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Adventures of Caelereth Forum Archives Approved Characters Archive Approved Characters 2013 Astrid Byström/ Kuglimz/ Farmer
Author Topic: Astrid Byström/ Kuglimz/ Farmer (Read 6194 times)
Astrid Byström
Barbarous Beauty
Approved Character
Human, Kuglimz
Astrid Byström/ Kuglimz/ Farmer
Name Astrid Byström
Race Human
Tribe Kuglimz
Title Barbarous Beauty
Height 1 Ped, 1 Fore, 2 Palmspans
Weight 9 Hebs, 1 Hafeb, 1 Od
Hair Color Lyth'bel Pollen
Eye Color Baveras' Eye
To say that Astrid is petite would be an understatement, although it might be wise to strike that word from your vocabulary when you are speaking to her. While her size in diminutive, her spirit is that of a wolf's, or so Rodmar, her late husband would say. Her long, blonde hair falls in waves down her back, usually let free to do as it will, but braided along her temples to keep the luscious locks from impeding her vision. Rodmar likened the color to that of the sun in the morning, when mist covered the land and filtered the harsh rays to a pleasant glow. In the privacy of their bedroom, when no one was watching, they would lay side by side, Rodmar twining strands of it in his rough, calloused fingers. "Soft as silk", he would say, smiling a tender smile that he reserved for her alone.
Her eyes are a remarkable shade that hovers between being both blue and green. The color of the sea on a clear, sunny day, they can spark with fierce passion or cut a man to ribbons with a single glare. Large and round, they are framed by a thick fringe of golden lashes, the same color as her eyebrows, and a shade or so darker than her hair. They are set in a face that is soft and oval-shaped, with high contoured cheekbones and a strong, although feminine, chin. A beautiful face by any man's standard. Even after the trials of her life, the skin is still velvety soft and blemish-free, without a single wrinkle to mark its surface. In the summer months, many days spent out of doors will turn the pale, creamy skin a light bronze, a tone that compliments her face and hair color remarkably well. When winter comes, that soft golden sheen will fade and her skin becomes almost translucently fair.
Even after giving birth to two babes, her body is still that of a woman ten years her junior. Strong and supple from nearly constant exercise, the skin stretches taut over finely sculpted muscle. Still, her strength does not detract from her feminine form. Her waist, neatly trim and almost breakable in its slimness, tapers up from the generous curve of her hips. Firm breasts, still perky after nursing two children, are neither too small nor too full. "The perfect palm full", her husband would delight in telling her, a devilishly handsome grin on his face, as his own palm fitted nicely over the mounds. He had enjoyed her body, reveling in the feel of her soft skin under the contrasting roughness of his fingers.
Astrid wears clothing that is not so different from that of the rest of her tribe. Her shift is made of soft cotton, falling down past her ankles and fastened at her bosom with an intricate silver brooch. Most of her dresses are made of similar cotton, although woven thicker. Unlike her shift, which is floor length, the dress will stop just past her knees, the shoulder straps fastened with smaller silver brooches. Astrid favors light, neutral colors, her favorite dress being a simple but charming creation in a beige color. She has two pairs of shoes, ankle height brown leather boots, and a pair of red leather sandals that have several intricately laced straps that start at her toes, proceed up her foot, and stop just over her ankles. When the weather turns cold, she dons thick woolen stockings and a light brown cloak lined with wolf pelts. The cloak has an oversized hood to shield her face from harsh winds and fastens at her neck with a simple silver clasp. Besides her wedding band, a plain gold ring with a single ruby that has her and Rodmar's names etched into the inside, she wears no other adornment. Occasionally she will weave brightly colored ribbons or beads into her hair if she is feeling especially fanciful.
Like her father, Astrid has always been quick to temper. She tries, to no avail, to stop her emotions from controlling her. The problem is that she is an extremely passionate woman, tending to lean towards the extreme of emotions. Her mood, however, can be fickle as well, turning from rage to sexual ardor in a split second. Many a night when her husband was still alive, they would argue about anything and everything, fighting tooth and nail, neither of them willing to relent. It never lasted long, however, for as soon as the fight turned physical, Rodmar would swiftly scoop her into his arms and deposit her onto the bed. The mere look of lust and carnal desire in his eyes could turn her legs to jelly and dissipate her anger like nothing else.
Just like her anger, her love can also be all-consuming. She had loved Rodmar as she had loved no one else, except perhaps her children. He had been everything to her, the only person she would allow herself to look to for support. His death had been more than heartbreaking, it nearly broke her soul. It was only because of her children that she was able to pull herself out of the depths of her own melancholy and continue on with her life. Now she again looks after her children with the fierceness of a mother lioness. Vidar, her son and firstborn child, looks so much like his father and it sometimes pains her to look upon his face, but she would do anything to protect him and teach him to become a man that Rodmar would have been proud to have sired. Freydis, her daughter, takes after her mother in looks but not temperament. She is calm and serene, unlike Astrid who made sure that her daughter would be raised as a lady might, not in the heavy-handed fashion that her father raised her.
Even with all of her faults, Astrid is a generally amiable person, although she does delight in a little good-natured ribbing every once in awhile. She is honest, loyal, and dependable, and does her best to raise her children to be the same. Sure she is a bit rough around the edges, but who wouldn't be with an overbearing, Kuglimz father who raised you on his own.
Swordsmanship - With her two Helcrani shortswords, Astrid can carve through a person like carving a chicken for dinner. While her father taught her the basics of swordsmanship, it was her late husband that helped her hone those skills. At a level that would not quite qualify her as an expert yet, she practices regularly, helping to teach her young son how to handle a sword as well.
Gunnar - Astrid's Kev'lor horse, Gunnar, is her most trusted companion. For the past six years he has been a constant presence in her life, helping till the fields of her farm and being her primary mode of transportation. Having learned how to ride from a very young age, Astrid is a master equestrian, controlling the strong willed animal and even teaching him a few simple commands, such as summoning him with a mere whistle.
Farmer - The family farm had been her husband's long before they met, and while she had no previous experience before they were married, she caught on quickly. Her and her two children, as well as her brother-in-law, each take equal share in the running of the farm, taking the business seriously as it is their main supply of income.
Perceptive - Not only is she eerily attune to her surroundings at any given time, she can also sense a person's true motive when talking to them. It wouldn't be wise to try to sneak a lie past Astrid, she can sense the deceit before the words have even left your mouth.
Stubborn - Irrationally stubborn and bullheaded, once she has made a decision, she will not stray. The whole world, all of Sarvonia, could come crashing down on her head and she would not budge. Sometimes her stubbornness will cloud her mind, making it hard to see that a particular course of action might have been the wrong one.
Prideful - Coupled with her stubbornness, her pride is her greatest weakness. Even if all of the odds were stacked against her, her pride would force her to roll the dice. Being small her whole life, she has felt that she constantly needs to prove herself. Her pride will not let her back down or accept failure.
Weak Shoulder - After falling from her mother's horse when she was a young girl, and dislocating her right shoulder, it has never been the same. Normal day-to-day activities will not aggravate the old injury, but after a few hours of manual labor, her shoulder will begin to betray her mind, tensing up and throbbing painfully.
Quick Temper - Her husband would always tell her, "Your bark is just as bad as your bite." Quick to anger, they spent many a night fighting, her red-faced and enraged, Rodmar grinning wickedly at her temper. Impassioned by her spirit, once their fights turned physical, he would throw her over his shoulder and continue their spat in the bedroom. Unfortunately, not everyone has the playful yet savage disposition of her husband and do not take her temper in stride as he did.
Astrid had lived in the Celeste Lowland her whole life, along with the rest of the Helvet'ine tribe. Her mother, a former Fal'cone, had died giving birth to her, so it had been up to her father, Ivar, to raise her. He did the best that he could, loving her in his own way, and raising her as he might a son. Practicing swordplay has always been one of her first memories, even though sparring with Ivar, who was none too gentle in his teachings, would usually be a rather grueling experience. He wanted her to be strong and capable of defending herself if the need arose. If it had not been for her aunt Hilde, she might have grown up with the temperament of a man in a woman's body. Hilde, however, made sure that Astrid did not miss out on the intricacies of womanhood. She taught her to sew, cook, clean, and how a woman should behave in general. She also taught her how to ride her mother's mare, being a fine horsewoman herself. When Astrid's Put'daei'vir occurred, Hilde made sure that she also learned of womanhood and everything that it encompassed. Hilde was a loving woman and did her best to fill the place of her deceased sister, but with three children of her own, and two grandchildren besides, it was difficult for her to divide her time equally.
When Astrid was twelve, her father died of consumption. Hilde had invited her to come and live with her and her family but Astrid knew that there was barely enough money and food for them to feed themselves, let alone adding another mouth to that. So, she stayed at her father's house, tending it and living off what her father had left her as best she could. She struggled through those first couple months, until Rodmar arrived. A son of the Helvet'ine, he had been away for many years, taking several mercenary positions to help bring in more money for his family farm. When she first saw him, she was in awe. He was a large, physically imposing man, with long blonde hair, penetrating blue eyes, and a smile that could turn her legs to mush.
They married not too long after his return and instead of moving in with his family, Rodmar decided to move into her father's house with her. "The land is fertile here, it will yield much profit by tending it," Rodmar told her. Both of them worked tirelessly to turn that little spit of land into a thriving farm. In her eyes, Rodmar was capable of anything, and he proved her right time and time again. First, his magic touch sprouted vegetation from that long barren dirt almost overnight it seemed. Then, when Astrid gave birth to their son, Vidar, Rodmar proved to be a loving and happy father, finding joy in simply holding their small son in his arms. It amazed her, the two different sides to this man. He would make love to her so slowly, tenderly, and then the next day take a job as a mercenary and return a few weeks later, caked in blood and dirt. He was ferocious but lighthearted and jovial, and he was hers.
When she became pregnant for a second time, Rodmar was able to devote more time to her, not having to tend to the farm as much. They would lie in bed at night, his hand rubbing her large, round belly, and he would whisper things to their unborn child so quietly that even she couldn't hear what he was saying. Their daughter, Freydis, was born not two years after Vidar, and she looked exactly like her mother. Although, truth to tell, she had that blonde hair and blue eyes of both her parents, as did Vidar.
While their marriage was a happy one, and full of love, Astrid had that quick temper that most Kuglimz inherited. Many a night she would find herself in a heated argument with her husband, screaming and throwing things, punching and kicking at him. So much larger than his tiny wife, Rodmar could restrain her fairly easily, although he would wake up in the morning with a black eye fairly frequently, but he didn't mind. He would scoop her up on his arms when he had had enough, and deposit her none too gently on their bed, making love to her until the morning sun shone through their window.
Their love, their unbreakable bond, was what made Rodmar's death, or disappearance, as Astrid would say, that much harder on her. After their son's eleventh birthday, Rodmar had taken yet another job as a mercenary to make up for the lack of funds during the winter months. Weeks went by, weeks turned into months, and months into nearly a year since he had left. Eventually, Astrid resigned herself to the fact that he would not return and while any other women might have fallen into despair, she became enraged. She wasn't quite sure at whom, however. Whether it was at Rodmar for not returning, or at whoever it was that killed him or kept him from her.
Leaving the farm and her children in the care of her brother-in-law, Knut, she left the Lowlands in order to find her husband, or bring back the head of the man that killed him. After a few months she would return to her family for awhile, making sure that they were well taken after and that they knew that she loved them, that she had to do this to bring closure to not only herself, but to her children as well.
Astrid has two Helcrani shortswords, custom made to fit her small grip, so they are a tad bit smaller than normal. The blades are made of steel and are double-edged. The grips are wrapped in malleable brown leather that have contoured to her hands over time. She maintains them meticulously, keeping them razor sharp and clean.
Name Gunnar
Species Kev'lor Horse
Height 6 Fores, 1 Palmspan
Weight 25 Pygges
Standing at just over six fores, Gunnar dwarfs his owner. The offspring of Astrid's mother's horse, he takes after her coloring. Light chestnut hair covers the majority of his thickly muscled body, with the mane and tail a darker shade of brown. From the bend of his knees down, there are thick tufts of pure white hair. His hooves, although partially covered by the white hair, are massive at just about two palmspans wide. His muzzle is aquiline, his profile curving in a slight arc and has the distinct white markings known as the "meivz", which is the color of the Sur'tyan and is thought to be lucky or blessed.
Gunnar has a temperament that nearly mirrors his owner. While he is loyal to Astrid, he is quick tempered when it comes to strangers. If anyone besides Astrid, or her children, attempted to mount him, he would swiftly buck and send them flying to the ground. Not a horse to scare easily, he rarely gets spooked and will not flinch when charging full speed into battle, a war horse in both body and spirit. He has been trained well and will come at only Astrid's whistle, and he can be ridden without the use of reins, trained to maneuver by leg pressure alone as well.
Belongings
Bedroll
Dried Meat/Fruit
Waterskin
« Last Edit: April 26, 2013, 08:18:54 PM by Altario Shialt-eck-Gorrin » Logged
Many are the words of bravery in times of weal, but few are they whose actions match brave words in times of woe.
Re: Astrid Byström/ Kuglimz/ Farmer
I know I'm not quite finished yet, but if anyone could give me some advice or constructive criticism, I'd really appreciate it.
Alright, I'm all finished now! Comments welcome!
Eyron
New Santharian
Human - Erpheronian
Hey Astrid! First of all, I just want to say I love this CD!! You should be really proud of yourself, not only is it well researched and integrated, but it's also wonderfully written. Pretty much all of my comments are comma/hyphens, so if you disagree with them that's perfectly fine, it's largely personal preference. Look for the red.
Title TBD
To say that Astrid is petite would be an understatement, although it might be wise to strike that word from your vocabulary when you are speaking to her. While her size in diminutive, her spirit is that of a wolf's, or so her late husband would say. Her long, (comma) blonde hair falls in waves down her back, usually let free to do as it will, (comma) but braided along her temples to keep the luscious locks from impeding her vision. Rodmar, her late husband (repetition of 'late husband', perhaps consider introducing his name when you use this phrase a couple of sentences ago instead.), likened the color to that of the sun in the morning, when mist covered the land and filtered the harsh rays to a pleasant glow. In the privacy of their bedroom, when no one was watching, they would lay side by side, Rodmar twining strands of it in his rough, calloused fingers. "Soft as silk", he would say, smiling a tender smile that he reserved for her alone.
