text:
Discover Lincoln Materials • Discover LincolnCollection.org
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An Interview with George Saunders, Author of Lincoln in the Bardo
George Saunders' novel, Lincoln in the Bardo, is exhilarating and experimental. It was a New York Times and USA Today best seller, and it won the Man Booker Prize in 2017. It may make you cry in parts and laugh in some others. It will certainly make you think.
The novel is written in usually brief paragraphs from what are essentially ghosts in the cemetery where Willie Lincoln is laid to rest, but sometimes Saunders uses quotations from real histories and biographies. Because Abraham Lincoln makes some appearances in Saunders' novel (and seems to loom over every page), Lincoln Lore is publishing this interview with the author. (C.K.)
Craig Klugman: What is the Bardo?
George Saunders: "Bardo" is a Tibetan term that means, roughly, "transitional state." So we are in a bardo right now, namely the one between birth and death. The one referred to in the book's title starts at the moment of our death and goes to…whatever's next. There are wonderful books detailing what this experience is like (among them "The Tibetan Book of the Dead"), but I realized pretty early that verisimilitude wasn't necessarily the job. It felt to me that, since this was a novel, the main job was something like "be dramatic." So, to that end, "my" bardo ended up being a mash-up of the Tibetan tradition and the Catholic tradition and some ghost tradition as well. In other words, had I been truer to the "actual" bardo, I would have been less true to my job as a fiction writer, which is to make meaningful drama, and thereby force the story to tell big truths that are not necessarily historical or demonstrative of a certain religious system.
CK: What was the inspiration for the novel? Why Abraham Lincoln?
GS: It was a version of that thing young writers always dream about: that some "idea" will grab hold of you for inexplicable reasons and not let go until you write the book. In my case, the "idea" came out of an anecdote I heard a long time ago: Lincoln had been so heartbroken by the death of his son, Willie, that he supposedly went into the crypt soon after the burial to somehow interact with the body – look at it, or speak to it, or hold it. This idea appeared, I heard, in some of the newspapers of the time. I carried that idea around for twenty-plus years, not feeling confident that I had the skill to write it – it seemed too straight, too un-ironic, not funny, etc. Then, finally, in 2012, I thought of how sad it would be if I kept avoiding this idea. That would be a concession, really, to my own apparent artistic limitations. Which is a great way to die on the vine as a writer. So I decided to launch in and even made a sort of contract with myself, that I would allow myself three years and then, if it proved a total disaster, walk away happy.
As far as "Why Abraham Lincoln?" – the involvement of Lincoln was one of the reasons I avoided the idea for so long. It just seemed impossible and potentially corny and sentimental. The operative question of the book became, "Good Lord, how do you write about Lincoln without being imitative/mawkish/quaint?" Eventually, the dangers of writing about Lincoln became guard rails, sort of, or originality stimulants. My desire to steer clear of the corny and sentimental became a way to steer toward doing something new. It reminded me of that old joke:
Patient: It hurts when I do this.
Doctor: Don't do that.
Whenever my representation of Lincoln started feeling like it was veering toward being too stock or sentimental, I would just say to myself, "Don't do that." Which was another way of saying that Lincoln – the real-life Lincoln – remains very much a mystery to us, and what is stock, sentimental, etc., are just rounded-off, habitual ways of representing this boundless person. So the goal became not "get Lincoln right" but "get him wrong in a new way, a way that feels original and unexpected enough to cause the reader to, even briefly, consider Lincoln anew."
CK: Please describe the White House party depicted at the beginning of the book. Did you research the nature of presidential parties? And Mary Todd Lincoln does not come off very well.
GS: The Lincolns decided to cut expenses by having three large receptions instead of several large state dinners. This was Mary's idea and it was a good and well-intentioned one, but that didn't stop the Lincolns from catching a lot of heat for hosting a celebration during this dire period of the war. And, during that party, the Lincoln boys, who were sick with typhoid, grew worse – and this was the beginning of Willie's decline, the guilt of which, of course, stayed with the Lincolns until the end. And they were also criticized, cruelly, for having a party while their son was upstairs dying – which wasn't accurate. He was sick, but a doctor had assured them that the party would do no harm and that he would recover. I also think that Mary Lincoln gets a bad rap pretty much everywhere you look. I'm sure she was difficult, but Lincoln seemed to really love her, was very protective of her, and man, the difficulties that poor woman endured. And she often gave him very good advice, too.
My research just consisted of reading every description of that party I could find and then typing them up and cutting them up and endlessly rearranging them to find out which combination gave off the most energy. Again, the goal was not so much to describe that party but to sort of enact PARTY on the page – to make a sort of Platonic party. One of the mysterious truths I've discovered by writing fiction is that simply seeking energy in a piece of prose (velocity, tight logic, a feeling of being compelled through it) actually, in the end, produces truth. Or, you might say, that energy IS truth – reading about something and having it come simultaneously and spontaneously alive in one's mind is a form of living in truth.
CK: Describe Willie Lincoln's funeral.
GS: Well, there was a service in the East Room and a shorter service out at Oak Hill, in the chapel (which still stands). It was very emotional and there was a particularly beautiful speech by the Reverend Phineas D. Gurley. The sense you get is that everyone present realized that a very special child had been lost, and joined the President and Mrs. Lincoln in their grief.
But I should say that my research method was a little backwards – I would realize what I needed and go in search of it. So what I know about the funeral is exactly equal to the text fragments I accumulated about it, if that makes sense, and I would have to wait and see where they might be needed. For example, I found Gurley's speech and typed it out and was just, then, waiting for it to be necessary and effective somewhere. And, in the event, I actually split it up – some went in Chapter XVIII, a section of testimonials about Willie, and some went toward the end of the book, in the section describing the funeral.
So I guess what I'm saying is I don't know a lot about the funeral, other than what I represent in the book. It wasn't necessary for me to "master" the funeral and then decide what to write about it. Rather, I was trying to be sensitive to what the structure of the book needed and then supply whatever it needed, and if it seemed to be something from the funeral, I would do whatever reading was needed.
CK: Who was Isabelle Perkins?
GS: She is a young woman I invented. When I was visiting Oak Hill, I got interested in a row of houses across the street, from which a person would have had a view of both the guardhouse and the chapel. I felt like it might be useful to have one more living human available, to comment and help locate the reader from time to time. (Lincoln is actually the only "real" living person who shows up in the fictive graveyard. I also invented a night watchman, Jack Manders. So Lincoln, Perkins, and Manders are the only "living" people in Oak Hill that night.) As I was writing Perkins, she started, as often happens, to tell me a particular life story. She was disabled and bed-ridden and had no family but a brother, who was off on some sort of (selfish, we feel) adventure and had left her in the care of a nurse. So she had a lot of time on her hands and kept a detailed diary (from which I am "quoting") and spends a lot of time looking across the street at the cemetery. And, on the night in question, she sees Lincoln twice – as he enters and then again as he leaves.
