text:
package org.lwjgl.opencl;

import javax.annotation.*;

import java.nio.*;

import org.lwjgl.*;

import org.lwjgl.system.*;

import static org.lwjgl.system.Checks.*;
import static org.lwjgl.system.JNI.*;
import static org.lwjgl.system.MemoryStack.*;
import static org.lwjgl.system.MemoryUtil.*;

/**
 * Native bindings to the khr_egl_image extension.
 *
 *
This extension provides a mechanism for creating derived resources, such as OpenCL image objects, from {@code EGLImages}.

 */
public class KHREGLImage {

    /** Error Codes */
    public static final int
        CL_EGL_RESOURCE_NOT_ACQUIRED_KHR = -1092,
        CL_INVALID_EGL_OBJECT_KHR        = -1093;

    /** Command types. */
    public static final int
        CL_COMMAND_ACQUIRE_EGL_OBJECTS_KHR = 0x202D,
        CL_COMMAND_RELEASE_EGL_OBJECTS_KHR = 0x202E;

    protected KHREGLImage() {
        throw new UnsupportedOperationException();
    }

    // --- [ clCreateFromEGLImageKHR ] ---

    /** Unsafe version of: {@link #clCreateFromEGLImageKHR CreateFromEGLImageKHR} */
    public static long nclCreateFromEGLImageKHR(long context, long display, long image, long flags, long properties, long errcode_ret) {
        long __functionAddress = CL.getICD().clCreateFromEGLImageKHR;
        if (CHECKS) {
            check(__functionAddress);
            check(context);
            check(display);
            check(image);
        }
        return callPPPJPPP(context, display, image, flags, properties, errcode_ret, __functionAddress);
    }

    /**
     * Creates an {@code EGLImage} target of type {@code cl_mem} from the {@code EGLImage} source provided as {@code image}.
     *
     * @param display     an {@code EGLDisplay}
     * @param image       an {@code EGLImageKHR}
     * @param flags       a bit-field that is used to specify usage information about the memory object being created
     * @param properties  a list of property names and their corresponding values
     * @param errcode_ret will return an appropriate error code. If {@code errcode_ret} is {@code NULL}, no error code is returned.
     */
    @NativeType("cl_mem")
    public static long clCreateFromEGLImageKHR(@NativeType("cl_context") long context, @NativeType("CLeglDisplayKHR") long display, @NativeType("CLeglImageKHR") long image, @NativeType("cl_mem_flags") long flags, @Nullable @NativeType("cl_egl_image_properties_khr const *") PointerBuffer properties, @Nullable @NativeType("cl_int *") IntBuffer errcode_ret) {
        if (CHECKS) {
            checkNTSafe(properties);
            checkSafe(errcode_ret, 1);
        }
        return nclCreateFromEGLImageKHR(context, display, image, flags, memAddressSafe(properties), memAddressSafe(errcode_ret));
    }

    // --- [ clEnqueueAcquireEGLObjectsKHR ] ---

    /**
     * Unsafe version of: {@link #clEnqueueAcquireEGLObjectsKHR EnqueueAcquireEGLObjectsKHR}
     *
     * @param num_objects             the number of memory objects to be acquired in {@code mem_objects}
     * @param num_events_in_wait_list the number of events in {@code event_wait_list}
     */
    public static int nclEnqueueAcquireEGLObjectsKHR(long command_queue, int num_objects, long mem_objects, int num_events_in_wait_list, long event_wait_list, long event) {
        long __functionAddress = CL.getICD().clEnqueueAcquireEGLObjectsKHR;
        if (CHECKS) {
            check(__functionAddress);
            check(command_queue);
        }
        return callPPPPI(command_queue, num_objects, mem_objects, num_events_in_wait_list, event_wait_list, event, __functionAddress);
    }

    /**
     * Acquires OpenCL memory objects that have been created from EGL resources. The EGL objects are acquired by the OpenCL context associated with
     * {@code command_queue} and can therefore be used by all command-queues associated with the OpenCL context.
     *
     * @param command_queue   a valid command-queue
     * @param mem_objects     a pointer to a list of OpenCL memory objects that were created from EGL resources, within the context associated with {@code command_queue}
     * @param event_wait_list a list of events that need to complete before this particular command can be executed. If {@code event_wait_list} is {@code NULL}, then this particular command
     *                        does not wait on any event to complete. The events specified in {@code event_wait_list} act as synchronization points. The context associated with events in
     *                        {@code event_wait_list} and {@code command_queue} must be the same.
     * @param event           Returns an event object that identifies this particular command and can be used to query or queue a wait for this particular command to complete.
     *                        {@code event} can be {@code NULL} in which case it will not be possible for the application to query the status of this command or queue a wait for this command to
     *                        complete. If the {@code event_wait_list} and the {@code event} arguments are not {@code NULL}, the event argument should not refer to an element of the
     *                        {@code event_wait_list} array.
     */
    @NativeType("cl_int")
    public static int clEnqueueAcquireEGLObjectsKHR(@NativeType("cl_command_queue") long command_queue, @NativeType("cl_mem const *") PointerBuffer mem_objects, @Nullable @NativeType("cl_event const *") PointerBuffer event_wait_list, @Nullable @NativeType("cl_event *") PointerBuffer event) {
        if (CHECKS) {
            checkSafe(event, 1);
        }
        return nclEnqueueAcquireEGLObjectsKHR(command_queue, mem_objects.remaining(), memAddress(mem_objects), remainingSafe(event_wait_list), memAddressSafe(event_wait_list), memAddressSafe(event));
    }

    // --- [ clEnqueueReleaseEGLObjectsKHR ] ---

    /**
     * Unsafe version of: {@link #clEnqueueReleaseEGLObjectsKHR EnqueueReleaseEGLObjectsKHR}
     *
     * @param num_objects             the number of memory objects to be released in {@code mem_objects}
     * @param num_events_in_wait_list the number of events in {@code event_wait_list}
     */
    public static int nclEnqueueReleaseEGLObjectsKHR(long command_queue, int num_objects, long mem_objects, int num_events_in_wait_list, long event_wait_list, long event) {
        long __functionAddress = CL.getICD().clEnqueueReleaseEGLObjectsKHR;
        if (CHECKS) {
            check(__functionAddress);
            check(command_queue);
        }
        return callPPPPI(command_queue, num_objects, mem_objects, num_events_in_wait_list, event_wait_list, event, __functionAddress);
    }

    /**
     * Releases OpenCL memory objects that have been created from EGL resources. The EGL objects are released by the OpenCL context associated with
     * {@code command_queue}.
     *
     * @param command_queue   a valid command-queue
     * @param mem_objects     a pointer to a list of OpenCL memory objects that were created from EGL resources, within the context associated with {@code command_queue}
     * @param event_wait_list a list of events that need to complete before this particular command can be executed. If {@code event_wait_list} is {@code NULL}, then this particular command
     *                        does not wait on any event to complete. The events specified in {@code event_wait_list} act as synchronization points. The context associated with events in
     *                        {@code event_wait_list} and {@code command_queue} must be the same.
     * @param event           Returns an event object that identifies this particular command and can be used to query or queue a wait for this particular command to complete.
     *                        {@code event} can be {@code NULL} in which case it will not be possible for the application to query the status of this command or queue a wait for this command to
     *                        complete. If the {@code event_wait_list} and the {@code event} arguments are not {@code NULL}, the event argument should not refer to an element of the
     *                        {@code event_wait_list} array.
     */
    @NativeType("cl_int")
    public static int clEnqueueReleaseEGLObjectsKHR(@NativeType("cl_command_queue") long command_queue, @NativeType("cl_mem const *") PointerBuffer mem_objects, @Nullable @NativeType("cl_event const *") PointerBuffer event_wait_list, @Nullable @NativeType("cl_event *") PointerBuffer event) {
        if (CHECKS) {
            checkSafe(event, 1);
        }
        return nclEnqueueReleaseEGLObjectsKHR(command_queue, mem_objects.remaining(), memAddress(mem_objects), remainingSafe(event_wait_list), memAddressSafe(event_wait_list), memAddressSafe(event));
    }

    /**
     * Releases OpenCL memory objects that have been created from EGL resources. The EGL objects are released by the OpenCL context associated with
     * {@code command_queue}.
     *
     * @param command_queue   a valid command-queue
     * @param event_wait_list a list of events that need to complete before this particular command can be executed. If {@code event_wait_list} is {@code NULL}, then this particular command
     *                        does not wait on any event to complete. The events specified in {@code event_wait_list} act as synchronization points. The context associated with events in
     *                        {@code event_wait_list} and {@code command_queue} must be the same.
     * @param event           Returns an event object that identifies this particular command and can be used to query or queue a wait for this particular command to complete.
     *                        {@code event} can be {@code NULL} in which case it will not be possible for the application to query the status of this command or queue a wait for this command to
     *                        complete. If the {@code event_wait_list} and the {@code event} arguments are not {@code NULL}, the event argument should not refer to an element of the
     *                        {@code event_wait_list} array.
     */
    @NativeType("cl_int")
    public static int clEnqueueReleaseEGLObjectsKHR(@NativeType("cl_command_queue") long command_queue, @NativeType("cl_mem const *") long mem_object, @Nullable @NativeType("cl_event const *") PointerBuffer event_wait_list, @Nullable @NativeType("cl_event *") PointerBuffer event) {
        if (CHECKS) {
            checkSafe(event, 1);
        }
        MemoryStack stack = stackGet(); int stackPointer = stack.getPointer();
        try {
            PointerBuffer mem_objects = stack.pointers(mem_object);
            return nclEnqueueReleaseEGLObjectsKHR(command_queue, 1, memAddress(mem_objects), remainingSafe(event_wait_list), memAddressSafe(event_wait_list), memAddressSafe(event));
        } finally {
            stack.setPointer(stackPointer);
        }
    }

    /** Array version of: {@link #clCreateFromEGLImageKHR CreateFromEGLImageKHR} */
    @NativeType("cl_mem")
    public static long clCreateFromEGLImageKHR(@NativeType("cl_context") long context, @NativeType("CLeglDisplayKHR") long display, @NativeType("CLeglImageKHR") long image, @NativeType("cl_mem_flags") long flags, @Nullable @NativeType("cl_egl_image_properties_khr const *") PointerBuffer properties, @Nullable @NativeType("cl_int *") int[] errcode_ret) {
        long __functionAddress = CL.getICD().clCreateFromEGLImageKHR;
        if (CHECKS) {
            check(__functionAddress);
            check(context);
            check(display);
            check(image);
            checkNTSafe(properties);
            checkSafe(errcode_ret, 1);
        }
        return callPPPJPPP(context, display, image, flags, memAddressSafe(properties), errcode_ret, __functionAddress);
    }

}


Gear yourself up for your next cycle or ensure that you look after your body afterwards with the Energy & Recovery Food from ProBikeKit UK. Featuring cookies, bars and pulses like beans and nuts that provide you with long lasting energy that your body will thank you for. With formulas designed with protein for maximum muscle training and recovery as well as shakes and drinks designed specifically to soothe and relax working muscles.


