A n international education expert, Henri ("Henk") Ankoné, will meet with Philippine educators and school administrators in a CFA-sponsored workshop, "The Challenges of K-12." The workshop is scheduled on October 14, 2015 in CFA's Lagerwey Hall in Sta. Mesa, Manila.
Resource speaker Henk Ankoné is a consummate educator. His fields of expertise include curriculum development (from the national level to the classroom level), school development, teacher training/coaching, development of teaching resources and skills based teaching and learning. Henk's fields of interest cover a wide range of subjects, including geography, earth science, environmental studies, sustainable development, and human rights education. He has helped bring about educational innovations and reforms not only in his native Netherlands, but also in neighbor-countries in the European Union, the Russian Federation, Hong Kong, China, the Caribbean and the Philippines. Henk earned master's degrees in geography (Katholieke Leergangen Polytechnic, Tilburg) and in Civics (Radboud University, Nijmegen) and a diploma in school management (Tilburg Institute of Advanced Studies), all in the Netherlands.
To register, or for more info, contact: 713-2981, Ext 182 (Me-Ann) or Ext 503 (Cha). Or E-mail maryannques@gmail.com. You may also register online at http://bit.ly/1Vk33zy.


A darkly comic tale about the pursuit of fame and eternal youth, set to an infectiously melodic electro-pop musical score!
The production combines vibrant, engaging performances and choreography with instantly memorable pop tunes.
It particularly appeals to lovers of electronic pop music with a 1980s/90s flavour and a strongly melodic content, LGBTQ+ audiences, fans of musical theatre and anyone looking for a thought-provoking and entertaining theatrical experience.
'Immortality' is a new musical from award-winning writer, Mark Andrewes.
It is a darkly comic tale about the pursuit of fame and eternal youth, set to an infectiously melodic electro-pop musical score!
The show tells the story of Robert Rugley, a middle-aged office worker, who has for many years tried and failed to make a career as a singer-songwriter.
Despite thinning hair and an expanding waistline, he still dreams of one day being recognised for his musical talents, but the reality of being trapped in a tedious job with no prospect of escape has gradually led him into depression and thoughts of suicide.
Exploring issues of age discrimination and superficiality in popular culture, the drama examines the nature of the creative calling through the story of one artist's struggle to find purpose in life.


text:
Apple-Samsung patent battle heads to trial
in International Business
In a case prompted by Apple in April last year, the two companies accounting for more than half of all the world's smartphone sales, Apple and Samsung, go head to head in a trial by jury on Monday in San Jose, California, accusing eachother of intellectual property infringement.
Apple is demanding $2.5bn in damages, which may be tripled by the judge if she wishes to punish Samsung for wilful misconduct. If awarded, this amount would be the highest patent related verdict to date.
Apple is accusing Samsung of seven patent breaches, including copying the designs for the original iPhone and the iPad, as well as some user-interface elements.
In a counter-claim, Samsung is accusing Apple of breaching five patent rights, relating to the use of 3G technology, integration of a digital camera and email in a single device, bookmarking a picture in an image gallery, and listening to music in the background while using an app.
The evidence will be heard by the jury over at least four weeks, in what is expected to be a complicated case.
The lawsuits between the firms are likely to continue, regardless of the outcome, with both parties scheduled to attend a separate US hearing on 20 August in another patent dispute.
Apple - SamsungApple and Samsung lawsuitApple vs Samsungpatent battle
International Business 7 years ago
Visa and Mastercard will pay USD 6bn to Retailers
Visa Inc., MasterCard Inc. and banks that issue their credit cards have agreed to a $7.25 billion settlement with U.S.
Greece to get the latest tranche of bailout funds
After weeks of tough talks, Eurozone finance ministers have agreed to approve the third tranche of bailout funds, 37bn Euros,
Apple and Samsung's patent dispute continues
Apple and Samsung are returning to court to establish how much the South Korean firm must pay in damages for
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Mount Eagle Retreat Center is affiliated with the Arkansas Conference of the United Methodist Church. Located in southwest Stone County, this year-round retreat center sits atop a mountain surrounded on three sides by the Middle Fork of the Little Red River. Come enjoy the wonder of nature!
".... The great outdoors is our main facility .... "
Mount Eagle Retreat Center is in the Sally Flats area of southwest Stone County, the foothills of the Ozarks. The property includes 1,002 acres of mostly hardwood forest with 3/4 mile of the Middle Fork of the Little Red River running along the northwest border. The buildings sit on top of the mountain with a view of majestic bluffs and the river 650 feet below.
*Includes overnight, meals, green fees, range balls and golf cart.
Looking for a great opportunity for food, fellowship, worship time, and experience his creation at a stunning location?? This is your opportunity. Come join us at Mount Eagle Retreat Center and enjoy some time on the greens at 2 great golf courses (Mountain Ranch and Tannenbaum Golf Courses). Lunch on your own at the golf course. Grilled Ribeye steaks for dinner on Monday night and all the fixens. If you do not play golf, come for the fellowship, relax, and explore God's creation.


I finally went to Septime, last night. This chic and well-publicized bistro is very difficult to get into, but my friend Émi scored a reservation by calling four or five weeks in advance. It is worth the wait.
A comparison with Chateaubriand, where I was lucky enough to dine last week, is inevitable. Both bistros have a 55-euro menu selected by the chef, with no substitutions permitted except in case of allergies and, at Septime, "strong dislikes" (you're on your own for mere dislikes at Chateaubriand). The food at Chateaubriand is more elaborate and more edgy, but the food is excellent at Septime and its warm service and ambiance make the experience there every bit as enjoyable. Septime's tables and walls are of rough-hewn wood, and the energetic young servers and cooks are a pleasure to watch (I was lucky enough to be facing the open kitchen).
White asparagus with a paper think slice of white turnip and small but significant touches of trout eggs, elder flowers and honey, with amazingly flavorful walnut oil.
Warm poached eggs with pungently sweet caramelized spring onions and sprigs of raw wild asparagus.
Rouget (red mullet) with fennel, black risotto and thick bouillabaisse purée. Lamb cooked in several ways with red beets, red turnips, red radishes and red beet purée: a symphony in red.
Dessert consisting of elder flower ice cream and pink lady apple purée topped with loose crumble (sorry but the apple purée was just apple sauce).
In addition, we shared a cheese course: a perfect duo of artisan chèvre and Roquefort, accompanied by Septime's excellent bread and what remained of our lovely little Saint Romain burgundy. Even with the cheese, we did not feel overly full, due to the lightness of the food and the appropriately small size of the dishes.
Septime is definitely a place to get to if you have a chance. Plan ahead - far ahead - and enjoy.
Septime, 80 rue de Charonne, 75011 Paris (Métro Charonne).
Bob, you've expressed the essence of both Septime and Chateaubriand perfectly! Dinner was delightful, both for the food and the company. Happy to see that my name was "Frenchified" in the post.
I know you enjoyed watching the cooks in the kitchen - the handsome and charming waiters were a lovely added bonus.
Very much looking forward to the next food adventure.


