text:
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DROP TABLE IF EXISTS `ovms_autoprovision`;
SET @saved_cs_client     = @@character_set_client;
SET character_set_client = utf8;
CREATE TABLE `ovms_autoprovision` (
  `ap_key` varchar(64) NOT NULL default '' COMMENT 'Unique Auto-Provisioning Key',
  `ap_stoken` varchar(32) NOT NULL default '',
  `ap_sdigest` varchar(32) NOT NULL default '',
  `ap_msg` varchar(4096) NOT NULL default '',
  `deleted` tinyint(1) NOT NULL default '0',
  `changed` datetime NOT NULL default '0000-00-00 00:00:00',
  `owner` int(10) unsigned NOT NULL default '0',
  `v_lastused` datetime NOT NULL default '0000-00-00 00:00:00',
  PRIMARY KEY  (`ap_key`)
) ENGINE=MyISAM DEFAULT CHARSET=utf8 COMMENT='OVMS: Auto-Provisioning Records';
SET character_set_client = @saved_cs_client;

--
-- Table structure for table `ovms_carmessages`
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DROP TABLE IF EXISTS `ovms_carmessages`;
SET @saved_cs_client     = @@character_set_client;
SET character_set_client = utf8;
CREATE TABLE `ovms_carmessages` (
  `vehicleid` varchar(32) NOT NULL default '' COMMENT 'Unique vehicle ID',
  `m_code` char(1) NOT NULL default '',
  `m_valid` tinyint(1) NOT NULL default '1',
  `m_msgtime` datetime NOT NULL default '0000-00-00 00:00:00',
  `m_paranoid` tinyint(1) NOT NULL default '0',
  `m_ptoken` varchar(32) NOT NULL default '',
  `m_msg` varchar(255) NOT NULL default '',
  PRIMARY KEY  (`vehicleid`,`m_code`)
) ENGINE=MyISAM DEFAULT CHARSET=utf8 COMMENT='OVMS: Stores vehicle messages';
SET character_set_client = @saved_cs_client;

--
-- Table structure for table `ovms_cars`
--

DROP TABLE IF EXISTS `ovms_cars`;
SET @saved_cs_client     = @@character_set_client;
SET character_set_client = utf8;
CREATE TABLE `ovms_cars` (
  `vehicleid` varchar(32) NOT NULL default '' COMMENT 'Unique vehicle ID',
  `vehiclename` varchar(64) NOT NULL default '',
  `owner` int(10) unsigned NOT NULL default '0' COMMENT 'Owner user ID.',
  `telephone` varchar(48) NOT NULL default '',
  `carpass` varchar(255) NOT NULL default '' COMMENT 'Car password',
  `userpass` varchar(255) NOT NULL default '' COMMENT 'User password (optional)',
  `cryptscheme` varchar(1) NOT NULL default '0',
  `v_ptoken` varchar(32) NOT NULL default '',
  `v_server` varchar(32) NOT NULL default '*',
  `v_type` varchar(10) NOT NULL default 'CAR',
  `deleted` tinyint(1) NOT NULL default '0',
  `changed` datetime NOT NULL default '0000-00-00 00:00:00',
  `v_lastupdate` datetime NOT NULL default '0000-00-00 00:00:00' COMMENT 'Car last update received',
  PRIMARY KEY  (`vehicleid`),
  KEY `owner` (`owner`)
) ENGINE=MyISAM DEFAULT CHARSET=utf8 COMMENT='OVMS: Stores vehicle current data';
SET character_set_client = @saved_cs_client;

--
-- Table structure for table `ovms_historicalmessages`
--

DROP TABLE IF EXISTS `ovms_historicalmessages`;
SET @saved_cs_client     = @@character_set_client;
SET character_set_client = utf8;
CREATE TABLE `ovms_historicalmessages` (
  `vehicleid` varchar(32) NOT NULL default '' COMMENT 'Unique vehicle ID',
  `h_timestamp` datetime NOT NULL default '0000-00-00 00:00:00',
  `h_recordtype` varchar(32) NOT NULL default '',
  `h_recordnumber` int(5) NOT NULL default '0',
  `h_data` text NOT NULL,
  `h_expires` datetime NOT NULL default '0000-00-00 00:00:00',
  PRIMARY KEY  (`vehicleid`,`h_recordtype`,`h_recordnumber`,`h_timestamp`),
  KEY `h_expires` (`h_expires`)
) ENGINE=MyISAM DEFAULT CHARSET=utf8 COMMENT='OVMS: Stores historical data records';
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--
-- Table structure for table `ovms_notifies`
--

DROP TABLE IF EXISTS `ovms_notifies`;
SET @saved_cs_client     = @@character_set_client;
SET character_set_client = utf8;
CREATE TABLE `ovms_notifies` (
  `vehicleid` varchar(32) NOT NULL default '' COMMENT 'Unique vehicle ID',
  `appid` varchar(128) NOT NULL default '' COMMENT 'Unique App ID',
  `pushtype` varchar(16) NOT NULL default '',
  `pushkeytype` varchar(16) NOT NULL default '',
  `pushkeyvalue` varchar(256) NOT NULL default '',
  `lastupdated` datetime NOT NULL default '0000-00-00 00:00:00',
  `active` tinyint(1) NOT NULL default '1',
  PRIMARY KEY  (`vehicleid`,`appid`)
) ENGINE=MyISAM DEFAULT CHARSET=utf8 COMMENT='OVMS: Stores app notification configs';
SET character_set_client = @saved_cs_client;

--
-- Table structure for table `ovms_owners`
--

DROP TABLE IF EXISTS `ovms_owners`;
SET @saved_cs_client     = @@character_set_client;
SET character_set_client = utf8;
CREATE TABLE `ovms_owners` (
  `owner` int(10) unsigned NOT NULL,
  `name` varchar(60) NOT NULL default '',
  `mail` varchar(254) NOT NULL default '',
  `pass` varchar(128) NOT NULL default '',
  `status` tinyint(4) NOT NULL default '0',
  `deleted` tinyint(1) NOT NULL default '0',
  `changed` datetime NOT NULL default '0000-00-00 00:00:00',
  PRIMARY KEY  (`owner`),
  KEY `name` (`name`)
) ENGINE=MyISAM DEFAULT CHARSET=utf8 COMMENT='OVMS: Stores vehicle owners';
SET character_set_client = @saved_cs_client;

-- Dump completed on 2013-02-18  1:17:19

redpajama_set_name: RedPajamaGithub


How can cobots help increase employment?
The potential of collaborative robots (cobots) has aroused more attention as they can allegedly assist humans to complete their tasks efficiently and safely. It is also claimed that cobots will not replace humans but work alongside. Considering this, will the collaboration between machines and humans be a zero-sum game or a winning mix?