The creative writing portion of this project was inspired by George Rodrigue's book "Why is Blue Dog Blue?" A brief trailer for the book is available below!
Henri began to explore painting. His mother encouraged him not to follow the normal rules of art, but to try out new things and to paint his emotions. In 1897, Matisse met painter John Peter Russell. Russell introduced him to impressionism and to the work of van Gogh.
In his later years, Matisse began to experiment with cutouts. He would cut out colored paper and make collages. He released a book of these cutouts called Jazz that was very popular. Some of his cutouts have become famous pieces of artwork including The Knife Thrower and Icarus.
Our lesson on Henri Matisse featured the story "Henri's Scissors" By Jeanette Winter. To the right is a sample of our finished mixed media fishbowl project.


Squallis Puppeteers present a show and workshop.
Gone are the days when coloring books and the occasional action-adventure movie were the closest you could get to dinosaurs! The Louisville Zoo is offering you and your family the opportunity to come face-to-face with the most lifelike replicas of these fearsome creatures from the past, starting at the end of this month.


I love spring - who doesn't? It is a great excuse to get out of the house, spend time with friends and enjoy some luscious florals!
What happens at a Bridal Suite Tea Party?
Imagine the morning of your wedding. Everything is planned, getting set and you're getting ready to go. Then it hits you: You're hungry.
I know that someone "always thinks of something" but do they? How much thought have they put into it?
My intention with this service is to make a bride's most special day in her life, unforgettable. I know that sounds lofty, but think about it: The rest of the day becomes a blur. There is hardly enough "alone time" during the rest of the day to be fully present; to remember the actual details of the moments... And I truly hope that your wedding truly is unforgettable and remains fresh in your mind, always. The last moments of your single life are spent getting ready in the Bridal Suite. Literally.
There are nerves, excitement, tears, thoughts, to-do lists, do's dont's. Your girls are there. Mom. The photographer... But most importantly, you are ever present in this moment, getting ready for the rest of your life.
People who love tea always say how meditative it is, how conducive to bring you to the moment, how it brings you closer to those around you who are sharing that moment with you.
The moments before your wedding are equally as important as the actual wedding. They shouldn't be an afterthought. You shouldn't be in a hurry, eating a deli spread from the grocery store. It is important to be intentional and mindful of that moment.
One of the other things that I know is that all of my wedding photographer friends always rejoice or struggle with the little details at a Bridal Suite. There are the shoes, the Something Blue, The Something Borrowed, the silk ribbon... there are also the leftover brown paper napkins, the plastic bags and leftover foods invading every surface in the area.
I don't know about you, but I have always been drawn to the suite shots. They always seem some of the most special ones.
This is why I love the Bridal Suite Tea Package. It is a lovely way to have a sweet and bonding moment with your lady friends, moms and whoever else is in the suite with you. A feminine moment, light food, tea (it's good for you!), beautiful china, pretty pastries... And the pictures are amazing!
What happens at a Bridal Suite Tea?
The process starts by having a short (or long, if you want to chat) chat over the phone about what you are looking for, the size of the package you'd like and my recommendations for what we can do.
The day of, we arrive at the location where you are getting ready and set up the tea, drop it off and pick it back up after your bridal party has left for the wedding. No stress. You all can eat together, or one by one, as everyone gets ready, however you'd like.
A menu of four or six (or more for custom menu) petit-fours and savory pastries.
One (or more for custom menu) types of tea.
A floral arrangement (if you'd like your florist to provide these, I can coordinate with them).
All china and tableware needed, from tea cups and saucers to cake stands and platters.
Accoutrements for tea and pastries: sugar cubes, jams, clotted cream.
Yes! We love planning bespoke events and want to make your event as special as possible. Are you on a health kick and don't want sugar? We can have an all savory menu and fresh fruit. All customizations fall outside of the flat-fee format.
id like to know more about this package!


text:
Top 5 Best Nintendo 3DS RPG Games – Part 4
By Martin Hill on June 19, 2020 • ( Leave a comment )
Part four in our Nintendo 3DS RPG series, and we're not sure it's showing any real signs of slowing down. In fact, midst writing this introduction we've managed to come up with a few more. The depths of this genre on our favourite little handheld knows no bounds, and it just goes to show how much developers of RPG's specifically love having an additional screen to play with.
To the list then! We're back, listing another Top 5 Nintendo 3DS RPG Games. Again, these aren't really in order – we'll save revealing our particular order for a big summary list, much like our recent Wii U version.
The Alliance Alive
The Alliance Alive in an RPG developed by Furyu, who gamers may recognise for titles such as The Caligula Effect and The Legend of Legacy. It's the latter to which this title owes many of it's traits, sharing as it does an art style and the majority of it's battle system, but alone it is actually a very different title, and deliberately so: The devs took fans' criticisms of their previous title on board when producing The Alliance Alive, and as such this game features a much more prominent story, improvements to that aforementioned battle system, a fully fleshed out world. Oh, and were it possible to pique our interest any more, they decided to involve Yoshitaka Murayama. To those unfamiliar with that name, he is credited with the creation of Suikoden – our favourite RPG series of all time.
Day one purchase for us then, but why is it considered one of the best on the 3DS?
We'll be the first to admit that it doesn't quite approach the heights of Suikoden, but it does take inspiration for quite a few features: There is a world full of people to recruit to your cause, it's turn based battles can be tweaked with the addition of formations, and the tradition of making the gamer feel guilt at the loss of a character is continued. There are plenty of Easter eggs in there too, alongside a familiar 'Saga' series feeling to the gameplay, which all combined makes for a compelling and slightly alternative take on the RPG formula. Of course, we'd recommend experiencing it in HD on the Switch where possible, but that doesn't prevent it from being one of the best available on the Nintendo 3DS.
Radiant Historia: Perfect Chronology
Unconventional RPG games continue then, with Radiant Historia on the DS. This is a title that really hit without warning, almost completely out of left field. RPG games, generally speaking, either come from a franchise, a series of similar titles or perhaps a slightly off-brand version of a beloved title. With a Shin Megami Tensei title, for example, you pretty much know the kind of thing you're going to get. A brand new title then, based on time travel of sorts, with a new type of battle system and a more mature lead character? We were practically frothing at the mouth.
Happily the game turned out to be a great success, hence the update to 'Perfect Chronology' on the 3DS. It centres around Stocke and his interactions with the White Chronicle, a book which allows him to travel in time and have the opportunity to re-write history. Of course this immediately invites comparisons to Chrono Trigger, yet even whilst working in the shadow of such a behemoth it performs well. This is achieved by taking a much more mature approach to it's subject, focusing heavily on the implications of life and death, from the personal to the political.
This is all book ended by a wonderfully creative battle system. It's a turn based random battle system, but both your party and the enemies are situated on a 3×3 grid. Abilities and attacks can push and pull opponents around the grid, letting you ensure that big hits land on multiple targets at once. If we're honest it doesn't go a great deal deeper than this, but it's enough of change from the norm to keep you engaged from start to it's end. Well, one of it's endings – this being a time travel game, there are quite a few.
Nothing feels quite like Radiant Historia. It's novel, unusual and unorthadox. It's another reason, another RPG-reason, why fans of the genre should own a 3DS.
Pokemon Omega Ruby / Alpha Sapphire
2002 was an interesting time for the RPG genre, particularly because gamers and developers were learning two very critical things: Firstly, the success of the first generation of Pokemon games had shown that gamers love collecting vast amounts of things – monsters, cards and anything with statistics or experience bars had us grasping for our wallets. Secondly, developers had firmly learned that they could sell gamers two games of similar-yet-different-enough content, both at full price, and somehow get away with it. Whilst we may bemoan the continuation of one of these elements, the former had us firmly gripping our handhelds in anticipation.
Pokemon Ruby and Sapphire indicated a developer that was starting to experiment with their formula, and successfully so: Double battles were added, a feature which has survived within the series thus far, and innate Pokemon abilities were debuted, each of which were met with critical acclaim. Updated and re-imagined for the 3DS, Omega Ruby and Alpha Sapphire essentially return the gamer to their original worlds, but with another crop of improvements in tow: New evolutions, side quests, 3D graphics and super training were added. What becomes of this is, essentially, Pokemon X & Y wrapped over the top of the second generation of games. All the more reason to own a 3DS then, as if you needed more.
Much like Dragon Quest and Shin Megami Tensei, the 'Tales of' franchise of games is yet another series that made the jump to the 3DS. Unlike the others however, this one completely flew under our radar. Like many we toyed with Xillia back in the day, and dabbled with Zestiria on Steam from time to time, but never really got hooked. It took Tales of the Abyss on the 3DS to really pull us under, and we're ultimately thankful that it did.
To those unfamiliar, the Tales Of series takes an unusual stance on RPG gaming, particularly the battle portion of it. Each encounter has the player in full control of their character – their movement, attacks, blocks and spells are all completed in real time. This is such unusual fare for a JRPG, and it's one that divides the genre fandom: You either love it or you hate it – it feels like someone has squeezed a fighting game into your RPG.
Once we finally pierced through this unusual veil, we were rewarded with a damn good RPG experience. The story of Abyss centres around a noble named Luke and leads the player through varied and nuanced lands, each with their own stories to tell. The game is positively beautiful, rivalling Fire Emblem Echoes for the best looking title on the platform in our eyes, and once you get into it, the battle system is actually quite complex and satisfying.
Having since firmly plumbed the depths of the Tales series since, we consider Abyss one of the high points of it, right up there with Berseria. Yet another testament to the console it inhabits then.
Shin Megami Tensei IV
If you thought an RPG like Tales of the Abyss was hard to get into, meet Shin Megami Tensei, a series that is positively impenetrable to even the most hardened genre fan. Or at least, that used to be the case – Persona, a spin off series, has attracted a huge amount of fans. Even then, we'd wager that most wouldn't even be aware of the series' roots. It's not hard to see why they've flown under the radar either: Little to no marketing in the west, limited physical releases and a reputation for huge difficulty are a few of the main reasons.
The worm is turning however. The advent of Strange Journey Redux and SMTIV: Apocalypse, two more reasons to own a 3DS, seem to have reignited the somewhat extinguished flame, and a short teaser of the fifth instalment stoked these fires further.
As we've proven however, the series is already alive and well on the Nintendo 3DS, and in it's main line form no less. Shin Megami Tensei IV is, without doubt, one of the best SMT games in the series. We're not going to go into great detail about the title, since we're likely to spoil two games' worth of lore if we do, but we will say that it's a true and pure reflection of the press turn system that the series is famed for. You'll die a lot, you'll summon demons, meet friends and enemies, discover a wildly unusual world and you'll die all over again. It's trial and error in turn based JRPG form. Grab a your 3DS, get a copy of the game, and give Charon our regards.
Categories: Nintendo 3DS, Top 5
Tagged as: Best 3DS RPG Games, Nintendo 3DS, Nintendo 3DS RPG
Top 3 Best Low Rank Switch Axes | Monster Hunter Generations Ultimate
Top 3 Best Low Rank Charge Blades | Monster Hunter Generations Ultimate

