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The Eastern Metropolitan Bypass (known simply as both E.M. Bypass and EM Bypass) is a  (Including Kamalgazi to Baruipur extension) major road on the east side of Kolkata. It connects Ultadanga (North Kolkata) to Baruipur Puratan Bazar (South Kolkata). The road is a major link to  Salt Lake and New Town. EM Bypass is part of both State Highway 1 and State Highway 3. Much high-end construction and development in Kolkata has been centred around the Bypass.

It was designed as a six to eight-lane bypass to lessen traffic congestion on the entire stretch of Gariahat Road. Several consequent connections have been made to Gariahat Road to further move traffic to the Bypass.

History and development
The Eastern Metropolitan Bypass was constructed during the 1980s and became operational in 1982. The construction disrupted part of the East Kolkata Wetlands.

At one point in 2010 the road was officially named Jyoti Basu Sarani after Jyoti Basu. The road was further renamed Biswa Bangla Sarani by the Chief Minister Mamata Banerjee in 2011.

The road is undergoing expansion under the JNNURM.

Connectors and overpasses

A number of 'connectors' or connecting roads link the bypass to major hubs of the city all along its route. From north to south, these are:

Gallery

References

External links

 Commercial Development of E.M. Bypass

Roads in Kolkata
State Highways in West Bengal
Bypasses
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Sweet, mild taste, catfish is a good source of nutrients, vitamins and minerals. Black skinned, Slimy, Cleaned, Freshwater fish, Huge Medicinal Value, Mouthwatering. We procure it specially various Lakes and rivers of of Rajasthan,M.P.&U.P.


I love this recipe because it's flavorful, fast and fresh! This dish brings back childhood memories of Brazil.
Swap option: If you don't like cod, substitute with any other flaky white fish.
1. Pat the fish dry with paper towels and put the fillets in a large glass bowl. Season with the lime juice, salt and black pepper to taste and set aside.
2. In a Dutch oven, heat the olive oil over medium heat. Add the onion and garlic and cook, stirring, until the onion begins to soften, 2 to 3 minutes.
3. Add the bell peppers, tomato paste, paprika and turmeric, mixing well. Cook, stirring, until the bell peppers begin to soften, about 4 minutes.
4. Lay the fish fillets on top of the vegetables and pour in the coconut milk. Cover the pot and lower the heat to medium-low. Cook until the fish is just cooked through, about 15 minutes.
5. Season with salt and black pepper, red pepper flakes and the fresh cilantro right before serving.
Excerpted from At Home with Natalie: Simple Recipes for Healthy Living from My Family's Kitchen to Yours © 2018 by Natalie Morales. Reproduced by permission of Houghton Mifflin Harcourt. All rights reserved.


In December, consumers downloaded almost 3 billion (with a "B") apps from the iOS app store and last year consumers spent over $10 Billion in the App Store. There are a few things you can take away from that announcement.
1. Apple is doing just fine.
2. The Mobile future is for real.
3. Apple needs to double down on the the server side of the Internet. All of these mobile apps need an Internet backside and it needs to be rock solid. I don't know how Apple will do it but they need to get damn close to Google's ability to deliver through the Internet. This is becoming exponentially more important every year. The common logic that Apple simply isn't built for that sort of initiative needs to be disproven.