text:
Hear Nicky Romero's Side-Project Monocule's 1st Single Of 2023
Xander's Vocals Shine In ROSEDRiiVE's New Single, A Must-Listen
Erick Ycaza
Eleanor Hammond is not your average singer, on the contrary, she's a fearless artist who is not afraid to showcase her true self to the world. This is evident in her new music video, "Best Of Tonight," which features her going on a cute lesbian date.
In a world where LGBT+ representation is still not as prevalent as it should be, it is important to celebrate and amplify the voices of those who are openly and proudly part of the community. By showcasing a lesbian relationship in her music video, Eleanor is not only promoting inclusivity and acceptance, but she is also normalizing same-sex relationships.
Besides that, she has a strong background in theater and often incorporates storytelling into her lyrics. Also, her vocal performance is excellent, making "Best Of Tonight" highly enjoyable to sing along to.
To sum up, the visuals directed by William Chapin are a must-watch for anyone looking for a dose of positivity. Fortunately, we're just starting off the year with amazing songs… Stay tuned for more!
CONNECT WITH ELEANOR HAMMOND NOW!
Related Topics:Eleanor HammondElectroPopInformationReviewssynthpop musicVideos
Hi, my name is Erick Ycaza. I have a BA in Advertising & Graphic Design. This blog is to provide you with daily music news and share my personal style.
The recent music video from Anne Reburn is nothing short of fantastic. She pays tribute to the iconic band Silent Circle with an 80s cover of their hit song "Touch In the Night."
From the moment this clip begins, you'll be transported back in time with Anne Reburn's electrifying energy. Undoubtedly, the neon aesthetics and the top-notch choreography are stunning too.
Plus, the fashion and styling choices are spot on, and it all comes together to create something special.
But let's not forget the singing, Anne Reburn's voice is definitely her best asset in my opinion. On the other hand, you won't be disappointed if you're looking to get your dose of nostalgia.
Besides that, the sound is otherworldly accompanied by a touch of contemporary Electro-Pop.
Resonating with audiences of all generations, this version of "Touch In The Night" is astronomically epic, and it deserves way more attention. By the way, the rising artist is currently based in Los Angeles and has become popular on YouTube due to her exceptional covers.
So don't miss out on this great opportunity to relive the 80s, check out her channel today for more remarkable renditions…
CONNECT WITH ANNE REBURN NOW!
Notably, a black and white music video suggests an atemporal quality and can be seen as a more artistic choice. Electro-Pop singer Yasmin Kuymizakis aka Joon adopts this aesthetic to create stark visuals for her new single "Wait."
No doubt, the lack of color allows the viewers to focus on the subject matter of the clip. Put differently, you will see a perfect picture of the emotions or message behind this tune without being distracted by vivid tones.
On the other hand, a black and white music video creates a certain atmosphere, such as nostalgia, which fits perfectly with the retro synths in the background.
The lyrics of "Wait" serve as a powerful reminder of the importance of valuing your time and taking action to make the most of it. Perhaps, it might also mean that in order to reach the desired outcome, one must be open to face challenges.
Overall, Joon knows how to add a layer of depth to the compositions she makes.
Produced by Johnny Jewel, "Wait" effectively captures your attention with an unforgettable blend of space-age melodies and thought-provoking verses. Obviously, the whole concept is sure to leave a lasting impression.
CONNECT WITH JOON NOW!
The Weeknd has released a music video for the tune "Is There Someone Else?," which is taken from his fifth studio album "Dawn FM." The new clip was directed by Cliqua, who has previously worked with the Electro-Pop star on other singles.
In the top-notch visuals, you'll see the singer as both a jealous voyeur and the reason for his jealousy.
The video premiere of "Is There Someone Else?" follows The Weeknd's recent completion of the first leg of his "After Hours Til Dawn Tour" and the release of the new track "Nothing Is Lost (You Give Me Strength)" from the next Avatar film soundtrack, co-produced by Swedish House Mafia and Simon Franglen.
On a side note, fans can't wait to see The Weeknd's performance as a cult leader infiltrating the celebrity culture of Los Angeles in the upcoming HBO Max series "The Idol"! Stay tuned for more information.
CONNECT WITH THE WEEKND NOW!

redpajama_set_name: RedPajamaCommonCrawl


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Tourist Arrivals in Uruguay increased to 880212 in the fourth quarter of 2018 from 683779 in the third quarter of 2018. Tourist Arrivals in Uruguay averaged 621810.78 from 2002 until 2018, reaching an all time high of 1531746 in the first quarter of 2018 and a record low of 233156 in the second quarter of 2002.
This page provides - Uruguay Tourist Arrivals- actual values, historical data, forecast, chart, statistics, economic calendar and news. Uruguay Tourist Arrivals - actual data, historical chart and calendar of releases - was last updated on April of 2019.


is a Registered Craniosacral and Shiatsu Therapist and Supervisor , and has run a fulltime practice in London for 25 years. She has also taught Shiatsu both in London and abroad over much of this time. Since 2006, Julie has been studying with Karlton Terry, and has completed the Foundation training in Pre and Perinatal Trauma Resolution, the Embodiment Journey and Baby Therapy. She has also completed a Foundation training in Core Process Psychotherapy at the Karuna Institute in Devon.


Tell them to F off with love. You know that one guy who always asks what time it is even though he is clearly holding his phone in his hand? yep, this is for that guy. Next time he asks, show him that you definitely know what time it is. It's time for an F bomb.


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text:
← MENDING A BROKEN
Realize →
etat d'urgence
Posted on 17 March, 2016 by Editor
This piece can only suggest fragmentary experiences etat d'urgence following the terrorist attacks in Paris. It is not at all representative and can't address, in any way that is adequate, the violence suffered by those thousands who have had their houses raided, been detained, brutalised or arrested by the police since the 13th November. Here are some cursory notes:
At 1am on the night of les attentats, as dead were still being counted, President Hollande was already announcing his response to the France's biggest terrorist attack in history. He declared a state of emergency, which would include: the mobilisation of all possible forces in order to 'neutralise' terrorists and guarantee the security of the areas that could continue to be under threat, the banning of all protest and public assembly and the closing of EU borders.
Over the next few days this materialised in the form of a hugely increased military presence on the streets of Paris and its suburbs, bag searches at every door to every mall or public library, and the excuse for police to stop, search and raid, without restraint. The spectacle of armed guards standing listlessly on every street corner instils banal fear. The military have been a visible presence on the streets in Paris since the 90s, but their numbers were increased after the Charlie Hebdo shootings earlier in 2015. The 3000 perquisitions carried out since November 13th have affected Muslims, NGOs, human rights organisations, squatters, climate activists, and, in December, police raided two Roma families. The police have embraced and internalised free reign proudly, whilst carrying out raids in the suburbs, one said "Haven't you heard? This is the state of emergency, we can do whatever we want".
The protest ban seemed of course convenient ahead of the climate conference cop21 and what were expected to be the most disruptive summit protests since Copenhagen cop20. The president's 'decision' to close the EU borders, only obscured the fact that they were already closed starting from Friday the 13th in order to control and apprehend activists coming for the cop21 protests. Many environmental activists were then detained as threats to the state of emergency, arrested on suspicion of the intention to protest. His reiteration of this 'decision' in direct response to the attentats was consistent with his responses to the attacks in general, which have imitated and contributed to the racist rhetoric which developed in the press in the following days and continues to be dominant: of fortress Europe's 'leaky' borders and the construction of the migrant as a terrorist threat. (This attitude was evident immediately in the press's obsession with details relating to one of the terrorists involved, who had 'got through' on a Syrian refugee status through Greece). Hollande's speech only exhibited the uneasiness in making a border, or making a distinction, an inside and an outside:
We must make sure that no one can return to carry out such acts, and at the same time that those who have carried out these crimes are apprehended before they leave the country.
On Monday, Hollande went on to announce: La France est en guerre. As JudithButler wrote, this performed a new appropriated power for Hollande: 'buffoon that he is, he is acting as the head of the army now. The state/army distinction dissolves in the light of the state of emergency'. Again, Hollande's speech was full of conflations and elisions: the claim that the attacks are 'acts of war' is made unstable by the refusal to recognise ISIS as a state. A war with who? The question turns around again as Hollande mystifies and euphamises wildly, calling this an 'attack on our country, its values, its youth, its way of life'. Hollande's makes two moves to consolidate state power: by banning protest and closing borders he suggests that any conflict with the state (the state of emergency) will be transgressive and therefore terrorist. Terrorism is generalised into law breaking: true enough, the next day, a friend jumping the Paris metro noticed that the guard no longer sat disinterestedly in his box. Secondly, by speaking of an attack on culture, Hollande insists on identification with mainstream culture, as the senseless slogan Je suis en terrasse suggests. It echoes the response to the Charlie Hebdo protests, which elicited a clear identification with a symbol of racist satire, crowds of people literally declaring themselves becoming Charlie. Those who don't are pushed out into the suburbs. And so it followed, that millions of people worldwide pledged their allegiance to France, with all its history of colonial massacre and police repression. This demand on an absolute adherence to state measures is echoed in the next few weeks as no one in the British media will report on the consequences of the state of emergency.
The next days we are looking out for fascism. The air of keeping calm and carrying on is nauseating: a friend remarks that the queue for the bakery has never seemed so absurd. On Sunday the 15th donkeys, a man walks a kitten, and much later in the afternoon, a woman walks a large german rabbit. The protest ban has meant that a chauvinistic reaction to the attacks has been arguably less visible than in the case of the attacks on Charlie Hebdo earlier in the year. Instead, a vigil has been kept by the sites in Paris, and groups are informally permitted to gather by Republique in memory of those killed.
Mass displays of racism and nationalism have so far not occurred, though a memorial march in Lille was joined by fascists soon after the attacks and there have been hate crimes and attacks on mosques in the North. The rightist magazine Le Point gets away with a headline WAR WITH BARBARIANS. The Catholic, privately educated, homophobic, racist children I look after jump around all over the sofa screaming "BLEU BLANC ROUGE", ask me if I am a rightist or a leftist, tell me that a rightist political leaning is bred into the ovaries of the mother. I don't complain to the parents because I'm afraid of what I will find out. In this quartier, the 16th election posters that get desecrated are the socialist party ones. That week, the Front National very nearly win many regions in the elections, but instead Sarkozy's right force the left to step down and everyone heaves a sigh of relief.
The protest ban also means that a migrant solidarity demonstration planned long before the attacks, on the 21st November, was forbidden and heavily policed. Given the antimigrant and racist rhetoric building in the mainstream media it was important to break the ban in this case. The sans papiers presence at this demonstration was negligent due to the increased chance of harassment and of stop and search by police. Although the march only ran from Bastille to Republique it was lined on each side by hundreds of cops and it was tear-gassed. No arrests were made at the time but the following day it was reported in Liberation that the names of 58 people had been passed on to the prosecutor in relation to the protest. These people were contacted the following day and ordered to report themselves to the police. It's not clear how the were amassed, but it must have been a combination of photo evidence and police intelligence gathered beforehand, as some of those contacted the following day were not even present at the protest. The orders were both by post and by police turning up at people's doors. The state of emergency and the current climate in France has consequences beyond public demonstration, and has affected organisation around migrant solidarity. Those working in solidarity with migrants or with those without papers report that since the attacks it has been more difficult to gather and work together, people have been intimidated into hiding around Paris, and have also been the victims of police harassment and intimidation.
*The 'etat d'urgence' was created in 1955 in response to unrest in Algeria and revived for the revolution that year. It was again invoked in 1961 during the Generals Putsch and finally in New Caledonia in 1984. 2005 was the first time it these powers were invoked on the mainland against the banlieue riots and against a civil rather than an armed insurrectionist movement. The 2015 use of it so far will last 3 months and takes a new form.
Rona L
This article was originally published on January 16th
in 'issue zero' of the newly launched print edition of the International Times.
A limited number of copies can be bought from artist Darren Cullen's online store here:
https://www.etsy.com/uk/listing/264543463/international-times-issue-zero
This entry was posted on 17 March, 2016 in homepage. Bookmark the permalink.


