The iJoy Saber 100W Starter Kit brings the market a powerful and unique device that a beginner or experienced vaper can enjoy and use. It is a cylindrical style single 20700 device with VW and paired with the Diamond Sub-Ohm Tank. The iJoy Saber has a 29mm diameter at its base and gets smaller in size as you get closer to the tank section, the tank sits flush with the top of the device. Its wider at the base so when it's placed down it's less likely to fall over and if it does take a fall or a tumble it is pretty durable and it is made of a strong stainless steel construction. The iJoy Saber can output 100 watts with a 20700 battery or with an 18650 battery with the included adapter sleeve, this device is NOT compatible with 21700 batteries. The Saber is not complicated to use but still packs a punch unlike other pen style devices with poor internal batteries that can't provide enough power to the tank or last very long during the day. With this one you can even have another battery charged and ready to go on your battery charger so when the one you are using dies you can pop it right in, which means no down time or plugging it in and waiting forever just to vape. It has an easy to read display which displays your wattage, your battery life, the ohms of your coil and a puff count. There is a fire button, two adjustment buttons and a micro usb port on the device. The iJoy Diamond Sub-Ohm Tank is a really great pairing with the Saber, it is top fill with a 5.5mL capacity and has a variety of coil options. With this kits Diamond tank and the Sabers 100w power and battery life it's honestly one of the best kits on the market.


How ready is our voting infrastructure for the upcoming midterm elections? Plus, what can squirrel monkeys teach us about the evolution of human language?
Ecologists are using tools—from captive breeding programs to ant-sniffing dogs—to restore and protect the unique ecosystem of California's Channel Islands.
How much will half a degree save us from the worst impacts of climate change?
They're big-brained chatterboxes, and they've even been to space.
Landlocked for 60 years, these juvenile Atlantic salmon still have the tools to navigate the sea.


Hackers who took credit for the Stratfor attack say they've breached retailer SpecialForces.com and posted stolen credit cards and passwords.
In what its calling another round of "LulzXmas festivities," an Anonymous-affiliated hacktivst group today is claiming yet another breach and posting of customer information.
On Christmas Day the target was security think tank Strategic Forecasting, or Stratfor. This time it was SpecialForces.com, a Web site that sells military gear.
"Continuing the week long celebration of wreaking utter havoc on global financial systems, militaries, and governments, we are announcing our next target: the online piggie supply store SpecialForces.com," the group wrote in a Pastebin posting today.
The hackers said they breached the SpecialForces.com site months ago, but only just got around to posting the customer data. Even though the site's data was encrypted, they claim to have 14,000 passwords and details for 8,000 credit cards belonging to Special Forces Gear customers.
In a statement to CNET, Special Forces Gear founder Dave Thomas confirmed that his company's Web servers were compromised by Anonymous in late August, resulting in a security breach that allowed the hackers to obtain customer usernames, passwords, and possibly encrypted credit card information in some cases. "We have no evidence of any further security breaches, and we believe that the recent Stratfor incident is being used to bring this old news back into the spotlight," he noted.
Thomas added that the compromised passwords were from a backup of a previous version of the Web site that is more than a year old. "Most of the credit card numbers are expired, and we don't have evidence of any credit card misuse at this time," he wrote. "The current Web site does not store customer passwords or credit card information."
After the security breach, "we completely rebuilt our Web site and hired third-party consultants to help us shore up Web site security," he said, adding that the vast majority of the sites' sales are custom t-shirts and related gifts, and that the company donates a portion of its profits to charity.
Identity Finder, a New York-based data loss and identity theft prevention service, determined that files posted to date by Anonymous and its AntiSec offshoot related to this breach include 7,277 unique credit card numbers; 68,830 e-mail addresses (of which 40,854 are unique); and 36,368 plain-text usernames and passwords, some of which might be duplicates.
We also laughed heartily whilst these so-called protectors of private property scrambled desperately to recover the sensitive information of all the customers who they wronged by failing to use proper security precautions.
SpecialForces.com does encrypt customer data. "Nevertheless, our voodoo prevailed and we were quickly able to break back into the military supplier's server and steal their encryption keys," the hackers wrote. "We then wrote a few simple functions to recover the cleartext passwords, credit card numbers, and expiration dates to all their customers' cards. That's how we roll."


Sesame oil is extracted from sesame seeds. Sesamum indicum is the scientific name given for sesame seeds and is one of the oils which is used since ancient lore.The use of sesame seeds dates back to the ancient Egyptian era around 1500 B.C, when it was used to treat pain.
In China, it is said to have been in use for food and medicinal purposes for more than 3000 years. Sesame seeds, though tiny, are packed with proteins, antioxidants, vitamin E, B complex vitamin, and minerals such as phosphorus, magnesium, and calcium.
It is known to be one of the healthiest edible oils. This oil is used not only for cooking but also for therapeutic purposes. Hence, it is widely used in ayurvedic medicines.
Due to its nutritional content, it is often referred to as the 'queen of oils'.
Here are a few of the health benefits that you can have with the use of sesame oil. Take a look.
This oil can be used as a healthy alternative to other cooking oils, as research shows that it can help lower blood pressure levels. Usage of this oil has shown a considerable amount of decrease in the blood pressure levels among patients. It is found to be a great natural way to lower blood pressure.
This oil contains magnesium that helps control blood sugar levels. Sesame oil also contains vitamin E and is a rich source of antioxidants, which is noted to regulate the blood sugar levels. Various studies revealed the notable positive effects of including sesame oil in the diet of diabetic patients.
The usage of sesame seeds moisturizes the skin, keeping it smooth and preventing wrinkles. This oil is also used to heal a number of skin disorders and can be used as a natural sunscreen. The oil absorbs quickly on the skin, nourishing it and helps to get rid of the dryness and cracks.
Sesame oil contains calcium, which is essential for having strong bones. The oil contains copper, zinc and magnesium which are vital for bone health. This oil is widely used for a number of ayurvedic bone-building massages. This oil penetrates deep inside and it strengthens the bones and is used in treating other age-related weaknesses in the bones.
Sesame oil is also used for oral health and hygiene since ancient times. Swishing the oil in your mouth, which is commonly known as oil pulling, can be very effective for oral health. It is beneficial in removing dental plaque and also has a number of other benefits, leading to the overall improvement of oral health.
Sesame oil is packed with powerful antioxidants that can have a positive effect on the heart. It lowers the cholesterol levels and aids in a better arterial function. The fatty acids contained in the oil - sesamol and sesamin, help to keep the cardiovascular system strong and the cholesterol levels low.
Sesame oil protects and nourishes the hair. Since it is known to be a natural sunscreen agent, it protects the hair from the harmful UV rays and pollution. It nourishes the scalp and hair, making it healthy and prevents premature greying. Massaging the scalp with sesame oil improves blood circulation and accelerates hair growth.
The properties in sesame oil are said to impact our mood. It can help one to combat levels of stress and anxiety and uplift one's mood. Using this oil to massage the soles of the feet, while going to bed, can help one to have a good night's sleep.
Owing to the huge health benefits of sesame oil, it has been in use since ancient times. Now, it is time that we open up to this power-packed seed oil for overall health and beauty.


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Andrea Ariaudo, né le  à Coni en Italie est un joueur italien de volley-ball. Il mesure 1,95 m et joue réceptionneur-attaquant.

Biographie

Clubs

Palmarès
Néant.

Voir aussi

Articles connexes

Liens externes

Naissance à Coni
Sportif italien du XXIe siècle
Joueur italien de volley-ball
Naissance en avril 1987

redpajama_set_name: RedPajamaWikipedia


Why convert resistance to temperature?
This calculator enables you to work out what the temperature should be at a certain resistance and what the resistance should be at a specified temperature.
Convert a known RTD resistance into a temperature reading.
Convert a known temperature to RTD resistances.
The calculator uses the coefficients as defined in IEC-60751.
Although this calculator has been tested and checked it is your responsibility to ensure the validity of all data.


Motorcycle riders in most parts of the country are accustomed to putting their bikes into winter storage. But with this year's winter, even those in the South and West have had significant idle time. Before your customers hit the road again, remind them to prepare the bike with a few maintenance steps.
Replace the oil and fuel. Oil gets acidic as it ages, which can damage engine parts. And any fuel stabilizer put in the tank last fall will not combust well, leading to rough engine performance until it burns off.
Check the brake and transmission fluids levels as well.
Test the moving parts. Make sure the brake cables and drive chain did not become loose.


An optional ground effects package with a front splitter and side skirts painted in carbon flash metallic is included. The rear end is rounded out, completed with a rear diffuser in carbon flash metallic cast aluminum quad exhaust tips with Yenko badging and the Z06 rear spoiler with flexible wickerbill center.
Further , supplementary fender, bumper graphics, a large logo on the hood behind its cowl, and the brake calipers which are Yenko-branded are ready to use and applicable too.Similar to the original Yenko Camaro, the 2019 Yenko Corvette hopes to listen to back towards the passion and devout of the structure . That is in the upgrades of its engine.
The package of the Stage II supercharger increases its power to 1000 horses and 855 lb-ft of torque, more than doubled one of Grand Sport.
The Z06 handles a matching 650 horses lb-ft, which grants Chevy to reply a 0-60 sprint for less than three seconds. SVE's custom built 6.8 –liter engine makes all that grant possible. It is based on the basic 6.2 –liter LT-1, with a block made of aluminum.
It is a rotating assembly balanced with a computer, high flow LT4 cylinder heads, and ARP high strength head and main studs. What is increased at the same time is the supercharger's displacement, it is by 20% for a 25% increase in total upgrade. Boosted fuel injectors, exhaust and throttle body larger for10 percent, harmonize with the mix.
For the customers who are not able to have one of the 25 Stage II Yenko Corvettes, simultaneously there will be 25Stage II models sold. The production is limited to 835 horsepower and 770 lb-ft of torque.
A lot of the improvements and boosts will be convenient with a seven-speed manual transmission with active rev matching. An eight-speed automatic with paddle shifting is extra and supplementary alternative. The stock automatic trans gets a hold heavy-duty improvement to compete and deal with so much additional beef.
SVE frequently suggests and gives a12 – month/12,000 mile warranty on the transmission only. Other characteristics and lineaments which are upgrading and strengthening the performance are Brembo brakes with carbon ceramics for handling StageII power which measures 14.6 inches out front with six-piston calipers.
Magnetic Ride Control, a differential which is limited – slip dry sump oil system and improved sway bars front and rear.


