Recently, I came across an article that outlined a national survey of 1,200 parents, conducted by LifeWay Research that concluded that faith is not a significant part of parenting for many adults. Although I'm not a fan of the validity of many surveys, the results were interesting and thought provoking. According to the survey,parents defined traits of successful parenting as children with good values (25 percent), children who develop into happy adults (25 percent), children finding success in life (22 percent), children who are deemed as "good people" (19 percent), those who graduate from college (17 percent), and those who live independently (15 percent).
Ironically, according to the survey, being godly or having faith in God was only mentioned by 9 percent of the parents surveyed. The survey concluded that parents have instead put an emphasis on guiding children to a social morality and toward a "happy" life versus spiritual development.
The interpretation, in my opinion, fails to acknowledge that faith can be a very important factor when parenting children to have strong values, seek happiness and find success in life. As a parent, I want my children to graduate from college, live independently and ultimately, view themselves as successful; however, when I'm doing my best to teach them values and guide them through the tasks to achieve their goals, faith must be a present at all times.
For example, my daughter is a worry wart — always has been from day one. She is a sophomore in high school and goes into panic mode when mounds of college brochures fill our mailbox. She wants to plan out her life at this very moment, even though she is only 15, and ensure she will be successful.
As a parent, I want her to be a kid, yet I also want her to dream, make goals and strive to achieve them. Our discussions about college and life in general begin with prayer. I pray every day that I can provide her with the opportunities — both emotionally and financially — so she can attend the college she chooses. I pray that God will lead her on a path that makes her happy, helps her utilize her skills and help others in the process. I've taught my children to work hard, think about the well being of others and ways we can serve the underprivileged — all with faith guiding us along the way. I've told my daughter that we will work through the college applications, weigh the options and ultimately make a decision that feels like it is driven by our faith.
My own mother has always told me that when I can't fix a problem or I'm struggling with a challenge — whether it is work-related, relationship-based or all about parenting — that I need to put it in God's hands. She has reminded me time and time again to put the names of those who have hurt me in the Bible and let God handle the rest. I try to teach my children the same.
Faith guides those lessons on success, happiness and values. So, even though this survey accounts for each parent's parenting strategies, what it fails to mention is that faith overlaps everything we do as parents. And I hope it always will.


text:
VeloNews Culture
Day in the life: Giulio Ciccone
Viva l'Italia! Nine questions with breakout Italian star Giulio Ciccone from his home in Montecarlo.
May 8, 2020 James Startt
The COVID-19 pandemic has brought professional cycling to a halt. In the coming weeks we will be reaching out to pro riders and other personalities from the sport to understand how their lives are continuing amidst the shutdown.
We are celebrating Italian cycling this week as the country leaves lockdown and begins a new life after Coronavirus. And while the Giro d'Italia may be postponed, that doesn't stop us from honoring one of the cradles of cycling.
After a breakout year last year — one that included two stage wins in the Giro d'Italia and a stint in the yellow jersey during the Tour de France — Giulio Ciccone was looking particularly forward to the 2020 season. And he got off to a great start by winning the early-season Trofeo Laigueglia race. But like the rest of the professional peloton, he had to flip on the standby switch as a result of the coronavirus crisis. And after spending most of the past two months in lockdown at his home in Monte Carlo, he is more than ecstatic to finally be getting out on his bike.
Location: Monte Carlo, Monaco
What are the current regulations for where you live about going outside?
Finally, we have been able to get out. I spent the two months in quarantine in Monte Carlo, where I live. But then in May, I returned to Italy to be close to my mother, who is being treated at the hospital in Chieti. I say "finally" because training in the open air, climbing real and not virtual climbs, is a feeling that was difficult to forget about.
Giulio Ciccone wore the yellow jersey for a short time in the 2019 Tour de France. Photo: James Startt
What races were you planning to do that have been canceled or postponed?
After the debut in Laigueglia with the Italian National Team and in UAE Tour with Trek-Segafredo, I should have done Tirreno-Adriatico and Tour of the Alps to prepare for the Giro d'Italia, where I was planning to ride in support of Nibali. Then there would have been the Vuelta a Espana, where I would have been riding with Nibali and Bauke Mollema, but also having a little more freedom and trying to do well in the overall classification myself. Maybe even the World Championship. In short, a great calendar
Now that we can pedal for real and not virtually, I'm just enjoying the moment. For the past two months in Montecarlo, at the height of the health crisis, I did everything I could to keep myself active. I did the Everest Challenge. And I won't hide the fact that activities on social media, such as the Instagram direct, have provided me with some company. But now that we have a real calendar perspective to focus on, I'm going to be spending more hours training outside. It's been like a return to real life.
Are you doing a workout? If so, what specifically?
No, I'm not doing anything too specific because the return to racing is still a long way off. Working too hard at this point would be detrimental and harmful, but you can't give up too much either. Training today is a balance between these two phases. The home trainer has been useful in this period and now I can push a little more, but in moderation. But workouts help keep me focused on the bike.
What indoor gear are you using?
I used the Saris H3 Smart Drive home trainer in quarantine. Zwift was my favorite platform, where I also rode the Everest Challenge and other events with the team. At the end of April I did a stage of the Digital Tour de Suisse on Rouvy.
What is your motivation for training right now?
Well, not an easy question to answer. In quarantine, on home-trainer, the motivation was that I didn't want to lose the work done in the previous months to build the condition. The absence of perspectives on the calendar was the most complicated thing to stomach. Now that there is some hope, the motivation is to restart in the best possible way. We will have a condensed calendar that is just in a few months long. So you have to be ready in both the legs and the head. That will make all the difference.
Giulio Ciccone relied on video calls to stay in touch with family and friends while on lockdown. Photo: Giulio Ciccone
How are you communicating with friends and family?
Technology was my salvation. I was lonely in Montecarlo, but I did a lot of video calls. Now, in Italy, everything is simpler, and being in the so-called phase 2, we have the possibility to talk to each other in person while keeping our distance. I've really learned to appreciate some aspects of relationships that we all too often take for granted.
Have you received any helpful advice?
More than advice, I had a very useful exchange, first with the team, from general manager Luca Guercilena to head of performance Josu Larrazabal. They helped me a lot to deal with this phase, to manage me, not to think too much, which is perhaps the greatest risk to maintain serenity.
When do you think you'll race again?
I want to hope and believe that the new UCI calendar can be respected. Though distorted, shortened, and condensed, it would still allow us to race and save this season. Obviously we all know that there are many variables at stake and it could still change. But I want to be optimistic. In terms of a calendar, we will know more in the next few days when we have the full picture of a national calendar.
Human Powered Health boss: 'We came quite close to signing Mark Cavendish'
Bruce Hildenbrand
My five favorite bike moments of 2022
Betsy Welch
How do you spend your Christmas day? We asked the pros
VeloNews Awards 2022: Annemiek van Vleuten, female cyclist of the year
Tadej Pogačar, Wout van Aert, Peter Sagan headline return of Canadian 'Grand Prix' races
What next for Italian cycling after Vincenzo Nibali? 'We do not need to panic'
Tom Pidcock: I dream of winning the Tour de France, but maybe not next year

redpajama_set_name: RedPajamaCommonCrawl


text:
Obit: Fischer, Warren J. (1924 - 1986)
Contact: stan@wiclarkcountyhistory.org
Surnames: Fischer, Wohlmuth, Drexler, Wussow, Niehaus, Pernsteiner, Kaiser, Hughes, Hauke, Gorton, Johnson
----Source: Marshfield News Herald (Wood Co., Wis.) Wednesday, 24 Dec. 1986
Fischer, Warren J. (23 Jan. 1924 - 22 Dec. 1986)
STRATFORD - Warren J. Fischer, 62, Route 3, Stratford, died at 11:45 p.m. Monday at St. Joseph's Hospital, where he had been admitted earlier that day.
A Mass of Christian Burial will be held at 1:30 p.m. Friday at St. Andrew's Catholic Church, Rozellville, with Rev. Carl A. Wohlmuth officiating. Paul M. Drexler, guitarist, will accompany soloists Mary Wussow and Mary Niehaus.
Burial will be in the parish cemetery.
Military rites will be conducted by the Stratford VFW Memorial Post 6352 at the cemetery. Pallbearers will be Donald Pernsteiner, Mark Kaiser, Bruce Hughes, Robert Hauke, Charles Drexler, and Charles L. Gorton. Visitation will be from 9:30-11:30 a.m. Friday at Rembs/Kundinger Chapel, Marshfield, and at the church from 12:30 p.m. until service time. St. Andrew's Parish and Parish Council of Catholic Women will hold a rosary service at 12:45 p.m. Friday at the church.
He was born Jan. 23, 1924, in the Town of Day, Marathon County, to Simon and Ella Fischer and attended St. Andrew's Parochial School, Rozellville.
He married Bernice L. Johnson Jan. 27, 1951, in Hammond. She survives. He was a veteran of World War II, serving in the U.S. Army Air Force with the ....missing content.