text:
[thursday, january 09, 2014]
Development Update: Thursday, January 9
Updates include: Harry Lloyd first to board WGN America's "Manhattan"; Mark Deklin joins the cast of Lifetime's "Devious Maids"; and Darren Aronofsky inks first look deal with HBO.
HBO Gives "Girls" Early Fourth Season Renewal
Said news comes just a few days prior to its season three launch this Sunday at 10:00/9:00c.
Mark Ruffalo, Matt Bomer, Taylor Kitsch, Jim Parsons and Julia Roberts Star in a Ryan Murphy Film, HBO Films' "The Normal Heart"
Due this May, the project also stars Alfred Molina, Joe Mantello, Jonathan Groff, Denis O'Hare,Stephen Spinella, Corey Stoll, Finn Wittrock and BD Wong.
Mike Judge Takes a Comic Look at World of High-Tech in the New HBO Series "Silicon Valley," Debuting April 6
Thomas Middleditch, T.J. Miller, Zach Woods, Kumail Nanjiani, Martin Starr, Josh Brener, Christopher Evan Welch and Amanda Crew star in the series.
HBO Drama Series "The Leftovers," from Damon Lindelof and Tom Perrotta, Begins Production Early This Year for Summer Debut
The ensemble cast includes Justin Theroux, Amy Brenneman, Christopher Eccleston, Liv Tyler, Charlie Carver, Max Carver, Carrie Coon, Ann Dowd, Michael Gaston, Emily Meade, Annie Q, Margaret Qualley, Amanda Warren and Chris Zylka.
HBO's Emmy(R)-Winning Drama Series "Boardwalk Empire" to Return for Fifth and Final Season This Fall
"After much discussion with my creative team and HBO," said Terry Winter. "We've decided to wrap up the series after such a great run and look forward to bringing it to a powerful and exciting conclusion."
HBO Confirms Debut Dates for Returning Series "Game of Thrones," "Veep" and "Vice," and New Series "Silicon Valley"
"Game of Thrones" returns Sunday, April 6 at 9:00/8:00c followed by "Veep" and "Silicon Valley."
"Ghetto Klown," John Leguizamo's Fifth HBO Solo Special, Debuts March 22
"John Leguizamo's one-man shows are always electrifying, thought-provoking entertainment," notes Michael Lombardo, president, HBO Programming.
Comedy Series "Doll & Em," Starring Emily Mortimer and Dolly Wells, Debuts in March, Exclusively on HBO
Look for back-to-back episodes on Wednesday nights at 10:00/9:00c beginning March 19.
Frances McDormand and Richard Jenkins Star in "Olive Kitteridge," a Film by Lisa Cholodenko
The supporting cast includes Bill Murray, John Gallagher, Jr., Peter Mullan, Rosemarie DeWitt and Zoe Kazan.
Wednesday's Cable Ratings & Broadcast Finals: "Modern Family," "People's Choice Awards" Top Charts
Plus: numbers for USA's "Psych," FX's "American Horror Story: Coven" and Investigation Discovery's "Web of Lies."
Lifetime Renews "Preachers' Daughters," Eyes "Flowers in the Attic" Sequel
Kayla Alpert is set to script "Petals on the Wind," which takes place 10 years after the first movie ends.
HBO Confirms Documentary Lineup for the First Half of 2014
Highlights include "Paycheck to Paycheck: The Life and Times of Katrina Gilbert," "All About Ann: Governor Richards of the Lone Star State" and "The Case Against 8."
ABC Family's "Pretty Little Liars" Is TV's #1 Most-Tweeted Series for the 2nd-Consecutive Year
ABC Family spins the digital numbers for 2013.
Lifetime Announces 16 New Designers and Guest Judges for "Under the Gunn," Premiering January 16
The series' Emmy(R) Award-winning host Tim Gunn selected three past "Project Runway" luminaries, Mondo Guerra, Anya Ayoung-Chee and Nick Verreos, to each lead a group of designers to fashion stardom.
Lifetime's Hit Series "Devious Maids," from Executive Producers Marc Cherry and Eva Longoria, Returns for Second Season on April 20th
Longoria will direct the series' eagerly anticipated season two opener, marking her television directorial debut.
Chloe Sevigny and James D'Arcy Star in the New A&E Network Original Series "Those Who Kill"
Based on the Danish crime series format inspired by the bestselling work of author Elsebeth Egholm, the newcomer premieres Monday, March 3 at 10:00/9:00.
Real Estate, Renovation and Superstar Experts Deliver Best Year Ever for HGTV
HGTV spins the numbers for 2013 on the network.
The "45th NAACP Image Awards" Nominees Announced
BET and CBS lead the nominees in the TV categories with 19 and 16 nominations respectively, followed by ABC with 15 nominations and HBO with 13 nominations.
TV One Expands Award-Winning "Unsung" Franchise with Launch of "Unsung Hollywood," Premiering Wednesday, February 26, 10 PM/ET
Preceding "Unsung Hollywood's" debut in February, flagship series "Unsung" will return with all-new episodes beginning Wednesday, January 29 at 10:00/9:00c.
Mark Loomis to Lead FOX Sports' Golf Coverage
Loomis assumes his new role immediately, and he reports directly to John Entz and FOX Sports President, COO and Executive Producer Eric Shanks.
NBC Sports Group Adds Crew Chief Steve Letarte to NASCAR Broadcast Team
Letarte will join fellow analyst Jeff Burton and race announcer Rick Allen across NBC Sports Group's exclusive coverage of NASCAR's Sprint Cup and Nationwide Series action on NBC and NBCSN.
Camryn Manheim Cast as Series Regular in New CBS Drama Series "Extant"
Manheim will play Sam Barton, Molly's (Halle Berry) best friend and closest confidant.
Kevin Hart Gets His Hands Dirty in "Kevin Hart: Serve & Protect," Premiering on Comedy Central(R) On Saturday, January 11 at 11:00 P.M. ET/PT
The half-hour special is timed with the release of Universal Pictures' upcoming action-comedy "Ride Along," due in theaters on Friday, January 17.
J.Cole, Janelle Monae, Fall Out Boy, TLC, Goo Goo Dolls and Gavin DeGraw Headline VH1's "Super Bowl Blitz: Six Nights + Six Concerts"
The live concerts premiere Monday, January 27 and air live each night through Saturday, February 1 at 11:00/10:00c.
Video: First Look at truTV's "Killer Karaoke" with New Host Mark McGrath
The series returns later this year with new rules and new challenges.
Video: Watch a Sneak Peek at a Special Tribute to Anime Featured on This Week's Episode of "The Simpsons"
Said installment features the guest voices of comic book legend Stan Lee and award-winning author Harlan Ellison.
A+E Networks(R) Further Extends TV Everywhere(R) Offerings with Roku
The apps enable users to watch full episodes, full movies and exclusive clips of their favorite A+E Networks programming.
"Shark Tank" Delivered CNBC's Biggest Primetime Audience in Five Years
CNBC spins the numbers for Tuesday, January 7.
"Live with Kelly and Michael" Is the #1 Syndie Talker with Its Biggest Audience in Over 2 Years
Disney-ABC Domestic Television spins the numbers for the week of December 23-27.
Four Weeks to Olympic Winter Games: NBC Presents Live Primetime U.S. Figure Skating Championships This Weekend
The U.S. Championships serve as the final qualifying competition before U.S. Figure Skating nominates the 2014 U.S. Olympic Figure Skating Team.
Olympians Apolo Ohno, Lolo Jones and More Guest Star on Special "Biggest Loser" Episode Airing January 14 and Filmed at Utah Olympic Park
USA Bobsled Team member Jasmine Fenlator and USA Curling Team members Jessica Schultz, Debbie McCormick and Anne Swisshelm also appear on the installment.
CBS and Dick Clark Productions Announce Multi-Year Broadcast Television Agreement for the "Hollywood Film Awards"
The event, founded by Carlos de Abreu, honors excellence in filmmaking and is traditionally seen as the official launch of the Hollywood awards season with some of the world's biggest talent in attendance.
Tyler Florence Returns to Help Culinary Entrepreneuers Compete for Chance to Win a Food Court Restaurant, in New Season of "Food Court Wars"
The series is back with the first of 13 new episodes on Sunday, February 23 at 8:00/7:00c.
ESPN's 25th MLB Season Begins March 30 with Opening Night Exclusive: Los Angeles Dodgers at San Diego Padres
MLB Opening Day on ESPN presented by Scotts will include a five-game schedule, spanning more than 12 hours of live game action, on Monday, March 31.
CBS Is the People's Choice on Wednesday - "The People's Choice Awards" Is the Night's Top Program in Viewers, Delivering Its Largest Audience in Four Years
CBS spins the numbers for Wednesday, January 8.
Investigation Discovery Greenlights Season Two of Its Hit Newsmagazine "Deadline: Crime with Tamron Hall"
Produced by Peacock Productions, the series returns this spring on the cable channel.
TV Personality Maria Menounos Defies Convention on Oxygen's New Docu-Series "Chasing Maria Menounos" Premiering on Tuesday, March 18 at 10:00 PM ET/PT
Maria shares her personal life for the first time as she challenges expectations and makes untraditional choices while surrounded by tradition.
Investigation Discovery's All-New Series "Secret Lives of Stepford Wives," Reveals the Ugly Truth That Cosmetics Can't Conceal
The 12-episode series launches with back-to-back installments on Tuesday, April 8 at 10:00/9:00c.
Diva of Daytime Dish Wendy Williams Proves Love Bites on Investigation Discovery's Anti-Valentine's Day Special -- "50 Ways to Leave Your Lover"
The one-hour special airs on Valentine's Day, Friday, February 14 at 10:00/9:00c on the cable channel.
Bands of Brothers Who Met Their Moment with Destiny and Forever Changed History Are Profiled in "Against the Odds," Launch Series for American Heroes Channel (AHC)
Rob Lowe narrates the series, premiering Monday, March 3 at 10:00/9:00c on the network.
Debut of "Chicago P.D." Scores the #2 Debut Rating Among Nine New 10 p.m. Dramas So Far This Season in 18-49, Behind Only "The Blacklist"
NBC spins the numbers for Wednesday, January 8.
Discovery Communications to Rename Military Channel: American Heroes Channel to Debut on March 3, 2014
"We see a tremendous opportunity to provide more history-based, narrative-style documentary programming that viewers have come to know and love from Discovery Communications," said David Zaslav.
OWN: Oprah Winfrey Network Announces Four New Original Series Premieres in 2014
Highlights include the premiere of "Lindsay" on Sunday, March 9 and Tyler Perry's latest drama "Single Moms Club" this fall.
ABC's Wednesday Comedy Block Returns at #1 from 8-10pm
ABC spins the numbers for Wednesday, January 8.
Wednesday's Broadcast Ratings: "People's Choice Awards" Push CBS in Front
Said event, hosted by Kat Dennings and Beth Behrs, puts the Eye on top in total viewers and adults 18-49.
More People Watched "The NFL on CBS" Than Any Other Network for Entire 2013 Regular-Season
CBS further spins the numbers for its NFL coverage this season.
National Geographic Channel Worldwide Announces Groundbreaking Two-Hour Special Live from Space to Premiere Globally This March
"Live from Space" is a spectacular, groundbreaking two-hour television event from Arrow Media to be broadcast live from the International Space Station (ISS) and Mission Control in Houston.
Animal Planet's New Series Follows a Remarkable Family Off the Beaten Path and Into the Wild Alaskan Wilderness
The series, featuring naturalist and adventurer Billy Brown, premieres this spring on the cable channel.
Luke Tipple to Host Syfy's "Opposite Worlds"
Set to premiere January 21, the series will run for 12 episodes over six weeks (two episodes per week), with a live episode every Wednesday night.
[january 2014]


text:
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    <title>IXmlRepositoryConfigurator Methods</title>
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            Apache log4net™ SDK Documentation - Microsoft .NET Framework 4.0

IXmlRepositoryConfigurator Methods

The methods of the IXmlRepositoryConfigurator interface are listed below. For a complete list of IXmlRepositoryConfigurator interface members, see the IXmlRepositoryConfigurator Members topic.

Public Instance Methods

Configure	 Initialize the repository using the specified config

See Also

        IXmlRepositoryConfigurator Interface | log4net.Repository Namespace

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Copyright 2004-2013 The Apache Software Foundation.

Apache log4net, Apache and log4net are trademarks of The Apache Software Foundation.

redpajama_set_name: RedPajamaGithub


Colorado Make my Day Law has been a hot topic in the news, here is a quick review of what you need to know.
right to expect absolute safety within their own homes.
justified in using any degree of physical force, including deadly physical force, against another person when that other person has made an unlawful entry into the dwelling, and when the occupant has a reasonable belief that such other person has committed a crime in the dwelling in addition to the uninvited entry, or is committing or intends to commit a crime against a person or property in addition to the uninvited entry, and when the occupant reasonably believes that such other person might use any physical force, no matter how slight, against any occupant.
3. Any occupant of a dwelling using physical force, including deadly physical force, in accordance with the provisions or subsection (2) of this section shall be immune from criminal prosecution for the use of such force.
4. Any occupant of a dwelling using physical force, including deadly physical force, in accordance with the provisions of subsection (2) of this section shall be immune from any civil liability for injuries or death resulting from the use of such force.
Colorado make my day Law….
is one of the broadest make my day laws in the country when it comes to protecting ones home. One thing to remember is one of the key safety rules...BE SURE OF YOUR TARGET and what is beyond. You are still responsible for every round that leaves your gun. Remember in make my day situations and all self protection endevors to use proper JHP (jacketed hollow point) ammunition to avoid over penetration.


After changing this valve, the power will be increased by 20%. If you have the tools, it's easy to change. But before you change, all gas to be released from the magazine.
Notice! If you have already changed the valve, it's ideal that you change the metal slide too. If you use the plastic slide, itis easy to be broken because of the increased power.
For KSC 93R version II.
For WA 5 inch infinity Expert SV.
CNC Machined Rail with M1913 Size Rail.
*** The Hopup cover mount is easy to break, emplacement with caution!
Use for MARUI MEU.45 Blow-Back.
Modify to fits in slide.
Use for MARUI DETONICS.45 Blow-Back.
Use for MARUI HI-CAPA 4.3 DUAL Blow-Back.
150% Enhanced Hammer Spring Included.
Material: S303 stainless steel, for high pressure gas.
Full metal construction, for Tokyo Marui Glock 26.
For KSC G17, 18C, 19, 34, P2340.
For KSC G17, 18C, 34.
For all WA infinity SV series.
For all WA infinity SV.