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text:
History & Cultural Studies:Europe:Germany
Author Name Kuhn, Gabriel
Title All Power to the Councils!: A Documentary History of the German Revolution of 1918?1919
Binding PAPERBACK
Book Condition New
Publisher PM Press
ISBN Number 1604861118 / 9781604861112
Seller ID SKU1009838
1604861118 The German Revolution erupted out of the ashes of World War I, triggered by mutinying sailors refusing to be sacrificed in the final carnage of the war. While the Social Democrats grabbed power, radicals across the country rallied to establish a communist society under the slogan "All Power to the Councils!" The Spartacus League launched an uprising in Berlin, council republics were proclaimed in Bremen and Bavaria, and workers' revolts shook numerous German towns. Yet in an act that would tragically shape the course of history, the Social Democratic government crushed the rebellions with the help of right-wing militias, paving the way for the ill-fated Weimar Republic?and ultimately the ascension of the Nazis. This definitive documentary history collects manifestos, speeches, articles, and letters from the German Revolution?Rosa Luxemburg, the Revolutionary Stewards, and Gustav Landauer amongst others?introduced and annotated by the editor. Many documents, such as the anarchist Erich Mühsam's comprehensive account of the Bavarian Council Republic, are presented here in English for the first time. The volume also includes materials from the Red Ruhr Army that repelled the reactionary Kapp Putsch in 1920 and the communist bandits that roamed Eastern Germany until 1921. All Power to the Councils! provides a dynamic and vivid picture of a time of great hope and devastating betrayal.
More Description
"Gabriel Kuhn's excellent volume illuminates a profound global revolutionary moment, in which brilliant ideas and debates lit the sky."
--Marcus Rediker, author of Villains of all Nations and The Slave Ship "This remarkable collection, skillfully edited by Gabriel Kuhn, brings to life that most pivotal of revolutions, crackling with the acrid odor of street fighting, insurgent hopes, and ultimately defeat... In an era brimming with anticapitalist aspirations, these pages ring with that still unmet revolutionary promise of a better world: I was, I am, I shall be."
--Sasha Lilley, author of Capital and Its Discontents and coauthor of Catastrophism The German Revolution erupted out of the ashes of World War I, triggered by mutinying sailors refusing to be sacrificed in the final carnage of the war. While the Social Democrats grabbed power, radicals across the country rallied to establish a communist society under the slogan "All Power to the Councils " The Spartacus League launched an uprising in Berlin, council republics were proclaimed in Bremen and Bavaria, and workers' revolts shook numerous German towns. Yet in an act that would tragically shape the course of history, the Social Democratic government crushed the rebellions with the help of right-wing militias, paving the way for the ill-fated Weimar Republic--and ultimately the ascension of the Nazis.This definitive documentary history collects manifestos, speeches, articles, and letters from the German Revolution--Rosa Luxemburg, the Revolutionary Stewards, and Gustav Landauer amongst others--introduced and annotated by the editor. Many documents, such as the anarchist Erich Muhsam's comprehensive account of the Bavarian Council Republic, are presented here in English for the first time. The volume also includes materials from the Red Ruhr Army that repelled the reactionary Kapp Putsch in 1920 and the communist bandits that roamed Eastern Germany until 1921. All Power to the Councils provides a dynamic and vivid picture of a time of great hope and devastating betrayal. "Drawing on newly uncovered material through pioneering archival historical research, Gabriel Kuhn's powerful book on the German workers' councils movement is essential reading to understanding the way forward for democratic worker control today."
--Immanuel Ness, Graduate Center for Worker Education, Brooklyn College "An indispensable resource on a world-historic event."
--Lucien van der Walt, Rhodes University, South Africa
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text:
Samuel Cook
About Samuel Cook
Samuel P.N. Cook graduated from West Point in 2000. He went on to become a U.S. Armored Cavalry Officer where he served as the Regimental Adjutant for Colonel H.R. McMaster in the Battle of Tal Afar in 2005-2006 that was cited by President Bush as a turning point in the war. With a front row seat to history, Sam was responsible for the media messaging and writing the history of this campaign.
In 2007, Sam returned to Iraq as the commander of Crazyhorse Troop, 1st Squadron, 3d Armored Cavalry Regiment where he was cited in the Washington Post and Tom Rick's best-selling book on Iraq for his novel counterinsurgency strategy that combined tribal negotiations and police trained parole system for a mass surrender.
When he returned from Iraq in 2008, Sam went on to get a Masters in Russian and Ukrainian history at New York University's Jordan Center for Slavic Studies. He then went on to teach history at West Point from 2010-2013.
Sam founded James Cook Media in 2013 after leaving the army. The company is a storytelling marketing agency that focuses on growing then brands of authors and experts around the world. Here he created the StoryMatters mini-course with over 100,000 subscribers as well as the StoryMatters Podcast.
in 2019, he founded SanityDesk, a full-stack software solution for experts and small service businesses to launch and manage their business online. SanityDesk is funded by Angel investors and is rapidly becoming an innovative solution for savvy marketing professionals who help small business owners grow their brand online.
Why StoryMatters (Now, more than ever)
Once you understand the power of StoryTelling, your entire perspective on marketing will change.
From Elon Musk, the world's most iconic entrepreneur, to a British Personal Growth expert, this lesson will give you a sense of the possibilities for StoryTelling in your business.
Once you see it, you won't be able to think about marketing the same way.
Who is Your Hero? (HINT: It's not you)
Once you understand the power of StoryTelling, it's time to get clear on the most important thing.
Who the hero of the Story is in the first place.
And here's the great news. You don't have to make the story all about you.
In fact, that's not what you should do at all.
Writing Your Hero's Journey (Be YODA, not Luke)
Once you understand how to find the hero of your story, it's time to help them write a story that inspires them.
This is the most powerful lesson you can learn as a marketer (and in life).
When you learn how to inspire other people to change their lives by telling themselves a better story, everything will change.
"You really knocked it out of the park!!! Thank you so much!!! You were so spot on!! Hope we can work with you again sometime!"
"Sam is a person with positive energy, able to make relationships with people from all over the world."
"Samuel Cook is a smart and savvy guy who knows about success. He can help you move forward from inspiration to actually empowering yourself."
"Your story matters more than ever now. Tell your story to build lasting customer relationships."
- Samuel Cook


text:
La prosa, en l'escriptura, és l'ús del llenguatge que s'oposa al vers. Les paraules s'agrupen sense seguir les lleis de la mètrica, de manera que imiten el fluir del discurs oral. És la manera més natural d'escriure i per això, a banda de la literatura, apareix als  mitjans de comunicació, avisos, lleis i molts altres tipus de documents. Malgrat aquest caràcter més proper a la parla, va ser l'últim estil literari en aparèixer, ja que els primers escrits literaris utilitzaven el vers justament per marcar el caràcter artístic i facilitar la memorització.