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The base of the system is the 3 mm thick steel plate (available in our shop as separate items in different dimensions), which is mounted (glued) onto a wall or any other vertical surface. A variety of magnetic shelves, hangers and holders are then fastened onto it.
Shelf U has magnets built into the back side, which fasten the element onto the steel plate. Therefore, you can change its position from one place on the back plate to the other, without using any kind of tools.
On the front side, the shelf has a 40 mm thick edge, which prevents things slipping off of it, and makes it perfect for storing taller glasses and cups. The steel shelf is very handy for storing spices, teas, coffee� In the bathroom it comes very useful over the sink or near a shower, for soaps, shampoo, creams, toothbrushes and toothpaste� The Shelf holds up to 2,5kg weight, loaded symmetrically.
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Review of Death Walks at Midnight
At the very fringe of my early memory, I recall having read a young adults book by James Howe called "The Celery Stalks at Midnight" about pets that fight a vampire bunny and some supposedly evil celery. Reflecting on the cute pun title, I can't help but wonder if the benign children's author was a fan of "Death Walks at Midnight" (1972) and was consciously making the reference. Certainly, the film had an early, though minor, cult status and the two books do share a certain amount of silliness in addition to their horror elements.
Anyway, "Death Walks at Midnight" (also titled "Death Caresses at Midnight," but both titles are equally irrelevant) was Luciano Ercoli's follow-up to "Death Walks in High Heels" (1971). The two gialli share at least five cast members that I could tell: Susan Scott (as the lead), Carlo Gentili (as the inspector), Simon Andreu, Luciano Rossi and Manuel Muniz. Despite this, accusations that the film is virtually a repeat of the earlier movie are entirely unfounded. The plot, setting and character dynamics are utterly different.
Ercoli seems to have learned from a few of his past mistakes, and starts the film off without the somewhat tedious voyeuristic camp that tripped "High Heels" before it even left the starting gate. Instead, we open with Valentina (Susan Scott) inviting over pack of sketchy fellows bearing a camera and drugs. They pay her 300 grand (Italian). Are they shooting porn? Arranging an orgy? Better. They are testing a new psychotropic hallucinogen and filming her, masked, as a demonstration of its effects! Once she gets high, her unethical friends remove her mask and ask her to describe her visions. She reports seeing (and the audience sees with her) a brutal murder taking place in the neighboring apartment with a spike-covered iron fist as the weapon.
When she awakens the next day, she has the added stress of discovering that her face is strewn across every tabloid cover. The embarrassing notoriety gets her fired from her job and when she confronts Gio Baldi (Simon Andreu), the journalist who filmed her, the ensuing property damage gets her arrested. Police inspector Seripa (Carlo Gentili) begins to take more interest when he discovers that Valentina's description of the crime matches one that took place in the apartment directly across from hers… six months ago!
[Image: The empty room where the brutal slaying took place is expertly filmed. The sheer lack of mise-en-scene works to make the crime feel surreal, cold and modern.]
At this point in the film, I was absolutely hooked. Screenwriter Ernesto Gestaldi (veteran of "Death Walks on High Heels," "The Case of the Scorpion's Tail," "The Case of the Bloody Iris," and "The Strange Vice of Mrs. Wardh") has fashioned a perfect giallo premise with some help from Sergio Corbucci (director of "Django") and a parade of other writers. Things do eventually suffer from too many recipe-writers in the kitchen leading to a prairie dog colony of plot holes. We'll get to all that, but a little more on the story.
Valentina sneaks over to the apartment where the murder took place and finds nothing. From the balcony she can see over to her place where her boyfriend is listening to loud music and working out. She shouts to him, but he can't hear. Almost immediately afterward (oh, the tragic irony), the killer returns and attacks. When she locks him out of the room, he starts beating his way through the door with the spiky metal gauntlet. The whole scene is pure giallo magic. Consider:
1) A maniacal fiend, looking like a dropout James Bond villain, wearing a white trench coat and dark shades and wielding a monstrous weapon.
2) Susan Scott screaming, prancing about and then screaming some more.
3) The wicked irony of her boyfriend being so close (if he would just turn around!), but unable to hear her.
4) The clever solution wherein she breaks a piece a glass and reflects a beam of sunlight into her apartment, finally getting the boyfriend's attention.
5) The conclusion, where the boyfriend arrives (scaring us since we are expecting the killer to bust in) and proceeds to not belief her again while on the left half of the frame (see screenshot below) we watch the villain slip out.
[Image: A homage/revision of "Rear Window" (1954) that is far more successful then Argento's version in "Do You Like Hitchcock?" (2005).]
Poor Valentina can't get anyone to believe her, but for once there are some pretty good reasons. Everyone knows she was on hallucinogenic at the time she "witnessed" the murder and the police think she is staging another publicity stunt because of her still-fresh tabloid debut. The typical giallo pattern has the female victim assisted by a police inspector or a reporter, but while both roles are present in the film, Valentina is strangely alone. She gets to head the investigation and inflict some feisty justice largely without the agency being horded by the male characters. While she's not exactly a feminist icon, one must admit that she's less passive then the typical Edwige Fenech role.
After Valentina meets Verushka Wuttenberg, the best friend of the iron-glove victim, she starts to do some serious sleuthing. Verushka shows her pictures of the dead girl and it isn't the person Valentina saw murdered! The two women head to an asylum to see the man already arrested for the six-month old crime and he isn't the killer Valentina saw! Things just get more confusing when, in a quick chain of events, Verushka disappears, a nun comforts the supposed killer rather then the distressed Valentina, an inmate starts dances a manic jig in circles around her and the asylum director makes an intimidating entrance.
Hitchhiking home from the unpleasant experience, Valentina sees the killer once again, driving behind a hearse. She asks her driver to speed up and does get away from her apparent stalker only to contend with the driver's unwanted advances. She meets up with Verushka several times later at locations ranging from a cemetery to a villa overrun by houseplants. She begins to get closer to the truth, no thanks to an elaborate series of disconcerting red herrings. If you liked the ridiculous extremes of unmotivated fake-outs in "Death Walks on High Heels," you'll love the random distractions found here, exemplified by cat with a cut throat that is never even partially explained.
Writer Gestaldi marshals one of his trademark all-out awesome endings. There is a series of successive twists that succeed more due to the enthusiastic delivery then their clarifying or revelatory qualities. You get a pair of new villains thrown in at the last minute, including a knife-throwing drug dealer who compulsively giggles with sadistic madness. The inevitable rooftop chase finale is an irresistible combination of action, horror and excess that will leave a smile on the face of any cult cinema lover. Sadly, though, the confusing plot is never satisfactorily wrapped up.
There is nary a single positive review of the movie that I can find, but I am a definite big fan. There are two major complaints: the plot holes and the pacing. The former problem I must heartily agree with. While starting off in high form things just get so jumbled that it's clear the writers have no idea how to unravel all their narrative threads and dramatic knots. There is so much that goes unexplained, or that is outright inconsistent or totally based on coincidence that I can't argue the script ends up making much sense.
However, I disagree with most critics about the pacing. There is a twenty minute lull in the middle of the film but nothing like the dry stretches in "Death Walks on High Heels" or the main body of most Fulci films. The beginning is 30 minutes of thrilling rising action that is far above the typical giallo mold of single opening crime and then sluggish "mounting tension" filler. I found the ending so captivating, in fact, that the plot holes just rushed passes me, making the enjoyment of the experience quite high despite retroactive disgruntlement with the story.
Though no one is surprised by high-minded art house critics and middle-brow newspaper reviewers panning a giallo, there is little support for this film even amongst Eurotrash fans and internet reviewers. Many complain that the film isn't sleazy enough (there is no nudity), but by contrast I found that the restraint had a positive effect. It prevented the often-questionable narrative halts of dancing/stripping/sex scenes (not that the giallo would be the same without them) and the boring romantic entanglements which never get developed anyway. It also makes the film more interesting to see a female star overcoming a cadre of male characters who lie, exploit, humiliate and try to kill her with the focus being, for a change, more on "overcoming" then on the exploitation, humiliation and murder. I'm not arguing that Scott isn't still used as a sexual draw for the film; her hair is so styled and bouncy that shampoo commercials wilt with jealousy as she walks by. The difference is that Scott gets to keep her blouse on, kick a rapist in the crouch and shoot a character you'd never expect her to kill (I won't spoil it, see the movie).
[Image: If Nancy Drew were an Italian model…]
The acting in this movie is not exactly what I call "good," but it won me over with the minor roles. Much like "The Bird with the Crystal Plumage" (1970), the type of character in mysteries that are usually used as disposable connective tissue to provide clues from one local to the next, are instead given distinct personalities and quirks. Everyone from the concierge, the hearse driver, the gay photographer (an ubiquitous giallo stock character it would seem), asylum inmates, the giggling knife-thrower and the obvious red herrings is given enough attention to provoke amusement if not sympathy. Gio Baldi, the reporter, gets a nice little chain smoking habit that makes "Do you have a light?" his something of his personal tagline. It actually gets integrated into the plot with laudable wit and variety.
[Image: (top) The Italian Steve Buscemi and (bottom) a killer who can't stop giggling.]
As for style, Ercoli lives up to his reputation as a second-tier, but not untalented, director. I enjoyed the constant presence of the killer in reflections (including the giallo staple sunglass reflection) and through glass, making him seem always vague, transient and perhaps even a figment of Valentina's imagination. I liked the use of inappropriately jazzy elevator music during some of the violence and chase scenes, but it isn't particularly great and certainly not good horror material. Then too, Ercoli isn't a master of framing or color experiments, but his camera placement is occasionally inspired. I think that "Death Walks at Midnight," despite the fact that the focus is a little off in many normal shots, excels most at its pervasive focus pulls. Here are three favorites:
So while I don't think Ercoli is necessarily on the verge of (or deserves) a major rediscovery/revival, I have really enjoyed his films. This one did convinced me to buy the Luciano Ercoli "Death Box Set" and it gets a hearty thumbs up from me.
Warlus Rating: 7
I haven't done an art comparison in a while and this film really begs for one considering that Valentina's boyfriend is a sculptor. His work looks influenced by Henri Moore's use of negative space (possibly one of his disciples), but for my example I've chosen the classical image of the reclining female. Plenty of examples from art history to choose from, but Valentina sleeping beneath a picture of herself reminded me of Man Ray photo of his own painting. It also reminds me of shot from Tarantino's "Death Proof" (2007). Coincidence or not? You decide.
[Image (from top to bottom): "Death Walks at Midnight," "Death Proof," and Man Ray's "Observatory Time – The Lovers." Screw Saussure; I can take my referents from anywhere I want.]
Posted by FilmWalrus at 1:11 AM
Labels: 1970s, Giallo, Horror, Italian Horror, Italy, Review, Screenshots and Images
You're making me yearn for Italian horror!
Also, I adore your reference to "The Celery Stalks at Midnight," which is by far the best title in the whole Bunnicula series.
Mad Dog said...
Wow, it's like they took the best parts of the premises from A Lizard in a Woman's Skin and Deep Red and mashed them together.
You'd think Italy was choked with psychics and psychedelic drugs.
any clue what the name of that picture hanging above her in death proof is?
FilmWalrus said...
I think it's a production still of Brigitte Bardot in "The Night Heaven Fell" (1958).
Review of The Place Promised in Our Early Days
Hall of Strangeness Part XV
Review of Tarkan Versus the Vikings
Review of The Holy Mountain
"Key Grip, Aye? Very... Interesting" (Intro Credit...
Review of Olivier, Olivier
Review of Death Walks on High Heels
Hall of Strangeness Part XIV
Review of Memories of Murder
Iceberg Arena: Materialism… for Kids!
Knee-jerk Response to The Card Player
Review of The Killer Nun
Review of Fay Grim
Review of The Girl Who Knew Too Much
Hall of Strangeness Part XIII


