The whole piano world is teaming up for the 18th International Chopin Competition to be held in Warsaw, 2 to 23 October 2020.
Initiator of the festival series "Chopin and his Europe", now on its 15th year, the recording project "The Complete Works of Fryderyk Chopin on historical instruments" and "The 1st International Chopin Competition on Period Instruments" (2018), Stanislaw Leszczynski of The Chopin Institute sat down with Piano Street's Patrick Jovell at the Philharmonie in Warsaw.
This grand occasion – taking place every five years – attracts the finest young pianists in the world and the competition is regarded as one of the most important venues for creating important international careers. Past laureates list an amazing number of world famous performers starting back in 1927 with Lev Oborin and include winners such as; Davidovich, Czerny-Stefańska, Harasiewicz, Pollini, Argerich, Ohlsson, Zimerman, Thai Son, Bunin, Yundi, Blechacz, Avdeeva and most recently, Cho. Other laureates include Ashkenazy, Ts'ong, Ushida, Fliter, Montero, Trifonov, Wunder and also non-laureates such as Pogorelich. Its influence on piano playing in the world cannot be overestimated.
Patrick Jovell: Dear Mr. Leszczynski, we all know you as a portal figure in Polish music life. As deputy director of the Chopin Institute you are responsible for the prestigious International Chopin Competition. You have also initiated the "Chopin and His Europe International Music Festival", and started a vast project concerning Chopin on period instruments, involving concerts and recordings of a number of world famous pianists. In September 2018 you arranged the 1st International Chopin Competition on Period Instruments. Tell me a little about your background?
Stanislaw Leszczynski: In 1978, I was appointed to oversee the classical recordings for the Polish record label Muza and I've been doing the same kind of job ever since. I became the first director of the Doslovski studio, which has very strong connections to both piano music itself and keyboard recordings. Our goal was to enrich the Polish Radio so that it could become like the Deutsche Rundfunk or the BBC. After much work, we have succeeded in creating many interesting and excellent recordings under the umbrella of the Polish Radio.
SL: Well, not exactly. It must be stressed that Chopin was a Classical composer, not Romantic, regardless of when he lived. His compositions have very strict form and are quite precise. Because his music is intensely introspective – even when he's being boisterous – he seems Romantic; however, his style is strictly Classical. Of course, he also looked forward. For example, Wagner wasn't the only one to use the "Tristan Chord." You can hear Chopin use the exact same harmonies on multiple occasions.
If you remember, critics in the 1970s were fond of saying, "the traditional Chopin interpretation is done," and "Romantic music is passé". There was a group of very strong American players from Juilliard that came to Warsaw for the competition. Ohlsson, Ax, Fialkowska and Swann, all showed up with their idiosyncratic styles that reinvented how we both play and hear Chopin. They blended 19th-century style with a more contemporary style and were quite successful at it. I can remember very clearly all their bravado. They all thought, "I'm the one! I'm going to win." In the end, Ohlsson won, but you could have made an equally strong argument for Ax or the other incredible musicians who were flawlessly prepared.
The year 1955 marked the first time that there were real and gigantic differences between the performers. Comparing Adam Harasiewich with André Tchaikovsky, for example, one would notice André playing a few too many wrong notes; however, the performance was electrifying in the same manner as Horowitz. One of the Japanese performers played completely differently than the other competitors, but it was, nonetheless, very interesting.
The annual international music festival celebrating the legacy of Ignacy Jan Paderewski (1860-1941) opened in Warsaw in late October and is now running for almost a month. This year the event also marks the centennial of national independence, which Poland regained after World War I. Piano Street's Patrick Jovell visited the festival in Warsaw and the Paderewski Birthday Celebration Concert at the Philharmonie there.
Paderewski was one of the biggest music superstars of his time, drawing the largest crowds in history at a time when the solo piano recital was still in its infancy. Serving as Polish prime minister and minister of foreign affairs in the years 1918-19, Paderewski represented Poland at the Paris Peace Conference in 1919 and signed the Versailles treaty on behalf of the newborn republic.
Paderewski was said to be the highest paid pianist in his times and his career spanned the world from Africa to Australia and across the European continent; crossing the Atlantic more than thirty times. He gave over 1500 concerts in the U.S., appearing in every state. He was the first to give a solo recital in the newly built Carnegie Hall which held almost 3 000 people, and in 1932 he faced an audience of 16 000 in Madison Square Garden, the largest crowd in the history of music at that time. While his opera Manru was being performed at the Metropolitan, Paderewski himself was playing a recital in Carnegie Hall; both places were filled to overflowing.
Paderewski's complete piano solo works contains some 8,5 hours of listening. In addition to this there is a Piano Concerto in A minor Op. 17 plus a Polish Fantasy for piano and Orchestra Op. 19, which both enjoyed popularity during his lifetime. Even though some of his piano scores sold in several million copies, Paderewski's creative heritage is less extensive than his legacy as a touring virtuoso pianist. His famous Minuet in G – first of the six Concert Humoresques Op. 14 – counts among the most renowned, along with the "Polonia" Symphony, the "Manru" Opera, and the Piano Concerto. The Minuet sold millions of copies, was recorded by acclaimed pianists (Rachmaninov and Paderewski himself) and was transcribed for several instruments including for violin by Fritz Kreisler and for cello by Gaspar Cassado. As a carrier of Polish traditions Paderewski used forms such as Krakowiak, Polonez and Mazurek, often in smaller size works mirroring Polish folk songs and dance material. He is also widely known for his Chopin Edition where he formed an editorial board together with L. Bronarski and J. Turczynski. Based primarily on Chopin's autograph manuscripts, copies approved by him, and first editions, it has remained a popular and widespread reference edition.
Held in venues around the Polish capital, including the National Philharmonic, the Royal Lazienki Park, the Royal Castle, and the Fryderyk Chopin University of Music, the 5th edition of the International Ignacy Jan Paderewski Festival will run until November 28, featuring symphonic and chamber concerts with national and international musicians. It also offers attractions such as film screenings and music workshops for children. The non-governmental, non-profit organization "Ave Arte", whose aim is to provide support for the development of culture and art has joined state institutions such as the National Philharmonic, the Chopin Institute and the Polish Radio in shedding light on the legacy of the important deeds of the Polish pianist and composer.
Piano Street's Patrick Jovell meets with pianist Peter Jablonski at the Philharmonie in Warsaw.
Paderewski's birthday concert at the Warsaw Philharmonic Concert Hall is certainly a very festive moment for many and particularly this year on the occasion of Poland's 100 years of Independence. Peter Jablonski was the soloist in Paderewski's Polish Fantasy for piano and orchestra Op. 19, with Warsaw Philharmonic under Marzena Diakun. This was a new, thrilling and positively surprising experience, hi-lighting a work very seldomly played.
– Peter, your background is Polish/Swedish and you have spent a lot of time on stage and in recording Polish music. How would you describe the Fantasy for piano and orchestra which you just performed here?
– The first thing that struck me about this Fantasy is how little we know of Paderewski as a composer. Of course he was a famous virtuoso, and even famous as a Prime Minister of Poland in 1918-19. But he was an excellent composer too, he knew how to write for the pianist's hand very well, and while this work is technically demanding and virtuosic, it is not awkward pianistically. This work is inspired by a Polish folk tune, and it has everything: charm, brilliance, drama, and lots of beautiful music. This is a rather unknown work, it is performed much less often than the Concerto, and because of this, it remains underestimated. This is a work that has much spirit and invention, which are packed into a much smaller form than the concerto. The Fantasy is able to create much impact on the audience, and is a joy to perform for the soloist and the orchestra.
– I know that the Mazur is one of your favourite forms. How does Paderewski treat the Mazurka, Krakowiak and the Polonaise and which folkloristic elements can be found in this seldom heard work?
– All these elements are in the Fantasy. The clue is in its title: it is a Polish Fantasy that is imbued with Polish folk elements. Right from the start, in the grand opening of the orchestra, the theme is stated in a Polonaise manner. When the piano has the same theme, it is in the form of a gentle mazurka. Paderewski composed at a time when nationalistic tendencies were very strong, and especially in Poland, the country that was so torn for so long, that its people could only hold on to their roots via music, theatre, and literature.
– Paderewski's superstar stature certainly proved that he was a great showman and a drawing card that eventually made him his own rival, as contemporary newspapers wrote. As a composer, how can we see the clash or maybe paradox between Paderewski as the international superstar and the Polish tradition bearer?
– Well, I think that for all his showmanship, Paderewski remained true to himself as an artist, and he remained true to his art. Whatever was for show or on show, always had an artistic purpose, and felt genuine. In his own music, he paid homage to Poland, to Polish music, and tried to, in his own way, to show its integrity, beautify, and independence. As a composer, Paderewski does not seem to be concerned with making new discoveries or innovations for their own sake. Instead, he is crystallising what is best in his national school and European musical heritage, and combines it with his own knowledge of the instrument, as a respected and famed virtuoso.
– Cortot wrote that hearing Paderewski in Paris as a teen, was a revelation. Flashing lightnings, ecstasy, eruption, magnetic personality and a glowing tone. A realisation of "the coming of a pianist for our time". How would you describe Paderewski's playing stylistically in comparison to other contemporary giants such as Hofmann, Godowsky, Rachmaninoff or Lhevinne?
– What an interesting question! Actually, Paderewski's reputation as a performer has suffered a lot from a misconception that he had poor coordination between hands, that he lacked sensitivity, or that he was frivolous with his interpretations. But if we remember that Paderewski studied with his very first teacher, who himself formed as a musician in the early 19th century, then we begin to understand the tradition that he inherited. Instead of thinking of poor coordination, we should think of independence of hands. Even in the days of Chopin that tradition was still alive, and in the later age of technical brilliance and perfection, which actually gives a rather mechanical, almost robotic performance that can lack heart and soul, the way Paderewski plays can seem to be messy or technically imperfect.
His style, as compared to the performers you mention is undoubtedly more free and more grand, and probably more in the style of Anton Rubinstein and Liszt. It has a grand sweep, grand gesture, and drama in performance rather than a finely combed technique. Hofmann was famous for being one of the first piano virtuosos who paid so much attention to minute details and who did not make mistakes. His playing did not suffer from this perfection, because what he inherited from his famous teacher was also firmly embedded in him – grandeur, gravitas, drama, power, and brilliance.
– Poland has very consciously continued to prove concern for its musical heritage and much effort is invested in contemporary music as well as preserving the past and its shining musical profiles. I know that you have collaborated with a number of renowned contemporary composers and Chopin is constantly appearing on your concert programs. What can you recommend us to explore when it comes to new and old Polish piano music?
Paderewski is a great start, and certainly is a composer worth discovering. He was a recent discovery for me, which is surprising, given that I have played so much Polish music, and played in Poland from the beginning of my career. I will certainly champion his work in my future concerts.
Chopin, of course, is a master of so many forms, not least of my favourite mazurka. He will always remain in my repertoire as a composer whose Polish heart belonged to the whole world.
Speaking of mazurka, Roman Maciejewski is someone who wrote beautiful mazurkas and other piano music, and whose works I really enjoy playing. And, of course, Szymanowski, whose music need to be heard more, who wrote wonderfully for piano. I had the pleasure to personally work with Lutosławski on his piano concerto, and of course, have great respect for this composer. I like performing his concerto, which is technically demanding but musically rich, and rewarding for both audiences and performers. His Paganini Variations are in my list of top favourites; it is a work that should be heard much more often. It really puts the pianist through his or her paces, and is a great fun to play, despite all the technical challenges. I do have to mention Wojciech Kilar, who wrote a piano concerto for me in 1997, which I was able to perform at the Warsaw Autumn Festival, and which received a prestigious Orpheus award. It is a reflective, I should almost say meditative work, and it is deceptive in its serenity and simplicity – the last movement is tremendously challenging to play. It is not often performed, but it should have its own place in the musical heritage of the 20th century.