Tradicionalment, la narrativa s'associa a la prosa, però també pot haver-hi poemes narratius i textos en prosa de caràcter no narratiu, com per exemple l'assaig, la descripció, etc. La prosa no assoleix, per tant, l'expressió artística de la poesia.

Estructura

La prosa conté una estructura mètrica més informal que el vers que gairebé sempre es troba en la tradicional poesia. La realització de poemes impliquen una mètrica o rima, mentre que a la prosa les oracions completes gramaticals constitueixen paràgrafs i passen per alt l'atractiu estètic. Algunes obres de prosa contenen restes de l'estructura mètrica i versificació és una barreja conscient dels dos formats de la literatura que es coneix com la «poesia en prosa». Així mateix, qualsevol obra de vers amb algunes restriccions es coneix com a «vers lliure». La prosa presenta una forma més reflexiva del discurs ordinari, sovint conversacional. En aquest punt, Samuel Taylor Coleridge va dir, de broma, que els poetes novells han de saber les «definicions de la prosa i la poesia, és a dir, prosa: paraules en el seu millor ordre; poesia: les millors paraules en el millor ordre».

A l'obra de Molière, Le bourgeois gentilhomme, Monsieur Jourdain va demanar alguna cosa per ésser escrita sense cap vers ni en prosa, el seu mestre en filosofia va respondre que «no hi ha una altra manera d'expressar-se que en prosa o en vers», per la senzilla raó que «tot el que no és prosa és vers, i tot el que no és vers és prosa». Així, en relació amb la definició esmentada, es pot dir que «el pensament és traduir idees sense afegitons, ja que les idees al cervell no segueixen cap composició mètrica».

Història
Al món antic, Grècia, l'antiga Roma i després a l'Europa medieval la prosa, va proporcionar una literatura de consum o de no ficció, en oposició a la poesia d'alt nivell artístic. A la segona meitat de l'edat mitjana, la situació va començar a canviar. Juntament amb l'expansió de la societat feudal va evolucionar gradualment el poema, la tragèdia, l'oda. En relació al desenvolupament de la burgesia comercial, el seu progrés cultural i ideològic, basat en la cultura de les grans ciutats, van estar cada vegada més en expansió el desenvolupament dels gèneres en prosa, en conte i novel·la. El gènere antic de la poesia, que va tenir un paper important a la literatura del feudalisme i la societat esclavista, va perdre, a poc a poc, el paper principal de lideratge, encara que de cap manera desapareix de la literatura. Tanmateix, els nous gèneres, que van desempenyorar un paper fonamental als primers estils burgesos, i després a tota la literatura de la societat capitalista, van estendre clarament cap a la prosa. La ficció va començar a qüestionar la posició de lideratge sobre la poesia, o al seu mateix nivell, i, més recentment, a l'edat d'or del capitalisme, fins i tot la va superar.

Pel  prosistes, novel·listes i contistes, es van convertir en les figures més destacades de la literatura, grans generacions van publicar, com els habituals de l'època de la poesia on es van donar grans creadors de poemes i tragèdies.

Literatura grega

A la literatura grega antiga, tota la literatura tècnica va ser anomenada poesia. El concepte d'art en la cultura grega estava íntimament lligat al ritme, i per tant la major part de les obres literàries tenien forma de vers.

Els primers documents en prosa conservats remunten a la Jònia del , primer amb una prosa narrativa per descriure llocs, costums o relats, amb un llenguatge més racionalista, diferent de la lírica. Tanmateix, el seu punt àlgid arribaria a l'Atenes dels segles  i  aC. Els més grans èxits en aquests segles es van produir en la filosofia. Entre tots els filòsofs, sobresurten tres noms: Sòcrates (470-399 aC.), Plató (427-347 aC.), i Aristòtil (384-322 aC.).

Sorgeixen aleshores els grans oradors:
 Isòcrates d'Atenes (436-338 aC.). Va ser deixeble de Sòcrates. Partidari de la unió nacional enfront dels perses. 21 discursos i 9 epístoles.
 Iseu de Calcis (390-340 aC.). Mestre de Demòstenes.
 Èsquines d'Atenes (389-314 aC.). Va recolzar l'aliança d'Atenes amb Filip II de Macedònia per crear un imperi grec contra els perses. Rival de Demòstenes. Discursos:Contra Ctesifont, Contra Timarc, De l'ambaixada.
 Lísies, (458 aC. - 380 aC.), mestre de l'oratòria judicial.
 Demòstenes (384-322 aC.) Enemic de Filip II de Macedònia, contra ell va dirigir les seves Olínticas i Filípiques. Quan el general macedoni Antípater va prendre Atenes, va fugir a l'illa de Calàuria, on es va suïcidar.

Gèneres literaris en prosa
Encara que el concepte de gènere determina el contingut del producte, i no la seva forma, la majoria dels gèneres tendeixen a l'escriptura poètica (poemes, obres de teatre), o bé a la prosa (novel·les, relats). Aquesta divisió, tanmateix, no pot prendre's com una regla, ja que hi ha molts exemples en què les obres de diversos gèneres estan escrits en forma inusual. Exemple d'això són les narracions populars o les adaptacions en vers de les Faules de La Fontaine realitzada per Esteve Caseponce. A més a més, hi ha gèneres que són igualment sovint escrits en prosa i en vers.

Gèneres narratius
Es refereix a aquells gèneres discursius amb una extensió limitada. Es pot distingir dues sèries de narratives. La narrativa de la modernitat i la narrativa de la postmodernitat. El que narra la història s'anomena Narrador; aquest gènere compleix la funció referencial del llenguatge. A més, es caracteritza per ser una narració de forma seqüencial compost per personatges dins d'aquesta. Té coherència en el que s'està contant, té en compte els temps, en els que els personatges actuen. Comunica les més íntimes vivències de l'home, que és subjectiu, els estats anímics i els estats amorosos. El present, passat i futur es confonen.

Novel·la

La novel·la és un gènere literari narratiu, generalment en prosa i d'una extensió que pot ésser considerable, on s'expliquen uns fets de ficció a partir d'uns personatges, una ambientació, un narrador i un punt de vista. Poden aparèixer descripcions i diàlegs per embellir, aclarir o fer més amena l'acció.

El gènere com a tal sorgeix a l'edat moderna, si bé no seria tractat com a gènere literari, fins després de 1934, quan Mikhaïl Mikhaïlòvitx Bajtín va diferenciar la novel·la de la prosa novel·lesca i la poesia lírica. Els antecedents d'aquesta discussió dels anteriors crítics és que ells no havien trobat en la novel·la mateixa manera-estilística de la poesia, i per tant se li havia negat qualsevol significació artística, per només tractar-la com un document. A partir dels anys vint, s'havia plantejat estudiar la prosa novel·lesca i definir-la per la seva especificitat. D'acord amb Bajtin, va ser un error dels crítics dels anys vint, el de calcar les anàlisis dels gèneres poètics per ser un estudi monoestilístic. Així, rebutjant l'estilística, l'estatus d'estudi de la novel·la sol reduir-se a les destreses individuals i de l'artista, deixant de banda les evidències de la parla de les ciutats, dels registres socials, de les generacions i les èpoques. A partir de mitjan  i progressivament «tots els gèneres en una més o menys mida es novel·len»,amb el que s'aconsegueix una major llibertat:

Conte

Un conte és una narració breu de fets imaginaris, protagonitzada per un grup reduït de personatges i amb un argument senzill. Els contes poden ser tant de caràcter fictici com real. El conte en tant que gènere (o subgènere) literari té les seves pròpies característiques; és una forma destacada dins de la narrativa breu i, a diferència de la novel·la, presenta una màxima concentració narrativa i una major intensitat. Compta amb una il·lustre tradició escrita de segles a la qual caldria afegir una important tradició oral.