redpajama_set_name: RedPajamaCommonCrawl


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Notability updated with iOS 8 compatibility, iPhone 6 support and more
by Aldrin Calimlim
Nearly two months after the release of iOS 8, Notability has received an update that improves its compatibility with the current version of Apple's mobile operating system.
Perhaps most importantly, the new update adds improvements to Notability's handling of iCloud Drive, Apple's iCloud-based file storage service, which works with iOS 8 and OS X Yosemite. As a result, Notability now fully supports iCloud Drive, as does Notability for Mac, which was released late last August.
The new version of Notability also boasts new icon and menu designs that are more in line with the visual style of iOS 8. Moreover, it introduces new light and dark themes along with a new option for enabling subject coloring.
Of course, the mandatory bug fixes are thrown in as well.
Finally, the latest update to the popular note-taking app adds native resolution support for the iPhone 6 and the iPhone 6 Plus.
Compatible with iPhone, iPod touch, and iPad running iOS 7.0 or later, the new version of Notability is available now on the App Store as a free update or as a new $2.99 download.
See also: Paper by FiftyThree updated with Adobe Creative Cloud integration and Mix tweaks, Make your own drum beats in seconds with Keezy Drummer, and Chartcube replaces boring spreadsheets, thereby helping your team move forward.
Ginger Labs
Notepad with UpWord updated with Touch ID integration and other improvements
Microsoft updates OneNote for iPhone and iPad with new features and improvements


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Kościół akademicki Wniebowzięcia Najświętszej Maryi Panny w Rybniku – rzymskokatolicki kościół akademicki w Rybniku. Należy do dekanatu Rybnik archidiecezji katowickiej. Mieści się przy ulicy Gliwickiej. To najmniejszy a zarazem najstarszy kościół w Rybniku. Przez cały rok odprawiane są tu Msze święte w niedzielę o godz. 20.00, dodatkowo - od października do czerwca o godz. 11.00.

Kościół ten to zachowane gotyckie prezbiterium dawnej świątyni farnej. Budowla została wzniesiona w połowie XV wieku na miejscu wcześniejszej drewnianej świątyni, ufundowanej zapewne przez Mieszka I Plątonogiego w XII stuleciu. W 1797 roku zostały zniszczone: nawa i wieża świątyni, ocalało jedynie prezbiterium. Część cegieł z rozebranej nawy wykorzystano do budowy nowego kościoła farnego – kościoła pw. Matki Boskiej Bolesnej. Do 1975 roku była to kaplica cmentarna, otoczona najstarszą rybnicką nekropolią, zlikwidowaną w połowie lat siedemdziesiątych ubiegłego wieku.

Jest to świątynia orientowana, murowana z cegły, wewnątrz zachowały się pozostałości gotyckiego sklepienia żebrowego. Wyposażenie wnętrza jest współczesne. Wewnątrz na posadzce znajduje się kamienna płyta pokrywająca grobowiec, gdzie spoczywają szczątki członków rodziny Węgierskich z Pilchowic. W kościele tym głosił kazania św. Jan Sarkander, podczas swojego pobytu w Rybniku w 1619 r. Jego imieniem nazwano park w którym znajduje się kościółek i przylegające do niego od południa lapidarium.

W lipcu 2012 r. rozpoczął się remont kościoła. Odrestaurowano stare mury z czerwonej cegły i posadzkę. Przed piaskowaniem wszystkie cegły wzmocniono specjalnymi preparatami. Po piaskowaniu wykuto cementowe fugi zastępując je wapiennymi, nawiązującymi do XV-wiecznego sposobu budowania. Na koniec mury zaimpregnowano, by nie wchłaniały zabójczej dla nich wilgoci. Jako że restauracja kościółka była połączona z montażem ogrzewania podłogowego, konieczne okazało się skucie betonowego podwyższenia, na którym stał ołtarz. Jak się okazało, przed laty w betonie tym, zapewne dla oszczędności materiału, utopiono oryginalne, barokowe stopnie ołtarzowe z piaskowca, które kiedyś zapewne zdobiły podwyższenie dawnego prezbiterium. Teraz po ich wydobyciu z betonu i oczyszczeniu stanowią front wykonanego na nowo podwyższenia, na którym stoi ołtarz; w niektórych widać jeszcze pozostałości ołowianych mocowań, prawdopodobnie dawnych balasek. Starą posadzkę skuto. Tworzyły ją płyty dawnej, oryginalnej posadzki, ale też zalany betonem gruz oraz całkiem już współczesne płyty chodnikowe. Nową posadzkę ułożono ze współczesnych płytek piaskowca imitujących jednak wiekową posadzkę. Płytki z oryginalnej posadzki dawnego kościoła ułożono wokół płyty zamykającej wejście do krypty znajdujące się w tylnej części kościółka. Podczas prac odsłonięto zalane wiele lat wcześniej betonem wejście do krypty znajdującej się pod kościołem.

Przypisy

Wniebowzięcia Najświętszej Maryi Panny
Świątynie pod wezwaniem Wniebowzięcia Najświętszej Maryi Panny
Wniebowzięcia Najświętszej Maryi Panny
Architektura gotyku w województwie śląskim
Budynki w Polsce oddane do użytku w XV wieku

redpajama_set_name: RedPajamaWikipedia


RAFAEL NADAL has been praised by Manchester United footballer Juan Mata for his performance in the Australian Open final.
The Spaniard lost in straight sets to Novak Djokovic, after not losing a single set in Melbourne up to that point.
Nadal's loss stopped him from securing an 18th Grand Slam title, while his Serbian opponent moved closely behind with 15, seven of which have come at the Australian Open.
The 6-3 6-2 6-3 defeat was humbling for the 32-year-old, who admitted after the match: "It was unbelievable the way that he played - no doubt about that.
"But at the same time, it's true that probably, physically, I was not able to play fantastic tennis throughout both weeks. It's true.
"I can't be sad, it would not be fair to be sad. I played against a player today that was better than me.
Despite Nadal's honest assessment of his performance, the left-hander received praise from compatriot Mata.
On his weekly blog, One Hour Behind, Mata wrote: "Away from football, the past week has played host to the Australian Open.
"Novak Djokovic was the deserved winner, after playing the tournament at a very high level.
"When he does, it is very tough to beat him.
"Rafa Nadal also stood out, who on top of completing the difficult task of getting to the final, also shone in defeat as always.