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Home New Car Launches Nissan Serena S-Hybrid CKD opens for bookings
Nissan Serena S-Hybrid CKD opens for bookings
by Kon - Oct 24, 2014
Edaran Tan Chong Motor Sdn Bhd has officially opened the order books of the facelifted Nissan Serena S-Hybrid CKD slated for launch in early November. The pre-facelift CBU Serena S-Hybrid was launched locally in July 2013 and was sold at a duty-free price of RM149,500 with insurance thanks to now-discontinued duty exemptions.
Now locally assembled at the Tan Chong Motor Assemblies (TCMA) plant in Serendah, the Serena S-Hybrid CKD falls under the new national automotive policy regime, which presumably qualifies it for customized incentives as an energy efficient vehicle. Specifics of said incentives, if any are even extended to begin with, are unknown to us at the moment.
As before, the Serena S-Hybrid will feature a direct-injected version of Nissan's 2.0-litre MR20 engine dispersing 145hp and 210Nm to the front wheels via Nissan's X-Tronic CVT. A total of two trim levels are offered – Highway Star and Premium Highway Star, with prices estimated at below RM140,000 and RM150,000 respectively.
Sporting a refreshed exterior, the facelifted Serena S-Hybrid separates itself from its predecessor with a new front grille, alloy rims, and LED illumination front and rear – the LED headlamp cluster incorporating auto-leveling technology. Conveniences include twin powered sliding doors and smart keyless access, whilst safety is covered by electronic stability control, hill start assist, and dual airbags.
The higher grade Premium Highway Star adds a 10.1″ roof-mounted LCD panel, 6.5″ multimedia navigator, reverse camera, roof spoiler, V-Kool security window film, leather seats, and door visor.
Pictures: Official Nissan release.
etcm
s-hybrid
Hyundai Genesis achieves highest ever Australasian NCAP score
Porsche Down-sizing Brings More Affordable Macan Range
Kia Sorento Will Launch With Petrol & Diesel Engine Options In 6 & 7 Seater Variants
Peugeot Landtrek Pickup Truck Launching Soon In Malaysia
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Locally Assembled BMW 3 Series LCI Launched In Malaysia
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Kia Carnival : Making MPVs Trendy Again
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The Nissan Serena Lifestyle With Practicality Included
Volvo Trucks Malaysia And MGTC To Promote 'Green Logistics'
Petron Giving Away 30 Pairs Of Blackpink Born Pink Concert Tickets In "Collect And Win Contest"
Edaran Tan Chong Motor Nissan CNY Promo Offers Prizes Worth Up To RM388,000
Mun Loon Paper Converting Is 'A Good Company' With Scania Ecolution Agreement
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redpajama_set_name: RedPajamaCommonCrawl


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Mittag out, Avalos in for Langford on July 4 in Dublin
Queensberry Promotions 24/06/2015
Birmingham's Tommy Langford will face a new challenger for the Vacant WBO Intercontinental Light-Welterweight Championship on Saturday 4th July at the National Stadium, Dublin.
The unbeaten 25-year-old now takes on Mexican Julio Cesar Avalos for the title, replacing original opponent, German Ronny Mittag, in the chief supporting bout to Jamie Conlan's WBO European Super-Flyweight title defence against Junior Granados, live and exclusive on BoxNation.
Avalos, from Guadalajara, has won 15 out of 19 fights with seven early stoppages. He recently extended up-and-coming unbeaten Mexican prospects Ivan Montero and Juan Ruiz over eight rounds each.
Despite the change, hot prospect Langford is excited to be now facing a Mexican in the first title challenge of his pro career and says the new harder opponent will bring out the best in him.
"I'm already in great physical shape ahead of the fight so with this change of opponent it's just a couple of adjustments I need to make to the new opponent," said Langford.
"Whereas Mittag is a tall, stand up, European style boxer, I'm now having to change to face a rough Mexican who's shorter and more of an attacker. It's all good experience for me as I develop as a fighter and at the end of the day I have to get in the ring and perform to my best on the night,"
"My trainer Tom Chaney will tell you I'm sharp as a razor at the moment and now I need to maintain that sharpness as I refocus on Avalos, who I reckon is going to be a much harder fighter than Mittag which will bring me up another level,"
"Mexican boxers come with that fearsome reputation and I know that Avalos is going to be a pretty hard nut to crack, but I'm now entering championship level and will get a top 15 ranking so fighters like Avalos and better than him are the guys that I'm going to have beat."
Jamie Conlan headlines 'New Beginning', an action-packed card promoted by Frank Warren, in association with MGM Promotions.
The undercard featuring some of the best up-and-coming Irish talent, including Belfast's hot-shot Ryan Burnett; Dublin aces Stephen Ormond, Anthony Fitzgerald, Declan Geraghty, and son of the legend Steve Collins Jnr, plus Belfast's Sean Turner and unbeaten Birmingham lightweight Michael Rooney.
The Channel Of Champions, BoxNation, will televise the show live and exclusive on Sky 437/HD 490, Virgin 546 and Talk Talk 415. Subscribe at BoxNation Or watch online at Livesport.tv and via iPhone, iPad or Android.


BMW enters the full-size three-row SUV game.
What It Is: A big, family-hauling SUV with three rows of seating and room for seven. Basically, a Bavarian school bus.
Why It Matters: BMW is late to the large-SUV game. Former CEO Norbert Reithofer spent huge sums developing the "i" subbrand. Now that he's out, the company has decided that instead of changing the world, it just wants to haul its well-heeled kids to prep school, so the potentially very profitable X7 enjoys top priority within the company. Like the X5, the X7 will be assembled in South Carolina.
Powertrain: BMW's proven lineup of inline-six and V-8 gasoline and diesel engines will channel their torque to the drive wheels through a ZF eight-speed automatic.
Competition: Audi Q7, Cadillac Escalade, Infiniti QX80, Land Rover Range Rover Sport, Lincoln Navigator, Mercedes-Benz GLS-class, Thomas Built Buses Saf-T-Liner C2.
What Might Go Wrong: The Ultimate Kinder-Carrying Machine just doesn't work as a tagline.
Estimated Arrival and Price: Early 2018, at a considerable premium over the X5, so expect a starting price north of $75,000.
2017 Volkswagen Tiguan: Is VW Finally Getting Serious About Crossovers?
2017 BMW 5-Series/M5: Will They Return to Their Roots?


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Wild Weather = Green Pools.
How to keep your pool in tip top condition with all the wet weather.
The recent wild weather across Australia, and in particular in South East Queensland and Southern and South West NSW, has been causing havoc for swimming pool owners. And Swimart has been busy offering expert advice.
"The main complaints have been green pools, dirt, leaves and garden beds washed into pools," says Chris Fitzmaurice, National Manager, Swimart. "Heavy rain dilutes pool chemicals, especially salt and chlorine, which causes the pool to turn green. This means the water is not sanitised or healthy and it's vital to address this.
Chris recommends that pool owners drop the water level to below the top of the weir door so the weir door and skimmer basket can skim surface debris. For debris that has dropped to the bottom of the pool, scoop out as much as possible, then use either of two chemicals - Supa-Floc, which is designed for dirty but not filthy pools, or Drop Out, for heavy duty cleaning.The chemicals in these two products cause the dirt to bind to them and drop to the bottom of the pool so they can be easily vacuumed away.
» In times of high rainfall, it is a good opportunity to backwash your pool. "Today people are very water conscious so they don't backwash as often as they should, so present high water levels provide a guilt-free chance to backwash," adds Chris.


Sun control roller blind made from sun control fabric.
Roller blind installed in reveal.
Bonded Holland/Roller blinds allow almost any fabric to be made into a custom blind. This unique choice of fabric ties in perfectly with the customers existing furnishings.
Holland/Roller blinds can cover large areas and still be functional when thoughtfully installed.
Designer bonded hollands installed into the reveal.
Roller blind installed in the reveal.
Roller blind installed on the face made from sun control fabric.
Standard roll roller blind installed in reveal.
Corner window with reverse roll roller blinds made from transluscent fabric.


