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Japanese architecture ( Nihon kenchiku?
) has traditionally been typified by wooden structures, elevated slightly off the ground, with tiled or thatched roofs. Sliding doors (fusuma) were used in place of walls, allowing the internal configuration of a space to be customized to different occasions. People usually sat on cushions or otherwise on the floor, traditionally; chairs and high tables were not widely used until the 19th century. Japanese houses have thin walls because of the mild climate and overlapping, slanted, and slightly curved roofs because of the fact that there is plenty of rain Kinkaku-ji, Kyoto, originally built in 1397 especially during early summer. Timber is the traditional building material for (Muromachi period) Japanese houses. It makes them airy which is important during the humid summer months. The disadvantages are that the houses can be damaged easily by earthquakes and fires. Nowadays, concrete and steel are, of course, widely used as well. Japan has incorporated much of Western, modern, and post-modern architecture into construction and design, and is today a leader in cutting-edge architectural design and technology. When Japan opened herself to the rest of the world around the year 1868, Western architecture began to displace traditional Japanese architecture. Nevertheless, some modern Japanese detached houses still have a typically Japanese appearance. The earliest Japanese architecture was seen in prehistoric times in simple pit-houses and stores that were adapted to a hunter-gatherer population. Influence from Han Dynasty China via Korea saw the introduction of more complex grain stores and ceremonial burial chambers. The introduction into Japan of Buddhism in the sixth century was a catalyst for large scale temple building using complicated techniques in wood. Influence from the Chinese T'ang and Sui Dynasties led to the foundation of the first permanent capital in Nara. Its checkerboard street layout used the Chinese capital of Chang'an as a template for its design. A gradual increase in the size of buildings led to standard units of measurement as well as refinements in layout and garden design. The introduction of the tea ceremony emphasized simplicity and modest design as a counterpoint to the excesses of the aristocracy. During the Meiji Restoration of 1868 the history of Japanese architecture was radically changed by two important events. The first was the Kami and Buddhas Separation Act of 1868, which formally separated Buddhism from Shinto and Buddhist temples from Shinto shrines, breaking an association between the two which had lasted well over a thousand years and causing, directly and indirectly, immense damage to the nation's architecture. Second, it was then that Japan underwent a period of intense Westernization in order to compete with other developed countries. Initially architects and styles from abroad were imported to Japan but gradually the country taught its own architects and began to express its own style. Architects returning from study with western architects introduced the International Style of modernism into Japan. However, it was not until after the Second World War that Japanese architects made an impression on the international scene, firstly with the work of architects like Kenzo Tange and then with theoretical movements like Metabolism.
General features of Japanese traditional architecture
Much in the traditional architecture of Japan is not native, but was imported from China and other Asian cultures over the centuries. Japanese traditional architecture and its history are as a consequence dominated by Chinese and Asian techniques and styles (present even in Ise Shrine, held to be the quintessence of Japanese architecture) on one side, and by Japanese original variations on those themes on the other. Partly due also to the variety of climates in Japan and the millennium encompassed between the first cultural import and the last, the result is extremely heterogeneous, but several practically universal features can nonetheless be found. First of all is the choice of materials, always wood in various forms (planks, straw, tree bark, paper, etc.) for almost all structures. Unlike both Western and some Chinese architecture, the use of stone is avoided except for certain specific uses, for example temple podia and pagoda foundations.
The roof is the dominant feature of traditional Japanese architecture.
The general structure is almost always the same: posts and lintels support a large and gently curved roof, while the walls are paper-thin, often movable and in any case non-carrying. Arches and barrel roofs are completely absent. Gable and eave curves are gentler than in China and columnar entasis (convexity at the center) limited. The roof is the most visually impressive component, often constituting half the size of the whole edifice. The slightly curved eaves extend far beyond the walls, covering verandas, and their weight must therefore be supported by complex bracket systems called toky, in the case of temples and shrines. Simpler solutions are adopted in domestic structures. The oversize eaves give the interior a characteristic dimness, which contributes to the building's atmosphere. The interior of the building normally consists of a single room at the center called moya, from which depart any other less important spaces. Inner space divisions are fluid, and room size can be modified through the use of screens or movable paper walls. The large, single space offered by the main hall can therefore be divided according to the need. To the contrary, some walls can be removed and different rooms joined temporarily to make space for some more guests. The separation between inside and outside is itself in some measure not absolute as entire walls can be removed, opening a residence or temple to visitors. Verandas appear to be part of the building to an outsider, but part of the external world to those in the building. Structures are therefore made to a certain extent part of their environment. Care is taken to blend the edifice into the surrounding natural environment. The use of construction modules keeps proportions between different parts of the edifice constant, preserving its overall harmony. (On the subject of building proportions, see also the article ken). Even in cases as that of Nikk Tsh-g, where every available space is heavily decorated, ornamentation tends to follow, and therefore emphasize, rather than hide, basic structures. Being shared by both sacred and profane architecture, these features made it easy converting a lay building into a temple or vice versa. This happened for example at Hry-ji, where a noblewoman's mansion was transformed into a religious building.
Prehistoric period
The prehistoric period includes the Jmon, Yayoi and Kofun periods stretching from approximately 5000 BCE to the beginning of the eighth century CE. During the three phases of the Jmon period the population was primarily hunter-gatherer with some primitive agriculture skills and their behaviour was predominantly determined by changes in climatic conditions and other natural stimulants. Early dwellings were pit houses consisting of shallow pits with tamped earth floors and grass roofs designed to collect rainwater with the aid of storage jars. Later in the period, a colder climate with greater rainfall led to a decline in population, which contributed to an interest in ritual. Concentric stone circles first appeared during this time.
Reconstructed pit dwelling houses in Yoshinogari,Saga Prefecture, 2nd or 3rd century
Reconstructed dwellings in Yoshinogari
During the Yayoi period the Japanese people began to interact with the Chinese Han Dynasty, whose knowledge and technical skills began to influence them. The Japanese began to build raised-floor storehouses as granaries which were constructed using metal tools like saws and chisels that began to appear at this time. A reconstruction in Toro, Shizuoka is a wooden box made of thick boards joined in the corners in a log cabin style and supported on eight pillars. The roof is thatched but, unlike the typically hipped roof of the pit dwellings, it is a simple V-shaped gable.
Reconstructed grain storehouse in Toro, Shizuoka
The Kofun period marked the appearance of many-chambered burial mounds or tumuli (kofun literally means "old mounds"). These are thought to have been influenced by similar mounds in Korea. Early in the period the tombs, known as "keyhole kofun" or zenp-ken kofun (?, lit. square in front, circular in back old tomb-mound), often made use of the existing topography, shaping it and adding man-made moats to form a distinctive keyhole shape, i.e. that of a circle interconnected with a triangle. Access was via a vertical shaft that was sealed off once the burial was completed. There was room inside the chamber for a coffin and grave goods. The mounds were often
decorated with terracottafigures called haniwa. Later in the period mounds began to be located on flat ground and their scale greatly increased. Among many examples in Nara and Osaka, the most notable is the Daisen-kofun, designated as the tomb of Emperor Nintoku. The tomb covers 32 hectares (79 acres) and it is thought to have been decorated with 20,000 haniwa figures. Towards the end of the Kofun period, tomb burials faded out as Buddhist cremation ceremonies gained popularity.
Reconstructed raised-floor building in Yoshinogari
Daisenry Kofun, Osaka, 5th century
Asuka and Nara architecture
