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Sie sind hier: Start - Ausgabe 21 (2021), Nr. 5 - Rezension von: La cattedrale nella città medievale
Vinni Lucherini / Gerardo Boto Varela (a cura di): La cattedrale nella città medievale. I rituali (= Quaderni napoletani di storia dell'arte medievale; 5), Roma: viella 2020, 393 S., 5 Tbl., zahlr. s/w-Abb., ISBN 978-88-3313-126-9 , EUR 60,00
Isabel Escandell Proust
Ralf Lützelschwab
Isabel Escandell Proust: Rezension von: Vinni Lucherini / Gerardo Boto Varela (a cura di): La cattedrale nella città medievale. I rituali, Roma: viella 2020, in: sehepunkte 21 (2021), Nr. 5 [15.05.2021], URL: http://www.sehepunkte.de
Weitere Rezensionen von Isabel Escandell Proust:
Peter Coss / Chris Dennis / Melissa Julian-Jones et al. (eds.): Episcopal Power and Personality in Medieval Europe, 900-1480, Turnhout: Brepols 2020
Weitere Rezensionen zu Büchern dieser Autoren:
Gerardo Boto Varela / Isabel Escandell / Esther Lozano Lopez (eds.): The Memory of the Bishop in Medieval Cathedrals. Ceremonies and Visualizations, Frankfurt a.M. [u.a.]: Peter Lang 2019
Vinni Lucherini / Gerardo Boto Varela (a cura di): La cattedrale nella città medievale
The fifth volume of the collection "Quaderni napoletani di storia dell'arte medievale" from the publisher Viella brings together the papers presented in the city of Naples in January 2019 in the frame of an international workshop. The editors explain in the preface (7-8) how the book is the most recent result of the academic collaboration that has lasted for over a decade between the two Mediterranean universities of Girona and Naples.
In the introduction, Vinni Lucherini (13- 35) defines the historiographic trends relating to the three concepts that limit and define the scope of these papers; namely the cathedral, the city and ritual. He discusses the multiplicity of meanings possessed by these words, offering evidence from his own studies in the Roman and Neapolitan ambits. The book then continues with three distinct sections.
The first section presents six publications that connect cathedrals and cities throughout Europe. They take us to cities with notable differences and in which diverse ritual practices provide evidence of the central importance of the cathedral in medieval life. Bruno Klein (39-46) describes accounts of rituals that occurred at various points between the placing of the first stone of a cathedral and the building's consecration. Guy Lobrichon (47-64) presents the scene to be found in the cities of Sens, Reims and Soissons (11th-13th centuries), which he defines as "hagiopole" because their urban landscapes feature works of art (permanent or occasional signs) linked to rituals and thus manifest the power of their cathedral chapters. The city of Liège (10th-12th centuries) is the focus of the study by Alain Dierkens (64-74), who describes in detail the setting for the city's episcopal funeral ceremonies, which took the form of stations between the collegiate churches and monasteries and the cathedral, thus ensuring that episcopal power was omnipresent throughout the city.
The important article by Fabio Coden (75-113) reconstructs the canonical body during the annual liturgical cycle in Verona, detailing the routes and rituals followed during the Christmas-Easter-Pentecost cycle and the feasts of the saints. César García de Castro (115-137) focuses on the city of Oviedo and the differences between the shrines in the city and their direct links with the episcopal see, and details their funereal and seasonal commemorations and important events such as consecrations and coronations. The cities of Prague and Krakow between the 14th and 16th centuries provide the setting for the study by Dušan Zupka (139-156), specifically the ceremonies that took place in their cathedrals, a place that brought together the monarchs of Bohemia and their bishops. His text pays particular attention to the rituals of consecration and coronation.
In the second section, four articles describe the connections between rituals, images and sounds. Using various Constantinopolitan manuscripts with musical notation, Bissera V. Pentcheva (159-179) reconstructs the sensory and aural experience of the festival of the Exaltation of the Cross in the Hagia Sophia, which although it was held in different ambits of the city and in the temple, culminated with the canticles that rose up beneath the dome and then cascaded over the emperor. Cécile Voyer (181-199) recounts the leading role of an illuminated codex of the Gospels from the 13th century in Troyes. It accompanied the bishop on the route that he followed from the exterior to the interior of the city prior to taking possession of his Church, and was taken on the urban procession on Palm Sunday, thus helping to define the ecclesiological space. Rosa Maria Dessì (201-223) presents the documentation and some late medieval panel paintings which, in Sienna, reflect the symbolic transfer from the concept Maiestas/Ecclesia to Maestà/Civitas, and the ceremonial impact resulting from the assimilation of the paintings of the Maestà with the city, similar to the festivities that were organized to celebrate the arrival of the monarchs and their families. Véronique Dominguez (225-244) discusses the iconography present in the choir of the Cathedral of Notre-Dame de Paris (13th-14th centuries) and its impact and influence on the literary formulation of the text Mystère de la Passion by Arnoul Gréban (c. 1450), a story that was widely performed.
The third section offers five studies on the cathedrals of the Crown of Aragon during the Late Middle Ages. Marc Sureda Jubany and Gerardo Boto Varela (247-283) explain the places and rituals of the stational liturgy in the city of Tarragona on Palm Sunday, with the notable presence of a paleo-Christian sarcophagus that features the Entry into Jerusalem. Also in relation to the metropolitan cathedral of Tarragona, Marta Serrano Coll and Esther Lozano López (285-309) describe how the translatio of the relics of Saint Thecla to the city in 1312 was brought about through the combined initiative and interests of the municipal powers, the monarch and the archbishops, thus creating a new nexus between these three entities. The worship of Saint Eulalia at the Cathedral of Barcelona is analysed by Francesca Español (311-329), who focuses on both the crypt and the sepulchre and on civic worship, which led to the saint being identified with the city and to which can be added accounts of courtly piety. Amadeo Serra Desfilis (353-373) explains the façades of the Cathedral of Valencia and its singular ornamental programme as the focal point for specific ceremonies throughout the liturgical year involving various institutions and representatives of the city's government. Finally, Flocel Sabaté (331-352) describes how the cathedrals and cities of the Crown of Aragon acted in the context of royal funereal ceremonies, in a dynamic that laid bare the tensions between the ecclesiastical authorities, the municipal leaders and the monarchs.
These studies provide a great deal of evidence regarding the ritual variety to be found among cathedrals, cities and works of art during the medieval period. The book offers accounts of liturgical and civic rituals led by various social classes, elements of urban power and monarchs. All of the contributions, through their varied multidisciplinary approaches, put in motion people and works of art on urban itineraries and in the heart of the cathedrals, recreate settings and actions, revive the sounds of the rituals, canticles and performative activities, and provide evidence of notable differences between medieval cities that are in line with their historical singularities. What is clear is that this area of medieval art constitutes an important area of academic enquiry, an area to which this book provides an entry point for all researchers interested in studying the bonds between cathedrals and cities during the medieval period.