text:
Mysore (region)
Bangalore (disambiguation)
Bangalore /bæŋɡəˈlɔːr/, officially known as Bengaluru ([ˈbeŋɡəɭuːɾu]), is the capital of the Indian state of Karnataka. It has a population of about 8.42 million and a metropolitan population of about 8.52 million, making it the third most populous city and fifth most populous urban agglomeration in India. Located in southern India on the Deccan Plateau, at a height of over 900 m (3,000 ft) above sea level, Bangalore is known for its pleasant climate throughout the year. Its elevation is the highest among the major large cities of India.
A succession of South Indian dynasties, the Western Gangas, the Cholas and the Hoysalas, ruled the present region of Bangalore until in 1537 CE, Kempé Gowdā – a feudal ruler under the Vijayanagara Empire – established a mud fort considered to be the foundation of modern Bangalore. In 1638, the Marāthās conquered and ruled Bangalore for almost 50 years, after which the Mughals captured and sold the city to the Mysore Kingdom of the Wadiyar dynasty. It was captured by the British after victory in the Fourth Anglo-Mysore War (1799), who returned administrative control of the city to the Maharaja of Mysore. The old city developed in the dominions of the Maharaja of Mysore and was made capital of the Princely State of Mysore, which existed as a nominally sovereign entity of the British Raj. In 1809, the British shifted their cantonment to Bangalore, outside the old city, and a town grew up around it, which was governed as part of British India. Following India's independence in 1947, Bangalore became the capital of Mysore State, and remained capital when the new Indian state of Karnataka was formed in 1956. The two urban settlements of Bangalore – city and cantonment – which had developed as independent entities merged into a single urban centre in 1949. The existing Kannada name, Bengalūru, was declared the official name of the city in 2006.
This page contains text from Wikipedia, the Free Encyclopedia -	https://wn.com/Bangalore
The Mysore region is an unofficial region that is part of Karnataka state in southern India. It forms approximately the southern half of the non-coastal areas of that state. The area corresponds almost exactly to that of the erstwhile princely state of Mysore. Almost all of that principality, with the exception of a few areas that now lie in neighbouring states, is comprehended by this term.
The region lies on the Deccan plateau, east of the hilly Malenadu region, which includes the eastern foothills of the Western Ghats range. It consists of gently rolling plains, punctuated by several of the large rivers that rise in the Western Ghats and flow eastward to empty into the Bay of Bengal.
Mysore region, also known as the Southern Karnataka Plateau, is made up of the low rolling granite hills from 600 to 900 meters elevation. It is bounded on the west by the Western Ghats and on the south and east by ranges of hills, and on the north it drops to the lower-elevation northern Maidan. It includes Bangalore, Bangalore Rural, Chamrajnagar, Hassan, Kolar, Chikkaballapura, Mandya, Mysore, Ramanagara, chitradurga, davangere and Tumkur districts. Most of the region is covered by the South Deccan Plateau dry deciduous forests ecoregion, which extends south into eastern Tamil Nadu.
This page contains text from Wikipedia, the Free Encyclopedia -	https://wn.com/Mysore_(region)
Bangalore is the capital of the Indian state of Karnataka.
Bangalore may also refer to:
Bangalore (region), a region consisting the Bangalore Urban and Rural districts
Bangalore class destroyer or Kolkata class destroyer, a class of stealth destroyer built for the Indian Navy
Bangalore torpedo, an explosive charge placed on the end of a long, extendable tube
SS Bangalore (1867), a steamer belong to the Peninsular and Oriental Steam Navigation Company
SS Bangalore (1928), a steamer belong to the Hain Steamship Company
Bangalored, a neologism related to offshoring
Bangalore, a racehorse that finished unplaced in the 1842 Grand National
This page contains text from Wikipedia, the Free Encyclopedia -	https://wn.com/Bangalore_(disambiguation)
Radio Stations - Bangalore
MyOpusRadio Platform 1 Varied,Indian India
Radio Islam Religious India
Radio Madhuban 90.4 Public India
MyOpusRadio Full Throttle Rock India
Radio Heartbeats Abishekagni Christian India
Radio Sai Asia Stream Indian India
MyOpusRadio Big Fish Varied India
PlanetRadioCity IndiePop Bollywood India
TORI: IST, TeluguOne Radio On Internet World Asia India
MyOpusRadio Blackjack! 24x7 Classic Rock,Blues India
www.sgpc.net - Live kirtan - Sri harmandir Sahib Religious India
Radio KBJB Dhadi Kavisher Religious India
TORI: Ilaiyaraaja - SPB ERA, TeluguOne Radio On Internet 90s,Varied,80s,70s,Bollywood India
TORI: AR Rahman ERA, TeluguOne Radio On Internet Indian,Bollywood India
Radio Sharda 90.4 FM World,Indian India
MyOpusRadio C Train Rock,Jazz,Blues,R&B India
MyOpusRadio 'Selectro Electronica India
MyOpusRadio Sax and Violins Jazz,Blues India
PiRocks Oldies,70s,60s India
Bhakti Radio Religious India
Geetham Tamil Radio Indian India
Gurbani Radio Indian,Bollywood India
Radio KBJB Kirtan Religious India
MyOpusRadio Easy Easy India
TORI: All Time Hits, TeluguOne Radio On Internet Indian,Bollywood India
SikhNet Ch. 27 El Sobrante Religious India
PlanetRadioCity Hindi Indian India
Bhajans 1 Religious India
MyOpusRadio Varied India
Radio City Freedom Varied India
The Movement Electronica India
A.R.Rahman Radio Indian India
Radio Schizoid Electronica India
MyOpusRadio Papa Johns Varied India
Radio KBJB Simran Religious India
Shizoid Ambient India
MyOpusRadio Radio 1889 Indie,Indie Rock India
MyOpusRadio Cassette Player 80s,Oldies,70s,60s India
Ilayaraja Radio Indian India
Chennai FM Rainbow Indian India
Pulse Mirchi Indian,Bollywood India
Aahaa FM Chennai Indian,World Asia India
Radio Goa Indian India
Radio KBJB Sikh Talk Religious India
Psalms Radio Religious,Christian India
MyOpusRadio Chilis Varied India
MyOpusRadio Club Rulz! Dance India
Sai GH Discourse Stream Varied India
Radio KBJB Sant Singh Maskken Religious India
TORI: Latest Hits, TeluguOne Radio On Internet Bollywood India
bangaloregallery.com
bangaloreonlinejobs.com
gallery18.net
elmundogallery.com
bangaloremedia.com
bangaloreforum.com
bangaloretelevision.com
johannesburggallery.com
galleryshanghai.com
nationalgallery.com
bangaloresportsclub.com
bangaloredesign.com
bangalorecentre.com
galleryindian.com
creolegallery.com
galleryoslo.com
worldyoungartistsgallery.com
bangaloreflight.com
galleryoffashion.com
bangalorestar.com
Latest News for: Bangalore gallery
A change of scenery in the workspaceArt as an aesthetic element can add stimulus, boost ...
Deccan Herald 10 Jan 2021
Long history of support ... Unfortunately, the art is limited to staff and visitors and remains away from the public eye, but there have been several instances when parts of collections have been exhibited in public galleries and museums, or have been covered in the media. The author is a Bangalore-based art consultant, curator and writer ... Art. Corporate....
Blockers suddenly playing vital role at IPL 2020
The National 27 Aug 2020
As you might have heard, though, we are living in weird times ... Read More. Virat Kohli warning ... According to Mike Hesson, the director of cricket for Royal Challengers Bangalore, players mental and emotional well-being needs to be looked after, too. _______________________________________________ Gallery UAE cricket stadiums and training facilities....
Art, physical space and conversations thereof
The Telegraph India 13 Aug 2020
"Art is subtle and tactile, it is necessary to be able to converse with art in a physical space," said the Bangalore-based artist....
Samsung introduces a private mode called AltZLife in India; now available on Galaxy A71 and Galaxy A51
Yahoo Daily News 13 Aug 2020
Samsung has released a new feature to strengthen the privacy for Samsung smartphone users ... Samsung Galaxy A51 Image ... More ... The entire software has been built at Samsung R&D Institutes in Bangalore and Noida ... For example, before browsing through the gallery, you can double-click on the power button and then enter the gallery's private mode ...   ... ....
Famous Indian architect to be featured in Chicago exhibition
News India Times 12 Aug 2020
Husain, Amdavad Ni Gufa art gallery, Ahmedabad, 1994 ... The large Lalbhai Dalpatbhai Institute of Indology, Ahmedabad, 1962 Amdavad Ni Gufa art gallery, Ahmedabad, 1994 Indian Institute of Management, Bangalore, 1977, 1992 4 campus of this institution was built over a period of 20 years in a process that involved numerous additions and alterations....
Museum of Art and Photography offers a healing bouquet of flowers before opening later this year
The Telegraph India 24 May 2020
The Museum of Art and Photography (MAP) in Bangalore is a similar testament to art in India right now ... The five-storey building spread over 44,000 square feet property on Kasturba Road in central Bangalore will be divided into galleries, library and research spaces, art storage, restoration spaces, a cafe, an auditorium and a retail space ... ....
Shamlee spends lockdown time drawing beautiful paintings
The Times of India 05 Apr 2020
Shamlee has been learning painting from renowned artist AV Elango and the actress had showcased her creative works in an exhibition held at an art gallery in Bangalore, last year ... ....
Exploration, immersion, connections: the creative journey of 'thorn artist' Sandy Theuerkauf
Your Story 28 Feb 2020
The story of his creative journey is also shown in a documentary movie running in the gallery at the Bangalore International Centre, by Manush John ... It was a chance meeting between his filmmaker friend Manush John and the founders of online art gallery KYNKYNY.com that led to the latter taking over the management of his show and its web presence....
Gateways between worlds – how the India Art Fair promotes creative connections and art markets
See Part I and Part II of this article series for the lineup of galleries featured in PhotoSparks coverage ... WonderWall has organised exhibitions in Kolkata, Bangalore, Ahmedabad, Chennai and Singapore, through tie-ups with local galleries ... Art is a mirror to one's life," Ratheesh advises aspiring artists.Overseas galleries....
India Art Fair opens with a strong national spirit amid ongoing protests
The Art Newspaper 31 Jan 2020
Still in play is IAF's most important rule dictating that 70% of the fair's floor space is given to Indian galleries selling South Asian art ... Accordingly, the gallery, which has spaces in Bangalore and New Delhi, is exhibiting a 2020 untitled series by 11 Indian artists, each of whom have created a work inspired by the Indian constitution....
This photo shot on 4-year-old iPhone wins Indian photographer a gold bar and 'best' image of 2019
The Times of India 02 Jan 2020
This is the statue of Lord Ram, Hindu God, shot in the outskirts of Bangalore just before sunset." Interestingly, the image was shot from an iPhone 6s, which was launched in 2015 ... based in Bangalore, India ... His works have also been displayed at various art galleries in Bangalore....
AP Photos: Editor selections from the past week in Asia
Federal News Radio 28 Dec 2019
... law that opponents say threatens India's secular identity in Bangalore ... This gallery was curated by Associated Press photo editor Toru Takahashi in Tokyo....
IPL auction gets ball rolling as stars go under the hammer
Gulf News 18 Dec 2019
View gallery as list. Royal Challengers Bangalore, who finished at the bottom of the heap in the last edition of the IPL will aim to change the fortunes of their team in this edition under the guidance of none other than India skipper Virat Kohli....