The most significant contributor to architectural changes during the Asuka period was the introduction of Buddhism. [3] New temples became centers of worship with tomb burial practices slowly becoming outlawed. Also, Buddhism brought to Japan and kami worship the idea of permanent shrines and gave to Shinto architecture much of its present vocabulary. Some of the earliest structures still extant in Japan are Buddhist temples established at this time. The oldest surviving wooden buildings in the world are found at Hry-ji, to the southwest of Nara. First built in the early 7th century as the private temple of Crown Prince Shtoku, it consists of 41 independent buildings; the most important ones, the main worship hall, or Kon-d (Golden Hall), and the five-story pagoda), stand in the centre of an open area surrounded by a roofed cloister (kair). The Kon-d, in the style of Chinese worship halls, is a two-story structure of post-and-beam construction, capped by an irimoya, or hipped-gabled, roof of ceramic tiles. Heij-ky, modern day Nara, was founded in 708 as the first permanent capital of state of Japan. The layout of its checkerboard streets and buildings were influenced by the Chinese capital of Chang'an. The city soon became an important centre of Buddhist worship in Japan. The most grandiose of these temples was Tdaiji, built to rival temples [8] of the Chinese T'ang and Sui Dynasties. Appropriately, the 16.2-m (53-ft) Buddha or Daibutsu (completed in 752) enshrined in the main hall is a Rushana Buddha, the figure that represents the essence of Buddhahood, just as Tdai-ji represented the centre for imperially sponsored Buddhism and its dissemination throughout Japan. Only a few fragments of the original statue survive, and the present hall and central Buddha are reconstructions from the Edo period. Clustered around the main hall (the Daibutsuden) on a gently sloping hillside are a number of secondary halls: [3] the Hokke-d (Lotus Sutra Hall), the Kfuku and the storehouse, called the Shs-in. This last structure is of great importance as an art-historical cache, because in it are stored the utensils that were used in the temple's dedication ceremony in 752, as well as government documents and many secular objects owned by the Imperial family.
Pagoda at Hokki-ji,Ikaruga, Nara Built in 706
Pagoda at Yakushi-ji,Nara, Nara Originally built in 730
Kon-d and pagoda atHry-ji, Ikaruga, Nara Built in 7th century
Hokked at Tdaiji, Nara, Nara Founded in 743
Golden Temple atTshdai-ji, Nara, Nara Built in 8th century
Shs-in at Tdaiji, Nara, Nara Built in 8th century
Heian period
Although the network of Buddhist temples across the country acted as a catalyst for an exploration of architecture and culture, this also led to the clergy gaining increased power and influence. Emperor Kammu decided to escape this influence by moving his capital first to Nagaoka-ky and then to Heian-ky, known today as Kyto. Although the layout of the city was similar to Nara's and inspired by Chinese precedents, the palaces, temples and dwellings began to show examples of local Japanese taste. Heavy materials like stone, mortar and clay were abandoned as building elements, with simple wooden walls, floors and partitions becoming prevalent. Native species like cedar(sugi) were popular as an interior finish because of its prominent grain, while pine (matsu) and larch (aka matsu) were common for structural uses. Brick roofing tiles and a type of cypress called hinoki were used for roofs. It was sometime during this period that the hidden roof, a uniquely Japanese solution to roof drainage problems, was adopted. The increasing size of buildings in the capital led to anarchitecture reliant on columns regularly spaced in accordance with the ken, a traditional measure of both size and proportion. The Imperial Palace Shishinden demonstrated a style that was a precursor to the later aristocratic-style of building known as shinden-zukuri. The style was characterised by symmetrical buildings placed as arms that defined an inner garden. This garden then used borrowed scenery to seemingly blend with the wider landscape.[10] The chief surviving example of shinden-zukuri architecture is the H--d (?, Phoenix Hall, completed 1053) of Byd-in, a temple in Uji to the southeast of Kyto. It consists of a main rectangular structure flanked by two L-shaped wing corridors and a tail corridor, set at the edge of a large artificial pond.[10] Inside, a single golden image of Amida (circa 1053) is installed on a high platform. Raigo (Descent of the Amida Buddha) paintings on the wooden doors of the H--d are often considered an early example of Yamato-e, Japanese-style painting, because they contain representations of the scenery around Kyto. The priest Kkai (best known by the posthumous title Kb Daishi, 774835) journeyed to China to study Shingon, a form of Vajrayana Buddhism, which he introduced into Japan in 806. At the core of Shingon worship are the various mandalas, diagrams of the spiritual universe which influenced temple design.[3] The temples erected for this new sect were built in the mountains, far away from the court and the laity in the capital. The irregular topography of these sites forced their designers to rethink the problems of temple construction, and in so doing to choose more indigenous elements of design.[13] At this time the architectural style of Buddhist temples began to influence that of the Shint shrines. For example, like their Buddhist counterparts the Shint shrines began to paint the normally unfinished timbers with the characteristic red cinnabar colour.[13] During the later part of the Heian Period there were the first documented appearances of vernacular houses in the minka style/form. These were characterised by the use local materials and labour, being primarily constructed of wood, having packed earth floors and thatched roofs.
Phoenix Hall at Bydin,Uji, Kyoto Built in 1053
Typical minkastylegasshzukuri farmhouse
Pagoda of Ichijji, Kasai,Hygo Built in 1171
Nageire-d of Sanbutsu-ji,Misasa, Tottori
Ujigami Shrine, Uji, Kyoto Built in 1060
Kamakura and Muromachi periods
During the Kamakura period (11851333) and the following Muromachi period (13361573), Japanese architecture made technological advances that made it somewhat diverge from its Chinese counterpart. In response to native requirements such as earthquake resistance and shelter against heavy rainfall and the summer heat and sun, the master carpenters of this time responded with a unique type of architecture, [15] creating the Daibutsuy and Zenshy styles.[16][17][18] The Kamakura period began with the transfer of power in Japan from the imperial court to the Kamakura shogunate. During the Genpei War (1180 1185), many traditional buildings in Nara and Kyoto were damaged. For example, Kfuku-ji and Tdai-ji were burned down by Taira no Shigehira of the Taira clan in 1180. Many of these temples and shrines were later rebuilt by the Kamakura shogunate to consolidate the shogun's authority.[3] Although less elaborate than during the Heian period, architecture in the Kamakura period was informed by a simplicity due to its association with the military order. New residences used a buke-zukuri style that was associated with buildings surrounded by narrow moats or stockades. Defense became a priority, with buildings grouped under a single roof rather than around a garden. The gardens of the Heian period houses often became training grounds.[19] After the fall of the Kamakura shogunate in 1333, the Ashikaga shogunate was formed, having later its seat in the Kyoto district of Muromachi. The proximity of the shogunate to the imperial court led to a rivalry in the upper levels of society which caused tendencies toward luxurious goods and lifestyles. Aristocratic houses were adapted from the simple buke-zukuri style to resemble the earlier shinden-sukuri style. A good example of this ostentatious architecture is the Kinkaku-ji in Kyto, which is decorated with lacquer and gold leaf, in contrast to its otherwise simple structure and plain bark roofs.[19] In an attempt to rein in the excess of the upper classes, the Zen masters introduced the tea ceremony. In architecture this promoted the design of chashitsu (tea houses) to a modest size with simple detailing and materials. The style informed residential architecture with lighter, more intimate buildings relying on slender rafters and pillars with sliding inner partitions fusuma and outer sliding walls shji.[19] Although woven grass and straw tatami mats first began to appear in the Kamakura period, they were often thrown all over the floor. In the Muromachi period they began to have a regular size and be closely fitted together. A typically sized Chashitsu is 4 1/2 mats in size. In the garden, Zen principles replaced water with sand or gravel to produce the dry garden (karesansui) like the one at Ryan-ji.
Jdod of Jdoji, Ono,Hygo Built in 1194
Butsuden of Kzanji,Shimonoseki, Yamaguchi Built in 1320
Ryan-ji dry garden in Kyoto
Shfuku-ji, Tokyo, Completed in 1407
Danjogaran Fudo-d in Mt. Kya, Wakayama Built in 1197
Garden of Tenry-ji in Kyoto
Sanjsangen-d, Kyoto Built in 1266 Ginkaku-ji, Kyoto Built in the 15th century
Pagoda of Negoroji inIwade, Wakayama Built in 1547.
Azuchi-Momoyama period
During the AzuchiMomoyama period (15681600) Japan underwent a process of unification after a long period of civil war. It was marked by the rule of Oda Nobunaga andToyotomi Hideyoshi, men who built castles as symbols of their power; Nobunaga in Azuchi, the seat of his government, and Hideyoshi in Momoyama. The nin War during the Muromachi period had led to rise of castle architecture in Japan. By the time of the AzuchiMomoyama period each domain was allowed to have one castle of its own. Typically it consisted of a central tower or tenshu (?, lit. heaven defense) surrounded by gardens and fortified buildings. All of this was set within massive stone walls and surrounded by deep moats. The dark interiors of castles were often decorated by artists, the spaces were separated up using sliding fusuma panels and bybu folding screens.[3] The shoin style that had its origins with the chashitsu of the Muromachi period continued to be refined. Verandas linked the interiors of residential buildings with highly cultivated exterior gardens. Fusuma and bybu became highly decorated with paintings and often an interior room with shelving and alcove (tokonoma) were used to display art work (typically a hanging scroll). [3] Matsumoto, Kumamoto and Himeji (popularly known as the White Heron castle) are excellent examples of the castles of the period, while Nijo Castle in Kyto is an example of castle architecture blended with that of an imperial palace, to produce a style that is more in keeping with the Chinese influence of previous centuries.
Himeji Castle in Himeji,Hygo, Completed in 1618
Matsumoto Castle inMatsumoto, Nagano, Completed in 1600.
Dry stone walls ofKumamoto Castle, Completed in 1600.
Ninomaru Palace withinNijo Castle, Kyoto.
A six-panel bybu from the 17th century
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text:
Masaki TANIGAWA
谷川 政輝
Family name (in kanji): 谷川
Given name (in kanji): 政輝
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       http://www.springframework.org/schema/tx http://www.springframework.org/schema/tx/spring-tx-3.0.xsd
       http://www.springframework.org/schema/aop http://www.springframework.org/schema/aop/spring-aop-3.0.xsd
       http://www.springframework.org/schema/util http://www.springframework.org/schema/util/spring-util.xsd">