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Quotes \ Authors \ John Sherman Cooper \ I think he Oswald felt he was a failure...
Famous quote by John Sherman Cooper
"I think he Oswald felt he was a failure and for the United States and for President Kennedy and all of us. He knew he was a failure at everything he tried, frustrated, with a very sad life, but he was a Marxist"
This quote is written / told by John Sherman Cooper between August 23, 1901 and February 21, 1991. He/she was a famous Politician from USA. The author also have 21 other quotes.

redpajama_set_name: RedPajamaCommonCrawl


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Colonialism as postcolonial discourse: re-reading Ngugi'wa Thiong'o's early novels
Nasir Umar Abdullahi
nasabdullahi79@yahoo.com
Umaru Musa Yar'adau University
Colonialism, Postcolonialism, Ngugi, Early Novels, Discourse
As an historical, economical, as well as political discourse that has acutely and epistemologically engaged the attention of the political scientists, historians and the economists for ages, colonialism has been the postcolonial discourse that has profoundly attracted the literary critics over the years. This paper explores this political discourse in Ngugi's early novels namely; Weep Not Child, The River Between and A Grain of Wheat. It argues that albeit numerous literary writers have portrayed myriad of faces of colonialism in their masterpieces, it demonstrates that colonialism only wears a postcolonial mask, when viewed through the theoretical "viewfinders" of Aime Ceasire, Franz Fanon, Albert Memi, Edward Said, Kwame Nkrumah, VI Lenin, Arif Derilic, Robert Young, exempli gratia.
Aime, Cesaire. Discourse on Colonialism.Modern Reader, 1972.
A.I., Yandaki.The State in Africa: A Critical Study in Historiography and Political Philosphy. Gaskiya Corporations, 2015.
Ania, Loomba. Colonialism/ Postcolonialism.Routledge, 1988.
Ania, Loomba. Colonialism/Postcolonialism. 2nded, Routledge, 2005.
Arif, Dirlik. "Postcolonial Aura: Third World Criticism in the Age of Global Capitalism". The JournalCritical Inquiry.nol. 20, no. 2,1994, pp.328-356.
Ato, Quayson. Postcolonialism: Theory, Practice, or Process?Blackwell, 2000.
Bill, Ashcroft, et al. The Postcolonial Reader.Routledge, 1995.
Bill, Ashcroft, et al. The Empire Writes Back:Theory and Practices in Post-Colonial Literatures. Routledge,1989.
Bill, Ashcroft, et al. Key Concepts in Postcolonal Studies.Routledge, 2003. thorny
Bill, Ashcroft, Postcolonial Transformation.Routledge, 2001.
Bhikhu, Parekh. "The West and its Others".Edward Said and the Gravity of History: Cultural Readings of Imperialism, edited by. Keith Ansell-Pearson, Benita Parry and Judith Squires,St. Martin's Press, 1997, pp.173-193.
Dan, Clayton."Empire".The Dictionary of Human Geography, edited by D. Gregory, R Johnston, G. Pratt, M, Watts, and S, Whatmore, Wiley Blackwell, 2009,pp.189-190.
David, Maughan-Brown. Land, Freedom and Fiction: History and Ideology In Kenya. Zed Books, 1985.
Franz, Fanon. The Wretched of the Earth.Penguin Books, 1963.
Franz, Fanon. A Dying Colonialism. Groove Press, 1959.
Franz, Fanon. Black Skin White Masks. Pluto Press, 2008.
John Morrisey, et al. Key Concepts in Historical Geography.Sage, 2014.
John, Macloed. The Routledge Companion to Postcolonial Studies.Routledge, 2007.
Kwame, Nkrumah. Africa Must Unite. New York: Frederick A. Praeger Inc. Publishers, 1963.
Kwame, Nkrumah. Neocolonialism the Last Stage of Imperialism.Thomas Nelison and Sons, 1965.
Ngugi, wa Thiong'o. Weep Not, Child. Heinemann, 1964.
Ngugi, wa Thiong'o. The River Between.Heinemann, 1965.
Ngugi, wa Thiong'o. A Grain of Wheat.Heinemann, 1967.
Paul, Ahluwalia. Politics and Post-colonial Theory: African Inflections. Routledge, 2001.
Peter, Barry. Beginning Theory: An Introduction to Literary and Cultural Theory.Manchester University Press, 1995.
VI, Lenin. Imperialism: The Highest Stage of Capitalism. International Publishing Company, 1999.
Abdullahi, N. U. (2022). Colonialism as postcolonial discourse: re-reading Ngugi'wa Thiong'o's early novels. Journal of Postcolonial Writing and World Literatures, 3(1). Retrieved from https://royalliteglobal.com/world-literatures/article/view/747
Copyright (c) 2022 Nasir Umar Abdullahi