text:
News | Corporate Engagement
Change to Legal Aid Delivery Model Urged - Report
A PricewaterhouseCoopers report for the Law Institute of Victoria has recommended changes to the service delivery model of Victoria Legal Aid to improve access to scarce legal aid resources.
Ellie Cooper | 14 October 2015 at 11:16 am
Law Institute President, Katie Miller, said the Institute hoped that the PwC scoping study would feed into the imminent Victorian Government Access to Justice Inquiry.
Miller said the LIV had advocated for increased legal aid funding for many years.
"Demand for legal assistance is continuing to grow while funding from State and Federal Governments has not kept pace," Miller said.
"The model for delivering legal aid services has not fundamentally changed since it was introduced in the 1970s. The challenges of the 21st Century are weighing heavily upon the legal aid model and it is timely to look at what can be done to help all involved – clients, Victoria Legal Aid lawyers, private lawyers and the courts.
"Legal aid representation is only available to the most disadvantaged people in our community and many people with family law, criminal law or civil law problems are missing out."
The LIV said the objective of the report was to look at current challenges in the delivery of legal aid services in Victoria and to propose a new model that provides access to justice and high quality legal aid representation.
The key recommendations of the report include that Victoria Legal Aid (VLA) could give consideration to adopting consultative arrangements that ensure stronger representation of the LIV and the Victorian Bar, as well as other justice system representatives and existing efforts to improve data collection, information sharing and coordination across the Victoria justice system should continue.
The report called on VLA to disclose the relative, if not actual, costs of using in-house lawyers and private practitioners with a view to informing system-wide decisions about allocating legal aid funds.
The report also highlighted that there has been a 29 per cent increase over four years in the number of criminal matters being commenced in Victorian courts.
"We can speculate about the reasons but these include changes to sentencing laws, increased numbers of police and the focus on family violence offences," Miller said.
The report also examined the cost of legal aid services provided by VLA and found, based on publicly available information, that it appears that on average legally aided criminal and family law matters managed by private practitioners are less costly.
It also found data to test these findings was not available, and recommended further study was required.
Miller said it was in the community's interest that access to justice was both available and affordable.
"We hope this report will result in improved allocation of legal aid funds in the future and a greater involvement from private lawyers in funding decisions, given that they provide approximately 70 per cent of legal aid services," she said.
View the report.
Tags : Legal Aid, PwC,
Foundation Moves to Multi-Year Charity Support
Tuesday, 14th February 2017 at 3:55 pm
Professionalisation of Charities? Perhaps Not So Scary After All
Lisa Grinham
Tuesday, 6th September 2016 at 10:42 am
Social Enterprise Award Recognises Impact on Women
Wednesday, 27th July 2016 at 9:10 am
Victoria Issues Green Bonds to Fund Enviro Projects
Thursday, 21st July 2016 at 2:31 pm


"Perhaps the more expansive aspects of what he's trying to do, there's some reluctance," said Mark DiCamillo, director of the poll.
The survey did not identify what big government projects voters might resist, but rail and water are the legacy-making initiatives on Brown's agenda.
The rail project is proposed to connect the Los Angeles and San Francisco areas through the Central Valley by 2028, but public support has fallen off since Californians authorized rail bonds in a statewide vote in 2008.
Meanwhile, the Bay Delta Conservation Plan, a water project estimated to cost about $25 billion, has generated opposition in the Delta. Brown promoted versions of both the rail and water plans when he was governor before, from 1975 to 1983, and he has made them priorities since returning to office in 2011.
Brown's public approval rating has remained above 50 percent statewide for two years, reaching a high of 59 percent in April 2014. Buoyed by an improving economy and a dearth of Republican opposition, Brown hardly campaigned as he breezed to re-election last year.
Brown's job approval reflects California's liberal-leaning electorate, with strong support from Democrats and independent voters and opposition from Republicans and strongly conservative voters.
Majorities of men, women and people of all ages approve of the job Brown is doing, according to the poll.
Yet the survey reflects a public assessment of Brown that would have seemed counterintuitive when he first held office and, relatively young and idealistic, became known as "Governor Moonbeam." Brown is now 76 and less unorthodox than before, and praise for experience underpins his support.
Nearly 70 percent of voters, including a majority of Republicans, say Brown, son of the late Gov. Edmund G. "Pat" Brown, has "the right experience to deal with the problems facing California," according to the poll.
Hernandez, who works as a fruit sorter in Stockton, also praised Brown for liberal policies on immigration, including granting driver's licenses to undocumented immigrants.
When asked to consider three negative statements about Brown, 41 percent of registered voters agreed that Brown at least somewhat favors organized labor too much, and 45 percent said he is not doing enough to help the average Californian.
But a majority of voters registered concerns about Brown's big government projects, including 45 percent of Democrats and much larger proportions of Republicans and independent voters.
Terry, a paraeducator from Elk Grove, called Brown a "socialist" and pointed to his support of high-speed rail as evidence of misplaced priorities.


Introducing the newest addition to the Ariat Cruiser family! This pair of Ariat Cruisers is perfect for any casual outing. These are brown bomber suede and leather with a moc toe flat heel and Duratread Outsole. They also feature a cushioned insole slip-on silhouette with lace up appearance and an EVA Midsole.


It's time to get back out on the water, but before you go, make sure you and your boat are ready with this year's best boat accessories. You can check out the 2017 edition of our top boat accessory picks, then add these new items to your wish list.
You should have life jackets for everyone on board, just in case the unthinkable happens. There are several types of life jackets that might work for you, depending on your activities and whether you only need them for emergency use. If you've got little ones on board, though, an infant life jacket is mission critical! Infant life jackets are made to be self-righting, to keep your little sailor's face out of the water with no effort.
Even if you're not sinking or capsizing, there's a lot of water to go around. Spray and splash can get everywhere, which can make it difficult to keep things clean and dry. Dry bags are available in many sizes, from smartphone to laptop, with up to 60-liter capacity. Simply fill and seal them and everything stays dry, no matter what the weather or surf brings aboard.
If you haven't kept your batteries on trickle chargers during the off-season, you might be in for a surprise when it comes time to fire up the engines. Dead batteries and boating just aren't any fun.
On shore, a battery charger can restore, maintain and charge all kinds of 6-V and 12-V batteries. Off shore, chargers can provide running power and keep battery levels up.
A boat autopilot is one of the best boat accessories because it frees you to do other things while the boat steers itself. Using a compass and hydraulic or electric steering mechanism, a boat autopilot system keeps you heading in the direction you set. Some can connect to GPS to steer between waypoints.
No matter how well organized it is, space on a boat is at a premium. Some of the best boat accessories make smart use of space, especially space that's otherwise wasted. For boats with T-tops, T-top storage bags can move light and bulky items off the floor or out of lower hatches. Be sure to pick one with internal separators that organize your stuff and prevent drooping.
There are literally thousands of boat accessories that might be more or less useful to you, depending on what kind of boating you do. There was no way that we could get to them all in one post! To narrow down your wish list, start by thinking about the necessary functions you need boat accessories to fulfill. Then, pick the ones that will make your boating safer, more enjoyable, more comfortable and an overall better experience!
Check out all the marine & boat products on NAPA Online or trust one of our 16,000 NAPA AutoCare locations for routine maintenance and repairs. For more information on the best boat accessories this year, chat with a knowledgeable expert at your local NAPA AUTO PARTS store.