	<!-- Turn on Spring's autoproxy using AspectJ's @Aspect annotations. -->
	<aop:aspectj-autoproxy />

	<bean id="queueServiceDao" class="org.sagebionetworks.asynchronous.workers.sqs.QueueServiceDaoImpl">
	    <property name="maxSQSRequestSize" value="10"/>
	</bean>

</beans>

redpajama_set_name: RedPajamaGithub


Western-style boots in a croc-embossed sky blue leather with contrast topstitching detailing. Square toe. 3" stacked contrast heel. Inside elastic panels. Pull-on style. Leather upper and lining. Rubber sole. In sky blue/black. Imported.


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text:
Q: Promise with multiple .then when one then is counting on another I'm trying to use implicitly promise-then when accessing mongodb through mongoose.
If I have new data on the same date and user, I should remove old data and insert new data.
section A works fine but I think that the all point of .then is to prevent indentation like we have in callback methods.
Plus I don't know if I need a .catch to every .then in this case.
Section B however doesn't work cause the createdData returned in  .then(function(createdData){}) refers to the DailyData.remove() method, and returns a totally different object.
A:
DailyData.remove({date: getCurrentDate(), owner: currUser})
    .then(function(){
        DailyData.create({date: getCurrentDate(), owner: currUser})
        .then(function(createdData){
            createdDataGlobal = createdData;
                UpdatedInnerData.remove({date: getCurrentDate(), owner: currUser})
                .then(function(){
                    insertNewInnerData();
                })
                .catch(handleError);
        })
        .catch(handleError);
    })
    .catch(handleError);

B:
DailyData.remove({date: getCurrentDate(), owner: currUser})
    .then(function(){
        DailyData.create({date: getCurrentDate(), owner: currUser});
    })
    .then(function(createdData){
        createdDataGlobal = createdData;
        UpdatedInnerData.remove({date: getCurrentDate(), owner: currUser});
    })
    .then(function(createdData){
        insertNewInnerData();
    })
    .catch(handleError);

A: You're not returning the promise in your .then(..)
Try this:
DailyData.remove({date: getCurrentDate(), owner: currUser})
    .then(function(){
        return DailyData.create({date: getCurrentDate(), owner: currUser});
    })
    .then(function(createdData){
        createdDataGlobal = createdData;
        return UpdatedInnerData.remove({date: getCurrentDate(), owner: currUser});
    })
    .then(function(createdData){
        insertNewInnerData();
    })
    .catch(handleError);

A: Unjustified nested thens is an antipattern. This is called callback hell; something that promises are supposed to help with but not cause.
Another problem is that promises should always be chained. DailyData.create(...) is not returned from then callback, this results in improper control flow.
It should be:
DailyData.remove({date: getCurrentDate(), owner: currUser})
.then(function(){
    return DailyData.create({date: getCurrentDate(), owner: currUser});
})
.then(function(createdData){
    createdDataGlobal = createdData;
    return UpdatedInnerData.remove({date: getCurrentDate(), owner: currUser});
})
.then(function(createdData){
    return insertNewInnerData();
})
.catch(handleError);

If insertNewInnerData() is asynchronous but doesn't return a promise, it should be modified to return it.
There's no need for multiple catch, unless errors have to be handled differently.

A: The previous answers already pointed the problem, which is that you were not returning a promise in your .then(..)
To make the code a bit more readable, you can use arrow functions. This way you don't need to explicitly return:
DailyData.remove({date: getCurrentDate(), owner: currUser})
.then(() => DailyData.create({date: getCurrentDate(), owner: currUser})).then(() => ...)

redpajama_set_name: RedPajamaStackExchange


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Get into the habit of looking for these things perhaps set a repeating appointment in your diary to remind you to look for them; and, when things go wrong, think about how you can..
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text:
BCCI asks ICC to ensure no repeat of airplane political messages
Liam Plunkett is the fast bowler that you don't want to be
5dOsman Samiuddin
Afghanistan have hit a bump on their happy road
A plane tows a banner carrying a political message during India's chase at Headingley Aijaz Rahi / © Associated Press
Nagraj GollapudiNews editor, ESPNcricinfo
Nagraj Gollapudi is news editor at ESPNcricinfo
At two matches during the ongoing World Cup, airplanes have flown over Headingley carrying political messages. The BCCI has asked the ICC to ensure that there is no repeat of this in the remaining games.
Three political banners were visible during Saturday's match between India and Sri Lanka at Headingley. Two of the messages revolved around the Kashmir dispute - "#JusticeforKashmir" and "India stop genocide & free Kashmir" - while the third read "Help end mob lynching in India". At the same ground earlier in the tournament, during a game between Afghanistan and Pakistan, airplanes flew similar banners - carrying the messages "Justice for Balochistan" and "Help end disappearances in Pakistan".
And as it had done during the Afghanistan-Pakistan game, the ICC again issued a brief media statement saying it did "not condone any sort of political messages" during the World Cup. The BCCI has now asked the ICC to take all possible steps to prevent such instances during the remainder of the tournament. "We want to put on record that such incidents are unacceptable," BCCI CEO Rahul Johri is understood to have written in the mail, also sent to the ECB.
"These are divisive political messages which have no place in sporting arena," Vinod Rai, the CoA (the BCCI's Committee of Administrators) chairman told ESPNcricinfo. "So we have asked the ICC and the authorities these messages are not allowed to contaminate the game."
According to Rai the Indian High Commissioner to the UK has also asked respective local authorities to highlight the seriousness of the issue and safeguard the security of the Indian fans and squad during the World Cup.
"We are incredibly disappointed this has happened again," the ICC statement on Saturday said. "Throughout the tournament we have worked with local police forces around the country to prevent this type of protest occurring. After the previous incident we were assured by West Yorkshire Police there would not be a repeat of this issue, so we are very dissatisfied it has happened again."
The ICC is already working with police forces in Manchester and Birmingham, the cities hosting the two semi-finals, and is confident that such incidents will not occur again.
Apart from the airplane banners, there were also chants in the crowd in support of Khalistan - a secessionist movement in the Indian state of Punjab that reached its peak in the 1980s - during two of Pakistan's games at Edgbaston and Headingley.


text:
Explained: What is happening with the Pandemic Unemployment Payment?
According to the Minister for Social Protection Heather Humphreys, the PUP will not be reintroduced. Photo: PA
17/11/2021 | 16:39 PM Danielle Walsh Ronan
As the Government introduced a range of new measures to tackle the latest surge of Covid-19, questions have been raised about possible reopening of the Pandemic Unemployment Payment (PUP).
Here is everything you need to know...
What new measures were brought in?
In his address to the nation, Taoiseach Micheál Martin announced a range of new measures to curb the spread of Covid-19.
Among them were the requirement for Covid-19 passes in cinemas and theatres.
Furthermore, people have been advised to work from home where possible.
During his speech on Tuesday, the Taoiseach warned that increased socialisation comes with a cost.
Regardless of vaccination status, all household close contacts of a confirmed case should now also restrict movement for five days, pending completion of a recommended antigen test.
One of the more controversial measures announced was a new midnight curfew for venues in the hospitality sector. However, residents in hotels are not impacted by this.
How are businesses affected?
Due to the new curfew placed on the hospitality industry, concerns have been raised by opposition politicians and representatives of the sector.
From Thursday, pubs, bars and nightclubs have to be closed by midnight.
With venues like nightclubs only opening late at night, the industry has warned that the new curfew time will severely impact trade and that extra support will be needed in the coming weeks.
According to the Music and Entertainment Association of Ireland, the curfew has already led to the cancellation of a number of gigs.
The Licensed Vintners Association (LVA) has called on the Government to immediately reintroduce Covid supports for the late-night sector.
Opposition politicians such as Social Democrats co-leader Catherine Murphy and People Before Profit TD Paul Murphy have also called for the reintroduction of the payment amid the new measures.
So, will the PUP be reintroduced?
Following the reopening of the economy, the PUP closed to new applicants on July 8th.
According to the Minister for Social Protection Heather Humphreys, the PUP will not be reintroduced. She said the Government have no plans to reopen the financial support at this point.
Commenting on the issue, Ms Humphreys said the new measures are not like previous lockdowns where the entire economy is closed. Therefore, the reintroduction of the PUP is not necessary.
According to Ms Humphreys, because the new measures include a curfew rather than a closure, the hospitality industry will still need staff.
What financial supports are available?
Despite the PUP not reopening, there are still some supports available to those who need them.
The Minister for Social Protection has said that any businesses struggling can avail of supports such as the Wage Subsidy Scheme which is still in place.
Minister for Social Protection Heather Humphreys said that rather than needing the PUP, one of the major problems facing businesses at the moment is that they can't get staff. © PA Media
Ms Humphreys also pointed out that other social welfare supports remain available for people who do lose their job.
The Department of Social Protection has said that anyone who loses their job can apply for a Jobseeker's payment since the closure of the PUP.
But are there still people getting the PUP?
Although new applications closed in July, there are still people receiving the payment, according to the Department of Social Protection.
As of November 4th, the number of people receiving the payment was just under 78,000. Those still on the support were issued payments that totalled €20.7 million that week.
With the reopening of the economy, as well as the closure of applications for the PUP, the number of people receiving the payment has continued to fall.
When will the payment end completely?
As part of the Government's Economic Recovery Plan, the PUP is set to be gradually phased out to align with standard jobseeker's payments.
This transition period started in October and is due to be completed in February 2022.
As part of the process, all PUP recipients on the €203 rate were invited to apply for a jobseeker's payment in October if they remained out of work.
People who applied have continued to be on the PUP while their application is processed. Those who did not apply had their payment cut.
The second phase of the transition took place this week, when all recipients on the €300 PUP rate were moved to €250. Meanwhile, those receiving the €250 rate moved to €203.
As all recipients move to the €203 rate they will be phased into standard jobseeker's terms.
What if there is another lockdown?
According to the Government there are no plans for another lockdown currently,
Throughout the reopening period since the last lockdown, the Government has continuously said a key aim is to keep all sectors open, so the economy can recover.
However, the Taoiseach has not ruled out further restrictions being introduced in the run-up to Christmas.
If, like hospitality, other sectors are impacted by new restrictions, it remains to be seen if the Government will change its position on the PUP and if they have to reinstate it in the future.
restrictions,
pandemic unemployment payment,
Department of Social Protection,
Heather Humphreys,
Minister for Social Protection,
Taoiseach,
Hospitality industry,
Explained: Do 5G telecoms pose a threat to airline safety?
Explained: Do I need proof of a booster jab for indoor hospitality?
What we know about Virginia Giuffre's lawsuit against Britain's Prince Andrew
Explained: What changes are coming for Covid isolation rules?
Explained: What are the changes to Covid testing and isolation rules?
Explained: What is Sláintecare and what's the controversy about?
Explained: Why Ireland is cutting isolation time for Omicron cases