text:
Power industry M&A deals in September 2020 total $7.23bn globally
Total power industry M&A deals in September 2020 worth $7.23bn were announced globally, according to GlobalData's deals database.
Copy and paste the code below into your website to display the chart.
<iframe src="http://image.digitalinsightresearch.in/Uploads/ImageLibrary/DealArticles/Template1_Monthly_9_2020_power__M_A___Embed.html" style="width: 100%;height: 500px;border: none;"></iframe>
The value marked an increase of 180.5% over the previous month and a drop of 14.1% when compared with the last 12-month average, which stood at $8.42bn.
Power industry venture financing deals total $1.2bn globally in November 2021
Power industry cross border deals total $7.4bn globally in November 2021
Power industry M&A deals total $9.3bn globally in October 2021
Comparing deals value in different regions of the globe, North America held the top position, with total announced deals in the period worth $3.38bn. At the country level, the US topped the list in terms of deal value at $3.38bn.
In terms of volumes, Europe emerged as the top region for power industry M&A deals globally, followed by North America and then Asia-Pacific.
The top country in terms of M&A deals activity in September 2020 was the US with 31 deals, followed by the UK with nine and Spain with six.
In 2020, as of the end of September 2020, power M&A deals worth $60.07bn were announced globally, marking a decrease of 8.7% year on year.
Power industry M&A deals in September 2020: Top deals
The top five power industry M&A deals accounted for 59.1% of the overall value during September 2020.
The combined value of the top five power M&A deals stood at $4.28bn, against the overall value of $7.23bn recorded for the month.
The top five power industry deals of September 2020 tracked by GlobalData were:
1) BP's $1.1bn asset transaction with Equinor
2) The $980m acquisition of Greenko Group by ORIX
3) OPC Energy's $800m acquisition of Competitive Power Ventures
4) The $735m asset transaction with Brookfield Renewable Energy Partners and Invenergy by Alpha Asset Management Mutual Funds ManagementS.A., Hana Financial Investment, Korea Hydro & Nuclear Power, Korea Investment & Securities and Sprott Korea
5) NextEra Energy's acquisition of GridLiance for $660m.
Verdict deals analysis methodology
This analysis considers only announced and completed deals from the GlobalData financial deals database and excludes all terminated and rumoured deals. Country and industry are defined according to the headquarters and dominant industry of the target firm. The term 'acquisition' refers to both completed deals and those in the bidding stage.
GlobalData tracks real-time data concerning all merger and acquisition, private equity/venture capital and asset transaction activity around the world from thousands of company websites and other reliable sources.
More in-depth reports and analysis on all reported deals are available for subscribers to GlobalData's deals database.
Skrivanek
Global Language Translation and Localisation for Power Companies
Mac Instruments
Moisture Meters and Humidity Sensors for Measuring Water Vapour in Power Plants


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The property would be ideal for a young family or professional couple and is a great opportunity you don't want to miss.
3 spacious bedrooms, ceiling fans and built in wardrobes.
2 renovated bathrooms, main with seperate bath.
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Bi fold doors opening out onto the private, entertainers courtyard and deck.
For more information contact Tom Stewart on 0478 099 876.


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Not too little, not too much. Just enough.
I love how this captures a moment I have personally witnessed. Short and powerful. "*"
I hadn't seen this and found it on Editor's Eye. Nice.
Yep, came to this from Editor's Eye and am mighty glad. Good sharp thing here. Could be the opening of a whole story -- but also stands on its own.


text:
Islamic banking faces challenging, yet promising future in Russia
by hq©
One of the success stories in global finance of the last few decades has been the rise of Islamic banking, with $822 billion worth of assets being managed in banks compliant with Islamic principles around the world by 2009, according to banking industry publication The Banker.
The work of any Islamic bank is based on sharia norms, which prohibit charging or paying interest (riba), require it that transactions be linked to real assets and ban speculation. In addition, Islamic banks do not finance alcohol, tobacco and gambling business or the production of pork.
However, although the sector has been forging ahead in many parts of the world, including many western countries, sharia-compliant banks have found the going tougher in Russia. The country's first Islamic bank, Badr-Forte, appeared back in 1991, but five years later it was stripped of its license by the Central Bank "in connection with the bank's failure to implement federal laws …and the repeated violation during the course of a year of the federal law "On counteracting the legalization (laundering) of criminal proceeds, and the financing of terrorism".
Since then there have been no attempts to establish a purely Islamic bank in Russia. However, several organizations that function in a similar way to Islamic banks have appeared in the country during the last five years.
Islamic banks in Russia are in a rather tricky position from the point of view of their legal status, taxation and contractual relations. However, the sector is now being actively developed and shows promise for the future.
A partnership, not a bank
The main difficulty that Islamic banks come up against in Russia is that under the law on banks and banking, a loan is a paid service. Whereas under the requirements of Islamic economics a loan is granted free of charge, explains the head of the economic department at the Russian Council of Muftis, a member of the coordination council of the Russian Association of Experts in Islamic Finance, Madina Emirovna Kalimullina.
Since Islamic banks do not view granting loans as a source of profit, their work is limited to two areas: joint ventures, i.e. direct investment and shareholdings (mudaraba and musharakah), and trade, i.e. selling goods at a mark-up (murabahah). However, Russian laws limit banks' rights to have shareholdings and engage in trade, which creates challenges for Islamic banks in the country.
"In order to overcome these restrictions, entities are set up not as banks but as other legal forms, for example trust partnerships, partnerships, trade companies, consumer societies, etc., which perform the functions of Islamic banks," Kalimullina explains.
However, she adds, to have full-fledged operations, these entities need to be able to provide cash and settlement services and be able to perform other, purely banking, operations. That is why the issue of creating the necessary legal framework for Islamic banking in Russia is very much on the agenda.
In addition to difficulties in the legal field, Islamic banks also have to deal with the problem of additional taxation on financing. Ordinary banks are exempt from VAT on financing, whereas Islamic financial institutions have to bear an additional tax burden since they buy and resell assets.
"Under sharia law, one cannot sell goods that one does not own. If a company needs money to purchase equipment, a bank buys the necessary equipment and sells it at a premium," explains Isa Maadinovich Maadinov, manager of the Masraf financial house. In Western countries, there are special tax breaks for transactions like these.
Different investment, different contracts
Another area that is impossible in Russia is mutual investment in banks in the form that is natural for Islamic finance. According to Kalimullina, an Islamic bank is similar to an investment or a management company. Its mutual investment structure is similar to that of trust management or buying units in an investment fund.
"Islamic banking is based on principles of cooperation between the bank and the client on a project. It follows that the bank shares profit from the project with the client. The client knows what project the bank invests in and fully shares in the risks," says Investcafe analyst Mikhail Kuzmin, adding that Islamic banks usually invest in real estate and target-specific projects.
As for contractual relations, Islamic banks are banned from changing contract terms and charge interest on an overdue payment, which some unscrupulous clients often take advantage of.
"Honesty – this is our problem," says head lawyer at the Tatarstan International Investment Company, Maya Mazo. "To avoid complications, we pay particular attention to checking our counterparties. Our partners' managers must adhere to sharia norms, this is the only way we could guarantee that all obligations will be met."
The sector is ready to develop
Despite all the difficulties, Islamic banks in Russia are determined to stick to their principles. "We are not afraid of sharia norms. What we are afraid of market-economy norms and the danger that Islamic banks may not be able to survive the competition," says Masraf manager Maadinov.
Russia has made some headway in developing Islamic banking: Contacts with foreign Islamic organizations have been established; an expert community has been built; Islamic economic education and training programs have been developed, and efforts have been made to widen awareness of the norms of Islamic financial operations.
Of the Russian regions, Tatarstan has the best developed Islamic banking sector. The Volga republic accounts for a third of all sharia transactions in Russia, to the tune of $1-2 billion. In experts' estimates, the market of Islamic financial instruments has a development potential of $1,500 billion.
"There are prospects but without support from the state, we are unlikely to succeed. As far as I am aware, the Central Bank has already received a query on providing incentives for this sector. The establishment of the Eurasian Union should promote the development of Islamic instruments," Maadinov concludes.
Source: R&I Report
TagsIslamic Banking Russia • Madina Emirovna Kalimullina • Russian Association of Experts in Islamic Finance • Russian Council of Muftis
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Hyalinia rubicola är en svampart som först beskrevs av Cooke & W. Phillips, och fick sitt nu gällande namn av Jean Louis Emile Boudier 1907. Hyalinia rubicola ingår i släktet Hyalinia och familjen vaxskålar.   Inga underarter finns listade i Catalogue of Life.