Hi ha dos grans tipus de contes: el conte popular i el conte literari.
 El conte popular: és una narració  tradicional de transmissió oral. Es presenta en múltiples versions, que coincideixen en l'estructura però discrepen en els detalls. Té tres subtipus: els  contes de fades o contes meravellosos, els contes d'animals i els contes de costums. El mite i la llegenda són també narracions tradicionals, però solen considerar-se gèneres autònoms. Les mil i una nits és la recopilació més coneguda de contes populars orientals que es coneix.
 El conte literari: és el conte concebut i transmès mitjançant l'escriptura. L'autor sol ser conegut. El text, fixat per escrit, es presenta generalment en una sola versió, sense el joc de variants característic del conte popular. Es conserva un corpus important de contes de l'antic Egipte, que constitueixen la primera mostra coneguda del gènere.

Paràbola

Una paràbola és com un conte al·legòric amb contingut didàctic, conegut des de l'antiguitat, sovint a la literatura cristiana, principalment a la Bíblia. Aquesta forma particular de narració que es mou com si fos en un revolt (paràbola) comença amb objectes abstractes, la història s'acosta a poc a poc al tema principal i, tot seguit, torna al principi, com la paràbola del fill pròdig al Nou Testament. Jesús va respondre als seus deixebles perquè ensenyava amb paràboles d'aquesta manera:

En La República de Plató, les paràboles, com les que al·ludeixen a «les ombres a la caverna», engloben un argument abstracte en una narrativa més concreta i fàcilment assequible. Molts contes de fades poden ser considerats com a paràboles desenvolupades, excepte pel seu entorn màgic. Es troben algunes novel·les amb estructura de paràbola, a l'obra de Kafka o L'Ase daurat de Luci Apuleu.

El terme paràbola prové del nom donat pels retoricistes grecs a tota il·lustració fictícia en la forma d'una breu narrativa. Més endavant va passar a conèixer-se com a narrativa fictícia, al·ludint generalment a alguna cosa que pot ocórrer de manera natural, i per la qual es precisen assumptes morals o espirituals. Entre alguns exemples de paràbola trobem L'home cec i el coix, El rei i els escrivans, i El borratxo d'Ignacy Krasicki.

Biografia

La biografia (del  grec bios (βιος), que significa 'vida', i graphein, que significa 'escriure') és la història de la vida d'una persona narrada en poques paraules des del seu naixement fins a la seva mort, consignant els seus fets aconseguits i els seus fracassos, així com tot el que de significatiu pugui interessar d'aquesta.

Per això sol adoptar la forma d'un relat expositiu, freqüentment narratiu i en tercera persona, de la vida d'un personatge real des que neix fins que mor o fins a l'actualitat. En la seva forma més completa, sobretot si es tracta d'un personatge del passat, explica també els seus actes d'acord amb el context social, cultural i polític de l'època intentant reconstruir documentalment el seu pensament i figura. La biografia en forma escrita constitueix un subgènere literari de la Història que es divideix al seu torn en diversos subgèneres. Les principals característiques són:
 Relata els esdeveniments més importants i interessants de la vida del personatge.
 Generalment, consigna dades exactes com noms, dates i llocs.
 Es redacta en tercera persona.

Un cas concret d'aquesta especialitat és l'autobiografia, sovint recollides en forma de diari o crònica. És un estil que emfatitza en allò que recorda el personatge més que no pas en la descripció del personatge mateix. L'autor és alhora el personatge que presenta fets i experiències, parla de terceres persones descrivint-les des del seu punt de vista, la qual cosa ens aporta tanta o més informació sobre el narrador que sobre l'objecte de la descripció. La selecció que fa l'autor dels personatges i esdeveniments o fets rellevants és també una part important de la biografia, ja que ens mostra allò que el va impactar, considera important o forma part de les seves prioritats. A diferència de la biografia, no es pot exigir objectivitat, ja que la coincidència de narrador i subjecte fa que la  es descrigui com sentia o percebia els fets i no com havien estat. En aquest sentit, sovint es diferencia entre una autobiografia formal i unes memòries. Una autobiografia de les més rellevants que ha servit d'exemple per a obres posteriors va ser la de Confessions (1781-1788) de Jean-Jacques Rousseau, —inspirat per la lectura de l'obra homònima d'Agustí d'Hipona—.

Crònica

Una crònica és una obra literària que narra fets històrics en ordre cronològic en espais de temps i en transcurs dels quals són, al seu torn, situacions del moment. La paraula crònica ve del llatí Chronica, que al seu torn es deriva del  grec Kronika biblio, és a dir, llibres que segueixen l'ordre del temps. En una crònica dels fets es narren segons l'ordre temporal en què van ocórrer, sovint per testimonis presencials o contemporanis, ja sigui en primera o en tercera persona.

S'entén per crònica la història detallada d'un país, d'una localitat, d'una època o d'un home, o d'un esdeveniment en general, escrita per un testimoni ocular o per un contemporani que ha registrat sense comentaris tots els detalls que ha vist, i encara tots els que li han estat transmesos. Aquests són per exemple, les cròniques llatines de Flodoart, canonge de Reims, i de Guillem de Naugis i les cròniques franceses de Froissart i de Monstrelet. De tots els països europeus potser els més rics en cròniques siguin França, Itàlia i Anglaterra.

A la crònica s'utilitza un llenguatge senzill, directe, molt personal i admet un llenguatge literari amb ús reiteratiu d'adjectius per fer èmfasi en les descripcions. Empra verbs d'acció i presenta referències d'espai i temps. La crònica porta cert distanciament temporal al que se l'anomena escrits històrics. Per mitjà de les cròniques es poden redactar escrits, prenent les opinions de diverses persones per saber si això és cert o no, com en el llibre Crònica d'una mort anunciada escrit per Gabriel García Márquez.

Les cròniques són també un gènere periodístic. Se les classifica com "grogues" o "blanques" segons el seu contingut. Les "grogues" tenen material més subjectiu i generalment la veu autoritzada és una persona o ciutadà comú; les "blanques" usen material més objectiu i la veu autoritzada és, generalment, l'autoritat, un professional, etc.

Prosa poètica

Quan la prosa adquireix alguna de les propietats de la poesia com la mètrica, o inclou alguna forma poètica, especialment si es tracta de vers lliure. Amb tot, és un concepte fins a cert punt contradictori, ja que són precisament les característiques del vers les que el diferencien de la prosa, però l'evolució de les formes literàries sovint forcen els límits d'una classificació estricta.

Aquesta forma va ser introduïda pel novel·lista francès Louis Bertrand a l'obra Gaspard de la Nuit, de 1842. Tot i que no va tenir gaire ressò a la seva època, sí que va influir en els simbolistes de la fi del , un fet recollit per Baudelaire a la seva obra Petits poèmes en prose de 1869 que seria qui encunyaria el terme. També el poeta alemany Friedrich Hölderlin va conrear aquest estil a començaments del , si bé no va ser fins començament del  quan es va estendre la seva utilització entre autors francesos i anglesos.

Entre les múltiples definicions de què és un poema en prosa es troba el donat en el Diccionario de retórica, crítica y terminología literaria de Marchese i Forradellas on es diu que és un:

Gèneres no narratius

Assaig

L'assaig és un gènere relativament nou. Els seus orígens es poden rastrejar des d'èpoques més o menys remotes. Només en l'edat contemporània ha arribat a assolir una posició central. És força probable que en el seu desenvolupament i hegemonia, hagin tingut una gran influència el pensament liberal i el periodisme.

És un tipus de text en prosa i de composició lliure, que expressa les experiències individuals i les opinions sobre un tema o problema específic, i que no arriba a ésser el tractament definitiu o exhaustiu de la matèria que argumenta alguna cosa, una teoria, tesi o opinió. Les afirmacions són esporàdiques i per mode episòdic no central. El pensament exposat és el del mateix autor sobre alguna qüestió de la vida cultural o de la seva pròpia experiència. Michel de Montaigne considerat el pare de l'assaig modern, va fer una declaració en aquest sentit:

Gènere periodístic

El gènere periodístic es defineix en funció del paper que juga el narrador o emissor del missatge en relació a la realitat observada. La notícia pertany al gènere periodístic d'informació per excel·lència, i l'article d'opinió el més obert a la subjectivitat. Per a alguns autors, són estratègies comunicatives que s'organitzen i es fan recognoscibles tant per l'emissor com per al destinatari. Els texts que pertanyen al gènere periodístic informen a una gran quantitat de lectors sobre successos d'actualitat. Predominen, en ells, la funció referencial o informativa, el llenguatge i l'estil formal. En aquest tipus de text es privilegia el fet. El periodisme és un mètode d'interpretació de la realitat; per fer aquesta interpretació i transmetre al públic es necessiten una sèrie de filtres, unes fórmules de redacció, que és el que anomenem gèneres periodístics.