When it comes to prom, a guy can't go without a boutonniere to match his girl's corsage. The flower-on-the-coat-pocket is a tradition for classy men that stems back generations. Just because it's a tradition, doesn't mean your boutonniere doesn't have to be stylish. Choose from a wide range of styles, colors and flowers when choosing a boutonniere from DAISY PATCH FLOWERS.
Looking for the perfect prom accessory? Let DAISY PATCH FLOWERS create a custom floral headpiece to match your prom corsage! From classical elegance to playful and fun, we do it all!


text:
Aleksandr Zubkov (), född den 10 augusti 1974 i Bratsk, Ryska SFSR, Sovjetunionen, är en rysk bobåkare sedan 1999.

Han tog OS-silver i herrarnas fyrmanna i samband med de olympiska bobtävlingarna 2010 i Turin.

Han tog därefter OS-brons i herrarnas tvåmanna i samband med de olympiska bobtävlingarna 2010 i Vancouver.

I februari 2014 erhöll han Fäderneslandets förtjänstorden av fjärde klassen.

Källor

Externa länkar
 Sports-reference.com

Ryska rodelåkare
Ryska bobåkare
Ryska olympiska guldmedaljörer
Olympiska guldmedaljörer 2014
Ryska olympiska bronsmedaljörer
Olympiska bronsmedaljörer 2010
Ryska olympiska silvermedaljörer
Olympiska silvermedaljörer 2006
Tävlande vid olympiska vinterspelen 1998 från Ryssland
Tävlande i rodel vid olympiska vinterspelen 1998
Tävlande vid olympiska vinterspelen 2002 från Ryssland
Tävlande i bob vid olympiska vinterspelen 2002
Tävlande vid olympiska vinterspelen 2006 från Ryssland
Tävlande i bob vid olympiska vinterspelen 2006
Tävlande vid olympiska vinterspelen 2010 från Ryssland
Tävlande i bob vid olympiska vinterspelen 2010
Tävlande vid olympiska vinterspelen 2014 från Ryssland
Tävlande i bob vid olympiska vinterspelen 2014
Ryska idrottare under 1900-talet
Ryska idrottare under 2000-talet
Personer från Irkutsk oblast
Födda 1974
Levande personer
Män

redpajama_set_name: RedPajamaWikipedia


For the record, this egg is not over easy, it's sunny side up. I just learned the difference, but the Sunny Side sound good so I'm stickin' with it.
The odds were heavily stacked against me.
People said it was impossible, that I was wasting my time.
This morning, on the fourth day of December, in the year of our Lord 2015, I finally succeeded in cooking two, not one but two, beautiful and completely intact over easy eggs.
Now, some of you may scoff at this feat.
You might even be laughing as you read this. But trust me, there's nothing funny about preparing the perfect breakfast sandwich every morning, fully equipped with the finest of ingredients: freshly baked whole grain bread, organic tomatoes and spinach from the local market, a thick slice of gouda cheese and savory pieces of world-famous Spanish ham, Jamon Iberico. Only to fail miserably with the piece de resistance and pop the damn yolks in the crappy hostel frying pan.
The pans are beat up and tired, any trace of Teflon scraped away long ago by the backpackers of yesteryear.
The deplorable condition of cooking surfaces in hostels makes runny egg-yolks a much desired commodity. A mirage in the desert that can never be reached. But this morning I did it. When I bit into my sandwich the rich yolks exploded into my mouth and dripped onto my plate, like puddles of liquid gold.
A moment I shall never forget.
The lesson is simple friends: Never give up, never surrender.
Or… if you like over easy eggs and have the room in your backpack, bring a small non-stick frying pan.
This post comes to you from the land of fog, black tea and Yorkshire Pudding, which I recently discovered isn't pudding at all.
My first foray in Europe landed me in Heathrow Airport on a dreary April morning. As the sun rose, I peered out of the enormous airport window in the direction of London, I could sense the great Western city on the horizon. So close. I'll be back, I thought.
As I hopped on the train from Gatwick to London proper yesterday, I felt like Harry Potter on his way to Hogwarts. Embarrassing, I know. To my dismay they did not hand out any Chocolate Frogs or Bertie Bott's Every Flavor Beans.
After Morocco I fly to Granada, Spain for my first Workaway experience.
I plan to spend a month in Granada and then it's back to the UK where I have been invited to pass the holidays with my friend and his family in Scotland.
I will be accompanied by Sir Fraser O'Neil of Scotland for the first leg of my trip. Fraz is a great friend from high school, more of a brother really. Fraser was a regular guest in our family home and practically lived in our living room for months at a time. Fortunately for him, my mother always loved the guy, entitling him to unlimited stay on our couch and an all-you-can-eat-pass in her kitchen. Our fraternal bond is personified by a derogatory banter that can prove a bit much for the unacquainted pedestrian.
"Oh Jesus!" shrieked Chris, a mellow backpacker hailing from Canada that had been napping on his top bunk and apparently wasn't used to be woken by such blatant racial slurs.
PS: I lied to you, this post actually comes to you from Paris, France. I have been here for only 24 hours but the City of Lights has been quite impressive thus far. More to come….


text:
package com.appleframework.web.bean;

import com.appleframework.web.ApiMeta;

import java.lang.reflect.InvocationTargetException;

/**
 * @author tanghc
 */
public class Callers {

    public static Object call(ApiMeta apiMeta, Object methodArgu) throws InvocationTargetException, IllegalAccessException {
        Object invokeResult;
        if (methodArgu == null) {
            invokeResult = apiMeta.getMethod().invoke(apiMeta.getHandler());
        } else {
            invokeResult = apiMeta.getMethod().invoke(apiMeta.getHandler(), methodArgu);
        }
        return invokeResult;
    }
}


Organized in the mid-1970s as a means of communal protection against livestock rustling and general thievery in Peru's rugged northern mountains, the rondas campesinas (peasants who make the rounds) grew into an entire system of peasant justice and one of the most significant Andean social movements of the late twentieth century. Nightwatch is the first full-length ethnography and the only study in English to examine this grassroots agrarian social movement, which became a rallying point for rural pride.
Drawing on fieldwork conducted over the course of a decade, Orin Starn chronicles the historical conditions that led to the formation of the rondas, the social and geographical expansion of the movement, and its gradual decline in the 1990s. Throughout this anecdotal yet deeply analytical account, the author relies on interviews with ronda participants, villagers, and Peru's regional and national leaders to explore the role of women, the involvement of nongovernmental organizations, and struggles for leadership within the rondas. Starn moves easily from global to local contexts and from the fifteenth to the twentieth century, presenting this movement in a straightforward manner that makes it accessible to both specialists and nonspecialists.
An engagingly written story of village mobilization, Nightwatch is also a meditation on the nature of fieldwork, the representation of subaltern people, the relationship between resistance and power, and what it means to be politically active at the end of the century. It will appeal widely to scholars and students of anthropology, Latin American studies, cultural studies, history, subaltern studies, and those interested in the politics of social movements.