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Seahawks schedule: Russell Wilson reunion on MNF kicks off 2022 slate
By Curtis Crabtree
FOX 13 Seattle
2022 Seahawks schedule released, most regular season games on FOX 13
The Seattle Seahawks have officially released their 2022 regular season schedule, and their first matchup is against the Denver Broncos—where former Hawks franchise quarterback Russell Wilson now calls home. We are proud to announce that, as always, the majority of the Seahawks' regular season games will be right here on FOX 13.
SEATTLE - Russell Wilson and the Denver Broncos will be in Seattle for a Monday Night Football matchup with the Seahawks to kick off the 2022 NFL season.
Wilson, the Seahawks' starting quarterback for the last 10 seasons, will immediately make his return trip to Seattle with his new team to begin his Broncos career.
The Seahawks first road game of the year will be in Week 2 against the San Francisco 49ers in a 1:05 p.m. start on FOX.
The Seahawks are traveling to Munich, Germany for a game against the Tampa Bay Buccaneers on Nov. 13. The game is a Buccaneers home game and will be the second time Seattle has played a regular season game internationally. The Seahawks beat the Oakland Raiders 27-3 at Wembley Stadium in London in 2018. Seattle will get its bye week the following week at they return home.
During the 17-week regular season, FOX 13 will air at least 12 Seahawks games, because FOX is the home television network for the NFC. FOX 13 will also air a full lineup of local Seahawks programming this fall that includes live pre-game and post-game coverage and Blue Friday celebrations on "Good Day Seattle."
2022 Seahawks Schedule:
Kickoff (PT)
Week 1 Sept. 12 vs. Denver Broncos 5:15 p.m ESPN/ABC
Week 2 Sept. 18 at San Francisco 49ers 1:05 p.m. FOX
Week 3 Sept. 25 vs. Atlanta Falcons 1:25 p.m. FOX
Week 4 Oct. 2 at Detroit Lions 10:00 a.m. FOX
Week 5 Oct. 9 at New Orleans Saints 10:00 a.m. FOX
Week 6 Oct. 16 vs. Arizona Cardinals 1:05 p.m. FOX
Week 7 Oct. 23 at Los Angeles Chargers 1:25 p.m. FOX
Week 8 Oct. 30 vs. New York Giants 1:25 p.m. FOX
Week 9 Nov. 6 at Arizona Cardinals 1:05 p.m. FOX
Week 10 Nov. 13 at Tampa Bay Buccaneers (Munich) 6:30 a.m. NFL
Week 11 Nov. 20 BYE WEEK
Week 12 Nov. 27 vs. Las Vegas Raiders 1:05 p.m. CBS
Week 13 Dec. 4 at Los Angeles Rams 1:05 p.m. FOX
Week 14 Dec. 11 vs. Carolina Panthers 1:25 p.m. FOX
Week 15 Dec. 15 vs. San Francisco 49ers (TNF) 5:15 p.m. FOX/Amazon
Week 16 Dec. 24 at Kansas City Chiefs 10:00 a.m. FOX
Week 17 Jan. 1 vs. New York Jets 1:05 p.m. FOX
Week 18 Jan. 7 or 8 vs. Los Angeles Rams TBD TBD
Week 1 Aug. 13 at Pittsburgh Steelers 4:00 p.m. KING
Week 2 Aug. 18 vs. Chicago Bears 5:00 p.m. ESPN
Week 3 Aug. 26 at Dallas Cowboys 5:00 p.m. KING
Wilson started 158 games for Seattle over 10 years and posted a 104-53-1 record. He didn't miss any games during his first nine seasons with Seattle before a mallet finger injury last October required surgery and kept him out for three games. Wilson was a member of the Pro Bowl roster in nine of his 10 years in Seattle and a second-team All-Pro in 2019.
Wilson was traded to the Broncos with a fourth-round pick in March in a deal that gave Seattle quarterback Drew Lock, tight end Noah Fant, defensive lineman Shelby Harris, two first-round picks (2022 & 2023), two second-round picks (2022 & 2023) and a 2022 fifth-round pick.
RELATED: 2022 NFL schedule released: Rams will host Bills to open season
The Seahawks took Mississippi State tackle Charles Cross and Minnesota defensive end Boye Mafe with the first- and second-round picks acquired from Denver this year. They traded down with the fifth-round selection and took Ohio State defensive end Tyreke Smith and Lenoir-Rhyne receiver Dareke Young with the two remaining picks that came from the Wilson trade this year.
Get breaking news alerts in the FREE FOX 13 Seattle app. Download for Apple iOS or Android. And sign up for BREAKING NEWS emails delivered straight to your inbox.
The Broncos took Iowa State defensive tackle Eyioma Uwazurike with their selection acquired from Seattle.
It will be just the second time the Seahawks have opened the regular season with a primetime game. They hosted the Green Bay Packers to begin the 2014 season on Thursday night after their Super Bowl XLVIII victory over the Broncos to end the 2013 season.
Bryan Kohberger case: Theory Idaho suspect was behind party house noise complaints debunked
Proposed bill seeks to ban assault weapons in Washington


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Tag Archives: nonprofit management
How We Think About Charity is Wrong
This is a fantastic TED presentation by Dan Pallotta on why the non-profit industry is perpetually hamstrung by its inability, among other things, to break out of a structure that limits compensation, suppresses risk-taking, prohibits access to capital markets, imposes frugality at the expense of future growth potential and tags all overhead as negative. It's a must-watch for anyone in the non-profit sector, but the charitable arm of the non-profit sector in particular.
Here's a link to the full transcript and a couple of excerpts that really hit home:
So in the for-profit sector, the more value you produce, the more money you can make. But we don't like nonprofits to use money to incentivize people to produce more in social service. We have a visceral reaction to the idea that anyone would make very much money helping other people. Interesting that we don't have a visceral reaction to the notion that people would make a lot of money not helping other people. You know, you want to make 50 million dollars selling violent video games to kids, go for it. We'll put you on the cover of Wired magazine. But you want to make half a million dollars trying to cure kids of malaria, and you're considered a parasite yourself…
Businessweek did a survey, looked at the compensation packages for MBAs 10 years of business school, and the median compensation for a Stanford MBA, with bonus, at the age of 38, was 400,000 dollars. Meanwhile, for the same year, the average salary for the CEO of a $5 million-plus medical charity in the U.S. was 232,000 dollars, and for a hunger charity, 84,000 dollars. Now, there's no way you're going to get a lot of people with $400,000 talent to make a $316,000 sacrifice every year to become the CEO of a hunger charity.
Some people say, "Well, that's just because those MBA types are greedy." Not necessarily. They might be smart. It's cheaper for that person to donate 100,000 dollars every year to the hunger charity, save 50,000 dollars on their taxes, so still be roughly 270,000 dollars a year ahead of the game, now be called a philanthropist because they donated 100,000 dollars to charity, probably sit on the board of the hunger charity, indeed, probably supervise the poor SOB who decided to become the CEO of the hunger charity,and have a lifetime of this kind of power and influence and popular praise still ahead of them…
So we've all been taught that charities should spend as little as possible on overhead things like fundraising under the theory that, well, the less money you spend on fundraising, the more money there is available for the cause. Well, that's true if it's a depressing world in which this pie cannot be made any bigger. But if it's a logical world in which investment in fundraising actually raises more funds and makes the pie bigger, then we have it precisely backwards, and we should be investing more money, not less, in fundraising, because fundraising is the one thing that has the potential to multiply the amount of moneyavailable for the cause that we care about so deeply…
This is what happens when we confuse morality with frugality. We've all been taught that the bake sale with five percent overhead is morally superior to the professional fundraising enterprise with 40 percent overhead, but we're missing the most important piece of information, which is, what is the actual size of these pies? Who cares if the bake sale only has five percent overhead if it's tiny? What if the bake sale only netted 71 dollars for charity because it made no investment in its scale and the professional fundraising enterprise netted 71 million dollars because it did? Now which pie would we prefer, and which pie do we think people who are hungry would prefer?
This entry was posted in Business - Opinion, Civic Duty, Good People, Interesting, Non-Profit Management and tagged charity, fundraising, nonprofit, nonprofit management on December 5, 2014 by Jon Lowder.
Crossing Your Ts, Dotting Your Is
A story from Mt. Airy, NC highlights why you have to be very careful when you have a raffle or other fundraising contest at one of your events:
Vickie Riekehof was called out as the winner of the raffle for a 2013 limited edition Fiat Abarth, or that is what she thought. After arriving to claim the car, she said David Chaloupka, owner of Amadour Winery and Vineyards who oversaw the contest, told her that she had to toss a Frisbee into the car's open window from a point estimated to be about 90 feet away.
She claims there was no such rule for the contest when she purchased the $100 raffle ticket.
Bob Meinecke, organizer of the festival and member of the Mount Airy Rotary Club, said it was his understanding the instructions would be printed on the ticket and on the literature about the event.
"There was a misunderstanding. We refunded her money and apologized," said Meinecke. "It was a he said she said thing. My understanding was that verbal instructions were given to each person who purchased a ticket from the salesperson." He said that person was Chaloupka.
Word of advice: whenever you're trying to separate people from their money, even for a good cause, never allow it to be organized in such a way that it come down to a "he said, she said thing."
This entry was posted in Non-Profit Management, Piedmont-Triad and tagged fundraising, nonprofit management, raffle on May 6, 2013 by Jon Lowder.
Pink May Not Be So Pretty After This Week
Having worked with multiple non-profits, both as a staff member and as a volunteer, I'm going to be watching with great interest what happens with Susan G. Komen for the Cure over the coming months. Why? Because they've had two significant PR events just this week that I think might affect them financially for at least the near future, if not over the long term.
The first event was the announcement that they are cutting off funding to Planned Parenthood for breast cancer screenings. Their stated reason is that they have a new policy that prevents them from funding organizations that are under investigation by the government, but it's been pointed out that the implementation of the new policy is conveniently timed to coincide with the launch of an investigation by a conservative Florida congressman. The new policy hasn't prevented them from accepting funds from organizations under investigation by the government (Bank of America to name one). It's also quite a coincidence that Komen's Senior VP of Public Policy is a pro-life Republican who ran for Governor of Georgia two years ago. At a minimum the organization looks disingenuous and quite frankly I think they've offended a huge segment of their supporters.
As if that's not bad enough a new documentary about Komen is getting ready to hit the indy theater circuit this month and given the organization's recent missteps I have a feeling it will get even more attention than the producers could have dreamed just a week ago. Judging by the trailer (see below) it doesn't look like this is a glowing tribute to the organization, and added to this week's developments I have a feeling it could put a serious dent in Komen's fundraising activities. Depending on your view that could be a good or bad thing – there's an argument to be made that the money that doesn't go to Komen could go to other worthy causes – but I think it will be a case study for non-profit managers to study for years to come.
This entry was posted in Business - Opinion, Current Affairs, Non-Profit Management and tagged nonprofit management, pink ribbons, susan g komen on February 3, 2012 by Jon Lowder.