Hear Paderewski's Humoresques de concert "À l'Antique", as well as pieces by Szymanowski, Górecki, Bacewicz, Mykietyn and Panufnik on the album "A Century of Polish Piano Miniatures".
Since the first edition of Boris Berman's Notes from the Pianist's Bench was published in 2000, it has been read by countless pianists, piano teachers, and piano students throughout the world. The book has been translated into several languages and adopted as a required text in universities and conservatories. Just recently, it was published in a second edition, available in both print and electronic formats. Piano Street's David Wärn met Mr. Berman at the Cremona Musica Piano Experience, to talk about the contents of the book, and about the changes and updates of the new edition.
– Mr. Berman, please tell us how the new edition came about.
– I first wrote the book because I noticed that I kept coming back to the same issues with my students. So, I thought maybe I should cover these issues in writing once and for all. But it appeared that it's not easy to cover everything once and for all! The idea of the second edition came up because I felt that quite a few years passed; there are some things I see differently now. Also, new ideas came up in the intervening years which I wanted to include in a new edition.
Some of the visual demonstrations actually came to me quite spontaneously: for example, there is one moment when I talk of different levels of clarity, comparing it to perspective in painting. Since I had the opportunity, I could not restrain myself but to give an example of a painting. Of course, it could have been done in print as well, but it felt more spontaneous to do it in a video.
– You put great emphasis on sound — the first chapter in your book is called Sound and Touch. In it, you explain in great detail how different movements influence the sound of the piano. But you also write that some teachers and students neglect the topic of sound. How can that be?
– Well, I had the great fortune to study with Lev Oborin, who among the illustrious professors of the Moscow Conservatory was known as paying particular attention to the sound. Consequently, this was something which was constantly referred to when I was a student, and something which I continued to carry on in my pedagogical work.
There are several reasons why sound is a neglected topic. One is that many students are primarily interested in acquiring velocity. This is what their teachers and themselves are concerned with above all. Additionally, many of them practice on terrible instruments, which don't give them much chance to discern fine gradations of the sound. Or some of them practice on electronic pianos, which limits the possibilities even more. But I think the primary reason is that too many students are thinking that the way to success is to play as fast as possible, and as loud as possible. Unfortunately, some teachers — by no means a majority, but some — cater to this group of students.
– You write that we need two kinds of ears: the subjective one, which we use to imagine the sound that we want, and the objective one, which actually hears what is coming out of the instrument. What are the best ways of developing one's 'musical ears'?
– Let's start with the objective ear. There are many students — especially talented students, students with a great imagination — who are so engrossed in.. emoting, that they do not actually hear themselves. I have a student right now, who is phenomenally gifted. But his performances are full of various exaggerations. In our lessons, I ask him to record himself. I have done this on many occasions before, but never so persistently as with him. Then we listen to the playback together, and I point out: 'Hear this: I don't think it's a good idea to play this way because of this or that'. Or he says: 'Oh, I didn't realize I changed the tempo so much!' The thing is: nobody can hear himself objectively 100%, even the most experienced performers, but we all must try to develop this ability. Recording oneself is a very good way of developing an objective ear.
As for the subjective ear: here I talk about creative imagination. You can say, 'I want to play this place piano'. Fair enough. But there are many kinds of piano, and this intention alone will not take you far. You can say, 'I want to play it piano with great intensity'. This is is something different — then you have to figure out what creates the feeling of intensity. Because at the end of the day, it is your physical action that conveys such a feeling. It's never imagination alone, but you have to start with imagining something.
And so you work to get the sound which you think conveys the idea of intensity. Then you suddenly may have another idea: 'This should be played like a cello solo'. Again, this is something different, this a new task that you put in front of yourself, and so on. This is how many people work. Others need an extra-musical image. Some musicians may have the synaesthetic way of listening to music: they would perhaps say, 'I want this to be of a dark red color'. If this helps you — fine. Some would say: 'I want it to sound like I lost the love of my life'. If this helps — go ahead. All this is to spur your imagination. And hopefully, your imagination will spur your technical know-how.
– Is there also such a thing as 'subjective' and 'objective' technique? You write very objectively about how various physical actions influence sound. At the same time, you encourage students to seek their own approach, to find what works best for each person.
Each pianist feels what is convenient and comfortable for himself — but the teacher needs to know what will be the most practical and convenient for this particular person. Sometimes, I will say to a student, 'You see, this can be achieved this way, or this way, or that way. I suggest that you try them all to see what works best for you.' I often see my students — and some of them are fantastically gifted and greatly advanced — doing something that would never work for myself. But if it works for them — fine!
– In a chapter called The Art of Teaching and the Art of Learning, you mention that some students of today adopt a kind of 'consumerist' approach, rather than subscribing wholly to their teacher's general musical and aesthetic principles. They view lessons as a visit to a supermarket; if they do not find exactly what they want, they just go to the next store. What are they missing?
– You have to realize that every accomplished performer plays a certain way because he believes that it corresponds to his musical, aesthetic aspirations. Somebody may say. 'Oh, I really dislike his interpretations but he has a gorgeous tone, so maybe I will learn from him the tone but leave alone his interpretation.' But the tone of a pianist is this and not any other because this is how he hears the music. It cannot be separated.
What students often don't understand is that a teacher is much more than a provider of useful tips. Of course, we are all constantly learning by picking things up, sometimes subconsciously, but to go to this teacher for wrist technique, and to that teacher for finger technique, and to this teacher for upper arm technique, I find lacking sense.
What you will lose is musical integrity. Horowitz had a fantastic technique,he was one of the greatest virtuosos. Do you think his technique could be organically adopted by somebody like.. Radu Lupu? No, because their whole musical Weltanshauung is very different.
– You write that one of the most important things a teacher communicates to the students is 'a sense of the right measure'. Excesses and exaggerations — in our physical actions as well as in our musical interpretations — must be avoided. Reading this, I was wondering if you are not too hard on exaggeration? Aren't there certain situations or stages of development where it can be a good idea to ask students to exaggerate musical ideas or physical motions?
– It's a very good question; I remember I got a comment specifically about this from a teacher who also thought that I'm too hard on exaggeration. I know the teacher and I know his students, let's say many of them are very… obedient. Of course, he would crave for somebody to exaggerate! And I was thinking of my own students, who often seem to have no inhibitions… So yes, it depends what kind of students you are working with.
– So, how would you encourage a student not to be too obedient or timid?
– In this case, I would say, after we discussed what their intention is: 'go for it, don't be afraid to exaggerate!' Sometimes I tell students an old joke about how one makes a bagel: 'well, it's very simple — you take a hole, and you wrap it in a dough.' Obviously you don't start with the hole, you start with the dough — you start with something material. Then you trim it. You don't start with void.
– And how do you deal with your students' exaggerations?
– Exaggerations are always motivated by something. For some people, the mere justification might be to be original, or to do something that nobody did before. There are also some people who feel that music becomes more expressive this way. You know, I write about it — it's so seldom that we musicians say to each other, or teachers say to their students, 'oh this is absolutely wrong, you treat this piece like a brilliant presto and I feel it is a dark andante'. Usually, we're talking about "how much": how much to slow down, how much to make a crescendo… and this is what the teacher needs to communicate. Of course, it's very simple to say 'it's too much', but I find it very valuable when, instead, you say: 'this ritenuto would be logical and legitimate if the section was ending here. But it is ending a few bars later. By slowing down so much, you signal that this is the end of the section, and it is not.' This is one of the ways of dealing with exaggeration.
So, I was kind of pussyfooting around him for quite some time, until once he played in such a way that I really could not accept. I said, 'Well, I know you want it to sound this way', and I played it for him, and he said, 'No no no, I don't want it to sound like that! And I said, 'How would you like it to sound?' And he demonstrated something quite commonsensical. Then I understood that it's not that he hears it differently. His listening — objective listening — is distorted, and it's a completely different story.
– How would you like the book to be used? Do you use it yourself as a complement to your teaching?
– I do. Sometimes, I say to a student, 'You know what, we have discussed this issue, but I also write about it in my book in a more general, or more extensive, way — why don't you read a certain chapter'. This is how I think the book should be read. Probably not from cover to cover — it's not a novel or thriller. But I hope that a teacher may assign a certain chapter to a student. We all know that the lesson time is quite short. A teacher has to deal with numerous things: correcting notes, correcting rhythms, correcting specific issues in the piece. The teacher may not have time for a general discussion. This is where I think the book can be very useful. I think that all the topics I discuss should be of interest for professional pianists, but not to the same degree at any given time. What I mean is that maybe at a certain point a student needs some help with certain technical issues. Perhaps a few months later, more general aspects of interpretation will come to the fore. I would hope that different parts of the book can serve musicians at different stages of their development.
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Advocates say Facebook tricked kids into in-game purchases
By Kate Gibson
February 21, 2019 / 3:42 PM / MoneyWatch
A collection of children's and privacy rights groups is accusing Facebook of intentionally duping kids into running up charges for playing games on the social network without their parents knowledge.
Organizations including Common Sense Media and the Center for Digital Democracy on Thursday filed a complaint with the Federal Trade Commission, calling on the regulator to investigate whether Facebook violated consumer and privacy laws protecting minors.
"Facebook's exploitative practices targeted a population universally recognized as vulnerable -- young people," the coalition of 17 groups said in the complaint.
The action is the latest targeting Facebook, which is already under investigation for reportedly sharing data of tens of millions of Facebook users with political consulting firm Cambridge Analytica.
U.K. lawmakers accuse Facebook of knowingly violating privacy laws
The call for an FTC probe comes after a court approved a request by the Center for Investigative Reporting to unseal documents from a class-action lawsuit against Facebook that was settled for an undisclosed sum in 2016.
The suit was filed on behalf of parents whose minor children unwittingly purchased virtual items for games such as Angry Birds and Ninja Saga, then making it exceedingly difficult for parents or kids to get a refund for charges that in some cases ran as high as hundreds or thousands of dollars.
One document the advocacy groups cited showed employees at Facebook referring to an underage girl as a "whale," a term casinos use in talking about someone who spends lots of money. The documents also revealed that Facebook discouraged developers to employ ways of preventing kids from piling up charges on their parents' plastic, calling the scenario "friendly fraud."
"Kids, under any circumstances, should not be the target of irresponsible and unethical marketing tactics," Jim Steyer, CEO of Common Sense Media, said in a news release. Facebook has shown "an ongoing pattern of the company putting profits over people," he added.
Facebook and the FTC didn't immediately return CBS MoneyWatch requests for comment.
Facebook isn't the only tech company to engage in such behavior: Apple, Amazon and Google all reached agreements with the FTC mandating that they change their billing practices to make sure parents agree to in-app purchases.
First published on February 21, 2019 / 3:42 PM