Alguns teòrics de la comunicació defineixen els gèneres periodístics com formes de comunicació culturalment establertes i reconegudes en una societat, un sistema de regles a les quals es fa referència per realitzar els processos comunicatius. Altres autors veuen els gèneres periodístics com categories bàsiques que construeixen la realitat. Els gèneres periodístics es diferencien entre si per tal de recollir la complexitat del que passa i exposar els lectors.

Hi ha gran varietat de classificacions de gèneres periodístics. Aquestes varien segons els diferents autors i corrents.

Segons la tipologia anglosaxona, basada en la frase "els fets són sagrats, les idees lliures", es coneixen dos tipus de gèneres:
els que donen a conèixer fets: la notícia, el reportatge i la crònica i els que donen a conèixer idees: principalment l'editorial i l'article d'opinió.

Segons les tipologies llatines es distingeixen quatre grans gèneres:
informació, reportatge, crònica i article o comentari.

Altres classificacions distingeixen entre:
 Gèneres informatius: fan una interpretació contextual de la informació en la que no apareix explícitament la interpretació.
 Gèneres interpretatius: apareix explícita la interpretació del periodista.

Un altre criteri per classificar els gèneres és el grau de subjectivitat, segons la major o menor presència del periodista en el text:
 Notícia: És el gènere periodístic per excel·lència i la base de tots els altres; en ella s'informa amb el menor nombre de paraules possibles, d'allò fonamental d'un fet o situació.
 Article, comentari o editorial: la presència de l'autor és total. El periodista mostra les seves opinions d'una manera molt subjectiva, està donant la seva visió particular sobre un fet.
 Crònica: emmarca el que ha passat i ho interpreta, però directament sobre els fets, no hi ha opinió.
 Reportatge: És una narració ampliada, exhaustiva i documentada d'un succés. Es complementa amb la fotografia per fer més comprensible el missatge. Exposa detalladament descripcions de llocs, esdeveniments, persones i fets.
 Editorial: És l'expressió de l'opinió o postura del diari o periòdic sobre un tema d'interès social. Apareix sempre de manera destacada en les primeres pàgines. Es caracteritza per l'anonimat, encara que són el director o el consell de redacció els encarregats de donar la seva opinió.

Manifest
El manifest és un programa que en forma de prosa, està associat als principis estètics d'un determinat moviment literari, corrents, escoles o grups, aquest terme es va popularitzar al , és molt ampli en el seu significat, pel que és condicional i aplicable a una varietat de fenòmens literaris, des de declaracions detallades a estètiques o tractats, articles o pròlegs. En alguns casos, les aparences estètiques d'escriptors i crítics literaris són de naturalesa dels manifests literaris, que exerceixen una influència directa sobre el procés històric-literari, malgrat que part de la declaració en la forma del manifest acostumen a ésser breus i sense influència. De vegades manifests literaris i el contingut real de l'escola literària no coincideixen. En general, els manifests són un resultat particular vibrant de la vida social, i que reflecteix la ideologia de la recerca estètica de l'art i la formació d'una nova literatura. Els primers manifests es van realitzar a Europa a final del  o principi del , principalment per grups relacionats amb l'avantguarda artística.

Referències

Bibliografia

Gèneres literaris

redpajama_set_name: RedPajamaWikipedia


This was a very nice surprise. I've never seen the intricacies of disability, employment, benefits, and "work incentives" discussed so clearly and accurately in a "mainstream" article.
I think that the key was structuring the article around an interview with an expert on disability, work, and benefits … someone who has disabilities and uses work incentives in his personal life. I even appreciated how Pollack asked Entwisle some personal questions about his disability. He asked carefully, respectfully, and with a purpose greater than intrusive curiosity. Starting with Entwisle's day-to-day routines made the financial and policy details they were there to discuss more meaningful and real.
I found it interesting, too, that the interviewer, Pollack, immediately zeroed in on some of the illogical side effects of disability employment policy ... "disincentives" that people with disabilities have been complaining about for decades. Sometimes it's annoying when non-disabled people "discover" injustices we've known about for a long time. But somehow, this time, Pollack's surprise and bit of incredulousness just felt like a validation.
The only thing that made me a little uncomfortable is that Entwisle seems to come from a mindset where "employment" means well-paying, credentialed, white-collar employment. Since he's a policy analyst, maybe that's natural. But I do wish he had said more about people for whom "employment" means minimum wage, irregular hours, and sporadic employment. Maybe Wonkblog can do a followup interview someday to cover more bases.
If you want to understand how existing work incentives programs work, this is a very good place to start.


text:
'The Dark Knight' Tumbler is coming to 'Batman: Arkham Knight' next month (video)
Warner Bros. has released a final trailer highlighting Batman: Arkham Knight's new 1989 Movie Batmobile Pack which is available to download today for $1.99. But towards the end, we get a first look at next month's DLC… The Dark Knight Batmobile, aka The Tumbler! Hopefully we get a Christian Bale Batman skin to go along with it, just like we did for Michael Keaton. Check out all the official details below.
With the 1989 Movie Batmobile Pack, you can get behind the wheel of the Batmobile from the 1989 film 'Batman' and outfit Batman with a customized skin from the film. The pack also gives you access to two racetracks inspired by the film's sequel 'Batman Returns'. In addition, if you successfully clear the streets of the Arkham Knight's drone tanks, you can take the Batmobile for a spin on the streets of Gotham City.
Separately, the Bat-Family Skin Pack includes 6 skins based on the alternate timelines of your favorite characters including 1990s Catwoman, One Year Later Robin, Arkham Origins Batman, Iconic Grey & Black Batman, 1970s Batman and the Original Arkham Nightwing.
This content will be available beginning today for fans who have purchased the Batman: Arkham Knight Season Pass for the PlayStation®4 computer entertainment system and Xbox One, and are connected to the Internet. The content can also be purchased a la carte beginning today for $1.99 MSRP on the PlayStation®Network and Xbox LIVE online entertainment network from Microsoft.
Stay tuned for new Batman: Arkham Knight downloadable content coming in September including:
Crime Fighter Challenge Pack #1 (Sept. 1): Receive 6 AR challenges for Batman, Nightwing, Robin and Catwoman. This expansive challenge pack allows focused training in Freeflow Combat and Invisible Predator stealth incursion.
GCPD Lockdown (Later in Sept.): Set after the events of Arkham Knight, play as Nightwing to stop the Penguin from breaking out of the Gotham City Police Department in this thrilling story pack.
2008 Tumbler Batmobile Pack (Later in Sept.): Inspired by the 2008 movie 'The Dark Knight', intimidate your foes with the Tumbler Batmobile and race through two themed tracks.
Original Arkham Batman Skin (Later in Sept.): Fight the war against Gotham City with the original Arkham Asylum Batman costume.


text:
Professor Emmanuel Chuka Osammor (September 10, 1938 – 2007) was a Nigerian academic and politician who served as the minister of Police Affairs and later Employment, Labour and Productivity in the administration of President Shehu Shagari. He was also Attorney General for a short time in Nigeria. At the time of his death, Prof. Emmanuel Osammor was the Pro Chancellor of Bauchi University, Nigeria, a government advisor, and elder in the Peoples Democratic Party of Nigeria.

Life

An indigene of Ogwashi-Uku, Osammor was born in Ilorin, Kwara State. He received primary education from Idah primary Catholic School and later attended St Patrick's College, Asaba, graduating in 1957. In 1964, he completed law studies at the University of Birmingham and was in private practice in 1966 before he joined the faculty of the Nigerian Law School in 1968.

Political career

During the administration of Shehu Shagari, he served as the Minister of Police Affairs overseeing the police's first sports festival, and later Minister of Employment and Labour. After the end of the Republic in 1984, he was exiled abroad and went into private practice.

He returned to Nigeria from exile during the Abacha regime. During the nation's fourth Republic; Osammor was a Founding Member of the Peoples Democratic Party. He served on the party's Executive Committee and was a member of the party's Reconciliation Committee, chairing the Committee's North Central Region. He died in December, 2007 while visiting jailed former Delta State governor, James Ibori.