CK: Are others named in the Bardo real people or did you create their stories? Or are they a mixture? Did you prepare detailed back stories for them?
GS: The non-living beings are all invented (except for Willie Lincoln). I don't really prepare backstories off the page, except for birth and death dates. They sort of revealed their life stories as I wrote them and then, of course, the challenge was to "remember" what they had told you, as you came back to them again and again. (And to continue to expand their stories in the new sections.) My theory is that the writer's first job is to make interesting and believable text chunks. So, whatever was interesting in the moment as I made the prose – well, that became the character's life story. This prevents a very real problem that every fiction writer has to deal with, namely the problem of over-controlling the material. Asking "What ghost do I need right now?" has the effect of injecting the writer's (too simple) intentionality into the work and thereby making it didactic and tidy. Whereas, I found, if I just trusted my intuition to help me "make" a ghost at the needed moment, out of whatever language was available and interesting, then the text felt more alive and organic. You sense that there should be a ghost off to the right, you start typing (i.e., internally narrating that ghost's voice) and…voila. There he/she is. And then you have to deal with him or her, i.e., you have to not forget what he or she just told you, and to continue to listen in the pages to come.
CK: Did your thoughts about Lincoln change while you researched the novel?
GS: Yes, but that was partly, of course, because I was injecting so much of myself into him. So he became more like me, and consequently, I found I liked and agreed with him more. (Ha ha, and yet not.) I did come to think that the historical Lincoln was someone who had a good dose of depression, on top of which he got a good dose of bad fortune and that this combination took him very low indeed at certain points – but that he may have had some extraordinary glimpses at wisdom while in that state. I think we've all had moments of feeling completely bottomed out, when all of our plans and good intentions have come to nothing, and, speaking for myself, those moments are full of honesty and clarity – you have no bad ideas or dear agendas to protect anymore. You're allowed to just see. One senses that Lincoln spent a lot of quiet, solitary time in that state, looking at the war and equality and mortality, and that, in the long run, the nation benefitted from this sadness-wisdom. Although I suspect it wasn't always very enjoyable for him.
CK: How did you choose the actual books on Lincoln that you quote from? Which did you admire, and which, not so much?
GS: I admired, or at least was grateful for, every single one of them, because I could use everything. Even if a book was poorly written or had what seemed to me a weak idea of the center of it, I could potentially use it, since the idea was to simulate "America singing." Bad theories, weak voices (good theories, strong voices) were all a part of it. In some ways it was like walking through a train station, recording on your phone: whatever was heard, was part of the portrait of "Train Station." You took the good with the bad.
I chose the books by a process of voracious serendipity: any time I saw or heard about a Lincoln book or a Civil War book, I'd go to the index and see if Willie was mentioned or that party, and I'd write down whatever I found. I imagined my brain as a silo and the job was just: put as much as possible in there so that, at the moment of invention, I would have a solid basis. There were, of course, notes that I didn't use. Structure was king; if I had a fact or a nice quote that didn't somehow serve a larger purpose (move the story along, help inhabit a chapter that would move the story along) then it went into the Discard pile (where, sadly, it remains, to this day).
CK: Lincoln in the Bardo was your first novel. How did that happen?
GS: I'd never found material that made me really, really want to extend it, or, to be more accurate, that I could extend naturally. Before, I would have to "try" to write a novel – slow things down, or write a bunch of stuff I really wasn't interested in. (Ugh, the scene of X and Y's wedding, snore.) This time I was actively trying to make it NOT a novel but the material kept insisting. It kept insisting in this way: I'd write a section, trim it down with the same kind of radical scissors I use on a story…and that section would suggest the next one. I wrote and wrote and got to about 60 pages and had only just begun (was, maybe, an hour into that eight-hour night).
I was, really, perfectly happy just writing short stories all those years – it's such a difficult and beautiful form – and I'm back to writing them again now, blissfully. And I'm not sure this is even a novel, really – my wife is fond of pointing out how much white space there is in it. But I do feel that I found the right form to tell this story, and I'm happy that that form is sort of insane and, at the very least, can lay some claim to being original.
CK: Besides writing best-selling novels, what else do you do? Are you still teaching at Syracuse University?
GS: I am, and very happily so. We get about 600-700 applications a year for our fiction program and choose six to come. So our students are amazing. The nice thing is to be constantly reminded that talent is constant in the world. It might change flavor from generation to generation, but not in its presence or intensity.
Other than that, I occasionally make a trip to write a non-fiction piece. During the 2016 campaign I went to some Trump rallies and wrote a piece for The New Yorker about it. I love doing those kinds of things because they open up your mind and tend to deconstruct one's (my!) lazy, middle-aged projections about the world. Which, in turn, opens up the fiction, when I get back to it.
CK: What question do you wish we had asked about Lincoln?
GS: I wish you'd asked me for Lincoln's thoughts on audacity, so I would have an excuse to tell you the following story that he used to tell:
In a town, there was this man who was known for being audacious – brave, bold, courageous, up for any challenge. One day he's at a big party. Everybody's dressed up, a very formal occasion, all the best people in town are there. And the host, knowing that this man was so Audacious, asked him to carve the turkey. The Audacious Man stands up, cuts the turkey – and lets out a tremendous fart. The room goes silent. What will the Audacious Man do? How can he possibly recover? The Audacious Man takes off his jacket, rolls up his sleeves, picks up the knife, says: "Now let's see if I can cut this turkey without farting again."
[Craig Klugman retired as editor of The Journal Gazette in Fort Wayne, IN. He is a Director of Friends of the Lincoln Collection of Indiana.]
Lincoln and Writing
"Just the Wood out of which Washington Presidents are Carved": Electing Lincoln in 1860 by Alan Guelzo
Lincoln's Magician: The Saga of Captain Horatio G. "Harry" Cooke
Browse lore by category Select One 1860 Election Blind Memorandum Edwin Stanton From the Collection Henry Clay Indiana Lincoln and Civil Liberties Lincoln and Entertainment Lincoln and Immigration Lincoln and Leadership Lincoln and National Archives Lincoln and Religion Lincoln and the South Lincoln and War Lincoln and Writing Lincoln In Art Lincoln in Sculpture Lincoln Memorial University Lincoln-Douglas Debates Lincoln's Youth Reconstruction Remembering Lincoln Thomas Lincoln U.S. Grant William H. Herndon
Browse lore by author Select One Alfred J. Zacher Allen C. Guelzo Charles Hubbard Craig Klugman Douglas L. Wilson E. Phelps Gay Ed Breen Edna Greene Emily Rapoza Frank J. Williams Harold Holzer Jane Gastineau Jason H. Silverman Jay Winik John Marszalek Kate Masur Mark B. Pohlad Nerida Ellerston and M.A. Clements Nicole Etcheson Richard E. Hart Ronald C. White Sara Gabbard Savannah Rose Susannah Koerber William E. Bartelt
Lincoln Lore Archive
© 2019 Friends of the Lincoln Collection
A non-profit organization devoted to the life and legacy of Abraham Lincoln