All Things Lesbian: Gay? Over 18? Live in the UK?
Gay? Over 18? Live in the UK?
I understand that many of you will be long-time supporters of the Conservative party.
If LGBT issues are really important to you, you would vote Labour simply because of the statistics shown in these pie charts.
You'll notice that the Liberal Democrats also do quite well in the charts, but honestly, if you're from the UK, you know they're never going to win. Especially this time round.
UPDATE: I understand now, upon reflection, that saying the Liberal Democrats will not win was really quite anti-change of me. However, I simply meant to state that I feel that we need to start with the easier things (getting Labour into power) than the harder things (the extremely hard task of getting the Lib Dems to the top). One day, I'd love to see them take over, I swear! For now, I'm just concentrating on keeping the Conservatives OUT!
So please, please vote the Labour in this election. They're our best shot at equality.
Wow, I didn't know the conservatives were that conservative! Thanks for this!
"Honestly, if you're from the UK, you know they're never going to win. Especially this time round."
That, right there, is WHY they don't win.
We (thank god) live in a democracy, not a popularity contest. Vote for who you honestly think is best.
Completely agree with SBHx - comments like THAT are why the Lib Dems don't win. If you want someone to actually commit to gay rights, they're the party for you.
Calm down, after writing this, I switched to Lib Dem. And I can't vote anyway.


text:
Why Brands Are Betting On The Art World
Rae Witte Contributor
I cover the intersection of music, dating, style, art, and travel.
Christian Louboutin celebrated Ebony G. Patterson's exhibit at the Pérez Art Museum Miami with Pernod Ricard.
Phillip Van Nostrand
"I think there's been a trend of an explosion of fairs. There's no lack of fairs. You have Armory. You have Frieze [New York]. You have Frieze London. You now have Frieze Los Angeles. You have Art Basel in three cities. Then you look at South America—Sao Paolo Arte, a show in Mexico City. Where is there not a show?" Bruce Starr, co-founder of the award-winning agency BMF Media Group, said.
This year a record-breaking 83,000 people attended Art Basel Miami Beach in December, and that is just those that actually made it through the Miami Beach Convention Center doors. In its 16th year, Miami has seen a huge shift in who heads to South Beach (and Miami's newly visitor-attracting neighborhoods like Wynwood and the Design District) for the international art fair and over 20 satellite art fairs during the first week of December.
Wynwood District, in Miami, while a graffiti artist paints a wall. These photos were taken the weekend before the fair, while the graffiti artists were working on the walls.
"I think there is a total shift in where the consumer is at Basel. That being said, you still have the art community. At the end of the day you still have these fairs—Art Basel, Pulse, Design Miami, Untitled— that are run by art people. Then you still have the fairs filled with gallerists. As much as it's changed from a luxury consumer that's buying [art] to a consumer that's now taking it in and maybe taking it to social media, there is still a huge art community, if you take in all the fairs, all the gallerists, all the people that hang the art, all the artists that potentially come. They still need a place to go."
In a world before the internet and Instagram offered access to the masses, Art Basel was the early winter destination for international art collectors to line up their private jets, purchase priceless art and maintain a steady flow of expensive champagne in South Beach. Brands like Jeremy Scott, Cartier and Chanel had extremely exclusive extravagant events to cater to those in town. "Back in the day you had Demi Moore and Brad Pitt and other celebrity collectors walking the fair. Chanel was doing a dinner. They weren't there to party. They were there to buy art because they're collectors," Starr recalls.
Even as little as three years ago, despite the huge brand presence and dwindling collector attendance, private dinner parties were still a popular activation for brands, but it seems like the tradition that was initially put on for the extremely affluent only carried over for the influencer type of crowd for a few years.
"Big galleries would do dinners. Families that had private collections in Miami would do dinners. If you think of a collector, they're a luxury consumer. They aren't trying to go to a party. They want to go to a nice dinner and talk to each other. As you see the change in who is attending, the collectors aren't there any more. Since the collectors aren't there who are you doing the dinner for? It feels inauthentic to do a dinner. It's much easier to do a party and change the dichotomy of who the person is that's attending. I think the fair itself has this shift from collector to consumer. That's why you see there aren't these dinners because who is attending them?"
As chic as they may have been, dinners simply don't make sense for brands. This year saw more authentic experiences that more naturally made it on to the internet like Pantone's partnership with Tribute Portfolio Hotels to celebrate the color of the year with an immersive travel-inspired pantry in all different shades of Living Coral, a testament to there not being that one party, art fair or even specific artwork that could be pointed as the most shared across social media. Brands doubled down on more niche programming for who was there. "Edition Hotels for instance, they were all specifically art-driven. They were galleries, they were for magazines that believe in art, artists like Misha Khan and Artsy. All of their programming was much more boutique and intimate. They had 100 events."
MIAMI BEACH, FL - DECEMBER 05: Model Winnie Harlow attends L'Eden By Perrier-Jouët on December 5, 2018 in Miami Beach, Florida. ()
Photo by Aaron Davidson/Getty Images for Perrier-Jouët
This is all not to say luxury brands left the building. They are, however, catering to a different demographic. Perrier-Jouët opted to double down on reaching their younger demo with two nights. The first was with Matte Projects and celebrated their new partnership with model, Winnie Harlow. Their second beachside soiree featured a performance by Young Thug in celebration of art week.
Beats By Dre workout at the 1 Hotel.
Julian Cassidy
Montauk's Surf Lodge still maintained their annual presence. Set up at the Confidante Hotel this year, their programming included an event with Instagram-popular art curator Love Watts open to his followers specifically which is a little different than their VIP-only type of events that take place at the yearly week-long pop-up. They also partnered with Equinox to have daily fitness programming which is a growing trend during the week. In addition to a downtown Virgil Abloh-DJed party, Beats By Dre held to work outs at the 1 Hotel, while smaller fitness brands like L.A.-based Year Of Ours hosted pilates in Wynwood's Eightspace.
Where one might question the correlation between art week attendees and wellness, it is not only part of Miami culture, it speaks directly to who is in attendance. "At the end of the day, the millennial, the new consumer we're talking about is not an art collector, not a 50 year old rich person. They're there to consume, they probably want this artistic influence or type of experience, wellness is part of their life. It's part of their routine."
Much like Coachella began to see major brand's pull out due to an over saturation of activations and a lack of ROI, brands' involvement in Miami's art week are very much in a place of transition. They seem to be on the fast track to targeting the growing amount of travelers that come to Miami whether it's within the luxury store-lined streets of the Design District, the fair crowd around the convention center in South Beach, the Wynwood Walls spectators or the art industry, Art Basel is the nexus of brands maneuvering the once offline and exclusive art world.
Rae Witte
Following a year as the editor of the style and sneakers channels at Complex, I started boundlessly freelance writing for sites like Esquire, W Magazine, GQ, iD, Dazed, ...


Genesis Chapter 5 lists the descendants of Adam through Noah and the Great Flood. This is often called the Sethite list (in contrast to the Cainite list mentioned in Genesis 4:17). Below are the names recorded from Adam to Noah. Included are misc. facts including their age at death and meaning of their name.
At this point in history, prior to the flood, the Earth was much different from what we know today and thus, the average lifespan of persons who lived in this age was a remarkable 900 years. Other cultures have stories of long lives for persons who lived long lives before a great flood destroyed life on earth (e.g. the Sumerian King List, 2,000 BC). Some theorize the atmosphere of Earth may have contained thick vapor which restricted radiation from reaching the earth. This is hinted to in Genesis 2:5 which references an atmosphere that had yet to rain water on earth.
Interestingly, Genesis 5:24 tells us that "Enoch walked faithfully with God; then he was no more because God took him away." As we will see in Hebrew, Enoch ascended to heaven avoiding a mortal death.
This is the written account of Adam's family line.
When God created mankind, he made them in the likeness of God. 2 He created them male and female and blessed them. And he named them "Mankind" when they were created.
6 When Seth had lived 105 years, he became the father of Enosh. 7 After he became the father of Enosh, Seth lived 807 years and had other sons and daughters. 8 Altogether, Seth lived a total of 912 years, and then he died.
28 When Lamech had lived 182 years, he had a son. 29 He named him Noah l and said, "He will comfort us in the labor and painful toil of our hands caused by the ground the LORD has cursed." 30 After Noah was born, Lamech lived 595 years and had other sons and daughters. 31 Altogether, Lamech lived a total of 777 years, and then he died.
This is the family tree of the human race: When God created the human race, he made it godlike, with a nature akin to God. He created both male and female and blessed them, the whole human race.
3–5 When Adam was 130 years old, he had a son who was just like him, his very spirit and image, and named him Seth. After the birth of Seth, Adam lived another 800 years, having more sons and daughters. Adam lived a total of 930 years. And he died.
6–8 When Seth was 105 years old, he had Enosh. After Seth had Enosh, he lived another 807 years, having more sons and daughters. Seth lived a total of 912 years. And he died.
9–11 When Enosh was ninety years old, he had Kenan. After he had Kenan, he lived another 815 years, having more sons and daughters. Enosh lived a total of 905 years. And he died.
12–14 When Kenan was seventy years old, he had Mahalalel. After he had Mahalalel, he lived another 840 years, having more sons and daughters. Kenan lived a total of 910 years. And he died.
15–17 When Mahalalel was sixty-five years old, he had Jared. After he had Jared, he lived another 830 years, having more sons and daughters. Mahalalel lived a total of 895 years. And he died.
18–20 When Jared was 162 years old, he had Enoch. After he had Enoch, he lived another 800 years, having more sons and daughters. Jared lived a total of 962 years. And he died.
21–23 When Enoch was sixty-five years old, he had Methuselah. Enoch walked steadily with God. After he had Methuselah, he lived another 300 years, having more sons and daughters. Enoch lived a total of 365 years.
24 Enoch walked steadily with God. And then one day he was simply gone: God took him.
25–27 When Methuselah was 187 years old, he had Lamech. After he had Lamech, he lived another 782 years. Methuselah lived a total of 969 years. And he died.
28–31 When Lamech was 182 years old, he had a son. He named him Noah, saying, "This one will give us a break from the hard work of farming the ground that GOD cursed." After Lamech had Noah, he lived another 595 years, having more sons and daughters. Lamech lived a total of 777 years. And he died.
32 When Noah was 500 years old, he had Shem, Ham, and Japheth.
This is the record of the family line of Adam.
5:3 When Adam had lived 130 years he fathered a son in his own likeness, according to his image, and he named him Seth. 5:4 The length of time Adam lived after he became the father of Seth was 800 years; during this time he had other sons and daughters. 5:5 The entire lifetime of Adam was 930 years, and then he died.
5:6 When Seth had lived 105 years, he became the father of Enosh. 5:7 Seth lived 807 years after he became the father of Enosh, and he had other sons and daughters. 5:8 The entire lifetime of Seth was 912 years, and then he died.
5:9 When Enosh had lived 90 years, he became the father of Kenan. 5:10 Enosh lived 815 years after he became the father of Kenan, and he had other sons and daughters. 5:11 The entire lifetime of Enosh was 905 years, and then he died.
5:12 When Kenan had lived 70 years, he became the father of Mahalalel. 5:13 Kenan lived 840 years after he became the father of Mahalalel, and he had other sons and daughters. 5:14 The entire lifetime of Kenan was 910 years, and then he died.
5:15 When Mahalalel had lived 65 years, he became the father of Jared. 5:16 Mahalalel lived 830 years after he became the father of Jared, and he had other sons and daughters. 5:17 The entire lifetime of Mahalalel was 895 years, and then he died.
5:18 When Jared had lived 162 years, he became the father of Enoch. 5:19 Jared lived 800 years after he became the father of Enoch, and he had other sons and daughters. 5:20 The entire lifetime of Jared was 962 years, and then he died.
5:21 When Enoch had lived 65 years, he became the father of Methuselah. 5:22 After he became the father of Methuselah, Enoch walked with God for 300 years, and he had other sons and daughters. 5:23 The entire lifetime of Enoch was 365 years. 5:24 Enoch walked with God, and then he disappeared because God took him away.
5:25 When Methuselah had lived 187 years, he became the father of Lamech. 5:26 Methuselah lived 782 years after he became the father of Lamech, and he had other sons and daughters. 5:27 The entire lifetime of Methuselah was 969 years, and then he died.
5:28 When Lamech had lived 182 years, he had a son. 5:29 He named him Noah, saying, "This one will bring us comfort from our labor and from the painful toil of our hands because of the ground that the LORD has cursed." 5:30 Lamech lived 595 years after he became the father of Noah, and he had other sons and daughters. 5:31 The entire lifetime of Lamech was 777 years, and then he died.
5:32 After Noah was 500 years old, he became the father of Shem, Ham, and Japheth.
This is the book of the generations of Adam. In the day that God created man, in the likeness of God made he him; 2 Male and female created he them; and blessed them, and called their name Adam, in the day when they were created. 3 And Adam lived an hundred and thirty years, and begat a son in his own likeness, after his image; and called his name Seth: 4 And the days of Adam after he had begotten Seth were eight hundred years: and he begat sons and daughters: 5 And all the days that Adam lived were nine hundred and thirty years: and he died. 6 And Seth lived an hundred and five years, and begat Enos: 7 And Seth lived after he begat Enos eight hundred and seven years, and begat sons and daughters: 8 And all the days of Seth were nine hundred and twelve years: and he died. 9 And Enos lived ninety years, and begat Cainan: 10 And Enos lived after he begat Cainan eight hundred and fifteen years, and begat sons and daughters: 11 And all the days of Enos were nine hundred and five years: and he died. 12 And Cainan lived seventy years, and begat Mahalaleel: 13 And Cainan lived after he begat Mahalaleel eight hundred and forty years, and begat sons and daughters: 14 And all the days of Cainan were nine hundred and ten years: and he died. 15 And Mahalaleel lived sixty and five years, and begat Jared: 16 And Mahalaleel lived after he begat Jared eight hundred and thirty years, and begat sons and daughters: 17 And all the days of Mahalaleel were eight hundred ninety and five years: and he died. 18 And Jared lived an hundred sixty and two years, and he begat Enoch: 19 And Jared lived after he begat Enoch eight hundred years, and begat sons and daughters: 20 And all the days of Jared were nine hundred sixty and two years: and he died. 21 And Enoch lived sixty and five years, and begat Methuselah: 22 And Enoch walked with God after he begat Methuselah three hundred years, and begat sons and daughters: 23 And all the days of Enoch were three hundred sixty and five years: 24 And Enoch walked with God: and he was not; for God took him. 25 And Methuselah lived an hundred eighty and seven years, and begat Lamech: 26 And Methuselah lived after he begat Lamech seven hundred eighty and two years, and begat sons and daughters: 27 And all the days of Methuselah were nine hundred sixty and nine years: and he died. 28 And Lamech lived an hundred eighty and two years, and begat a son: 29 And he called his name Noah, saying, This same shall comfort us concerning our work and toil of our hands, because of the ground which the LORD hath cursed. 30 And Lamech lived after he begat Noah five hundred ninety and five years, and begat sons and daughters: 31 And all the days of Lamech were seven hundred seventy and seven years: and he died. 32 And Noah was five hundred years old: and Noah begat Shem, Ham, and Japheth.
1 Pet 3:15: But in your hearts set apart Christ as Lord. Always be prepared to give an answer to everyone who asks you to give the reason for the hope that you have. But do this with gentleness and respect.