redpajama_set_name: RedPajamaCommonCrawl


text:
Katarzyna Piter (født 16. februar 1991 i Poznań, Polen) er en professionel tennisspiller fra Polen.

Referencer

Eksterne henvisninger

Tennisspillere fra Polen
Personer fra Poznań

redpajama_set_name: RedPajamaWikipedia


text:
Q: DNU Restore results in multiple "The file exists" warning and errors and eventually dies I recently updated my VS 2015 to Update 2 and also did a dnvm update-self.  After taking these actions I'm now unable to perform dnu restores. I see the following error for almost every package from both myget and nuget
     GET https://www.nuget.org/api/v2/FindPackagesById()?id='xunit.runner.dnx'
Warning: FindPackagesById: xunit.runner.dnx
  The file exists.

  GET https://www.nuget.org/api/v2/FindPackagesById()?id='xunit.runner.dnx'
Error: FindPackagesById: xunit.runner.dnx
  The file exists.

Eventually the entire operation bombs out.  I've tried reinstalling my DNX's (currently using RC1-Update1), deleting all packages etc... to no avail.  Any ideas are appreciated.

A: I found what resolved my issue here:
https://github.com/aspnet/dnx/issues/2505
Looks like my %userprofile%/AppData/Local/Temp folder got some possibly corrupted data in it that was confusing dnu restore. DNU restore caches packages here during processing. I purged the directory and DNU restore appears to be working well again.

redpajama_set_name: RedPajamaStackExchange


Rovers held a social cafe at the Keepmoat Stadium on Monday as part of their partnership with Doncaster Mind.
The social cafe is usually held at Doncaster Mind's wellbeing hub, but moved to Rovers' ground to open it up to club staff and supporters.
Doncaster Mind's Jenni Hall said: "It has given them a boost to come down and meet some different people in a new surrounding.
"The hospitality was fantastic from the club staff, with loads of club staff and even a player stopping by - it was really appreciated by everyone, they were all buzzing on the way home and looking forward t doing it again!"
Club Doncaster's group head of communications Shaun Lockwood said: "It was open to supporters, staff and players - and we were really pleased with how it went.
"It was all kept deliberately informal, just a chance for people to talk over a cup of tea and slice of cake, there was no no pressure to discuss mental health - they could talk about the weather, or Rovers, but doing so knowing there were mental health experts around and accessible information if they need it.
"As a club we are actively trying to increase awareness and reduce the stigma around mental health, this week alone we have two events and are launching our supporter-designed third kit which saw mental health information available to anyone who entered. We're proud of our efforts around mental health, which go back a number of years, and the EFL's partnership with Mind only enhances this."
Tickets for Rovers' upcoming Sky Bet League One games against Gillingham and Sunderland are still available via the Club Doncaster Box Office – purchase yours now by either visiting in-store at the Keepmoat Stadium, by calling on 01302 762576, or online at tickets.clubdoncaster.co.uk.


Spray 4-quart slow cooker with cooking spray. In slow cooker, beat coconut milk, brown sugar, curry paste and fish sauce with whisk until smooth. Add chicken, broccoli, bell pepper and serrano chili to slow cooker; stir to coat. Cover; cook on Low heat setting 2 hours 45 minutes to 3 hours 30 minutes or until juice of chicken is clear when thickest part is cut (at least 165°F).