Källor

Vaxskålar
rubicola

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Pre-Meeting work session and officers arrive by 7:00pm. Meeting starts at 7:30pm.
This is the monthly business meeting for the group.
The meeting consists of officer reports, event reports, discussion of Baronial involvement at the Kingdom Level, new officers discussion, and announcements.
Baronial decisions are made here, and you do have a voice.
Everyone is welcome (and encouraged) to attend the meeting!
Contact the Seneschal for details.
(From Verdugo, turn North onto California and we are on the right hand side, half way down the block).
These classes cover a general overview of the SCA and the types of events we hold in Caid. Please bring your questions and wonderful smiles. We look forward to seeing everyone there!
Contact the Chateline for details.
Almost every Monday night we gather at Verdugo park for Fighter Practice (Armored Combat, Rapier, Unarmored Combat, Youth Combat), Arts & Sciences Activities (Belly Dance Practice, Culinary Guild Potluck), Newcomers Meetings, and just socializing.
Come on down and participate in the activities, hang out, bring a project to work on, or chat with fellow Altavians.
Non-meeting days include Monday holidays and the few days we get rained out … updates about the Fighter Practice nights are posted on the Altavia Email list.
Bring your sewing or craft project to work on or help us make Baronial Presentations. The meetings sometimes have a project theme, which is usually published on the Altavia E-mail list or the Altavia Facebook group.
This way you can relax & listen, perform, hear your favorites, or mix it up.
Contact Baron Charles, Baron Robear, or The Arts and Sciences officer for the address, directions, and further information.
Watch the Altavia Email list, the Altavia Facebook group, or contact the Arts & Sciences Officer for the latest information.
Special interest group for All Things Delicious to eat and drink.
Everyone is welcome in our discussions of recipes, historical research and events based around the food and beverages of the Middle Ages and Renaissance.
For more information contact the Guild through their Facebook page or via Email.
Contact Baroness Asakura no Mashi for meeting times and location.
Youth activities are held at every event that Altavia sponsors.
Contact the Youth Activity Officer for information or offers to help.
Contact the Captain of Archers for more information and for loaner gear.
Contact the Heavy Weapons Marshal for more information or to request to join the practice information E-mail list.
Contact the Thrown Weapons Marshal for more information, to arrange for loaner gear, and to verify dates and times.
Contact the Youth Combat Marshal for more information.


Descr. Cact. Nov. 226. 1936 [12 Feb 1936] Backeb.
Origin and Habitat: Córdoba (Patagonian Andes), in central-west Argentina.
Altitude range: 500-1400 metres above sea level.
Description: Acanthocalycium spiniflorum f. violaceum (lilac flower cactus), best known as Acanthocalycium violaceum , is one of the forms of Acanthocalycium spiniflorum which is a widespread and morphologically variable taxon. It is a globular to elongated cactus about 10-15 cm cm wide in time but will seldom offset. It is distinguished from the type species for its delightful pale-lilac flowers and ribbed body armed with dense yellow or honey-coloured spines, but most botanist agree on the fact that all the varieties described until now should all be included in the Acanthocalycium violaceum . The flowers appear most heavily in spring and summer. There are also forms with white flowers and the yellow spination can be sparse or more dense and long.
Stem: Solitary to slowly clumping, globular to elongated, 20-60 cm tall, 10-15 cm thick, pale green to dull green.
Ribs: Numerous, 15 to 20, acute, 1 to 1.5 cm high notched, at the areoles.
Areoles: 1.5 to 2 cm apart, round, whitish when young, rather large.
Spines: 10-12 (-20) per areole, dense, thin to strong, needle-like, straight or curved, more or less spreading, yellowish to honey-coloured (or pale-brown) up to about 3 cm long. Central spines 3 or 4, developing later, yellow tipped brown, up to 4 cm long.
Flowers: Trumpet-shaped, erect, somewhat variable from one plant to another, mostly light liliac-violet but sometime almost white 4 cm to 7,5 cm long and long and c. 6 cm wide, and appear in a ring close to the apex during late spring and summer. Ovary and tube with pointed spinescent scales and whitish hair or wool; the inner petals of a tender violet colour, hairy at the throat.
Blooming season. Late spring to early summer. It starts blooming at around 8 cm in diameter.
Acanthocalycium spiniflorum f. violaceum (Werderm.) Donald: has pale-lilac flowers and ribbed body armed with yellow or honey-coloured, spines. Distribution: Córdoba, Argentina.
Notes: The feature distinguishing Acanthocalycium from its relatives is the spiny bud which gives it its name.
Cultivation and Propagation: Acanthocalycium spiniflorum f. violaceum belongs to a group of very easily cultivated plants, even during winter the plant is attractive, and the stout yellow spines show up well against the dark green of the stem. The violet flower of this form is unusual in the family Cactaceae, making it a popular plant to cultivate. It is more cold tolerant than most cacti and less fussy regarding soil conditions. It is the most commonly encountered species, and perhaps the most attractive. The flowers are somewhat variable from one plant to another, sometimes being almost white, so it is advisable either to purchase a plant in flower or to grow several from seed to select a good liliac form.
Growth rate: It is a relatively rapidly growing and easily flowering species. The larger these plants are when they placed in the garden, the more likely they are to survive. They are much more vigorous in the garden if they are not allowed to remain dry for long periods during the growing season.
Propagation: Direct sow after last frost. Seeds germinate in 7-14 days at 21-27° C in spring, remove gradually the glass cover as soon the plants will be well rooted (ca 1-2 weeks) and keep ventilated, no full sun for young plants! This cactus does not offset easily, certainly not as a young plant; many apparently solitary plants do occasionally form offsets with age.