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Frankie Shaw Imdb, Bio, Wiki, Age, Husband, Son,Movies, and Net Worth
Dorcas CELEBRITIES 0
Frankie Shaw Bio | Wiki
Frankie Shaw ( Full name: Rachel Frances Shaw) is an American producer, director, writer, and actress. She appeared as Bridgette Bird on the Showtime series titled SMILF. The film is based on the 2015 short film of the same title written and directed by Frankie herself. Also, she is well-known for playing on the 2010–2011 Spike TV series titled Blue Mountain State as Mary Jo Cacciatore.
Frankie had a recurring role in the first season of the USA Network television series titled Mr. Robot where she appeared as Shayla Nico. In 2016, Frankie returned to the Sundance Film Festival with another short film, a dark comedy titled Too Legit which she wrote and directed. The comedy stars Clark Gregg, Nate Corddry, Teresa Palmer, andZoë Kravitz. In 2017, Frankie had a supporting role in the feature film titled Stronger as Gail Hurley.
The film was directed by David Gordon Green. It starred Jake Gyllenhaal who played the 2013 Boston Marathon bombing survivor Jeff Bauman. In 2019, it was reported that Frankie was attached to direct and also adapt the Katherine Faw Morris novel Ultraluminous that was produced by Steven Soderbergh. In 2020, a number of announcements were made regarding projects.
Frankie was reported to be a writer and executive producer of an HBO series titled Wifey adapting the 1978 Judy Blume novel of the same title and would direct the first episode. Also, Frankie was reportedly to star in a film titled Kill Switch to be directed by Soderbergh. Additionally, she is attached to direct an adaption of the T Kira Madden novel titled Long Live the Tribe of Fatherless Girls.
Shaw's photo
Frankie Shaw Age
She was born in 1981 in Boston, Massachusetts, United States of America. Frankie is 41 years old.
Frankie Shaw Height
She is a woman of above-average stature. Frankie stands at a height of 5 ft 7 in ( Approx 1.7m).
Frankie Shaw Family
She was born to her parents in 1981 in Boston, Massachusetts, United States of America. Franke grew up in Brookline, Massachusetts. She was raised Jewish by her Irish Catholic mother from South Boston. Frankie has an older brother who now owns a bar in Boston. They were both raised by a single mother since her parents divorced when Frankie was only 4 years old.
Frankie Shaw Husband
She married the love of her life, writer-producer Zach Strauss in August 2016. Before that, Frankie had a romantic relationship with director and actor Mark Webber with whom she had a son named Isaac Love. Up to date, Frankie and Mark share joint custody of Isaac.
Frankie Shaw Son
She married writer-producer Zach Strauss. Previously, Frankie was romantically related to Mark Webber with whom she had a son named Isaac Love. Up to date, Frankie and Mark share joint custody of Isaac.
Frankie Shaw Barnard | Education
She graduated from Michael Driscoll School prior to joining Brookline High School. While at Michael Driscoll, Frankie played full-court streetball at a nearby neighborhood park. Basketball was a constant in her early life and even incorporated into the pilot and third episode of SMILF. Frankie got a scholarship in her junior year and transferred to the private school Milton Academy in Milton, Massachusetts. She graduated from the school in 2000 and joined Barnard College. Seven years later, Franke earned her degree in literature.
Frankie Shaw Imdb
After graduating from college, Frankie decided to move to Los Angeles but discovered she was pregnant. Much of her struggles to work as an actor while raising her son Isaac are the loose inspiration for the film titled SMILF. A 2014 role in the ABC's ensemble series Mixology was a breakout role, giving Frankie her first sense of financial stability since she became a mother. Frankie first received recognition in 2009 in the completely improvised Katie Aselton-directed film titled The Freebie and later as the oddball drunken cheerleader called Mary Jo Cacciatore in the 2010 sitcom titled Blue Mountain State.
In 2013, Frankie appeared in HBO's TV series called Hello Ladies starring Stephen Merchant. Also, she had roles in the 2013 independent film titled The Pretty One starring Zoe Kazan and Jake Johnson. Additionally, Franke appeared in the 2014 romantic comedy film titled Someone Marry Barry and in an independent feature, the drama Lullaby starring Garrett Hedlund and Amy Adams.
Her 2014 short film titled SMILF, written, directed, and starred by her opposite Thomas Middleditch won the 2015 Short Film Jury Award at Sundance for U.S. Fiction. In 2015, the same film was picked up as a half-hour comedy tv show by Showtime with Frankie as showrunner. She wrote, directed, starred in, and produced the series.
The first season was shot on location in South Boston and Los Angeles. It received generally positive reviews with Frankie's portrayal of single mother Bridgette Bird notable for its realism, insight, as well as biting humor. The show marks the arrival of an important and original voice." SMILF co-stars Connie Britton and Rosie O'Donnell. The film tackles subjects such as eating disorders as well as sexual abuse. According to Frankie, the show was a way to discuss and portray the role of women on screen. In November 2017, SMILF was renewed by Showtime for a second season. In December 2018 Frankie and the series were accused of workplace misconduct. The series ended after two seasons in March 2019.
Frankie Shaw Mr Robot
In 2015, Frankie had a recurring role on the first season of the tv series titled Mr. Robot as the drug-dealing love interest of Elliot Alderson named Shayla Nico for seven episodes. In the same year, Frankie appeared in the ABC Family pilot titled Tough Cookie and also on the 2015 Fox TV series titled Mulaney. Frankie reprised her role as Mary Jo Cacciatore in 2016 from the 2010 series in the movie titled Blue Mountain State: The Rise of Thadland. In the same year, she appeared in the Netflix series titled Flaked and was a series regular on the 2016 TV series titled Good Girls Revolt.
Frankie Shaw Mark Webber
Mark Allen Webber is a 42-year-old American actor, screenwriter, and director who was born on July 19, 1980, in Minneapolis, Minnesota, United States of America. Formerly, Mark was in a relationship with Frankie and he fathered her son Isaac Love.
Frankie Shaw Movies
– 2005 Night Swimming
– 2006 Just Like the Son
– 2007 One Night Clarice
– 2008 Explicit Ills
– 2008 Altamont Now
– 2009 The Northern Kingdom
– 2009 Falling Up
– 2011 Coffee Snobs
– 2011 The End of Love
– 2012 Spoonful Mac
– 2012 Knife Fight
– 2013 The Pretty One
– 2013 This is Where We Live
– 2014 Lullaby
– 2016 Dreamland
– 2016 Tough Cookie
– 2009 Red Hook
– 2009 The Freebie
– 2014 Someone Marry Barry
– 2014 SMILF
– 2016 Too Legit
– 2016 Blue Mountain State: The Rise of Thadland
– 2017 Stronger
– 2017 Bad Peter
– 2018 Fluidic
– 2019 Jay and Silent Bob Reboot
– 2021 No Sudden Move
Frankie Shaw Tv Shows
– 2005 Law & Order: Criminal Intent
– 2006 The Bedford Diaries
– 2011 Glory Daze
– 2010–2011 Blue Mountain State
– 2011 CSI: NY
– 2011 2 Broke Girls
– 2013 Hello Ladies
– 2014 Mixology
– 2015 Mulaney
– 2016 Flaked
– 2016 Good Girls Revolt
– 2015 Mr. Robot
– 2017–2019 SMILF
– 2018 Homecoming
– 2018 Hollyweed
– 2019 Drunk History
– 2019 Robot Chicken
Frankie Shaw Net Worth
She has amassed good wealth for her acting, directing, and writing roles. Frankie has an estimated net worth of $1,275,967.
Who Is Frankie Shaw
France is an American producer, director, writer, and actress. She appeared as Bridgette Bird on the Showtime series titled SMILF. The film is based on the 2015 short film of the same title written and directed by Frankie herself. Also, she is well-known for playing on the 2010–2011 Spike TV series titled Blue Mountain State as Mary Jo Cacciatore.
How Old Is Frankie Shaw
Frankie is a 41-year-old American producer, director, writer, and actress who was born in 1981 in Boston, Massachusetts, United States of America.
Is Frankie Shaw Married
She married the love of her life, writer-producer Zach Strauss in August 2016. Before that, Frankie has a romantic relationship with director and actor Mark Webber with whom she had a son named Isaac Love. Up to date, Frankie and Mark share joint custody of Isaac.
Frankie Shaw Twitter
Lamorne Morris Actor, Bio, Wiki, Age, Height, Wife, Movies and TV Shows, and Net Worth


text:
Cyrtomium pseudocaryotideum är en träjonväxtart som beskrevs av Jacobus Petrus Roux.

Cyrtomium pseudocaryotideum ingår i släktet Cyrtomium och familjen Dryopteridaceae. Inga underarter finns listade i Catalogue of Life.

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Kärlväxter
pseudocaryotideum