With Hubby out of town all week, I decided to paint our kitchen walls. But let me just say (in case I've implied otherwise), that I absolutely dread painting. I think by far the hardest part for me is just getting started.
For example, I put on my calender "Paint Kitchen Tuesday." Wednesday came and about 5pm, I called my Mom and said, "ugh, I have to paint the kitchen today...at some point." It was 6pm before I started and almost midnight before I finished.
I painted the walls Simply White (eggshell finish), which is the color we used on the cabinets, shelves and trim (in semi-gloss). With a fresh clean slate, I then experimented with creating a not so kitcheny kitchen!
Jennifer over at The Newlywed Diaries inspired me with this post! As I began gathering up some not-so-kitcheny items, I started to gravitate towards all things white, silver and wood.
I added a clock, some candlesticks, an alabaster bud vase that I put toothpicks in (to add some wood) and my sweet little owl figurine.
I tried to break away from my previous tendency to create too much symmetry. I still tried to balance things out, but in a more irregular way.
I like how the light reflects on the silver things.
I also really love my owl figurine.
No, I can't tell that you didn't spend much time arranging those beautiful shelves!! You have such lovely things and you do a wonderful job of arranging them all. Love the picture of the two of you as well!
WOW, I love those open shelves. You did a fabulous job of styling them. All your personal collectables make a difference, as does the silver. Really lovel.
I really love that you painted everything white! It is just so calming... We just put color all over our walls (the previous owners had horrid taste) and now I'm slightly sad - I wish I would have painted it all white!!!
A lovely look! I am wishing that I have some open shelving in my kitchen!
I love the combination and the paint. What a great idea this is. Truly gorgeous.
Trina - It looks amazing! The shelving and your collections look so pretty in the clear light from the window. I'm totally with you on getting motivated to paint. It's hard, but your results were more than worth the effort - just lovely.
I dread painting, too. Your non-kitcheny kitchen looks beautiful! Metal is such a perfect contrast for clean, pretty, white.
I'd say you definitely accomplished your not so kitcheny kitchen goal! The shelves look fresh and warm ... really nice.
You did a wonderful job with the shelves!
LOVE IT! It looks so fresh!
Except now I feel like MY kitchen needs some sprucing up. LOL! Fortunately I was planning on decorating for Valentines day in the kitchen anyway. I will be sure to post pictures of it on my blog next week, so be sure to check it out.
I really like the way the white, silver and wood looks. I also like the way you make it look 'not kitcheny'. Your owls are a hoot (get it? Hoot!) and those pewter candle holders are stunning.
That looks very pretty and fresh. I like silver a lot.
Let me the first to say, I love it! I think you did a beautiful job. I like symmerty too, sometimes feel great need for it and often it is necessary for the best outcome. And, sometimes the best solution is to let it evolve in an organic and natural way. As I mentioned in a previous comment, I love the fact you are so willing to experiment and change it up. Each time to great effect!
What a fabulous blog you have. Love your taste in decorating and the photographs are beautiful!
Looks beautiful! I am not much of a painter myself-actually my husband doesn't let me paint-I'm too messy(he is right)! So I happily pick out the paint color and then stay out of his way! You did a very nice job of painting I might add!
Trina, it looks so fresh and gorgeous - I love everything - you have so many beautiful things! Sorry have not been around the blogs much - swamped at work and missing you all terribly (adn missing writing more). But it is always a treat to come and take a quick glance at your posts, even if I have a minute. I think you are the only person I visit some days...!
P.S. Love your silver things!
Looks Great! I love your open shelving where did you find them or did you have them made? I hope to have some in our next home.
Wow!! I love it! Your kitchen looks amazing as does your whole house! I can't wait to browse around & see everything!
I love it Trina! I love the "kitchen as living space" trend, and it's perfect how a few well-balanced themes---white, silver, wood---can make a space both gorgeous and grounded. love it!
Love the silver, white, and wood look. Don't you find you notice your things more when you move them around - I love doing it, just for that reason.
Oh . . THANK YOU for not having a granite countertops/stainless steel kitchen:)! Love the simplicity and freshness - and where dear girl did you ever find those blue swallow plates? OK, so I don't need another plate (of ANY kind) but I fell in love with yours!
Beautiful. Very serene and less kitcheny. But I did so love your red transferware!
Adore your trinity: white, wood, silver. Timeless, classic.
I love it! I wish we had open shelving in our kitchen... someday!
I think it is just wonderfully done. Does it sound strange to say that it makes my eyes happy? It's just a peaceful and lovely look.
Great job, the results look fantastic! I know how you feel about painting, i've painted several houses now and i'm so over it!!! I have four rooms left of our current house to paint and i'm taking so long to get around to them, the rest of the house will need to be redone at the same time!
Trina, this is so pretty. Putting it all together was your reward for painting and you did a beautiful job! Love the frame with the two of you, nice touch.
I love the mix of the white, silver, and wood. Looks fabulous. Very simple and yet elegant. Nice affect.
i just found your lovely blog, i can't wait to look around. love your shelves in the kitchen!
I love the contrast between the white and silver. Lovely job. I enjoy your blog so much.
I love decorating with silver objects. Your kitchen looks fantastic. Those shelves are really perfect for your displays.
Loving your counters- I just posted about how much I love wood counters and someone told me I had to see your beautiful kitchen.
Your house is to die for!
Love everything. Just beautifully done. Simply White is the best.
P.S. My husband thinks it's quite hilarious that I am so smitten with your blog.
Tina it's beautiful!!! (like everything else you do of course) Just love this look though.
Also can't get over your flower photos- they're amazing and have me itching for spring too!
Looks great Trina. I just love your owls!!
I love it! LOVE IT! I'm trying to get motivated to finish my kitchen. I've painted the cabinets gray (MAJOR PAIN!) and now need to do the walls and finish the trim. You can imagine how great it looks in the mean time :) Gray, white and black are my colors on inspiration, too!
I just found you, so I don't know quite what the "before" looked like (if it was ever posted), but I love the "after." The white with the open shelves instead of cabinents, the non-kitcheny things included ... yes please!
I have saved this pic for when I really have a kitchen.
Just beautiful! I'm glad I found this because I noticed that you mix both your silver and your gold finished pieces together. I will be going "white" here at our home and I've had it in my head that I need to choose one finish to use throughout the house as far as accent pieces go. Which one are you drawn to the most? And which do you feel you use the most? I'm loving how antiqued gold leaf pieces look with my red cabinets, but if I go "white" with the walls, beadboard, etc..I wasn't sure if I needed to use silver instead. I've driven myself bonkers over it, lol, even wondering if I need to silver leaf my gold pieces. Ack!
Thank you, Trina. All of your pieces and finishes look beautiful together. You've inspired me to use what I love and not be concerned about everything being "matchy". Thank you!
Simply White by Benjamin Moore!