text:
Gear.Club Unlimited 2 (Switch) Review
by Ben Congalton - January 15, 2019, 5:24 pm PST
Caution: Speed Bumps Ahead
Gear.Club Unlimited 2 is a reviewer's dream. Not because it's a particularly great game, but because the loading screens are so ridiculously long that they provide a golden opportunity for note-taking. In fact, it would probably be an ideal game if you were writing a novel—complete a race; write a chapter; repeat. I'm exaggerating of course, but I really can't stress enough how much both the duration and frequency of the loading screens detract from what would otherwise be a fairly solid, if not spectacular, experience.
Handling and a sense of speed are important components in a racing game, so when I jumped straight into the impressively lengthy career mode, I was disappointed to find that my car felt slow and heavy, meaning that races aren't much fun to begin with. To be fair though, I'd put this down to the developer's attempt at realism—after all, you start off your career with a humble Mini; a car favored by real estate agents and hairdressers. Once you graduate to beefier models from the likes of McLaren and Pagani, things get faster and decidedly more interesting, but the heaviness of the handling remains and even bleeds into the sluggish controls of the UI. There's adequately enjoyable gameplay to be had here, but arguably too many frustrations get in the way of it.
When you get past those potholes, there's a good degree of variety in the gameplay, from the traditional race format to the slightly more exciting elimination races where every 20 seconds the car in last place gets eliminated. Driver assists make the racing pretty accessible too, with the easy-to-use rewind function being a particular favourite of mine. Rather than a lapse of judgement costing you the race, errors can be erased from history, allowing you to find the correct racing line and approach speed to make it round a tricky corner. In fact, if Gear.Club 2 would have included more "gamey" touches like this and relinquished their pursuit of realism, the appeal of the game could have been broadened considerably. The impending addition of online multiplayer will no doubt help on that front, too.
The original Gear.Club outing on Switch started life as a mobile game, and although the sequel is a Switch exclusive, it bears all the hallmarks of a mobile port, from the crisp but relatively bland graphics to the generic music and sound effects. Again, I can imagine that having no in-game music during races is perhaps a concession to realism and allows you to fully appreciate the roar of your engine and the screech of your tires, but the flipside is that it makes the experience less exhilarating than it could have been.
Overall, Gear.Club Unlimited 2 is a half-decent attempt at a big-budget style racing sim, but falls short in too many areas to be considered a serious contender. Whilst it offers moments of enjoyment in between those pesky loading screens, the game's greatest strength is the lack of competition it faces from other racing sims on the platform. So, if Nintendo Switch is your only console and you happen to be a massive petrol head, then Gear.Club Unlimited 2 is worth considering. Everyone else should probably steer clear.
Extensive career mode
Fun races, eventually
Humdrum presentation
Long loading screens
Sluggish controls
Developer Eden Studios
Players 1 - 4
Gear.Club Unlimited 2
Release Dec 04, 2018
Publisher Microids
Gear.Club Unlimited 2 [Switch]


Believe it or not, some employers still live in the dark ages and will use any idiotic tactic to retain their employees. How do they do it?
When used effectively, fear is a powerful motivator to keep your best people in line. However fear is a short lived technique and after a while there is a diminishing effect on employee retention.
Some bosses are big on intimidation. Veiled threats that if someone leaves their job, then that person might receive a bad reference or even be "black balled" in the industry.
A charismatic leadership feeds a bunch of lies and propaganda to employees who sometimes have t0 process conflicting information. They know what they know. Don't ask, don't tell.
"You are going to get a huge bonus, in fact we are probably going to make you the boss just as soon as the economy and cash flow gets back on track." How many times do employers keep their key employees by unkept promises? Well here is some sound advice to employers: never make a promise that you can not keep. Your employees would rather here the sincere truth about their performance and the state of the business conditions. Retain key talent by telling the truth- when asked.
Some employers use their power or significance to others as a key to employee retention. We see this in the field of our political system. Imagine working for the President of United States and having close proximity to the inner circle of world power. How difficult it must be to resign from a position of much influence. Being in the glow of a powerful leader is a powerful aphrodisiac that can lead to addiction of a job, especially if one is unhappy.
In summary, there are dark techniques that employers have at their disposal to keep their key people. Employees are vulnerable during vulnerable economic times. One must never exploit this in the business world.
So employers: please use the golden rule as a guiding principle in your management style. The carrot is mightier than the stick-John Wooden.
Unfortunately, evil is alive and well.


text:
Q: Does the general linear group equals the automorphism group of the additive group of a K-vector space? I am wondering given a $K$-vector space $E$ of dimension $n$ if $GL_n(K)=Aut(E,+)$.
For a finite field it seems to be true. For example $Aut(\mathbb Z/2\mathbb Z^3,+)=GL_3(\mathbb Z/2\mathbb Z)$.
If $K=\mathbb Q$ it also seems to be true. Is this correct in general?
I have a another question. The axioms of the external law of a $K$-vector space E are equivalent to the given of a ring morphism from $(K,+,\times)$ to $(Aut(E),+,\circ)$. For instance on a $\mathbb R^3$, does it exist another morphism than the standard one $\lambda \mapsto (x \mapsto\lambda x)$? Do you know some intersting non trivial examples of external laws?
Thanks for your help.
Regards,
Moustik

A: No. For $K=\mathbb C$, we have $GL_1(K)$ consists of multiplications with nonzero constantsd, but $(\mathbb C,+)$ also has $z\mapsto \bar z$ as automorphism (plus an infinitude of weird non-contiunuous ones).
Any automorphism of $(E,+)$ of course leads to a new action of $K$ on $E$. With $K=E=\mathbb C$ and the automorphism $z\mapsto \bar z$, this makes no difference; but the noncontinuous automorphisms of $E$ would really create a different vector space structure. Admittedly, these extreme examples are maybe not interesting. But I suggest you interest yourself in Galois theory.


services you agree to our. For customer support visit. Furthermore, in late 2017, the BTG website was compromised for an unspecified amount of time, as it promoted a link to a fake BTG wallet, encouraging users to upload their old private keys to claim their free BTG tokens. In response, the Bitcoin Gold development team issued a statement, in which it argued that, eventually, Bittrex mitigated their ultimatum: Bittrex informed us that they make this decision because the BTG team would not take responsibility for our chain, and that taking responsibility meant paying. It splintered off the original blockchain on Oct.
Last straw for Bittrex: Double-spending attack On May 18, Bitcoin Gold had reportedly experienced its largest hack to date. They noted that the attackers were targeting exchanges since they accept large deposits automatically, allow the user to trade into a different coin quickly and then withdraw automatically. Bitcoin gold price chart: Back in May, Bitcoin Gold was hijacked with rented computing power. BTG, with its Equihash protocol, in turn, would allow for productive mining powered by casual graphics processing units (GPUs). Cookie Use and, data Transfer outside the. How unexpected was this announcement coming from the exchange, and what are the chances for BTG now that it has found itself in the midst of yet another scandal? In 2017, its performance was much more impressive, with BTCs price plunging after the emergence of BTG, which ranked 5th in terms of total market cap by the end of the year). Nevertheless, BTG was off to a rocky start. By the time the exchanges realized that the transaction was fake, the hackers had already withdrawn funds from exchanges and multiplied their original funds. A successful fork will prove that Bitcoin always has the ability to escape from any potential abusive mining hardware manufacturers.


text:
from flask import Flask
from flask import render_template
app = Flask(__name__)

@app.route('/')
def home():
    return render_template('index.html')

@app.route('/conway')
def conway():
    return render_template('conway.html')

@app.route('/biglife')
def bigconway():
    return render_template('biglife.html')

@app.route('/boxinvader')
def boxinvader():
    return render_template('boxinvader.html')

if __name__ == '__main__':
    app.debug = True
    app.run()


text:
Q: Combining legends where each individual legend contains only a subset of items on the common legend I have a series of 16 plots which plot the same two continuous variables. Each individual plot shows only a subset of the entire dataset and I want to colour all the plots with the same colour scale, which shows a third independent, discrete variable. There are 9 values of this variable in total but each plot only contains a subset of these values. So if I use ggarrange and common legend it just plots the legend of the first sub-plot rather than plotting the common legend which encompasses all the different sub-plots. What's the best way to fix this?
library(ggplot2)