text:
Snoke and The Future of the Dark Side
Appropriately, The Force Awakens relaunched the Star Wars franchise with some new mysteries. One of the big ones being who is this Snoke character and what is his connection to the Force?
The movie itself doesn't say much about who Snoke is. But he has some control of the Force and seduced Kylo Ren to the Dark Side. It's clear that he's not a Sith like Emperor Palpatine or Darth Vader, but a whole new type of Dark Side user.
The new Star Wars novel Aftermath: Life Debt introduces a character who many believe is an earlier version of Snoke. The Star Wars Post lays out a great case for why Gallius Rax is Snoke. Going along with this theory and looking at some clues from the first Aftermath novel could fill in more about where Snoke's tie to the Dark Side.
In Aftermath, during a conversation between some of the remaining leaders of the Empire, Tashu, who at one point served as advisor to The Emperor, says they must look Palpatine's beliefs for inspiration:
We must instead move toward the dark side. Palpatine felt that the universe beyond the edges of our maps was where his power came from. Over the many years he, with our aid, sent men and women beyond known space. They built labs and communication stations on distant moons, asteroids, out there in the wilds.
In Life Debt, Palpatine was doing some excavation on Jakku, home to Galli, later Fleet Admiral Gallius Rax. Galli stows away on a ship departing Jakku and meets Palpatine, who tells him:
You will go back to Jakku. The spot there in the dirt where my droids were operating is precious. Not just to me, but to the galaxy at large…It is significant. It was significant a thousand years ago and it will be significant again. You will go back there and you will monitor my droids excavating the ground. Then I will send more droids and they will build something there below the ground.
And where was Jakku?
It lies at the margins of the Western Reaches, flung so far into the galaxy [Admiral Rae Sloane is] not really sure if they're even in the galaxy anymore. The system is close to Unknown Space—the uncharted end of the galaxy, beyond which lurk terrible nebula storms and gravity wells. Those who have tried to traverse the space outside the galaxy have never returned, though distorted, half-missing communications have come back—messages warning of geomagnetic anomalies and slashing plasma winds.
Putting the two books together a case can be made that the power on Jakku preceded the Sith. That it came from whatever was outside the galaxy that gave the Dark Side its power. And because he was so close to it through his formative years, Galli/Rax learned this power himself.
If Palpatine did teach Galli (in the book, he refers to the boy as a friend) some of the ways of the Dark Side, it's possible that Galli combined these teachings with what he learned from whatever was on Jakku (or outside the Galaxy). It would be these teachings combined: the ways of the Sith and the ancient secrets of the Dark Side to present the galaxy with a new, evolved Dark Side threat.
Personally, I like the idea of an extra-galactic threat. They messed it up in the old Legends canon ("Oh, they just sense the Force at a different frequency"), but it seems as if now, the Star Wars Story Group is planning these things out and not making them up as they go along.
Of course, if Rax isn't Snoke than this is all just a crazy theory. But there are plenty of those to go around.
Author King TomPosted on July 17, 2016 July 17, 2016 Categories Star Wars
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Las elecciones generales de la provincia de Río Negro de 1963 tuvieron lugar el domingo 7 de julio del mencionado año con el objetivo de restaurar las instituciones democráticas constitucionales y autónomas de la provincia después de la intervención federal previa al golpe de Estado del 29 de marzo de 1962, que derrocó al gobierno de Arturo Frondizi, de la Unión Cívica Radical Intransigente (UCRI). Se trató de los terceros comicios rionegrinos desde la provincialización del territorio en 1958. Bajo las normas electorales entonces vigentes, se debía elegir al Gobernador provincial por medio de un colegio electoral de 40 miembros (la única vez que se empleó para la elección del cargo un sistema distinto al escrutinio mayoritario), y a los 22 escaños de la Legislatura Provincial, componiéndose los poderes ejecutivo y legislativo de la provincia para el período 1963-1967. Al mismo tiempo, se eligió a las autoridades locales de los numerosos municipios de la provincia, compuestos por un intendente con un mandato de dos o cuatro años que ejercería el poder ejecutivo y un Concejo Deliberante a cargo del poder legislativo.

Estos comicios se celebraron al mismo tiempo que las elecciones presidenciales y legislativas a nivel nacional, que se realizaron durante el período de proscripción del peronismo (fundado y encabezado por Juan Domingo Perón) y su brazo político, el Partido Justicialista (PJ), de la vida política argentina, situación similar a la sufrida por el Partido Comunista (PCA). Asimismo, el depuesto presidente Frondizi se encontraba detenido e impedido de participar. Por tal motivo, se considera que estas elecciones no fueron completamente libres y justas. Los peronistas, frondicistas y comunistas llamaron públicamente a votar en blanco como medio de expresión, ante su imposibilidad de postularse.

El candidato de la Unión Cívica Radical del Pueblo (UCRP), Carlos Christian Nielsen, ganó las elecciones recibiendo un 34,34% de los votos emitidos a candidaturas legalizadas, logrando una primera minoría de 14 electores gubernativos. En segundo lugar se ubicó la Unión Cívica Radical Intransigente (UCRI), debilitada por la abstención de Frondizi y su ruptura con el partido, con su candidato, Francisco Muñoz, recibiendo el 28,55% y 12 electores. El Partido Demócrata Cristiano (PDC) quedó en tercer lugar con un 14,38% y 6 electores, seguido por el Partido Demócrata Progresista (PDP) con un 14,04% y 5 electores, y por último el Partido Demócrata de Río Negro (PD) con un 8,69% y 3 electores. Una inmensa porción del electorado emitió sufragios en blanco o anuló su voto, sumando un 35,29% del total de votos emitidos y casi duplicando a Nielsen (el candidato más votado) en cantidad de sufragios. La Legislatura Provincial quedó compuesta por 8 diputados de la UCRP, 6 de la UCRI, 3 del PDC, 3 del PDP y 2 del PD. La participación fue del 73,80% del electorado registrado, casi la misma que en los anteriores comicios.

Tras lograr un acuerdo con los distintos sectores antiperonistas, Nielsen fue proclamado gobernador por el colegio electoral y asumió el cargo el 12 de octubre de 1963, coincidiendo con el ascenso de Arturo Umberto Illia (también de la UCRP) a la presidencia de la Nación). Sin embargo, no pudo completar el mandato constitucional, ya que fue derrocado por una intervención tras el golpe de Estado del 28 de junio de 1966.

Antecedentes

La provincialización del Territorio Nacional del Río Negro y el nacimiento de la moderna provincia de Río Negro se produjeron en el contexto del derrocamiento en septiembre de 1955 del gobierno constitucional de Juan Domingo Perón, lo que condujo a la proscripción del movimiento político en torno a su figura, el peronismo, y al exilio del propio Perón. Con el peronismo impedido para presentarse a elecciones, su principal rival, la Unión Cívica Radical (UCR), se dividió en dos facciones: la Unión Cívica Radical Intransigente (UCRI), en general contraria a la proscripción, y la Unión Cívica Radical del Pueblo (UCRP), en gran medida favorable. Río Negro sancionó su primera constitución provincial en diciembre de 1957, por medio de una convención constituyente elegida para tal fin sin la participación de candidatos peronistas, que en su mayoría optaron por votar en blanco como medio de expresión, lo que puso en duda la legitimidad de la nueva carta magna. Por fuera de la antinomia nacional del peronismo y el antiperonismo, en Río Negro existía un conflicto más marcado dentro de los partidos políticos y en la sociedad por la cuestión de la capital provincial, exigiendo el mantenimiento de la capital en Viedma o su traslado a General Roca, ambas las dos principales urbes de la provincia, que carecía de una identidad propia y se veía afectada por faccionalismos localistas.

En ese contexto, fue elegido gobernador Edgardo Castello, de la UCRI, beneficiado por el pacto Perón-Frondizi, que garantizó la elección de Arturo Frondizi como presidente y benefició a sus candidatos legislativos y provinciales. Sin embargo, los problemas que debió enfrentar Frondizi al depender electoralmente del justicialismo proscripto e institucionalmente de los militares que habían derrocado a Perón signaron el destino del gobierno. En 1962, Frondizi toleró la participación de listas peronistas con nombre diferente en varias provincias. En Río Negro se configuró un Frente Justicialista encabezado por el Partido Blanco, de corte neoperonista, que ganó la gobernación por amplio margen con Arturo Amadeo Llanos como candidato. Frondizi intervino la provincia al día siguiente, junto con todas las demás provincias donde triunfó el peronismo, pero no pudo evitar con esto un nuevo golpe de Estado el 29 de marzo de 1962, que lo puso bajo arresto. La rápida decisión por parte del gobierno de tomar el arresto de Frondizi como un caso de acefalía presidencial facilitó la juramentación de José María Guido, presidente provisional del Senado, como presidente interino, siendo el primer presidente proveniente de Río Negro. Guido retuvo las intervenciones, clausuró el Congreso Nacional y anuló los comicios de 1962.

Reglas electorales
La constitución promulgada el 10 de diciembre de 1957 establecía las siguientes autoridades provinciales y sus respectivos criterios de elección, siendo el sistema sometido a diversas modificaciones por el régimen interventor:
 Gobernador provincial elegido en forma indirecta por un Colegio Electoral compuesto por 40 escaños, los cuales eran elegidos por voto popular mediante representación proporcional por listas para un mandato de cuatro años sin posibilidad de reelección inmediata. La constitución de 1957 no preveía el cargo de vicegobernador provincial.
 22 diputados provinciales elegidos por voto directo mediante el sistema de representación proporcional por listas, con la provincia como distrito único.

Candidaturas y campaña
El 1 de junio de 1962, asumió Carlos S. Ramos Mejía como interventor de facto designado por Guido, en reemplazo de Francisco Muñoz, que había sido designado por Frondizi poco antes del golpe de Estado. Ramos Mejía ya había sido interventor durante la última etapa del régimen de Pedro Eugenio Aramburu. El período 1962-1963 fue de alta conflictividad política, con el enfrentamiento interno de las Fuerzas Armadas entre «azules y colorados». El cuestionado régimen de Guido convocó a elecciones presidenciales, legislativas, provinciales y municipales para el domingo 7 de julio de 1963, aunque con la proscripción o restricción de numerosas fuerzas políticas: el Partido Peronista (PP), el Partido Comunista de Argentina (PCA), a los que se prohibió de lleno participar, una inhabilitación parcial para cargos ejecutivos a la Unión Popular y otros partido neoperonistas, y con numerosos dirigentes del radicalismo intransigente (entre ellos el expresidente Frondizi) detenidos o exiliados. Solo cinco partidos políticos presentaron candidaturas en Río Negro. La UCRI, diezmada, oficialmente postuló la candidatura presidencial de Oscar Alende, mientras que a nivel gubernativo presentó al ex interventor Muñoz, oriundo de San Antonio Oeste. La candidatura de Muñoz fue instigada por el exgobernador Edgardo Castello, todavía interventor del partido en Río Negro, y se considera que fue poco atractiva para el electorado de la región del Alto Valle. La UCRP, por su parte, presentó al empresario de General Roca Carlos Christian Nielsen, mientras que a nivel nacional apoyaba la postulación de Arturo Umberto Illia.

Frente a la proscripción, el justicialismo, el sector de la UCRI que respondía a Frondizi y el comunismo, que habían buscado concurrir a las elecciones bajo el denominado «Frente Nacional y Popular», decretaron la abstención. El presidente de la Unión Popular de Río Negro y uno de los principales dirigentes peronistas de la provincia, Mario Franco, hizo campaña activa por el voto en blanco, describiendo que las elecciones a realizarse constituían «una burla y un avasallamiento a la voluntad soberana y popular» en una nota publicada por el Diario Río Negro dos días antes de los comicios, y afirmando que la decisión de decretar la abstención se había tomado: «ante los nuevos atropellos cometidos por el gobierno dictatorial que padecemos, privándonos de los derechos cívicos que nos corresponden como ciudadanos argentinos y compartiendo la resolución de todos los organismos nacionales del Movimiento».