Living with M.E and chronic illness can feel like a see-saw act of creeping backwards and inching forward again as symptoms fluctuate throughout the day.
Having a shower (never mind a hair wash) feels like a major event, and days can pass when it's easy to forget what fresh and clean means in a conventional western world sense.
Similarly, in the home, one may have to become accustomed to layers of stuff littering surfaces already covered in a patina of dust. Unless, of course, lots of help is available from family, friends or external sources.
It becomes a question of dropping standards or drooping with fatigue.
This isn't laziness. It's all about priorities and using up precious resources.
When every action uses up valuable energy it means deciding between sitting around in PJs typing away or instead getting oneself spruced up and presentable.
It becomes a daily tug of war between desire versus duty, reward over responsibility and balance against burn-out. Payback is always pervasively present.
Every activity, (physical or mental) however minor it may seem, causes a degree of reactivity. No pain, no gain, apparently.
And sometimes? Sometimes you will find me here because I have words God gives me that I ache to share.
And sometimes, yes, I spend more spoons/energy and time on social media than I should, because it's a wonderful distraction from ever-present pain and physical limitations and a place where supportive friendships have been formed.
Yet even typing is no mean task when hands are cramped and stiff, arthritic, weakened by M.E.
But the rewards? Incalculable, if not easily definable.
Writing gives me a voice when my own is too weak to speak.
Writing is a wonderful creative outlet that helps me to express a side of myself that lay buried for years.
Writing is a gift that can be used to bless and encourage others and let them know they're not alone with their struggles.
I've been creeping backwards and inching forwards since I've been blogging. Preparing this new site for Words of Joy has taken months, even with help, and is still very much a work in progress.
Because I can't hurry. Everything takes much longer than anticipated.
Although I've been ill for over 20 years, the unpredictability of symptoms means that every day is different.
Some days cognitive function is poorer, on others pain is more pervasive, hypersensitivity is crippling or fatigue excessively high.
Aiming to have a life of purpose when you live with pain and incapacity requires an enormous amount of determination and patience.
I have heaps of the former and precious little of the latter, but I'm learning how to wait out the seasons and look for small signs of fruit appearing.
And my reason for sharing a snippet of my life with M.E and chronic illness is to say that you too can take heart in the little things, the green shoots barely there, the harvest still to come.
We all have periods, seasons even, where we feel stuck, stalled and slowed down, longing for forward momentum, to give birth to our dreams.
However, with God, nothing in our lives is ever wasted. Fallow or reaping times alike, it's all useful for our growth and development, wisdom and learning.
It is manna to give away, to sow into the lives of others. It's a means of grace.
We need to be aware that this life is not a race and not always given over to the swift and the strong either. Remember the hare and the tortoise story?
Keep on inching forward, my friend. You are still making progress, no matter how slow it seems.
Try not to worry when there's a dip, a droop, a delay or derailment.
You may creep backwards sometimes, and that's okay. God is still on the job, still working in and though all things for your ultimate good. And, inch by inch, you are still moving forward. Hang in there!
How do you cope with slow seasons in life?
What helps you to stay encouraged when progress is halted?
Beautifully put, Joy, as always. I find that using my energy-spoons, on days when it's possible, to create words, poems, fiction, liturgy, photos etc has always been, for me too, a sweet sowing of slow-growing seeds that bloom over time, often unseen, gently giving back to me, in unexpected ways, encouragement and special moments straight from His heart of love. Bless you for all you share.
One thing that helps me in those seasons is remembering it's just that…a season and it will move on to a new season so how can I grow on the season I'm in now?
Beautifully and well said….So grateful nothing is wasted…I appreciate your honesty and your wisdom and the visual of creeping backwards, inching forward…Thank you!
I love your optimism, Joy, as I know it's not easy when you feel bone weary. This especially encourages me – "However, with God, nothing in our lives is ever wasted. Fallow or reaping times alike, it's all useful for our growth and development, wisdom and learning." And that God is always working for our ultimate good. Thank you.
I love these words of yours: ". . .you too can take heart in the little things, the green shoots barely there, the harvest still to come." I handle the hard stuff the way you do – writing. Your words bless me. Thank you for them!
I have fibro so I understand how a chronic illness can slow things down to almost a crawl. There have been frustrating times because I cannot do all I used to do. So when I finally get a post out it is a huge deal for me…and when I get folk reading and commenting..well that makes my day. but if no one read I would still feel pretty good about it since it is very good therapy for my soul. Good post.


text:
Q: The syntax about While loop in Ruby I'm practicing the While Loop in Ruby and got a basic example as below
i = 3
while i > 0 do
  print i
  i -= 1
end

My question is why I can't interchange do..end with {} as if I rewrite the above code as below it doesn't work anymore
i = 3
while i > 0 {
  print i
  i -= 1
}

However, it seems to work without the first "do"
i = 3
while i > 0
  print i
  i -= 1
end

Could anyone explain the rule or redirect me to the right resource? Thx!

A: As you said do is optional for while loop. While keyword is enough to define a block which is finished with end like any other block in ruby. In addition, end is mandatory for while block.
If you want to use while on just one line you can do such as below:
    i = 0
    i += 1 while i < 10

A: While mandatory needs end in Ruby.
Syntax example
do is optional and can be omitted.
So, it is not the case where pair do - end can be replaced with {}

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Uses of Class org.apache.hadoop.mapreduce.JobID (Apache Hadoop Main 2.5.2 API)
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Uses of Class
org.apache.hadoop.mapreduce.JobID

Packages that use JobID

org.apache.hadoop.mapred

org.apache.hadoop.mapreduce

org.apache.hadoop.mapreduce.lib.jobcontrol

Uses of JobID in org.apache.hadoop.mapred

Subclasses of JobID in org.apache.hadoop.mapred

 class
JobID

          JobID represents the immutable and unique identifier for
 the job.

Methods in org.apache.hadoop.mapred with parameters of type JobID

static JobID
JobID.downgrade(JobID old)

          Downgrade a new JobID to an old one

Constructors in org.apache.hadoop.mapred with parameters of type JobID

TaskID(JobID jobId,
             boolean isMap,
             int id)

          Deprecated. Use TaskID.TaskID(String, int, TaskType, int)

TaskID(JobID jobId,
             TaskType type,
             int id)

          Constructs a TaskID object from given JobID.

Uses of JobID in org.apache.hadoop.mapreduce

Methods in org.apache.hadoop.mapreduce that return JobID

static JobID
JobID.forName(String str)

          Construct a JobId object from given string

 JobID
TaskAttemptID.getJobID()

          Returns the JobID object that this task attempt belongs to

 JobID
JobStatus.getJobID()

 JobID
JobContext.getJobID()

          Get the unique ID for the job.

 JobID
TaskID.getJobID()

          Returns the JobID object that this tip belongs to

Methods in org.apache.hadoop.mapreduce with parameters of type JobID

 Job
Cluster.getJob(JobID jobId)

          Get job corresponding to jobid.