Her eyes are a remarkable shade that hovers between being both blue and green. The color of the sea on a clear, sunny day, they can spark with fierce passion or cut a man to ribbons with a single glare. Large and round, they are framed by a thick fringe of golden lashes, the same color as her eyebrows, and a shade or so darker than her hair. They are set in a face that is soft and oval-shaped, with high contoured cheekbones and a strong, although feminine, chin. A beautiful face by any man's (apostrophe) standard. Even after the trials of her life, the skin is still velvety soft and blemish-free (comma), without a single wrinkle to mark its surface. In the summer months, many days spent out of doors will turn the pale, creamy skin a light bronze, a tone that compliments her face and hair color remarkably well. When winter comes, that soft golden sheen will fade and her skin becomes almost translucently fair.
Astrid wears clothing that is not so different from that of the rest of her tribe. Her shift is made of soft cotton, falling down past her ankles and fastened at her bosom with an intricate silver brooch. Most of her dresses are made of similar cotton, although woven thicker. Unlike her shift, which is floor length, the dress will stop just past her knees, the shoulder straps fastened with smaller silver brooches. Astrid favors light, neutral colors, her favorite dress being a simple but charming creation in a beige color. She has two pairs of shoes, ankle height brown leather boots, and a pair of red leather sandals that have several intricately laced straps that start at her toes, proceed up her foot, and stop just over her ankles. When the weather turns cold, she dons thick woolen stockings and a light brown cloak lined with wolf pelts. The cloak has an oversized hood to shield her face from harsh winds and fastens at her neck with a simple silver clasp. Besides her wedding band, a plain gold ring with her and Rodmar's names etched into the inside, she wears no other adornment (the Kuglimz exchange wedding jewels. It can still be a ring, but the important thing is that it have a ruby, see here for more information). Occasionally she will weave brightly colored ribbons or beads into her hair if she is feeling especially fanciful.
Like her father, Astrid has always been quick to temper. She tries, to no avail, to stop her emotions from controlling her. The problem is that she is an extremely passionate woman, tending to lean towards the extreme of emotions. Her mood, however, can be fickle as well, turning from rage to sexual ardor in a split second. Many a night when her husband was still alive, they would argue about anything and everything, fighting tooth and nail, neither of them willing to relent. It never lasted long, (comma) however, for as soon as the fight turned physical, Rodmar would swiftly scoop her into his arms and deposit her onto the bed. The mere look of lust and carnal desire in his eyes could turn her legs to jelly and dissipate her anger like nothing else.
Just like her anger, her love can also be all-consuming (hyphen). She had loved Rodmar as she had loved no one else, except perhaps her children. He had been everything to her, the only person she would allow herself to look to for support. His death had been more than heartbreaking, it nearly broke her soul. It was only because of her children that she was able to pull herself out of the depths of her own melancholy and continue on with her life. Now she again looks after her children with the fierceness of a mother lioness. Her son, Vidar, looks so much like his father and it sometimes pains her to look upon his face, but she would do anything to protect him and teach him to become a man that Rodmar would have been proud to have sired. Freydis, her daughter and firstborn child takes after her mother in looks but not temperament. Calm and serene, Astrid made sure that her daughter would be raised as a lady might, not in the heavy-handed (hyphen) fashion that her father raised her.
Even with all of her faults, Astrid is a generally amiable person, although she does delight in a little good-natured ribbing every once and while (once in a while?). She is honest, loyal, and dependable, and does her best to raise her children to be the same. Sure she is a bit rough around the edges, but who wouldn't be with an overbearing, Kuglimz father who raised you on his own.
Swordsmanship - With her two Odomon swords, Astrid can carve through a person like carving a chicken for dinner. While her father taught her the basics of swordsmanship, it was her late husband that helped her hone those skills. Somewhere between the skill level of a novice and expert, she practices regularly, helping to teach her young son how to handle a sword as well.
Gunnar - Astrid's (apostrophe) Kev'lor horse, Gunnar, is her most trusted companion. For the past six years he has been a constant presence in her life, helping till the fields of her farm and being her primary mode of transportation. Having learned how to ride from a very young age, Astrid is a master equestrian, controlling the strong willed animal and even teaching him a few simple commands, such as summoning him with a mere whistle.
Farmer - The family farm had been her husband's (apostrophe) long before they met, and while she had no previous experience before they were married, she caught on quickly. Her and her two children, as well as her brother-in-law, each take equal share in the running of the farm, taking the business seriously as it is their main supply of income.
Perceptive - Not only is she eerily attune to her surroundings at any given time, she can also sense a person's (apostrophe) true motive when talking to them. It wouldn't be wise to try to sneak a lie past Astrid, she can sense the deceit before the words have even left your mouth.
Stubborn - Irrationally stubborn and bullheaded, once she has made a decision, she will not stray. The whole world, all of Sarvonia (Technically, Sarvonia isn't the whole world, Caelereth is, but since this is just a idiom I guess it doesn't really matter. Plus, Sarvonia may be the whole world to Astrid so maybe it makes more sense. So, anyway, just some ramblings, feel free to ignore and slowly edge away.), could come crashing down on her head and she would not budge. Sometimes her stubbornness will cloud her mind, making it hard to see that a particular course of action might have been the wrong one.
Weak Shoulder - After falling from her mother's (apostrophe) horse when she was a young girl, and dislocating her right shoulder, it has never been the same. Normal day-to-day activities will not aggravate the old injury, but after a few hours of manual labor, her shoulder will begin to betray her mind, tensing up and throbbing painfully.
Quick Temper - Her husband would always tell her, "Your bark is just as bad as your bite." Quick to anger, they spent many a night fighting, her red-faced (hyphen) and enraged, Rodmar grinning wickedly at her temper. Impassioned by her spirit, once their fights turned physical, he would throw her over his shoulder and continue their spat in the bedroom. Unfortunately, not everyone had (has?) the playful yet savage disposition of her husband and do not take her temper in stride as he did.
Astrid had lived in the Celeste Lowland her whole life, along with the rest of the Helvet'ine tribe. Her mother, a former Fal'cone, had died giving birth to her, so it had been up to her father, Ivar, to raise her. He did the best that he could, loving her in his own way, and raising her as he might a son. Practicing swordplay has always been one of her first memories, sparring with Ivar, (comma, though it may be better to rejig this sentence a bit, as it seems a little awkward to me) who was none too gentle in his teachings. He wanted her to be strong and capable of defending herself if the need arose. If it had not been for her aunt Hilde, she might have grown up with the temperament of a man in a woman's body. Hilde, however, made sure that Astrid did not miss out on the intricacies of womanhood. She taught her to sew, cook, clean, and how a woman should behave in general. She also taught her how to ride her mother's (apostrophe) mare, being a fine horsewoman herself, Hilde was a great teacher (Again, just a tad awkward. Maybe split it into two, or something else you can think of.). Hilde was a loving woman and did her best to fill the place of her deceased sister, but with three children of her own, and two grandchildren besides, it was difficult for her to divide her time equally.
When Astrid was twelve, her father died of consumption. Hilde had invited her to come and live with her and her family but Astrid knew that there was barely enough money and food for them to feed themselves, let alone adding another mouth to that. So, she stayed at her father's (apostrophe and 's') house, tending it and living off what her father had left her as best she could. She struggled through those first couple months, until Rodmar arrived. A son of the Helvet'ine, he had been away for many years, taking several mercenary positions to help bring in more money for his family farm. When she first saw him, she was in awe. He was a large, physically imposing man, with long blonde hair, penetrating blue eyes, and a smile that could turn her legs to mush.
They married not too long after his return (Just to let you know, Kuglimz women don't marry before menarche. This entry say this usually occurs 13-16, but 12 is pretty much the average now, and was fairly common in medieval times as well so it shouldn't be a problem. Maybe consider adding something about this, since it is an important part of a Kuglimz girl's life. Maybe just a few words when you mention Hilde teaching her? But if you'd rather not that's fine, I'm just nitpicking because your CD is so good.) and instead of moving in with his family, Rodmar decided to move into her father's house with her. "The land is fertile here, it will yield much profit by tending it," Rodmar told her. Both of them worked tirelessly to turn that little spit of land into a thriving farm. In her eyes, Rodmar was capable of anything, and he proved her right time and time again. First, his magic touch sprouted vegetation from that long barren dirt almost overnight it seemed. Then, when Astrid gave birth to their son, Vidar, Rodmar proved to be a loving and happy father, finding joy in simply holding their small son in his arms. It amazed her, the two different sides to this man. He would make love to her so slowly, tenderly, and then the next day take a job as a mercenary and return a few weeks later, caked in blood and dirt. He was ferocious but lighthearted and jovial, and he was hers.
Their love, their unbreakable bond, was what made Rodmar's death, or disappearance, (comma) as Astrid would say, that much harder on her. After their son's eleventh birthday, Rodmar had taken yet another job as a mercenary to make up for the lack of funds during the winter months. Weeks went by, weeks turned into months, and months into nearly a year since he had left. Eventually, Astrid resigned herself to the fact that he would not return and while any other women might have fallen into despair, she became enraged. She wasn't quite sure at whom, however. Whether it was at Rodmar for not returning, or at whoever it was that killed him or kept him from her.
Astrid has two Odomon swords, custom made to fit her small grip, so they are a tad bit smaller than normal. The blades are single edged, with a thicker back forming a small, flat wedge. The grips are wrapped in malleable brown leather that has contoured to her hands over time. She maintains them meticulously, keeping them razor sharp and clean.
Standing at just over six fores, Gunnar dwarfs his owner. The offspring of Astrid's, (no comma) mother's (apostrophe) horse, he takes after her coloring. Light chestnut hair covers the majority of his thickly muscled body, (comma) with the mane and tail a darker shade of brown. From the bend of his knees down, there are thick tufts of pure white hair, slightly resembling leg warmers (Just a nitpick, but leg warmers don't exist here so maybe there's something else you could use? Greaves are the first thing that come to mind). His hooves, although partially covered by the white hair, are massive at just about two palmspans wide. His muzzle is aquiline, his profile curving in a slight arc and has the distinct white markings known as the "meivz", which is the color of the Sur'tyan and is thought to be lucky or blessed.
Again, congratulations Astrid! I really liked this CD. I'd guess you're not too far from approval. Just make sure to watch out for your possessive apostrophes, you had quite a few missing. Other than that, well done!
Eyron the Transcendent
Thank you for the comments. I believe I had addressed everything you mentioned.
If anyone could find some time to go through my CD and give me some feedback, I would greatly appreciate it.
Krausus
Hey! I'm Erik, native of NY and lover of RP. Great CD and I think it's almost done but add a few extra things there like maybe her preference in swords and also what level in swordsmanship she is. "Between novice and expert" leaves much to desire.
And will anyone check out my CD?
-Erik/Krausus.
Time passes. Watermelons fly. And I end up with a concussion. And a suicide note. Krausus' CD
Ive already described her weapons in the "Weapons" section and altered her skill level with them.
Altario Shialt-eck-Gorrin
Human, Remusian
Astrid, I'm too busy through the week to give this other than a cursory browse, which I did. Love the CD. I'll give it a hard look this weekend, and have no doubt will give an approval.
Favorite Cartoon Quotes
"It was a dark and stormy night." - Snoopy
"Ack!" - Bill the Cat
"I did not have sex with that woman, Monica Lewinski." - President Bill Clinton
My Character can be viewed @Angelina Jolie's house. But knock first, in case I'm in my underwear.
Seh'nara Celebrindal
Swift Ranger
Elf, Tethinrhim
I read through this, and I'll give you a first approval. I find nothing wrong, and it was an enjoyable read.
One thing though, I'm just confused as to this line:
Calm and serene, Astrid made sure that her daughter would be raised as a lady might, not in the heavy-handed fashion that her father raised her.
Would you be referring to Astrid here, or to her daughter? Because it reads like you're referring to Astrid, but she's supposed to be hot-tempered and not calm/serene at all. A simple reword would suffice, but this is minor and won't hinder you in my approval. ^^
Dying is a very dull, dreary affair. My advice to you is to have nothing to do with it.
-Seh'nara Celebrindal
Thank you Seh.
I have reworded that part so it makes a bit more sense.
Excellent CD, Astrid. I believe that the Physical Appearance section here has become one my all time favourites on site. I very much enjoyed the read.
I do have one problem with the CD, and that is the weapon section. First is that is I kinda find it a bit hard to imagine a noted shorter person using a double sword technique with longer swords. If Astrid were described as taller, I would not take issue with this. But, describing her as shorter, I think it would be very unwieldy. A shorter sword might be a better fit. Perhaps the Ephord, or the Helcrani Short Sword, as these would be more available in your area.
The second issue, and the larger one, is that it is an Odomon Blade. These are rare items that are extremely valued by the Remusians, and are considered heirlooms being passed down through generations. The Remusians, being somewhat isolationists to begin with, would not allow an Odomon Blade, let alone two of them, escape easily. "custom made to fit her small grip" is also not possible, as Odomon Swords are no longer being made. They are named for the man who created them, Odomon, who was forging these swords in the mid to late 1500s. After his death, no true Odomon could be forged.
Once that is cleared up, I will gladly give this a second approval and title it.
« Last Edit: April 14, 2013, 07:07:54 AM by Altario Shialt-eck-Gorrin » Logged
Irid alMenie
Wolf-Lady
Elf, Quaelhoirhim
Hi Astrid!
I've been lurking a bit lately, but I'll try to be a bit more active in the future.
Apart from what Altario said, there was just one thing that caught my attention. She married Rodmar when she was 12? Or at most 13? Her father dies when she's twelve, and the next couple of months she lives alone. Then Rodmar returns and not long after they get married. Is there something in the Kuglimz tribe to suggest they marry that early? Or did I misinterpret something? (I don't have time at the moment to look it up, I have to get back to work )
Stat rosa pristina nomine, nomina nuda tenemus.
Irid al'Menie
Okay, I have changed her weapons to Helcrani shortswords, I hope this is better. Thanks Alt!
Irid, I was not aware that it would have been that unlikely for a 13-year-old girl to marry, especially when essentially left alone. But if this is the case, I can change it.
From what I remember about the Middle Ages, average age to marry was not very young - and I'm now talking about the lower classes, who had more freedom in their choices than higher classes (in arranged marriages, admittedly, there were a lot of young brides of 12 or so, but as far as I can see Astrid is not part of those).
One possibility would be to have him return when she is 13, but have them marry when she's about 16 for example? At that age she would be less like a child and more like a woman. Just a suggestion
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text:
\section{Introduction}