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Wall Street's #1 Analyst Believes in These 3 Buy-Rated Stocks
Scott Matusow- December 4, 2019, 2:07 PM EDT
We all want to make the best decisions in our investing, but how do we know where and how to allocate our funds? That's the big question, and it's not always easy to answer. With many thousands of stocks available to choose from, we need help.
So, we turn to the experts, the Wall Street professionals who make a living by analyzing the market. Stock analysts watch the market for us, tracking the ups and downs of equities but more importantly, the reasons behind stock movements. Some of them are better than others, and they all come the patina of authority; their long experience in the field and institutional backing can make it hard to ignore their word.
But there are well over 5,000 professional analysts on the rolls of Wall Street's banks and investment firms, and it's difficult for an outsider to decide who to follow. That's where TipRanks steps in. Using sophisticated natural language algorithms, TipRanks tracks the performance of both the analysts and the stock markets, correlates the two, and makes the data available for investors. Stock and market data are presented as background, while analysts are rated and ranked based on their success and returns possible from following their recommendations. In short, TipRanks makes it possible to know who to trust.
The results show that Cantor's Joseph Foresi stands at the head of the pack, ranked #1 out of more than 5,700 professional financial analysts. (To Foresi's track record, click here)
Foresi's proven track record has brought him to the #1 spot in the TipRanks database. He has the expertise we all want to follow – and when points out stocks with high return potential, investors listen. We've pulled up three of his recent reviews and examined them closely through the lens of TipRanks' Stock Screener, to learn just why Foresi sees them as such compelling buys.
International Money Express (IMXI)
In today's international economy, moving funds across borders is more important than ever. That can be as true for individuals as it is for large companies and governments. International Money Express (also called Intermex) fills this roll in North America's personal market, offering fast and reliable money transfer services to customers sending funds outside the United States, primarily to Latin American and the Caribbean, but also to several African nations. The service is aimed at the expat labor force, immigrants to the US who remit their income to family abroad.
IMXI is licensed to operate in all 50 states, plus D.C. and Puerto Rico. The service is available online, in person through agents or branches, or via money wires. Customers can also pay recurring bills or process third-party checks with IMXI. These are urgent services, much in demand by a customer population that has less access to traditional banking services. Assistance is available in person, and also online or by telephone.
The money transfer industry is cash-rich by definition, and IMXI has shown strong performance in recent months. The company reported impressive 17.7% year-over-year quarterly revenue growth, with a top line of $85.3 million and net income of $4 million. More importantly, Intermex continues to improve market share and saw 19% growth in transactions completed and 21% growth in dollar volume.
Foresi was impressed enough by Intermex's performance to raise his price target on the stock to $17, while reiterating a Buy rating. If everything goes well for IMXI, the stock could soar about 30% from current levels, according to the top analyst.
Foresi wrote, after the quarterly release, "We believe the company's targeted business model, which we view as a competitive advantage, will help it continue to gain market share in Latin America, the fastest-growing US remittance region. We think Intermex can produce high-teens growth with steady margins with an upward bias, resulting in significant annual earnings growth and an improving balance sheet."
Overall, IMXI has five recent analyst reviews, including Foresi's. Of these, 4 are Buys and 1 is a Hold, giving this stock a Strong Buy consensus rating – a view that solidified after the Q3 report. Shares are priced at $13.00, and the $17.50 average price target indicates confidence in a 35% upside potential. (See IMXI stock analysis on TipRanks)
PagSeguro Digital (PAGS)
Sticking to Latin America, Foresi reviewed PagSeguro. This online e-commerce payment service has become a big name in Brazil's banking sector. Pag offers service to commercial clients, internationally as well as in Brazil. It is also moving into the digital banking sector for individual accounts.
As a region, Latin America has growing importance in the world economic system, and Brazil is considered an important figure among emerging economies. PAGS has built its niche on this regional situation, and while the stock has slipped since September, it is still up 69% this year.
PAGS reported clear gains in revenue and income for Q3. Total revenues, at $346.4 million, were up 30% year-over-year, and income, at $92.4, showed an even stronger gain of 34%. In the earnings call, CEO Ricardo Dutra said of his company's strategy, "…we continue to focus on the long-term market, take advantage of being the first mover, having a complete digital banking ecosystem, the most recognized brand and UOL online distribution, which in our view are unique and unreplicable strengths to operate in long-term markets."
Foresi, covering the stock after the quarterly results went public, maintained his Buy rating – but he was cautious due to economic volatility in Brazil generally and lowered his price target to $46, which still implies plenty of room for growth – 50 % on the upside.
Foresi noted, "Numbers came in below expectations, but in line with the recent pre-announcement." After noting that PAGS' core online payment services to merchants are slowing down, he also notes the accelerating shift to digital banking as a positive move: "Management notes strong adoption in PagBank, with 1.9mn active users and +53% y/ y growth in Prepaid Card TPV. Brazil currently has 68mn unbanked citizens, with 57% of the population interested in digital banks."
Wall Street generally agrees with Foresi on this call. PAGS has four recent ratings, of which 3 are Buys and 1 a Hold. Overall, the consensus rating is a Strong Buy, while the $43 average price target suggests a 35% upside from the $31.75 current share price. (See PagSeguro stock analysis on TipRanks)
Square (SQ)
Foresi's third recent Strong Buy rating is probably familiar to you. Square has emerged as a powerful competitor in the digital payment sphere. It offers an arrange of financial services, including mobile payment, on the merchant end, and the Cash App for peer-to-peer transaction on the customer end.
Where Square differentiates itself from the competition is in gadgets. The company doesn't just offer online payment capability – it also offers hardware to make it possible. The original Square Reader allows smartphones to scan credit cards, and took payment mobile, while the Square Stand turns Apple iPads into cash registers. Money-saving devices and convenient services have made Square popular with small and/or traveling merchants.
Square has shown solid growth, with gross payment volume increasing by 25% in both Q2 and Q3 of this year. The recent Q3 showed top and bottom line gains – revenues were up 43% year-over-year, at $1.27 billion, while the EPS almost doubled from 13 cents a year ago to 25 cents in Q3 2019. The EPS also beat the forecast by 25%.
It is hard to argue with performance like that. Foresi, writing just after the Q3 release, reiterated both his Buy rating and his $91 price target for Square. He said, to justify his stance, "Square reported results above expectations, updated 2019 guidance, and provided a positive initial outlook on 2020, including clarity on margin expectations. Gross Payment Volumes growth exceeded expectations, while the Cash App continued to perform well… We are attracted to the company's increasing market penetration in its Seller and Cash Apps business…" Foresi's price target shows his confidence in a 36% growth potential for SQ shares, well above the consensus.
Overall, SQ has a Moderate Buy rating from the analyst consensus. The reflects some caution on the stock, which has been underperforming the S&P 500 average, but also includes no less than 13 recent Buy ratings. Shares are trading at $67.84, and the $73.05 average price target implies a profitable, if unspectacular, upside of nearly 8%. (See Square stock analysis on TipRanks)
3 Small-Cap Stocks with Big-Time Upside Potential
Marty Shtrubel, December 9, 2019
Analyst InsightsFinancial Stocks
Wall Street's #1 Firm Pounds the Table on 3 Restaurant Stocks
Maya Sasson, December 11, 2019
Analyst InsightsTop-Rated Analysts
Wall Street's #5 Analyst Sees Over 20% Upside for These 3 Buy-Rated Stocks
Scott Fields, November 25, 2019


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Find Jobs and Internships
"Bioengineering gave me an in-depth knowledge of the medical field, and it helped to strengthen my problem solving and project management skills. Having this knowledge has been incredibly valuable in my work for Epic, an electronic health record vendor which serves patients around the world."
— Alex Nixon, BS Bioengineering '16, technical services for Epic, Verona, Wisconsin
Katrina Colucci, BS Bioengineering '17, says she had multiple internships during her college years, thanks to Mason's proximity to federal government agencies in Washington D.C. She interned with the Department of Energy, the Army, and NASA. When she graduated, she had three job offers with the federal government, and she was accepted into three graduate schools.
Don't miss the chance to intern during your college years. Mason bioengineering students have many opportunities for exciting internships and summer jobs, which can lead to full-time careers.
Our students land internships with government agencies, contractors, engineering, and biotech companies as well as medical research facilities. To take advantage of these opportunities, apply early. Turn in your application in the fall for the following summer. Some of the many opportunities:
At Mason
GMU Summer Research Fellowship
The fellowship provides financial support to graduate students during the summer term, so they can focus on dissertation or thesis research. The award's purpose is to foster greater professional productivity and to pave the way for timely degree completion.
Aspiring Scientists Summer Internship Program (ASSIP)
Students work one-on-one with faculty researchers at Mason and collaborating institutions and solve hypothesis driven questions with the latest technology.
Undergraduate Research Scholars Program (URSP)
This program is designed to give undergraduates authentic research, creative, or scholarly experience under the guidance of a mentor.
In the Greater Washington, D.C. area
Biomedical Engineering Summer Internship Program (BESIP)
This program assists biomedical engineering students who have completed their junior year of college. Rising senior bioengineering students participate in biomedical research projects under the mentorship of scientists in National Institutes of Health (NIH) laboratories in Bethesda, Maryland.
Summer Internship Program in Biomedical Research (SIP)
Spend eight weeks working at NIH with some of the world's leading scientists. The environment is devoted exclusively to biomedical research. Internships cover a minimum of eight weeks with students arriving at the NIH in May or June.
Undergraduate and Graduate Student Programs at FDA
The Food and Drug Administrations provides a variety of opportunities for bioengineering students.
National Oceanic and Atmospheric Administration (NOAA): Ernest Hollings Undergraduate Scholarship
Several of Mason's bioengineering students have received this prestigious scholarship which provides awards that include academic assistance (up to $9,500 per year) for two years of full-time study and a 10-week, full-time paid ($700/week) internship at a NOAA facility during the summer.
MIT Amgen Scholars
Participate in faculty-mentored summer research at MIT in the science and biotechnology areas. If you are an undergraduate who meets the program eligibility requirements, no prior research experience is required. As an Amgen scholar, you will conduct research, analyze data, present research results, network with other undergraduates with similar research interests, and develop working relationships with MIT faculty mentors and other research staff.
Sens Research Foundation
The foundation offers undergraduate students the opportunity to conduct biomedical research to combat diseases of aging, such as cancer, Alzheimer's, and Parkinson's disease. Under the guidance of a scientific mentor, each summer scholar engages in a unique research project to include areas such as genetic engineering and stem cell research.
Northwestern University MRSEC
This program offers Research Experience for Undergraduates (REU) program for nine weeks in the summer. The NU-Materials Research Science and Engineering Center is an interdisciplinary program focused on multi-functional nanoscale material structures. More than 30 faculty from seven different departments are involved.