N_B_samples <- ggarrange(
  ggplot(subset(results,mount=="San1"),aes(B,N,colour=Mineral)) + geom_point() + th + labs(title="San1"),
  ggplot(subset(results,mount=="San2"),aes(B,N,colour=Mineral)) + geom_point() + th + labs(title="San2"),
  ggplot(subset(results,mount=="122"),aes(B,N,colour=Mineral)) + geom_point() + th + labs(title="122"),
  ggplot(subset(results,mount=="DC46A"),aes(B,N,colour=Mineral)) + geom_point() + th + labs(title="DC46A"),
  ggplot(subset(results,mount=="DC46B"),aes(B,N,colour=Mineral)) + geom_point() + th + labs(title="DC46B"),
  ggplot(subset(results,mount=="DC48B"),aes(B,N,colour=Mineral)) + geom_point() + th + labs(title="DC48B"),
  ggplot(subset(results,mount=="DR10"),aes(B,N,colour=Mineral)) + geom_point() + th + labs(title="DR10"),
  ggplot(subset(results,mount=="X1008"),aes(B,N,colour=Mineral)) + geom_point() + th + labs(title="X1008"),
  ggplot(subset(results,mount=="X1348"),aes(B,N,colour=Mineral)) + geom_point() + th + labs(title="X1348"),
  ggplot(subset(results,mount=="DR9"),aes(B,N,colour=Mineral)) + geom_point() + th + labs(title="DR9"),
  ggplot(subset(results,mount=="HA1"),aes(B,N,colour=Mineral)) + geom_point() + th + labs(title="HA1"),
  ggplot(subset(results,mount=="HA2"),aes(B,N,colour=Mineral)) + geom_point() + th + labs(title="HA2"),
  ggplot(subset(results,mount=="VI1808"),aes(B,N,colour=Mineral)) + geom_point() + th + labs(title="VI1808"),
  ggplot(subset(results,mount=="275"),aes(B,N,colour=Mineral)) + geom_point() + th + labs(title="275"),
  ggplot(subset(results,mount=="C13"),aes(B,N,colour=Mineral)) + geom_point() + th + labs(title="C13"),
  ggplot(subset(results,mount=="ZS15"),aes(B,N,colour=Mineral)) + geom_point() + th + labs(title="ZS15"),
  common.legend = TRUE, legend = "right"
)

This is what happens without common.legend (showing the individual legends).

And this is what happens with common.legend = TRUE.

I want the colour for each mineral to be consistent across each plot and to only show one legend which covers all minerals.


text:
Gamma Normae pode se referir a:
Gamma1 Normae
Gamma2 Normae


16 PLAYERS, 3 COACHES IN CAMP FOR ALGERIA.
The Badminton Federation of Nigeria (BFN) have commenced preparation for the First International Championships in 2018 holding in Algeria with 16 players in Camp for next months tournaments.
Clement Krobapor of NSCDC and 7 other players namely Anuoluwapo Opeyemi, Godwin Olufua, Enejoh Abah, Habeeb Bello, Usman Ayo Ishaq, Olawale Odunayo and Daniel Phillip are the eight male players in the teams Golden star badminton camp in Katsina.
Dorcas Adesokan, Deborah Ukeh, Zainab Momoh, Peace Orji, Tosin Atolagbe, Ruth Ebere, Amin Christopher and Omotola Felicia complete the 16 players in camp.
Meanwhile President BFN Francis Orbih in a chat with www.badmintonNigeria.org revealed that three coaches have also been given the task to prepare the team for the International competitions and lead them to Algeria. Orbih says the board agreed that Coaches Maria Omonehin, George Haruna Shitta and Taju Sulaiman will take charge of the team who will be in camp for three weeks before departing for Algeria.Nigeria will take part in the Algeria International Badminton Championship,Thomas and Uber cup African Qualifiers and the All African Senior Individual Championship.


I work in Bogota and would like a meet a nice girl to spend time with.
I am a 33 year old man looking to meet that special someone. I have been independent since leaving home at 19 and well I have made it thus far. I work in the IT field here in USA while I am pursuing my B.S. I am a combination of relaxed, goofy, and dependable.
People say I'm fun to be with, not the life of the party but not against the wall either. I enjoy my work and at times travel when working. I enjoy meeting people or just relaxing unwinding after a days work. Love to watch sporting events, occasional movie,shopping, spending time with family is most important. Can find my way around in the kitchen and don't need a maid to clean up. Very emotional with the right person and committed to that person. Some times its hard to put yourself into words that people understand.
I enjoy dancing, scuba diving, camping, hiking, backpacking, skiing, swimming, & working out. Love to travel to the beach & country mountains.
Good at what I do ..
Me encanta bandeja paisa, pan de bon, y aguardiente! I'm really big into different food and wine. I try to be different as I possibly can. I'm very kind, respectful, humble (but outgoing too), and well-mannered.
Well educated, charming, playful and fun!
single dad of 2 grown young men now, raised them myself since they were 3 and 4. i think im ready now. I'm an IT professional , love to play basketball , baseball. hang out sometimes. do fun things.
soy una persona confidente y equilibrada. me considero bastante decidido y trabajador.
I'm in the music entertainment biz in D.C. looking for something new.
Open to almost anything as long as its fun. Enjoy smiling and making people smile!
I am a student studying psychology and behavior health. I never been in a relationship before.


text:
Fazil Abdułowicz Iskander (; ur. 6 marca 1929 w Suchumi, zm. 31 lipca 2016 w Moskwie) – pisarz abchaski, tworzący w języku rosyjskim. Mieszkał i tworzył w Moskwie.

Życiorys
W 1954 roku ukończył studia w Instytucie Literackim im. Gorkiego w Moskwie. Po studiach pracował jako dziennikarz, w 1959 został redaktorem w abchaskiej redakcji Goslitizdatu. Zadebiutował w 1957 roku tomem poezji lirycznej Ścieżki górskie. Opublikował kilka zbiorów poetyckich i tomów prozy, które dobrze zostały przyjęte przez krytyków literackich, zdobywając sobie także dużą popularność wśród czytelników. Dużą popularnością cieszyły się zwłaszcza jego utwory dla dzieci i młodzieży.

W jego twórczości przeplatają się ze sobą motywy zaczerpnięte z literatur europejskich z wątkami żywymi w folklorze Abchazji a także ze wspomnieniami z okresu dzieciństwa. Bohaterowie jego utworów to ludzie prości, bezpośredni, przede wszystkim chłopi, pasterze, rzemieślnicy – charakteryzujący się jednak własną mądrością, sprytni i potrafiący sobie poradzić w każdej sytuacji, a przy tym szlachetni, pracowici i weseli. Osobliwym dziełem w dorobku Iskandera jest wydane w 1979 opowiadanie Malutki gigant wielkiego seksu, będące zjadliwą satyrą na obyczajowość lat siedemdziesiątych XX wieku.

W przekładzie na język polski ukazał się szereg dzieł Iskandera, m.in. powieści:
 Zakazany owoc, przekład M. Dejanis, Warszawa 1969
 Sandro z Czegemu, przekład M. Dejanis, Warszawa 1969 (II wyd. 1976)
 Półkozic, przekład J. Pomianowski, Warszawa 1971
 Drzewo dzieciństwa, przekład H. Broniatowska, Warszawa 1975
 Uczty Baltazara, przekład Katarzyna Rawska - Górecka, Wrocław - Wojnowice 2020

Przyjaciel Bułata Okudżawy. Pochowany na Cmentarzu Nowodziewiczym w Moskwie.

Nagrody i odznaczenia
 Order Zasług dla Ojczyzny (II klasy, 2004)
 Order Zasług dla Ojczyzny (III klasy, 1999)
 Order Zasług dla Ojczyzny (IV klasy, 2009)
 Nagroda Państwowa ZSRR (za Sandro z Czengemu, 1989)
 Nagroda Rządu Federacji Rosyjskiej (za Izbrannyje proizwiedienija, 2011)
 Nagroda Państwowa Federacji Rosyjskiej (1994)
 Nagroda Puszkina (1993)
 Nagroda Triumf (1999)
 Order Honoru i Chwały (I klasy, 2002)

Przypisy

Bibliografia

Linki zewnętrzne
 Wybór tekstów Fazila Iskandera (po rosyjsku)

Abchascy pisarze
Absolwenci Instytutu Literackiego im. M. Gorkiego w Moskwie
Członkowie Związku Pisarzy ZSRR
Laureaci Nagrody Państwowej Federacji Rosyjskiej
Laureaci Nagrody Państwowej ZSRR
Ludzie urodzeni w Suchumi
Odznaczeni Orderem "Za zasługi dla Ojczyzny"
Pisarze rosyjskojęzyczni
Pisarze związani z Moskwą
Pochowani na Cmentarzu Nowodziewiczym w Moskwie
Poeci XX wieku
Prozaicy XX wieku
Radzieccy poeci
Radzieccy prozaicy
Satyrycy
Urodzeni w 1929
Zmarli w 2016