Madison Reed is an at-home hair coloring subscription box. Check out our Styling Tools review!
Madison Reed gives you luxurious at home hair color with a 6-free formula – check out my before & after in the review!


text:
using System.Reflection;
using System.Diagnostics;

namespace System.Data.SqlClient.ManualTesting.Tests.SystemDataInternals
{
    internal static class ConnectionHelper
    {
        private static Assembly s_systemDotData = Assembly.Load(new AssemblyName(typeof(SqlConnection).GetTypeInfo().Assembly.FullName));
        private static Type s_sqlConnection = s_systemDotData.GetType("System.Data.SqlClient.SqlConnection");
        private static Type s_sqlInternalConnection = s_systemDotData.GetType("System.Data.SqlClient.SqlInternalConnection");
        private static Type s_sqlInternalConnectionTds = s_systemDotData.GetType("System.Data.SqlClient.SqlInternalConnectionTds");
        private static Type s_dbConnectionInternal = s_systemDotData.GetType("System.Data.ProviderBase.DbConnectionInternal");
        private static PropertyInfo s_sqlConnectionInternalConnection = s_sqlConnection.GetProperty("InnerConnection", BindingFlags.Instance | BindingFlags.NonPublic);
        private static PropertyInfo s_dbConnectionInternalPool = s_dbConnectionInternal.GetProperty("Pool", BindingFlags.Instance | BindingFlags.NonPublic);
        private static MethodInfo s_dbConnectionInternalIsConnectionAlive = s_dbConnectionInternal.GetMethod("IsConnectionAlive", BindingFlags.Instance | BindingFlags.NonPublic);
        private static FieldInfo s_sqlInternalConnectionTdsParser = s_sqlInternalConnectionTds.GetField("_parser", BindingFlags.Instance | BindingFlags.NonPublic);

        public static object GetConnectionPool(object internalConnection)
        {
            VerifyObjectIsInternalConnection(internalConnection);
            return s_dbConnectionInternalPool.GetValue(internalConnection, null);
        }

        public static object GetInternalConnection(this SqlConnection connection)
        {
            object internalConnection = s_sqlConnectionInternalConnection.GetValue(connection, null);
            Debug.Assert(((internalConnection != null) && (s_dbConnectionInternal.IsInstanceOfType(internalConnection))), "Connection provided has an invalid internal connection");
            return internalConnection;
        }

        public static bool IsConnectionAlive(object internalConnection)
        {
            VerifyObjectIsInternalConnection(internalConnection);
            return (bool)s_dbConnectionInternalIsConnectionAlive.Invoke(internalConnection, new object[] { false });
        }

        private static void VerifyObjectIsInternalConnection(object internalConnection)
        {
            if (internalConnection == null)
                throw new ArgumentNullException("internalConnection");
            if (!s_dbConnectionInternal.IsInstanceOfType(internalConnection))
                throw new ArgumentException("Object provided was not a DbConnectionInternal", "internalConnection");
        }

        public static object GetParser(object internalConnection)
        {
            VerifyObjectIsInternalConnection(internalConnection);
            return s_sqlInternalConnectionTdsParser.GetValue(internalConnection);
        }
    }
}