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Willa Cather's Sexual Preference
A highly discussed subject about Willa Cather is whether or not she was a
lesbian. There are arguments for every side of the topic, but given the
amount of information we have, its clarity, and the vagueness of the
period itself, all of it can be used for every side.
One aspect that people questioning Cather's sexual preference concerns
gender identity greatly. This gender labeling system that everyone is
familiar with is very simple and logically sound, but not true to all
points of nature. It creates stereotypes, and stereotypes by definition
are attributes to certain things thought to encompass all that share its
label. The common idea that is bred into everyone's minds during childhood
is that girls act girly and boys act like boys. Girls that play with dolls
and have tea parties are girls, and when they grow up they will like boys.
Boys that play with trucks and army stuff are boys, and when they grow up
they will like girls. But, if girls play with trucks, they will grow up to
be boys and like girls, and boys that play with dolls will grow up to be
girls and like boys. This image generates the idea that these children
will grow up trying to be something they're not.
This mainstream way of thinking has flowed into gender roles, including
roles of the lesbian community. According to these unknown rule makers
that happen to be everywhere like Big Brother, there are butches and there
are femmes. Butches are not attracted to other butches, and vice versa.
Hence, butches take the male role and femmes take the female role,
reproducing a heterosexual couple. Because of his dominant ideology, women
who identify as both or neither are ridiculed and scorned by their own
community. Those that are both are seen as freaks of nature. The set
structure says you must be one or the other.
"Willa Cather's Sexual Preference." 123HelpMe.com. 21 Jan 2020
"The Garden Lodge" by Willa Cather Essay
- Cather's "The Garden Lodge" is about a woman named Caroline Noble whose husband, Howard, asked her if she would like to demolish their old garden lodge and replace it with a summer house. The conflict in the story is Caroline is not sure if she wants to knock down the old garden lodge because it brings back memories of when opera singer Raymond d'Esquerre, spent a month at their place. The resolution is that Caroline decides to go on with building the summer house and demolishing the garden lodge.... [tags: Willa Cather]
Essay about A Lost Lady By Willa Cather
- In many literary works, a common question is whether certain characters, scenes, and objects are simply just that or are instead symbols to further the author's message. Women in particular are notable victims of this. Many literary works revolve around a woman but do not allow her to tell her own story and instead channel it through the eyes of a male protagonist. A Lost Lady by Willa Cather is one such novel. Cather's work, however, serves as a deconstruction of its genre as the novel comes to the conclusion that its heroine is, in fact, better as a symbol.... [tags: Gender, Woman, Willa Cather, Human behavior]
An Analysis of Paul's Case by Willa Cather Essay example
- An Analysis of Paul's Case In "Paul's Case" by Willa Cather, a young man named Paul is unhappy with his home and school life. He is happiest when he is at Carnegie Hall, where he works as an usher. When he is not physically at Carnegie Hall, his thoughts remain there causing his school work to suffer. When his father finds out about his problems in school he has Paul banned from Carnegie Hall, taken out of school, and put to work. One day, while on his way to make the company's deposit, Paul decides to take some of the money and go to New York to experience the life he feels he was destined for.... [tags: Willa Cather]
Willa Cather's Death Comes for the Archbishop: Powerful Prose Essay
- Willa Cather's Death Comes for the Archbishop: Powerful Prose It is understandable that some early twentieth-century critics of Willa Cather's Death Comes for the Archbishop said that the "'book is hard to classify,'" and "that it is not a novel" (On Writing 12). At that time, novels generally were written with a recognizable structure, with character development as a focus and chronology as a central organizational strategy (Harmon 350). In Death Comes for the Archbishop the central character's changes are subtle and relational, while the chronology sometimes seems random and unpredictable.... [tags: Willa Cather Death Comes for the Archbishop]
Willa Cather's Death Comes for the Archbishop Essay
- Willa Cather's Death Comes for the Archbishop A novel should be something that is easy to define. One would expect the novel to have a plot, a central theme, a central character and a consistent style. The truth is that all of these things are important but not specifically necessary. Willa Cather's Death Comes for the Archbishop cannot be easily classified as a novel in normal terms. It lacks a central plot that carries the work from beginning to some sort of an ending. It does, however, contain central characters, themes, and a clearly consistent style, but the story that is told consists of small vignettes.... [tags: Willa Cather Death Comes for the Archbishop]
- Willa Cather's Death Comes for the Archbishop In a 1927 letter, Willa Cather wrote that her book, Death Comes for the Archbishop, that "many of the reviews of this book begin with the statement: 'This book is hard to classify.' Then why bother. Many more assert vehemently that it is not a novel. Myself, I prefer to call it a narrative." (On Writing 12). The questions pertaining to whether or not it is a novel or why does Cather herself call it a "narrative" can be strange ones. First, breaking down the question of if it was or wasn't a novel.... [tags: Willa Cather Death Comes for the Archbishop]
- Willa Cather's Death Comes for the Archbishop - A Powerful Non-Novel Responding to the criticism that Death Comes for the Archbishop is not a novel, Willa Cather proposed that the work was a narrative. Her choice of the word narrative signifies that the structure of Death Comes for the Archbishop is closer to that of a biography. A narrative is a type of composition used to recount events over a period of time and can incorporate description as well plot, but it does not necessarily have to. Death Comes for the Archbishop follows the guidelines of a narrative in that it recounts the events of Father Latour's life, beginning when he is appointed to New Mexico and ending with his death.... [tags: Willa Cather Death Comes for the Archbishop]
- Willa Cather's Death Comes for the Archbishop Upon reading and reflecting on Willa Cather's Death Comes for the Archbishop, I have a hard time classifying this piece of literature as a novel. Indeed, Death Comes for the Archbishop seems more like a collection of anecdotal stories than a novel of conventional form. Harmon and Holman's A Handbook to Literature says the term novel, is "used in its broadest sense to designate any extended fictional narrative" (350). While DCA certainly fits this most general of definitions, its unconventional structure -- the seeming lack of a general plot and obvious climax, its continual digressions from Bishop Latour's present to the anecdotal episodes of h... [tags: Willa Cather Death Comes for the Archbishop]
- Willa Cather's Death Comes for the Archbishop: Novel and Narrative I found these definitions at an online guide to free online dictionaries: Main Entry: nar·ra·tive Pronunciation: 'nar-&-tiv Function: noun Date: 1566 1 : something that is narrated : STORY 2 : the art or practice of narration 3 : the representation in art of an event or story; also : an example of such a representation - narrative adjective - nar·ra·tive·ly adverb Main Entry: novel Function: noun Etymology: Italian novella Date: 1639 1 : an invented prose narrative that is usually long and complex and deals especially with human experience through a usually connected sequence of events 2 : the literary genre consist... [tags: Willa Cather Death Comes for the Archbishop]
Essay about Willa Cather on Art
- Willa Cather on Art "Style is how you write, and you write well when you are interested. A writer's own interest in the story is the essential thing. If there is a flash of warmth in him it is repeated in the reader. The emotion is bigger than style. I don't think there is anything in ideas. When a young writer tells me he has an idea for a story, he means he has had an emotion that he wants to pass on. An artist has an emotion, and the first thing that he wants to do with it is to find some form to put it in, a design.... [tags: Authors Willa Cather Art Artistic Papers]
Preference Willa Cather Female Role Lesbian Community Big Brother Gender Identity Vagueness Makers
The Effect of John Keats' Health on His Work
The Brontë Sisters and Their Work
Southworth's Brilliant Writing
The Search for a Home in Jane Austen's Mansfield Park
Christianity and The Chronicles of Narnia
Defining the Victorian Woman
Let's apply this system to Cather. She dressed as a boy, constantly
sporting a male hair style of short hair, and preferred the name William
to Willa. Using the gender rules stated earlier, Cather was a lesbian.
This gender ideology is used by everyone, including those who try to
defineCather's sexual orientation. It is very strict and leads to false
stereotypes. There are butch women and feminine men that are heterosexual.
One can try to obtain more evidence of which team Cather played for by
looking at My Ántonia, assuming that Cather used this work to convey all
her internal opinions and feelings. Cather writes in the first person
perspective of the male character Jim Burden, who has a great deal in
common with Cather. They both moved from Virginia to southern Nebraska as
children and moved away to attend this university and eventually ended up
in New York. Both had many immigrant friends growing up. One could argue
that Jim Burden was Cather's male persona and she was living through him,
considering it was an absurd idea at the time for two women to be
romantically involved. Cather wrote through Jim, becoming Jim, in order to
love women, especially women she was familiar with from her own life,
because in her circumstances she could not do it in reality.
Also in My Ántonia, there is more emotional connection to women than men.
Jim's life is greatly affected by mostly women. We see Jim with his
grandmother more than his grandfather. All of Jim's friends except for
Charley Harlingare female, and even that one we don't see for very long.
We do hear the history of Peter and Pavel, but quickly afterwards they
disappear from the story and aren't thought of again. We find out a great
deal about Mr. Shimerda, but through his inability to speak much English
and his early death, we don't really get to know him. We meet other male
characters, such as Jim's grandfather, Wick Cutter, Otto Fuchs, and
Ambrosch, but we are kept distanced from them. We know them and their
history, but it is all facts. We feel little emotion for them. We see more
emotion and history of the female characters. While granted, th book is
about one woman special to Jim Burden's life, Cather has an entire novel
to give Jim more male friends. Jim has more female influence than male.
Men are not displayed in a most positive light. There are more male
villians than female villians. In fact, I can only think of one female
villian without rereading the entire book, Mrs. Cutter. Other women show
flaws to their character, such as Mrs. Shimerda's distrust of her
neighbours and Jim's grandmother speaking to immigrants as if they were
deaf, but these hardly make them evil people. On the other hand, there is
Krajiek and Wick Cutter who constantly try to con immigrants out of
things, Larry Donovan who played Ántonia like her father's violin, and Ole
Benson who couldn't control himself and kept chasing after Lena Lingard.
One could argue that Cather was an introverted stereotypical angry
feminist, a stereotype that wasn't even born until almost thirty years
after her death, who disliked men so much that naturally she would be
attracted to only women. She had so much disgust for those who really were
men that there was no way she could love one and turned to the exact
opposite instead.
The act of getting married is not portrayed as a happy event. We learn
from the very beginning that Jim marries a loud and outspoken woman, his
complete opposite, which seems like a state of being rather than a union
of love. Some of the characters never marry, including Lena Lingard. Larry
Donovan promised to marry Ántonia, but did everything but that. Eventually
Ántonia marries Anton, and even though it is a fruitful marriage, it's
uncertain whether it was a happy one. The Cutters marriage is never happy,
and eventually leads to both their ends, an odd competition to see who
would outlive whom. Cather herself never married, and to this day people
of the same gender aren't allowed the priviledge of a legal marriage. One
could argue that Cather was trying to portray the whole heterosexual
marriage as a terrible thing, making her desires seem like a perfect
utopia.
In my humble opinion, I have no idea if Cather was a lesbian because I
didn't know her personally. I don't share all the arguments that I've just
stated, only producing them and evidence that supports them. I admit that
a few of them are a bit 'out there.' I try my hardest to not assume
anything about anyone because so many people in the world assume enough to
make up for my lack of assuming. I prefer the company of women who also
prefer the company of women, but I don't identify as 'lesbian' because I
don't like labels. The only labels I am comfortable with are "Mary" and
"writer". Labels set strict boundaries, just like the example of defined
gender identity earlier, and have stereotypes that come with them. If
someone is a lawyer, they must be sneaky and deceptive. If someone is from
Texas, they must be heartless bigots that will send anyone to the electric
chair, including anyone who isn't white. It's amazing how small little
words carry the largest meanings, and sometimes people don't even know it
until they become a victim of it.
What literary critics continue to do is try to label Cather. Since they
can't ask Cather any questions, they grasp at any information and convey
it into any way they need it to. Until a letter from Cather is discovered
that says, "Hi, Mom, I'm a lesbian. Love, Willa," no one can be certain.
The debate of whether or not Cather was a lesbian becomes another
whirlwind unending discussion, just like abortion, politics, and religion.


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Leveson Inquiry: Rich don't need deals
Published Tue 12 Jun 2012
David Cameron is likely to forget more than where he left his daughter this week. The Tory toff is set to give evidence at the Leveson inquiry after Socialist Worker went to press.
Cameron has already lied, or forgot, about how many times he met Rupert Murdoch and his relatives.
He has repeatedly insisted over his dealings with Murdoch that, "It would be absolutely wrong for there to be any sort of deal and there wasn't. There was no grand deal."
But he was courting the Murdochs before the election, taking flights with them and visiting them on Murdoch's yacht.
The back door of Downing Street was a revolving door to Murdoch. Cameron claims that he can't remember the details of their conversations—but he does remember that nothing improper was discussed.
There is of course no need for a deal or contract. This is merely dishonour among the thieves at the top of society.
The Leveson inquiry was set up to calm the crisis over the phone hacking scandal.
At one level it is fulfilling its purpose. The polite questioning of the various members of the establishment about a wealth of detail can be as dull as it is complex. But it also keeps the sore of corruption open.
That's why Cameron and the rest of the corrupt elite are still worried by the scandal.
Tue 12 Jun 2012, 19:45 BST
Murdoch hacking case