M17~SW is a giant molecular cloud at a distance of $\sim$1.98 kpc \citep{xu11}, illuminated by a highly obscured ($A_v>10$ mag) cluster of several (among $\ga100$ stars) O/B stars \citep{beetz76, hanson97}, and it harbors several candidate young stellar objects \citep{povich09}. The large amount of observational data available in the literature and its nearly edge-on geometry make M17~SW one of the best-studied prototypes of a clumpy photon-dominated region PDR interface in the Galaxy. Studies of molecular and atomic emission indicate that the structure of the gas is highly clumped and not homogeneous \citep[][and references therein]{stutzki88, stutzki90, meixner92, pb10}, and the structure of its neutral and molecular gas seems to be dominated by magnetic rather than by thermal gas pressure, in contrast to many other PDR regions \citep{pellegrini07}.
Temperatures of $\sim$275 K were found toward the VLA 21cm continuum arc \citep{brogan01}, and are associated with NH$_3$ and highly excited \hbox{$^{12}$CO}\ emission \citep{gusten88, harris87}.

Recent AKARI observations \citep{okada10} with spatial resolutions between 39$''$ and 57$''$ showed that the \hbox{\rm {[C {\scriptsize II}]}}~158~\hbox{$\mu$m}\ line emission is widespread in the M17 complex and peaks at the northern (M17~N) and southern (M17~SW) bars, in agreement with previous observations \citep{matsuhara89, stutzki88}.
However, this and previous observations of the hot and ionized gas in M17~SW are limited in spatial resolution and extent \citep[e.g.][]{harris87, stutzki88, genzel88, meixner92, howe00}. Therefore, in this work we present new observations (of an area 5$'$.7$\times$3$'$.7) of hot molecular (\hbox{$^{12}$CO}~$J$=13--12) and ionized atomic (\hbox{\rm {[C {\scriptsize II}]}}~158~\hbox{$\mu$m}) gas, with spatial resolutions of $\sim$19$''$.8 and $\sim$15$''$.6, respectively, which advances existing work in M17~SW.

\begin{figure*}[!tp]

\subfloat[]{\label{fig:maps-a}
\hspace{-0.6cm}
 \begin{minipage}[c]{.45\textwidth}
  \centering
  \vspace{-0.1cm}
  \begin{tabular}{l}
    \epsfig{file=fig1a.eps,angle=0,width=0.85\linewidth}
  \end{tabular}
 \end{minipage}}
 \hspace{-0.0cm}
 \subfloat[]{\label{fig:maps-b}
 \begin{minipage}[c]{.49\textwidth}
  \vspace{-0.4cm}
  \centering
  \begin{tabular}{r}
   \epsfig{file=fig1b.eps,angle=-90,width=0.8\linewidth}
  \end{tabular}
 \end{minipage}}\\