redpajama_set_name: RedPajamaGithub


text:
What's Up? International Observe the Moon Night 2018
Published: October 6, 2018
Celebrate International Observe the Moon Night with your local astronomy club.
International Observe the Moon Night Homepage
What's Up for October? International Observe the Moon Night!
Hello and welcome. I'm Jane Houston Jones from NASA's Jet Propulsion Laboratory in Pasadena, California.
This year's International Observe the Moon Night is on October 20th, when astronomy clubs and science centers invite you to view the moon at their star parties. The 11-day-old waxing gibbous moon rises in the late afternoon and sets before dawn. There are great features to enjoy whether you're observing with the unaided eye, through binoculars or through a telescope.
Sinus Iridum - the Bay of Rainbows - is the little half circle visible near the lunar terminator -- the line between light and dark. The Jura Mountains ring the western edge and catch the morning sun. Mare Imbrium is the large lunar mare (or sea) just south of Sinus Iridum. As the moon approaches full, the large craters Copernicus and Tycho take center stage. Copernicus is 93 kilometers across, and its impact crater rays will be much more visible at full moon, although they are impressive on the 20th. Tycho lies in a field of craters near the south limb. Its massive ray system spans over 1500 kilometers. At 85 kilometers across, it's a little smaller than Copernicus.
On the 20th, you can check off all 6 of the Apollo lunar landing locations, too!
You can still catch the great lineup of bright planets in October, with Jupiter, Saturn and Mars meeting up with the moon again this month. Early birds can catch Venus just before dawn.
You can find out more about International Observe the Moon Night at moon.nasa.gov/observe
And you can catch up on all of NASA's current-and future-missions at www.nasa.gov
That's all for this month. I'm Jane Houston Jones.
video/mp4
In the fall of 2011, the Lunar Reconnaissance Orbiter (LRO) mission released its original Tour of the Moon, a five-minute animation that takes the viewer on a virtual tour of our nearest neighbor i...
A documentary view of the Apollo 17 journey to Taurus-Littrow, the final lunar landing mission in the Apollo Program.
Apollo 17: On The Shoulders of Giants
The Moon orbits the Earth in the months prior to the August 21, 2017 total solar eclipse.
2017 Eclipse and the Moon's Orbit
In the early hours of April 15, 2014, our pale moon will turn blood orange red. This spectacle will mark the first of four consecutive total lunar eclipses, a series known as a tetrad.
Red Moon Rising
Astronauts: James A. McDivitt, David R. Scott, and Russell L. Schweickart Stresses the testing of the Lunar Module, the spacecraft that will land men on the Moon. Featured are sequences of launch, ...
Apollo 9 - Three To Make Ready (1969)
Tips to evaluating your International Observe the Moon Night event
Observe the Moon Night - Evaluation Tips
This time lapse video taken during ISS Expedition 42 is assembled from JSC still photo collection.
ISS Expedition 42 Time Lapse Video of Earth
The 2018 Moon Maps show the phase of the Moon as it will appear on International Observe the Moon Night, 20 October 2018 from the northern and southern hemispheres.
International Observe the Moon Night Moon Maps
A presentation by Andrea Jones
To the Moon!
By combining years of LEND data, scientists see mounting evidence of hydrogen-rich areas near the Moon's south pole, strongly suggesting the presence of frozen water.
Water on the Moon
Bright Venus seen near the crescent Moon on July 15, 2018.
Crescent and Venus
In October 2017, The Lunar Reconnaissance Orbiter celebrated 100 lunar days of being at the Moon. That's about eight Earth years.
100 Lunar Days - Parts I and II
Converting stereo images from the Lunar Reconnaissance Orbiter into 3D maps of the Moon's surface.
How To: Digital Terrain Models of the Moon
Silent video of the Apollo 8 Saturn V rocket launching into orbit
Apollo 8 Airborne Tracking
LRO science results and ways to get involved in NASA lunar science
LRO Science Results
This powerpoint was developed by LPI for use in teacher workshops, but may be modified for individual use.
Earth and Moon Statistics
The view of the July 27, 2018 total lunar eclipse from the desert in Abu Dhabi, United Arab Emirates.
Total Lunar Eclipse from Abu Dhabi
NASA's Lunar Reconnaissance Orbiter Camera (LROC) acquired a high resolution image of the Apollo 11 landing site.
LRO Explores the Apollo 11 Landing Site
Includes the early problem of docking the Command and Lunar Modules, landing on the Moon, experiments package, climb up Cone Crater, onboard experiments, scenes in the NASA JSC's Lunar Receiving La...
Apollo 14: Mission to Fra Mauro
Man's second journey to the Moon is for science. The first EVA includes setting up Apollo Lunar Surface Experiments Package (ALSEP) for the return of scientific data. The second EVA includes a geol...
Apollo 12: Pinpoint for Science
Connecting the history of Apollo 17 to NASA's current Lunar Reconnaissance Orbiter mission through the eyes of astronaut Harrison Jack Schmitt.
Jack Schmitt: From Apollo 17 to LRO
The phase and libration of the Moon for 2018, at hourly intervals. Includes supplemental graphics that display the Moon's orbit, subsolar and sub-Earth points, and the Moon's distance from Earth at...
Moon Phase and Libration, 2018
The Moon is seen as it sets behind the National Capitol Columns at the US National Arboretum on Wednesday, Jan. 31, 2018 in Washington.
Super Blue Blood Moon

redpajama_set_name: RedPajamaCommonCrawl


text:
Jakob Zeidler (* 13. September 1855 in Wien; † 20. August 1911 in Mödling) war ein österreichischer Lehrer, Literaturforscher und Mitglied der wissenschaftlichen Kommission der Theater- und Musikausstellung in Wien.

Lebenslauf
Zeidler war der Sohn von Franz und Anna (geb. Hartl) Zeidler. Er besuchte zusammen mit den Germanisten Jakob Minor, August Sauer und Joseph Seemüller das Schottengymnasium in Wien. Während dieser Zeit beeinflusste vor allem  der Germanist Hugo Mareta den jungen Zeidler. Von 1875 bis 1879 studierte Zeidler Germanistik, Romanistik und Geschichte an der Universität Wien und schloss sein Studium schließlich mit der Lehramtsprüfung in Deutsch, Geschichte und Geographie ab. Von 1881 bis 1885 dozierte Zeidler an der Handelsakademie Wien, von 1885 bis 1889 am kaiserlich-königlichen Staatsgymnasium in Oberhollabrunn. Von 1889 bis zu seiner Beurlaubung aus gesundheitlichen Gründen im Jahre 1911 lehrte er am kaiserlich-königlichen Staatsgymnasium in Wien. 1892 wurde er zum Mitglied der wissenschaftlichen Kommission der Theater- und Musikausstellung in Wien berufen und fungierte zusätzlich als Mitglied in verschiedenen Prüfungskommissionen. 1911 wurde Zeidler schließlich pensioniert und als Regierungsrat geehrt.

Zeidler fungierte gemeinsam mit Johann Willibald Nagl als Herausgeber des mehrbändigen Werkes "Deutsch-Österreichische Literaturgeschichte. Ein Handbuch zur Geschichte der deutschen Dichtung in Österreich-Ungarn" welches zwischen 1898 und 1937 entstand. Nach dem Tod Zeidlers übernahm 1914 Eduard Castle dessen Rolle als  Herausgeber der vierbändigen Literaturgeschichte.

Zeidler verstarb im Alter von 55 Jahren und liegt in der Familiengruft begraben.

Benennungen von Straßen
Die Zeidlergasse in Wien-Liesing (ehemals Haidengasse) wurde am 2. Oktober 1957 nach Jakob Zeidler benannt.