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You are at:Home » Stats & Insights » Debrief & Analysis » Meet The Team: Tom Love shares his insight, sources and favourite betting memories
Meet The Team: Tom Love shares his insight, sources and favourite betting memories
By Tom Love on	 Sep 2, 2020 Debrief & Analysis, Stats & Insights
IN the third of a brand new series, we get inside the minds of some of WLB's brightest stars with their favourite resources, valuable insight and greatest memories of betting shared, with Tom Love (@TomLove_18) up next.
When did you first start betting? Can you remember your first bet?
I first started betting when I was 17, my brother would get the odd coupon from down the road and I'd pick a £2 acca and a 50p draw four-fold (one of which I actually won somehow).
My first actual bet, like most, would've been on the Grand National on a horse in Bradford City colours no doubt, and to no avail.
What sports or leagues do you focus and bet on?
I'm 90% focussed on football for my bets, simply because that's where my passion and knowledge lies.
I like to have some variety in which leagues I dip into. I love the EFL and prefer punting in League Two compared to the Premier League as I think there's greater value to be found but I love to get involved with card markets in Spain and Italy as well as goals in Germany.
I grew up watching Revista De La Liga on Sky and the Bundesliga Highlights Show on ITV4 and have always been a lover of football on the continent, whether that be native leagues or the Champions League/Europa League.
Outside of football I don't mind a punt on the horses for the big festivals and I have dabbled in darts and rugby league in the past.
What sites or sources do you use to follow them?
To track bets in-play I put the personalised alerts on via Bet365 which is a nice feature. Ben Mayhew has some excellent and well presented data on his website which I use quite a bit before and after games.
What are your favourite websites for research?
WhoScored – Have loads of tabs to check team stats and player stats. Basic ones you can see on a player's page and if you click on the 'detailed' tab you can see it in-depth (Shot zones/accuracy etc).
Soccerway – Easier to look at fixtures going back to a year or two also have a referee database which is good for looking at individual ref card stats in past games.
Statszone – £10 annual membership – Records all manner of stats and updates in-play, has game stats for the top 5 leagues and good graphics of where shots/passes/crosses/tackles come from.
WinDrawWin – Have lots of data and I use it especially for checking team corner statistics.
What stats do you consider the most important?
I tend to value Expected Goals (xG) more than the actual results of games. Some won't like to hear it but the league table does lie some teams are lucky, some are unlucky and in a low scoring game such as football, where variance plays a big part, it can produce some outliers.
However, I'd rather back team A that average two xG over team B that produce one xG even if team B are far ahead of team A. I also consider shot area and shot volume a lot when making selections.
Are there any stats or trends you feel are irrelevant?
Yeah, possession doesn't tell you enough but I don't think many people value that too much these days, I believe teams can control the game without the ball in some cases.
Head-to-head is an area of myth too – the only time I will consider a H2H is if it's the same squads and managers and there was tactical manoeuvres that were strongly effective. But when people say "Team A hasn't won at team B in eight years" I cannot get onboard with people using that as a stat to worry about.
Squad and manager turnover is so regular and fluid these days, it means nothing.
What's the biggest lesson you've learnt betting?
Bet the price. Something some people can't get their head around is the influence the price can have on your selection. You might really like a bet but if the odds on offer are significantly shorter than you expected then don't bet on it. Prices naturally contract closer you get to the game and that's why I think it's important to try manufacture your own odds for the threshold before something becomes a 'no bet'.
Don't bet on a team blind because you think they'll win. The price is the most important factor in determining whether you should play the bet.
Why is value important in betting?
Put in simple terms, if you only back value bets, long term you are likely to do well. A lot of people ask me "how do you determine if a bet is value or not?" and my answer to that would be – If you get a better price than the closing line, as the closing line it the most efficient price in the large majority of cases.