text:
Chemicals browse F
A relatively large energy separation between an insulator's highest filled electron energy band and the next higher energy vacant band. Beginning in the fourth energy level, a set of seven degenerate orbitals per energy level, higher in energy than s, p, and d orbitals of the same energy level.
Electrolytic Cells
Electrochemical cells in which electrical energy causes nospontaneous redox reactions to occur. An electrochemical cell in which chemical reactions are forced to occur by the application of an outside source of electrical energy.
Alpha (a) Particle
Helium ion with 2+ charge, an assembly of two protons and two neutrons.
Free Energy, Gibbs Free Energy
The thermodynamic state function of a system that indicates the amount of energy available for the system to do useful work at constant T and P.
A compound that can be imagined to arise from a partent compound by replacement of one atom with another atom or group of atoms. Used extensively in orgainic chemistry to assist in identifying compounds.
Amphiprotism
Ability of a substance to exhibit amphiprotism by accepting donated protons.
Standard Electrodes
Half-cells in which the oxidized and reduced forms of a species are present at unit activity, 1.0M solutions of dissolved ions, 1.0atm partial pressure of gases, and pure solids and liquids.
Distilland
The material in a distillation apparatus that is to be distilled.
Chemistry is a familiar school subject
Everyone liked to observe the reaction of reagents. But few know interesting facts about chemistry, which we will discuss in this article.
Colloidal suspension of a solid dispersed in a liquid, a semirigid solid.
Two peaks or bands of about equal intensity appearing close together on a spectrogram.


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Domenico Gaetano Maria Donizetti (Bergamo, 29. studenog 1797. – Bergamo, 8. travnja 1848.), talijanski skladatelj.

Umjetničku karijeru započeo je kao skladatelj simfonija, komornih i crkvenih djela. Kasnije se potpuno posvetio operi. U početku je pod Rossinijevim utjecajem, ali je ubrzo pronašao put do vlastite operne dramatike, pripravljajući pravac kojim će nastaviti Giuseppe Verdi. Od 1834. – 1839. profesor je na konzervatoriju u Napulju, a od 1839. u Parizu. Od 1842. dvorski je skladatelj i kapelnik u Beču.

Djetinjstvo

Rođen je kao Domenico Gaetano Maria Donizetti 29. studenog 1797. u Bergamu, u skromnoj obitelji, kao peto od šestoro djece tkalca Andrea Donizettija i Domenice Nave. Njegov djed Izett, porijeklom Škot iz grofovije Perth, priključio se vojsci i postao zarobljenik generala la Hoche tijekom posljednje invazije na Irsku. Postavši generalov osobni tajnik, došao je u Italiju te oženivši se Talijankom, promijenio prezime u Donizetti. U sjećanje na djeda, Donizetti će kasnije skladati operu "Lucia di Lammermoor", prema romanu književnika Sir Waltera Scotta.

Otkriveni talent

Mladi Domenico primljen je 1806. u novoosnovanu glazbenu školu za siromašnu djecu Simone Mayra, koji je uvježbavao djecu za lokalni zbor.

Uskoro se ispostavilo da je Donizetti izrazito živahan i iznimno bistar učenik te je Mayr, prepoznavši veliku nadarenost, odlučio se osobno pobrinuti za njegovu poduku na klavikordu i u skladanju. Iako je otac htio da postane pravnik, ubrzo je uvidio da to nije njegov pravi poziv. Godine 1811. napisao je prvo djelo - "Il Piccolo compositore di Musica" ("Mali glazbeni skladatelj") za školski koncert, uz pomoć i ispravke svog učitelja, doživotnog pratioca, uz kojeg su ga vezali osjećaji duboke ljubavi i poštovanja. S Mayrovom preporukom, koji se brinuo o troškovima njegovog uzdržavanja, mladi Gaetano je 1815. otišao u Bolognu dovršiti studije u Srednjoj glazbenoj školi pod paskom oca Stanislaoa Matteia, prijašnjeg Rossinijevog učitelja. Dvije godine je pohađao tečajeve franjevca, dobro poznatog skladatelja i profesora, neupitno primivši besprijekornu glazbenu izobrazbu unatoč činjenici da se s njim nikad nije zbližio, zahvaljujući fratrovoj razdražljivoj, suzdržanoj naravi.

Karijera

U zadnjim mjesecima 1817. vratio se u Bergamo, gdje je isprva radio kao arhivist u knjižnici kapele Svete Marie Maggiore. Zahvaljujući potpori Mayra gotovo trenutačno je dobio na potpis ugovor o četiri opere za impresarija Zanclea, organizatora tamošnjih koncertnih i kazališnih priredaba. Njegova prva opera je bio "Enrico di Borgogna" ("Enrico Burbonski"), postavljena u Veneciji 1818., da bi 1819. uslijedila " Il falegname di Livonia" ("Livonijski stolar"); i jedno i drugo djelo je polučilo veliki uspjeh, te se u njima, što je tada bilo neizbježno, mogao osjetiti Rossinijev utjecaj. Donizettijev stvaralački rad tada tekao je poprilično glatko zahvaljujući činjenici, kako i on sam kaže, da je uspio izbjeći vojnu službu. Marianna Pezzoli Grattaroli, bogata građanka Bergama, bila je toliko očarana mladićevim izvanrednim talentom da je uspjela novčano ishoditi njegov izuzetak od služenja vojnog roka. 1822. predstavio je operu "Chiara e Serafina" u La Scali - kao rezultat neuspjeha ove opere vrata velike milanske operne kuće bila su za njega zatvorena dugih osam godina.

Njegov prvi značajni operni debi ukazao se kad je Mayr odbio preuzeti rad na novoj operi te uspio nagovoriti organizatore da je predaju u ruke Donizettiju. Rezultat toga je bila "Zoraida di Granata", predstavljena 1822. u rimskom "Teatro Argentina", gdje je oduševljeno primljena kod poprilično izbirljive publike. Slavni kazališni impresario Domenico Barbaja, koji se u karijeri obogatio na djelima Rossinija, Bellinija, Pacinija i mnogih drugih, zamolio ga je da napiše poluozbiljnu operu za kazalište San Carlo u Napulju. Djelo, "La Zingara" ("Ciganka"), postavljeno je iste godine i bilo je golem uspjeh. Ovaj trenutak je označio početak briljantne karijere u operi. Za razliku od Rossinija i Bellinija, te kasnije Verdija, koji su bili sposobni upravljati svojim radom, Donizetti je stvarao u žurbi, ne donoseći oprezne odluke, slijedivši i prihvativši pomamni, stresni ritam i uvjete tadašnjeg kazališnog života.