text:
From the chapter "Plenary lectures", A Poet in Time, Odense 1999 (further information at the bottom of the page).
The Phoenix Principle. Some Remarks on H. C. Andersen's Poetological Writings
Heinrich Detering
In "Aunt Toothache", the narrator compares scholarly wisdom to the work of a little worm that crawls over a leaf and studies its lines and veins: "Just like that worm, we crawl around on one single leaf, do not know anything beyond it, and then, immediately, we start holding [plenary] lectures on the whole big tree." As a faithful Andersenreader, I'll try to take this as a piece of advice, and so I'll concentrate on some few and small leaves that I've picked from the whole tree of Andersen's collected works: his programmatic writings on poetry, seen from my worm's perspective of a 'closereading'.
But - are there any poetological writings in Andersen's works at all? Of course, a lot of his fairy tales are in one way or another concerned with poetological problems, they all include reflections on the conditions of his own writing, on the past or present state of poetry in the world or in Denmark, on 'reality', 'imagination', on 'phantasy' and so on. To begin with, we can find numerous explicitly philosophical, mostly metaphysical and aesthetic passages in his stories and novels, from the early Romantic parodies on Romanticism in Fodreise to the dialogues of Esther and Niels Bryde on immortality and beauty, on the Bible and Goethe's Faust in the novel To Be or Not to Be (At være eller ikke være). On the other hand, there are all the fairy tales that are deeply concerned with the conditions of the genre (seen as an equivalent of poetry itself, in accordance with German and Danish Romanticism), right from the first small volumes up to stories like the "Nightingale" ("Nattergalen"), "Pen and Inkstand" ("Pen og Blækhuus"), "The Willo'the-Wisps are in Town" ("Lygtemændene ere i Byen, sagde Mosekonen") or "The Gardener and the Noble Family" ("Gartneren og Herskabet").
But besides that there are a couple of small writings of a completely different kind: short explanatory essays, exclusively concentrated on aesthetic theory, usually covered with a veil of allegory, but free from any dominating narrative structure. Even the purely poetological fairy tales have a complex story to tell and can be read by children who do not understand a single allusion to poetry, whereas these proclamations, declarations, these "rhapsodic" or "lyricecstatic" essays (as Johan de Mylius put it in Hr. Digter Andersen1 ) on the possible shape of Romantic poetry in modern times can in no way be understood without regarding their theoretical impact. Therefore, I would like to concentrate on five of the most important of these texts: "The Phoenix Bird" ("Fugl Phønix"), "The California of Poetry" ("Poesiens Californien"), "The Bird of Folksong" ("Folkesangens Fugl"), "The Muse of the New Century" ("Det nye Aarhundredes Musa") and the unpublished fragment "Et Blad skrevet i Norge" ("A Paper Written in Norway"), one of Andersen's last texts. In the following, I will argue that these writings are quite closely related to each other as documents of a process that was never quite completed, and that they constitute an attempt to establish a poetological concept that is situated on the borderline between Romantic values and early Modernism.
1. "The Bird of Folksong"
Andersen's most obviously Romantic program can be found in "The Bird of Folksong" ("Folkesangens Fugl"), first published in "Folkekalender for Danmark 1865" (1864), then included in his collected writings ("Samlede Skrifter") in 1868.2 In a way, it can be read as an answer to the "Nightingale". But here, the confrontation of artificial and natural art that had been established there, is completed by a second opposition, which seems to be influenced by Grundtvig's ideas of national poetry as natural poetry - as our text has it: "God speaks to us in our maternal language with the tones of the bird of folksong [...] saga and song [...] make the evening a Christmas evening." Here, folksong appears even as a messianic saviour.
In order to take this central identification seriously, one should understand the text as perfectly adapted to Danish national Romanticism in the middle of the l9th century; maybe it is inspired by the national conflicts in the southern parts of the kingdom. Northern myths and traditions are identified as one neverending song, sung by the spirit of the northern peoples, "Folkeaanden", 'the spirit of the people', seen as a metahi-storical, a natural and Godgiven entity; in fact (and as the last consequence of Herder's concepts) it has to be understood as a special revelation of God to the Scandinavian peoples: In the voice of Nordic folk traditions and mythology, God's own voice can be heard. The allegorical figure which is meant to represent this tradition is here called the "bird of folksong that never dies" (there is no doubt, I think, that "folksong" here must be understood not as an equivalent of the German Romantic "Volkslied", but as the epitome of Nordic oral traditions). Anyway, if this is, in brief, the crucial idea of the text, one might wonder where in the fictional world this "bird of folksong" can be seen and listened to - since the story, in fact, introduces a whole ornithological panorama (as we will see); on the other hand, the opening scene tells us a story from folksong tradition, but it doesn't show us any bird at all. This nocturnal scenery has obviously been inspired by the wave of Ossianism and possibly by Heinrich Wilhelm von Gerstenberg's DanishGerman "Poem of a Bard" ("Gedicht eines Skalden", 1766).3 It shows a lonesome mound by the sea, a hero's grave in prehistoric Jutland, the warrior's ghost sitting on his tomb, restlessly waiting for his redemption which can only be brought by a bard who sings the song of his glorious deeds. A ship appears and, lo and behold!, a bard jumps down on the beach, listens to the ghost's story and then sings it out into the noise of the storm and sea, and now the old warrior is finally content.
This could be the end of the story - a little picture like some of the scenes in Andersen's Picture Book without Pictures (and in fact it had originally been planned as a small text of that kind). But here, it is only the starting point for a poetological allegory - for in the very moment of the viking's redemption, a little bird flies up from the grave. It leaves the scenery and starts into a long flight - not across the waves and foreign countries but through the centuries and right into the modern world of 1865. This bird is "the bird of folksong". It is not only the scenery that undergoes a change but the complete set of narrative rules: space turns into time, a concrete though phantastic historical scene turns into an abstraction, a Romantic story turns into a poetological parable. And the process of change has not come to an end yet: Waiting for the story of the bird's fate in the modern times, we are disappointed again. The parable simply loses sight of the allegorical animal; instead, it confronts us with a third image. Now, we see the huge panorama of a big but lifeless city, all covered in ice; in its wintery and deadly atmosphere, it may remind us of the unredeemed viking's grave in the beginning. And above this city there are birds flying around in the sky, singing their different songs about the dead landscape. In spite of our expectations, the "bird of folksong" is not among them; Andersen has simply withdrawn it from the fictional world. Instead he makes it clear that these birds stand for those contemporary poets who do not believe in the ideas of national Romanticism any more - which does not seem quite unreasonable, considering the ice-covered city. But then, suddenly and finally, a different voice can be heard, coming from underneath the ice: It is the voice of the city that, surprisingly, is not quite dead, the voice of human life in it has survived the cold and awakens again (probably this is another hint at the national awakening, and an answer to the catastrophe of 1864). This voice is now, in the last sentence, identified as the voice of the "bird of folksong that never dies".
This third and final picture in Andersen's text represents another shift in direction: a second level of allegory is established, combined of different allegorical entities (contemporary literature as a flight of birds, the nation as the big city, the end of glory and Romantic selfconfidence as deadly ice). This allegory is obviously much more abstract and more complex than the simple image of the bird of folksong; however, the narrator's conclusion interprets it as another encouraging proof of the real existence of that bird, the spirit of the people.
The story that Andersen told us in the first part has turned into an aesthetic pamphlet. Its obvious intention is to confirm the ideas of national Romanticism in spite of and against the actual political changes. But the process of narration shows us something quite different: it is not the harmonious and conclusive unfolding of a Romantic commonplace but a heterogeneous and disharmonious allegory of increasing complexity. It's not a myth but an abstract construction. (Maybe Andersen's subtitle "en stemning", "a mood", is meant to be a kind of excuse for this lack of consistency.) The narrative and imaginative elements that in a traditional Romantic parabolic story could have constituted a poetological message together with a simple plot, are split up into fragments of an abstract allegory that doesn't lead to a new entirety. The only message that is left in the end is the need for poetry, the hope for it as a means - maybe as the only remaining one - of redemption for a civilitation that is covered in ice.
What has taken place here, is a - perhaps involuntary - unfolding of an aesthetic concept that establishes poetry no longer as an emanation of a Godinspired "folkeånd", "people's spirit", but as an aesthetic construction invented by a poet. And this turn of the argument, this poetological gain is paid for with a reduction of narrative. If one compares this text to a genuinely Romantic poetological fairy tale like "The Nightingale", the differences are striking: That earlier story of a poetological bird unifies aesthetic reflection and a fairy tale; the theory is narrated, and the narration enacts a theory; the story is the message. According to the ideas of early German Romanticism, it is at the same time a piece of art and a reflection on art. It represents what Friedrich Schlegel had called "Transzendentalpoesie": poetry as poetic theory, poetic theory in the shape of poetry, in dialectic tension yet a poetic unity. In contradiction to that, "The Bird of Folksong" confronts us with several heterogeneous modes of narration and reflection on extremely different levels of abstraction that cannot be integrated anymore into a conclusive and harmonious picture. The Romantic poetics that is meant to be proclaimed by the text, has in fact come to an end. Romanticism proves to be irretrievably lost. The emblematic figure that is established by the text has vanished from it long before the text is over. Its proclaimed immortality proves to be nothing but a proclamation whereas allegorical construction has taken over. The bird that never dies is dead.
Thus "The Bird of Folksong" documents a crisis that seems quite typical of a couple of conservative aesthetic reflections in the post
Romantic era of the 1850s and 60s. But even in the deepest crisis Andersen, as we all know, does not cease to experiment with new types of texts and theories. In his birdcage we have to expect the strangest species. The one that flies closest to the bird of folksong is not the nightingale but "The Phoenix Bird". Here again we find a description of a poetological bird that never dies. But this time, the immortal bird dies indeed, it has to go through death in order to win a new life.
2. "The Phoenix Bird"
The "Phoenix" text was first, strangely enough, published as a children's story in "Den nye Børneven" ("The New Children's Friend"), in May 1850. One year later Andersen included it in his most ambitious and probably most artistic travel book, "In Sweden" ("I Sverrig", 1851); finally, in 1869, he published it for the third time, now again as an independent piece in the collection of "Eventyr og Historier" illustrated by Vilhelm Pedersen. (The title had first appeared as a possible headline for the early fairy tale now called "The Garden of Paradise", "Paradisets Have", 1839.)4
Just like "The Bird of Folksong", this rhapsodic essay is composed as an allegory. But comparing the two texts, we find a remarkable increase of abstraction in this one. Here we find no historical scenery; all topographical and historical concreteness is now replaced by purely mythological imagery, explicitely taken from Arabian traditions, especially from the Koran, and from the Bible. The conclusiveness of the proclamation derives exclusively from the conclusiveness of the myth of The Phoenix Bird itself. Without that it might have been difficult to convince us that the decay of poetry was a necessary condition for its new life and strength.
But it is just this idea that is at the center of the text. It gives a description of a process that, in the first step, puts an end to all poetry - literally: to poetry itself. In the second step, however, this end is interpreted as the necessary condition for a new beginning, a new birth of poetry, a resurrection from the grave in an entirely new and different shape. "The bird of paradise! New in every century, born in flames, died in flames [...]: The Phoenix Bird in Arabia. When you were born in the Garden of Paradise, under the tree of knowledge, in the first rose, God kissed you and gave to you your real name - poetry."
Within this highly abstract allegory - supported by the conclusiveness of the wellknown myth and thus free from the necessity to give a more concrete and precise description of the reasons why the bird has to die - Andersen manages to call the mortal crisis a mortal crisis and at the same time to proclaim it as the beginning of something completely new, or more precisely: a new beginning of the same thing, but in a completely different shape. This is what I'd like to call the Phoenix principle: loss of identity as the first step to a renewal of identity, failure as success, defeat as necessary condition for a triumphant victory of poetry.
Now, one might argue that this proclamation might very well be completed and modified by the rest of the book that the "Phoenix" chapter is only part of. And I could answer that Andersen himself regarded this chapter as a text that could be read on its own. But doubtless, its integration into the Sweden book does give it more complexity and richness than it could ever have had in its isolated version.
In the context of this book, the text is related to different chapters: On the one hand, it can be read as an answer to the preceding chapter, "Trollhättan".5 There, the new technical exploitation and transformation of the former wilderness, the glory of the industrialized age, the triumph of reason and science are confronted with the figure of the old, 'Romantic' mountain ghost of the Trollhättawaterfalls. In the shape of a friendly old man, the ghost examines the new machines and factories and canals and floodgates - and finally has to admit that his time is up, modern technology has proved to be stronger than the old Romantic ghosts. So at the end of the chapter, the ghost turns into a huge bird and flies away into the woods as his last refuge, downward, "in a falling curve" (Mogens Brøndsted);6 the industrial era has taken over. This end of the old mountain ghost can be seen as the beginning of the "Phoenix" chapter: The defeated bird of Romanticism passes through its own death, undergoes the deepest transformation, and then - and thus - returns in the shape of immortal Phoenix.
On the other hand, the "Bird Phoenix" is closely related to two more theoretical chapters: "Truth and Science, or A Sermon in Nature" ("Tro og Videnskab, en Prædiken i Naturen") and "The California of Poetry" ("Poesiens Californien").7 Both of them try to interpret the new scientific, technical, industrial developments as new chances for Romantic poetry; according to Ørsted's optimism, they attempt to widen the realm of Romanticism into the new era. Here Andersen offers no solution for the crisis that at least for the Romantic ghost of Trollhätta has been a mortal one, but denies that there is any crisis at all. Here, the Almighty speaks through science as well as through faith, and the coming poet will, as a new, childlike Aladdin, lead poetry to its "new California", the land of miracles in science.8
In these tensions and contradictions, the peculiar ambivalence we have seen in the "Bird of Folksong" appears once again. "The California of Poetry" might seem more daring at first sight, but if one takes a closer look at it, it offers more of a continuation of Romanticism freshened up with a good deal of new subjects than a start into a new era of art. In spite of ist revolutionary appearance, even the "California" chapter turns out to be rather conservative. According to Andersen's own "Phoenix" parable in the beginning of the same book, the crucial condition for that new start must be the end of tradition. This is what these last chapters shrink from - and this is the starting point for Andersen's most ambitious and most modernist poetological program: "The Muse of the New Century".
3. "The Muse of the New Century"
"The Muse of the New Century" ("Det nye Aarhundredes Musa") was first published in "Nye Eventyr og Historier", vol. V, in 18619 - quite an unexpected place again, because here this highly abstract aesthetic proclamation was more liable to be overlooked than to win the public attention Andersen explicitly had hoped for. He was convinced that the New Muse was "a work of genius like few other things he had written", as he told Adolph Drewsen. The published text was its eleventh version, the result of a long and complicated creative process; fragments of some of the earlier attempts, especially in Andersen's "Optegnelsesbog", were published by Helge Topsøe-Jensen in 1963.10 This "phantasy play", as Andersen also called it, starts off in an ironic mode that within a few paragraphs changes to an almost prophetic tone; and the role of a prophet is to be taken seriously: Here, a prophet announces the coming of the muse and its "revelation", he proclaims a new poetry as a new age of salvation. Again, the religious metaphors are striking. In a letter to Henriette Hanck, Andersen had, as early as in 1838, wondered where and when a new poetry might arise, and he had asked: "O, where will the Messiah of this poetry be born! happy he, who can be his St. John
theBaptist.''11 In our text, the Muse itself appears in the role of Messiah, and it has already been born in the machine halls and factories of the Industrial Revolution, in the technological transformation of the world - but it cannot be identified with this concrete process.