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marginal notes
Prof. Marissa Nicosia
About Me / CV
COOKING IN THE ARCHIVES
PUBLIC WRITING
What's in a Recipe?
Teaching Recipes
August 16, 2019 Marissa Nicosia Leave a comment
If you're writing a syllabus, you might be interested in using resources and handouts from the "Teaching Recipes" page on Cooking in the Archives.
The Short Script: Forms of and Formulas for Action – MLA 2020
February 22, 2019 Marissa Nicosia Leave a comment
Interested in Renaissance literature, performativity, and embodied instructions? Excited about MLA in Seattle? Send in an abstract for this roundtable! 3/15 deadline for 200-word abstracts for 10-minute papers.
I'm cooking up some linked conference sessions with Seth Williams and Jacque Wernimont on this topic so if MLA doesn't work for you, stay tuned for more.
https://mla.confex.com/mla/2020/webprogrampreliminary/Paper8908.html
Announcement: Updating Recipes for the "First Chefs" Exhibition at the Folger Shakespeare Library
January 2, 2019 February 4, 2019 Marissa Nicosia Leave a comment
This summer I tested recipes for braised beef, hot chocolate, marmalade, and seed cake in my sweltering Philadelphia kitchen. I was developing updated recipes for the First Chefs exhibition that opens at the Folger Shakespeare library later this month. My recipes will be available on recipe cards at the exhibition and I'll also be giving a public lecture. I'm excited to share these recipes on Cooking in the Archives and the Shakespeare and Beyond blog in the coming months.
EXHIBITION: First Chefs: Fame and Foodways from Britain to the Americas. Folger Shakespeare Library, Washington DC. January 19-March 31, 2019. Pick up recipe cards with my updated historical recipes when you visit the exhibition! Links to posts about each recipe will be up on Cooking in the Archives and Shakespeare and Beyond in the coming months.
LECTURE: "Cooking in the Archives: Developing Recipes for the First Chefs Exhibition." The Folger Shakespeare Library. Washington, DC. February 2019. This lecture is part of the Free Folger Friday series. Information and tickets here. * EDITED: If you missed the lecture, you can listen to it here.*
Undergraduate Recipe Research
July 12, 2018 Marissa Nicosia Leave a comment
I wrote about working with undergraduate students on research for the Early Modern Recipes Online Collective blog. https://emroc.hypotheses.org/1609
Bibliography Among the Disciplines
October 16, 2017 October 16, 2017 Marissa Nicosia Leave a comment
This weekend I had the pleasure of convening the final plenary at the Rare Book School-sponsored Bibliography Among the Disciplines Conference in Philadelphia with András Kiséry. I've made this Storify of tweets from the session, but I also wanted to share my closing remark here.
Critical bibliography is already committed to social justice and interdisciplinary work (to paraphrase a comment John Garcia made early in the conference). Now we need to figure out how to do this work. Panelists and community members reminded us this morning that through alliances, pedagogy, remix, irreverence, comparison in its successes and failures, attention to the individual object whether it's a gathering of leaves or a gathering place like a club, and, most of all, enthusiasm we can make this work possible.
The Storify includes far more points of view than I can capture from my scrawled moderator notes.
The conference was also the culmination of over a year a work as a member of the planning committee and a session organizer. The incredible Rare Book School staff did a fabulous job making this event actually happen.
Over the course of the conference I got to think about about transmission, paper machines, social justice, community, performance, ethnobibilography, fragments, and impossible books. In the sessions that I co-organized on "The Social Life of Books" and "Manuscript in the Age of Print," I heard papers about kissing, wearing, and eating texts/books, and the hybridity of print and manuscript around the world. I got to brainstorming teaching strategies, comparing formats across cultures, and re-centering American book history around indigenous materials. A key takeaway was collaboration, whether data preservation or comparison or broadening or teaching is the goal.
The conference was also a pivot point between two waves of Mellon fellowships that are administered through Rare Book School. If you're curious, check out the new Society of Fellows page here.
What does the history play mean in 2017?
January 11, 2017 January 11, 2017 Marissa Nicosia 2 Comments
"What does the history play mean now? What are the politics and possible stakes of staging, writing, and conducting research on history plays in 2017?" Phyllis Rackin asked a version of these questions to the participants on my "Returning to the History Play: Time, Memory, Affect" roundtable at MLA this past weekend. I'm also echoing the closing paragraphs of Brian Walsh's paper wherein he considered the status of the history play in the age of Wikipedia, truthiness, and fake news.
Reflecting on the fact that the session was organized and the papers were written in 2016 – the year the historical musical Hamilton rocked the theatrical world and precedent-shattering elections shook both the UK and the US – Phyllis called on the panelists, and audience members, to attend to these big questions and the ethical implications of our answers to them. They will certainly stick with me as I work on my book and teach Richard II and 1 Henry IV this semester.
I'm still thinking about other aspects of Phyllis's thoughtful and provocative response to the papers as well as the presentations themselves. She reminded us that anachronism – the mix of ideas, objects, and narratives from multiple time periods in a single play – bears the fingerprints of intention and accident. As her own prior work has shown, history plays are always witnesses of the playwrights's time as much as the historical moment that the playwright seeks to capture. I find myself writing about this as a fundamentally mixed temporality, a palimpsestic layering that that includes the plays themselves, their sources, the moment of their first performance or publication, and our responses to them in the present moment.
I was also intrigued by the many threads running through the smart and generative papers. I'll limit myself to three here – embodiment, the ground, Shakespearean intertexts – but there's much more I hope to discuss with the participants in the future. Alice Dailey, Mario DiGangi, and Brian Walsh's papers each turned to embodiment – dead soldiers (Alice), affectively entangled bodies and class-crossing bodies (Mario), actors's bodies doubling parts or representing figures on multiple time scales (Brian) – to think about temporality and memory. Alice's consideration Jeff Wall's photographs brought the body and the ground into dialogue, perhaps along two different vectors of time. Jean Howard's paper on Howard Brenton's Romans in Britain also took up ideas of the ground, the nation, and the work of excavation for thinking about time's sedimentation. Shakespeare was always present, too. I was especially interested in how many papers turned to Cymbeline and Julius Caesar (while Richard III and Prince Hal made appearances, too.) J.K. Barret's reading of Brutus and Cassius's imagined audiences got at the heart of this issue to help us think about the myths of Rome (in and beyond England) to which the other plays discusses also appealed. These linked ideas pushed our thinking beyond the session's keyword subtitle – time, memory, affect – and perhaps closer to answers to Phyllis's questions.
Returning to the History Play: Time, Affect, Memory – MLA 2017
November 30, 2016 December 2, 2016 Marissa Nicosia 1 Comment
I'm excited for MLA Philly for a lot of reasons: friends are coming to town, I'm giving a paper on prophecy from my book manuscript, and I'm convening a roundtable connected to my research that's part of the Presidential Theme, Boundary Conditions. If you're attending the conference, check out the proposal and abstracts below and consider adding this roundtable to your schedule.
742. Returning to the History Play: Time, Affect, Memory
12:00 noon–1:15 p.m., 202B, Pennsylvania Convention Center
Organized by Marissa Nicosia, Chair (Pennsylvania State University, Abington College) and Jean E. Howard (Columbia University)
Speakers: J.K. Barret (University of Texas at Austin), Alice Dailey (Villanova University), Mario DiGangi (Lehman College, CUNY), Jean E. Howard (Columbia University), Brian Walsh (Boston University)
Respondent: Phyllis Rackin (University of Pennsylvania)
Forged in the crucible of the London theater, the history play is a lasting creation of the early modern public stage. By reshaping the conventions of comedy and tragedy on the one hand, and historical writing on the other, history plays are dynamic explorations of the past crafted for the early modern moment. This roundtable will showcase new perspectives on the history play as it arose in the sixteenth century and continues to thrive in the twenty-first. The "returning" of this session's title points both towards renewed interest in history plays, early modern and contemporary, in literary studies, as well as the act of returning to the past inherent in their very composition.
The MLA 2017 Presidential Theme, "Boundary Conditions," raises temporal as well as spatial concerns. As literary scholars, how do we negotiate between the past, present, and future of our texts? Furthermore, as new strains of historicism continue to inform literary studies, this roundtable's interest in forms of historical temporality, commemoration, and affective connection offers rich directions for future study.
J.K. Barret (University of Texas at Austin),
"Flexible Futures: Contingent Fictions and Alternative Outcomes in Shakespeare's Histories"
In my remarks for "Returning to the History Play: Time, Affect, Memory," I will discuss how playwrights in sixteenth- and seventeenth-century England used stories and plots drawn from historical sources to unsettle inevitability, and to foreground instead the contingency that their fictions were able to produce. In particular, I consider critical approaches to Shakespeare's history and Roman plays to argue that the familiar material the playwright often reshaped occasioned meditations on both narrative forms and fiction's access to alternative outcomes. His historically-inflected material offered a vantage on imagined futures that were remarkable not for their ambition, but for their flexibility. Indeed, references to such futures also enabled the contemplation of emotional rewards articulated on personal, rather than national, terms. I argue that, in a period in which imaginative writing invents new ways of conceptualizing and interpreting time, Shakespeare's interventions in the past regularly require his audience to imagine different paradigms by which they might approach their own ethical decisions and actions in the present. In these plays, it is the process of contending with contingency that defines ethical activity; when familiar historical material skews and rattles dependable temporal paradigms, what is prompted instead implicates (and makes demands upon) the audience's judgment. In this way, early modern plays concerned with historical thinking prompt new options for exploring alternative outcomes and contingent futures.