\vspace{-3.6cm}
\hfill\begin{minipage}[r]{.59\textwidth}

    \caption{\footnotesize{\textit{Left panels} - Intensity maps of \hbox{\rm {[C {\scriptsize II}]}}~158 \hbox{$\mu$m}\ (\textit{top}) and \hbox{$^{12}$CO}\ $J$=13--12 (\textit{bottom}) in M17~SW, integrated in the velocity ranges 0--40~\hbox{${\rm km\,s}^{-1}$}\ and 14--28~\hbox{${\rm km\,s}^{-1}$}, respectively. The contour levels are the 10\%, 25\%, 50\% (thick line), 75\% and 90\% of the peak emission. Dashed lines are the strip lines shown in Fig.~\ref{fig:strip-lines}. The central position (0$''$,0$''$) is marked with a cross. The ultracompact \hbox{\rm {H {\scriptsize II}}}\ region M17-UC1 and four H$_2$O masers \citep{johnson98} are marked by the black circle and plus symbols, respectively. \textit{Right panel} - 21 cm continuum emission by \citet{brogan01} with the overlaid contours of the velocity integrated (same as above) emission of \hbox{$^{12}$CO}~$J$=13--12 (\textit{green}), \hbox{\rm {[C {\scriptsize II}]}}\ (\textit{red}), and the \hbox{\rm {[C {\scriptsize I}]}~$^3P_2-{^3P_1}$}~370~\hbox{$\mu$m}\ (\textit{blue}, integrated in 9--30~\hbox{${\rm km\,s}^{-1}$}) from \citet{pb10}. The contour levels (from thin to thick) are the 50\%, 75\% and 90\% of the peak emission. The \textit{stars} indicate the O and B ionizing stars \citep{beetz76, hanson97}. Dashed frames depict the beam center for the edges of the 6 OTF strips. Contour maps are smoothed to $20''$ resolution.}}
   \label{fig:maps}

\end{minipage}

\end{figure*}

\begin{figure*}[!tp]
\vspace{-0.7cm}
 \begin{minipage}[l]{.55\textwidth}
  \begin{tabular}{@{\extracolsep{\fill}} ll}
   \epsfig{file=fig2a.eps,angle=-90,width=0.48\linewidth} &
   \hspace{-0.3cm}\epsfig{file=fig2b.eps,angle=-90,width=0.48\linewidth}
  \end{tabular}
 \end{minipage}
 %
 \begin{minipage}[l]{.45\textwidth}
   \caption{\footnotesize{\textit{Left} - Strip lines of the molecular (\hbox{$^{12}$CO}) and atomic (\hbox{\rm {[C {\scriptsize I}]}}, \hbox{\rm {[C {\scriptsize II}]}}) gas at $\Delta\delta=30''$ (P.A. $90^{\circ}$) across the ionization front of M17 SW. \textit{Right} - Strip lines at P.A. $63^{\circ}$ ($\Delta\delta=\Delta\alpha/2$). The lower-$J$ lines of \hbox{$^{12}$CO}, and \hbox{\rm {[C {\scriptsize I}]}}\ are from \citet[][their Fig.~3]{pb10}. All these profiles are in units of \hbox{${\rm K}\,{\rm km}\,{\rm s}^{-1}$}. The VLA 21~cm continuum and \hbox{\rm {H {\scriptsize I}}}\ optical depth (integrated between 0 and 30~\hbox{${\rm km\,s}^{-1}$}) by \citet{brogan01} are in units of 500$\times$Jy beam$^{-1}$ and 8$\times$$\tau({\rm HI})$ \hbox{${\rm km\,s}^{-1}$}, respectively. The offset, $\Delta\alpha=0''$ in R.A., is the same as in Fig.~\ref{fig:maps}.}}
   \label{fig:strip-lines}
 \end{minipage}

\end{figure*}

\section{Observations}

The observations were performed with the German Receiver for Astronomy at Terahertz Frequencies \citep[GREAT\footnote{GREAT is a development by the MPI f\"ur Radioastronomie and the KOSMA/ Universit\"at zu K\"oln, in cooperation with the MPI f\"ur Sonnensystemforschung and the DLR Institut f\"ur
Planetenforschung.},][]{heyminck12} on board the Stratospheric Observatory For Infrared Astronomy (SOFIA).
We used the dual-color spectrometer during its first Short Science flight on 05 April 2011
to simultaneously map the fine-structure transition of \hbox{\rm {[C {\scriptsize II}]}}\ at 1900.536900~GHz (157.7~\hbox{$\mu$m}) and the \hbox{$^{12}$CO}~$J$=13--12 transition at 1496.922909~GHz (200.3~\hbox{$\mu$m}) toward M17~SW.
The observations were performed in on-the-fly (OTF) total power mode. The area mapped consists of six strips, each covering $224''\times32''$ ($\Delta\alpha \times \Delta\delta$ with a sampling of $8''$ (half the beamwidth at 1.9 THz).
Hence, each strip consists of four OTF lines containing 28 points each. We integrated 1s per dump and 5s for the off-source reference.

All our maps are centered on R.A(J2000)=18:20:27.6 and Dec(J2000)=-16:12:00.9, which corresponds to the SAO star 161357. For better system stability we used a nearby reference position at offset (345$''$,$-230''$). A pointed observation of this reference position against the known better reference \citep[offset (1040$''$,$-535''$)][]{matsuhara89} showed that the reference is clean of \hbox{$^{12}$CO}\ emission, but contains weak ($<$20\% of the peak emission) and relatively narrow (FWHM$\sim$15~\hbox{${\rm km\,s}^{-1}$}) \hbox{\rm {[C {\scriptsize II}]}}\ emission. All \hbox{\rm {[C {\scriptsize II}]}}\ spectra presented here were corrected for this missing flux.

Pointing was established with the SOFIA optical guide cameras, and was accurate to better than $10''$.
Because the acousto-optical and fast Fourier transform spectrometers \citep{klein12} operated in parallel give redundant information, we base the following analysis on the data from the latter, which provided %
1.5 GHz bandwidth with about 212 kHz ($\sim$0.03~\hbox{${\rm km\,s}^{-1}$}) of spectral resolution.
Because during this commissioning flight the instrument showed some random gain variations, we discarded 15-20\% of the spectra by filtering the spectra for outliers in the total-power IF level and for outliers in the noise rms (obtained after subtracting a third-order polynomial), retaining only reliable data.
The calibration of these data to antenna temperature was performed with the
\textit{kalibrate} task from the \textit{kosma\_software} package \citep{guan12}.
We then reduced and imaged the
data further with the CLASS90 packages, which is part of the GILDAS\footnote{http://www.iram.fr/IRAMFR/GILDAS} software.
Using the beam efficiencies ($\eta_c$) 0.51 for \hbox{\rm {[C {\scriptsize II}]}}\ and 0.54 for \hbox{$^{12}$CO}~$J$=13--12, and the forward efficiency ($\eta_f$) of 0.95 \citep{heyminck12},
we converted all data to main beam brightness temperature scale, $T_{B}=\eta_{f}\times T_{A}^{*}/\eta_{c}$.

\section{Results}

The velocity-resolved spectra of the new GREAT/SOFIA observations reveal a much more complex structure than expected based on our understanding of M17~SW as a highly clumped PDR, with a significant fraction of the \hbox{\rm {[C {\scriptsize II}]}}\ emission not at all associated with the molecular PDR material.

Figures 1--4 display the GREAT data compared with supplementary data of typical PDR tracers from the literature.
Figure~\ref{fig:maps} shows the velocity-integrated emission of \hbox{\rm {[C {\scriptsize II}]}}\ between 0 and 40~\hbox{${\rm km\,s}^{-1}$}\ (peak $\sim$1070 \hbox{${\rm K}\,{\rm km}\,{\rm s}^{-1}$}) and \hbox{$^{12}$CO}~$J$=13--12 [14 -- 28 \hbox{${\rm km\,s}^{-1}$}, peak $\sim$180 \hbox{${\rm K}\,{\rm km}\,{\rm s}^{-1}$}] (left panels).
While the high-excitation CO emission follows the hot dense gas structure seen in previous submm line studies (but see the discussion below),
the \hbox{\rm {[C {\scriptsize II}]}}\ distribution reveals surprises:
its velocity-integrated distribution is quite shallow and far more extended than predicted for the stratification in classical PDR models.
This is demonstrated in Fig.~\ref{fig:maps-a} and the intensity cuts across the PDR in Fig.~\ref{fig:strip-lines}, showing strong \hbox{\rm {[C {\scriptsize II}]}}\ emission over the whole extent of the mapped area.

The broader distribution is consistent with the lower angular resolution data from the KAO \citep{stutzki88}, at the time interpreted to result from the deeper UV-penetration into a clumpy medium. However, the new GREAT/SOFIA data, resolving the spectra in velocity, show a more complex scenario.
We find that (in M17~SW) the \hbox{\rm {[C {\scriptsize II}]}}\ emission ($E_{u}$=91.21 K, and $n_{crit}\sim5\times10^3~\rm {cm^{-3}}$) traces - in addition to the dense PDR gas west of the ionization front - also a widespread (toward the east), probably more diffuse atomic gas component that is invisible in CO. A sample of this is shown in Fig.~\ref{fig:CII-CI2-1-CO2-1-chan-map} (left panel), displaying in gray scale the intensity distribution of the lower velocity components of \hbox{\rm {[C {\scriptsize II}]}}\ and its (non)correlation with CO and \hbox{\rm {H {\scriptsize I}}}.
Comparing individual spectra (Fig.~\ref{fig:spectra}), we see that the span of observed velocities in \hbox{\rm {[C {\scriptsize II}]}}\ is much wider than that of any other PDR tracing species. In the spectra at offset (0,0), a position well in front of the PDR interface (Fig.~\ref{fig:maps-b}), for example, \hbox{\rm {[C {\scriptsize II}]}}\ still shows a bright and amazingly wide line with $\Delta$V $\sim$ 30 \hbox{${\rm km\,s}^{-1}$}, including velocities \underline{not} detected in molecular (CO) or (denser) atomic (neutral carbon \hbox{\rm {[C {\scriptsize I}]}}) gas column density tracers. Most interestingly, those velocities (e.g., 4 -- 10 \hbox{${\rm km\,s}^{-1}$}) exhibit appreciable opacities in atomic hydrogen (\citealt{brogan01} - note that \hbox{\rm {H {\scriptsize I}}}\ is observed in absorption against the 21 cm background continuum, hence its detectability across the map depends on the continuum distribution). The broad and intricate structure of the \hbox{\rm {[C {\scriptsize II}]}}\ spectral line (Fig.~\ref{fig:spectra}) can also be the signature of several clumps or layers of ionized carbon gas at ``redder" and ``bluer" velocities than the other tracers.