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Perfectly Created Chaos!: You Make Everyday Fantastic.
Sorry for the late post this afternoon. Before I get to today's card, let me just say thank you to all of you who reached out to me after my "pity party" post on Friday! Your kind words really helped me a lot. I got some other good news Saturday morning, which I'm not quite able to share yet; but am super excited about!
Also, please don't forget about my first challenge: STAMP IT that I'm hosting here on the blog. You have until Sept 20th to link up! I would love to have some more entries. Spread the word!
Ok, so now on to today's card. I wanted to make a simple card, so I decided to just break out my mini MISTI and do a bit of repeat stamping along the bottom to make a quick card. Now, I have to say, I have come to the conclusion that the regular MISTI would probably be much better suited to this task. However, I only have the mini at the moment, and unfortunately, it's a little more difficult because there's not enough room to move the paper which is what your supposed to do and keep the stamp where it is. I had to do the opposite, I had to keep the paper still, and move the stamp and just try my best to line it up where it need to be. All in all, I think I managed to do a pretty good job.
I used PTI Sweet Blush card stock for this project and decided to just stamp the colors right onto the front of the card base. For the scalloped piece, I used direct ink to paper with SSS smoke ink because I didn't have a grey card stock that I wanted to use. Once the paper was inked, I used my Fiskars scalloped border punch to cut it out. I added it just above the triangles and then wrapped some embroidery floss around it just to add a little interest along with some faux white stitching. Then I added to greeting to finish up the card!
A fantastic card Dori and I'm so glad that you are feeling more upbeat about life now. Looking forward to hearing your good news when you can share.
Your card is very pretty and I love your CAS design!
Love that repeat stamping. Thanks for joining us at Craft your passion challenges. Happy crafting!


GANGTOK, September 24: The three day Indra Jatra festival, the biggest annual festival of the Newars of Sikkim concluded at Manan Kendra, Gangtok on 23rd September 2018. The three day program was a huge success with Newars of Sikkim participating from all corners of the State.
The Hon'ble Chief Minister of Sikkim, Shri Pawan Chamling attended the religious ceremony held at Bhanu Udhyan in the morning of 23rd September 2018 and offered prayers. The Executive members of Sikkim Newar Guthi felicitated the Chief Minister with a Citation on him being the longest serving Chief Minister of the country and bringing about welfare and communal harmony in the State in his 24 years tenure. The recognition of Newar language, appointment of Newari teachers in Government Schools, holiday for Indra Jatra and the funds sanctioned for the Construction of Newar Bhawan at Sichey are some of his gracious benevolence for which the Newars of Sikkim will always be indebted. On the occasion, the Chief Minister was also presented with a Memento. The annual magazine of Sikkim Newar Guthi 'Smarika' and the quarterly magazine on Newar culture and tradition 'Pau' was also released.
The first two days (September 21st and 22nd) had an exhibition stalls at MG Marg such as the famed chaurasi vyanjyan (84 food items), Ethno Achars, musical Instruments, photography, paintings, handlooms, jewelries, Newari Food stall, etc to showcase the rich cultural heritage and traditions of the Newars of Sikkim. The Grand Opening of the Indra Jatra festival and exhibition stalls were inaugurated by the Chief Guest, Hon'ble Minister Shri Somnath Poudyal. On the occasion, the Raffle drawn in aid of Construction of Newar Bhawan at Sichey was released. Two postcards on lakhey dance and kumari dance was also released by the Chief Guest. The first day ended with Cultural programs performed by the Newars at MG Marg.
On the second day of the festival, the Open Talent Hunt Competition and Newari Folk Dance Competition were held at MF Marg, Gangtok. Shri Gopal Bishwakarma from Tinek, Singtam won the Talent Hunt Competition while the Dentam Sakha Guthi won the folk dance competition. The awards and certificates were presented to them in a cultural programme held at Manan Bhawan, Gangtok.
The final day of the Indra Jatra festival started with religious ceremony being performed by Guruji Suryabir Taludar at Bhanu Udyaan. A jatra (procession) of goddess Kumari was taken out from Bhanu Udhyan to MG Marg via Tibet Road in a beautifully decked 4 wheeled chariot. The procession was attended by large number of Newars thronging from all corners of the State in traditional red and black attire.
The Indra Jatra festival concluded with a Grand Cultural program held at Manan Kendra, Gangtok. The program was graced by the Honble MLA Shri Pintso Chopel and other eminent dignitaries. Shri Dilip Pradhan,Chairma, IJCC presented the welcome address and briefed the gathering about the Indra Jatra festival.
On the occasion, Sikkim Newar Guthi felicitated Shahid KP Pradhan for attaining martyrdom while fighting the terrorists in Doda Zilla in J&K Valley in the year 1994. Shri Sanju Pradhan and Sushri Sabitri Pradhan were also felicitated for the excelling and winning accolades and medals in football and Tae-kwon Do respectively. Awards for academic excellence to Class X and XII Newar students were given to Rahar Pradhan (Kendriya Vidyalaya), Sangit Pradhan (Rhenock SSS), Aavash Mani Pradhan, Rohan Pradhan, Kulin Deep Pradhan, Sheelu Pradhan (Tashi Namgyal Academy) and Shristhi Pradhan (Holy Cross SSS) .
Shri Aditya Pradhan and Smt Pooja Pradhan, the husband-wife duo was awarded prizes for winning the 1st Bhaju Sikkim and Meiju Sikkim competetion. Likely, Smt Jasmine Pradhan was awarded the 1st prize in Achar Competition for her Mango Lacha achar. Mementos were also presented to sponsors of the various competitions.
Shri Dilu Pradhan, President, Sikkim Newar Guthi spoke about the various activities undertaken by Sikkim Newar Guthi and urged all Newars to come forward and work for the community and the future generation. He stressed upon for support of all Newars required for the construction of the Newar Bhawan at Sichey. Also speaking on the occasion, Hon'ble MLA, Shri Bikram Pradhan insisted for all Newars to come forward to preserve the rich cultural tradition and customs and also highlighted the various activities taken upby the present Government for the welfare of Newars of Sikkim. The vote of thanks was offered by the General Secretary, IJCC 2018 Shri Jeewan Pradhan.


text:
Displaying items by tag: Brian Jones
Seersucker - The Milk and Sugar of Cool Fabric
The name seersucker is said to originate from the Persian words shîr and shakar, which translates to "milk and sugar". This most likely references the smooth and bumpy texture of the fabric, as well as evidencing the origin and popularity of the fabric in the Middle East - just like the popularity of the Madras fabric during the British Colonial era.
A Short Biog of The Walker Brothers
Scott Engel (1943 - 2019) came from Ohio and was a teen idol in the making in the late 50s, making several appearances on Eddie Fisher's TV series (Carrie Fisher's father).
SOUNDS & VISION - interview with Andrew Loog Oldham on his upcoming new podchat
Sounds & Vision' is the new podchat coming soon online hosted by the original Rolling Stones manager/impresario/producer Andrew Loog Oldham, hoping for more of the same as his past shows such as 'From The Road' or the popular SiriusXM programme he shared with E-Street guitarist Steven Van Zandt - 'Sounds & Vision' will be the man himself sitting down and chopping it up with an exciting line up of names from both the past & present. From the music industry to art, fashion and of course the on-line world - its shaping up as one not to miss.
My Obsession, A-ni-TA
Queens, New York, June 13th, 2017, 3:30pm After experiencing not a single day of hot weather topping 80 degrees in two years,
The Rolling Stones Exhibition
The exhibition of the greatest Rock and Roll band ever, ladies and gentlemen, the Rolling Stones, is these days at the Saatchi gallery from 5th April to 4th September 2016.
Saturday, 03 December 2011 16:09
Butterfly On A Wheel
The public and the media often forget how dangerous The Rolling Stones were perceived in the sixties, not just by the press but by the establishment. Not for drunken antics or aggressive behaviour. No, they were feared as revolutionaries, capable of uniting the youth of the sixties and bringing the country down.
Published in Music Archive


Founded in 2003 and located in Hanover, Maryland, Pharad is a customer focused company carrying out innovative research, development, and manufacturing in the areas of highly efficient, electrically small antenna technologies and microwave photonic technologies for primarily government and commercial customers. Pharad's antenna development efforts have been focused on difficult to engineer antennas for confined operational environments and very broadband applications. Another division of Pharad develops and manufactures products for RF over Fiber systems that support the high performance fiber optic transport of RF signals from 3 MHz to 40 GHz.
Pharad has developed and delivered technology solutions for hundreds of customers globally. In order to meet customer needs, Pharad draws on the extensive and diverse experience of its renowned engineering team, including: Electromagnetics, Photonics, Microwave and Millimeter-wave circuits, Software, Electronics, Mechanical and Packaging, and Test and Measurement. The concepts, technologies and products developed by Pharad can be found in many present day wireless and communications systems, from cellular phone systems, satellite communications links, to military defense systems.
In 2007, Pharad formed the Octane brand as the commercial offering of Pharad developed commercial-off-the-shelf products. Pharad's factory operations were subsequently expanded and in 2010 Pharad achieved ISO9001:2008 certification, ensuring that only high quality products and services are delivered to customers. Pharad's unique products are designed for manufacturing, and the performance and environmental characteristics validated in state-of-the-art on-site engineering laboratories. Pharad's goal is to ensure customer satisfaction through the development, manufacture, and delivery of cost effective products, services, and solutions.