Alice Dailey (Villanova University)
"How to Do Things with Dead People"
Literary critics have conventionally described Shakespeare's English history plays as nostalgic for a lost heroic past that stubbornly eludes dramatic recuperation. In this line of thinking, Shakespeare's histories cannot help dramatizing their own failure to return the dead to us, offering in their place pageants of similitude that expose the discrepancy between theatrical representation and the thing itself. In this paper, I turn to recent insights from performance and photographic theory to suggest the incompleteness of these assumptions about the temporality of historical representation. I contextualize the histories among transhistorical visual arts by which humans create and look at effigies of the past, suggesting how forms like historical reenactment, photography, and visual art resist linear temporality by positing the dead as conscious audiences and performative surrogates for the living. To illustrate briefly the shared phenomenology of these forms, my paper introduces Jeff Wall's staged 1992 photograph, Dead Troops Talk, as a conceptual frame for exploring how the dead can be translated into sites of potential—into material for creating what is yet possible and imagining a future that is perpetually deferred. I then turn to two scenes from Shakespeare's 1 Henry VI, the funerals of Henry V and the Earl of Salisbury, to show how survivors stage elaborate performances for the dead, whose silent but obdurate presence generates current and future action. In both Wall's photograph and 1 Henry VI, I argue, dead soldiers are translated into sites of layered performance that complicate strict linear time.
Mario DiGangi (Lehman College, CUNY)
"Affective Entanglement and Political Agency in the Early Modern History Play"
The concept of affective entanglement offers an alternative to the conventional understanding of political agency as a property enjoyed by aristocratic individuals who mobilize their intellectual, emotional, and material resources in schemes to acquire or consolidate power (think of Shakespeare's Richard III). In Politics of Affect, Brian Massumi attempts to dispel some "oft-repeated misconceptions about affect and its political implications," including the belief that "affect is asocial." Instead, Massumi insists that affect, "as the openness to being affected, is directly relational"; in fact, it is "pure sociality, in the sense of the social in the openness of its incipiency, ready to become all manner of social forms and contents." Because, for Massumi, affect is a force of transindividual relationality and change, it operates inescapably in the political arena. Building on Massumi's framework, I argue that an understanding of affect as "the ongoing force of the social taking evolving form" allows us to conceive of political agency in the early modern history play beyond the conventional understanding of agency as the intentional expression of an aristocratic subject. Rather, the affective entanglements among aristocrats and commoners, as well among monarchs and subjects, constitute emerging events through which participants can generate political knowledge and make an impact on their world. My analysis of affective encounters in the early modern history play will address the different forms of agency made available by the unfolding temporality of political process.
Jean E. Howard (Columbia University)
"Thinking Through and Against Shakespeare: The Historical Consciousness of British Post-War Playwrights"
A generation of British playwrights (Hare, Bond, Brenton, Wesker, Barker, Arden, and others) used the history play to redefine the political nation in the wake of World War II, the early years of Labor activism, and the waning of Labor pre-eminence and the rise of Margaret Thatcher. In doing so, they implicitly and often explicitly worked both within and against the terms of the history play established by Shakespeare, often violently rejected what they say as his elitist class politics and imperialist marginalization of those from the Celtic fringe. This paper will examine several plays, probably Howard Barker's The Romans in Britain, Edward Bond's Bingo, or Howard Barker's Victory to show how the figure of Shakespeare, the Shakespearean history play, and the politics of seventeenth-century England inform their vision of post-World War II Britain.
Brian Walsh (Boston University)
"What's history for you is life lived for me": Aesthetics and Instruction in Moira Buffini's Handbagged (2013)
The history play, from its Elizabethan roots to the present, has always sat at a crossroads of epistemological and political concerns, and this intersection has itself always been framed by a nagging question about the nature of its entertainment value. What is the pleasure of performing the past? In the case of a recent phenomenon like Hamilton, an experience bathed in the power of its charismatic performers and invigorating music and dance numbers, the answer is obvious. But what motivates playwrights and draws audiences to the imagined past on stage is more often enigmatic. Moira Buffini's 2013 play Handbagged raises this question especially in regards to its self-conscious didacticism. The play depicts the private meetings held between Queen Elizabeth II and Prime Minister Margaret Thatcher, from Thatcher's historic ascension in 1979 to her ouster in 1990. The play covers the major topics one might expect: the miners' strike, the Falklands War, the Cold War, Thatcher and Ronald Reagan, Thatcherite economic policy, and her often inflammatory rhetoric about society. What is unexpected is the unusually dialectical form the play takes. Present on stage throughout are four actors that portray younger and older versions of the Queen and Thatcher; the older selves frequently chide the younger ones by claiming that this or that thing never really happened or never was said, foregrounding questions of truth, memory, and the knowability of history. In a persistent set of "meta" comments, the characters also express anxiety that their supposed millennial audience won't understand the references to Thatcher-era people and events, prompting a series of mini-lectures on the 1980s. In this paper, I want to query what motivates these explicitly didactic moments in the play, and to consider what they tell us about the anxieties, aesthetics, and assumptions that surround the staging of history today.
Book, Archive, Museum – Notes from the Symposium on 10/28
November 4, 2016 Marissa Nicosia Leave a comment
Click to read the full symposium program.
Last Friday I convened a symposium at Penn State Abington called "Book, Archive, Museum." Inspired by a new curricular program we're developing on campus, I invited students, faculty, staff, and guests to participate in a day-long conversation about these keywords. I've decided to share a version of my opening remarks and some further reflections here today before the vital ideas and questions raised at the event slip away from me.
This event was sponsored by The Andrew W. Mellon Fellowship of Scholars in Critical Bibliography at Rare Book School with additional support from the Division of Arts and Humanities.
We are here today to have a conversation about the art of the printed word, broadly conceived through our program keywords – book, archive, museum – and the keyword presentations we will hear this afternoon. I suggested convening a brainstorming event like this one because of many conversations I've had over the last few years as a member of the Andrew W. Mellon Fellowship of Scholars in Critical Bibliography at Rare Book School. I know that these words – book, archive, museum – mean very different things to people from different disciplines and professions.
As a scholar of early modern English literature, I think about hand-press books, the circulation of works in London book trade, and the dynamics relationship between print and manuscript in the era. When I organized my first RBS-Mellon symposium called "What is a Book?" at Scripps College in 2015, I heard papers about digital poetry, the process of making artists books, and the communities engaged by a Hedwig and the Angry Inch fan zine. These are diverse, but connected, modes of thinking about the art of the printed word. I know from conversations with Classicists working on epigraphs and Art Historians studying paintings on paper that these terms mean different things in different disciplines. I read tweets from archivists working on materials from the Ferguson protests and the Occupy movement on the one hand, and family papers on the other, and see that they face interconnected, but distinct challenges. Admittedly, I know less about museums, but I do know that curators and conservators strive to maintain the safety and stability of their objects while presenting them in meaningful ways and crafting compelling narratives.
If I asked each of you to define book, archive, or museum, I suspect that a map of overlapping definitions would emerge, rather than neat, codified, or consistent answers. This afternoon I hope we will make that map together, because, I trust, the map and the process of mapping will inflect the design and implementation of the Book, Archive & Museum Program.
Over the course of the day, a map of overlapping interests and definitions did emerge. During the morning workshops, I watched my students learn about the Ogontz Archives held on our campus for the first time by handling rare material and listening to our expert librarians. Standing in front of a shallow tray of water, my colleagues became playful and giddy as they practiced the Suminagashi paper-marbling method and suspended colorful inks on the fluid surface (example below). Friends and colleagues that I've known for ages, or only a short while, participated in interdisciplinary dialogues about sewing kits, herb-slicers, cigarette cases, and other objects as we sat on stools in the art studio. We all found common ground.
A number of the short, keyword papers in the afternoon sessions challenged accepted definitions of books and archives: what does it mean when something is bound? when literacy is taught in a kitchen? when treasured books reside in a public library that provides so many other essential services? when facsimiles — in the book and museum worlds — trouble any definition of the "original"? when archives bear witness to exclusion, prejudice, and privilege? when the boundaries of the book or the page are challenged by artistic processes, alteration, and emendation?
Moreover, even when we've acknowledged these messy parameters, what do we make of the materials we have at hand? how do we (as scholars, librarians, conservators, public historians) conserve, curate, and provide access? how to we avoid replicating the structural disparities of our culture as we tell the stories of our objects? From chemistry curricula to germolata, zines to an overview of the Rosenwald collection at the Library of Congress, we shared expertise.
We also considered the different ways these questions might engage our campus and the broader community of the greater Philadelphia area. From class activities to chance encounters, how do we encourage students, colleagues, and community members to think about making, interpreting, and handling books? how to we bring people into archives and museums and/or encourage them to see these spaces as sites for research and storytelling? how do we cultivate chance encounters on the one hand and deepen specialized expertise on the other?