❶Best of all, the V-AMP 2 is a breeze to operate, thanks to its unusually transparent user interface with dedicated controls for all essential settings. Around this time, he was elected to the board of directors of the Slavic Benevolent Society in Saint Petersburg.
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In , on the recommendation of the poet Aleksey Pleshcheyev ,  he joined the Petrashevsky Circle , founded by Mikhail Petrashevsky , who had proposed social reforms in Russia.
Mikhail Bakunin once wrote to Alexander Herzen that the group was "the most innocent and harmless company" and its members were "systematic opponents of all revolutionary goals and means". In , the first parts of Netochka Nezvanova , a novel Dostoevsky had been planning since , were published in Annals of the Fatherland , but his banishment ended the project. Dostoevsky never attempted to complete it. Dostoevsky was accused of reading works by Belinsky, including the banned Letter to Gogol ,  and of circulating copies of these and other works.
Antonelli, the government agent who had reported the group, wrote in his statement that at least one of the papers criticised Russian politics and religion. Dostoevsky responded to these charges by declaring that he had read the essays only "as a literary monument, neither more nor less"; he spoke of "personality and human egoism" rather than of politics. Even so, he and his fellow "conspirators" were arrested on 23 April at the request of Count A. The members were held in the well-defended Peter and Paul Fortress , which housed the most dangerous convicts.
They sentenced the members of the circle to death by firing squad, and the prisoners were taken to Semyonov Place in St Petersburg on 23 December where they were split into three-man groups. Dostoevsky was the third in the second row; next to him stood Pleshcheyev and Durov. The execution was stayed when a cart delivered a letter from the Tsar commuting the sentence. Dostoevsky served four years of exile with hard labour at a katorga prison camp in Omsk , Siberia, followed by a term of compulsory military service.
After a fourteen-day sleigh ride, the prisoners reached Tobolsk , a prisoner way station. In Tobolsk, the members received food and clothes from the Decembrist women, as well as several copies of the New Testament with a ten-ruble banknote inside each copy. Eleven days later, Dostoevsky reached Omsk   together with just one other member of the Petrashevsky Circle, the poet Sergei Durov.
In summer, intolerable closeness; in winter, unendurable cold. All the floors were rotten. Filth on the floors an inch thick; one could slip and fall We were packed like herrings in a barrel There was no room to turn around. From dusk to dawn it was impossible not to behave like pigs Fleas, lice, and black beetles by the bushel Classified as "one of the most dangerous convicts", Dostoevsky had his hands and feet shackled until his release.
He was only permitted to read his New Testament Bible. In addition to his seizures, he had haemorrhoids , lost weight and was "burned by some fever, trembling and feeling too hot or too cold every night". The smell of the privy pervaded the entire building, and the small bathroom had to suffice for more than people. Dostoevsky was occasionally sent to the military hospital, where he read newspapers and Dickens novels.
He was respected by most of the other prisoners, and despised by some because of his xenophobic statements. After his release on 14 February , Dostoevsky asked Mikhail to help him financially and to send him books by Vico , Guizot , Ranke , Hegel and Kant. They both rented houses in the Cossack Garden outside Semipalatinsk.
Wrangel remarked that Dostoevsky "looked morose. His sickly, pale face was covered with freckles, and his blond hair was cut short.
He was a little over average height and looked at me intensely with his sharp, grey-blue eyes. It was as if he were trying to look into my soul and discover what kind of man I was. In Semipalatinsk, Dostoevsky tutored several schoolchildren and came into contact with upper-class families, including that of Lieutenant-Colonel Belikhov, who used to invite him to read passages from newspapers and magazines.
Alexander Isaev took a new post in Kuznetsk , where he died in August Maria and her son then moved with Dostoevsky to Barnaul. In Dostoevsky sent a letter through Wrangel to General Eduard Totleben, apologising for his activity in several utopian circles. As a result, he obtained the right to publish books and to marry, although he remained under police surveillance for the rest of his life. Maria married Dostoevsky in Semipalatinsk on 7 February , even though she had initially refused his marriage proposal, stating that they were not meant for each other and that his poor financial situation precluded marriage.
From August to October , Dostoevsky made another trip to western Europe. He met his second love, Polina Suslova , in Paris and lost nearly all his money gambling in Wiesbaden and Baden-Baden.
The failure of Epoch , the magazine he had founded with Mikhail after the suppression of Vremya , worsened his financial situation, although the continued help of his relatives and friends averted bankruptcy. The first two parts of Crime and Punishment were published in January and February in the periodical The Russian Messenger ,  attracting at least new subscribers to the magazine.
Dostoevsky returned to Saint Petersburg in mid-September and promised his editor, Fyodor Stellovsky , that he would complete The Gambler , a short novel focused on gambling addiction , by November, although he had not yet begun writing it. Dostoevsky contacted stenographer Pavel Olkhin from Saint Petersburg, who recommended his pupil, the twenty-year-old Anna Grigoryevna Snitkina. The strangeness of his eyes gave Dostoyevsky some mysterious appearance.
His face was pale, and it looked unhealthy. The 7, rubles he had earned from Crime and Punishment did not cover their debts, forcing Anna to sell her valuables. On 14 April , they began a delayed honeymoon in Germany with the money gained from the sale. They continued their trip through Germany, visiting Frankfurt , Darmstadt , Heidelberg and Karlsruhe.
They spent five weeks in Baden-Baden , where Dostoevsky had a quarrel with Turgenev and again lost much money at the roulette table.
In September , Dostoevsky began work on The Idiot , and after a prolonged planning process that bore little resemblance to the published novel, he eventually managed to write the first pages in only 23 days; the serialisation began in The Russian Messenger in January Their first child, Sonya, had been conceived in Baden-Baden , and was born in Geneva on 5 March The baby died of pneumonia three months later, and Anna recalled how Dostoevsky "wept and sobbed like a woman in despair".
In April , Dostoevsky made a final visit to a gambling hall in Wiesbaden. Anna claimed that he stopped gambling after the birth of their second daughter, but this is a subject of debate. During the trip, he burnt several manuscripts, including those of The Idiot , because he was concerned about potential problems with customs.
The family arrived in Saint Petersburg on 8 July, marking the end of a honeymoon originally planned for three months that had lasted over four years. Back in Russia in July , the family was again in financial trouble and had to sell their remaining possessions. Their son Fyodor was born on 16 July, and they moved to an apartment near the Institute of Technology soon after.
They hoped to cancel their large debts by selling their rental house in Peski, but difficulties with the tenant resulted in a relatively low selling price, and disputes with their creditors continued. Dostoevsky revived his friendships with Maykov and Strakhov and made new acquaintances, including church politician Terty Filipov and the brothers Vsevolod and Vladimir Solovyov.
Around early the family spent several months in Staraya Russa , a town known for its mineral spa. The family returned to St Petersburg in September.
Demons was finished on 26 November and released in January by the "Dostoyevsky Publishing Company", which was founded by Dostoevsky and his wife. Although they only accepted cash payments and the bookshop was in their own apartment, the business was successful, and they sold around 3, copies of Demons. Anna managed the finances. In the summer of , Anna returned to Staraya Russa with the children, while Dostoevsky stayed in St Petersburg to continue with his Diary.
In March , Dostoevsky left The Citizen because of the stressful work and interference from the Russian bureaucracy. In his fifteen months with The Citizen , he had been taken to court twice: Dostoevsky offered to sell a new novel he had not yet begun to write to The Russian Messenger , but the magazine refused.
As his health began to decline, he consulted several doctors in St Petersburg and was advised to take a cure outside Russia. Around July, he reached Ems and consulted a physician, who diagnosed him with acute catarrh. During his stay he began The Adolescent. He returned to Saint Petersburg in late July. Anna proposed that they spend the winter in Staraya Russa to allow Dostoevsky to rest, although doctors had suggested a second visit to Ems because his health had previously improved there.
Dostoevsky finished The Adolescent at the end of , although passages of it had been serialised in Notes of the Fatherland since January. The Adolescent chronicles the life of Arkady Dolgoruky, the illegitimate child of the landowner Versilov and a peasant mother.
In early , Dostoevsky continued work on his Diary. The book includes numerous essays and a few short stories about society, religion, politics and ethics. The collection sold more than twice as many copies as his previous books. Dostoevsky received more letters from readers than ever before, and people of all ages and occupations visited him.
In the summer of , Dostoevsky began experiencing shortness of breath again. He visited Ems for the third time and was told that he might live for another 15 years if he moved to a healthier climate. When he returned to Russia, Tsar Alexander II ordered Dostoevsky to visit his palace to present the Diary to him, and he asked him to educate his sons, Sergey and Paul. Rather than returning to Ems, he visited Maly Prikol, a manor near Kursk. While returning to St Petersburg to finalise his Diary , he visited Darovoye, where he had spent much of his childhood.
He was appointed an honorary member of the Russian Academy of Sciences , from which he received an honorary certificate in February He declined an invitation to an international congress on copyright in Paris after his son Alyosha had a severe epileptic seizure and died on 16 May.
The family later moved to the apartment where Dostoevsky had written his first works. Around this time, he was elected to the board of directors of the Slavic Benevolent Society in Saint Petersburg. Dostoevsky made his fourth and final visit to Ems in early August He was diagnosed with early-stage pulmonary emphysema , which his doctor believed could be successfully managed, but not cured.
On 3 February Dostoevsky was elected vice-president of the Slavic Benevolent Society, and he was invited to speak at the unveiling of the Pushkin memorial in Moscow. On 8 June he delivered his speech , giving an impressive performance that had a significant emotional impact on his audience. His speech was met with thunderous applause, and even his long-time rival Turgenev embraced him.
He speaks with the tone of a prophet. He makes a sermon like a pastor; it is very deep, sincere, and we understand that he wants to impress the emotions of his listeners.
On the following day, Dostoevsky suffered a pulmonary haemorrhage. Anna denied that the search had caused it, saying that the haemorrhage had occurred after her husband had been looking for a dropped pen holder. A third haemorrhage followed shortly afterwards.
And Jesus answering said unto him, Suffer it to be so now: Do not restrain me! It is unclear how many attended his funeral. According to one reporter, more than , mourners were present, while others describe attendance between 40, and 50, His tombstone is inscribed with lines from the New Testament: Verily, verily, I say unto you, Except a corn of wheat fall into the ground and die, it abideth alone: Dostoevsky had his first known affair with Avdotya Yakovlevna, whom he met in the Panayev circle in the early s.
He described her as educated, interested in literature, and a femme fatale. Dostoevsky and Apollonia Polina Suslova had a short but intimate affair, which peaked in the winter of — He later described her in a letter to Nadezhda Suslova as a "great egoist.
Her egoism and her vanity are colossal. She demands everything of other people, all the perfections, and does not pardon the slightest imperfection in the light of other qualities that one may possess", and later stated "I still love her, but I do not want to love her any more. Dostoevsky did not love her either, but they were probably good friends.
She wrote that he "became very attracted to me". Her relationship with Dostoevsky is known only through letters written between November and January Before his arrest for participating in the Petrashevsky Circle in , Dostoevsky remarked, "As far as I am concerned, nothing was ever more ridiculous than the idea of a republican government in Russia. He advocated social change instead, for example removal of the feudal system and a weakening of the divisions between the peasantry and the affluent classes.
His ideal was a utopian , Christianized Russia where "if everyone were actively Christian, not a single social question would come up If they were Christians they would settle everything".
Pochvennichestvo differed from Slavophilism in aiming to establish, not an isolated Russia, but a more open state modelled on the Russia of Peter the Great. In his incomplete article "Socialism and Christianity", Dostoevsky claimed that civilisation "the second stage in human history" had become degraded, and that it was moving towards liberalism and losing its faith in God.
He asserted that the traditional concept of Christianity should be recovered. Dostoevsky distinguished three "enormous world ideas" prevalent in his time: Roman Catholicism, Protestantism and Russian Orthodoxy. For Dostoevsky, socialism was "the latest incarnation of the Catholic idea" and its "natural ally". He deemed Russian Orthodoxy to be the ideal form of Christianity. For all that, to place politically Dostoevsky is not that simple, but: During the Russo-Turkish War , Dostoevsky asserted that war might be necessary if salvation were to be granted.
He wanted the Muslim Ottoman Empire eliminated and the Christian Byzantine Empire restored, and he hoped for the liberation of Balkan Slavs and their unification with the Russian Empire. But as you say, its century existence proves that this tribe has exceptional vitality, which would not help, during the course of its history, taking the form of various Status in Statu Dostoevsky was an Eastern Orthodox Christian,  was raised in a religious family and knew the Gospel from a very young age.
In Semipalatinsk, Dostoevsky revived his faith by looking frequently at the stars. Wrangel said that he was "rather pious, but did not often go to church, and disliked priests, especially the Siberian ones. But he spoke about Christ ecstatically. Dostoevsky explored Islam , asking his brother to send him a copy of the Quran. Two pilgrimages and two works by Dmitri Rostovsky , an archbishop who influenced Ukrainian and Russian literature by composing groundbreaking religious plays, strengthened his beliefs.
He wrote more than letters, a dozen of which are lost. Dostoevsky expressed religious, psychological and philosophical ideas in his writings. His works explore such themes as suicide, poverty, human manipulation, and morality. Psychological themes include dreaming, first seen in "White Nights",  and the father-son relationship, beginning in The Adolescent.
The influences of other writers, particularly evident in his early works, led to accusations of plagiarism ,   but his style gradually became more individual. After his release from prison, Dostoevsky incorporated religious themes, especially those of Russian Orthodoxy, into his writing.
Elements of gothic fiction ,  romanticism ,  and satire  are observable in some of his books. He frequently used autobiographical or semi-autobiographical details. He may have been critical of rational and logical thinking because he was "more a sage and an artist than a strictly logical, consistent thinker". Polyphony is a literary concept, analogous with musical polyphony , developed by M. Dostoevsky is regarded as one of the greatest and most influential novelists of the Golden Age of Russian literature.
His psychologic sense is overwhelming and visionary. In his posthumous collection of sketches A Moveable Feast , Ernest Hemingway stated that in Dostoevsky "there were things believable and not to be believed, but some so true that they changed you as you read them; frailty and madness, wickedness and saintliness, and the insanity of gambling were there to know".
It was his explosive power which shattered the Victorian novel with its simpering maidens and ordered commonplaces; books which were without imagination or violence.
In an olive-green postage stamp dedicated to Dostoevsky was released in the Soviet Union, with a print run of 1, copies. Coetzee featured Dostoevsky as the protagonist in his novel The Master of Petersburg. The Dostoyevskaya metro station in Saint Petersburg was opened on 30 December , and the station of the same name in Moscow was opened on 19 June , the 75th anniversary of the Moscow Metro. Several critics, such as Nikolay Dobrolyubov , Ivan Bunin and Vladimir Nabokov , viewed his writing as excessively psychological and philosophical rather than artistic.
Others found fault with chaotic and disorganised plots, and others, like Turgenev, objected to "excessive psychologising" and too-detailed naturalism. His style was deemed "prolix, repetitious and lacking in polish, balance, restraint and good taste". These characters were compared to those of Hoffmann, an author whom Dostoevsky admired.
Basing his estimation on stated criteria of enduring art and individual genius, Nabokov judges Dostoevsky "not a great writer, but rather a mediocre one—with flashes of excellent humour but, alas, with wastelands of literary platitudes in between".
French, German and Italian translations usually came directly from the original, while English translations were second-hand and of poor quality. Dostoevsky did not refuse permission, but he advised against it, as he believed that "each art corresponds to a series of poetic thoughts, so that one idea cannot be expressed in another non-corresponding form". His extensive explanations in opposition to the transposition of his works into other media were groundbreaking in fidelity criticism.
He thought that just one episode should be dramatised, or an idea should be taken and incorporated into a separate plot.
After the Russian Revolution , passages of Dostoevsky books were sometimes shortened, although only two books were censored: Demons  and Diary of a Writer.
Many of his longer novels were first published in serialised form in literary magazines and journals. In English many of his novels and stories are known by different titles. Poor Folk is an epistolary novel that describes the relationship between the small, elderly official Makar Devushkin and the young seamstress Varvara Dobroselova, remote relatives who write letters to each other.
An unscrupulous merchant finds the inexperienced girl and hires her as his housewife and guarantor. He sends her to a manor somewhere on a steppe, while Makar alleviates his misery and pain with alcohol.
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Posts Tagged 'JESSICA JONES'
REVIEW: Netflix's Second Season of JESSICA JONES
Marvel Netflix's follow-up season to the smartass detective's own story arc is a long, arduous crawl from start to finish—introducing new characters, new dilemmas, and a deeper look into Jessica's backstory. Jessica Jones' seco...
'Defenders' to End With Issue #10, 'Jessica Jones' Gets New Female Writer
After the announcement of Brian Michael Bendis signing with DC, many were left wondering about the status of his current ongoings and characters. Recently, Bendis went to his Tumblr to finally give an update on his Marvel ongoi...
Review: The Defenders Season 1 is Satisfyingly Awesome!
Marvel's The Defenders Season 1 kicked off last August 18 on Netflix with fans scurrying to binge-watch the much-awaited series. The show is the culmination of the solo superhero shows that Marvel and Netflix released the past ...
THE DEFENDERS Trailer #2 Unveils the War for New York!
It's less than a month before the four vigilante's team up against a greater, formidable force. The trailer features these reluctant heroes, their dynamics, notably Jessica Jones and Matt Murdock's banter with a hint of humor a...
WATCH: The DEFENDERS Assemble In First Official Trailer!
The first trailer for Marvel's The Defenders on Netflix has finally arrived. The trailer sees how Jessica Jones (Krysten Ritter), Daredevil (Charlie Cox), Luke Cage (Mike Colter), and Iron Fist (Finn Jones) come together to fig...
Bendis' Alias comes back as JESSICA JONES #1 this October!
That's right, she's back after a decade! This October, she returns to the fold for an all-new ongoing series as the highly anticipated JESSICA JONES #1 explodes onto the scene as part of Marvel NOW! [CHECK OUT… 13 Things ...
Jessica Jones Renewed for Season 2
Now, did you really think this wasn't going to happen? With the success of its first season, in which critics and fans loved the anti-heroine with…umm…a lot of issues. It really comes as no surprise tha...
The Best of 2015 In MOVIES & TV – Part 2
Truth be told, 2015 has been a great year for the industry. We saw the reermergence of comic book TV shows in full bloom. New filmmakers rose to the occasion and reignited a renaissance in modern film. Movements sprang back and...
FlipGeeks TV
Jessica Jones: A Darker Side to 'Girl Power'
Back in the 90's the Spice Girls made it look easy, girls wanted to be them and boys wanted to be with them. They were beautiful, sexy wore short dresses and platform shoes and sang about 'Girl Power' i...
GRAPHIC NOVEL REVIEW: ALIAS Omnibus HC
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Playing in the UK, golfers are no strangers to the occasional poor weather. Playing a round in a heavy, lumpy jacket will do little for your game, so getting waterproof apparel is perfect for all players as it both protects you from rain as well as remaining lightweight and unrestrictive during play.
There are many variations of waterproof attire, so make sure you check out our Buying Guide to Waterproof Apparel should you need further explanation on any clothing you're thinking about buying. Waterproof clothing is the best option as it keeps you dry during play without weighing you down. Other variations of waterproofs include rainproof and showerproof apparel.
Our collection includes waterproof jackets, trousers and also suits from brands such as Nike Golf, Galvin Green and Benross.