Resultados

Gobernador

Legislatura Provincial

Negociación en el Colegio Electoral
El resultado electoral de la elección para gobernador, la primera y única de la historia de la provincia en la que se empleó un sistema de elección indirecta, determinó un Colegio Electoral fragmentado, con una primera minoría para el radicalismo del pueblo con 14 de los 40 electores, a 7 de los 21 necesarios para reclamar la gobernación. Al igual que a nivel nacional, el radicalismo del pueblo necesitaría de negociaciones con otras formaciones políticas para tomar el control de la provincia. Durante el debate posterior a las elecciones la cuestión de la capitalidad en Viedma o General Roca volvió a surgir bajo las declaraciones del candidato a senador nacional José Enrique Gadano, a pesar de que la UCRP había votado en su Convención Provincial que su campaña tenía como promesa no discutir la cuestión en el período constitucional subsiguiente. Nielsen propuso la formación de una comisión parlamentaria a cargo de estudiar el tema. La UCRI cuestionó la candidatura de Nielsen, y tanto Muñoz como el presidente del Comité Provincia del partido, Herberto Castello, afirmaron que no permitirían la formación de un gobierno «de hombres del Alto Valle», porque este solo representaría «intereses distintos y contrarios a los de la zona sur» de la provincia. La UCRI buscó negociar con los demócratas cristianos y los demócratas progresistas para alcanzar la gobernación, discutiendo los partidos el reparto de ministerios y la elección posterior de los dos senadores nacionales que representarían a Río Negro. Finalmente, las negociaciones para un eje UCRI-PDP-PDC fracasaron, en tanto que la UCRP logró finalmente un acuerdo con el PD y el PDC, resultando Nielsen elegido gobernador con la suma de veintitrés electores entre los tres partidos contra los diecisiete votos opositores de la UCRI y el PDP. La mayoría absoluta legislativa de este acuerdo, con trece diputados, facilitó también la consagración de Gadano y el demócrata cristiano Roberto De Rege como senadores nacionales. Nielsen juró como el segundo gobernador electo de la provincia el 12 de octubre de 1963, designando un gabinete compuesto en su totalidad por figuras provenientes del Alto Valle, tal y como previamente había denunciado la UCRI.

Referencias

Elecciones en Argentina en 1963
Elecciones en la provincia de Río Negro


text:
Olga Nikolajevna Kaniskina (Russisch: Ольга Николаевна Каниськина) (Napolnaja Tavla (Mordovië), 19 januari 1985) is een voormalige Russische snelwandelaarster, die gespecialiseerd was in het onderdeel 20 km snelwandelen. Ze werd olympisch kampioene, Europees kampioene en driemaal wereldkampioene in deze discipline. Haar Europese titel en twee van de drie WK-titels zouden haar in 2015 echter worden ontnomen vanwege een overtreding van de dopingregels.

Biografie

Goud op WK 2007 en OS 2008
In 2005 won Kaniskina op de Europese kampioenschappen onder 23 jaar (23)  in Erfurt zilver op de 20 km snelwandelen. Met 1:33.33 bleef ze slechts 9 seconden achter op haar landgenote Irina Petrova. Op de Europese kampioenschappen voor senioren in Göteborg, een jaar later, won ze het zilver op dezelfde discipline. Ze won goud op de wereldkampioenschappen van 2007 in Osaka en bij de Olympische Spelen van Peking in 2008 in een olympisch record.

Goud op WK 2009 en EK 2010
Hoewel Kaniskina op 27 februari 2009 in Adler op de 20 km snelwandelen een tijd liep die sneller was dan het geldende wereldrecord van Olimpiada Ivanova, werd deze prestatie door de IAAF niet erkend als wereldrecord vanwege het ontbreken van voldoende gekwalificeerde scheidsrechters. Later dat jaar won ze op de WK in Berlijn een gouden medaille op de 20 km snelwandelen. Met een tijd van 1:28.09 versloeg ze de Ierse Olive Loughnane (zilver; 1:28.58) en de Chinese Liu Hong (brons; 1:29.10). In 2010 werd Kaniskina ook Europees kampioene op de 20 km snelwandelen. Ditmaal versloeg ze in 1:27.44 twee landgenotes: Anisja Kirdjapkina (1:28.55 - zilver) en Vera Sokolova (1:29.32 - brons).

Schorsing
Op 21 januari 2015 werd bekend, dat Kaniskina voor de duur van drie jaar en twee maanden was geschorst wegens schommelingen in de bloedwaarden in het biologisch paspoort. De ingangsdatum van de schorsing was 15 oktober 2012. Alle resultaten tussen 15 juli 2009 en 16 september 2009 en tussen 30 juli 2011 en 8 november 2011, evenals haar wereldtitels van 2009 en 2011 werden geschrapt. Op het moment van de uitspraak was Kaniskina niet meer actief als topsportster. Wel zou zij actief zijn als coach in haar hoedanigheid als hoofd van het Russische trainingscentrum, iets wat gedurende haar schorsing niet was toegestaan. Vervolgens werden in maart 2016 ook nog eens al haar prestaties tussen augustus 2009 en 15 oktober 2012 geschrapt. Dit hield in, dat zij hierdoor ook haar zilveren medaille op de Olympische Spelen van 2012 en haar gouden medaille van de EK in 2010 kwijtraakte.

Titels
Olympisch kampioene 20 km snelwandelen - 2008
Wereldkampioene 20 km snelwandelen - 2007, 2009, 2011
Europees kampioene 20 km snelwandelen - 2010
Russisch kampioene 20 km snelwandelen - 2006

Persoonlijke records

Palmares

20 km snelwandelen
2005:  EK U23 - 1:33.33
2006: 5e Wereldbeker - 1:28.59
2006:  EK - 1:28.35
2007:  WK - 1:30.09
2008:  Wereldbeker - 1:25.44
2008:  OS - 1:26.31
2009:  WK - 1:28.09
2010:  EK - 1:27.44
2011:  WK- 1:29.42
2012:  Wereldbeker - 1:28.33
2012:  OS - 1:25.09

Russisch atleet
Snelwandelaar
Russisch olympisch kampioen


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Istiklal marsi, meaning the ´Independence March´, is the Turkish national anthem. It was written by Mehmet Akif Ersoy and officially adopted on March 12, 1921. A nationwide competition was held for selecting the national anthem of the new born Turkish Republic after the Turkish war of independence. A total of 724 poems were submitted to this event and the 10-verse poem written by Mehmet Akif Ersoy was adopted unanimously by the Turkish Grand National Assembly.
Another competition was held to select the most suitable musical composition for the national anthem and 24 composers submitted their works for this event. The council, in 1924, adopted the music composed by Ali Rifat Çagatay and this music was used until 1930 to sing the words of the national anthem. After this date, the music of the national anthem was changed with the music composed by Osman Zeki Üngör, conductor of the Presidential Symphonic Orchestra. Since then, the words of the Turkish National Anthem have been sung with this musical composition. Out of the 10 verses, only the first two are sung with music.
qdemir: I cannot upset/hurt my love.


text:
Tolumnia leiboldii är en orkidéart som först beskrevs av Heinrich Gustav Reichenbach, och fick sitt nu gällande namn av Guido Jozef Braem. Tolumnia leiboldii ingår i släktet Tolumnia och familjen orkidéer. Inga underarter finns listade i Catalogue of Life.

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Orkidéer
leiboldii


This is actually a two-in-one post.
Firstly, its a mini adventure on our list and its also a very auspicious occasion. Its our girl Myrtyl's 40th birthday. She was born in 1973 and became mine in 2011. After 2 years of going through all her mechanicals she is now been declared fit to travel.
So we took her out for her birthday.
But best of all, the phuthu clan love her. The boys are always wanting to go somewhere in her..
Its actually remarkable what a 40 year old piece of automotive technology can do….
So anyway, we headed down to the valley of 1000 hills and headed up the Mekelekele river bed in search of a nice spot to make lunch. We eventually found a lovely flat granite rock next to the river.
My old friend Gordie tagged along with mini Gordie, his nephew bringing along his hungry mutts.
The mutts actually provided Big Will with a load of entertainment.
Everyone enjoyed their time outside, the boys got dirty and the boys got a taste of marshmallows on the fire. Big Will created his own special sand encrusted version.
We all had a lovely afternoon and eventually it was time to leave, but not without some sweet pictures to remember the day with.
But I think one of my favourite was this one taken by Loo on our way out….


text:
Q: MySQL 8.0 row length (8,126 vs 65,535) I'm trying to create a wide table to be used for importing data before cleanup.  It has 221 columns of type varchar(90), Innodb using Latin1.
When I try to create it, I get an error message Error Code: 1118. Row size too large (> 8126). Changing some columns to TEXT or BLOB may help.
But online help says that the max is 65,355.  As a matter of fact, if I try a simpler create statement as a test (below), I get a different error message: Error Code: 1118. Row size too large. The maximum row size for the used table type, not counting BLOBs, is 65535.
CREATE TABLE t (
  a VARCHAR(10000), b VARCHAR(10000), c VARCHAR(10000),
  d VARCHAR(10000), e VARCHAR(10000), f VARCHAR(10000),
  g VARCHAR(6000)
) ENGINE=InnoDB CHARACTER SET latin1;

Why do I get different error messages that seem to indicate different max row lengths?

A: You have 2 limitations:

*

*The MySQL max row size which is 65,535

The MySQL maximum row size limit of 65,535 bytes is demonstrated in the following InnoDB and MyISAM examples. The limit is enforced regardless of storage engine, even though the storage engine may be capable of supporting larger rows.