 String
Cluster.getJobHistoryUrl(JobID jobId)

          Get the job history file path for a given job id.

 org.apache.hadoop.mapreduce.v2.LogParams
Cluster.getLogParams(JobID jobID,
                         TaskAttemptID taskAttemptID)

          Get log parameters for the specified jobID or taskAttemptID

Constructors in org.apache.hadoop.mapreduce with parameters of type JobID

JobStatus(JobID jobid,
                   float setupProgress,
                   float mapProgress,
                   float reduceProgress,
                   float cleanupProgress,
                   org.apache.hadoop.mapreduce.JobStatus.State runState,
                   JobPriority jp,
                   String user,
                   String jobName,
                   String jobFile,
                   String trackingUrl)

          Create a job status object for a given jobid.

JobStatus(JobID jobid,
                   float setupProgress,
                   float mapProgress,
                   float reduceProgress,
                   float cleanupProgress,
                   org.apache.hadoop.mapreduce.JobStatus.State runState,
                   JobPriority jp,
                   String user,
                   String jobName,
                   String queue,
                   String jobFile,
                   String trackingUrl)

          Create a job status object for a given jobid.

JobStatus(JobID jobid,
                   float setupProgress,
                   float mapProgress,
                   float reduceProgress,
                   float cleanupProgress,
                   org.apache.hadoop.mapreduce.JobStatus.State runState,
                   JobPriority jp,
                   String user,
                   String jobName,
                   String queue,
                   String jobFile,
                   String trackingUrl,
                   boolean isUber)

          Create a job status object for a given jobid.

TaskID(JobID jobId,
             boolean isMap,
             int id)

          Deprecated.

TaskID(JobID jobId,
             TaskType type,
             int id)

          Constructs a TaskID object from given JobID.

Uses of JobID in org.apache.hadoop.mapreduce.lib.jobcontrol

Methods in org.apache.hadoop.mapreduce.lib.jobcontrol that return JobID

 JobID
ControlledJob.getMapredJobId()

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Art is not just pretty wall décor – I believe art can change the world. The Beatles found a new sound, made catchy melodies that captured the imagination of our nation, and in one decade they radically changed American culture. I've been in small towns where the downtown murals tell you when you drive through, "This town is important, our roots are important, and we are making a difference." Sometimes art mirrors society, but sometimes art molds society and brings social change. I believe all of us as artists can help bring positive social change to our cities and regions.
Art tells us where we came from, and it can tell us where we are going. A walk through the galleries of our city tells us something about our city's values and culture. What do we value? Where are we going? As a culture we have pursued knowledge and pleasure. What would happen if we encouraged people – through our art – to pursue beauty and truth?
What do you find beautiful? Beauty touches the soul and awakens something in us. I feel more alive after walking through an art gallery – or a home, or a forest – filled with beauty. I believe it's why 12 million people each year visit Niagara Falls – beauty refreshes, inspires, awakens. Because beauty is powerful, art is powerful.
I don't start a painting hoping to change the world with it, I start it because I like the play of light across a frost-covered field, or the way the water reflects and softens the scene behind it. But I am aware that art has tremendous influence. And as an artist I want to use my influence with wisdom.
I love this because it fully defines how a renewed mind transforms a person, which will transform a city, which will transform a region and then the whole country! All from something that what seems these days to be hidden yet so impactful. I went into an art gallery in Jacmel, Haiti a few weeks ago. It's a southern coastal town of Haiti with only one main paved road to get there. The art gallery immediately reflected the history of Haiti and how voodoo was at the core of the heart. What was really interesting the art was made to seem like voodoo was fun and exciting using bright colors and things like people dancing and smiling but after looking at them more in detail you can see the underlying message and truth each print defines. I would love to one day walk into a gallery in Haiti or other countries like Haiti and see a transformed way of painting where the beauty of how the earth was created and the people placed there to reflect their creator.
Let's be a part of that transformation, what do you say? I believe you and me and others like us will have a voice to the artists of Haiti, and I believe we will see galleries in Haiti one day filled with art that sparkles with the glory of God. Great to hear from you!


text:
A Bielorrússia é uma república presidencial com um parlamento bicameral. O Presidente da Bielorrússia é o chefe de Estado. O poder executivo é nominalmente exercido pelo governo, em seu topo está um primeiro-ministro cerimonial, nomeado diretamente pelo Presidente. O poder legislativo é de jure investido no parlamento bicameral, a Assembleia Nacional, no entanto o presidente pode promulgar decretos que são executados da mesma forma que as leis, por tempo indiscutível.

Durante a era soviética, a Bielorrússia tinha sistema político que era constitucionalmente definido como uma república socialista marxista-leninista do partido único. O único partido legal foi o Partido Comunista da Bielorrússia (PCB), que foi permitido de acordo com a constituição.

A declaração de soberania da Bielorrússia em 27 de julho de 1990 decorreu de reações a eventos nacionais e estrangeiros. Em particular, a declaração de independência da Ucrânia levou os líderes da então RSS Bielorrussa a perceber que a União Soviética estava à beira de dissolver.

Após a criação de uma república em 25 de agosto de 1991, Stanislav Shushkevich foi escolhido para ser o primeiro líder bielorrusso e ocupou esta posição até 1994. Shushkevich esperava guiar o país para longe de seu passado soviético e apoiou reformas democráticas. Seu sucessor, Alexander Lukashenko, ao assumir o cargo em 1994, começou a reintegrar as funções da era soviética e reintroduziu os símbolos da Bielorrússia soviética.

Lukashenko lidera um governo autoritário e tem sido frequentemente referido pelos meios de comunicação como "o último ditador da Europa". As eleições não são consideradas livres e justas pelos monitores internacionais, os opositores do regime são reprimidos e a mídia não é livre. A política bielorrussa agora assenta cada vez mais numa expansão do parque industrial existente no país, muito por força das decisões de Lukashenko em se unir cada vez mais a Rússia, nos moldes da antiga União Soviética.

Ver também
 Assembleia Nacional da Bielorrússia

Ligações externas

 Site da Câmara dos Representantes da Bielorrússia
 Site do Conselho da República da Bielorrússia

bn:বেলারুশ#রাজনীতি


Some improvements have been made to the fittings and doctrines area to improve the visiblity and management of fittings and doctrines.
The fittings list can be filtered by doctrine.
The fittings list can also be filtered for fittings that are not used in any doctrines, which is useful for clean-ups.
Various other small changes have been made, a full list can always be found in the change log. If you have any feedback at all on these changes please get in contact.