I'd also urge people to shop around to get the best price possible on your bet. If you have just one single account the chances are you're missing out on potential greater returns elsewhere, it's small things like this which will give you a much better chance of become a more profitable long term punter.
In this game you are going to have losers, naturally. That's often a hard thing to take, but if you truly believe you've backed a value bet and it loses then I feel the despondency is diluted.
Have you any advice for punters looking to try and find an edge?
The simple bit of advice is do your research. Use the websites I mentioned earlier, find a bet, find the best price for that bet and work out if it's value or not.
I personally find the value to often be in the player stats market where I almost always beat the closing price. Follow teams news updates, managerial press conferences and tone of voice too. I try do this as much as I can to try get a flavour of the headspace of a manager and his team are in, I value psychology quite strongly and that's often not factored into the price set by bookies as it's not hard data.
I'd also add that it's useful to build up your tactical knowledge. If two teams come up against each other with contrasting playing styles it can often open up many avenues into potential profit.
What's your biggest betting win and how do you spend it?
I've not had a 'jackpot' style win yet but quite a few that stand out. This season I went strong on a player who was wildly mispriced in the tackles market and totalled up around £750 profit, suffice to say I'm now restricted on that site which is ridiculous.
I had one of my best wins in probably the worst game of the season when Arsenal drew 0-0 at Everton. After having a deep dive into tactical approach I went pretty big on what I thought were generous prices on David Luiz in the passing markets which all paid out about £800 in the end.
My most memorable win was £500 from a risk free £50 bet in the England vs Wales Euro 2016 game which I had 2-1 England on. That last-minute Daniel Sturridge toe-poke and the ensuing pile on live long in the memory.
Do you review your bets and track your winners/losers?
I used to quite forensically but in recent months I just haven't had the time to keep an up to date spreadsheet. However, I keep a monthly bankroll for betting and can see if I am up at the end of every month which I have been 5/7 months since the start of the season.
I'd recommend to anyone to have a bankroll specifically for betting and not to bet more than you can afford to lose.
How do you cope with losing bets?
It's the toughest part, especially when you put extensive research into a selection. It's also the case that the feeling of losing a bet often outweighs the joy of winning a bet and it should hurt, if it doesn't then you may have to take a step back.
I used to struggle with the temptation to chase your losses which I'm sure is something quite a few have had issues with. My advice for that is to just leave your phone/laptop and go out for a walk just to get out of that environment. It used to work for me when I was quite inexperienced but my ethos now is that it's a long term game and I'll only bet on things I feel strongly about.
What's the best thing about betting?
The thrill. You have to enjoy it, that's the main thing. I enjoy the process of researching a bet and knowing I have an edge on the bookies, and when it comes off it's great!
It's a hobby and there's nothing wrong with that as long as you are sensible with staking. It's additional entertainment and it could make a rubbish game interesting if you've found an angle in.
As someone a few people follow to see them win a bet that I've tipped up is a lovely feeling too.
I see the tagline "When the fun stops, stop" and that's so true. It's meant to be fun and it certainly is for me.
Tom Love
I was first interested in the betting industry by doing the odd coupon at 18 - when I'd see a team at odds I didn't expect it sparked my curiosity as to why that was. I'd go and research everything around that club: form, team news, manager quotes, and try give my own price in an aim to out-do the bookies. I personally enjoy punting on the Football League and European competitions. I like to diversify what markets I bet on so sometimes it's outrights, goals, player cards etc. The Football League angle comes from being an avid Bradford City fan which has its ups (reaching a League Cup final and beating Chelsea in the FA Cup) and its downs (The entirety of 2018). Hobbies of mine include playing football, cross country running, travelling and playing Football Manager.