Leadership

Before his death, the professor of law was leader of one of the several associations that metamorphosed into the ruling Peoples Democratic Party (PDP).

The late Osammor was also among the few politicians who worked tirelessly to ensure victory for Ibori and the PDP in Delta State, both in 1999 and 2003.

The late professor was a close associate of former minister of transport Umaru Dikko, Alhaji Ishaku Ibrahim and many other political big-wigs in the country. He was both a scholar and advocate of true federalism, not only in Delta, but Nigeria at large.

Retrieved from "http://nigerianwiki.com/wiki/Emmanuel_Osammor"

Sources
 http://nigerianwiki.com/Emmanuel_Osammor
 http://ofilis1234.wordpress.com/2007/12/22/osamor-ex-minister-of-police-dies-after-visiting-ibori/
 http://duckduckgo.com/Emmanuel_Chuka_Osammor
 http://www.peopledemocraticparty.org/pressreleasenewboardoftrustee.html
 https://groups.yahoo.com/group/igala/message/2044
 http://www.motherlandnigeria.com/old_transition.html
 http://ahooldus.ee/index.php?option=com_awiki&view=mediawiki&article=Emmanuel_Chuka_Osammor&Itemid=53
 http://emm.newsexplorer.eu/NewsExplorer/clusteredition/en/20071223,ngrguardiannews-77e79361206be4af4e52b6d6f6df3818.html
 http://www.mynaijanews.com/content/view/430/138/
 http://allafrica.com/stories/200712240616.html
 https://web.archive.org/web/20070804195758/http://www.sunnewsonline.com/webpages/politics/2006/june/10/politics-10-06-2006-001.htm
 http://www.pointblanknews.com/authbioofabiola9.html
 https://web.archive.org/web/20110725224920/http://deltastategovernor.org/news_fetcher.php?fid=112
 https://web.archive.org/web/20071224084021/http://www.thisdayonline.com/nview.php?id=98719
 http://odili.net/news/source/2007/dec/23/208.html

Academic staff of the Nigerian Law School
1938 births
2007 deaths
Alumni of the University of Birmingham


Actress and scholar Gwendolyn Briley-Strand will portray the abolitionist leader in the show "Harriet Tubman: The Chosen One" on Jan. 21 at the Carroll Arts Center.
A show that has educated audiences at venues from the White House to the Smithsonian's National Museum of American History will come to Westminster on Martin Luther King, Jr. Day, bringing Harriet Tubman to life.
Actress and scholar Gwendolyn Briley-Strand will portray the abolitionist leader in the show "Harriet Tubman: The Chosen One" on Monday, Jan. 21. Briley-Strand wrote the one-woman show, which tours around the country.
In the spirit of service on Martin Luther King, Jr. Day, admission to the performance is free of charge to any audience member who has volunteered for a nonprofit organization during the past year.
The show will begin at 2 p.m. at the Carroll Arts Center, 91 W. Main Street, Westminster. Tickets are $10 for adults; $8 for ages 25 & under and ages 60 & up. Members get additional discounts.
Tickets can be purchased at the box office or online at www.CarrollCountyArtsCouncil.org.
Happy New Year! As we jump right into 2019, we have some fabulous offerings in January and February at the Carroll Arts Center. Take a look at our website to find out all the things happening in the new year at www.carrollcountyartscouncil.org.
Tubman escaped slavery herself before rescuing hundreds of others through the Underground Railroad. During the Civil War, she held many roles including a military scout assigned to espionage. After the Emancipation Proclamation, she continued as a leader working to achieve the emancipation.
The performance will be followed by a question-and-answer session with Briley-Strand. She has offered to answer questions in-character as Tubman or for herself.
The performance aims to continue the Carroll County Arts Council's tradition of "presenting thought-provoking programs in observance of Martin Luther King, Jr. Day," according to the release.
This undated photo that shows Harriet Tubman was for sale via Swann Auction Galleries in 2017.
Briley-Strand has performed as Tubman at the White House's Independence Day celebrations in 1991 and 1992, and has performed "The Chosen One" at venues including the John F. Kennedy Center for the Performing Arts, the Smithsonian's National Museum of American History, and the New York State Museum in Albany, according to the release. She has appeared on "House of Cards," "Homicide: Life on the Streets," and "Species II."
Carroll Community College and Susan Williamson will sponsor the performance.
There is no snow date scheduled.
For more information go to www.CarrollCountyArtsCouncil.org or call 410-848-7272.