*The InnoDB max row size which is half of a page size (default 16k)

InnoDB restricts row size (for data stored locally within the database page) to slightly less than half a database page for 4KB, 8KB, 16KB, and 32KB innodb_page_size settings, and to slightly less than 16KB for 64KB pages.

MySQL will check first the global restriction and then engine restrictions as engine have equal or lower maximum.

A: The MySQL architecture supports pluggable storage engines. This means there are limits at both the SQL layer and the storage engine layer.
The size limit of 8126 is in the InnoDB storage engine. This is the row size limit if you use InnoDB. The row size limit of 65355 is at the SQL layer, so no matter what storage engine you use besides InnoDB, it will only support rows of at most 65355 bytes (except for BLOB/TEXT).
You may be able set your InnoDB table to ROW_FORMAT=DYNAMIC. This changes the way it stores VARCHAR/BLOB/TEXT, and you may be able to store more columns that way.
But I would strongly recommend you reconsider a table design with 200+ varchar columns regardless of what storage engine you use. That really sounds like you haven't practiced good normalization for your design.

redpajama_set_name: RedPajamaStackExchange


My traffic accident story got published today. It's my second story and one which I can call truly my own. My first published story was edited by Sir Marlon Ramos so it's a mixture of his and my style. This story, however, is 90 percent my style with minor revisions introduced by Ms. Allison Lopez. I'm so happy.
Today I stayed at Camp Bagong Diwa in Bicutan with Sir Marlon and I wrote two stories—one was about a fire incident and the other was about another vehicle accident in the South Luzon Express Way. I picked up the fire story over the radio while the SLEX accident was experienced by Sir Marlon first hand. My mentor broke the SLEX accident online, but he asked me to write it for print.
1. When did the fire start? When was it put out? When was it reported to firemen? How long was the fire?
2. Who were killed and/or injured? Who responded? How many responded? Who are the arson investigators?
3. What caused the fire? What alarm did it reach? What are the angles being considered by investigators? What were destroyed? How much was destroyed? What type of building was destroyed? What kind of place was hit by the fire?
4. Where did the fire happen? Where exactly did the fire start? Where were the injured rushed? Where were the occupants before the fire broke out?
5. How did the fire start? How did the fire spread? How was it put out? How did the owners or occupants escape?
So far these are the things I have noted down. They are the essentials, the barest in a fire story. With these information included, the story can already stand. Of course you can add color by being more detailed and adding quotes. However, you can only achieve these if you are in the scene of the accident.
The next question is, how do you structure the fire story? In the university, we were taught to use the inverted pyramid in writing straight news stories. Since second year, I have found this structure too vague because it tells us that we must place at the very top the most important information and the least important go down.
For me, the problem begins with the fact that what's important for me may not be important to another person, and vice-versa. Because of this, I always wrestle with the lead. What will I put up there? Two weeks of writing straight news have demystified the inverted pyramid for me, at least when it comes to fire story.
At the very top, we must place the casualties in human life and property. How many died? How many were injured? How much was damaged?
At the same time, we place the estimated time of the day, a general description of the place where the fire broke out and the city where it happened. We can also place in the lead the amount damaged if this is significant.
In the second paragraph, we become less general and on to the specifics. We can name those who died, the exact location and the time when the fire was put out.
Then, we can detail how the firemen responded, who called, how many fire trucks were sent, what alarm did the fire reach and similar information.
From this paragraph down, we explain how the fire started, the possible angles being investigated and the remaining information that were not yet used.
Basically we play with the information depending on their news worthiness. If the person who died or the destroyed property is popular, we can mention them immediately in the lead. If not, we can delay them until the second or third paragraph.
The fire that broke out destroyed an estimated P1.2 million worth of property after gutting four homes in a residential compound in Paranaque City. As with the other fire, however, no deaths or injuries were reported.
The firefighters refused to give information on the cause of the fire because according to them, it was still under investigation. However, this alibi is sop for the arson investigators, thus, sir Marlon said I must be more firm in requesting even only the initial findings.
Unfortunately, I failed to get the info.
For my second story, Sir Marlon asked me to write another traffic accident story which again happened in SLEX, only this time, on the Northbound lane.
Sir Marlon was caught in the traffic caused by the accident so he had primary information on the accident. He broke the news in Inquirer's online site, but asked me to write the story for print.
The story involved two utility vans. The first one lost control after its driver miscalculated a move. This sent the van in a spin, hitting the L-300 behind it. The vehicles stalled traffic for almost an hour before they were towed away by the SLEX Skyway patrol.
That's it for today. I'll add more tomorrow.