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  Code coverage
  generated by istanbul at Fri Apr 21 2017 05:43:41 GMT+0000 (UTC)

redpajama_set_name: RedPajamaGithub


*LAST PLOT REMAINING* An exclusive gated development of two five bedroom detached properties in the Highgate area of Walsall. Featuring high specification throughout and under-floor heating to the ground floor these luxury family homes will benefit from fully integrated kitchens and three en-suites.
AN EXTENDED SIX DOUBLE BEDROOM FAMILY HOME IDEAL FOR LARGE FAMILIES LOCATED IN A POPULAR LOCATION The accommodation is close to all local amenities including schools, shops, and bus routes to Birmingham City Centre.


text:
Negotiated Memory
Release Date:01 Jan 2005
Release Date:07 Apr 2004
GO TO CART SAMPLE CHAPTER
Doukhobor Autobiographical Discourse
By Julie Rak
The Doukhobors, Russian-speaking immigrants who arrived in Canada beginning in 1899, are known primarily to the Canadian public through the sensationalist images of them as nude protestors, anarchists, and religious fanatics – representations largely propagated by government commissions and the Canadian media. In Negotiating Memory, Julie Rak examines the ways in which autobiographical strategies have been employed by the Doukhobors themselves in order to retell and reclaim their own history.
Drawing from oral interviews, court documents, government reports, prison diaries, and media accounts, Rak demonstrates how the Doukhobors employed both "classic" and alternative forms of autobiography to communicate their views about communal living, vegetarianism, activism, and spiritual life, as well as to pass on traditions to successive generations. More than a historical work, this book brings together recent theories concerning subjectivity, autobiography, and identity, and shows how Doukhobor autobiographical discourse forms a series of ongoing negotiations for identity and collective survival that are sometimes successful and sometimes not.
An innovative study, Negotiating Memory will appeal to those interested in autobiography studies as well as to historians, literary critics, and students and scholars of Canadian cultural studies.
2006, Short-listed - Raymond Klibansky Prize, Canadian Federation for the Humanities and Social Science
RELATED TOPICS: Anthropology, Canadian History, History, Immigration & Emigration, Religion & Spirituality, Sociology, Transnationalism & Migration
What Rak has written is a serious and worthwhile addition to our understanding of the way a marginalized people struggles, against all those social currents that would silence them, to find and honour a collective autobiographical voice. Myler Wilkinson, Selkirk College, BC Studies, Spring 2005
In her methodologically ground-breaking book, Negotiated Memory, Julie Rak uses autobiographical discourse (as opposed to autobiographical genre), cultural context, and historical narrative to theorize about the relationships among the meanings of identity, place and nation…However, the book is much more than an innovative use of autobiographical discourse as a post-colonial tool useful in studying powerless groups. Negotiated Memory is also a rich cultural history of the migration and adaptation experiences of an often misunderstood religious group. Susan W. Hardwick, Department of Geography, University of Oregon, American Review of Canadian Studies, Autumn 2005
This will be a useful and informative text for students of Canadian studies, as well as those interested in critical autobiography and identity theory ... Rak does a very good job of navigating the complex topography of Doukhobor autobiographical discourse within the Canadian historical landscape. Vicki S. Hallett, University of Toronto Quarterly, vol. 75, no. 1, Winter 2006
Julie Rak is Assistant Professor in the Department of English at the University of Alberta.
1 Beyond Auto-Bio-Graphe: Autobiography and Alternative Identities
2 Doukhobor Beliefs and Historical Moments
3 Vechnaiia Pamit in the Diaspora: Community Meanings of History and Migration
4 Negotiating Identity: Doukhobor Oral Narratives
5 Witness, Negotiation, Performance: Freedomite Autobiography
Conclusion: Negotiating the "I" and "We" in Autobiography


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Americans' reliance on credit cards has become an epidemic, with the average American household carrying over $16,000 in credit card debt. There are many factors for this, but some of the most important is this: In the last fifteen years, the cost of living in the U.S. has gone up by over 30%, yet household incomes grew only by 28%. Additionally, medical expenses have gone up by 57% since 2003, while food costs have risen by 36% and housing 32%. It's really simple math; the cost of living has outpaced our ability to afford it. The sad reality is more and more Americans are forced to use credit cards to cover even basic needs like food and clothing.
With large debt amounts, even if you're able to meet the monthly payments, you effectively set yourself up for potentially years (or even decades) of having to pay much more in interest charges. This can cost you literally tens of thousands of dollars of extra money. Money that could serve you much better by being put into savings or investments.
In the above scenario, making only the minimum payment, it would take over thirteen years to pay off your debt. In that time, you would pay over $8,000 in interest charges alone. As your balance is paid, the minimum payment drops, but due to compounding interest, you will end up paying for a long, long time if you pay only the minimum. This also does not take into account any new charges either.
We take an aggressive stance when dealing with creditors and have over a decade of experience negotiating on our client's behalf to secure payments that are manageable and fit their budget. On average, we're able to negotiate and settle the outstanding balances for 40%-60% of the amounts owed, which effectively slashes your monthly payments, and sets you up to complete a program in an estimated 24-48 months.
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Some people aren't very good with change, I know a few people who don't fare with it well, however recently I have been accused of it, which was aimed at me being unable to make creative changes, but I'll come to that in a minute.
Having Edward, and then William, my/our life has been constant change, like any one with a small child, though a child with special extra requirements, and one requiring surgery before the age of one, does sort of make your life a bit of a mystery tour! Life is constantly evolving, new schools, new challenges, and even though this year William starts secondary school, I feel pretty confident that we can all deal with the changes ahead of us.
While on holiday we bought a dresser for our kitchen in Tavistock, and had it shipped up to Hampshire : ) If you are ever in Tavistock, check out Odds and Suds, a really lovely shop, handmade soap and vintage/antique furniture!
Before the dresser arrived, we knew that we finally had to decorate our kitchen, which we have lived with since we moved in, 11 years ago!
It was just one of those things, it just seemed like too much hard work!
But now it is done, and I'm glad we made the change to make it happen!
So creative changes, that is a tricky point, I really enjoy creating things using my own handmade felt, and the other fabrics I use like linen, I like learning how to do new things, and experimenting. But, should you make creative changes for the sake of it?
I don't think you should, I think being creative is like a long afternoon walk through woods, you go along different paths, some lead to a pretty pond, or some come to a dead end, so you have to go back. But it is something that is fluid, and develops slowly, and by not being pushed.
If I created textiles as my full-time job, it would be different, but I make because I enjoy making, and I have made choices recently to maintain that level.
So am I a stick in the mud with my creativity? Well we'll see in a month or so, when I can show everyone my new work, though I'm sure someone will just say it just the same as all my other stuff!
I like the things you make, the are distinctive, and recognisable as being made by you. But I do look forward to seeing your new stuff, whatever it looks like!