Since that afternoon in 1998 when our beloved Willie Morris descended his staircase and announced that his customary mid-day nap had been a lively affair with visions of a Sweet Potato Queens MUSICAL–it has been my OWN dream as well!
I am beyond thrilled to tell you that THIS VERY WEEKEND, in Houston, Texas, at Theater Under The Stars (TUTS)–there will be the first ever reading of THE SWEET POTATO QUEENS® MUSICAL. The Book is by Tony® Award winning Rupert Holmes, music by Grammy® Award winning singer/songwriter Melissa Manchester, and lyrics by Oscar® nominee and Nashville Songwriters Hall of Fame inductee Sharon Vaughn.
The SWEET POTATO QUEENS® reading will be performed at Zilkha Hall at the Hobby Center on Saturday, March 21, 2015, at 7pm and on Sunday, March 22, 2015, at 1:30pm by local actors. Following each performance, there will be a talkback with the cast and creative team: Rupert Holmes, Melissa Manchester, Sharon Vaughn, and me. I hope y'all will join us, if not in person (in crowns and sparkles!) then for sure in spirit as this long-awaited dream begins to unfold in Real Life.
CLICK HERE for the O-fficial Info.
I know that this is the weekend right before our annual Zippity Doo Dah® Weekend, 26-29 March; so, here's an idea: just start your Annual SPQ™ Pilgrimage in Houston, Texas, this Saturday and finish next Sunday in Jackson, Mississippi!
Randall Wallace, who wrote every guy's favorite movie, BRAVEHEART.
Randy also gave us a ton of $$ in 2014 to help us reach our ZDD™ fundraising goal, which I'll tell you more about in a minute.
But feel free to totally ignore the theme and do what YOU wanna do-always keeping in mind, of course, that we are a family-friendly event!
Weekend Passes are still just $74 for advance reservations–ORDER HERE and order NOW! REMEMBER, Weekend Passes ARE NOT and NEVER HAVE BEEN MAILED OUT. You pick 'em up at the Hilton when you get here.
For HOST HOTEL RESERVATIONS at the Hilton-Jackson, call 601-957-2800 and speak ONLY to BILLIE BURNS. He will arrange for you to have (newly-decorated, just-for-us) Hilton rooms–for only $109 per night. He loves doing this because he loves His Queens sooo much.
Remember that the Crazy Hilton Staff sponsors the ANNUAL DOOR DECORATING CONTEST–and there is a Swell Prize awarded at the Bathrobe Brunch. So you not only need outfits for yourownQueenlyself but DAY-CORE for YOUR DOOR as well! Do NOT forget: NO TAPE!
The ZDD™ Parade BEGINS at dusk. Be in the line-up area by 5:30p. The buses will deposit you in the right place. They will pick you up there after the Parade, too. No thinking, driving, or parking required!
Patty Peck Honda Doo Dah Day™ Blue Car Giveaway!
There will be weekly drawings on MISS 103 for keys. The more you buy and the earlier you buy, the better your chances are to WIN! Only $10 each and 100% goes directly to Friends of Children's Hospital as part of our fundraising efforts for the Batson Children's Hospital!
Right before the Parade rolls, Key Winners will try their keys on the Treasure Box at 6p in the BancorpSouth VIP Viewing Area. Televised on WLBT-NBC.
Our goal for ZDD™ 2014 was the purchase of a very-much-needed van for the Palliative Care Unit at Batson Children's Hospital. There are 5 children who live there, full-time and they were getting one field trip off campus per month. The reason for the limitation was that the van they had to use could only move ONE of them, plus their attendants, at a time. Once all 5 were transported to the destination, it was time to start taking one of them back so we were determined to get them chirren a big a** van.
With y'all's help, we raised the $$ needed for this brand new van–which is due to be delivered any day now.
Randall Wallace told us after the Parade last year that whatever we were "short" for the van purchase, he would write that check, he did and we looove him for it!
FOR THIS year, the Cardiac Unit at Batson Children's has told us that they have an urgent need for 6 "giraffe" beds. Some of the babies in Cardiac care are so very fragile that even moving them from their bed to a gurney for surgery could put them in dire peril. The "giraffe" beds allow the physicians to perform any necessary procedures IN PLACE.
To buy all 6–and that's our goal–we need to raise $100K again! So, PLEEZZE join BRAVEHEARTS FOR BATSON™ and help us buy these beds for the tiniest hearts in the Hospital!