My colleagues and I have a lot of thinking to do.
Links to Institutions and Organizations Featured in the Symposium
Ogontz Archive https://libraries.psu.edu/about/libraries/abington-college-library/ogontz-school-1850-1950/ogontz-archive-room
Rare Book Department, Free Library of Philadelphia https://libwww.freelibrary.org/rarebooks/
Culinary Literacy Center, Free Library of Philadelphia https://libwww.freelibrary.org/culinary/
The Library Company of Philadelphia http://www.librarycompany.org/
Barnard Zine Library https://zines.barnard.edu/
The Soapbox http://www.phillysoapbox.org/
Winterthur/University of Delaware Program in Art Conservation http://www.winterthur.org/?p=640
Abington Art Center http://abingtonartcenter.org/
Rosenwald Collection, Library of Congress https://www.loc.gov/rr/rarebook/coll/211.html
The Kislak Center for Special Collections, Rare Books, and Manuscripts at the University of Pennsylvania, http://www.library.upenn.edu/kislak/
Bibliography Among the Disciplines – Call for Proposals
I'm thrilled to announce that working with colleagues to organize two panels for the Rare Book School – Mellon Fellowship program's conference "Bibliography Among the Disciplines" (Philadephia October 2017): "The Social Life of Books: Uses of Text and Image Beyond Reading and Viewing" & "Manuscript in the Age of Print." Send in a proposal, circulate these CFPs, investigate the other CFPs on the program, and attend the conference!
Bibliography Among the Disciplines, a four-day international conference, will bring together scholarly professionals poised to address current problems pertaining to the study of textual artifacts that cross scholarly, pedagogical, professional, and curatorial domains. The conference will explore theories and methods common to the object-oriented disciplines, such as anthropology and archaeology, but new to bibliography. The program aims to promote focused cross-disciplinary exchange and future scholarly collaborations. Bibliography Among the Disciplines is supported by the Andrew W. Mellon Foundation, and organized by the Andrew W. Mellon Fellowship of Scholars in Critical Bibliography at Rare Book School. For more information, please visit: rarebookschool.org/bibliography-conference-2017
CFP: "The Social Life of Books: Uses of Text and Image Beyond Reading and Viewing"
Session Organizers: Aaron Hyman (University of California, Berkeley), Hannah Marcus (Harvard University), Marissa Nicosia (Penn State University, Abington College)
Saturday, 14 October 2017, 8:30–10:00am
Bibliography Among the Disciplines Conference
12–15 October 2017, Philadelphia, PA
Fish wrappers, cigarette rollers, toilet paper, the backing for embroidery, lining for baking pans, the raw material for papier mâché—these are but a few of the uses that the page was subjected to outside the normative economies of reading and viewing. But texts and images also often functioned in less pragmatic and more freighted ways: as numinously charged surfaces to be touched upon one's person, as personal possessions hidden inside mummy bundles for the enjoyment of the deceased, as symbols to be iconoclastically destroyed, or as divine conduits to be ceremonially ingested. Sometimes books and images, which by their nature inform, instruct, invite annotation, and implore users to follow their designs, incited such uses beyond mere reading or viewing. We seek interrogations of uses and reuses of the page that emphasize instances in which material necessity was charged with a semantic or symbolic dimension. When was the sheer need for paper or parchment complicated or compounded by the content of the page? Or when might repurposing have been prompted by alternative understandings of a book's materials, in their own right? During this conference session, three participants will give 20-minute presentations, followed by a half-hour discussion led by a moderator.
Please submit a proposal of no more than 500 words, along with an abridged CV, by 25 October 2016 at: rarebookschool.org/bibliography-conference-papers
CFP: "Manuscript in the Age of Print"
Session Organizers: Rachael King (University of California, Santa Barbara), Marissa Nicosia (Penn State University, Abington College)
Saturday, 14 October 2017, 10:45am–12:15pm
In the period after the rise of print culture(s) and public sphere(s), we now know that the production and circulation of manuscripts—from letters and diaries to scientific treatises and novels—continued and even flourished alongside innovative printing practices. Even so, many aspects of the relationship between manuscript and print remain to be explored by scholars. How should we best describe the status of manuscript and print (and, for that matter, of orality and literacy): in terms of transition, transcendence, interaction, symbiosis, co-dependence? To what extent do the different affordances of the two media account for the ongoing prominence of manuscripts after the advent of printed publications? How do we (should we) avoid teleology while also noting progressive change in materials and processes over time? This panel seeks to address such questions through papers that investigate manuscript practices and texts and/or explore the interaction of manuscript and print in the sixteenth through nineteenth centuries. We invite scholars working in different geographical and linguistic contexts to contribute to this interdisciplinary effort. During this conference session, three participants will give 20-minute presentations, followed by a half-hour discussion led by a moderator.
Please submit a proposal of no more than 500 words by 25 October 2016 at: rarebookschool.org/bibliography-conference-papers
Handwritten character lists at the Folger Shakespeare Library
June 28, 2016 June 28, 2016 Marissa Nicosia Leave a comment
This post was written by Emma Depledge and Marissa Nicosia.
There are a lot of characters in Shakespeare's plays. Understandably, readers felt the need to write in their books to keep track of them. Before character lists became standard features of playbooks, publishers and readers experimented with various strategies for recording roles, relationships, and defining features. This post is a partial look at two ways that seventeenth-century book users listed Shakespeare's characters. It's also an account of a research journey that began on Twitter and ended in a dark conference room on Deck A at the Folger Shakespeare Library. [In short, you can read the Twitter conversation here – Storify-d to the best of our ability – and you can see – and contribute to – this working bibliography of known "Character Lists in Manuscript" on Folgerpedia.]
In his octavo edition of Shakespeare's plays in six volumes for Jacob Tonson (1709), Nicholas Rowe was the first person to supply character-lists for every Shakespeare play, but the demand for them clearly existed before 1709 as a number of early book users felt compelled to add their own character lists.
The image that started all this is from a manuscript copy of Julius Caesar, Folger v.a.85. This copy, which lacks the final scene of Act 5, adds stage directions not found in the Restoration quartos. (The dramatis personae included in the 1684 first quarto enumerated both the actors and the characters they played thus straddling the boundary of cast and character lists.) The Julius Caesar manuscript is also in a different hand to that which commonplaced sections of Samuel Butler's Hudibras later on in the volume. The character list, or 'Dramatic Personae', as it is titled, prefixes the action proper of the play. It is therefore in the location in which we expect to find character lists thereby mimicking quarto playbook editions. (For more on dramatic typography, see Claire Bourne's work.)
Tiffany Stern has stated that 'person-lists' were often included with 'arguments' and that these are among the kinds of theatrical documents that circulated independently from playbooks (Documents of Performance). The inclusion of character lists along with arguments, which offered plot summaries of sorts, highlights their function to help audiences follow plays in performance. As Stallybrass and De Grazia have noted, character lists also enable one 'to arbitrate for themselves the boundaries of identity, constructing (or failing to construct, or refusing to construct) "individual" characters in the process of reading' ("The Materiality of the Shakespearean Text"). Our annotator of Merry Wives of Windsor appears to be interested not only in individual characters, but also in the the connections between them.
After our conversation about Julius Caesar on the internet, we wanted to see what we could do in the library. We called up Folger First Folio. 1623. Shelfmark STC 22273 Fo.1 no.57. On E6v at end of Merry Wives of Windsor an annotator has mapped the relationships between Shakespeare's characters in an annotation which has been mostly washed from the page. With the help of a light sheet, a magnifying glass, photos, and, finally, UV light we were able to transcribe most of the annotation. As anyone who has read Merry Wives of Windsor knows, the play follows a series of lovers and it can be hard to keep track of who is romantically entangled. Our annotator documents who is wooing who in Shakespeare's comedy and we were curious to recover what they had written down.
Folger First Folio 57, E6v
of windsor
Mistress* fford another girl of winsor
[Mr] Fenton a suiter to MRS Anne Page
[Doctor] Caius too other suiters to her
& MR slende[r]
Mistress [Pa]ge
Mistress For[d]
suier [y ??]rat tend on both
Mistress [unintelligible]
*The annotator's preferred abbreviations for "Mistress" are "MS" and "MEIS." We have italicized the body of the word "Mistress" above to streamline the text while acknowledging our expansion.
This is a brief and partially obscured annotation, but it lets us know that an early reader of this copy of Shakespeare's first folio was curious about the romantic entanglements in this play and wanted to make some notes. Our annotator seems to focus on the characters who speak in the closing lines of the play and on character constellations. Falstaff appears to be absent, but given the state of the page we will never know. It is interesting that this list appears at the end of the play for two reasons. First of all, this was the normal location for character lists in the First Folio. (All seven plays that have one, have one at the end. ) Of the first four plays in the Folio's "Comedies" section, Merry Wives of Windsor is the only play from which a character list is conspicuously absent. (For more on this see Emma Smith's essay in Shakespeare and Textual Studies). It may well be that our annotator had become accustomed to seeing such a list at the end of a play and felt a need to supply one and felt a need to fill the textual absence.
We would like to thank the reading room staff the Folger Shakespeare Library, Melanie Leung from the photography department for her assistance with the UV light, Lucy Nicholas for tackling a difficult word in the transcription, and especially to Jonathan Holmes for bringing this character list to our attention and starting the Folgerpedia page.
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