Publikationen und Aufsätze (In Auswahl)
 Die Schauspielthätigkeit der Schüler und Studenten Wiens. 1888, Oberhollabrunn
 Studien und Beiträge zur Geschichte der Jesuitenkomödie und des Klosterdramas. 1891, Hamburg/Leipzig
 Über Stil und Wesen der deutschen Legende, in: Die Kultur 4. 1903, S. 113–121.
 Das Wiener Schauspiel im Mittelalter, in: Geschichte der Stadt Wien. Band 3,1. Hrsg. v. Altertumsvereine zu Wien, 1907, Wien, S. 82–118.
 Das Schultheater, in: Handbuch der Erziehungskunde. 1906

Literatur
 Eduard Castle: Die Vollendung der Deutsch-Österreichischen Literaturgeschichte. In: Schönere Zukunft. Nr. 29 v. 17. April 1938, 761–763 u. Nr. 30 v. 24. April 1938, 789–790.
 Wendelin Schmidt-Dengler (Hrsg.): Literaturgeschichte: Österreich: Prolegomena und Fallstudien. (= Philologische Studien und Quellen Band 132), S. ?.
 Christoph König (Hrsg.), unter Mitarbeit von Birgit Wägenbaur u. a.: Internationales Germanistenlexikon 1800–1950. Band 3: R–Z. De Gruyter, Berlin/New York 2003, ISBN 3-11-015485-4, S. 2089–2090.

Weblinks

Einzelnachweise

Germanist
Literaturhistoriker
Lehrer
Absolvent der Universität Wien
Person (Cisleithanien)
Geboren 1855
Gestorben 1911
Mann

redpajama_set_name: RedPajamaWikipedia


The music that may have such strong effect on the human body as weight loss will also help to reveal the creative potential by affecting the processes that are controlled by the body unconsciously.
Today the musical therapy is used as the significant constituent of the psychotherapy, spa procedures and even cancer treatment. The pleasant melodies that take you back to the most happy memories contain the carefully arranged sounds of a certain frequencies which balance the metabolic processes of the organism and are aimed to heal the human body.
The weight loss effect of this music is explained by its ability to cause the thoughts and emotions that give the patients more confidence and motivate them to cope with the overwhelming hunger. The music therapy may set some stable attitudes in the person's psychics that will be followed by the positive somatic changes. Moreover the music draws the specific sound vibrations through the human body. These vibrations are typical of the ones that are produced by the healthy organs. So except the effect of losing weight the music has the general tonic one.
The maximum effect would be achieved if you will remain totally relaxed for more than 25 minutes. Influenced by the calm tunes our brain stops the constant playback of the negative thoughts that cause the wish to eat something tasty. The music that coincides with the rhythm of our heart soothe the nervous system and reduces tension and stress which are the basis of any eating disorder connected with consuming too much food. The most part of the classical masterpieces have this tempo. But the musical taste also matters. If Mozart and Bach bore you choose the calm light compositions from your favorite ones.
Try to remember which music was connected with the meal time in your childhood. That may give you a clue why you're ready to eat everything you see on the table when you hear Bjork. The children are likely to form the associations immediately. And that's why the most of the people have the "setting": calm music means it's time to go to bed and the fast one is a signal to eat.


text:
GURU NANAK CONVENT SCHOOL has always stood for discipline and the moulding of character of its students to ensure that it will not crumble when tested in the crucible of adulthood. This school takes pride in imparting quality education while preparing them for the competitive world outside the classroom via its meticulously envisioned system.
The School aims to provide a positive learning environment, which encourages and empowers all its members to have a highly developed sense of responsible citizenship, which includes a deep sense of justice, an unshaken faith in secularism, an acute concern for our surroundings and an abiding belief in honesty and integrity.
It aspires to turn out individuals who are "multi-dimensional" in their interests, are excited about the pursuit of knowledge, have a broad world-view, can think out-of-the-box, and are "driven" in whatever they may choose to do. We believe in unraveling every child's potential by providing a holistic environment to discover his/her ability, creativity and talent. It also awakens in them an enterprising spirit.
The programmes for students are designed to make them life-long learners with a sense of moral duties.
Copyright © 2016 G.N.C.S


text:
Social club say they cancelled line-dancing to host The Good, The Bad & The Queen gig
Rhian Daly Nov 21, 2018 10:51 pm GMT
The Good, The Bad & The Queen's Damon Albarn
The Damon Albarn-led supergroup will perform at North Shields' Cullercoats Crescent Club next week
The manager of a social club has revealed they had to cancel a line dancing night in order to host an upcoming gig by The Good, The Bad & The Queen.
The Damon Albarn-led supergroup, which also features The Clash's Paul Simonon, The Verve's Simon Tong, and afrobeat drummer Tony Allen, will tour a series of small venues across England and Scotland next week, including two nights at North Shields' Cullercoats Crescent Club (November 27, 28).
The venue can hold 220 people and the shows will be slightly different from the space's usual fare, which regularly sees tribute acts perform, with nights dedicated to Johnny Cash and Coldplay in the diary for the coming months.
Speaking to Chronicle Live, manager Bernadette Rutherford said: "Usually we have line dancing on a Tuesday night. But they were quite happy to move it when they found out about the gigs."
She continued: "It is a chance to just get a little bit more up close and personal that you wouldn't get elsewhere. It gives something to the locals that you wouldn't get somewhere bigger like the O2 Academy."
Rutherford added that she has been playing the band's new album 'Merrie Land' in the club and said while it's not "for everyone", most of the regulars "have loved it." "I've been putting it on and they've been singing along," she said.
In a three-star review of 'Merrie Land', which was released last week (November 16), NME said: "Ruminations on a post-Brexit nation from a bunch of middle-aged musicians is, perhaps, less essential than it seems to deem itself, but there are probing thoughts and moments to make it worth sticking with."