Tako nam je na kraju ne odveć dugog životnog vijeka, neumorni skladatelj stavio oko 70 opera: ozbiljne i poluozbiljne opere, komične opere, farse, grands-opere i opere-comiques. Sve one naprosto plijene bogatom melodijskom invencijom te jednostavnim, besprijekornim harmonijskim stilom. Svemu ovome mora se pridodati i 29 kantata za pratnju s orkestrom ili na klaviru, različite skladbe religioznog karaktera (uključujući i dva rekvijema u spomen na Bellinija i Zingarellija te oratorije "Il Diluvio Universale" ("Opći potop") i "Le Sette Chiese"("Sedam crkava"), 15 simfonija, više od 250 tekstova za pjevačku izvedbu jednog ili više glasova, glasovirska djela i oko 80 djela komorne glazbe, uključujući 19 kvarteta koja svjedoče o utjecaju velikih bečkih klasičara - Mozarta i Haydna, koja je upoznao u iscrpnim analizama svojih dvaju mentora, Mayra i Matteia.

Susretljiv prema zahtjevima publike i impresarija, bio je optužen, naročito od strane francuskih kritičara (među kojima je prvi bio Hector Berlioz, oštro ga napavši u časopisu "Journal des Débats") za "nemarnost i ponavljanje".

Njegovoj nevjerojatnoj snazi stvaralaštva doprinijela je zasigurno želja za zaradom u vremenu kada skladatelji nisu primali tolike počasti kao danas, nego praktično zarađivali ništa više od svote koja je bila određena ugovorom. Vještina i profesionalnost koju je stekao tijekom rada s Mayrom, izbavila ga je od srozavanja na neprihvatljivu umjetničku razinu. Njegovu kreativnu volju i stvaralaštvo nisu nikad sputavali niti poštovanje rokova, već naprotiv ih poticali i gonili naprijed, stalno ga držeći u neizvjesnosti.

Tako je npr. 1827., potpisao ugovor s Barbajom za ni više, ni manje nego izvođenje 12 opera u Napulju, tijekom tri godine.
Prvi pravi uspjeh ostvario je 1830. s libretistom Feliceom Romanijem i operom "Anna Bolena", prikazanoj u milanskom "Teatro Carcano", te u razmaku od samo pet mjeseci u Parizu i Londonu.

Iako se mislilo da će ga uspjeh i međunarodna karijera na pomolu primorati da uspori, nastavio je raditi nevjerojatnom brzinom: pet opera za manje od godinu dana, prije nego što je došao još jedan ključan trenutak u njegovoj karijeri - komično remekdjelo "L'Elisir d'Amore"("Ljubavni napitak"), koje zapravo ima sve značajke Donizettijeve glazbe: romantizam, šaljivost i blisku vezu s pučkim igrokazom.

Napisano u manje od mjesec dana, opet u suradnji s Romanijem, prikazano je uz ogroman uspjeh u milanskom "Teatro della Cannobbiano" 1832. Zaplet djela slijedi Rossinijevsku, tradicionalnu liniju u kojoj spletkarski staratelji pokušavaju oženiti svoje štićenice, zaljubljene u heroja kojeg pjeva tenor (u to je vrijeme ulogu heroja u talijanskoj operi bez iznimke pjevao tenor), kao i kasnije u operi "Don Pasquale". Ugođaj tih djela nije toliko mahnit, nego više liričan i nježan, dok je smijeh osjećajan, a ne osvetoljubiv.

U Rimu 1833. prikazao je "Il furioso all'isola di San Domingo" ("Bijesan na otok San Domingo") i u milanskoj "La Scali"  "Lucrezia Borgia", koju je publika i kritika hvalila kao novo remekdjelo.

Sljedeće godine je potpisao ugovor redovitog skladanja jedne ozbiljne opere na godinu za "San Carlo" u Napulju. Prva u nizu trebala je biti "Maria Stuarda"("Marija Stuart"), no libreto, napisan po uzoru na Schillerovu dobro poznatu dramu, bio je obustavljen od cenzora zbog krvoločnog kraja (napuljski cenzori bili su poznati po svojim zahtjevima na samo "sretnim završecima"). U samo 10 dana Donizetti je prilagodio glazbu za drugi tekst, "Buondelmonte", koji je slabo primljen kod publike. Neprilike oko opere tu nisu stale: "Maria Stuarda", prikazana u orginalnoj verziju u "La Scali" 1835. završila je kao totalni fijasko zahvaljujući pretjeranom samopouzdanju primadone Marie Malibran i njenom prikrivenom lošem zdravstvenom stanju.

Unatoč ovom ozbiljnom neuspjehu, uz Rossinijevo dobrovoljno povlačenje iz svijeta opere 1829. i Bellinijevu preranu, neočekivanu smrt 1835., Donizetti je uživao u razdoblju neosporne slave jer je bio jedini preostali veliki predstavnik talijanske opere.
Rossini mu je pomogao ući u svijet pariških pozornica (i samim time mu omogućio zaradu pozamašnih svota, koje ne bi mogao imati u Italiji, kako i sam kaže « 2000 zlatnih dukata u 3 mjeseca »), pozvavši ga 1835. da francuskoj prijestolnici sklada operu "Marin Faliero". Iste godine je u Napulju ostvario izniman uspjeh s operom "Lucia di Lammermoor", po libretu Salvatorea Cammarana. On je zauzeo mjesto Romanija, najvažnijeg libretiste u razdoblju romantizma, koji je dotad već surađivao s Mercadenteom i Pacinijem, da bi poslije napisao četiri libreta za Verdija, uključujući opere "Luisa Miller" i "Trubadur".

1836. njegov "Belisario" bio je premijerno prikazan u novoizgrađenoj opernoj kući "La Fenice" u Veneciji, potpuno uništenoj nekoliko godina prije u požaru. U Napulju su premijerno izvedene šarmantno komične opere "Il Campanello"("Zvonce) i "Betly" (po libretima koje je sam napisao i koja otkrivaju određeni literarni talent i izražen ukus za parodiju). Nakon ovih djela uskoro je uslijedila opera "L'assedio di Calais"("Opsada Calaisa"), začeta, kako nam i sam Donizetti kaže, "u skladu s francuskim ukusom", zadnja u kojoj poštuje tradiciju glavne muške uloge.

Iako je pretrpio niz obiteljskih tragedija, njegov stvaralački rad se nastavio u ludom ritmu. Između 1836. i 1837. izgubio je svoje roditelje, kćer i svoju voljenu suprugu Virginiju Vasselli pri porođaju, s kojom se oženio 1828. Kćer poznatog rimskog odvjetnika, rodila je Donizettiju troje djece koja su umrla kao mališani. Donizetti, duboko vezan za suprugu, bio je shrvan tugom i melankolijom u nadolazećim godinama.

Negdje u isto vrijeme skladao je opere "Pia de' Tolomei" za Veneciju i "Roberto Devereux" za Napulj, dok je 1838. njegov "Poliuto" zabranjen od napuljskih cenzora jer je prikazivao mučeništvo sveca, izveden je tek 1848. nakon Donizettijeve smrti.

Gorko razočaran time što nije uspio naslijediti Nicola Antonia Zingarellija kao šefa glazbenog konzervatorija (odbijen u korist "istinskog Napolitanca" Mercadentea), u listopadu 1838. odlučio je napustiti Napulj, smjestivši se u Parizu gdje je skladao operu "Il Duca di Alba" ("Albionski vojvoda"- prikazan nakon njegove smrti 1882., kad je komisija na čelu s Ponchiellijem dala odobrenje) pripremajući francusku verziju "Poliuta", prvi put izvedenu 1840. pod naslovom "Les Martrys" ("Mučenik").

Uspostavio je bliski radni odnos s kazališnim kućama "Opéra-Comique", "Opéra" i  "Théâtre des Italiens", još jednom dokazujući kako se veoma lako mogao prilagoditi ukusima različitih publika.

Godine 1840. skladao je opere "La Figlia del Reggimento" ("Kći pukovnije") i "Favorita" ("Favoritkinja"). Određeni Sir Charles Halle sreo ga je iste godine u Parizu, te ga opisao kao "izrazito ljubaznog i suvremenog džentlemena, elegantnog poput njegove glazbe". Uz taj događaj veže se i jedna anegdota. Priupitavši jednom Donizettija da li je zaista Rossini skladao "Seviljskog brijača" za samo dva tjedna, ovaj mu je odgovorio:

Skladavši 1841. operu jednočinku naslovljenu "Rita" (izvedena postumno 1860.). odlučio se preseliti u Milano. Jednom kad je imao priliku prisustvovati generalnoj probi Verdijeva "Nabucca" 1842., iznimno impresioniran operom, odlučio je posjetiti i upoznati mladog skladatelja, glavnog direktora talijanske glazbene sezone u Beču. Iste godine, na poziv samog Verdija, preuzeo je vođenje prve talijanske izvedbe Rossinijeve "Stabat Mater". Rossini je pokušao nagovoriti Donizettija da prihvati važnu poziciju maestro di cappella u San Petroniju; Donizetti nije prihvatio, jer je ciljao na prestižnije i bolje plaćeno mjesto kapellmeistera dvora u Habsburgu.

1842. predstavio je operu "Linda di Chamonix" u Beču, polučivši veliki uspjeh i zadobivši časti dvora koji mu je ponudio žuđeno mjesto i zavidan ugovor s polovicom godine slobodnog dopusta. Tako je mogao nesmetano nastaviti opernu karijeru.
Slijedile su opere "Don Pasquale" (Pariz, 1843.), "Caterina Cornaro" (Napulj, 1844.), "Maria di Rohan" (Beč, 1843.) i "Don Sebastiano" (Pariz, 1843.).

Posljednje godine života

Tijekom uvježbavanja "Don Sebastiana" svi su bili iznenađeni Donizettijevim apsurdnim, ekstravagantnim ponašanjem. Često je gubio pamćenje, te iako uvijek smatran za neobično ljubaznog, duhovitog i osjećajnog čovjeka, izgledalo je kako sve češće postaje zlovoljan. Kao da i sam osjeća…

Mnogo godina prije Donizetti je imao sifilis mišića (njegovi posmrtni nalazi pokazali su degenerativno oboljenje živčane moždine sifilisnog porijekla) te je krajem 1845. doživio ozbiljan napad cerebralne paralize, uzrokovan zadnjim stadijem opake bolesti, pokazujući simptome mentalne bolesti, koje je znao i prije iskazivati. Dana 28. siječnja njegov brat Giuseppe poslao mu je iz Konstatinopola nećaka Andreu, zabrinutog u prvom redu za stričevo nasljedstvo. Čuvši što mu se dogodilo, savjetovao se s liječnicima. Na nagovor Rossinija, koji je tobože htio da mu pomogne napisati novu operu, Donizetti je došao u Pariz, da bi zatim bio smješten u obližnjoj klinici za mentalne bolesti Ivry, gdje je ostao 17 mjeseci. Njegova pisma napisana za prvih dana u klinici otkrivaju očajničke pozive u pomoć genijalnog uma koji je već tada bio beznadno zbunjen. Nakon prijetnji diplomatskim incidentom, jer je Donizetti bio građanin Habsburške monarhije i miljenik Ferdinanda I. Habsburškog, skladateljev nećak je uspio dobiti dozvolu da ga odvede natrag u Bergamo 6. listopada 1847.