Fig.~\ref{fig:maps-b} provides evidence for a C$^+\to$ C stratification across the PDR: the bulk of the \hbox{\rm {[C {\scriptsize I}]}}\ emission (defined as $>$75\% of the peak emission) avoids the bulk emission of \hbox{\rm {[C {\scriptsize II}]}}, with their peaks being separated by $\sim$70$''$ in the NE-SW direction, i.e., 0.67~pc at the distance of $\sim$1.98 kpc \citep{xu11}.
In a previous analysis the extended \hbox{\rm {[C {\scriptsize I}]}}\ emission (west from the ionization front), and its particular peak emission in front of the bulk CO emission (if stratified, the \hbox{\rm {[C {\scriptsize I}]}}\ peak should be observed before the CO peak, from the direction of the PDR interface), was argued to emerge from the interclump regions of a very clumpy medium, but could also result from a partial face-on illumination of the molecular clouds \citep[e.g.,][]{stutzki88, stutzki90, meixner92, pb10}.
In the context of the clumpiness of the PDR and the newly discovered association of much of the \hbox{\rm {[C {\scriptsize II}]}}\ emission with atomic gas (see below) at velocities not matched by any molecular material, the \hbox{\rm {[C {\scriptsize II}]}}\ peak cannot be interpreted as the classical stratification expected in a homogeneous
PDR\footnote{In a clumpy PDR, with many internal surfaces, the \hbox{\rm {[C {\scriptsize II}]}}\ peak should be even closer to the \hbox{\rm {[C {\scriptsize I}]}}\ peak, becoming indistinguishable from it depending on clumpiness of the source and spatial resolution of the observations.}, but instead has to be caused by excitation gradients with increasing optical depth into the atomic and molecular cloud.

The excitation study of the warm PDR layers, including the CO excitation, will be the subject of a forthcoming publication. Here we briefly elaborate on the new GREAT data:
The \hbox{$^{12}$CO}~$J$=13--12 line follows a similar spatial distribution as the lower-$J$ lines reported in \citet{pb10}, although the whole \hbox{$^{12}$CO}~$J$=13--12 emission is shifted toward the ionization front. Its peak emission is $\sim$16$''$ (0.15~pc) southeast of the \hbox{$^{12}$CO}~$J$=6--5 peak. The $J$=13--12 line is already fainter than the lower-$J$ transitions, indicating subthermal excitation.

\begin{figure*}[!tp]
\vspace{-0.5cm}
 \begin{minipage}[l]{.70\textwidth}
\vspace{-0.3cm}
   \hspace{-0.15cm}\epsfig{file=fig3.eps,angle=0,width=0.965\linewidth}
 \end{minipage}
 %
 \hspace{-0.5cm}
 \begin{minipage}[l]{.30\textwidth}
  \vspace{0.3cm}
  \caption{\footnotesize{Selected 1~\hbox{${\rm km\,s}^{-1}$}\ wide channel maps (gray scale) of the \hbox{\rm {[C {\scriptsize II}]}}\ velocity-integrated (\hbox{${\rm K}\,{\rm km}\,{\rm s}^{-1}$}) in the velocity ranges 9.5--10.5~\hbox{${\rm km\,s}^{-1}$}\ and 18.5--19.5~\hbox{${\rm km\,s}^{-1}$}. The contours show the integrated emission in the corresponding velocity channels of \hbox{\rm {[C {\scriptsize I}]}}, \hbox{$^{12}$CO}~$J$=2--1, and $\tau(\rm HI)$ in 20\% steps (from thin to thick lines) of the peak channel integrated values (top right in the maps). All maps but $\tau$(\hbox{\rm {H {\scriptsize I}}}) were smoothed to a resolution of 20$''$.}}
  \label{fig:CII-CI2-1-CO2-1-chan-map}
 \end{minipage}

\end{figure*}

\section{Discussion}

We can distinguish two different spatial regimes in
the PDR with embedded star cores of active star formation.
The strip line along $\Delta\delta=30''$ (P.A. $90^{\circ}$, Fig.~\ref{fig:strip-lines}A) traces the embedded star-formation, going through the ultracompact \hbox{\rm {H {\scriptsize II}}}\ region UC1 ($\Delta\alpha=-30''$), the embedded H$_2$O maser positions farther west, and the weaker additional \hbox{\rm {H {\scriptsize II}}}\ region seen as a separate clump at $\Delta\alpha=-110''$ in the 21 cm continuum map and matching the secondary peak of \hbox{\rm {[C {\scriptsize II}]}}, \hbox{\rm {[C {\scriptsize I}]}}, and the \hbox{$^{12}$CO}~$J$=2--1 lines (Figs.~\ref{fig:maps-b} and \ref{fig:strip-lines}A). A dominant internal heating is likely suppressing the layering here.
The strip with the position angle $63^{\circ}$ (Fig.~\ref{fig:strip-lines}B)
instead traces the classical PDR. For a homogeneous PDR one expects a
stratified layering of \hbox{\rm {[C {\scriptsize II}]}}\, \hbox{\rm {[C {\scriptsize I}]}}, high-$J$ CO and low-$J$ CO. However,
\citet{stutzki88} showed the structure to be very clumpy so that no
stratification should be observed. Our observations now show that high-$J$ CO and low-$J$ CO peak at similar depths in the
cloud while the integrated \hbox{\rm {[C {\scriptsize II}]}}\ peak is shifted by $\approx 0.19$~pc relative
to the CO peaks. The \hbox{\rm {[C {\scriptsize II}]}}\ shift cannot even be explained by homogeneous
PDR models, much less by a clumpy medium.

In \hbox{\rm {[C {\scriptsize II}]}}\ we detect all velocity components that were discussed in
the \hbox{\rm {H {\scriptsize I}}}\ channel maps by \citet[][their Figs. 4 and 5]{brogan01},
including a weak foreground cloud at 7~\hbox{${\rm km\,s}^{-1}$}{}, shocked gas in front
of the cluster that is blown toward the observer at 11--17~\hbox{${\rm km\,s}^{-1}$}{},
and the main PDR velocity of $\sim$21~\hbox{${\rm km\,s}^{-1}$}{}. In the higher density gas (west of the \hbox{\rm {H {\scriptsize II}}}\ region),
\hbox{\rm {[C {\scriptsize II}]}}\ seems to be optically thick, showing self-absorption dips
at the peak velocities of \hbox{\rm {H {\scriptsize I}}}\ and the molecular lines. The
\hbox{$^{12}$CO}~$J$=2--1 emission also traces the optically thin shocked gas down to
10~\hbox{${\rm km\,s}^{-1}$}\ (Fig.~\ref{fig:spectra}), the \hbox{$^{12}$CO}~$J$=13--12
line is hardly excited there.
A good match between \hbox{\rm {[C {\scriptsize II}]}}\ and \hbox{$^{12}$CO}~$J$=2--1 can be seen at intermediate
velocities (Fig.~\ref{fig:CII-CI2-1-CO2-1-chan-map},
right panel) where the shifted \hbox{\rm {[C {\scriptsize I}]}}\ emission with respect to \hbox{\rm {[C {\scriptsize II}]}}\ is also evident.

We can compare the column density contributions visible in the
different velocity components using the column density
for the \hbox{\rm {H {\scriptsize I}}}\ gas by \citet{brogan01} and the C$^+$ column density \citep[e.g.,][their eq.A.4]{schneider03}
responsible for the observed \hbox{\rm {[C {\scriptsize II}]}}{} emission.
For the gas temperature and the density we assumed
250~K and $10^4~\rm {cm^{-3}}$ at the offset (0,0), and 150~K and $10^6~\rm {cm^{-3}}$ for
the offsets deeper in the cloud according to \citet{pb10}.

To compare our results with the \hbox{\rm {H {\scriptsize I}}}\ data we estimated \hbox{\rm {[C {\scriptsize II}]}}\ and \hbox{\rm {H {\scriptsize I}}}\ column densities
at selected positions along the southern PDR (Fig.~\ref{fig:spectra}) from the \hbox{\rm {[C {\scriptsize II}]}}\ emission
and \hbox{\rm {H {\scriptsize I}}}\ optical depths, integrating the spectra in the velocity ranges 11--17~\hbox{${\rm km\,s}^{-1}$}\
and 17--24.5~\hbox{${\rm km\,s}^{-1}$}.
Selection of these velocity ranges is described by \citet{brogan99}.
In the range 11--17~\hbox{${\rm km\,s}^{-1}$}\ we found $N$(\hbox{\rm {[C {\scriptsize II}]}}) (with uncertainties of $\sim$20\%) between 6.5$\times$10$^{17}~\rm {cm^{-2}}$ at offset position (0,0) and 1.6$\times$10$^{18}~\rm {cm^{-2}}$ at ($-60$, $-30$), while the corresponding \hbox{\rm {H {\scriptsize I}}}\ column densities vary (with uncertainties 7--16\%) between 5.5$\times$10$^{21}~\rm {cm^{-2}}$ and 4.7$\times$10$^{21}~\rm {cm^{-2}}$, respectively. In the velocity range 17--24.5~\hbox{${\rm km\,s}^{-1}$}\ the \hbox{\rm {[C {\scriptsize II}]}}\ column densities are between 1.2$\times$10$^{18}~\rm {cm^{-2}}$ and 2.9$\times$10$^{18}~\rm {cm^{-2}}$ at the same offset positions, and we found $N$(\hbox{\rm {H {\scriptsize I}}}) between 3.7$\times$10$^{21}~\rm {cm^{-2}}$ and 4.4$\times$10$^{21}~\rm {cm^{-2}}$. The variation in HI column densities is less than 20\% in both velocity ranges, indicating a relatively homogeneous \hbox{\rm {H {\scriptsize I}}}\ interface seen also by \hbox{\rm {[C {\scriptsize II}]}}. The latter, instead, presents a much stronger column variation (40\%--60\%) depending on the ambient conditions.

Assuming the normal cosmic carbon abundance of $X(\rm C/H)=1.2\times10^{-4}$ \citep{wakelam08}
and complete ionization of the carbon, we obtained gas column densities $N({\rm H})=(5.4-13)\times
10^{21}~\rm {cm^{-2}}$ for the low-velocity component and $N({\rm H})=(10-24)\times 10^{21}~\rm {cm^{-2}}$
for the high-velocity component. The \hbox{\rm {[C {\scriptsize II}]}}\ emission of the low-velocity component in front of the PDR is
therefore consistent with pure \hbox{\rm {H {\scriptsize I}}}\ gas, while for all other components (above 17~\hbox{${\rm km\,s}^{-1}$}) at least half of the
\hbox{\rm {[C {\scriptsize II}]}}{} emission stems from molecular gas, i.e., classic PDR material.
The material in front of the southern PDR must be atomic to a high degree,
indicating non-equilibrium chemistry \citep[e.g.][]{stoerzer98}.