The paintings that we will be selling during our fundraising campaign on Indiegogo are now available in our new Gallery page, right here at beneaththepaintedsurface.com.
The art for sale is from artist and documentary subject Destanne Norris' show "Stellar."
The fundraising campaign will run for 45 days.
We have created a beautiful, moving film about Destanne and her story.
Destanne is also a productive artist that continues to create new works as well as presenting those works to new audiences. Often these visual presentations are accompanied by the telling of Destannes' story, which, in lieu of being able to watch the film, provides the audience a glimpse Beneath the Painted Surface.
Destanne is also writing her story into a book, which is well under way.
Brian and Destanne see her story, the film and the book as a complete commercial package.
We have begun our search for a Sales Agent in Canada who believes passionately in our message and can see the value in our product.
As we search for an Agent we will continue to move forward with film festival submissions, self-marketing and fundraising.
Our little picture has been submitted to Hot Docs in Toronto.
Acceptance would be amazing. Wish us luck.
We're also working on a new trailer.
We will keep you up to date on any news as it happens.
On Christmas day, Beneath the Painted Surface was rendered into it's final version. The film is complete.
The film will now be shopped around to festivals. We will make everyone aware of our progress here on this page.
Thanks to everyone involved in the making of our documentary. We look forward to sharing it with the world.
A new trailer will be put up soon.
Almost one thousand folks visited this page and read our invitation to view BTPS and then complete a survey. Most of those folks were from South Africa, due to the facebook advertising algorithm. (We spent a little money in an attempt to get viewers from other countries.) The surveys indicated that there were several ways to look at this film and the critiques of the viewer were dependent upon their individual viewpoint.
Through the surveys, I am able to better know how to satiate the desires of each of these viewpoints, thus making the film more enjoyable to a well-rounded audience. At least, this is my goal.
Thanks so much to everyone who helped as test audience. The film is nearing completion.
It's days away now. Our next festival entry deadline is Dec.


A discectomy is a surgery done to remove a herniated disc from the spinal canal. When a disc herniation occurs, a fragment of the normal spinal disc is dislodged. This fragment may press against the spinal cord or the nerves that surround the spinal cord. This pressure causes the symptoms that are characteristic of herniated discs, including electric shock pain, numbness and tingling, and weakness.
The surgical treatment of a herniated disc is to remove the fragment of spinal disc that is causing the pressure on the nerve. This procedure is called a discectomy. The traditional surgery is called an open discectomy. An open discectomy is an operation where the surgeon uses a small incision and looks at the actual herniated disc in order to remove the disc and relieve the pressure on the nerve.
A discectomy is performed under general anesthesia. The surgery takes about an hour, depending on the extent of the disc herniation, the size of the patient, and other factors. A discectomy is done with the patient lying face down, and the back pointing upwards.
In order to remove the fragment of herniated disc, your surgeon will make an incision over the center of your back. The incision is usually about 3 centimeters in length. Your surgeon then carefully dissects the muscles away from the bone of your spine. Using special instruments, your surgeon removes a small amount of bone and ligament from the back of the spine. This part of the procedure is called a laminotomy.
Once this bone and ligament are removed, your surgeon can see, and protect the spinal nerves. Once the disc herniation is found, the herniated disc fragment is removed. Depending on the appearance and the condition of the remaining disc, more disc material may be removed in hopes of avoiding another fragment of disc from herniating in the future. Once the disc has been cleaned out from the area around the nerves, the incision is closed and a bandage is applied.
Patients often awaken from surgery with immediate improvement of their leg pain; however, it is not unusual for these symptoms to take several weeks to slowly dissipate. Pain around the incision is common, but usually well controlled with oral pain medications. Patients often spend one night in the hospital but are usually then discharged the following day. A lumbar corset brace may help with some symptoms of pain but is not necessary in all cases.
Gentle activities are encouraged after surgery, such as sitting upright and walking. Patients must avoid lifting heavy objects, and should try not to bend or twist the back excessively. Patients should avoid strenuous activity or exercise until cleared by their doctor.
The most common problem of a discectomy is that there is a chance that another fragment of disc will herniate and cause similar symptoms in the future. This is a so-called recurrent disc herniation, and the risk of this occurring is about 10-15%.
Most patients find relief of much, if not all, of their symptoms from a discectomy. However, the success of the procedure is about 85-90%, meaning that 10% of patients who undergo a discectomy will still have persistent symptoms. Patients who have symptoms for long periods of time prior to having surgery, or severe neurologic deficits (such as significant weakness) are at higher risk of incomplete recovery.
Other risks of surgery include spinal fluid leaks, bleeding, and infection. All of these can usually be treated but may require a longer hospitalization or additional surgery.
Newer techniques may allow your surgeon to perform a procedure called microdiscectomy and endoscopic discectomy. A microdiscectomy is a minimally invasive disc surgery that uses specialized instruments and smaller incisions. An endoscopic discectomy your surgeon uses special instruments and a camera to remove the herniated disc through very small incisions.
The endoscopic microdiscectomy is a procedure that accomplishes the same goal as a traditional open discectomy, removing the herniated disc, but uses a smaller incision. Instead of actually looking at the herniated disc fragment and removing it, your surgeon uses a small camera to find the fragment and special instruments to remove it. The procedure may not require general anesthesia and is done through a smaller incision with less tissue dissection. Your surgeon uses x-ray and the camera to "see" where the disc herniation is, and special instruments to remove the fragment.
Microdiscectomy and endoscopic microdiscectomy are appropriate in some specific situations, but not in all. Some patients are better served with a traditional open discectomy. While the idea of a faster recovery is nice, it is more important that the surgery is properly performed. Therefore, if open discectomy is more appropriate in your situation, then theses minimally invasive procedures should not be done. Discuss with your doctor if minimally invasive surgery may be appropriate for you.
Mathews HH and Long BH "Minimally Invasive Techniques for the Treatment of Intervertebral Disk Herniation" J Am Acad Orthop Surg March/April 2002; 10:80-85.


We believe, behind every object of art, there is a story. There is a face and a set of skilled hands that belong to individuals with lots of passion and with a few dreams of their own. For some of these faces, their artistic creations are a way of earning a living. For others, it is their only means to keep their Indian heritage alive. Rustic Motifsstrives to promote inclusive growth, providing the less privileged members of our society an opportunity to become a part of the 'Growth Story'.
We hope that, as we showcase the rich diversity of India and the creative expressions of her traditional artists, you will experience their stories and take home a bit of them with every piece you buy….