The Book of Mormon (properly titled The Book of Mormon: Another Testament of Jesus Christ) is a sacred book of scripture that testifies of Jesus Christ and explains the Lord's dealings with His people in the ancient Americas. Members of The Church of Jesus Christ of Latter-day Saints believe the Book of Mormon to be the word of God and a companion testament to the Holy Bible. Joseph Smith translated the Book of Mormon into English in the 1820s, and others have since translated the English version into dozens of languages. The book contains a promise that whoever reads it sincerely, ponders its contents and asks God if it is true will receive that knowledge by the power of the Holy Ghost.
Like the Bible, the Book of Mormon is a collection of sacred writings by ancient prophets, except these prophets lived upon the American continent. God commanded these prophets to keep a record of their teachings, prophecies, missionary labors, and wars so that we could "know concerning the doings of the Lord in other lands, among people of old" (1 Nephi 19:22). The Lord told the Prophet Joseph Smith that the Book of Mormon contained the "record of a fallen people" (Doctrine and Covenants 20:9), who would serve as a warning to people of our day. The Book of Mormon is accepted by the members of The Church of Jesus Christ of Latter-day Saints as the word of God, along with the Bible, the Doctrine and Covenants and the Pearl of Great Price.
The ancient American prophet Mormon, for whom the book was named, wrote that its purpose is to remind people what God has done for His people anciently and, most importantly, to convince all people "that Jesus is the Christ, the Eternal God" (Book of Mormon title page). The prophet Joseph Smith said that the Book of Mormon is "the most correct of any book on earth, and the keystone of our religion" and that a person "would get nearer to God by abiding by its precepts, than by any other book" (Teachings of the Prophet Joseph Smith, p. 194).
5 Is the Book of Mormon true?
6 Changes to the Book of Mormon?
Yea, come unto Christ, and be perfected in him, and deny yourselves of all ungodliness; and if ye shall deny yourselves of all ungodliness, and love God with all your might, mind and strength, then is his grace sufficient for you, that by his grace ye may be perfect in Christ; and if by the grace of God ye are perfect in Christ, ye can in nowise deny the power of God. And again, if ye by the grace of God are perfect in Christ, and deny not his power, then are ye sanctified in Christ by the grace of God, through the shedding of the blood of Christ, which is in the covenant of the Father unto the remission of your sins, that ye become holy, without spot. And now I bid unto all, farewell. I soon go to rest in the paradise of God, until my spirit and body shall again reunite, and I am brought forth triumphant through the air, to meet you before the pleasing bar of the great Jehovah, the Eternal Judge of both quick and dead. Amen. (Moroni 10:32–34).
Moroni then closed the records and buried them in a hill, along with a few other sacred items. Approximately 1,400 years later, Moroni appeared to Joseph Smith on September 21, 1823, as an angel of God and told him about the record. He told Joseph that "there was a book deposited, written upon gold plates, giving an account of the former inhabitants of this continent," and that it contained the "fullness of the everlasting Gospel [...] as delivered by the Savior to the ancient inhabitants" (Joseph Smith—History 1:34). The angel reappeared two more times that night, repeating the message and adding to it, so that Joseph could not forget what was said. The next day, the angel appeared to him once again, commanding Joseph to tell his father about the vision. Joseph did so, and his father confirmed through the power of the Holy Spirit, that the message was from God.
Through the next four years the Angel appeared and taught Joseph Smith in order to prepare the young man to translate the record. Finally in 1827, on the twenty-second of September, Joseph was able to obtain the record. Heavy persecution made it difficult for him to work on the translation, and he frequently had to hide the book. Initially, Joseph's wife, Emma, helped as scribe. Joseph would translate, using sacred instruments called Urim and Thummin, which ancient Old Testament prophets had also used. Emma would write what he dictated. Emma later said: "Joseph Smith could neither write nor dictate a coherent and well-worded letter, let alone dictating a book like the Book of Mormon. And, though I was an active participant in the scenes that transpired, and was present during the translation of the plates [...] it is marvelous to me, 'marvelous and a wonder,' as much so as to any one else." (McConkie, Remembering Joseph, p 303).
Eventually, fame and rumors spread and this led to persecution, but also to inquiries. Many humble, curious people sought out Joseph and he always answered their questions. One of these was Oliver Cowdery, who served as the major scribe for the translation of the book and as one of the witnesses to the book's truth.
Later, eight others also saw and felt the records and testified that the record was real and true. Their testimony, The Testimony of Eight Witnesses, is also affixed to every Book of Mormon. Not one of these men ever denied their testimony even though they went through many trials and persecutions because of it. None of them got wealth, popularity, or power by sharing this testimony. In fact, some of them lost nearly everything, but nevertheless, they all testified again and again that the Book of Mormon was true and that Joseph Smith was a prophet.
After the translation was finished, Joseph Smith, Martin Harris, a well-respected farmer from the area, and Hyrum Smith, Joseph's brother, prepared the manuscript for publication. Martin Harris was so convinced of the truthfulness of the Book of Mormon that he mortgaged his farm for $3,000 to pay for the publication. The Book was published by E.B. Grandin in Palmyra, New York in early spring, 1830 when Joseph Smith was only 25 years old.
The order is generally chronological, starting with Nephi, who lived around 600 B.C., continuing to Moroni who lived around 400 A.D. The Book of Ether, inserted by Moroni near the end, is an abridgement of an ancient record of a people called Jaredites who predated the Nephites, that is descendants of the first Nephi, by many hundreds of years. The history and story told in the Book of Mormon is a complex account of emigrations, wars, preaching, rebellion, revolutions, kings, queens, and wicked bandits. Woven into this narrative are the righteous preaching, sermons, and deeds of holy men and women who testified that Jesus Christ lived and died to save all mankind.
This covers First Nephi through the Book of Omni and covers the period from about 600 BC to about 130 BC. It starts with the story of a prophet, Lehi, and it tells how this prophet, along with his family and many others, was led by God to the Americas. Traveling from Jerusalem, after crossing the Arabian Peninsula, this small group of faithful finally reached the Americas by ship. Near the beginning of this period the community split into two main groups called the Nephites and the Lamanites (from the names of two of Lehi's sons). The Nephites and Lamanites grew into two separate civilizations at war with each other for most of the period covered in the Book of Mormon. One of the Nephite prophets explains that there were in fact many different groups, but he only distinguished between two, Nephites, those friendly to the people of God, and Lamanites, those who opposed the people of God (Jacob 1:13–14). Writers after him follow this tradition.
This section includes the abridgement and records of Mormon, for whom the book was named. He took the records of the people and summarized their history. This covers the books from Words of Mormon, which are an introduction to his abridgement, through Mormon chapter 7. The books deal with the period from about 130 B.C. to sometime after AD 400. They include many accounts of preaching and wars. The prophet Alma and his son called Alma the Younger, are central figures for the first part of this history. Alma was converted by another prophet named Abinadi. He and his son became great missionaries and in their days many Lamanites were converted to the Lord. After this period of righteousness, there followed a succession of wars, civil wars, and rebellions that nearly destroyed the Nephites. The Book of Helaman tells how a wicked group, whom the Nephites called Gadiaton robbers, destroyed the government and plunged the whole area into confusion.
Behold, I am Jesus Christ, whom the prophets testified shall come into the world. And behold, I am the light and the life of the world; and I have drunk out of that bitter cup which the Father hath given me, and have glorified the Father in taking upon me the sins of the world, in the which I have suffered the will of the Father in all things from the beginning.
Christ then allowed each person to personally come forward and see him, one by one, until everyone at that first meeting saw him, felt the prints of the nails in his hands and feet, and knew that He was their Savior. Jesus then instructed the Nephites in the Gospel and many other things pertaining to His Kingdom. He set up a church similar to the one He established in Jerusalem before His death. He then ascended to heaven. His righteous disciples then preached to all the people surrounding them until they converted many. For four generations they enjoyed universal peace and righteousness.
Hundreds of years later, the people became wicked again, and Mormon was commanded to compile his record before the last righteous Nephites were killed. He led the army in a series of wars until at last nearly all the Nephites were either killed, scattered, or had joined their foes. Finally, Mormon gave the record to Moroni who completed the history and added many other teachings about the Savior and His Gospel. He ends with the invitation to come to Christ quoted above.
Before he completed the record, Moroni abridged and inserted a record written by a Prophet named Ether who predated the Nephites. The Jaredites originated at the time of the Tower of Babel and traveled to America many thousands of years before Lehi's family arrived. God had sent them many righteous prophets, but by the time the Nephites arrived the Jaredite civilization had been destroyed in a civil war. Ether, the last prophet of the Jaredites, wrote a brief history of his people which was found and translated by later societies. The book contains many prophecies and teachings.
While no summary could possibly tell everything that a book as rich and complex as the Book of Mormon teaches, this section will show a few quotations to show some of the major principles and teachings that are restored or confirmed to us through the Book of Mormon.
"For behold, God knowing all things, being from everlasting to everlasting, behold, he sent angels to minister unto the children of men, to make manifest concerning the coming of Christ; and in Christ there should come every good thing. And God also declared unto prophets, by his own mouth that Christ should come." (Moroni 7:22-23).
The 150 millionth copy of the Book of Mormon was printed in early 2011, after 181 years of the book's history. To that date, the Book of Mormon had been fully translated into 82 languages and partially translated in 25 more. A full-time missionary force of more than 52,000 helps distribute free copies of the Book of Mormon worldwide, and free copies can also be obtained from Mormon.org.
Is the Book of Mormon true?
The Book of Mormon challenges its readers to discover if it's really what it claims to be, a true book written by ancient prophets in the American continent which contains the fullness of the everlasting Gospel of the Lord Jesus Christ.
This passage explains how a sincere researcher of the truth can discover by himself if the book is what it claims to be. By reading its content, meditating its words, and finally praying with a sincere and open heart, every person can come to know the truth of the Book of Mormon. In one of the last parts of the Book of Mormon it is explained that readers will "receive no witness until after the trial of their faith" (Ether 12:6).
If the book is true, then Joseph Smith was a true prophet of God, and that the church that was restored through him, The Church of Jesus Christ of Latter-day Saints is indeed the kingdom of God in the earth that was established again to prepare the world for the Second Coming of the Lamb of God, Jesus Christ.
Noel B. Reynolds, Book of Mormon Authorship Revisited: The Evidence for Ancient Origins (Provo: FARMS, 1997), with chapters on the translation of the Book of Mormon, chiasmus, wordprints, Lehi's journey through Arabia, and a Mesoamerican historical context. Many of these articles were written by the preeminent researcher in the field.
John W. Welch, Donald W. Parry, and Daniel C. Peterson, eds., Echoes and Evidences of the Book of Mormon (Provo: FARMS, 2002), which summarizes the main arguments and findings of Book of Mormon research since Hugh Nibley.
The online version of To All the World: The Book of Mormon Articles from the Encyclopedia of Mormonism edited by S. Kent Brown, Daniel H. Ludlow, and John W. Welch. This volume, produced by BYU scholars, offers 130 concise and authoritative articles on the major characters, themes, and issues from the Book of Mormon.
Changes to the Book of Mormon?
There have been several thousand of these since 1830, almost all of which are grammatical revisions such as which to who, or was to were.
Very, very few of these affect the meaning at all, and there has been no reworking of the Book of Mormon's complicated narratives or extensive sermons. In fact, there are only eleven instances where Joseph Smith added or changed a few words to clarify doctrine or a name.
Joseph Smith received the translation of the Book of Mormon through revelation in a non-standard grammatical form, in paragraphs, not chapters and verses, and Joseph Smith himself smoothed out much of the language in the 1837 and 1840 editions (he even deleted 46 instances of "it came to pass"!). The printer made organizational changes to get the book ready for publication. Thanks to Skousen's work, The Book of Mormon is probably the most thoroughly documented scriptural text in history, meaning that we can track its progress from its first written form to the present official version in minute detail.
One can see and read a photographic reprint of the 1830 edition by clicking here. Skousen's Book of Mormon: The Earliest Text (published by Yale University Press in 2009) gets us as close as humanly possible to the original moment of revelation. For articles discussing the changes in the Book of Mormon, click here.
What is the Mormon Bible?
This page was last edited on 11 April 2019, at 12:40.