Let us now attempt to sum up Russian literary development.
Like most other European peoples, Russia bypassed the slave-owning stage. For this reason Russia did not have an antique stage in the development of its culture. The Eastern Slavs went straight from the communal-patriarchal stage to feudalism. This transition took place remarkably quickly over the vast territory inhabited by Eastern Slav tribes and various Finno- Ugrian peoples.
The absence of this or that stage in historical development demands "compensation". This is usually provided by ideology and culture that draw strength from the experience of neighbouring peoples.
The emergence of literature, moreover, a literature highly developed for its day, could take place only with the cultural assistance of the neighbouring countries of Byzantium and Bulgaria. The special importance of the cultural experience of Bulgaria must be stressed. The written language and literature appeared in Bulgaria a century earlier in similar conditions: Bulgaria did not have a slave-owning formation either and assimilated the cultural experience of Byzantium. Bulgaria assimilated Byzantine culture in circumstances similar to those that obtained a century later in Russia when Russia assimilated Byzantine and Bulgarian culture: Russia acquired Byzantine cultural experience not only in its direct state, but also in a form "adapted" by Bulgaria to the needs of a society that was becoming feudal.
The need for accelerated cultural development explains why Russia was able to assimilate the cultural phenomena of Byzantium and Bulgaria. It was not just a matter of necessity, but of the fact that Old Russian culture of the tenth and eleventh centuries was young and flexible, and therefore, had little trouble in assimilating the experience of other cultures. The absence of deep-rooted traditions of class culture during the rapid development of class relations compelled Russian society to absorb and assimilate outside elements of class culture and to create its own. The genre system of Bulgarian literature, both that which had been translated from the Greek and that which was Bulgarian in origin, was reorganised in Russia. This reorganisation took two forms: the selection of those genres that were essential and the creation of new genres. The former took place in the actual transfer of literary works to Old Russia. The latter required considerable time and took several centuries.
The system of Byzantine genres was transferred to Russia in an interesting, "condensed" form. Russia needed only those genres that were directly connected with the Church or of a general philosophical nature in keeping with the new attitude to nature.
On the other hand, however, genres were needed that did not exist in either Byzantine or Bulgarian literature.
The genres of mediaeval Russian literature were closely connected with their use in everyday life, both secular and religious. This distinguishes them from the literary genres of the modern age.
In the Middle Ages all the arts, literature included, were of an "applied" nature. Divine service required specific genres for specific parts of the religious worship. Certain genres were intended for the complex monastic life. Even the monks' private reading was strictly regulated. Hence certain types of vitae, certain types of canticles, certain types of books regulating Divine service, church and monastic life, etc. The genre system even included such unique works as the Gospels, the Psalms, the Epistles of the Apostles, and so on.
Even from this brief and extremely generalised list of religious genres it will be clear that some of them could develop new works (for example, the vitae, which were required to be written in connection with the canonisation of new saints), whereas some genres were strictly limited to the existing works and the creation of new works within them was impossible. Both the former and the latter, however, could not change: the formal features of the genres were strictly determined by their use and by tradition.
The secular genres that came to Russia from Byzantium and Bulgaria were somewhat less constrained by external formal and traditional requirements. These secular genres were not connected with special uses in everyday life and were therefore freer in their external, formal features.
The genre system transferred to Russia from Byzantium and Bulgaria served the highly regulated and ceremonial life of the Middle Ages, but did not satisfy all demands for the artistic word.
The upper layers of feudal society had at their disposal both bookish and oral genres. The illiterate mass of the people satisfied their need for the artistic word with oral genres. Books were accessible to the mass of the people only through Divine service.
The literary-folkloric genre system of mediaeval Russia was in some respects more rigid, in others less, but taken as a whole it was very traditional, highly formalised, closely connected with ritual and not susceptible to change. The more rigid it was, the more it was subjected to change in connection with changes in historical reality, everyday life, ritual and practical requirements. It had to react to all the changes in real life.
The early feudal states were very insecure. The unity of the state was constantly threatened by the internecine strife of the feudal lords that reflected the centrifugal forces of society. In order to maintain its unity a high level of public morality was needed, a strong sense of honour, loyalty and self-sacrifice, deep patriotism and a highly developed literature—the genres of political writing, genres that extolled love of one's country, lyrical-epic genres.
In the absence of strong economic and military relations, the unity of the state could not exist without the intensive development of personal patriotism. What was needed were works that would testify clearly to the historical and political unity of the Russian people. Works that would strongly condemn princely strife. One striking feature of Old Russian literature of this period is the awareness of the unity of the Russian land without any tribal differences, the awareness of the unity of Russian history and the Russian state.
These features of the political life of Old Russia differ from the political life of Byzantium and Bulgaria. The ideas of unity differed albeit in the fact that they concerned the Russian land, and not Bulgaria or Byzantium. This is why Russia needed its own works and its own genres.
This explains why, in spite of the existence of two mutually complementary systems of genres, the literary and the folkloric, Russian literature of the eleventh to thirteenth centuries was in a process of genre formation. In various ways and from different sources works constantly emerged that stood apart from the traditional genre systems and violated or creatively combined them. As a result of the search for new genres in Russian literature and folklore many works appeared that cannot easily be ascribed to any of the firmly established traditional genres. They stand outside the genre traditions.
Breaking with traditional forms was quite customary in Old Russia. All the more or less outstanding literary works based on profound inner needs broke out of the confines of traditional forms.
In this process of intensive genre formation certain works are unique in respect of genre (Daniel the Exile's Supplication and Vladimir Monomachos' Instruction, Autobiography and Letter to Oleg Svyatoslavich), while others were steadily continued (The Primary Chronicle in Russian chronicle-writing, and The Tale of the Blinding of Vasilko of Terebovl in subsequent tales of princely misdeeds), and a third group was followed by isolated attempts to continue them in respect of genre (The Lay of Igor's Host in The Trans-Doniad).
The absence of strict genre limits promoted the appearance of many interesting and highly artistic works.
The processes of genre formation led to the intensive use in this period of the experience of folklore (in The Tale of Bygone Years and other chronicles, The Lay of Igor's Host, The Lay of the Ruin of the Russian Land, Daniel the Exile's Supplication and Sermon, etc.). The process of genre formation that took place from the eleventh to thirteenth centuries was resumed in the sixteenth century and fairly intensive in the seventeenth century as well.
The absence of the antique stage in cultural development increased the importance of literature and art in the development of the Eastern Slavs. Literature and the other arts, as we have seen, acquired a most responsible role, that of supporting the accelerated development of Russian society from the eleventh to the early thirteenth century and of mitigating the negative aspects of this accelerated development, namely, princely strife and the disintegration of the Russian state. This is why the social role of all forms of art was extremely great in that period for all the Eastern Slavs.
The sense of historical unity, appeals for political alliance, condemnation of the abuse of power spread over this vast territory with its large and variegated population and its numerous semi-independent principalities.
The level of the arts corresponded to the level of social responsibility that fell to their lot. But these arts did not have their own antique stage, only echoes of an alien one via Byzantium. Therefore, when in the Russia of the fourteenth and the early fifteenth century the socio-economic conditions were created for the emergence of the Pre-Renaissance, and this Pre-Renaissance did in fact appear, it was immediately faced with unusual and unfavourable conditions from the historico-cultural viewpoint. The role of "Russian Antiquity" was ascribed to pre-Mongol Russia, Russia of the period of its independence.
The literature of the late fourteenth and the early fifteenth century turned to the works of the eleventh to the early thirteenth century. Certain works of this period are a mechanical imitation of Metropolitan Hilarion's Sermon on Law and Grace, The Tale of Bygone Years, The Tale of Batu's Capture of Ryazan and, above all, The Lay of Igor's Host (in The Trans-Doniad). In architecture we find a similar return to the monuments of the eleventh to thirteenth centuries (in Novgorod, Tver and Vladimir). The same phenomenon is found in painting, political thought (the desire to revive the political traditions of Kiev and Vladimir Zalessky), and folk art (it was this period that witnessed the intensive formation of the Kiev cycle of bylinas). But all this was insufficient for the Pre-Renaissance, and therefore the strengthening of relations with countries that had been through the antique stage of culture acquired great importance. Russia revived and strengthened its links with Byzantium and the countries of Byzantine cultural influence, first and foremost, the Southern Slavs.
One of the most characteristic and significant features of the Pre-Renaissance, and later, to an even greater extent, the Renaissance itself, was the emergence of historical awareness. The static nature of the earlier perception of the world was replaced by a dynamic attitude in this period. This historicism is connected with all the main features of the Pre-Renaissance and the Renaissance proper.
First and foremost, this historicism is organically connected with the discovery of the value of the individual and with a special interest in the historical past. The idea of the historical changeability of the world is linked with interest in man's inner life, with the idea of the world as motion, and with dynamism of style. Nothing is finished, so it cannot be expressed in words; passing time cannot be caught. It can only be reproduced to some extent by a stream of words, by a dynamic and prolix style, a mass of synonyms, shades of meaning, associative sequences.
The Pre-Renaissance in Russian representational art is associated, first and foremost, with the work of Theophanes the Greek and Andrei Rublev. They are two radically different artists, but precisely because of this they are most characteristic of the Pre-Renaissance when the role of the artist's personality came into its own and individual differences became typical phenomena of the age. The Pre-Renaissance is felt less strongly in literature. Characteristic of this period are the "philological" interests of the scribes, the "braiding of words", the emotional style, etc. When, in the middle of the fifteenth century, the main prerequisites for the formation of the Renaissance began to collapse one after another, and the Russian Pre-Renaissance did not develop into Renaissance, the struggle against heresy ended in a victory for the official Church. The formation of the centralised state took up a great deal of spiritual strength. Relations with Byzantium and Western Europe weakened as a result of the fall of Constantinople and the conclusion of the Florence Union, which heightened mistrust of Catholic countries.
Every great style and every world movement has its own historical functions, its own historical mission. The Renaissance was connected with the liberation of the human individual from the mediaeval corporation. Without this liberation there could have been no modern age in culture and, particularly, in literature.
The fact that the Pre-Renaissance did not develop into the Renaissance in Russia had serious consequences: the as yet immature style soon began to grow formal and rigid, and the turning to "antiquity", the constant returning to the experience of pre-Mongol Russia, to the period of independence, soon acquired features of that special conservatism that played a negative role in the development not only of Russian literature, but of Russian culture in general in the sixteenth and seventeenth centuries.
The transition to the modern age became slow and drawn-out. There was no Renaissance in Russia, but there were certain features of the Renaissance throughout the sixteenth, seventeenth and part of the eighteenth century.
The main difference between the Renaissance and the Pre-Renaissance was the former's secular nature, the liberation from the all-pervading religiousness of the Middle Ages.
In the sixteenth century the theological view of human society gradually and cautiously began to recede into the past. The "Divine laws" still retained their authority, but alongside references to the Holy Scriptures there appeared Renaissance-type references to natural laws. Several sixteenth-century writers refer to the order of things in nature as a model for imitation by man in his social and political life. The projects of Ermolai-Erasmus rested on the idea that bread was the basis of economic, social and spiritual life. Ivan Peresvetov makes hardly any use of theological arguments in his writings. The development of polemical writing in the sixteenth century is connected with belief in the power of argument, the power of the written word. Never before had there been so much disputing in Old Russia, as in the late fifteenth and the sixteenth century. The development of polemical writing rode the crest of the upsurge of belief in reason.
The development of publicistic thought led to the emergence of new forms of literature. The sixteenth century is characterised by complex and many-sided searchings in the sphere of artistic form, genres. The set scheme of genres collapsed. Forms employed in official documents began to enter literature, and literary elements found their way into official documents. The new themes are those of vital, concrete political struggle. Many of the themes, before finding their way to lilerature, had formed the content of official documents. Diplomatic epistles, council resolutions, petitions, and lists of enactments became the forms of literary works.
The use of official document genres for literary purposes meant both the development of fantasy, previously very limited in literary works, and also the endowing of this fantasy with the outer appearance of authenticity. The emergence of fantasy in sixteenth-century chronicles was connected with the inner requirements of the development of literature as it broke away from practical functions and was stimulated by the insistent publicistic demands made upon the chronicle at the time. The chronicle had to convince readers of the infallibility and sanctity of state power, and not only register (albeit in most biassed form) individual historical facts. The chronicle became a school of patriotism, a school of respect for state power.
The political legend made itself felt most powerfully in history. Russian people began to meditate more and more on questions of the world-wide importance of their country. In particular, Philotheus' theory of Moscow as the third and last Rome became extremely widespread.
