживал знакомство с профессорами Н. И. Карташовым и С. В. Мясоедовым, высланным в Томск Н. Эрдманом. Занимался переводами (переписка Шиллера с Гёте, «Три разговора…» Беркли и др.). Последняя работа Шпета — перевод «Феноменологии духа» Георга Гегеля (издана в 1959 году).

27 октября 1937 года был арестован вторично, обвинён в участии в антисоветской организации и 16 ноября расстрелян. В 1956 году семья Г. Г. Шпета получила справку прокуратуры Томской области о реабилитации «за недоказанностью состава преступления» и ложное свидетельство о его смерти 23 марта 1940 года от воспаления лёгких. Лишь 10 апреля 1990 года было получено подлинное свидетельство, в котором указана истинная причина смерти Г. Г. Шпета — расстрел.

В Томском литературном музее Дома Шишкова (ул. Шишкова, д. 10) хранится коллекция, переданная дочерью Г. Шпета — М. Г. Шторх, личные вещи и предметы домашнего обихода семьи Шпетов, стереоснимки начала XX века и фотографии, автографы Шпета, копии писем философа Л. И. Шестова, родословная; письма М. Г. Шторх и внуков Шпета — М. К. Поливанова и Е. В. Пастернак, статьи из периодики о жизни и творчестве Шпета.

22 февраля 2016 года в Москве на фасаде дома № 17 по Брюсову переулку был установлен мемориальный знак «Последний адрес» Густава Густавовича Шпета. Постановление Тройки УНКВД НСО от 9 ноября 1937 г. о расстреле Шпет Густава Густавовича приводится в романе Михаила Шишкина Взятие Измаила

Семья
 Первая жена — Мария Александровна Крестовоздвиженская (на сцене Крестовская)
 Дочь —  Поливанова, Маргарита Густавовна. Её муж — Константин Михайлович Поливанов
 Поливанов, Михаил Константинович — физик
 Поливанова Анна Константиновна — лингвист
 Дочь — Шпет, Ленора Густавовна (1905—1976) — театровед, работала в Государственном Центральном театре кукол. Муж — Владимир Александрович Вальтер (1901—1974), актёр театра кукол С. В. Образцова
 Пастернак, Елена Владимировна — жена Евгения Борисовича Пастернака, филолог
 Дети: Пётр (р. 1957), театральный художник, дизайнер; Борис (р. 1961), архитектор; Елизавета (р. 1967), филолог
 Вторая жена — Наталья Константиновна Гучкова, дочь К. И. Гучкова
 Дочь — Максимова Татьяна Густавовна (3 сентября 1914 — 30 сентября 2011) — журналист. Муж — Сергей Александрович Максимов (1912—1961), инженер
 Максимова, Екатерина Сергеевна — балерина. Муж — Васильев, Владимир Викторович
 Дочь — Шторх, Марина Густавовна (31 мая 1916 — 16 января 2017) — педагог ЦМШ. Первый муж — Сергей Шторх, второй муж — Вадим Александрович Рудановский
 Шторх, Алексей Сергеевич (12 сентября 1937 — 26 июля 2014), фотограф, жокей
 трое детей от второго брака: Елена (р. 1940), Наталья (р. 1947), Дмитрий (р. 1953)
 11 внуков, 13 правнуков, 1 праправнучка (на 2013 год)
 Сын —  Шпет, Сергей Густавович (июнь 1919 — 08.08.1972) — учитель русского языка и литературы, методист, работал в московской школе № 29 им. А. С. Грибоедова.

Адреса
В Москве жил в доме артистов МХАТа по адресу: Брюсов переулок, дом № 17. В рамках проекта «Последний адрес» 22 февраля 2015 года на доме была установлена табличка в память о его репрессированных жильцах, в том числе — и Густаве Шпете.

В Томске с конца декабря 1935 года жил по адресу: Колпашевский переулок, дом № 9 (мемориальная доска).