Gerhart Schwarzenberger (in his seminal essay on "Andersen and 'the New'") as well as Heike Depenbrock and myself in our plenary lecture at the first Andersen Conference here in Odense have been inclined to identify the 'New' of the 'New Muse' with the new subjects Andersen deals with in this text just as he did in "The California of Poetry".12 And it is true, of course, that the New Muse, in one way or another, is connected with the new subjects of industrialisation and its consequences, with new scientific and technical achievements. But in reading the text anew and reconstructing its relations to Andersen's former programmatic writings, I'd like to define the categories more precisely. The contemporary developments of the 19th century are here described only as conditions and circumstances of the New Muse's birth, but not as its central essence. In its radically new aesthetics, the childlike New Muse does not only play with photographs and machines but also with every possible literary tradition in world history - with the sagas and Molière, Longfellow and Holberg, with troubadours and Romanticism. Even more firmly than in "The California of Poetry", Andersen distances himself from national Romanticism and takes up Goethe's idea of a "world literature", in a very concrete technical sense: "Soon, the Chinese Wall will tumble; the railways approach Asia's sealed cultural archive, - the two cultural streams meet!" So, in the age of telegraphs and worldwide communication, "the Muse is a cosmopolitan". Her realm is, first of all, a place of literature, an aesthetic space. As an innocent child, the messianic muse plays with everything, and - what is even more important for our subject - she plays with it, without taking care of any traditional rules and prescriptions, programmatically connecting them to "the rhythm of her hymn of present times" ("Rhythmer til sin Nutids Hymne"), a sound that has never been heard before.
So the industrial era is one of the reasons and also one of the possible subjects of the New Muse - but it is not her essence. Considering this, one can also wonder what the "new century" actually means. A "new century"? It is evident that there was not the slightest 'turn of century' in sight when Andersen's proclamation was published in 1861, although the text treats it as if it was imminent right here and right now. Obviously, the "new century" does not literally mean a new century. Once again, one might recall the "Phoenix" chapter: There, too, the word "century" stands for the different eras in the history of rises and falls, deaths and rebirths of poetry. With regard to this, I suggest that we ought to understand the "new century" here not as a specific period in time and history but as a metaphor of a different idea of time - just like, in Christian theology, God's Kingdom is not a time or place to be expected within world history, but an absolutely different idea of another time and place that puts an end to all history, a final negation of time, eternity: different from our life in time, different from the world.
And apocalyptic imagery of this kind is exactly what Andersen establishes in his pamphlet. But he does not speak about Doomsday and Heavenly Jerusalem; instead of this biblical imagery, he uses the most fitting and most actual literary metaphor available in his country and culture: the opposition of "Ragnarok" and the "New Gimle". The New Muse's place is not in this world - at least not in the world as we know it:
we nowadaysold folks would tremble under her strong tones and recognize in them a Ragnarok, the fall of the old gods, [...] only a little picture of [every time and race] swims on the stream of eternity, in the small capsule of the word [...] which one will ours shine from - ? Ask the Muse of the new century, in Ragnarok, when the new Gimle arises in glory and understanding.
The old poetry, the old world have come to an end, they are standing on the edge, about to fall; but according to the Phoenix principle, they will reappear in a new life, a new shape that cannot be understood before it has appeared. In some of his early notes on the New Muse, Andersen - more directly and overtly than in the printed text - addressed this obituary notice to a specific literary school that he thought was outdated: "Nordic prehistory has died out; Oehlenschläger has renovated the old heroes and gods, let us leave it at that."
In the published version, Andersen transforms this explicit allusion to the prince of Danish national Romanticism into a sentence that, at second sight, turns out to be more general and much more fundamental: "the old gods [...] are dead, there ist no kind of sympathy for them in the new era, no kind of kinship!" This is quite radical, and seen as a poetic text it is evidently a paradox. Andersen makes use of 'Romantic' mythological imagery - and at the same time he denies, even rejects any possibility of speaking this way. The argument is obviously based on a fundamental paradox: the old gods are dead, which also means that Ragnarok is over; and at the same time the new Gimle is near, Ragnarok is imminent. So what Andersen does is to quote a way of thinking and a tone of speaking that he himself declares impossible. He uses some of the most crucial images of Scandinavian national Romanticism in order to transform them into metaphors for the absolutely different, the 'New'. So what these passages represent is an aesthetic Romanticism deprived of its ideological centre - it is in fact a kind of Romanticism without Romanticism. And this is precisely the formula that Hugo Friedrich has suggested in his classic study on the roots of modernist theory to describe the new poetry and programs of Charles Baudelaire.13
4. Baudelaire, "Anywhere Out of the World"
I do not have time enough here to enlarge on all the details that the Andersen of the New Muse has in common with Baudelaire, so I'll have to be content with a short glance at one of Baudelaire's "poèmesen prose" that seem to be remarkably close to Andersen's ideas (just like to some of Henrik Wergeland's "Sujetter", by the way). It was first published in a magazine in 1867 and then included in the collection "Le Spleen de Paris"; and its title quotes a Romantic English poem by Thomas Hood, also used in an essay by Edgar Allan Poe (and translated by Baudelaire): "Anywhere out of the world", subtitled: "N'importe où hors du monde''.14 The text is a dialogue between the poet and his soul, and its subject is the search for a place where the unhappy soul could be at rest. The poet recalls and suggests the most romantic places which his literary traditions can offer - the cosy rural world of the Netherlands, exotic Batavia and the Arctic ocean. But the soul does not answer - until, finally, in a sudden outburst it cries out the name of the only place it longs for, the paradoxical place that is an utopian nonplace: "anywhere out of this world". "Enfin, mon âme fait explosion, et sagement elle me crie: 'N'importe où! n'importe où! pourvu que ce soit hors du monde!'"
This poem holds a central position in Baudelaire's oeuvre: it is the climax of a group of poems (including two versions of "L'invitation au voyage"15 or, in the "Les fleurs du mal", the "Rêve parisien" and "Le voyage"16 ). All of these poems are concerned with the imagery of the journey to the land that cannot be said - and which at times is imagined as death, the entrance to an unkown land. (Here, one remembers the final words of Andersen's "Story of a Mother" when the dead enter "the unknown land", "det ubekjendte Land" - in the very last line of the text, in the very moment of its silence.) The only place where the unspeakable can be alluded to, the last saviour in this world, is poetry. Only in poetry, the metaphysical idea of a world as a whole, as a place of harmony and peace, can be presented as the absent - it can be hinted at, invoked, and this invocation takes place in remembering, in quoting the longings of Romanticism and crossing them out at the same time, in transposing their fulfilment from the traditional romantic places in the world (history, wilderness, national spirit and so forth) to the utopian "anywhere out of the world". Indeed, modernist poetry of this kind is Romantic poetry deprived of Romanticism.
To Baudelaire and many contemporary philosophers and artists, art seemed to be the last possibility of proclaiming metaphysics in the age of positivism and natural science, of philosophical postKantian criticism and Nietzsche's fundamental attack against any kind of metaphysics (now including that of enlightened reason itself); it was Nietzsche who found the famous formula of art as the last possible metaphysical activity.
Something of this kind, I guess, is happening in Andersen's "New Muse". Here, the individual and poetological allegory of The Phoenix Bird is transformed into the 'collective' and historical allegory of the end of the world as the beginning of its new birth: Ragnarok and Gimle. In both texts it is most significant that this new shape in the future is proclaimed as unspeakable and invisible in the present, and thus it remains completely abstract. Except for such unprecise categories as "short, clear, rich" that monotonuously reappear in different contexts (in the "New Muse" as well as in other poetological writings), the description of the new muse remains extremely vague, is in fact almost empty; if you're trying to look at its face, you'll stare into a void - as the most provocative passage of the text says: "What is the new muse's program? [...] What does she want?", and the answer is: "You had better ask, what she does not want!" The New Muse's position is negation.
The only place where we can trace the new poetry as an expression of a new world is the text of this prophetic and poetic proclamation itself - for there is no other way of showing its presence than this proclaming of its absence - and of its coming. The new poetry is exclusively to be found in the poetry of the new. And here, paradoxically, it will never be found as something positive and present, but only and always as something negative and absent. The New Muse's device is a kind of "Apocalypse Now".
Thus, the entire proclamation is marked as a negative form of the messianic muse. The most radical form of this significant selfnegation is the hymnic celebration of the speaker's own submission, of his destruction under the unspeakable new:
Greetings, you Muse of the new century of poetry! our salutation rises and is heard as is heard the worm's hymn of thought, the worm that is cut to pieces beneath the plough, while a new springtime is dawning and the ploughman draws his furrow and cuts us worms to pieces, crushes us, so that the blessings may be bestowed upon the coming new generation. - Our greetings to you, Muse of the new century!
This is the last and probably the most surprising step of Andersen's argument. The beginning, the realisation of the new and absolute, is at the same time the destruction of the old and relative - and this destruction will include the speaker himself. This is the most radical and most consistent expression of the Phoenix principle. Never has the postRomantic Andersen come so close to the ideas of early French modernism; here, he might indeed appear as an unkown brother of Charles Baudelaire.
However, I doubt, that Andersen's final proclamation is meant to be conclusive; maybe the text should be read as a process of transformation from Romanticism to a modernism 'malgré soi'; perhaps the obvious selfcontradictions between the Romantic imagery in the beginning and the radical abdication to it at the end should not be harmonised but seen as steps in the development of an argument. And by including this proclamation in a collection of fairy tales, Andersen revokes his own modernist radicalism, trying to reromanticise his antiRomantic position. Even here, he is "den forsigtige rebel", as Elias Bredsdorff has put it: "the cautious rebel".
5. "A Paper Written in Norway"
There are very few texts where Andersen explicitly refers to concrete achievements of contemporary modern poetry. One of the most intriguing and least popular ones is the last leaf I would like to take a final and brief look at: the fragment "A Paper Written in Norway", written less than three years before his death, during his last journey through Norway (1872).17 This paper - obviously an unfinished sketch which includes a couple of corrections and variants - is Andersen's most explicit reaction to the beginning success story of modern Norwegian literature. And once again, the text returns to the categories of national Romanticism. It starts in a tone and imagery that perfectly meet the requirements of (now: Norwegian) patriotism. The heroic mountain landscapes remind the traveller of a heroic history and represent the national greatness and character; patriotic poetry gives expression to this collective identity; and the Danish visitor is deeply impressed, even intimidated by this country and its poets. In the central sentence, Norway itself is adressed: "Norway, yes, you are the future of poetry."
With all this, the text proves quite a surprising selfdenial - haven't we learnt from earlier stories like "The Elf Mound" ("Elverhøi") and "The Rags" ("Laserne") that Andersen, to put it mildly, was not very enthusiastic about Norwegian patriotism which seemed so vulgar and at the same time humiliating to his Danish identity? And wasn't he quite conservative and defensive towards the revolutionary new modes of writing that had been established by poets like Henrik Wergeland and Henrik Ibsen? (Maybe you remember the anecdote of Andersen travelling on board a ship together with Camilla Collett; they get into a discussion about Norwegian literature, and Andersen makes fun of the "uncivilized" and "uneducated" Henrik Wergeland - not knowing that Camilla was Wergeland's sister.) Wergeland's Whitmanian free verse, his attempts to establish a new form of poemsinprose even earlier than Baudelaire did - all this seemed to represent a kind of poetry that Andersen had to reject as chaotic, void of form, and as a threat to his postRomantic background.
But according to the Phoenix principle, this rejection is exactly the reason why, in this fragment, in a religious formula we have heard before, he calls Wergeland a "St. John the Baptist of poetry in Norway": "There unrolled, void of form in poetry but great and true: Norway [...], Wergeland sang (the St. John the Baptist of poetry in Norway)". With modern Norwegian poetry, a new era is dawning; the messianic Muse herself is approaching in the works of, for instance, Bjørnson and Ibsen (who are alluded to in the text) - so maybe, in opposition to the former poetological metaphysics, its place is no longer somewhere out of the world but in a concrete kind of poetry that is written in Christiania. (And maybe modernist ideas could be thus harmoniously combined with another kind of patriotism.) But anyway, the gist of the argument is still the paradoxical selfnegation of the speaker and of the era he stands for, even here. At the end of the fragment, Andersen adresses the Danish-Norwegian language and proclaims the fall of Denmark; the Norwegian daybreak is the Danish sundown: "He who builds his great house on your rock will not fall down in the storm that is to come over the land of Denmark, you lovely, so small in the world, so great in my heart." Again, the narrator sees himself in the position of the worm that is beeing cut through by the plough; again, he praises the birth of the New Muse as the end of his own life and times; and again, he clings to the idea that saves him from despair - the 'Phoenix principle'.
As I said in the beginning, Andersen's programmatic writings - inclined to radical modernist points of view and at the same time maintaining most conservative Romantic values, written in an often provokingly strange tone and at the same time published in travel accounts and collections of children's stories - these writings are situated on the threshold between late Romanticism and young Modernism, somewhere between Oehlenschläger and Wergeland, between Ørsted and Baudelaire; and every now and then, they take a step into one direction or the other. Seen as a whole, they form one large strenuous attempt to find a poetry for the new age he lived in, without giving up the traditions he himself was raised in and which were so dear to him. One could criticize this position as indecision; and indeed every attempt at fixing him, at defining his position on one of the two sides must fail. But looking back to the literary history of the 19th century from an era that has called itself "postmodernist", one might just as well acclaim Andersen's ambivalence as a rejection of simple solutions, a rejection of onedimensional concepts of "eitheror". His favourite movement, here as in other contexts, is the crossing of borders. Even as a literary theorist, he is more sophisticated than we sometimes would expect (or maybe like) him to be - or as he himself put it: "Jeg er original" - "I am an original!"
1. Johan de Mylius, Hr. Digter Andersen - Liv, Digtning, Meninger. Copenhagen 1995 p. 322; cf. ibid. pp. 27680. back
2. Eventyr, vol. V, pp. 2931; cf. commentaries ibid., vol. VII, pp. 31314. back
3. Cf. commentaries in HCA, Sämtliche Märchen. Aus dem Dänischen von Thyra Dohrenburg, herausgegeben von Heinrich Detering. Vol. 2, pp. 40304. back
4. Sverrig, Romaner og Rejseskildringer [RR], vol. VII, pp. 1415; Eventyr, vol. IV, pp. 5051; cf. commentaries ibid., vol. VII, pp. 23435. Cf. Heike Depenbrock/Heinrich Detering, "Poesie und industrielles Zeitalter in H. C. Andersens I Sverrig". In: Johan de Mylius/Aage Jørgensen/Viggo Hjørnager Pedersen (eds.), Andersen and the World. Odense 1993, pp. 3155. back
5. I Sverrig, RR, vol. VII, pp. 614. back
6. Mogens Brøndsted, "Livsrejsen. Omkring H. C. Andersens I Sverrig". In: Danske Studier, 1967, p. 33. back
7. I Sverrig, RR, vol. VII, pp. 8992 "Tro og Videnskab", and pp. 11722 "Poesiens Californien". back
8. Cf. de Mylius, Hr. Digter Andersen, pp. 31617, and Gisela Perlet, "Nachwort", in her German edition of HCA, Reisebilder aus Schweden und England: In Schweden; Ein Besuch bei Charles Dickens. Leipzig/Weimar 1985, pp. 198207. back
9. Eventyr, vol. lV, pp. 11217; cf. commentaries ibid., vol. VII, pp. 25560. back
10. Helge TopsøeJensen, "Fra en Digters Værksted. H.C. Andersens Optegnelsesbøger. Andet Afsnit". In: Fund og Forskning i Det kongelige Biblioteks Samlinger, X (1963), pp. 13336. back
11. Breve til Henriette Hanck, p. 250; cf. de Mylius, Hr. Digter Andersen, p. 315. back
12. Gerhart Schwarzenberger, "Den ældre H. C. Andersen og 'det nye'". In: Danske Studier, 1962, pp. 1747; Heike Depenbrock/Heinrich Detering, "Der Tod der Dryade und die Geburt der Neuen Muse". In: Kurt Braunmüller/Mogens Brøndsted (eds.), Deutschnordische Begegnungen. Odense 1991, pp. 36690. back
13. Hugo Friedrich, Die Struktur der modernen Lyrik. Von Baudelaire bis zur Gegenwart. Hamburg 1956, p. 22. back
14. Charles Baudelaire, "Le Spleen de Paris". In: Sämtliche Werke/Briefe, herausgegeben von Friedhelm Kemp und Claude Pichois in Zusammenarbeit mit Wolfgang Drost, vol. VIII, pp. 25295. (French text and German translation by Friedhelm Kemp, cf. Kemp's commentary ibid., pp. 37778.) back
15. One in the same collection of poèmesenprose, ibid., vol. VIII, pp. 17277; the other a poem of the same title in Les Fleurs du Mal, ibid., vol. III, pp. 15861. back
16. Ibid., vol. III, pp. 26267 and pp. 32839. back
17. "Et Blad, skrevet i Norge", published by Christian Svanholm in: Anderseniana, 2nd Series, Vol. I,3 (1949), p. 224. back
Detering, Heinrich: "Principle. Some Remarks on H. C. Andersen's Poetological Writings", In: Johan de Mylius, Aage Jørgensen and Viggo Hjørnager Pedersen (ed.): Hans Christian Andersen. A Poet in Time. Papers from the Second International Hans Christian Andersen Conference 29 July to 2 August 1996. The Hans Christian Andersen Center, Odense University, Odense University Press. 576 pages, Odense, Denmark 1999.