text:
Stuart Rosenberg
Cool Hand Jesus? or, Old 'No Eyes' is back
Experienced TV director Stuart Rosenberg made his feature film debut with this update of the '30's Warner Bros gangster era yarns, albeit given a '60's counter culture perspective and a Christ allegory to boot. The picture was produced by Jack Lemmon's company and intelligently scripted by Donn Pearce and Frank Pierson from the novel by Donn Pearce, and gloriously shot by ace cinematographer Conrad Hall who captures several shades of hot and sweaty and dusty with his beautiful compositions out on the roads and fields with the chain gangs, and the claustrophobia of the prison compound. The success of the enterprise however would always turn on the casting of the central character, and with Paul Newman as Lucas Jackson, Rosenberg couldn't miss. Newman dominates the screen in one of his finest efforts, his charismatic Luke was to be one of his iconic roles, in an era when he was on something of a streak, 'Fast' Eddie Felson in The Hustler having come before and Butch Cassidy just ahead.
Rosenberg opens with close up's of parking meters, the word 'violation' in red filling the screen. Luke Jackson is calmly, if drunkenly, cutting the heads off municipal parking meters one by one, the police arrive after a couple of dozen beheadings and before long Luke is dumped at a State Correctional Facility. The Captain (Strother Martin) gives his welcoming address, mentioning that Luke was a 'war hero' who despite earning many decorations left the army at the same rank he joined, presaging Luke's difficulty to accept authority. The mirrored aviator glasses of the head guard 'No Eyes' reflect the chain gang and become a metaphor as they fill the screen, the cold, god-like gaze of 'No Eyes' will haunt Luke the remainder of his stay. Luke soon finds that for all the rules the guards have outlined, the inmates have just as many, as Dragline (George Kennedy) a huge bear of a man, controls what goes on inside of the yard. The morning work detail sets out like a military operation and it's clear Luke is back in the control of an instrument of state. Luke learns the routine and rules, as well as the frustrations and petty injustices that are daily fodder for the inmates. Rosenberg heightens the sexual tension by having a girl suggestively wash her car in full view of the chain gang, the hose an obvious phallic substitute as the men are driven mad, 'She don't know what she's doing', one helplessly says, 'she knows exactly what she's doing' replies the canny Luke. Luke's free spirited attitude finally boils over with Dragnet, who challenges him to a boxing match to air their differences. The bull-like Dragline easily accounts for Luke, but Luke keeps getting up despite advice by other in-mates to 'stay down', finally Dragline accepts his stubborn stand and carries the beaten Luke off becoming his friend in the process. Luke further endears himself to the boys by winning a massive pot in a game of cards by bluffing the opposition. 'You had nothing', says Dragline, 'sometimes nothing can be a real cool hand', replies Luke.
Arletta (Jo Van Fleet), Luke's mother, visits him in prison, she's incapacitated and in the back of a truck, smoking and near death it seems. She regrets the turns that have led Luke to this, recalling a failed marriage, where his attempt at 'respectability' robbed him of all his life 'you was borin' the hell out of all of us' she says. Arletta tells him she's leaving everything to his dull brother, making it clear that her special affection for Luke was because of his free spirit, maybe something he got from the father he never knew. She leaves him a banjo and upon news of her death Luke picks it up and quietly plays the subtly irreverent 'Plastic Jesus'. Luke leads the men in a win against the 'man', having them complete a strip of road in record time and leaving the men with nothing to do for the rest of the day. Luke then indulges in a crazy bet on a whim, that he can eat 50 hard boiled eggs in one hour. he goes into training like a zen master, and on the big day, just when it seems the impossible folly has brought him undone, he succeeds, lying out in a prone crucifixion pose, sacrificed on the alter for the amusement of the camp. The Christ allegory starts to become apparent from here on in. Luke remains out in the rain on the road as the other guys run for cover, and with 'No Eyes' watching Luke howls at the heavens, 'Let me know you're there!', he looks around and then says when asked what he's doing, 'I'm just standing in the rain, talking to myself'.
Luke is given solitary and locked up 'in the box' upon news of his mother's death being delivered, the Captain afraid he'll want to escape to go to the funeral. The contrarian in Luke reacts, as it's plain he'd mourned the old girl in his own way and would not have gone, but now the idea to escape is implanted and he's compelled to act. 'Calling it your job boss, doesn't make it right' Luke says to the pious guard who locks him up, and who'd offered to say a prayer for his mother and who asks Luke about his own lack of belief in God. Luke escapes during a 4th of July celebration, but is soon caught and sent back to the chain gang, instigating a famous speech from the Captain 'what we've got here, is failure to communicate'... Luke uses all his wits to escape a second time, this time getting far enough away to send the boys a photo of himself in a ritzy bar, with two beautiful women in his arms. The image becomes a sensation in the prison, Dragline able to sell viewing of this 'icon'. Rosenberg casually shows two pages of the magazine that holds the photo, the other side has a lead-line that portentously reads 'the illusion that kills' The photo represents a kind of 'paradise', a heaven that Luke has somehow managed to attain fro them all as Dragline keeps the faith of Luke alive. Luke is returned to the fold, his unlikely 'resurrection' coming by another stroke of bad luck. This time the empire strikes back, the Captain telling him that until he 'gets his mind right' the punishment will not let up. The guards take delight in breaking Luke, having had enough of his crowd pleasing antics, and after a while Luke is a broken man, having had to dig his own grave several times, falling into it as a glimpse into his fate. The guys watch on helpless as Harry Dean Stanton no less, convincingly croons 'Midnight Special', a gospel plea for divine aid and 'Ain't No Grave', another hymn that promises no earthly grave can hold the 'saved',
The men still idolise the battered Luke, who breaks down and tells them the picture was a fake, he paid the girls, and screams at them to 'stop feedin' off me'. In an allusion to the 'last supper' Luke is given a huge bowl of rice to eat, the box being punishment for failure to finish it, but his 'disciples' take mouthfuls for themselves to attest to continued belief. Luke has his 'garden of Gethsemane' moment as he asks God 'Where are you now'? 'No Eyes' watches on. Luke is soon back on the chain gang, but doing all of the menial work for 'No Eyes' like a trained poodle, the men are dispirited as Luke plays various versions of fetch. Luke then grabs the keys to a truck, and with Dragline hopping on unexpectedly he speeds off, 'No Eyes' unable to shoot because of the raised rear tray, a visual nod to Warner Bros own '30's classic I Am A Fugitive from a Chain Gang. Luke tells Dragline they need to split up, more or less recalling a 'my work here is done' moment in Christian mythology. Luke heads out alone, but passing a small church he enters instead of running, and starts a conversation, he tells God in effect that he feels he's never dealt him a 'cool hand', in other words he's been trying to cope on his own terms with no help from above, and tried to reconcile his path in life, 'you made me like I am, he yells. Police cars arrive and Dragline enters, telling Luke he's cut a deal (disciple betrayal) and to surrender. Luke has no intention of returning and effectively brings on his own death by opening a window and saying 'What we have here is a failure to communicate', whereupon 'No Eyes' shoots him in the neck.
For all it's entertainment value and the charm of it's leading man Cool Hand Luke is a dissertation on the nature of belief as much as anything. Men need to form common links in order to survive, mythology of all kinds helps to make these connective memes do just that. Luke is like any 'leader' and if enough disciples spread an 'accepted' version of his story then a myth can be built and can indeed flourish beyond the lifetime of the central figure. When we construct immortality myths into the bargain then literally the sky's the limit. Newman gives a brilliant performance of a man caught in a hard bargain, following his nature at one point, no matter the personal cost, and feeling the burden of what his actions represent to others who live vicariously through him. Dragline perpetuates the 'myth' at the end, pointing to the church and telling the guys that Luke was smiling, as the torn 'paradise' photo appears glued back together, Rosenberg visually sealed the deal by having Luke's 'hearse' run over and crush 'No Eyes' reflector shades. One myth displaces another.
Rosenberg's career never really hit the heights, but he proved himself a competent and capable director, working several more times with Newman, and here his command of the visual palette is fine, and obviously his work with large groups of actors in television served him well for handling the nuances of a large ensemble cast. George Kennedy won several awards for his Dragline and Newman won many, but the Oscar for Best Actor would mysteriously continue to elude him. An entertaining, thoughtful and iconic film, with more going on under the surface than you'd think.