The political legend was one of the manifestations of the strengthening of artistic fantasy in literature. Old Russian literature of the preceding period feared the fantastic and imaginary as lies and falsehood. It sought to write about real fact, or at least what was taken to be real fact. The fantastic could come from outside, in translations of the Alexandreid, The Tale of the Indian Empire, Stefanit and Ikhnilat, and others. Moreover the fantastic was regarded either as the truth or as a fable, a parable, genres that also existed in the Gospels.
The development of Old Russian literature throughout all its stages is the gradual struggle for the right to artistic "untruth". Artistic truth gradually ousted the truth of everyday reality. Literary fantasy became legitimate, permissible from the viewpoint of the new attitude to literature and the world. But while coming into its rights fantasy wore the guise for a long time of that which had really existed or did really exist. This is why in the sixteenth century the genre of the official document as a form of literary work entered literature at the same time as fantasy.
The movement of literature towards the document and the document towards literature was the natural process of "breaking down" the borders between literature and official writing. This process in literature was linked with the administrative life of the Russian state, with the concurrent process of the growth and development of genres of state correspondence and record keeping and the appearance of archives. It was highly necessary for the breaking down of the old and development of the new system of genres, for the "emancipation" and secularisation of literature.
All the changes in literary styles are linked with the developments in the ideological and genre aspects of literature. The emotional style that appeared in the late fourteenth and the early fifteenth century was unable to develop into the style of the Renaissance in the late fifteenth and the sixteenth century. Therefore the fate of this style, that had been artificially arrested in its development, was an unfortunate one. It became highly formal, individual devices grew rigid and were used and repeated automatically, literary convention became extremely involved, and as a result ceased to be used properly. A certain "conventional mannerism" appeared. Everything was very elaborate, but also dry and lifeless. This coincided with the increased official nature of literature. The conventional and stylistic formulae and canons were used not because the content of the work demanded them, but depending on the official, i.e., state and church, attitude to this or that phenomenon described in the work. Works and their individual parts became very large. Beauty was replaced by dimensions. There developed a taste for monumentality, which, unlike that of the pre-Mongol period, was distinguished primarily by large dimensions. The authors sought to impress their readers by the size of their works, the length of their eulogies, the amount of repetitions and the complexity of their style.
The seventeenth century was an age of preparation for radical changes in Russian literature. A reorganisation of the structure of literature as a whole began. The number of genres increased greatly due to the introduction into literature of forms of official documents, which were given purely literary functions, at the expense of folklore and translated literature. The works became more entertaining and descriptive, with a wider range of themes and plot. All this is explained mainly by the enormous growth in the social experience of literature, the richer social themes and the widening of the social range of readers and writers.
Literature spread out in all directions and the centripetal forces that lay at the basis of its stability grew weaker. Centrifugal forces developed in literature. It became more flexible and ready for reorganisation and the creation of a new system, the literary system of the modern age.
Of particular importance in this reorganisation were historical changes. The events of the Time of Troubles shook and changed Russian people's view of historical events as dependent on the will of princes and sovereigns. At the end of the sixteenth century the Moscow ruling dynasty came to an end, the peasant war began, and with it came the Polish and Swedish intervention. The participation of the common people in the fate of their country was unusually strong in this period. They made themselves felt not only by revolting, but also by taking part in the discussions about who should accede to the throne.
The historical works about the Time of Troubles testify to the rapid growth in the social experience of all classes of society. This new social experience made itself felt in the secularisation of historical literature. It was at this time that the theological view of human history, state power and man himself was finally ousted from political practice, although it still remained in the sphere of official declarations. Although historical writings on the Time of Troubles speak of this period as the punishment of people for their sins, firstly, the sins themselves are seen on a very broad social scale (the main fault with the Russian people is their "wordless silence" and their social tolerance of crimes by the authorities), and secondly, there is a desire to discover the real reasons behind these events, primarily in the characters of historical personages. In the descriptions of these personages one finds a hitherto unusual mixture of good and evil features and the idea emerges that a person's character is formed under the influence of external circumstances and is able to change. This type of new attitude to man is not only reflected unconsciously in literature, but also begins to be defined. The author of the Russian articles in the 1617 Chronograph states openly his new attitude to the individual as a complex combination of good and bad qualities.
One more feature marks the new approach to themes by the writers of the early seventeenth century: it is their subjective interpretation of events. These writers were for the most part active participants in the Time of Troubles. Therefore their works are in part memoires. They write about what they have seen and seek to justify the standpoint which they adopted at this or that time. In their works we find the beginning of the writer's interest in himself which was to become very strong throughout the seventeenth century.
There can be no doubt that the features of Renaissance which made themselves felt in the sixteenth century influenced historical narrative of the first quarter of the seventeenth century. It was not the only element that affected seventeenth-century Russian literature, however. There were also earlier ones. The weak pulse of lyrical feeling for man continued to throb in the seventeenth century. This lyrical attitude continued from the fourteenth and fifteenth centuries, from the Pre-Renaissance elements that had "survived" in Russian culture reappearing in The Tale of Martha and Mary, The Tale of Juliana Osorgina and The Tale of the Page Monastery of Tver. This is perfectly natural: after being artificially checked, lyrical element continued to be felt for another three centuries, challenging the pressure of the hard and "cold" sentiments of the "second monumentalism".
The social spread of literature affected both its readers and writers. In the middle of the seventeenth century democratic literature appeared. It was the literature of the exploited class. Thus, the differentiation of literature began.
The so-called "literature of the townsfolk (posad)" was written by democratic writers, read by democratic readers, and dealt with subjects of interest to the democratic milieu. It was close to folklore, to colloquial and business speech. It was often anti-government and anti-clerical and belonged to the burlesque culture of the people. In many respects it was similar to the popular book in the Western Europe, but it contained a very powerful explosive element that destroyed the mediaeval system of literature.
Democratic works of the seventeenth century are important for the historico-literary process in another respect also. Literary development, even when it is very slow, is never smooth. It proceeds in fits and starts, and these fits and starts are always connected with an extension of its field of activity.
The first major extension of this kind took place in the fifteenth century with the invention of a cheaper writing material than parchment. Paper led to the appearance of mass forms of literature: collections intended for widespread individual reading. The reader and the scribe were often one and the same person: the scribe copied works that he liked, compiling miscellanies for private, "unofficial" reading.
In the seventeenth century works of a democratic nature provided a new stimulus towards mass literature. They were read so widely that literary historians of the nineteenth and the early twentieth century considered them cheap and unworthy of study. They were written in an untidy or office cursive and rarely bound straightway, remaining in quires and circulating among people of little means. This was the second "stimulus towards mass literature". The third came in the eighteenth century, when literature began to be printed on a large scale and journalism developed with its new, European genres.
The features typical of seventeenth-century democratic literature can also be observed outside these limits. There are many echoes of it in translated literature, in particular, translations of pseudo-tales of chivalry. Democratic literature does not stand apart in the historico-literary process of the time.
The changes in foreign influences that took place in Russian literature of the seventeenth century are also characteristic of this period of transition to the literature of the modern age. It is usually considered that the original orientation of Russian literature on Byzantine literature was replaced in the seventeenth century by orientation on Western Europe. But the orientation on the West European countries is less important than the orientation on certain types of literatures.
Russian literature, like any great literature, was always closely connected with the literatures of other countries. In Old Russia this connection was just as considerable as in the eighteenth and nineteenth centuries. We can even say that until the seventeenth century Russian literature formed a kind of unity with the literatures of the Southern Slavs, although this unity was limited to certain genres, mainly religious ones. With the development of national principles in all the Slavonic literatures by the seventeenth century South Slavonic and Byzantine-Slavonic connections with Russian literature became somewhat weaker and literary relations with the Western Slavs grew more intense, although of a different type. These relations developed not so much along the line of religion, as along the line of fiction and literature intended for individual reading. Consequently, the type of foreign work to which Russian literature turned also changed. Formerly it had turned primarily to works of the mediaeval type, to genres already traditional in Russian literature. Now interest grew in works characteristic of the modern age. This is particularly evident in drama and poetry. However, initially it was not the finest works that were translated, not the literary innovations, but works that were old and to some extent of local value (in drama, for example). But it was not long before Russian literature entered into direct contact with literature of a higher order, with first-rate writers and their works. This was in the eighteenth century.
It was not just a question of the types of literature to which Russia turned, but of how it turned to them. We have seen that in the eleventh to fifteenth centuries literary works of the Byzantine sphere of influence were transplanted to Russia and continued to develop there. It cannot be said that this type of foreign influence disappeared in the seventeenth century, but a new type of influence also appeared, typical of the literature of the modern age. In the seventeenth century not so much works, as style, literary devices, trends, aesthetic tastes and ideas were transplanted.
Russian Baroque can be seen as one of the manifestations of the new type of influence. Russian Baroque was not just individual works translated from Polish or brought from the Ukraine and Byelorussia. It was, first and foremost, a literary trend that emerged under Polish-Ukrainian-Byelorussian influence. It consisted of new ideological trends, new themes, new genres, new intellectual interests and, of course, a new style.
Any more or less significant influence from outside makes itself felt only when inner requirements arise that shape this influence and incorporate it in the historico-literary process. Baroque, too, came to Russia as a consequence of national requirements, and fairly strong ones at that. Baroque, which in other countries had replaced the Renaissance as its antithesis, was close to the Renaissance in its historico-literary role in Russia. It was of an enlightening nature, in many respects promoted the liberation of the individual and was connected with the process of secularisation, unlike in Western Europe, where in some cases in its initial stages Baroque signified precisely the opposite—a return to the Church.
Nevertheless Russian Baroque was not the Renaissance. It could not be compared with the West European Renaissance in scale or importance. Its temporal and social limitations are no accident. They are due to the fact that the preparations for the Russian Renaissance, which took Baroque forms, went on too long. Individual Renaissance features began to appear in literature before they could merge into a definite cultural movement. The Renaissance "lost" some of its features on the way to its emergence.
Therefore the importance of Russian Baroque as a kind of Renaissance, a transition to the literature of the modern age, is limited to the role of the "final stimulus" that brought Russian literature close to the type of literature of the modern age. The personal element in literature, which prior to Baroque had appeared sporadically and in various spheres, developed into a definite system. The secularisation of literature that had been taking place throughout the sixteenth century and the first half of the seventeenth century and manifested itself in different aspects of literary creativity, was completed in the Baroque period. It was in the Baroque period that the new genres which had been accumulating and the changing significance of the old genres led to the development of a new system of genres, the system of the modern age.
The emergence of a new system of genres was the main feature of the transition of Russian literature from the mediaeval type to the type of the modern age.
Not all historians and specialists in literature and the arts recognise the existence of the Pre-Renaissance and subsequent individual Renaissance phenomena in Old Russia.This is primarily because the Italian Renaissance is regarded as the "ideal model". It is considered to be unique. But in fact the Renaissance as an age or the Renaissance phenomena that spread over a long period of time, were the natural transition from the Middle Ages to the modern age, a transition which is traditionally regarded as the crowning phase of the Middle Ages. Moreover, the Renaissance is not an evaluatory category. There is not only the Italian Renaissance, but the North European Renaissance, the Czech Renaissance, the Polish Renaissance and many others. In its classical mediaeval period, the eleventh to the early thirteenth century (prior to the Mongol invasion), Russia was on the same level as other European cultures, whereas in the period of the Pre-Renaissance and the subsequent period, when individual Renaissance elements gradually emerged in Russian literature preparing its transition to the modern age, we can say it was "lagging behind". We use the term "lagging behind" conventionally, since cultures cannot be compared and each culture has its own lasting values.
All in all we can sum up as follows: the whole historico-literary process from the eleventh to the early eighteenth century is a process of the formation of literature, but of literature that exists not for itself, but for society.
Literature is an essential component of a country's history.
The uniqueness of Old Russian literature lies not only in the character of its individual works, but also in its special path of development, a path that is very closely linked with Russian history and in keeping with the requirements of Russian reality. Old Russian literature was always concerned with the broad social problems of its day.