text:
September 16th – October 10th 2015
Hans Feurer « Exposure ».
Mead Carney and André Werther are proud to present 'Exposure', a retrospective of iconic works by legendary fashion photographer Hans Feurer.
Hans Feurer is considered one of the leading figures in fashion photography. His genre-defining career spans fifty years; from his famous shots of 1960's 'Swinging London', the 1970's Nova campaign and the revolutionary 1980's KENZO campaigns, as well as numerous collaborations with the world's most respected fashion publications including ELLE, VOGUE and NUMERO.
« Fashion has always fascinated me and I've always tried to understand the dream behind the images – and these photographs are kind of dream projections, you know? Of what one could be, of where one's desires might lead you. »
Instantly recognisable characteristics of Feurer's iconic photographs are intense natural settings bathed in a contrasting play of light and shadow and a bold juxtaposition between layers of rich fabric and the female form, all rendered in lush, cinematic colours with minimal retouching, leading to a prolific body of work; a world of authentic images, naturally lit and equally expressive, as they are alluring.
Feurer's time spent travelling across Africa for two years in the late 1960's was a crucial catalyst of the visual aesthetic that has come to define his work.
It was in Africa that Feurer discovered his exceptional sensibility for light and his love for the natural wonders of the continent. Strong influences of his travels are evident in the inherent sense of adventure Feurer's images convey, as well as the raw, expressive quality of his photographs.
Feurer's female figure is strong and ferocious, sensual and uninhibited, moving effortlessly, her expressions reflecting intensity and vigour. Crucial to Feurer's work is to capture a very particular moment where an emotion reveals itself in the movement of the model and the scene truly comes to life. « I don't do sterile, formal pictures », Feurer describes his process of capturing that elusive moment. « I like to make pictures that provoke an emotion and affect you in your feelings. For that, both the woman and the clothes need to come alive. »
In the 1980's, the collaborations between designer Kenzo Takada and Hans Feurer marked a turning point in contemporary fashion photography. The era-defining advertising campaigns for KENZO, featuring super model Iman, subverted traditional campaign imagery through Feurer's use of a new global aesthetic of culture looking further afield for inspiration.
Thirty years later, this powerful creative partnership between Feurer and Kenzo acted as a fundamental inspiration for Kenzo's A/W 2013 collection and the subsequent book launch at KENZO in London, featuring one hundred and seventy five of Feurer's most iconic images to illustrate his remarkable career.
Private View: 21th September 6.30–9pm
Mead Carney Fine Art, 45 Dover Street, Mayfair London, W1S 4FF www.meadcarney.com
March 19th – July 19th 2015
Yves Saint Laurent 1971 : La Collection du Scandale
The Fondation Pierre Bergé – Yves Saint Laurent is now revisiting the collection with an exhibition opening Mar 19.
Curated by Olivier Saillard, the director of the Palais Galliera, the premier museum of fashion and fashion history in Paris, Yves Saint Laurent: La Collection du Scandale will bring together original sketches, clothing, embroidery samples, and accessories along with archival photographs taken at the original 1971 couture presentation.
The collection marked a shift in Yves Saint Laurent's trajectory, wrote Saillard: "It was the manifesto of a designer who now wanted to be the arbiter of ambiguity. It was a rough draft of the maturity to come."
"Retrospective in its inspiration, it placed the historical exercise at the heart of the creative process in a new and different setting. Providing the carbon paper for the 'retro' fashions that were about to sweep across the second half of the twentieth century, the 1971 collection was the mirror that chased a disappearing world from its frame in order to welcome the reflection of a new generation." Saillard explained.
www.fondation-pb-ysl.net
January 22nd – March 15th 2015
Hans Feurer : Fashion without a Label.
The upcoming show will feature 23 images tracing the milestones of Feurer's long-lasting, successful and enduring career, spanning almost five decades. A wide variety of works will be shown; including iconic pictures from the renowned Pirelli Calendar shot in 1974 and a selection of rare vintage photographs from the 1970s.
Qvale Galleri : Vibes gate 10, 0356 Oslo – E-mail : post@qvalegalleri.no
Phone : ( + 47 ) 924 99 226/ 934 26 205 – Web : www.qvalegalleri.no
Sept 18 – Sept 24, 2014
On September 18th 2014 will open in Milan the exhibition dedicated to Hans Feurer, curated by Lele Del Fabbro; the exhibition will be held in the prestigious location "Palazzo della Permanente", under the patronage of Regione Lombardia, Provincia di Milano, Comune di Milano and Camera Nazionale della Moda Italiana.
This retrospective traces back the milestones of his career throughout a selection of 60 photographic shots , starting back from the end of the sixties.
For more info, please contact Mario Rescio at mario@awerther.com
HANS FEURER
On June 4th 2014, RuArts Gallery, with the support of Vogue Russia will hold an exhibition of the world re-known fashion photographer – Hans Feurer. This will be the first time in Russia that Hans shows his work.
"Fashion has always fascinated me and I've always tried to understand the dream behind the style of clothes – and these photographs are kind of dream projections, you know? Of what one could be, of where one's desires might lead you".
"Hans Feurer | Fashion without a label"
S P I R I T O DUE
Valentina Ciarallo
Maria Chiara Russo
Opening Saturday 25 January 2014 at 6.00pm
La Pinacoteca del Tesoriere
« Hans Feurer has been a mainstay of fashion photographer since the late 1960's, but despite his influence, this legendary photographer has had no books dedicated to his work–until now. Feurer's career has certainly been an illustrious, star-studded and influential one, and the models who were his subjects, the designers he profiled and the leading publications which featured his work comprise a roll call of the highest echelons of the fashion and magazine worlds »
« Iconic fashion photographer Hans Feurer teamed up with Kenzo to launch his new book.
Last week one of Wonderland's favourite brands, Kenzo, hosted an in-store cocktail to celebrate the launch of fashion photographer extraordinaire Hans Feurer's namesake new book. The photographer worked with all star art director Fabien Baron to create a retroactive look at his work including his work for Pirelli calendars, Kodak and various publications in the likes of Vogue Italia and Elle France.
Hans has a long running history with Kenzo, having shot iconic campaigns for the brand in the 80's. These historic images are also included in the book »
« The legendary Swiss photographer admits he got into fashion to be around beautiful women. And for the past half-century, he's been paying tribute to them with his sensual, free-spirited, and widly influential images -the best of which have finally been compiled into his first monograph. »
« In September 2013, Damiani released Hans Feurer, a career-spanning volume that explores Feurer's innovative use of natural light and environnements in making groundbreaking fashion images that showcase the female form »


text:
Tantal african (Mycteria ibis) este o pasăre din familia Ciconiidae, larg răspândită în regiunile sud-sahariene și Madagascar.

Note

Mycteria
Păsări din Africa
Păsări descrise în 1766


DUSHANBE, TAJIKISTAN (AGENCE FRANCE-PRESSE) - Thirteen members of an Islamist opposition party went on trial Tuesday (Feb 9) in the volatile ex-Soviet republic of Tajikistan, accused of fanning a wave of unrest that killed dozens of people last year. The trial of the 13 on charges including attempts to overthrow the constitutional order and organisation of a criminal group is closed to the public and may last "a long time," a spokesman for the Central Asian state's supreme court told AFP.
Over 50 people were killed during nearly two weeks of clashes last September between security forces and followers of a renegade deputy defence minister, according to the interior ministry figures.
A total of 199 people were arrested over the violence, which claimed the lives of ex-deputy defence minister General Abduhalim Nazarzoda and 37 of his followers as well as those of 14 Tajik troops, the authorities said. Banned by the government last year, the moderate Islamic Renaissance Party of Tajikistan (IRPT) has consistently denied involvement in the clashes, which erupted after Nazarzoda and his followers broke ranks with the government. The United States, European Union and the United Nations have all expressed concern at the banning of the party and arrest of its leadership.
Rights groups have raised fears that the detained IRPT members may be tortured in custody. Critics say the trial is part of the government's attempts to eradicate Islam from public life in Tajikistan, an impoverished country of eight million people that borders Afghanistan. Hundreds of Tajik nationals - including a former special forces chief - are believed to have joined the Islamic State Group in Iraq and Syria.In recent times, there have been reports of Tajik police carrying out forced beard shavings and restricting Islamic clothing while lawmakers have voted to ban Arabic and other "non-Tajik" names for children.


thomas pfau is the Alice Mary Baldwin Professor of English at Duke University and professor of English and Germanic languages and literatures and in the Duke Divinity School. His most recent book, Minding the Modern: Human Agency, Intellectual Traditions, and Responsible Knowledge, appeared in 2013.
Novel (2015) 48 (1): 136-139.