text:
namespace chromeos {

namespace secure_channel {

ConnectionDetails::ConnectionDetails(const std::string& device_id,
                                     ConnectionMedium connection_medium)
    : device_id_(device_id), connection_medium_(connection_medium) {
  DCHECK(!device_id.empty());
}

ConnectionDetails::~ConnectionDetails() = default;

bool ConnectionDetails::operator==(const ConnectionDetails& other) const {
  return device_id() == other.device_id() &&
         connection_medium() == other.connection_medium();
}

bool ConnectionDetails::operator!=(const ConnectionDetails& other) const {
  return !(*this == other);
}

bool ConnectionDetails::operator<(const ConnectionDetails& other) const {
  if (device_id() != other.device_id())
    return device_id() < other.device_id();

  // Currently, there is only one ConnectionMedium type.
  DCHECK(connection_medium() == other.connection_medium());
  return false;
}

std::ostream& operator<<(std::ostream& stream,
                         const ConnectionDetails& details) {
  stream << "{id: \""
         << multidevice::RemoteDeviceRef::TruncateDeviceIdForLogs(
                details.device_id())
         << "\", medium: \"" << details.connection_medium() << "\"}";
  return stream;
}

}  // namespace secure_channel

}  // namespace chromeos

redpajama_set_name: RedPajamaGithub


Al B.: Thought it was a weird combination (Japanese, Italian, Indian??) but man...this place is good!! Try their curry dishes if it's your first time.
Al B.: Smaller than the original Krung Thai, but essentially the same!


text:
Subcategory: Car Accessories
Free U.K Online Classifieds Ads »
Buy, Sell, and Swap Cars, Jobs, property, Pets, wanted and more. U.KGimee is the newest classified ads site in the U.K. It is free to use for both normal users and trade and business users. The feature packed website is simple to use and easy to navi
Car Accessories - new site:
Newest tags in subcategory: Car Accessories
Xenon Kit (1), Igniter (1), D3S (1), free classifieds ads uk (1), Ballast (1), uk free classifieds (1), Xenon bulbs (1), online classified (1), Can Bus (1), classified ads uk (1), LED (1), classifieds uk (1), classified (1), D4S (1), online classifieds (1), classified uk (1), classified ads england (1), D1S (1), free ads (1), HID Colour Chart HID Bulbs Customer Cars Customer Cars In Action HID Kit HID Ballasts HID Adaptor HID Accessories HID CONVERSION KITS HID Conversion Kit (1), uk classifieds (2), Canbus (1), D2S (1)


Stone, Marble, glass, vitreous glass, Eco glass on wood. It comes with a professionally installed mirror in the middle, and a cleat in the back to hang securely on the wall.
The black background is for display on this website only.
Price includes shipping. If you chose to pick this up in person I will subtract the price of shipping.


text:
<?php

/*
 * This file is part of the Sami utility.
 *
 * (c) Fabien Potencier <fabien@symfony.com>
 *
 * This source file is subject to the MIT license that is bundled
 * with this source code in the file LICENSE.
 */

namespace Sami\Parser\Filter;

use Sami\Reflection\MethodReflection;
use Sami\Reflection\PropertyReflection;

class DefaultFilter extends TrueFilter
{
    public function acceptMethod(MethodReflection $method)
    {
        return $method->isPublic();
    }

    public function acceptProperty(PropertyReflection $property)
    {
        return $property->isPublic();
    }
}


text:
Q: Really struggling with nginx rewrites to https I hope someone can help.
I am new to ubuntu and nginx and have set up my own server (with the help of various guides around the internet)
Here is my setup.
ubuntu server 14.04, nginx, php5 fpm, static IP, working website in the default  (didn't feel I needed to setup virtual hosts)
Bearing in mind that a few weeks ago I knew absolutely nothing about nginx or even that it existed so I have not done bad and learnt a lot in the process.
What I want is accessible from the www
My IP 212.100.10.100 (for example purposes)
My domain https://example.com
WWW version https://www.example.com
I have my SSL certificate setup correctly and nginx is happy with it
I am trying to redirect all traffic to https:// but I am having mixed results IE either I access my site and it downloads pages or I get an error 403 I think saying that the requests are being sent to a https port. When that happens I can access my site fine with https
Here is my nginx site config edited please ignore the # I have been trying stuff :) at this time my site works fine on http:// with this config and I can access via my IP as well
server {
    listen 80;
        listen [::]:80 ipv6only=on;
    server_name 212.100.10.100 example.com www.example.com;
#   return         301 https:// $example.com$request_uri;
        root /var/www/public_html;
        index index.php index.html index.htm;
#}

#server {
#   listen 80;
#   server_name www.example.com
#   return      301 https:// $example.com$request_uri;
#        root /var/www/public_html;
#        index index.php index.html index.htm;
#}

#server {
#        listen 443 ssl;
#        listen [::]:443 ipv6only=on;
#   server_name example.com;

#   root /var/www/public_html;
#   index index.php index.html index.htm;

       ######HTTPS..