Dotada je Donizetti već bio potpuno paraliziran, sposoban tek promrmljati nekoliko besmislenih riječi. Bio je zbrinut kod prijatelja koji su ga s ljubavlju njegovali. Barunica Giovannina Basoni Scotti provela je mnogo vremena s njim uz klavir, u pokušaju da dobije nekakvu emocionalnu reakciju od maestra, ali uzalud. Renomirani tenor Giovani Battista Rubini često ga je posjećivao i pjevao mu s barunicom duet «Verranno a te sullaure» iz «Lucije di Lammermoor». No, bolest je Donizettija već ostavila mentalno nesposobnog.

Smrt

U poslijepodnevnim satima 8. travnja 1848. Donizetti umire. Pogreb mu je održan tri dana kasnije, na dan kad su u Lombardiju prodrle trupe iz Pijemonta, označavajući početak rata za nezavisnost. Prije pogreba doktor je ukrao njegovu lubanju, kasnije nađenu u nekog mesara koji ju je koristio kao zdjelicu za sitniš. Donizetti je pokopan u kapelici plemićke obitelji Pezzoli, na groblju «Citt Alta» u Valtesseu. Kasnije, talijanski kralj Vittorio Emanuele II. izdao je dekret kojim je dopustio da se Donizzetijevo tijelo pokopa uz tijelo njegovog dragog mentora Mayra u Bazilici Svete Marie Maggiore, gdje leži i danas. Operna kuća u Bergamu danas nosi njegovo ime.

Talijanski skladatelji
Skladatelji glazbe romantizma
Operni skladatelji

redpajama_set_name: RedPajamaWikipedia


text:
Die Liste der denkmalgeschützten Objekte in Lofer enthält die  denkmalgeschützten, unbeweglichen Objekte der Gemeinde Lofer.

Denkmäler

Weblinks

Einzelnachweise

Lofer
!


text:
Abernathy decided to stage the drama again because of the talent available and also because his high school senior daughter, Ryanne, who plays one of the young wives, hopes to have a career in film or acting.
"I got to direct her in one-act at Notre Dame, and we took it to state. I wanted one more opportunity to direct her before she goes to New York," he said.
Abernathy is pleased with the larger stage he has to work with at the Royal, as opposed to the one at the old book store annex. Because the Royal stage is so much larger, the theatrical group built a roomy porch on one side of the stage with room on the other side.
"It's given me the opportunity to have separation," he said.
It also has given his actors some dramatic room to move.
"I don't act for my actors or tell them what to do," he said. "Most directors tell people where to stand and how to say their lines. My mission is to tell them that the words will tell you where to go. If you just listen, you'll know what the emotion is you are supposed to respond with. They've pretty well caught on to that.
"... Ultimately you're trying to make a performance out of it. Let the audience understand that this is real. Even though it's fiction, it's a reality of somebody."
"The Cover of Life' is a dark play, Abernathy added: "The only comedy is sarcasm."
Some of the language has been removed from the script and is age-appropriate for 12 and older, Abernathy said.
"There's no fluff. It's pretty straight drama."
What: "The Cover of Life"
When: 7:30 p.m. April 6-8, 2 p.m. April 9 and 7:30 p.m. April 13-15.
Where: Royal Theater, 113 E. Main Street, Archer City
Information: RoyalTheater.org or (940) 574-2489


Leisure has notable effects on one's body and brain.
Leisure can only be measured through self-assessment questions, as it is a solely subjective experience, mindset, and feeling.
Overall, I give myself plenty of time for leisure.
I regularly engage in leisurely activities.
I can relax and unwind.
I often have fun in life.
I take time to relax and have fun.
I have enough leisure time to relax.
I am not overwhelmed by stress.
My leisure helps me stay free of tension and anxiety.
I take time to enjoy and savor life.
Consider how much leisure time you need to feel relaxed and free of excessive tension and anxiety. You may need more leisure time if you are experiencing significantly stressful life events and circumstances. The greater the number and intensity of your stressors, the greater the need for leisure.
Be intentional about setting aside the time you need to have relax and enjoy yourself, ensuring you have the healthy leisure time you need.
Try to measure your leisure needs weekly or at least monthly.


text:
'use strict';

const models = require('./index');

/**
 * Describes how data from an input is serialized or how data is serialized
 * when written to an output in JSON format.
 *
 * @extends models['Serialization']
 */
class JsonSerialization extends models['Serialization'] {
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   * Create a JsonSerialization.
   * @member {string} [encoding] Specifies the encoding of the incoming data in
   * the case of input and the encoding of outgoing data in the case of output.
   * Required on PUT (CreateOrReplace) requests. Possible values include:
   * 'UTF8'
   * @member {string} [format] This property only applies to JSON serialization
   * of outputs only. It is not applicable to inputs. This property specifies
   * the format of the JSON the output will be written in. The currently
   * supported values are 'lineSeparated' indicating the output will be
   * formatted by having each JSON object separated by a new line and 'array'
   * indicating the output will be formatted as an array of JSON objects.
   * Default value is 'lineSeparated' if left null. Possible values include:
   * 'LineSeparated', 'Array'
   */
  constructor() {
    super();
  }

  /**
   * Defines the metadata of JsonSerialization
   *
   * @returns {object} metadata of JsonSerialization
   *
   */
  mapper() {
    return {
      required: false,
      serializedName: 'Json',
      type: {
        name: 'Composite',
        className: 'JsonSerialization',
        modelProperties: {
          type: {
            required: true,
            serializedName: 'type',
            type: {
              name: 'String'
            }
          },
          encoding: {
            required: false,
            serializedName: 'properties.encoding',
            type: {
              name: 'String'
            }
          },
          format: {
            required: false,
            serializedName: 'properties.format',
            type: {
              name: 'String'
            }
          }
        }
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}

module.exports = JsonSerialization;


The debate between surgical and non-surgical facial cosmetic procedures has never been stronger than it is today, as both options have shown to produce equally positive and rewarding results. Injectable fillers and facelift surgery can both remedy aesthetic insecurities about one's appearance, but these procedures address facial aging in different ways. Facelift surgery is invasive and requires some downtime, but patients who opt for fillers can resume their daily routine immediately after treatment.
Facelift surgery candidates are generally in their 40s or older, while patients who choose fillers vary among all ages. When it comes to facial cosmetic procedures, one option is not inherently better than the other. Instead, they are each designed to target and treat different aesthetic concerns. It all comes down to finding out which is the best procedure for you.
One of the top reasons that patients turn to cosmetic improvement is to combat the most noticeable signs of aging. These may include wrinkles, fine lines, deep creases, and jowls.
Facelift surgery has always been the gold standard for correcting sign of aging in the lower face. This procedure tightens lax skin and muscles on the lower and mid-regions of the face utilizing various techniques. Wrinkles are smoothed, jowls are lessened, and facial muscles are returned to their original positions. This procedure also removes any excess sagging skin that may have developed, and it addresses some of the underlying causes of facial aging by lifting the internal features.
Facial fillers also address facial aging, but they cannot provide the same level of correction as facelift surgery. Just as their name suggests, fillers add volume to the face. They treat wrinkles and deep creases by filling them in. Fillers cannot, however, correct skin laxity or alter the internal structures of the face. Injectable filler treatment is not a surgical procedure and, therefore, cannot remove anything. While injectable fillers are still useful in treating minor to moderate signs of facial aging, facelift surgery can produce more dramatic improvement.
Another reason people seek cosmetic treatment is to correct hollowed features. As people age, they lose natural facial fat and volume in their cheeks, in their lips, and around their mouths. This can create a sunken and older appearance.
Injectable fillers can restore youthful volume and enhance facial shape and contour. Fillers add volume to areas of the face that have either recessed or never had any volume to start with, resulting in a refreshed, attractive, and sculpted appearance.
Facelift surgery, on the other hand, cannot create the volume that was not originally there. Fillers have recently gained popularity for their ability to enhance the size and shape of the lips, which allows patients to attain the luscious pout that is currently all the rage. Facelift surgery cannot do that or replenish lost volume in the cheeks.
Stem-Cell Enhanced Facelift: This procedure is ideal for patients who want to correct both skin laxity and volume loss. The stem-cell enhanced facelift combines facelift surgery with patient-harvested fat that is injected into recessed areas of the face. The stem cells help rejuvenate the skin from the inside out, stimulating natural cell regeneration for lasting results.
Suspenders Facelift: This technique utilizes the patient's own facial tissue to alleviate tension on the facelift incisions. The "suspenders" created using these facial tissues also offer additional support to the facial structure. As a result, the suspenders facelift delivers stunning facial rejuvenation with minimal scarring.
Adjustable Facelift: Patients who want to avoid undergoing a full second facelift in the future can benefit from the adjustable facelift. This procedure allows Dr. Calabria to reposition the facial tissues and address aging following an initial facelift without causing the same amount of trauma to the face.
Facial fillers are temporary solutions. The body will naturally absorb the filler material over the course of a few months. While injectable fillers can be repeated as desired, they will never be permanent. Facelift surgery, on the other hand, will last much longer. Although facelift surgery will not stop the natural progression of aging, the results will remain noticeable. When choosing between these two options, think about this: Are you looking for a fix for a couple of months, or would you rather have a procedure that will last several years?
Both fillers and facelift surgery can help you achieve the confidence-boosting results you desire. To learn more, or to schedule a consultation, contact Dr. Calabria today by calling (760) 836-0077.