If you are in Jammu, then you have plenty of reasons to smile as to fulfill your varied needs and giving you the best financial support, Axis Bank is there. Yes, this third largest private sector bank of the country with its enormous range of thoughtfully designed products ensures that the people living in the city have the best banking experience. Right from fulfilling their personal needs through loan and cards to offering them the spectacular saving and investment options in the form of fixed deposits and mutual funds, the bank offers all. Established in the year 1993, with a vision to transform the way people look at the banking system, it would not be wrong to say that Axis Bank has come a long way.
By offering diverse products such as Mortgage Loans, Private Banking, Finance & Insurance, Investment Banking, Private Equity, Consumer Banking, Wealth Management, Credit Cards and Corporate Banking, the main endeavor of the bank is to deliver the best banking services to all its customer around the globe. Now, when it comes to reaching out the customers globally, the lender with 9 international offices situated in different parts of the globe, ensures to be in touch with one and all.
No matter what sort of financial help you are looking for, the bank with its exclusive collection of products such as personal loan, home loan, education loan, loan against property and car loan makes sure that people living in Jammu will enjoy a hassle-free banking experience. Know all the products offered by the bank in the table below.


text:
Andrea Maffei (1798 – 1885) was an Italian poet, translator and librettist.  He was born in Molina di Ledro, Trentino. A follower of Vincenzo Monti, he formed part of the 19th-century Italian classicist literary culture.  Gaining laurea in jurisprudence, he moved for some years to Verona, then to Venice and finally to Milan, where in 1831 he married contessa Clara Spinelli. They separated by mutual consent on 15 June 1846.

As well as Verdi, Maffei also built up close relationships with others in the Italian cultural scene of the time, including Vincenzo Monti, Antonio Rosmini, Gino Capponi, Mario Rapisardi, Carlo Tenca, the painter Francesco Hayez, and the sculptors Vincenzo Vela and Giovanni Duprè.  Key cultural figures from the rest of Europe also passed through the lounge of his house in Milan, including Liszt and  Stendhal.  In 1879 Andrea Maffei was made a senator of the Kingdom of Italy and participated in Italian political life.  In the mid-19th century he frequently lived at Riva del Garda, where he organised his rich art collection and where, in 1935, the town's Liceo classico was named after him.

He died in Milan in 1885.

Translator and poet
Skilled in foreign languages, he translated several works of English and German literature into Italian, particularly the plays of Schiller, Shakespeare's Othello and The Tempest, many works of Goethe (including Faust) and John Milton's Paradise Lost.  In his translations he sought to adapt the author's original thought to that of the Italian literary public.

Not only a translator, he was also a poet and Romanticist.  For Giuseppe Verdi he wrote the famous libretto for I masnadieri, drawn from Schiller, and re-wrote some verses from Francesco Maria Piave's libretto for Macbeth.  He was also a librettist for Pietro Mascagni, writing the texts for his Il Re a Napoli in Cremona (1885) and Guglielmo Ratcliff (1895, from Heinrich Heine's 1822 play William Ratcliff).