\section{Final remarks}

The integrated intensity maps do not tell us about the origin of the emission lines.
Only narrow channel maps of the velocity-resolved \hbox{\rm {[C {\scriptsize II}]}}\ spectra show a correlation
with the diffuse gas components.
From the comparison of different tracers in different velocity components we found
that for the regions of embedded star formation the internal heating is always
the dominant process, providing a very good match of all tracers without
significant layering.  The good spatial correlation of CO, \hbox{\rm {[C {\scriptsize II}]}}, and other
tracers at particular velocity components/channels confirms the clumpy PDR picture from
\citet{stutzki90}.
However, a significant fraction of the \hbox{\rm {[C {\scriptsize II}]}}\ velocity components is not associated (spatially)
with the dense (high-$J$ CO) or the diffuse (\hbox{\rm {H {\scriptsize I}}}{} and CO $J$=2--1) PDR tracers.
The structure neither matches a stratified nor a clumpy PDR model. The \hbox{\rm {[C {\scriptsize II}]}}{}
emitting gas is only partially explained by atomic gas. Optically thin, hot molecular
gas must contribute more than half of the emission.

\begin{figure}[!tp]
 \vspace{-0.8cm}
 \centering

 \epsfig{file=fig4.eps,angle=0,width=0.73\linewidth}

 \vspace{-0.2cm}

 \caption{\footnotesize{Line profiles at selected positions along our cut across the PDR at P.A. $63^{\circ}$ ($\Delta\delta=\Delta\alpha/2$). All data but $\tau$(\hbox{\rm {H {\scriptsize I}}}) were smoothed to a spatial and a spectral resolution of 20$''$ and $\sim$0.6~\hbox{${\rm km\,s}^{-1}$}, respectively.}}

  \label{fig:spectra}
\end{figure}

\acknowledgements{
We are grateful to C. Brogan for providing the 21 cm and \hbox{\rm {H {\scriptsize I}}}\ data.
We thank the referee for the very careful reading of the manuscript and constructive comments.
Results are partially based on observations made with the NASA/DLR Stratospheric Observatory
for Infrared Astronomy. SOFIA Science Mission Operations are conducted jointly by the
Universities Space Research Association, Inc., under NASA contract NAS2-97001,
and the Deutsches SOFIA Institut under DLR contract 50 OK 0901.
We also gratefully acknowledge the outstanding support by the observatory staff.
This work was supported by
the German \emph{Deut\-sche For\-schungs\-ge\-mein\-schaft, DFG\/} project SFB 956C.
}

\bibliographystyle{aa}
\setlength{\bibsep}{-2.1pt}

redpajama_set_name: RedPajamaArXiv


FitzGerald (Douglas, Cork): On December 20, 2012, peacefully, in the loving care of the staff at St Finbarr's Hospital, surrounded by his family, NIALL (retired Army Colonel), Ardfallen Road, Douglas, dearly loved husband of Thelma and loving father of Michael, Regina, Ger, Peter, Niall, Thelma, Susan and Ruth. Sadly missed by his loving wife, family, brothers John and Myles (Australia), sons- in-law, daughters-in-law, his nineteen adored grandchildren, relatives and friends. Lying in repose at the Temple Hill Funeral Home, Boreenmanna Road of Jerh O'Connor Ltd. Removal on this (Friday) evening at 5.30pm to Our Lady of Lourdes Church, Ballinlough. Requiem Mass at 10am on tomorrow (Saturday), followed by cremation at the Island Crematorium. Family flowers only. Donations, if desired, to the Irish Cancer Society.May he rest in peace.