text:
Needed: A Continuing Sexual Revolution
by James B. Nelson
Dr. Nelson is professor of Christian ethics at United Theological Seminary of the Twin Cities, New Brighton, Minnesota.
This article appeared in the Christian Century, June 1, 1988, p. 563. Copyright by the Christian Century Foundation and used by permission. Current articles and subscription information can be found at www.christiancentury.org. This material was prepared for Religion Online by Ted & Winnie Brock.
The church continues to be silent, timid and negative about sexuality.
Samuel Johnson reportedly once told an aspiring author, "Your manuscript is both good and original; unfortunately, the parts that are good are not original, and the parts that are original are not good." The danger in reflecting on the eight articles in The Christian Century's sexual ethics series is in producing just such a manuscript. It is tempting to repeat many of the good things already said; and to the extent I offer my own comments, I suspect -- especially judging from the letters sent to the Century during the series -- that I might be regarded as either too radical or not venturesome enough. Nevertheless, I want to conclude the series by drawing out from the diverse articles what I see as five general theses. Though their topics were diverse, series writers revealed much more in common than otherwise.
(I) It is crucial that the church confront more forth-rightly a whole range of sexual issues. John J. McNeill told us that "the AIDS crisis . . makes it clear that churches do not have the luxury of time in dealing with homosexuality." Karen Lebacqz said that despite the growing numbers of single persons, the church has given little attention or support to their sexuality, and a new ethic is desperately needed. Mary Pellauer observed that pornography is a huge and flourishing industry, one that oppresses women and children in particular, and that the churches have not discovered how to disentangle healthy forms of sexuality from sexual violence. In an epidemic of teen-age pregnancies, mainline churches, intimidated by the religious right, have lost their nerve, according to Allen I. Moore; they provide neither leadership nor support to teen-agers in the area of sexuality. Lois Gehr Livezey reported that sexual abuse and violence are commonplace, underreported and increasing, and she argued that the church needs to break down the wall of silence on the topic. Charles E. Curran reflected on how the discrepancy between official Catholic teaching and Catholic sexual practice has raised deep questions about the credibility of the church's teaching office. Finally, Merle Longwood maintained that distortions of male sexuality complicate many parts of our lives, and that the movement for change among men must be a vital part of the church's mission. A note of urgency is clearly sounded throughout the series, and I agree with it wholeheartedly.
(2) Despite some important movement on certain issues, the churches have not been able to deal creatively and forthrightly with sexuality in virtually any form.
Homosexuality is a prime case in point. Though it has been more than a dozen years since McNeill wrote his groundbreaking book The Church and the Homosexual (Sheed Andrews & McMeel, 1976) , he laments that the serious moral debate about homosexuality that he hoped his book would open up has not taken place. The response of his own Roman Catholic Church "was to try to silence the messenger rather than debate the message.
Viewing the churches as a whole, the picture is somewhat more varied, thanks in no small part to McNeill's courageous leadership. The past dozen years have seen more serious and open debate about sexual orientation in North American churches than during any comparable time in history. Though the substantive changes have not been earthshaking, at least some congregations (called "Opening and Affirming Churches," "More Light Churches," "Reconciling Congregations," etc.) in several mainline communions have declared their support of full gay and lesbian participation. And debates over ordination are vigorous and public in several denominations.
On women's issues, it would be difficult to deny that there has been significant engagement in some parts of the church with questions of women's ordination, inclusive language, leadership patterns, theological imagery and reproductive self-control. Change on a number of other sexual issues could be documented as well. So one side of the picture is that churches have been engaged in an unprecedented debate on issues of sexuality.
But the other side of the picture is what I want to stress: churches still have enormous difficulty dealing with sexuality. McNeill is right in pointing to the claim in Habits of the Heart by Robert Bellah et al. (Harper & Row, 1985) that the therapeutic mentality of the liberal middle class renders it uncomfortable with moral argument. We "embrace pluralism and the uniqueness of the individual, and conclude that there is no common moral ground and publicly relevant morality," says McNeill. Actually, our problems in confronting sexuality extend much further back in history than to the emergence of the therapeutic mentality. Inherited sexual dualisms (spirit regarded as essentially different from and superior to body, and -- the patriarchal counterpart -- male regarded as essentially different from and superior to female) continue to have a formidable grip on our personal lives, our communal ethos and our institutional structures.
Another aspect of the church's quandary over sexuality is its tendency to react to sexual problems rather than taking constructive initiatives. Like the medical system, the church is much more oriented to disease than to health. In its own way the Century series illustrated this point by focusing on sexual problems.
The combination of a continuing immersion in sexual dualisms, a middle-class therapeutic mentality, a fear of division, reactive tendencies and the very complexity of sexuality itself make the church an uncertain trumpet. One letter-writer responded to several of the series features with these words: "Taken all together, these articles demonstrate the tremendously complex nature of human sexuality. I have great sympathy for the authors, and I agree much more than I disagree with them. But it will be very difficult, if not impossible, for the church to teach along such ambiguous lines. I would like to see a little more courage and a lot more clarity." I would extend that wish beyond the authors to the church at large.
(3) The appropriate sources of and authority for sexual theology and ethics remain unclear, and are a matter of contention (and here the authors themselves expressed differences) Is Scripture a basic and viable source? What about the church's tradition? McNeill wrestled critically but hopefully with both on homosexuality. Pellauer was skeptical about the usefulness of a tradition fixated on procreative sex in helping us to sort out healthy from unhealthy sexuality. Regarding sexual violence and the violation of women, Livezey found much in Scripture and tradition that must be rejected because they are actual accomplices in these oppressions. Lebacqz argued that a tradition condemning all genital expression outside marriage is unhelpful in developing an ethic for singles' sexuality, and she contended that we must add to the traditional norms of procreation and union another norm, "appropriate vulnerability," as a major divine intention for our sexuality. Moore did not appeal directly to Scripture and tradition for teen-age sexual norms; rather, he appealed to an ethic of social justice and fulfillment. Curran wrestled with how sexual questions have raised the most significant issues of ecclesiology and churchly authority for Catholics, arguing that tradition supports a plurality of specific moral convictions. Finally, Longwood proposed Jesus Christ as the "model of maturity" for men's sexuality and urged a sexual ethic of social justice and the common good. Obviously, there was no unanimity among these authors about the relevance of Scripture and tradition for human sexuality today, at least insofar as their particular topics were concerned.
Significantly, most of the authors strongly insisted that in formulating a sexual ethic we must deal seriously with actual sexual experience. The refrain was compelling: we need to listen carefully to women's stories; we need to hear of the actual experiences of those who have been oppressed by sexual violence; we need to listen to the gospel speaking profoundly through gay and lesbian experience; we need to hear the voices of men struggling for a richer and more just sexuality; we need to pay attention to teen-agers yearning for the church to stand with them; we need to heed the voices of single persons who feel both avoided and condemned by the church in their struggle for responsible sexual expression.
In my introduction to the series I argued that the sexual theology we need is different from simply a theology about sexuality. The latter tends to be argued in a one-directional way: what do Scripture and tradition say about our sexuality and how ought it to be expressed? This question is important and should never be neglected -- but it is not enough. We need to ask also (after the manner of various liberation theologies): What does our experience as human sexual beings tell us about how we read Scripture, interpret the tradition and attempt to live out the meanings of the gospel? The questioning must move in both directions.
A number of Century readers objected to this approach. Perhaps the most consistent charge in readers' letters was that the series authors had elevated subjective sexual experience over scriptural authority. Let us then ask the question directly: Can we find a clear, consistent and authoritative sexual ethic in Scripture and tradition?
At various points the Bible endorses sexual attitudes and practices most of us would now reject: women are regarded as the property of men; menstrual blood and semen are unclean"; intercourse during menstruation is proscribed; and polygamy, levirate marriage, concubinage and prostitution are accepted. On these matters some would argue that the cultic laws of the Old Testament are no longer binding, and they must be distinguished from its moral commandments. But such arguments fail to recognize that Scripture treats most of the sexual mores mentioned above as moral, not cultic, issues.
Those who argue that since Christ is the end of the law, the Old Testament law is irrelevant must, if consistent, deal with the New Testament pronouncements about sexual issues, including Paul's various declarations. Even on such a major issue as sexual intercourse between unmarried consenting adults, neither the Old or New Testament contains an explicit prohibition (which John Calvin discovered to his consternation). Indeed, the Song of Solomon celebrates one such relationship. Our best biblical scholarship reaches Walter Wink's conclusion: "There is no biblical sex ethic. The Bible knows only a love ethic, which is constantly being brought to bear on whatever sexual mores are dominant in any given country, or culture, or period" ("Biblical Perspectives on Homosexuality," The Christian Century, November 7, 1979)
Nor does the postbiblical Christian tradition provide unambiguous guidance. Selective use of tradition is
almost as common as selective use of Scripture. Most of us would fully agree with the tradition's endorsement of monogamy and fidelity as consonant with the gospel. Many of us would endorse the movement toward affirming love as the governing sexual norm. Some of us would celebrate those parts of the tradition that not only tolerate but actually affirm gay and lesbian Christians, including clergy. But few of us would endorse those elements of tradition that baptize patriarchal oppression, endorse violence against women, oppress lesbians and gays, exalt perpetual virginity as the superior state, or declare that heterosexual rape is a lesser sin than masturbation (on the view that the latter act contradicts nature while the former act, while also sinful, is in accordance with nature) The postbiblical tradition, like Scripture itself, does not provide one coherent, consistent sexual ethic. We are left, whether we like it or not, with unfinished business. This leads directly to the next theme.
(4) We must continue to work on developing our sexual theology. A viable Christian sexual theology for our time will affirm that sexuality is always much more than genital expression. Sexuality expresses the mystery of our creation as beings who need to reach out for the physical and spiritual embraces of others. It expresses God's intention that we find our authentic humanness not in isolation but in relationship.
Under such a theology, sexuality will be understood as intrinsic to the divine-human connection, as one of the great arenas for celebrating the Source of Life. Sexuality will enter directly and consciously into our understandings of every major Christian doctrine -- God, human nature, sin, salvation, church, history and eschatology. Our sexuality will be understood as expressing our created destiny for freedom, creativity, joy and shalom (Livezey) It will embrace appropriate vulnerability (Lebacqz) Sexual ethics will affirm only those sexual expressions that are respectful and nonexploitative (Pellauer) , and which treat persons nonstereotypically and with a fundamental commitment to equality (Longwood) Such ethics will evaluate sexual acts and expressions in terms of how they contribute to social justice and the fulfillment of all in community (Moore)
We need, too, a more erotic spirituality. To our impoverishment, much of the heterosexual, white, male tradition has banished eros from Christian theology and spirituality. We have been prisoners of an agape reductionism, of theologies that have vilified or devalued the erotic, often confusing it with the pornographic. We have been prisoners of theologies in which hunger. desire, passion and yearning have been relegated to the pagan world. Dante found eros in the kind of love that moves the sun and the other stars. Perhaps we, too, will come to see eros as intrinsic to God's energy, God's own passion for connection, and hence also as part of our yearning for life-giving communion and relationships of justice.
When we move in this direction, we shall embrace a more incarnational theology. The church has much to learn here from lesbians and gays, for when they affirm themselves in the face of social oppression they affirm the basic goodness of human sexuality and of our embodiedness. Many Christians still learn to fear, despise, trivialize and be ashamed of their bodies. If we do not know the gospel in our bodies, we may not know the gospel. When we find bodily life an embarrassment to so-called high-minded spiritualized religion, we lose our capacity for passionate caring and justice. We lose the sense of the holiness of the bodies of starving children and the bodies of women and men torn by violence and torture. Instead of confining the incarnation to one person 2,000 years ago, forgetting Jesus' message of the indwelling God as the reality and destiny of all people, we might embrace the scandal of incarnation more radically.
(5) We need a continuing sexual revolution. As I attempted to argue at the beginning of the series, the sexual revolution is not over. In a deeper sense it has just begun. Beyond our need for a more adequate sexual theology and ethics, numerous specific issues cry out for reassessment, change, revolution. The authors of this series have probed a number of them, to our great benefit; let me suggest a few others.
Joining vigorously in the fight against AIDS and in compassionate ministries to all affected by this scourge is crucial. As the AIDS crisis worsens, it has the capacity to bring on an antisex hysteria. Beyond anything we have ever known, AIDS has linked in our consciousness the two greatest fears in our society -- sex and death. For the church to allow the fear of death to govern its sexual ethics would be an unholy capitulation. We need to help our children to understand and feel good about their sexuality, even in a time when sex seems almost synonymous with fear and death.
The sexuality of the aging, the infirm and those with handicapping conditions needs to be affirmed. Sadly, church-related institutions still commonly both deny and punish the sexuality of their residents, and clergy routinely ignore the sexuality of such persons in their pastoral care and counseling.
It is also time for the church to begin reflecting on sexual rites of passage.. The church has found ways of liturgizing other major life and death events, but, aside from the wedding ceremony and infant baptism, it is typically silent about other important sexual occasions of our lives. To that extent the church fails to bring Christian resources of support, guidance and care to deeply significant aspects of its members' experience. Is it too bold to suggest that we consider ways of naming and celebrating the onset of a girl's menstruation? Or the coming of age for boys -- in the face of the currently destructive secular rituals of naming and achieving "manhood"? Or the affirming of one's sexual orientation? Or the commitment to a new relationship of intimacy other than marriage? Or rites of abortion which convey faith's healing resources after agonized choice? The church is losing countless teen-agers and young adults, not to mention older persons, because it continues to be silent, timid and negative about sexuality.
The hegemony of the nuclear family, and the resulting temptation to police the sexuality of everyone who does not fit that mold, need to be challenged. In elevating a relative, historical social structure to ultimacy, we have enforced a sexual model which excludes and devalues countless persons. Accordingly, we need to rethink our theology of marriage. It has been 300 years since Protestants began to understand that God's primary purpose in creating us as sexual beings is not procreation but giving us the desire and capacity for intimacy. We have generally adopted this conviction as it pertains to heterosexuals, but not to homosexuals. Further, we have too frequently assumed that the church and its clergy have the power to "marry" couples in the wedding rite. Not so. Only a couple has the power to create a marriage through their covenanting together and with God. The wedding ceremony celebrates and supports that reality; it does not create it. So responsible theology ought to insist that the question is not whether the church should "marry" same-sex couples but whether or not such covenanted relationships do in fact exist. Where they do, the question is whether or not the church will publicly recognize and celebrate the reality that, by God's grace, exists.
We must also confront homophobia, which has effects beyond gays, lesbians and bisexuals. Rooted as it is in male sexism, homophobia undermines male friendships, bolsters the oppression of women and contributes fearsomely to our social violence. Though its varied dynamics are complex, the root cause of homophobia is always fear, and the gospel has resources for dealing with fear.
The sexual revolution of the 1960s convinced some of the dubious notion that making love would prevent man war. That bumper sticker dictum did, however, contain the hint of a more authentic reality: our major social ills do, in fact, have profound links to the sexual dualisms that split spirit from body and establish patriarchy. The feminist movement has pointed to the buried connections between militarism, urban violence, racism, economic exploitation and ecological abuse on the one hand, and sexual distortions on the other. The infant movement of a new men's consciousness holds enormous promise for addressing the distorted masculinism that contributes so much violence and peril to our fragile planet.
A continuing sexual revolution is urgently needed. That patriarchies, a fear of sexuality and a desire to control others continue to exist throughout the church is reason enough for a sexual revolution. Positively put, the reason is in the gospel: the Word made flesh, and the Word still becoming flesh (Christ is risen!)
Robert McAfee Brown recently noted Martin Buber' s response to S¢ren Kierkegaard's broken engagement (Spirituality and Liberation (Westminster, 19881, p. 104 f.) After years of courting Regina, the Danish theologian decided that this human love would distract him from the "higher" love of God, so he abandoned her. Buber commented that this was "a sublime misunderstanding of God." Creation, far from being a hurdle on the road to God, is that very road. God draws us to the divine self by means of loved ones, not by renunciation of them. Buber's remark should remind Christians of their call to a deeply incarnational spirituality. God, working through another earthy Jew 2,000 years ago, tried to impress that call on us. And is still trying. The revolution is not yet over.
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text:
Mechanical Engineering Interview Questions
Machine Design Interview Questions
What is an adaptive design?
Sharad Jaiswal
Posted On: Sep 01, 2020
Adaptive design is one of the types of machine design which is extensively used. This is a process of modifying the existing technology into a better design. It uses the basic features and optimizes or retouches them so that the desired product gets better and can fit better to work with it. It is really hard and takes a lot of time to make a design from scratch. So, it not only saves money but also saves a lot of time.
What Is Endurance Limit?
What are the GD&T symbols?
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What is an S-N Curve?
What is Engineering Drawing?
What is impact load?
What is the uses of snap head?
What steps you follow as a designer while designing a Machine?
What is curved beam?
What are engineering tolerance?
What is machine design?
Machine design is referred to creating a machine or structure by using imagination, scientific principles and engineering techniques. A machine is designed in such a way that it satisfies the needs of...
What is Ductility?
Ductility is defined as the capacity of a material to be deformed plastically without fracture. This property indicates the softness and malleability of the material. It basically depends on the natur...
Impact load is defined as the force delivered by the sudden load on a structural member rather than a force applied constantly and sustained over a long period. For e.g. Throwing a bundle of wood fr...