Join as a member of JSECS today to get updated with the Society and enjoy privileged access to our events.
Members will be rewarded with nicely designed ISO/IEC 7810 ID-1 size membership cards.
Interested in organizing large scale events related to IT with your own hands? Want some fruitful memories with your passionate future friends?
Sub-Committee members are considered as an integral part of the Society's operation.
The primary function of Sub-committee members is to assist the Executive Committee members in various aspects, including organizing events, publications production, etc. A good chance for junior students to get sufficient working experience before leading a team in the future.


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Hyperborea: Atlantis' Rival, Land to the North, and the Homeplace...
How the 'Gods' Created Mankind, According to Norse Mythology
Two-Headed Mummy of Ancient Egyptian Princess And a Crocodile Revealed...
Two-Headed Mummy of Ancient Egyptian Princess And a Crocodile Revealed For The First Time In Public
The mummy had remained in the shadows away from the public for more than a century. The two-headed mummy is composed of the remains of an unidentified ancient Egyptian princess and a crocodile.
An ancient Egyptian mummy with two heads – one belonging to a girl and the other head to a crocodile – was photographed for the first time after having been removed from the public's eyes for more than a century, reports Hurriyet Daily News.
History: The two-headed mummy that stirred panic in Ottoman palacehttps://t.co/AVPpLrQdBN pic.twitter.com/rIqmans7ha
— Hürriyet Daily News (@HDNER) July 8, 2018
The mummy had remained in exile for more than a century by orders of Ottoman Sultan Abdul Hamid II.
According to reports, Turkish officials have issued a unique permit for daily Hürriyet to film the only mummy kept at Istanbul's Topkapı Palace.
According to the Turkish experts, the mummy is composed of the remains of an unidentified ancient Egyptian princess and the body and skull of a Nile crocodile.
The mummy did not belong to a hybrid being or anything like that. The legend around the mummy suggests that the little girl (A young Princess) was attacked by one of these reptiles and the rulers of the time decided to combine the two bodies with the belief that the young heiress would be resurrected as a crocodile.
Here is the two-headed mummy in Istanbul that was once sent to exile by the Ottoman sultan: https://t.co/EyO6U1ViRb pic.twitter.com/aQu8GZpgF5
Unlike other six mummies of important historical figures that are safeguarded in the Archaeological Museum of Istanbul, this unique mummy is kept in the Topkapi Palace by order of the Ottoman Sultan Abdul Hamid II who reigned at the end of the nineteenth century.
Abdul Hamid II was the 34th Sultan of the Ottoman Empire and the last Sultan to exert effective control over the fracturing state. His reign was marked by a number of rebellions as well as an unsuccessful war with the Russian Empire.
Reports from Turkey suggest that the mummy was kept initially in the Yildiz Palace, also in the former Ottoman capital, after being brought from Egypt by another sultan in the mid-nineteenth century.
The Turkish historian Ibrahim Hakki Konyali wrote in the 1950s the anecdote that resulted in the 'exile' of the mummy from one palace to another.
Featured Image Credit: Hürriyet
Source: The two-headed mummy that stirred panic in Ottoman palace
Ancient Mummy, Egypt, Mummy, Nile, Princess, Turkey, Two-headed Mummy
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Fox News Host Tucker Carlson doesn't believe Trump's answers about UFOs
Researchers discover new 91-million-year-old giant shark species in Kansas
Have the tools used to build ancient monuments been staring us in the face all along?
Are billionaires buying up land away from the coasts based on prophecies or inside information?
Scientists confirm legends, revealing the face of Viking warrior woman with battle wound


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Watch trailer for Cow Watch trailer
Director: Andrea Arnold Run Time: 98 min. Format: DCP Release Year: 2022
The Future of Film is Female presents a preview screening of Andrea Arnold's new documentary, COW; an intimate portrait of one dairy cow's life. Arnold's debut short film, MILK, will precede the film. To make an additional $10 donation to The Future of Film is Female, select the "Event + Donation" ticket on the checkout screen.
Acclaimed director Andrea Arnold's (American Honey, Fish Tank, Big Little Lies) first documentary immerses the audience in life on a dairy farm in rural England through the eyes of Luma, a cow. Empathetic and nearly wordless, the film opens during calving season and captures a world of animal existence that is ordered around service to humans.
A searing exploration of grief and coping in which a woman struggles to find meaning following a miscarriage. Andrea Arnold's debut short film. 10 min.