Сочинения
 Проблема причинности у Юма и Канта, 1907
 Явление и смысл. Феноменология как основная наука и ее проблемы. — М.: Гермес, 1914. — 220 с.
 Философское наследство П. Д. Юркевича: (К сорокалетию со дня его смерти). — М.: Типо-лит. Т-ва И. Н. Кушнерев и Ко, 1915
 История как проблема логики: Критические и методологические исследования. Часть I [Единственная]: Материалы. М.: [Товарищество типографии А. И. Мамонтова], 1916. — VIII, 476 с.
 Сознание и его собственник, 1916
 Герменевтика и её проблемы, 1918
 Философское мировоззрение Герцена. — Петроград: Кн-во «Колос», 1921. —101, [2] с.
 Очерк развития русской философии. Ч. 1. — Пг., 1922. — XVI, 348, [1] с.
 Антропологизм Лаврова в свете истории философии // Памяти П. Л. Лаврова / Под ред. Н. С. Русанова. — М, 1900.— С. 74—189.
 Эстетические фрагменты, 1922—1923
 Введение в этническую психологию, 1927
 Внутренняя форма слова. Этюды и вариации на темы Гумбольда. — М.: Издание Государственной Академии Художественных Наук, 1927. — 218 с.
 Источники диссертации Чернышевского, 1929. Опубликовано в 2008 году: Источники диссертации Чернышевского // Чернышевский Н. Г. Pro et contra. — СПб., 2008).

Хронику жизни Г. Г. Шпета, а также полную библиографию его трудов и переводов см. в кн.: Густав Густавович Шпет / Под ред. Т. Г. Щедриной. Серия: «Философия России первой половины XX века». Гл. ред. серии Б. И. Пружинин. — М.: РОССПЭН, 2014.

В настоящее время издается Собрание сочинений Г. Г. Шпета, включающее неизданные ранее, незавершенные произведения философа, хранящиеся в семейном архиве и ОР РГБ. Вышло двенадцать томов:
 Шпет Г. Г. Мысль и Слово. Избранные труды / Отв. ред.-составитель Т. Г. Щедрина. — М.: РОССПЭН, 2005. — 688 с.
 Густав Шпет: жизнь в письмах. Эпистолярное наследие / Отв. ред.-составитель Т. Г. Щедрина. — М.: РОССПЭН, 2005. — 719 с.
 Шпет Г. Г. Philosophia Natalis. Избранные психолого-педагогические труды / Отв. ред.-составитель Т. Г. Щедрина. — М.: РОССПЭН, 2006. — 624 с.
 Шпет Г. Г. Искусство как вид знания. Избранные труды по философии культуры / Отв. ред.-составитель Т. Г. Щедрина. — М.: РОССПЭН, 2007. — 712 с.
 Шпет Г. Г. Очерк развития русской философии. I / Отв. ред.-составитель Т. Г. Щедрина. — М.: РОССПЭН, 2008. — 592 с.
 Шпет Г. Г. Очерк развития русской философии. II. Материалы. Реконструкция Татьяны Щедриной. — М.: РОССПЭН, 2009. — 864 с.
 Шпет Г. Г. Философская критика: отзывы, рецензии, обзоры / Отв. ред.-составитель Т. Г. Щедрина. — М.: РОССПЭН, 2010. — 488 с.
 Шпет Г. Г. Философия и наука: лекционные курсы / Отв. ред.-составитель Т. Г. Щедрина. — М.: РОССПЭН, 2010. — 496 с.
 Густав Шпет: Философ в культуре. Документы и письма / Отв. ред.-составитель Т. Г. Щедрина. — М.: РОССПЭН, 2012. — 676 с.
 Густав Шпет и шекспировский круг. Письма, документы, переводы / Отв. ред.-составитель Т. Г. Щедрина. — СПб.: Петроглиф, 2013. — 760 с.
 Шпет Г. Г. История как проблема логики: Критические и методологические исследования. Часть первая. Материалы / Отв. ред.-составитель Т. Г. Щедрина. — М.; СПб.: Университетская книга, 2014. — 510 с.
 Шпет Г. Г. История как проблема логики. Часть вторая. Архивные материалы. Реконструкция Татьяны Щедриной. — М.; СПб.: Университетская книга, 2016. — 728 с.

Переводы

Переводы философских произведений

 Вольтман Л. Система морального сознания в связи с отношением критической философии к дарвинизму и социализму / Пер. с нем. В. Михайлова и Г. Шпетта; Под ред. М. М. Филиппова. — СПб., 1901.
 Эйслер Р. Основные положения теории познания / Пер. с нем. Г. Шпетта.— Киев, 1902.
 Гегель. Феноменология Духа // Соч.: В 14 т. Т. 4 / Пер. с нем. Г. Шпета. — М.: Соцэкгиз, 1959.