text:
namespace Nancy.Responses.Negotiation
{
    using System;
    using System.Collections.Generic;
    using System.Linq;

    /// <summary>
    /// Processes the model for json media types and extension.
    /// </summary>
    public class JsonProcessor : IResponseProcessor
    {
        private readonly ISerializer serializer;

        private static readonly IEnumerable<Tuple<string, MediaRange>> extensionMappings =
            new[] { new Tuple<string, MediaRange>("json", new MediaRange("application/json")) };

        /// <summary>
        /// Initializes a new instance of the <see cref="JsonProcessor"/> class,
        /// with the provided <paramref name="serializers"/>.
        /// </summary>
        /// <param name="serializers">The serializes that the processor will use to process the request.</param>
        public JsonProcessor(IEnumerable<ISerializer> serializers)
        {
            this.serializer = serializers.FirstOrDefault(x => x.CanSerialize("application/json"));
        }

        /// <summary>
        /// Gets a set of mappings that map a given extension (such as .json)
        /// to a media range that can be sent to the client in a vary header.
        /// </summary>
        public IEnumerable<Tuple<string, MediaRange>> ExtensionMappings
        {
            get { return extensionMappings; }
        }

        /// <summary>
        /// Determines whether the processor can handle a given content type and model
        /// </summary>
        /// <param name="requestedMediaRange">Content type requested by the client</param>
        /// <param name="model">The model for the given media range</param>
        /// <param name="context">The nancy context</param>
        /// <returns>A ProcessorMatch result that determines the priority of the processor</returns>
        public ProcessorMatch CanProcess(MediaRange requestedMediaRange, dynamic model, NancyContext context)
        {
            if (IsExactJsonContentType(requestedMediaRange))
            {
                return new ProcessorMatch
                {
                    ModelResult = MatchResult.DontCare,
                    RequestedContentTypeResult = MatchResult.ExactMatch
                };
            }

            if (IsWildcardJsonContentType(requestedMediaRange))
            {
                return new ProcessorMatch
                {
                    ModelResult = MatchResult.DontCare,
                    RequestedContentTypeResult = MatchResult.NonExactMatch
                };
            }

            return new ProcessorMatch
            {
                ModelResult = MatchResult.DontCare,
                RequestedContentTypeResult = MatchResult.NoMatch
            };
        }

        /// <summary>
        /// Process the response
        /// </summary>
        /// <param name="requestedMediaRange">Content type requested by the client</param>
        /// <param name="model">The model for the given media range</param>
        /// <param name="context">The nancy context</param>
        /// <returns>A response</returns>
        public Response Process(MediaRange requestedMediaRange, dynamic model, NancyContext context)
        {
            return new JsonResponse(model, this.serializer);
        }

        private static bool IsExactJsonContentType(MediaRange requestedContentType)
        {
            if (requestedContentType.Type.IsWildcard && requestedContentType.Subtype.IsWildcard)
            {
                return true;
            }

            return requestedContentType.Matches("application/json") || requestedContentType.Matches("text/json");
        }

        private static bool IsWildcardJsonContentType(MediaRange requestedContentType)
        {
            if (!requestedContentType.Type.IsWildcard && !string.Equals("application", requestedContentType.Type, StringComparison.OrdinalIgnoreCase))
            {
                return false;
            }

            if (requestedContentType.Subtype.IsWildcard)
            {
                return true;
            }

            var subtypeString = requestedContentType.Subtype.ToString();

            return (subtypeString.StartsWith("vnd", StringComparison.OrdinalIgnoreCase) &&
                    subtypeString.EndsWith("+json", StringComparison.OrdinalIgnoreCase));
        }
    }
}


Last weekend, I spend a few days in Dublin at 3 back to back creative events. Liz Gilbert talking about Big Magic on her book tour, an evening of networking with creative entrepreneurs and a creative show and tell event on the Saturday. For three whole days I was immersed in creative culture, business, and enterprise.
There was inspiration, aspiration, questions, advice, storytelling, support, connections made, information shared, loads of insight and refreshing panel discussions on what it means and takes to be not only a creative, but a creative entrepreneur.
Here's the answer to that last part.
What being a creative entrepreneur means is to be constantly, ruthlessly, digging deep and giving all you've got. The lines are very blurred between the creative and her business.
Creative entrepreneurs are a fascinating bunch. They are 'dive in the deep end-ers'. 'Figure it out as we go along-ers'. 'Yeah, that might be the way it's usually done, but I'm gonna do it this way'ers'. They are 'make it happen'ers'.
As you can see, it's a recurring theme in my art journal!
I arrived home to my forest dwelling, taking the rest of Sunday to re-acclimatise. By Monday, I was still contaminated by the pace and urgency cities tend to impress on you. I'll be honest when I say it took me three days to untangle my energy and get back into my own space.
And then it dawned on me, is THIS how it feels to be an entrepreneur? Is it this EXHAUSTING?
A few of my close friends are entrepreneurs in creative industries, so I asked them. Guess what they all said?
Naturally, I asked them what they do with all this stress. Guess what they all said?
Excuse me? You know time is created, right? Basically, they keep going until they break and their bodies take them down. Wow. Whatever happened to prevention being better than cure?
I don't like being bad stressed. I'm not good at it. I've had a mad month, I was making a madder week for myself trying to push, catch and keep up. Trying to be part of it all, this movement of self as business model.
But this isn't me. Push, is not me. I'm a creative, yes. I'm a business, yes. But all this frantic...it's not what I'm about.
STOP. Go do something simple.
And I did. I made room, I made time. I abandoned the chase and I the I did 'the thing I do'. Ha!
Time Out. This is what creative meditation looks like.
Now, Here's what I want to know...When is the last time, if ever, you took off all those hats you wear, punched your non-existent time card and surrendered yourself to simplicity? If you're like my friends and you don't, tell me why not and what would it take?