text:
Constructions of Fascism
Tekst: Sergio Poretti, Tullia Iori
Towards the end of the nineteenth century the development of reinforced concrete helped to replace the tectonics of masonry with the tectonics of the frame.
Italy was no exception, on the contrary this new technique spread very rapidly all over the country. With a difference, however: instead of simply replacing masonry, reinforced concrete was gradually introduced into the construction and used together with masonry creating a sort of "mixed construction". This was due to the continuity that characterised modernisation in Italy in general and the construction industry in particular given that most worksites were small and artisanal: reinforced concrete – made on site – could be inserted without causing too much havoc. This also explains the rather unusual fact that the advent of reinforced concrete coincided with the sudden and almost total disappearance of steel frames.
The gradual introduction of reinforced concrete into masonry construction is the reason why it influenced architectural experimentation which, at the time, focused first on overcoming historicism and then on developing a modern style with its own independent characteristics. Since the "concrete and masonry system" – executed entirely on site using artisanal techniques – chiefly involves masonry, it did not immediately trigger a rejection of the historicist style based on architectural order and therefore etymologically linked to masonry constructions (a rejection which instead was commonplace in European modernisms in the early part of the century). However using a frame contaminated the architrave and vault system and marked the beginning of the end of the traditional system of moulding masonry walls; to a certain extent, it also allowed it to be figuratively manipulated. In other words, although mixed construction did not "determine" the formalist and artistic kind of architecture gradually emerging in the chiefly neo-idealist atmosphere of those years, it certainly did "support" it.
It became the hard core of the many styles that developed in the 1910s and 20s, from the floral style of Giuseppe Sommaruga or Ernesto Basile, to the modernist, twentieth-century style of Giovanni Muzio or Enrico Del Debbio, bringing them all back to one single eclectic modernism which was to become the typical trait of Italian architecture.
In the interwar years, when Italian architecture turned from Eclectic to Modern language, the reinforced concrete structure was mostly "hidden". The renewal of architectural language is only indirectly influenced by the new structure and the modern language maintained a masonry nature.
In parallel, the figurative strategies used to hide the structure, gave rise to a modernist trend where the structure became the key feature of the representation. A repertoire of Visionary structures, rarely built, enriched the debate on the relationship between architecture and engineering.
In this panorama of hidden structures and structural visions, the works by Pier Luigi Nervi were outstanding, but fully permeated by the same Italian spirit.
HIDDEN STRUCTURES
Despite this traditional style, the works built during this period masked both a regular framework and courageous structural solutions.
Moreover, all branches of Italian engineering had developed enormously during the nineteenth century, and in the early twentieth century they focused collectively on increasing knowledge and understanding of the behaviour of large reinforced concrete structures. Given the difficulty of applying the classical elastic theory due to the anisotropy of the material and the problems caused by the different nature of its components (first and foremost cracking of the cement in the tension zone), studies immediately began on its plastic behaviour, while research focused on the phenomena of ultimate strength and examination on the effects of the states of coaction. From the very start research moved in two directions: on the one hand supported by contributions by Gustavo Colonnetti, and on the other by Arturo Danusso; although their paths diverged their work led slowly but surely to the construction of Italy's superb post-war works.
So it's not surprising that very sophisticated structures were hidden inside architectures still influenced by eclectic styles. For example the roof of the Banchini Theatre in Prato (1921) and the internal structure of the Cinema Augusteo in Naples (1926) studied by Nervi as a young engineer (and more in general the large structures for the roofs and galleries of cinema halls built during that period). Another example is the roof of the gymnasium of the Academy of Physical Education by Del Debbio. The design Aristide Giannelli invented for the roof was a series of eight Vierendeel beams joined together by an edge beam to create a plate that was so rigid it could simply rest on slender columns; this made it possible to create large openings in the walls, yet emphasised by a completely independent system of white Carrara marble pieces of architraves, frames and tympana. The structure remained well hidden by a "fake" ceiling with a crisscross pattern.
In the eclectic modernisms of the 1910s and 20s, "hidden structures" were the result of the fact that architects and engineers worked separately; the architect was responsible for the formal design which still depended completely on masonry, while the engineer was called (often by the construction company) after the design had been formalised and asked to solve structural problems.
In the first half of the thirties structure played a very different role in modernist experiments. In fact, reinforced concrete structures were considered one of the tools that could be used to overcome historicism in an attempt to achieve a truly modern architecture. This was the key topic of the Gruppo 7 (a group of Italian architects, formed in 1926 by Giuseppe Terragni, Giuseppe Pagano and others). During the first exhibition by the MIAR (Italian Movement for Rational Architecture), to symbolise modernity, the manifesto used a concrete pillar with a visible reinforcement.
At the same time, however, continuity with traditional construction had to be maintained. For several reasons: on the one hand, although the construction policy of the Fascist regime supported the hegemony of reinforced concrete (and subsequent exclusion of steel frame constructions), it also reiterated the need to maintain the artisanal nature of the worksite with low mechanisation and a large unskilled workforce; on the other, it was the modern architects themselves who insisted that continuity with the past be the distinctive trait of Italian modernism.
The figurative nature of architecture was another element to add. The disputes between traditionalists and modernists remained within the boundaries of neo-idealism; it was the younger architects who were more forceful in reiterating the fact that architecture was an art and in refusing to "downgrade" it to a social science – which instead happened in the modern movement.
This complex web of innovative goals and the desire to maintain masonry and the figurative nature of architecture was behind the most important experiments undertaken in the public works entrusted to young architects between 1931 and 1935.
It was the designers themselves who explored complex and novel static solutions. However, the structural potential of the elastic frame, especially the chance to create big overhangs did not lead to the "disintegration of the masonry envelope" (and as a result to a novel concept of form and space) which characterised European rationalism and American organic architecture, albeit very differently; instead, in Italy, the frame led to extremely limited and indirect examples of modernity, part of an architectural configuration which overall maintained its masonry nature.
In the Post Office in Bologna Square in Rome by Mario Ridolfi (and Giannelli), for example, the overall image is defined by the external concave/convex wall around the building.
The bold structure of the mid part is not directly visible. The eight frames in the public hall span almost 10 m, and they continue over the postmen's hall with 10 metre long cantilever beams, tapered at the intrados based on a parabolic curve.
In addition, on the two upper floors, the columns along the rear façade are not aligned to the ground floor columns.
The architectural repercussions of such a sophisticated structural solution can be found only in some "minor" traits: the continuous sloping ribbon window in the postmen's hall; lighting from above on the back of the public hall; the curtain wall in the centre of the rear façade.
Another no less important example in Rome is the House of Arms by Luigi Moretti; from outside the building the fencing hall looks like a compact, masonry block completely covered with Carrara marble slabs. A massive wall is above the horizontal windows. The interior, which is meant to look like a cave dug out of the block, is lighted from above. This enhances the continuity between the walls and the ceiling. In actual fact, the abstract forms hide an extremely bold reinforced concrete structure, dimensioned by Giorgio Baroni. It's made up of two huge staggered cantilevers with completely separate foundations: a very sophisticated solution that Moretti had to justify as necessary because a sewer passed right through the centre of the building.
During the autarky period the role of structure in architecture changed yet again.
In 1935 Italy invaded Ethiopia and the League of Nations imposed heavy sanctions: no state was allowed to sell strategic materials to Italy, particularly metals. The fascist regime profited to promote autarky, that is an economic self-sufficiency. The building strategy included in autarky was to increase continuity with tradition and forbid the use of reinforced concrete, accused of not being "Italian" enough. However this diktat was often ignored. Masonry in architecture was forced to become more emphatic.
In the Littorio style of that period (a twentieth-century variation of the ubiquitous eclectic historicism in urban centres) this meant a return to a more traditionalist version of mixed construction – relatively modest spans, more solids than voids, and absence of thin marble cladding. Instead in monumental works when the Fascist regime required a more explicit rhetoric of autarky – for example the Expo 42 district in Rome (call E42) – then the anti-autarky structure in reinforced concrete was paradoxically used as the hidden scaffolding of a stage set intended to make the masonry construction look more grandiose and highlight the link with Rome.
One example is the grand loggia in the Civiltà Italiana Palace: its vaulted system, made with travertine blocks, is authentic and the arches are not fake. But the loggia looks like a colossal masonry structure thanks to a hidden reinforced concrete frame: in fact, the frame not only supports the big floors (10 m span), but also invisibly divides the vaulted system into horizontal sections, supporting it, floor by floor.
VISIONARY STRUCTURES
The same figurative traits behind the strategies used to hide the structure, in contrast gave rise to a modernist trend which we could call "visionary", where the structure became the key feature of the representation. This recalls the age-old penchant of Italian architecture for a scenographic-style monumentalism which became decidedly structural in the drawings by Antonio Sant'Elia or by Virgilio Marchi and in the more verisimilar but no less fantastic structures imagined by Ottorino Aloisio for the Fascist spa or the University of Sport.
From the point of view of pure representation, a modern reinforced concrete structure can prefigure a technological future and yet, at the same time, conjure up a timeless atmosphere of archaic classicism. To understand just how much this characteristic fascinated young architects, just leaf through Adalberto Libera's drawings of structural figures: the reinforced concrete Pantheon, the FIL Isolators Pavilion, tha Scac Pavilion (built for the Milan Fair) and the perspective for the competition for the new Auditorium in Rome, with its close-knit network of tapered frames as a backdrop for the huge statue.
These drawings were quite common in the repertoire of contemporary architects; they reveal the duality between the figurative traits of Italian modernism (reflecting its enduring position among the arts, together with painting and sculpture) and the designers' feelings about scientific dimension of construction, enhanced by the echo of experiments in the field of engineering. There was no end to the debate on the relationship between art and science (which idealistically sublimes the relationship between architecture and engineering); structural visions were a genuine part of that debate, representing the coexistence of form and technique, yet fully respecting the hierarchical order by which the latter is subservient to the former.
The "tensile structure" designed by the futurist engineer Guido Fiorini was part of this scenario; Fiorini was famous chiefly for having caught the imagination of Le Corbusier. In 1928 the ideation of the "radiator skyscraper" (later, part of the Plan of Algiers), with its floors stayed by cables to a compressed central nucleus was behind the many "architectural visions" initially displayed at the second "Movement for Rational Architecture" (MIAR) Exhibition in 1931 and later published in "Casabella" and "Quadrante".
However, the importance of the relationship between art and science was present not only as a key feature in drawings by architects, but also in much more elaborate design experiments. By trying to satisfy the regime's request for a grandiose style, these design experiments significantly enriched the repertoire of visionary modernism.
This was the case of the great "hanging wall", submitted in 1934 by the group from Como (headed by Terragni and Luigi Vietti) for the first degree competition for the Palazzo del Littorio in Roma.
Rivalry with the Basilica of Massenzio, a prerequisite of the tender, was entrusted to a huge concave wall of porphyry, 80 meter long and 25 meter high; rather than resting on the ground, the wall 'hung' from the ends of two trusses. The wall, cut in the middle to accommodate the platform from where Mussolini was to speak, was equipped with bundles of tie-rods (in very pure iron) fanning out from the two points of suspension along the tension isostatic lines; porphyry blocks, arranged along the compression isostatic lines of, created upside-down arches. The solution combined the intrinsic monumental value of the large blocks, with the futuristic tensile structure.
The duality between art and science is immediately visible in the representation of the façade. The chance to "see" how the internal tension developed was provided by a modern research tool, photoelasticity, which just one year earlier had been tested in the Experimental Laboratory of Models and Construction by Danusso. The design of the façade was generated by the scientific study, and only by chance did the isostatic lines – which increased in number towards the platform – accentuated the dramatic effect of the monumental backdrop.
However, the most spectacular image of visionary modernism is undoubtedly the monumental arch which was to be built for the E42. In this complicated issue, the problem of the relationship between architecture and engineering was reformulated as part of the broader issue of autarchy.
The first proposal submitted in 1937 by a team of engineers, headed by Gino Covre was rejected due to the anti-autarchic character of their proposal. In fact, to build the spectacular, 600 meter span arch – with its panoramic railway, belvedere, restaurant and dance hall – the structure had to be made entirely of steel.
On the contrary, the second proposal submitted in 1938 by Libera (and the engineer Di Berardino) was autarchic: it included a smaller arch, 200 meter span, to be built in concrete without steel. Unfortunately, the tests carried out by Danusso and Nervi (the latter arranged for a 1:10 scale model to be made to study the construction systems and ultimately deposited a patent for a special type of scaffolding) proved it was necessary to introduce a lightweight steel reinforcement.
However, this dilution of its autarchic nature led to another decisive proposal: an aluminium arch, proposed by Covre, 330 meter span. the autarchic purity of this last version was thwarted in the final drawings. In fact, according to new tests led by Giannelli, the rhomboidal section in Avional alloy had to be made more rigid using inner steel frames; the latter were so close-knit and robust they turned the arch into an aluminium-clad steel structure. Despite the fact Mussolini liked this solution – which was still an option on April 1940, when he inspected a model in the garden of the School of Engineering in San Pietro in Vincoli – it was abandoned along with the construction of the E42. The Arch of the Empire passed into history as proof of the collective and contagious character of visionary modernism in the late thirties.
THE ROLE OF PIER LUIGI NERVI
In the Interwar years, while bold hidden structures were built and more bold visionary structures were visualized, the relevant works built by the engineers were very few. A lot of beautiful arch bridges and industrial building, in which structure and architecture overlapped. Then, out of the choir, the architectural works by Pier Luigi Nervi.
Nervi's ingenious intuition of the static behaviour of structural forms would emerge clearly with the design of the Berta Stadium, in Florence, which would soon be recognized as a masterpiece of the new Italian architecture.
Its exposed structures – out of the blue -were actually due to a very practical reason: the client had run out of money for finishing, originally expected.
The 22 meter cantilever roof (shaped matching the bending moment diagram), the helicoidal staircases (the criss-cross design of the beams solved a complex torsional problem) and the Futuristic Maratona Tower were regarded as original examples of modern architecture.
On leading Italian and international journals, the stadium was judged (by Sigfried Giedion, for example) as a sign of "Italian revival" on the way to modernism.
In the wake of success, Nervi found himself involved in the debate over modernity and innovation, that as raging in Italy under autarky. He joined in by writing articles (dealing not only with structural design issues) on magazines like "Quadrante" and "Casabella".
At this point, he designed a series of futuristic-inspired items, real "Visionary Structures", neither of which was to be accomplished: the Floating Hotel, based on an ingenious method to reduce the intensity of wave action and achieve stabilization; the Flag Monument, a slender tower, 250 meter high, which was stabilized by suspending a heavy pendulum on its top; the Revolving House, tracking the sun's position; the Water and Light Palace among the visionary proposals put forward for the construction of the E42 District.
Nervi's participation as a prominent figure in the architectural debate was brought to a close on the outbreak of war, which concludes his first life (Nervi had other two lives: the second dedicate to the ferroconcrete and the third as a "star architect" all over the world).
While the debate over autarchy was raging, Nervi went back to explore the unknown potentialities of reinforced concrete by designing some airplane hangars for the Italian Air Force (the first were built in Orvieto in 1936).
The structure consisted of two series of arches that were rotated with respect to the imposts of the vault and intersected one another. That design solution allowed him to fully exploit the potentialities of reinforced concrete, and above all its monolithic nature.
He overcame the inherent difficulties related to complex mathematical calculations, needed for this statically indeterminate structures, carrying out accurate tests on celluloid scale model. This was an absolutely new approach in Italy. It was the first Italian 3D scale elastic model. The trials were carried out in the Danusso's laboratory.
A second series of six airplane hangars was built in 1939–1942 (two hangars located in Orbetello, two in Orvieto and two in Torre del Lago). Both series featured arches crossing one another, but while, in the first hangars, they were cast on site, with the help of a huge costly timber formwork, in the second they were prefabricated in little parts on the ground, then assembled into place on a light metallic tubular scaffolding, thereby restoring the monolithic conformation and structural continuity of the whole.
This is the real start of the "Nervi System", a completely new way of designing and constructing reinforced concrete structures: Structural Prefabrication, as Nervi himself called this patented solution, combined with Ferroconcrete, a new material invented in 1943, a more autarchic combination of steel and concrete, producing very stiff and highly elastic slabs, easy to shape into almost any form and exceptionally economical. After the Second World War, the Nervi System allowed the masterpieces of Nervi's maturity.
The Interwar period was a bad time for Italy, under the fascist regime leading to the catastrophe. But, unpredictably, the autarchic period paved the way for a new birth, after the war.
The continuity between the autarchic experimentation and the techniques used in reconstruction, until the years of economic miracle, is crystal clear and this continuity led -to the connection between the large-scale works designed by engineers and the architectures of the fifties and sixties, which now appear to be one of the mainstays of the unique Italian Style.
In today's less ideological historicisation based mostly on works, a historicisation in which many different "material histories" of modern architecture are becoming increasingly important, it is very possible that Italian interwar architecture will be assigned its rightful place in twentieth-century European Architecture.
The article is the result of the Authors' research into the history of Italian modernism, published in the following books: S. Poretti: Italian Modernism: Architecture and Construction in the Twentieth Century, Rome: Gangemi, 2013 and T. Iori, Pier Luigi Nervi, Milano: Motta Architettura, 2009.
Translation from Polish: Dorota Wąsik

redpajama_set_name: RedPajamaCommonCrawl


On behalf of Goldstein, Heslop, Steele, Clapper, Oswalt & Smith on Friday, January 18, 2019.
It is not rare occurrences for workers in various industries to suffer on-the-job injuries that leave them with permanent disabilities. A significant number of Pennsylvania workers seek financial support through the state-regulated workers' compensation insurance system each year for disabilities that prevent their return to previous jobs. The program offers benefits that will replace a percentage of the lost wages during the time that a work-related disability prevents you from working.
On behalf of Goldstein, Heslop, Steele, Clapper, Oswalt & Smith on Thursday, January 17, 2019.
If you are a construction worker who spends time outdoors while earning your living in the harsh Pennsylvania winter, you might not realize that even the rays of the winter sun could cause skin cancer. Although the weather is warmer in the summer, and you can feel the sun burning on your skin, the hazard remains throughout all seasons. The fact that you spend more time layering enough clothes to keep warm in the cold should not prevent you from wearing an essential item of personal protective equipment -- sunscreen.
On behalf of Goldstein, Heslop, Steele, Clapper, Oswalt & Smith posted in car accidents on Friday, January 4, 2019.
Like the vast majority of its sister states, Pennsylvania uses .08 blood alcohol content, or BAC, as its legal limit for the purpose of deciding whether a driver can face criminal drunk driving charges.


text:
Le Chauffeur de Mademoiselle est un film français réalisé par Henri Chomette, sorti en 1928.