Translations

Gessner
Idilli di Gessner (1821)

Thomas Moore
Gli amori degli angeli (The loves of angels, 1836)
Canti orientali (Oriental poems, 1836)
Gli amori degli angioli (The loves of angels, 1839)

Byron
Caino (1852)
Cielo e terra (1853)
Parisina (1853)
Misteri e novelle (Mysteries and novels, 1868)

Goethe
Arminio e Dorotea (1864)
Fausto (1866)

Schiller
La sposa di Messina (1827)
Maria Stuarda (Mary Stuart, 1829)
La vergine d'Orleans (The Maid of Orléans, 1830)
Guglielmo Tell (William Tell, 1835)
Maria Stuarda (Mary Stuart, 1835)
Guglielmo Tell (William Tell, 1844)
Cabala ed amore (1852)
La congiura del Fiesco (1853)
Turandot (1863)

Other works
Le satire e le epistole (after 1853)
Il paradiso perduto (Paradise Lost, by Milton, 1857)
Struensee (1863)
Guglielmo Ratcliff (by Heinrich Heine, 1875)
L'ode a Pirra (by Horace, c. 1880)
Poeti tedeschi (German poets, 1901)

Original works

La preghiera  (1829)
Studi poetici (1831)
Dal Benaco (1854)
Poesie varie (1859)
Arte, affetti, fantasie (1864)
E' morto il re! (1878)
Liriche (1878)
Affetti (1885)
Ghirlanda per una sposa (1886)

Opera libretti
I masnadieri (Her Majesty's Theatre, London, 22 July 1847, music by Giuseppe Verdi)
David Riccio : 2-act drama, with prologue (1849) music by Vinc. Capecelatro (1850)
Macbeth (Additions to the original): 4 part melodrama, music by Giuseppe Verdi (1850)

References

Sources
 Letters to Andrea Maffei , by Mario Rapisardi (1877)
Prometheus

1798 births
1885 deaths
People from Trentino
Italian poets
Italian male poets
Italian opera librettists
Italian translators
19th-century Italian translators
English–Italian translators
German–Italian translators
Italian politicians
Italian people of the Italian unification
Shakespearean scholars
Translators of Johann Wolfgang von Goethe
Translators of William Shakespeare
19th-century Italian male writers
Literary translators

redpajama_set_name: RedPajamaWikipedia


Anti-virus and other security-related software is a huge business, reaching US$3.7 billion in revenue in 2004 according to IDC, and Microsoft has long been planning an re-entry into this market. The company first got into the anti-virus game way back in 1993 with the bundling of Microsoft Anti-Virus (MSAV), a stripped-down version of Central Point's AV product, with MS-DOS 6.0.
Microsoft's new product, the somewhat awkwardly-named Windows OneCare Live, entered beta testing last summer and is now nearing release. Rumors were running rampant that it would end up being bundled with the release of Windows Vista. However, recently it was confirmed that this product will instead be sold separately. Like many of its competitors, such as Symantec's Norton Anti-Virus and McAfee's AV product, it will be sold on a subscription basis. Unlike those companies, however, which sell the product in a retail box for a larger amount and then charge a smaller sum for renewals each year, the annual subscription will be the primary method for purchasing OneCare. One opportunity for Microsoft to improve on existing AV bundles is to be up-front about the annual renewal costs, information on which is almost impossible to find on Symantec's or McAfee's website.
OneCare also includes more than just anti-virus protection. The package will consist of a virus scanner, a more full-featured firewall than is included with Windows XP SP2, a backup utility, an automatic scheduler for virus scanning and disk defragmenting, and integration with Windows Update (also known as Microsoft Update). There is still no information about whether or not Microsoft's free anti-spyware program, which was developed after Microsoft purchased Giant Software, will be included in the package. However, it has been confirmed that Microsoft Anti-Spyware will remain a free product.
Pricing details are not currently known, although the latest rumors suggest that Microsoft intends to charge about US$50 per year for a OneCare subscription. This is comparable to McAfee's Internet Security 2006 product, which contains a virus scanner, a firewall, and a spam filter, and is currently being offered for US$49.95 after a US$20 discount, and Norton's Internet Security 2006, which has a similar feature set and is available for US$69.99. However, renewal costs for those products are typically in the US$15 range, which is much lower than a US$50 yearly fee. Many expect that Microsoft will add features to the product each year, which will be delivered as part of the subscription service. This would be one way to justify the high annual cost, since renewals of competing products tend to contain only virus and spyware definition updates, not major updates to the software.
Early reviews of OneCare are mixed, with some praising the clean interface and others saying the service's feature set doesn't quite justify its price. However, it is hard to argue against the fact that increased competition for computer security products almost always results in improved products across the board. Some people may fear that OneCare will prosper simply by virtue of being a Microsoft product, and alternatives will get pushed out. Indeed, what ever happened to Central Point? It turns out that the company continued selling its products until it was bought out by Symantec in 1994, which remains a prosperous company today.
Microsoft Windows OneCare Live will be available in June from retailers and via the Web for an annual subscription of US$49.95 MSRP for up to three personal computers. To thank its valuable beta customers and offer an easy transition to the paid service, Microsoft also announced today a promotional deal offering the first year of Windows OneCare Live service for US$19.95 to beta customers who become subscribers between April 1 and April 30, 2006.


Plug in Z-Wave Repeater to extend your system's range.
Suppor ts Z-Wave Explorer Frames. Repeats Z-Wave messages.
Z-Wave Plus Oomi Range Extender UK Repeats and amplifies Z-Wave signals rebroadcasting them to your network.


text:
O Rio Dolovăţ é um rio da Romênia, afluente do Domesnic, localizado no distrito de Neamţ.

Rios da Roménia


text:
Tag: Endurance
Here's Why Endurance International Stock Went Up 18% on Monday
| money
© Provided by The Motley Fool
Web-hosting company Endurance International Group (NASDAQ: EIGI) is thinking about selling itself to another player, and that sent shares higher on Monday. The stock has lost over 50% of its value over the past five years, showing its long-term struggles. But investors celebrated the rumored sale by sending the stock 18% higher for the session.
According to a Bloomberg report citing anonymous insiders, Endurance International is open to the idea of being acquired, two years after considering it the first time. The company owns well-known brands like Bluehost and HostGator, platforms enabling its users to develop a web presence. However, it hasn't been able to monetize its properties of late.
A businessman draws an upward arrow over a stock chart displayed on a transparent touchscreen.
Full-year revenue
Workhorse surges 16% after President Trump views Lordstown's EV pickup Endurance at the White House
The Endurance.
Lordstown Motors
Workhorse surged 16% on Monday after it was reported that President Trump viewed the Lordstown Motors 2021 Endurance pick-up truck on the South Lawn at the White House.
Workhorse owns a 10% equity stake in Lordstown Motors, which is targeting a 2021 launch of its electric pick-up truck.
DiamondPeak Holdings also jumped 12% on the news, as the SPAC has previously announced that it will merge with Lordstown Motors, bringing the company public once again after Workhorse spun it off in 2019.
President Donald Trump's viewing of the 2021 Endurance electric pick-up truck produced by Lordstown Motors spurred a 16% jump in shares of Workhorse.
Workhorse owns a 10% equity stake in Lordstown, which was spun off as its own independent company from Workhorse in 2019.
Eamon Javers of CNBC tweeted on Monday, "Now pool reporters have been brought


text:
Mamucium
M Café
#BEAPIONEER Series – Pride Edition
As Manchester enters the month of August, the city turns a wash with every colour of the rainbow. This marks the annual LGBT+ Manchester Pride festival held throughout August with the main event happening over August Bank Holiday weekend. Hotel Indigo Manchester Victoria Stationare very proud and honoured to be a Hotel Sponsor in our first year of opening and cannot wait to celebrate with the diverse and cultural community in our neighbourhood.
Hotel Indigo Manchester Victoria Station is built and designed to echo the history of this pioneering city. Our neighbourhood is the place where anybody with an idea can change the world; from England's first cotton mill in 1783, just footsteps away from our front door, to producing the first pages of 'The Guardian' in 1821. Our city has always been well known as the hive of industrial activity and pioneering work.
In a recent interview with I Love MCR, Mark Fletcher Chief Executive for Manchester Pride discussed the vision for this year's celebrations and stressed the importance of remembering just how far the movement has come Fletcher said: "As we acknowledge the 50th anniversary of the Stonewall riots, an event which kick started the modern LGBT+ pride movement, we are taking a clear moment to stop, reflect on the changes in society, acknowledge the progress that has been charted and consider the future of LGBT+ equality. What will this look like?" See the full article here.
The thought that just one mind can change the course of history is ever existent within the city's exuberant LGBT+ history. A long line of LGBT+ pioneers have helped to weave the something fabric of our something city. These include: the ingenious Alan Turning who saved the world as we known it; to the courageous Alan Horsefall who worked to repeal Section 28; and the bold Julia Grant who pioneered the fight for Trans rights; it all started right here in our neighbourhood!
Manchester has a long history of promoting equality and diversity across all the city's communities in particularly the LGBT+ community. Dating back to 1940's when The Union Pub was the place to go to see a Drag Show (apparently a huge hit with the American Troops stationed in the city during the war). Arguably the most notable of Manchester's LGBT+ pioneers' must be the genius computer scientist and adopted Mancunian, Alan Turing. It is stated that Turning saved the world and created the foundations of the technological age we see today. Turing's invention of modern computing and the machine named Bombe was instrumental to his country and allied forces in defeating Nazi Germany during the second world war by cracking the German Naval Enigma. A prosperous career followed with many secret service operations, and scientific discoveries bringing Turing to the University of Manchester. Here artificial intelligence came to life, as a computer was given a 'brain' and it was taught how think and react for itself. It is even commented that Turing's further work on morphogenesis is a seminal piece in mathematical biology, leading to future research and resulting in a better understanding of what we now know as DNA.
His legacy is one that ought to be celebrated, however during the end of his life Turing couldn't be any further from being a hero. Falling victim to an era of anti-gay legislation, Turing was convicted of gross indecency in 1952. Stripped of his security clearance and rising concerns the conviction would cause him to be ostracized by his peers and the industry which he held in such high regard, Turing accepted an invasive hormone treatment therapy rather than a prison sentence. Sadly, Turing took his own life two years later in 1954; an inquest determined his death as suicide. An internet campaign in 2009 led to an official public apology for "the appalling way he was treated" being issued on behalf of the British Government by then Prime Minister Gordon Brown, this was followed by a Posthumous pardon in 2013 by Queen Elizabeth II. Most recently and deservedly so, the Bank of England announced that Turing will be commemorated on the United Kingdom's £50 note.
If your attending the Village weekender over bank holiday weekend be sure to stop by the Alan Turing memorial pride of place in Sackville gardens the home of Manchester Pride Village party.
Why not try the LGBT+ Heritage trail on your next visit to Manchester and learn all about the pioneers of our city (link here) or try why not try a walking tour with the acclaimed historian Jonathan Schofield
Manchester Hotel Deals & Offers
Our Manchester Hotel Gallery
Hotel Indigo Manchester - Victoria Station
admin@manchestetvictoria.hotelindigo.com
Hotel Indigo Manchester – Victoria,
6 Todd Street,
M3 1WU
Manchester images courtesy of Marketing Manchester
© 2020 Hotel Indigo | Privacy Statement | Site Map
CRO 88888888 | This hotel is owned by BH Group Inc and Operated by Interstate


text:
Q: IIS + PHP Data Objects + MS SQL? We're migrating an LAOP server to Win 2k8 IIS7 MSSQL and PHP (WIMP?) at work, and I'm using the opportunity to clean up the PHP. Currently it doesn't use PDO, and I'd like to rewrite the PHP to use that instead.
Challenge is, I don't know much about MSSQL and PHP deployment on Windows. The official MSSQL PDO object is experimental / depreicated and recommends PDO-ODBC. Microsoft just announced a driver supporting PDO. Is there no other PDO driver? How does SQLSRV contrast with PDO-ODBC?