Переводы художественной литературы

 Байрон Д. Г. Мистерии / Пер. с англ. размерами подлинника и прим. Г. Шпета. — М.—Л.: «Academia», 1933.
 Диккенс Ч. Тяжёлые времена / Пер. с англ. Г. Г. Шпета. — М.: ОГИЗ — Молодая гвардия, 1933.
 Диккенс Ч. Холодный дом (Для детей старшего возраста и подростков) / Сокр. пер. Г. Шпета. — М., 1933.

Примечания

Литература

 Густав Шпет и его философское наследие. У истоков семиотики и структурализма. Науч. ред. Т. Г. Щедрина. — М.: РОССПЭН, 2010.
 Зинченко В. П. Как слово становится домом бытия // Человек. — 2012. — № 5. — С. 5-19.
 Исупов К. Г. Археография философской культуры <Размышление над Собранием сочинений Г. Г. Шпета, выпущенное под ред. Т. Г. Щедриной> // Вопросы философии

 Новые письма Э. Гуссерля Г. Шпету <Публ. и прим. Т. Щедриной, археогр. работа и перевод В. Янцена> // Вопросы философии
 Шпет в Сибири: ссылка и гибель. — Томск: «Водолей», 1995. — 336 с.
 Густав Шпет и современная философия гуманитарного знания / Ред. В. А. Лекторский, Л. А. Микешина, Б. И. Пружинин, Т. Г. Щедрина. — М.: Языки славянских культур, 2006. — 464 с.
 Свасьян К. А. «Растождествления. Г. Г. Шпет»
 Щедрина Т. Г. «Я пишу как эхо другого…». Очерки интеллектуальной биографии Густава Шпета. — М.: Прогресс-Традиция, 2004. — 416 с.
 Щедрина Т. Г. Архив эпохи: тематическое единство русской философии. — М.: РОССПЭН, 2008. — 391 с.
 Щедрина Т. Г. Рецензия на книгу: Г. Г. Шпет. История как проблема логики. Критические и методологические исследования. Материалы. В 2-х частях / Под ред. B. C. Мясникова. — М.: Памятники исторической мысли, 2002. — 1168 с.
 Щедрина Т. Г. Четыре письма Л. Б. Каменеву, или Роль Густава Шпета в переводах Шекспира…
 Щедрина Т. Г. «Когда уходит "сфера разговора"… По дневникам Густава Шпета и Михаила Пришвина»

 Якович Е. Л. Дочь философа Шпета в фильме Елены Якович. Полная версия воспоминаний Марины Густавовны Шторх / Елена Якович. - Москва : АСТ : CORPUS, 2014. — 219 с. — 3000 экз. — ISBN 978-5-17-079813-1.
 Густав Шпет и Сибирь. — Томск, 2018. — 160 с.

Ссылки

 Савенко Ю. С. 70-летие расстрела самого выдающегося русского феноменолога: Густав Густавович Шпет (1879—1937) // Независимый психиатрический журнал. — 2007. — № 3. — С.7—8.
 Есть люди нелёгкой судьбы …
 О Густаве Шпете на сайте «Института Русской Цивилизации»
 Шпет Густав Густавович — Биография. Библиография. Философские взгляды.
 Густав Шпет в Галерее Международного Общества Философов
 Материалы круглого стола Густав Шпет и современная философия гуманитарного знания. К 130-летию Г. Г. Шпета. Встреча вторая. // журнал «Вопросы философии»
 Книга «Явление и смысл» Густава Шпета и её значение в интеллектуальной культуре XX века (материалы «конференции-круглого стола»). // журнал «Вопросы философии».

Философы Российской империи
Философы СССР
Философы XX века
Переводчики СССР
Переводчики Российской империи
Переводчики поэзии на русский язык
Переводчики Уильяма Шекспира
Психологи Российской империи
Психологи СССР
Искусствоведы Российской империи
Искусствоведы СССР
Психологи по алфавиту
Выпускники Киевской 2-й гимназии
Преподаватели Бестужевских курсов
Преподаватели Московских высших женских курсов
Феноменологи
Полиглоты
Деятели культуры и искусства, репрессированные в СССР
Расстрелянные в РСФСР
Преподаватели Алфёровской гимназии
Преподаватели Московского городского народного университета
Персоналии: Последний адрес в Москве


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