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Featured Friday: Weirdville Series by Majanka Verstraete
Series: Weirdville
Author: Majanka Verstraete
Genre: Chapter Books, Kids Books, Horror
The Doll Maker
Amazon: http://amzn.to/1ifFrIG
Publisher's website: http://evolvedpub.com/product/the-doll-maker/
Derek's little sister wants one of those creepy-looking dolls, staring at him from the strange new doll shop in town, and what his sister wants, she gets. Now they're stuck with a doll that looks so human, it gives Derek the creeps.
When Derek tells his friends, Martin and Jamie, about the new shop with creepy human-like dolls, they want to see for themselves. That has "bad idea" written all over it, but he takes his friends there anyway.
They meet the mysterious doll maker, who reminds Derek of Dr. Frankenstein, and who brainwashes Martin into buying one of those scary dolls. Derek and Jamie push and pull Martin out of the shop, but something isn't right with their friend. He's shivering all over, and he has no memory of what happened in the shop.
Martin's condition worsens every day, and Derek's sister grows more and more obsessed with her new doll. Derek and Jamie have to find out what's going on, and fast, because...
...the doll maker seems linked to a bunch of mysterious disappearances, and the last thing Derek wants is his sister, or his friend, being next on the doll maker's list.
This book is only $0.99 (eBook) and serves as a great introduction to the series!
Amazon: http://amzn.to/1oqcwUI
Publisher's website: http://evolvedpub.com/product/house-of-horrors/
When her parents allow her to go to the fair, Jacky is over the moon. The fair is most famous for its haunted mansion, the House of Horrors, and her friend Ben can't wait to try it out. Her best friend, Cass, is a little more reluctant, but then again, Cass has always been a chicken when it comes to getting scared.
Jacky and Cass are determined to act tough, so when Ben suggests they try out the House of Horrors, the girls tag along, even though the place gives them the chills.
As soon as the three of them enter the spooky monstrosity, the ride comes to a screeching halt, and the horror begins.
The lights fade, and a hooded figure appears and tells them they're stuck in a twisted game of cat and mouse. He will show them their worst fears, and if the kids manage to face down those fears, they'll have a chance of getting out of the House of Horrors alive. If they don't, well....
Thirty minutes to go. Thirty minutes to face their nightmares... and the clock is ticking.
Fright Train
Amazon: http://amzn.to/1cWDoKf
Publisher's website: http://evolvedpub.com/product/fright-train/
Charlie's parents drop him off at the train station so he can visit his grandma in Weirdville. It's a cold winter evening, so when his usual train is cancelled at the last second, Charlie wishes he'd stayed home.
An hour later, shivering from the cold, he climbs onboard the next train to Weirdville, even though he'd rather not. It looks like something straight out of the nineteenth century, as if it used a time machine to arrive at the station.
His shivering doesn't stop, for soon after Charlie boards, he realizes just how right he was to be wary of this strange train. Something is seriously wrong with all the people onboard. If only he could figure out what was going on. If only he could get off the train
Majanka Verstraete begged her Mom to teach her how to read while she was still in kindergarten. By the time she finished fifth grade, she had read through the entire children's section of her hometown library.
She wrote her first story when she was seven years old, and hasn't stopped writing since. With an imagination that never sleeps, and hundreds of possible book characters screaming for her attention, writing is more than a passion for her.
She writes about all things supernatural for children of all ages. She's tried to write contemporary novels before, but something paranormal always manages to crawl in.
Majanka is currently studying for her Master of Laws degree, and hopes one day to be able to combine her passions for law and writing. When she's not writing, reading or studying, she likes watching "The Vampire Diaries" and "Game of Thrones," spending time with her friends, or playing "World of Warcraft."
Author Website: http://majankaverstraete.com
"The Doll Maker will keep you on the edge of your seat while wanting more and more. You'll quickly turn each page to learn more while curled up in your bed. Just be sure to leave the lights on!"
- MHZ Book Reviews, http://mhzbookreviewsandgiveaways.blogspot.be/2013/11/the-doll-maker-wierdville-book-by.html
"Welcome to Weirdville with The Doll Maker, another excellent masterpiece from Verstraete. Venturing into the genre of chapter books, geared for the early reader from age 6-10, Majanka has swung a home run."
- Penelope Anne Bartotto, http://www.amazon.com/review/R1M84F1CPZ3H2L/ref=cm_cr_dp_title?ie=UTF8&ASIN=B00F2JAK22&nodeID=133140011&store=digital-text
"House of Horrors is my favorite Weirdville book to date. There is always the perfect amount of age appropriate scary going on, but this one i found myself holding my breath a couple times or taking a big sigh."
- Tracy Haidle,
http://www.amazon.com/review/R2WSEE9099GM3J/ref=cm_cr_dp_title?ie=UTF8&ASIN=B00GO8IF36&channel=detail-glance&nodeID=133140011&store=digital-text
"One could try to compare these to the R.L. Stine series, but they would be wrong to narrowly define them in such a way, Verstraete has a very unique storytelling style that touches the child within, but also reaches the adult reader."
- Penelope Anne Bartotto,
http://www.amazon.com/review/R11DHXSYIC942G/ref=cm_cr_dp_title?ie=UTF8&ASIN=B00GTZPLYK&channel=detail-glance&nodeID=133140011&store=digital-text
There's a tour-wide giveaway for a $50 Amazon gift card. The giveaway is international, and the winner will be contacted through email.
Share link: http://www.rafflecopter.com/rafl/share-code/OWVmMzUzNWJ a Rafflecopter giveaway
Mini-Interview
Why did you write these books?
When I was younger, I loved the Goosebumps and Fear Street series by R.L. Stine. Both series were horror aimed at kids. For the Fear Street series, all books took place in Fear Street. Each book could be read as a stand-alone, and apart from the location and genre, the books had nothing in common, each had their own story to tell.
I've always wanted to create something similar, yet different. So I came up with the idea for Weirdville. All books in this series are scary chapter books aimed at a slightly younger audience than R.L. Stine's books. The stories take place in Weirdville, a fictional town where creepy things happen on a daily basis. Each book can be read as a stand-alone.
However, the more books in the series you'll read, the more you'll discover about Weirdville and the secrets it's been harboring for centuries. Each book gives away several clues about the founders of Weirdville, the Weird family, and their descendants.
Anything in particular you'd like to share about these books or their creation?
For "The Doll Maker", I took inspiration from one of my oldest fears: dolls. I'm not scared of all dolls – I even have some in my room, staring at me while I sleep – but one doll in particular gave me the chills. This doll had eyes that seemed to follow you everywhere. Nowadays, it's hidden in my attic, but it still gives me the chills every time I go up to the attic to find something.
After writing "The Doll Maker", I got writer's block. I knew what I wanted the third book, "Fright Train" to be about, but for "House of Horrors", I had trouble getting inspired. Then a fair came to my university's town, and they had a haunted mansion. I'd never seen one of those travelling haunted mansions before, and it inspired me right away. I knew I had to write a story about it.
"Fright Train" is based on a story idea that's plagued me for years. I take the train two times a week, for a two-hour ride each time, and during one of the first times I was travelling to university by train, I came up with the idea of writing a scary novel taking place on a train. It took several years, but I managed to write it after all.
What can we expect to see from you in the future?
The next three Weirdville books will be released later this year. The fourth Weirdville book is called "Drowning in Fear", and it's the scariest Weirdville book to date. The majority of the book takes place at summer camp. Because honestly, what is scarier than going on summer camp? In Weirdville, none the less.
Weirdville five and six, "The Clumsy Magician" and "Grave Error" will be published later this year as well. "The Clumsy Magician" is one of the less scary Weirdville books, but it talks about choices, and the consequences of our choices. I've yet to start writing "Grave Error", although I have the plot planned out. I can't wait to get started, but finding time in between the dozens of other things I've got going on, is always a hassle.
books children's author children's books Featured Friday Jo Linsdell Majanka Verstraete Weirdville Series