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A cet ritkán előforduló címerkép a heraldikában. Valamivel gyakoribb az északi országok heraldikájában, a baszk területeken (ahol Európában valószínűleg először jelent meg a bálnavadászat) és a modern címertanban, ott is a kommunális heraldikában.

Egykor halnak vélték, ezért pikkelyes testtel ábrázolták, a szájában gyakran hosszú agyarakkal vagy fogakkal, füllel (és gallérral), bika- vagy kígyófejjel. Az efféle ábrázolások abból adódnak, hogy egykor a legtöbb heraldikus vagy címerfestő egyáltalán nem látott valódi bálnát a természetben, ezért annak képi megjelenítését erősen befolyásolták a bestiáriumok leírásai és a cethez kapcsolódó hiedelmek. A heraldikában, főleg a mai modern címertanban, előfordulnak a különféle cetfajták nem-stilizált, természetes alakjának megfelelő ábrázolásai is, gyakran a légzőnyílásból szökőkútszerűen kilövellő vízzel. Az angol heraldikában előfordul sisakdíszként is, valamint megtalálható a Whalley család és a hasonló nevű apátság címerében, melyek nyilvánvalóan beszélő címerek, továbbá Biarritz 14. századi címerében.

A Talmud szerint a Leviathan rettenetes bálna, melyet a régi csillagászok a Sárkány csillagképpel azonosítottak. Ezért egyes heraldikai bálnaábrázolásokat, főleg azokat, melyek pajzstartóként szerepelnek, könnyű összetéveszteni a sárkánnyal (vagy a [tengeri] kígyóval), mert pikkelyes teste nagyon hasonlít ahhoz, de általában nincsenek lábai. Ilyenek pl. a nagyszalatnyai Fischer család 1692-es bárói címerének pajzstartói, a két összekulcsolt halszörny (marina monstra piscium figurae haud absona) is. Más bálnafajták régen két, ritkán négylábúak voltak, mint pl. a fent nevezett címer egyik változatának pajzstartói. A báró Fischer család pajzstartó halszörnyeinek fókaszerű fejformája megegyezik az Adriaen Coenen (1514 - 1587), holland természetbúvár Visboeck (1585) című művében látható egyik halszörny ábrázolásmódjával. Coenen a tengeri szörnyek képét Conrad Gessner (1516–1565), svájci humanistától és természettudóstól vette át, az ő forrása pedig valamilyen bestiárium lehetett. Átvette Olaus Magnus tengeri szörnyeit is. Miként az a báró Fischer család címerének példáján is látható, a halszörnyek ábrázolásmódja általános mintát követhetett és a bécsi udvar címerfestői is ezen mintákhoz fordultak a különleges címerállatok megrajzolásánál.

A cet (a delfin és más halak) a címerleírásban lehet nyitott szájú (de: abgestanden), ha kitátott szájjal ábrázolják, valamint uszonyú (de: beflosset, berundelt, gefiedert), ha a testétől eltérő színű uszonnyal (és/vagy farokkal) ábrázolják (pl. vörös uszonyú aranycet). A francia heraldikában a bálnát vörös fogakkal ábrázolták és ezt "fogú"-nak (fr: fierté) nevezték. Gyakran fierté a vörös fogú, uszonyú és farkú cet is a francia heraldikában.

A morhon a bestiáriumokban bálnaszerű lény, melynek két kifúvónyílása és oroszlánszerű sörénye van. Ritkán előfordul sisakdíszként az angol heraldikában. (Coenen Visboeck című művének bálnája is hasonlít hozzá.)

A kanadai heraldika újítása az ogopogo pajzstartó, egy szörny, melyet a 19. században láttak New Brunswick egyik tavában. Átmenet a bálna és a sárkány között. Mellső lábai is vannak.

A cet szimbolikája

A cet régen olyan víziszörny volt, mely az alsó, az alvilág, a déli égbolt, a külső hideg és sötétség, a tél, a halál megtestesítője. Pozitív párja a delfin volt. A régi hiedelmek szerint más állatokhoz (bika) hasonlóan a Földet egy vagy több óriáscet hordozza a hátán. A középkori művészetben gyakran ábrázolták a pokol bejáratát a halszörnyeteg nyitott szájaként. Ugyanakkor a Jónást elnyelő cet, melyet a középkori ábrázolásokon több állat testrészeiből állítottak össze, a saját testén belül óvja meg a háborgó tengerbe vetett prófétát, majd biztonságosan partra teszi.

A különféle tengeri szörnyekről Abraham Ortelius Islandia című térképe (1585) ad képet, mely Theatrum orbis Terrarum (Antwerpen, 1587) című atlaszából való. (A holland mellett több kiadása is ismert: 1585, 1587, 1590 [latin], 1591 [német], 1592 [latin], 1595 [latin], 1598 kétszer [egyik francia], 1601 [latin], 1602 [spanyol és német], 1603 [latin], 1606 [angol], 1608/1612 [olasz], 1609/1612 [latin], 1609/1612/1641 [spanyol].) A térkép hátulján a nagybetűkkel jelölt 13 tengeri szörny leírása is szerepel, melyek közül sokat vett át Olaus Magnus, Carta Marina (1539) című térképéről, de Olaus Magnus egyes szörnyei megtalálhatók Adriaen Coenen könyvében is. A bálnák egyes fajtái között vannak olyanok, melyeket négy lábbal, két mellső lábbal vagy lábak nélkül ábrázoltak.

Ortelius Islandia című térképének változatai és tengeri szörnyei

Olaus Magnus Skandinávia térképe (Carta Marina, 1539), annak egyes földrajzi területei és azok tengeri szörnyei

Jegyzetek

Kapcsolódó szócikkek

delfin (heraldika)

Heraldika


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Effective community engagement is an important legal, ethical, and practical prerequisite for conducting field trials of genetically modified mosquitoes, because these studies can substantially impact communities and it is usually not possible to obtain informed consent from each community member.
Researchers who are planning to conduct field trials should develop a robust community engagement strategy that meets widely recognized standards for seeking approval from the affected population, such as timeliness, consent, information sharing, transparency, understanding, responsiveness, mutual understanding, inclusiveness, and respectfulness. Additional research is needed on the effectiveness of different methods of engaging communities in field trials of genetically modified mosquitoes and how to respond to public opposition to genetically modified organisms.
For research programs involving the genetic modification of disease vectors to move forward, they must have public acceptance and support, which cannot be achieved without effective community engagement.
Dr. Resnik is a bioethicist and Institutional Review Board chair at the National Institute of Environmental Health Sciences, National Institutes of Health. He has published 9 books and over 250 articles on ethical, legal, and philosophical issues in science, medicine, and technology. He serves on several editorial boards and is an Associate Editor of the journal Accountability in Research. Dr. Resnik is also Chair of the NIEHS Institutional Review Board (IRB) and a Certified IRB Professional.