#       ssl on;
#       ssl_certificate /etc/nginx/ssl/bundle.cer;
#       ssl_certificate_key /etc/nginx/ssl/example.key;
#       ssl_session_timeout 5m;

#       ssl_protocols TLSv1 TLSv1.1 TLSv1.2;

   # Add perfect forward secrecy
#        ssl_prefer_server_ciphers on;
#   ssl_ciphers 'ECDHE-RSA-AES128-GCM-SHA256:ECDHE-ECDSA-AES128-GCM-SHA256:ECDHE-RSA-AES256-GCM-SHA384:ECDHE-ECDSA-AES256-GCM-SHA384:DHE-RSA-AES128-GCM-SHA256:DHE-DSS-AES128-GCM-SHA256:kEDH+AESGCM:ECDHE-RSA-AES128-SHA256:ECDHE-ECDSA-AES128-SHA256:ECDHE-RSA-AES128-SHA:ECDHE-ECDSA-AES128-SHA:ECDHE-RSA-AES256-SHA384:ECDHE-ECDSA-AES256-SHA384:ECDHE-RSA-AES256-SHA:ECDHE-ECDSA-AES256-SHA:DHE-RSA-AES128-SHA256:DHE-RSA-AES128-SHA:DHE-DSS-AES128-SHA256:DHE-RSA-AES256-SHA256:DHE-DSS-AES256-SHA:DHE-RSA-AES256-SHA:AES128-GCM-SHA256:AES256-GCM-SHA384:AES128-SHA256:AES256-SHA256:AES128-SHA:AES256-SHA:AES:CAMELLIA:DES-CBC3-SHA:!aNULL:!eNULL:!EXPORT:!DES:!RC4:!MD5:!PSK:!aECDH:!EDH-DSS-DES-CBC3-SHA:!EDH-RSA-DES-CBC3-SHA:!KRB5-DES-CBC3-SHA';

   # Add HSTS
#        add_header Strict-Transport-Security "max-age=31536000; includeSubdomains";

    # Basic web server configuration.
        index        index.php
        #access_log   off;
        client_max_body_size  1G;

    # GZIP static content not processed by IPB.
    gzip  on;
    gzip_static on;
    gzip_http_version 1.1;
    gzip_vary on;
    gzip_comp_level 3;
    gzip_proxied any;
    gzip_types text/plain text/css application/json application/x-javascript ap$
    gzip_buffers 16 8k;
    gzip_disable "MSIE [1-6]\.(?!.*SV1)";

# Set up rewrite rules.
    location / {
        try_files  $uri $uri/ /index.php;
    }
    location ~^(/page/).*(\.php)$ {
        try_files  $uri $uri/ /index.php;
    }

    # Stub Status module
    location /server_status {
        stub_status on;
        #allow 127.0.0.1;
        #deny all;
    }

    # Deny access to hidden files
    location ~ /\. {
        deny  all;
    }

    # IP.Board PHP/CGI Protection
    location ~^(/uploads/).*(\.php)$ {
        deny     all;
    }
    location ~^(/hooks/).*(\.php)$ {
        deny     all;
    }
    location ~^(/cache/).*(\.php)$ {
        deny     all;
    }
    location ~^(/screenshots/).*(\.php)$ {
        deny     all;
    }
    location ~^(/downloads/).*(\.php)$ {
        deny     all;
    }
    location ~^(/blog/).*(\.php)$ {
        deny     all;
    }
    location ~^(/public/style_).*(\.php)$ {
        deny     all;
    }

    # Caching directives for static files.
    location ~^(/uploads/profile/).*\.(jpg|jpeg|gif|png)$ {
        access_log off;
        expires    1d;
    }
    location ~* ^.+.(jpg|jpeg|gif|css|png|js|ico|xml|htm|txt|swf|cur)$ {
        access_log off;
        expires    1w;
    }

# pass the PHP scripts to FastCGI server listening on 127.0.0.1:9000

        location ~ \.php$ {
                fastcgi_split_path_info ^(.+\.php)(/.+)$;
                # NOTE: You should have "cgi.fix_pathinfo = 0;" in php.ini
        try_files  $uri $uri/ /index.php;
                # With php5-cgi alone:
                #fastcgi_pass 127.0.0.1:9000;
                # With php5-fpm:
                fastcgi_pass unix:/var/run/php5-fpm.sock;
                fastcgi_index index.php;
        fastcgi_buffers 16 8k;
        fastcgi_buffer_size 16k;
        fastcgi_param  SCRIPT_FILENAME  $document_root$fastcgi_script_name;
                include fastcgi_params;
        }

    location /phpmyadmin {
        auth_basic "Admin Login";
        auth_basic_user_file /etc/nginx/pma_pass;
    fastcgi_buffer_size 128k;
    fastcgi_buffers 256 4k;
    fastcgi_busy_buffers_size 256k;
    fastcgi_temp_file_write_size 256k;
    fastcgi_read_timeout 240;

    }

###HTTPS REWRITES

#
# Rewrite http requests to https
#
#server {
#  listen 80;
#  server_name example.com;
#  return 301 https:// example.com$request_uri;
#}

#
# Rewrite requests for http:// www.example.com to https:// example.com
#
#server {
#  listen 80;
#  server_name www.example.com;
#  return 301 https:// example.com$request_uri;
#}

}

When I try configuring it I have had issues everytime and it seems that if I don't have IP address and domain in the server name directive then when I try accessing them I get the standard "welcome to nginx" Page which suggests that it might be another config I am missing
EDIT..
Thank you for your help this is the new setup and it seems to work.
I was only commenting out to keep my site online when I was trying to get this working.
Thanks again :) If anyone spots anything I am doing wrong I would be glad to hear.
server {
    listen 80;
    listen [::]:80 ipv6only=on;
    server_name _;
    return 301 https:// example.com$request_uri;
}

server {
    listen 443 ssl;
    listen [::]:443 ipv6only=on;
    server_name example.com www.example.com;

    root /var/www/public_html;
    index index.php index.html index.htm;

    ######HTTPS..

   ssl on;
   ssl_certificate /etc/nginx/ssl/bundle.cer;
   ssl_certificate_key /etc/nginx/ssl/example.key;
   ssl_session_timeout 5m;

   ssl_protocols TLSv1 TLSv1.1 TLSv1.2;

# Add perfect forward secrecy
    ssl_prefer_server_ciphers on;
    ssl_ciphers 'ECDHE-RSA-AES128-GCM-SHA256:ECDHE-ECDSA-AES128-GCM-SHA256:ECDHE-RSA-AES256-GCM-SHA384:ECDHE-ECDSA-AES256-GCM-SHA384:DHE-RSA-AES128-GCM-SHA256:DHE-DSS-AES128-GCM-SHA256:kEDH+AESGCM:ECDHE-RSA-AES128-SHA256:ECDHE-ECDSA-AES128-SHA256:ECDHE-RSA-AES128-SHA:ECDHE-ECDSA-AES128-SHA:ECDHE-RSA-AES256-SHA384:ECDHE-ECDSA-AES256-SHA384:ECDHE-RSA-AES256-SHA:ECDHE-ECDSA-AES256-SHA:DHE-RSA-AES128-SHA256:DHE-RSA-AES128-SHA:DHE-DSS-AES128-SHA256:DHE-RSA-AES256-SHA256:DHE-DSS-AES256-SHA:DHE-RSA-AES256-SHA:AES128-GCM-SHA256:AES256-GCM-SHA384:AES128-SHA256:AES256-SHA256:AES128-SHA:AES256-SHA:AES:CAMELLIA:DES-CBC3-SHA:!aNULL:!eNULL:!EXPORT:!DES:!RC4:!MD5:!PSK:!aECDH:!EDH-DSS-DES-CBC3-SHA:!EDH-RSA-DES-CBC3-SHA:!KRB5-DES-CBC3-SHA';

# Add HSTS
    add_header Strict-Transport-Security "max-age=31536000; includeSubdomains";

# Basic web server configuration.
    index        index.php
    #access_log   off;
    client_max_body_size  1G;

# GZIP static content not processed by IPB.
gzip  on;
gzip_static on;
gzip_http_version 1.1;
gzip_vary on;
gzip_comp_level 3;
gzip_proxied any;
gzip_types text/plain text/css application/json application/x-javascript ap$
gzip_buffers 16 8k;
gzip_disable "MSIE [1-6]\.(?!.*SV1)";

# Set up rewrite rules.
location / {
    try_files  $uri $uri/ /index.php;
}
location ~^(/page/).*(\.php)$ {
    try_files  $uri $uri/ /index.php;
}

# Stub Status module
location /server_status {
    stub_status on;
    #allow 127.0.0.1;
    #deny all;
}

# Deny access to hidden files
location ~ /\. {
    deny  all;
}

# IP.Board PHP/CGI Protection
location ~^(/uploads/).*(\.php)$ {
    deny     all;
}
location ~^(/hooks/).*(\.php)$ {
    deny     all;
}
location ~^(/cache/).*(\.php)$ {
    deny     all;
}
location ~^(/screenshots/).*(\.php)$ {
    deny     all;
}
location ~^(/downloads/).*(\.php)$ {
    deny     all;
}
location ~^(/blog/).*(\.php)$ {
    deny     all;
}
location ~^(/public/style_).*(\.php)$ {
    deny     all;
}

# Caching directives for static files.
location ~^(/uploads/profile/).*\.(jpg|jpeg|gif|png)$ {
    access_log off;
    expires    1d;
}
location ~* ^.+.(jpg|jpeg|gif|css|png|js|ico|xml|htm|txt|swf|cur)$ {
    access_log off;
    expires    1w;
}

# pass the PHP scripts to FastCGI server listening on 127.0.0.1:9000

    location ~ \.php$ {
            fastcgi_split_path_info ^(.+\.php)(/.+)$;
            # NOTE: You should have "cgi.fix_pathinfo = 0;" in php.ini
    try_files  $uri $uri/ /index.php;
            # With php5-cgi alone:
            #fastcgi_pass 127.0.0.1:9000;
            # With php5-fpm:
            fastcgi_pass unix:/var/run/php5-fpm.sock;
            fastcgi_index index.php;
    fastcgi_buffers 16 8k;
    fastcgi_buffer_size 16k;
    fastcgi_param  SCRIPT_FILENAME  $document_root$fastcgi_script_name;
            include fastcgi_params;
    }

location /phpmyadmin {
    auth_basic "Admin Login";
    auth_basic_user_file /etc/nginx/pma_pass;
fastcgi_buffer_size 128k;
fastcgi_buffers 256 4k;
fastcgi_busy_buffers_size 256k;
fastcgi_temp_file_write_size 256k;
fastcgi_read_timeout 240;

}
}

A: From what I see your nginx doesn't listen the 433/ssl.
Your config misses the actual http to https redirection.
Using ip addresses in server_name is a nonsense.
You should create two server {} statements, one for port 80 and the other for ssl; and redirect from first to second. Your config contains traces of such tries; I don't understand why you commented out all of this. The only thing you missed (if we'll take into the consideration parts you commented out, except last two server {}, which are redundant and erroneous) is the actual redirect, you can take it from any of two last server {}.