As Jon has traveled the world speaking and training educators in the Flipped Classroom model, he has seen first-hand the global promise, passion and potential for flipped learning. He has also seen the pitfalls and myriad ways that flipped learning can be compromised by bad practice, inappropriate technology, and poor execution.
Jon has also identified a global race among education entrepreneurs and well-established education interests to participate in the flipped learning revolution.
As one of the founders of Flipped Learning, Jon is deeply committed to seeing the model successfully executed and embraced globally. In pursuit of this vision, Jon has restructured his practice into two divisions aimed at supporting the expansion of flipped learning around the world.
The mission of the Flipped learning Simplified division is to spread the pedagogy of flipped learning around the world. Evangelist in Chief, Jon Bergmann leads this effort through keynotes, workshops, books, blogging, social media, new media, personal appearances and the aggregation and sharing of best practices.
The success of any flipped program begins with understanding the pedagogy. The mission of Flipped Learning Simplified is to provide the pedagogical foundations for success.
The mission of the Flipped Learning Global Initiative is to coordinate, orchestrate and scale the key elements required to successfully expand flipped learning. This division is responsible for identifying and developing strategic partnerships, initiatives, projects, best in class vendors, products, and services to introduce and support flipped learning around the globe. The Flipped Learning Global Initiative is led by Errol St.Clair Smith, Director of Global Development.
The initiative divides the world into regions and identifies champions to introduce and support flipped learning in each region. Regional candidates present their programs, plans, projects and tech tools designed to help introduce or support Flipped Learning. Pending approval, mission partners are endorsed by Jon Bergmann and recognized as part of the Global Flipped Learning Initiative. Accepted companies, vendors, and organizations pay an annual fee for certification, membership, endorsement, consulting and on-going access to best practices.


Rose hip is the fruit that develops from the blossoms of the wild rose plant. It is also known as rose hep and rose haw. It ranges in color from orange to purplish black and usually develops in the latter part of the growing season, around late summer to autumn.
The vitamins, minerals, organic compounds, and other essential nutrients in rose hips pack a very powerful punch! Some of these beneficial components include vitamin C, A, E, and vitamin B-complex, as well as minerals like calcium, iron, selenium, manganese, magnesium, phosphorous, potassium, sulfur, silicon, and zinc. Furthermore, the organic compounds, such as lycopene, pectin, lutein, and beta-carotene, are also very powerful and essential for the body. The antioxidant components, which include flavonoids, phytochemicals, and carotenoids also contribute to their health benefits.
The carotenoids, flavonoids, and polyphenols that can be found in rose hips are very powerful antioxidants, which eliminate or neutralize free radicals found within the body. Free radicals are the by-products of cellular metabolism that damage healthy cells by causing them to mutate into cancerous cells, or simply killing them off. According to a study published in theInternational Journal of Molecular Sciences (2017), rose hips may have an anti-inflammatory effect as well as anti-cancer properties. However, further research is needed to gauge its potential therapeutic role against chronic diseases.


text:
The Lion King (2019) N/A1
N/A1
Simba idolises his father, King Mufasa, and takes to heart his own royal destiny. But not everyone in the kingdom celebrates the new cub's arrival. Scar, Mufasa's brother—and former heir to the throne—has plans of his own. The battle for Pride Rock is ravaged with betrayal, tragedy and drama, ultimately resulting in Simba's exile. With help from a curious pair of newfound friends, Simba will have to figure out how to grow up and take back what is rightfully his.
Genre:Adventure, Animation, Drama, Family
Actors:Alfre Woodard, Beyoncé Knowles, Billy Eichner, Chiwetel Ejiofor, Donald Glover, Eric André, James Earl Jones, John Kani, John Oliver, Seth Rogen
Directors:Jon Favreau
Countries:United States
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text:
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var ReactPerf = require("./ReactPerf");

var containsNode = require("./containsNode");
var getReactRootElementInContainer = require("./getReactRootElementInContainer");
var instantiateReactComponent = require("./instantiateReactComponent");
var invariant = require("./invariant");
var shouldUpdateReactComponent = require("./shouldUpdateReactComponent");

var SEPARATOR = ReactInstanceHandles.SEPARATOR;

var ATTR_NAME = DOMProperty.ID_ATTRIBUTE_NAME;
var nodeCache = {};

var ELEMENT_NODE_TYPE = 1;
var DOC_NODE_TYPE = 9;

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}

function internalGetID(node) {
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}

/**
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/**
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function getNode(id) {
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/**
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function isValid(node, id) {
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var deepestNodeSoFar = null;
function findDeepestCachedAncestorImpl(ancestorID) {
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/**
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function findDeepestCachedAncestor(targetID) {
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/**
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 *     component,
 *     document.getElementById('container')
 *   );
 *
 *
                   <-- Supplied `container`.
 *
              <-- Rendered reactRoot of React
 *       // ...                                 component.
 *

 *

 *
 * Inside of `container`, the first element rendered is the "reactRoot".
 */
var ReactMount = {
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  /** Time spent inserting markup into the DOM. */
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  _instancesByReactRootID: instancesByReactRootID,