Synopsis

Fiche technique
 Titre : Le Chauffeur de Mademoiselle
 Réalisation : Henri Chomette, assisté de Jacques Brunius
 Scénario : Henri Chomette
 Photographie : Alphonse Gibory et Henri Gondois
 Pays d'origine :
 Production : Argus Film
 Date de sortie : France,

Distribution
 Dolly Davis : Dolly
 Jim Gérald : Jim
 Paul Ollivier : le baron Paul
 Alice Tissot : Miss Clarence
 Albert Préjean : Jean
 Maryse Maïa : Marie
 Pâquerette
 Nicolas Redelsperger : John
 Gaston Modot
 André Roanne
 Chouquette

Bibliographie
 Jean Marguet, Cinémagazine, ,
 Jean Dréville, Cinégraphie, , ,
 Didier Daix, Pour vous, , ,

Liens externes

Film français sorti en 1928
Film français en noir et blanc
Film muet français
Comédie française

redpajama_set_name: RedPajamaWikipedia


A series of events has heightened the controversy surrounding the European Union's ("EU") efforts to impose its Emissions Trading System ("ETS") on the international commercial aviation industry.
In a directive published on February 6, 2012, the Civil Aviation Administration of China forbade Chinese airlines from taking part in the ETS unless the airlines receive Chinese government approval, which it has withheld.
Finally, on February 23, 2012, China called on the EU to drop its plan to levy fees on airline carbon emissions, a scheme that has drawn the ire of several countries.
The EU has been regulating GHG emissions for several years, and its program to address aviation emissions went into effect in January of this year. Airlines are required to surrender credits to offset carbon-dioxide emissions from any flight starting or ending at an EU airport. Some of the credits are to be issued without charge by the EU, and others are to be auctioned off to operators. Initially, airlines will be handed allowances to cover 85 percent of their emissions. The overall amount of credits available will be 97 percent of historical (2004-06) aviation emissions. Operators must purchase allowances to cover any shortfall between free allowances and annual emissions.
Responding to a legal challenge brought by a group of U.S. airlines, the European Court of Justice just ruled last year that the ETS program, including the imposition of carbon costs on international flights, was legal.
In a statement on its website, the Civil Aviation Administration of China said, "Implementing this system will not only distort competition, distort the airline industry's development and create a financial burden for travelers, it will also damage the trust that is the foundation of the global response to climate change." However, Chinese airlines have apparently taken steps to comply with the scheme and have applied for the free carbon allowances to which they are entitled.
China is not alone in its condemnation of the ETS. More than 25 countries, including the U.S., Russia, China, India, and Brazil, contend that the EU is exceeding its legal authority by imposing emissions charges on airlines for portions of flights outside the EU. Some governments have suggested that the United Nations' International Civil Aviation Organization ("ICAO") is in a better position to develop a plan that has broader support. ICAO previously approved a resolution committing to cap greenhouse gas emissions from aircraft and propose a greenhouse gas emission standard for aircraft engines by 2013, which is when the ICAO next meets. Such a plan, if adopted, could replace the EU's plan. However, with 191 member countries, gaining a consensus within the ICAO on how to handle aviation GHG emissions could be difficult.
The EU has stated its intention to continue implementing the ETS, including fining noncompliant airlines US$131 for every metric ton of carbon dioxide emitted without a carbon allowance. Airlines that persistently violate the rules could be banned from the EU. The EU has estimated that the per-ticket cost for complying with the ETS on a one-way trip from Beijing to Brussels would amount to about US$2.70. Airline representatives have come up with much higher estimates. The China Air Transport Association, which last year urged China's airlines to refuse to take part, said the scheme would cost 800 million yuan (US$123 million) in the first year and more than triple that by 2020.
 See O'Melveny & Myers LLP Client Alert "EU Begins Regulation of Aviation Carbon Emissions", October 22, 2009.


My 16 year old daughter has been type 1 for almost five years now. Two and half years ago she went on the pump. Six weeks ago she choose to stop using the pump because she hates changing her infusion set. It was such a fight to get her to change it and I felt that she may take better care of herself because she was choosing to return to injections, that I said it was okay to go back to injections. Her A1c was 12.8 six weeks ago.
She is currently taking 27 units of Lantus at 10pm and using 10 carbs to 1 unit of insulin with all foods. Her counts have come down a great deal. Her average in her meter is now 157. Where before her meter average was 350 to 400s (19.4 to 22.2 mmol/L]. We have had to adjust the amount of Lantus a couple of times for lows but seems to be doing okay with 27 units. She has had a sinus infection in the last six weeks. She took 850mg of Amoxicilin four times a day for that. This past week she had strep throat and took Zithomax for that.
She says that she never feels good. She is always tired and feel achy all over. She does not have ketones. Her doctor said that all of the blood testes that he did were normal and fine. She is a very picky eater. She says she isn't hungry half the time and the other half she is eating too many carbs. I have tried to tell her that she does not eat right and she says that's not why she feels bad.
I had her speak to the diabetic team social worker, because I feel that she is a little depressed. She is 5' 3" and weights 120 pounds. She is moderately active. Is there any thing that we could be over looking as far as illnesses go? She doesn't seem to have any mono symptoms other than feeling tired. Is it all related to her diet? She says she is sick and tired of being sick and tired all the time. Can you help? She hates being a diabetic.
Sounds very complicated and very frustrating for a parent - and probably also for a teen with diabetes. Sounds like she does not always get her insulin and that likely all this is depression, anger, frustration and omitted insulin in some combination. It would likely be very helpful for you to send a copy of your note to the diabetes team and then have a conference with them to decide how next to proceed. Some individual and family therapy is often helpful in such stressful situations. A1c levels this high are quite dangerous and almost always indicate omitted insulin, major overeating in some combination with severe psychosocial stress.


The services provided by our Boards and Commissions are essential to the well being of the county. County residents who are interested in serving on a board or commission may obtain an application from the Clerk to Council or go to the link at left to submit your application online. Listed below are the many dedicated citizens who work for the County of Hampton.
Meets: Monthly, 2nd Tuesday at 5:00 P.M.
Meets: Quarterly - at 5:30 P.M.
Meets: 3rd Tuesday, 6:00 P.M.
Meets: Quarterly, in the B.R..O.C. **, 6:30 P.M.
Meets: 4th Monday, 6:00 P.M.
Lowcountry Council of Government Board Rep.
Lowcountry Regional Transporation Authority William Borum, Jr.


Abbott Lyon watches are covered under a two year worldwide warranty. If you have any issues with your watch, Abbott Lyon will arrange for it to be fixed free of charge. Return postage (if needed) will also be covered.


text:
Donald Trump's Week of Lies, Outrages, Broken Promises, and Shady Associations
The GOP candidate's bizarre but revealing counter-programing to the DNC.
Peter Suderman | 7.29.2016 11:07 AM
Gage Skidmore/Foter
As Democrats staged a convention to nominate Hillary Clinton as their presidential candidate, Republican rival Donald Trump offered some bizarre but revealing counterprogramming in the form of a week marked by lies, threats, outrages, reversals, hypocrisy, dubious associations, and broken promises.
On Wednesday morning, Trump's campaign manager, Paul Manafort, confirmed what many have long suspected: that despite Trump's promises over the last year or more to release his tax returns, he will become the first major party presidential candidate in four decades not to do so. Trump's flimsy excuse—that he is currently under audit—is one that didn't even stop Richard Nixon.
Later that morning, Trump held a press conference, where he appeared to invite a foreign power to intervene in the presidential election. "Russia, if you're listening, I hope you're able to find the 30,000 emails that are missing," Trump said, referring to the emails from Clinton's private email server that were not made public. "I think you will probably be rewarded mightily by our press." In a follow-up tweet, Trump repeated the invitation, but this time said the emails should be turned over to the F.B.I. The Clinton campaign accused Trump of encouraging "espionage."
A day later, Trump said he was merely being "sarcastic," but if so, his campaign aides didn't know it when he first made the remarks. As The New York Times notes, immediately following his initial statement, aides made "statements [insisting] that Mr. Trump was urging Russia to return any purloined property to the F.B.I."
At the same Wednesday press conference, Trump, who has repeatedly expressed admiration for Russian President Vladimir Putin, responded to questions about his personal ties to Russian president Vladimir Putin. "I have nothing to do with Putin," he said. "I've never spoken to him. I don't know anything about him other than he will respect me."
But Trump has repeatedly claimed to have met Putin before, and has even said he got to know him. In a November debate, Trump said "I got to know him very well because we were both on 60 Minutes. We were stablemates, and we did very well that night." And in 2014, as Mother Jones reported, Trump spoke at the National Press Club, where he said that he had recently been in Moscow, where he "spoke, indirectly and directly, with President Putin, who could not have been nicer, and we had a tremendous success." Either Trump has met Putin, or he hasn't; either way, he was lying on one of those occasions.
Wednesday evening, Trump participated in an Ask Me Anything on a Reddit forum devoted to his candidacy. Trump's handful of responses shed no real light on how he might govern. (One questioner asked whether Trump was tired of winning. Trump responded that he wasn't.)
But the venue revealed plenty. The particular subreddit that Trump chose to engage with has been described by Vice as having evolved from a conventional political discussion community to "an authoritarian one full of memes and in-jokes, far right talking points, coded racism, misogyny, homophobia, and Islamophobia, and a hypocritical 'free speech' rallying point." As an article at Slate noted, the particular questioners to which Trump responded have records of overtly racist, homophobic, and generally unpleasant online rhetoric. This was the online community that Trump—a major party presidential candidate—chose to engage with.
In one of the answers Trump gave on Reddit, he touted his "detailed plan for H-1B reform to protect American workers." Shortly afterwards, Buzzfeed reported that two of Trump's clubs in Florida, including the Mar-a-Lago Club in Palm Beach, where he has held multiple campaign events, were seeking to hire 78 immigrants to fill jobs for housekeepers, cooks, and servers. ("Getting help in Palm Beach during the season is almost impossible," Trump said last year.)
At the DNC, meanwhile, a wide array of speakers criticized Trump in fairly harsh terms. And at a Thursday rally, Trump responded to them too, without naming anyone in particular, saying that he would like to "hit a number of those speakers so hard, their heads would spin," so that "they'd never recover."
"I was going to hit one guy in particular, a very little guy," Trump said as the crowd laughed. "I was going to hit this guy so hard his head would spin, he wouldn't know what the hell happened." Trump sometimes uses the word "hit" to refer to a rhetorical attack, but he has also seemed to encourage violence at his campaign rallies before.
This is how the Republican nominee for president spent the days after his nominating convention.
For any other major political candidate in memory, a week like this would amount to a bizarre, catastrophic, campaign-destroying spectacle. For Donald Trump, it's just another week.
Peter Suderman is features editor at Reason.
Donald Trump Election 2016 Democratic Convention 2016