A: The sqlsrv driver is a thin layer on top of Microsofts implementation of ODBC. The PDO-SQLSRV driver is just an abstraction of the sqlsrv driver. Both the sqlsrv and PDO abstraction are supported and maintained by Microsoft. If you are interested, you can read more about the sqlsrv driver here: http://blogs.msdn.com/brian_swan/archive/2010/03/08/mssql-vs-sqlsrv-what-s-the-difference-part-1.aspx.
Admittedly, I don't know much about the PDO-ODBC driver.
Hope that helps.
-Brian

redpajama_set_name: RedPajamaStackExchange


"I bought this dual keystone plate so that I could put different connectors in each socket (RJ45 in one, and F-Type for TV in the other). So although it says in the product name that this is a "dual..."
Dual Port RJ-45 Keystone Face Plate - 2 piece. Horizontal Mount.
I bought this dual keystone plate so that I could put different connectors in each socket (RJ45 in one, and F-Type for TV in the other). So although it says in the product name that this is a "dual port RJ45" plate, it actually works well with any keystone compatible socket. Having the separate cover means the finished result is very tidy.I bought this dual keystone plate so that I could put different connectors in each socket (RJ45 in one, and F-Type for TV in the other). So although it says in the product name that this is a "dual port RJ45" plate, it actually works well with any keystone compatible socket. Having the separate cover means the finished result is very tidy.
ITPFPC6002 Dynamix FP-C6-002 Cat6 Keystone RJ45 Jack for 110 Face Plate . T568A/T568B Wiring. 90 Jack. Jack.
ITPFPC6007 Dynamix FP-C6-007 Cat6 Keystone RJ45 Jack for 110 Face Plate. T568A/T568B Wiring. 180 Jack.
PB Tech price: PB Tech price: $3.72 ex. $4.28 inc.


text:
Middle East selected
Egypt 'failing at every level' on human rights
https://www.bbc.com/news/world-middle-east-28147913
Image caption Rights groups say the authorities are increasingly hostile to independent media and political opponents
Amnesty International has warned of a catastrophic decline in human rights in Egypt, a year after the military ousted President Mohammed Morsi.
The campaign group says at least 16,000 people have been detained in the last year alone as part of the government's bid to silence Mr Morsi's supporters.
Eighty of the detainees have died in custody, the report adds.
Security was tight for the anniversary of Mr Morsi's removal, with his supporters turning out to protest.
Egyptian police fired tear gas to disperse protesters who had gathered across the capital and the coastal city of Alexandria on Thursday, with reports of dozens of arrests.
The authorities have cracked down harshly on Islamists and other political opponents since former President Mohammed Morsi, who belongs to the Muslim Brotherhood, was removed by the military in July 2013 following mass protests.
The group - which was banned in December 2013 - had called for a "day of anger" to mark the anniversary.
Torture in custody
In a report released on Thursday, Amnesty International says that 1,247 death sentences have been handed down this year, with at least 247 of these upheld.
It said Egypt was "failing at every level in terms of human rights," citing "harrowing incidents of torture and deaths in police custody".
"Egypt's notorious state security forces are back and operating at full capacity, employing the same methods of torture and other ill-treatment used during the darkest hours of the Mubarak era," says Amnesty's Hassiba Hadj Sahraoui.
Torture methods, the report says, include the use of electric shocks, rape and handcuffing detainees and suspending them from open doors.
Image caption One man reacts to the sentencing of 183 Muslim Brotherhood supporters last month
It cites one case involving a 23-year-old male student, who says he was tortured and raped during 47 days of detention.
"They cut my shirt, blindfolded me with it and handcuffed me from behind…they beat me with batons all over my body, particularly on the chest, back and face…Then they put two wires in my left and right little fingers and gave me electric shocks four or five times," he said.
Amnesty says Egypt's criminal system "has suffered huge setbacks over the past year with several politically-motivated verdicts".
The military-installed government has sentenced hundreds of Muslim Brotherhood supporters through a series of speedy mass trials in the past year, drawing widespread criticism from human rights groups and the UN.
Those convicted include Muslim Brotherhood leader Mohammed Badie, who had his death sentence upheld in June.
Last month's sentencing of three Al-Jazeera journalists to at least seven years in jail on charges of supporting the Muslim Brotherhood sparked widespread international outrage.
Abdul Fattah al-Sisi


text:
MFSA task independent panel to probe ethics breach by CEO, legal counsel on Vegas trip
The board of governors of the Malta Financial Services Regulator tasks a former chief justice and lawyer to assess potential ethics breach of CEO Joseph Cuschieri and legal counsel Edwina Licari following trip with Yorgen Fenech
3 November 2020, 12:15pm
by Kurt Sansone
Malta's financial services regulator has tasked an independent panel to investigate a potential breach of ethics surrounding a trip to Las Vegas by its CEO and legal counsel.
The board of governors of the Malta Financial Services Authority tasked former chief justice Joe Azzopardi and lawyer Mark Simiana to "carry out the assessment process in an expeditious manner".
The panel has to "carry out necessary verifications with regard to a breach of ethics", the MFSA board said in a statement on Tuesday.
"Once the necessary assessments are concluded by the panel, recommendations will be presented to the Board of Governors for a final decision to be taken on both cases," the MFSA said in a statement posted on its website.
The decision follows the auto-suspension of CEO Joseph Cuschieri and legal counsel Edwina Licari last Friday after news emerged of a Las Vegas trip with magnate Yorgen Fenech in May 2018.
Cuschieri has insisted he went on the trip to advise Fenech on regulatory aspects related to the gaming industry. He has denied having a conflict of interest since he had already stepped down as Gaming Authority CEO at the time of the trip.
However, Cuschieri was at the time the MFSA's chief executive.
At the time of the trip, Licari was still an employee of the Gaming Authority. She has not released any statement.
Fenech owns casinos through the Tumas Group, a family company, and paid all the expenses related to the Las Vegas trip.
A former Office of the Prime Minister staffer and one-time secretary to Keith Schembri, Charlene Bianco Farrugia, was also on the Las Vegas trip.
The MFSA statement added: "The Board of Governors of the MFSA is responsible for establishing the policies and risk parameters to be pursued by the Authority. The Board is bound by confidentiality and, in this regard, every single member of the Board categorically refutes that he or she gave any comments to the media. Information is issued only collectively as a Board."
The board reaffirmed its commitment that the MFSA's management and staff "remain totally focused on the implementation of the Authority's vision and strategy to ensure proper consumer protection and a safer and sounder financial system".
The MFSA on Friday appointed Christopher Buttigieg as acting CEO
Kurt Sansone is Online Editor of www.maltatoday.com.mt. He was formerly deputy editor of ...
More from Kurt Sansone Kurt on Twitter
More in Banking & Finance
BOV seeking to adopt variable remuneration share plan at AGM
HSBC Bank Malta records lower Q1-Q3 profit before tax compared to 2019
MeDirect Bank launches new user-friendly online banking platform
HSBC Malta introduces innovative digital solutions for local businesses


text:
Red Lion Inn, Stockbridge, Mass
February 23, 2017 by Derek Strahan
The Red Lion Inn at the corner of Main and South Streets in Stockbridge, around 1905-1915. Image courtesy of the Library of Congress, Detroit Publishing Company Collection.
The building in 2016:
The origins of the Red Lion Inn date back to 1773, when Silas Pepoon opened a tavern here in the center of Stockbridge. Taverns in colonial America often used distinctive signs to identify themselves, and Pepoon's tavern sign featured a red lion with a green tail. Although its name would later be derived from the old sign, it was originally known simply as the Stockbridge House. In 1862, it was purchased by Charles and Mert Plumb, and in the decades that followed the hotel enjoyed success, with the Berkshires becoming a popular summer destination. During this time, the hotel was steadily expanded, and 1891 it was renamed Ye Red Lion Inn. Five years later, though, the historic building was completely destroyed in a fire.
The Plumbs rebuilt on the same site, although by now the hotel was being run by their nephew, Allen T. Treadway. A future state legislator and Congressman, Treadway also built the nearby Heaton Hall hotel, and he owned the two properties until his death in 1947. His son, Heaton, sold both hotels in 1955. By this point, many of the grand hotels of the Gilded Age had been destroyed by fires, or had closed during the Great Depression. Those that remained, such as the Red Lion and Heaton Hall, struggled with declining business, with tourists increasingly preferring modern, more convenient motels.
Both hotels were sold again in 1969. Heaton Hall was demolished a few years later, but the Red Lion Inn was purchased by Jane and Jack Fitzpatrick, the founders of Country Curtains. The ground floor of the inn became the company's first permanent location, while the upper floors remained a hotel. Around the same time, Norman Rockwell, a longtime Stockbridge resident, featured it in his famous Stockbridge Main Street at Christmas painting. Since then, the inn has continued to be a prominent landmark in the center of town, and is one of the few surviving grand hotels in the Berkshires from the 19th century.
Categories 1900s, 1910s, Detroit Publishing Company, Hotels, Massachusetts, Stockbridge Massachusetts
Hagyard Store, Lenox, Mass
Merrick-Phelps House, Springfield, Mass