  /**
   * This is a hook provided to support rendering React components while
   * ensuring that the apparent scroll position of its `container` does not
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   *
   * @param {DOMElement} container The `container` being rendered into.
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  /**
   * Take a component that's already mounted into the DOM and replace its props
   * @param {ReactComponent} prevComponent component instance already in the DOM
   * @param {ReactComponent} nextComponent component instance to render
   * @param {DOMElement} container container to render into
   * @param {?function} callback function triggered on completion
   */
  _updateRootComponent: function(
      prevComponent,
      nextComponent,
      container,
      callback) {
    var nextProps = nextComponent.props;
    ReactMount.scrollMonitor(container, function() {
      prevComponent.replaceProps(nextProps, callback);
    });

    if (require('./React').__DEV__ === true) {
      // Record the root element in case it later gets transplanted.
      rootElementsByReactRootID[getReactRootID(container)] =
        getReactRootElementInContainer(container);
    }

    return prevComponent;
  },

  /**
   * Register a component into the instance map and starts scroll value
   * monitoring
   * @param {ReactComponent} nextComponent component instance to render
   * @param {DOMElement} container container to render into
   * @return {string} reactRoot ID prefix
   */
  _registerComponent: function(nextComponent, container) {
    (require('./React').__DEV__ === true ? invariant(
      container && (
        container.nodeType === ELEMENT_NODE_TYPE ||
        container.nodeType === DOC_NODE_TYPE
      ),
      '_registerComponent(...): Target container is not a DOM element.'
    ) : invariant(container && (
      container.nodeType === ELEMENT_NODE_TYPE ||
      container.nodeType === DOC_NODE_TYPE
    )));

    ReactEventEmitter.ensureScrollValueMonitoring();

    var reactRootID = ReactMount.registerContainer(container);
    instancesByReactRootID[reactRootID] = nextComponent;
    return reactRootID;
  },

  /**
   * Render a new component into the DOM.
   * @param {ReactComponent} nextComponent component instance to render
   * @param {DOMElement} container container to render into
   * @param {boolean} shouldReuseMarkup if we should skip the markup insertion
   * @return {ReactComponent} nextComponent
   */
  _renderNewRootComponent: ReactPerf.measure(
    'ReactMount',
    '_renderNewRootComponent',
    function(
        nextComponent,
        container,
        shouldReuseMarkup) {

      var componentInstance = instantiateReactComponent(nextComponent);
      var reactRootID = ReactMount._registerComponent(
        componentInstance,
        container
      );
      componentInstance.mountComponentIntoNode(
        reactRootID,
        container,
        shouldReuseMarkup
      );

      if (require('./React').__DEV__ === true) {
        // Record the root element in case it later gets transplanted.
        rootElementsByReactRootID[reactRootID] =
          getReactRootElementInContainer(container);
      }

      return componentInstance;
    }
  ),

  /**
   * Renders a React component into the DOM in the supplied `container`.
   *
   * If the React component was previously rendered into `container`, this will
   * perform an update on it and only mutate the DOM as necessary to reflect the
   * latest React component.
   *
   * @param {ReactComponent} nextComponent Component instance to render.
   * @param {DOMElement} container DOM element to render into.
   * @param {?function} callback function triggered on completion
   * @return {ReactComponent} Component instance rendered in `container`.
   */
  renderComponent: function(nextComponent, container, callback) {
    var prevComponent = instancesByReactRootID[getReactRootID(container)];

    if (prevComponent) {
      if (shouldUpdateReactComponent(prevComponent, nextComponent)) {
        return ReactMount._updateRootComponent(
          prevComponent,
          nextComponent,
          container,
          callback
        );
      } else {
        ReactMount.unmountComponentAtNode(container);
      }
    }

    var reactRootElement = getReactRootElementInContainer(container);
    var containerHasReactMarkup =
      reactRootElement && ReactMount.isRenderedByReact(reactRootElement);

    var shouldReuseMarkup = containerHasReactMarkup && !prevComponent;

    var component = ReactMount._renderNewRootComponent(
      nextComponent,
      container,
      shouldReuseMarkup
    );
    callback && callback.call(component);
    return component;
  },

  /**
   * Constructs a component instance of `constructor` with `initialProps` and
   * renders it into the supplied `container`.
   *
   * @param {function} constructor React component constructor.
   * @param {?object} props Initial props of the component instance.
   * @param {DOMElement} container DOM element to render into.
   * @return {ReactComponent} Component instance rendered in `container`.
   */
  constructAndRenderComponent: function(constructor, props, container) {
    return ReactMount.renderComponent(constructor(props), container);
  },

  /**
   * Constructs a component instance of `constructor` with `initialProps` and
   * renders it into a container node identified by supplied `id`.
   *
   * @param {function} componentConstructor React component constructor
   * @param {?object} props Initial props of the component instance.
   * @param {string} id ID of the DOM element to render into.
   * @return {ReactComponent} Component instance rendered in the container node.
   */
  constructAndRenderComponentByID: function(constructor, props, id) {
    var domNode = document.getElementById(id);
    (require('./React').__DEV__ === true ? invariant(
      domNode,
      'Tried to get element with id of "%s" but it is not present on the page.',
      id
    ) : invariant(domNode));
    return ReactMount.constructAndRenderComponent(constructor, props, domNode);
  },

  /**
   * Registers a container node into which React components will be rendered.
   * This also creates the "reactRoot" ID that will be assigned to the element
   * rendered within.
   *
   * @param {DOMElement} container DOM element to register as a container.
   * @return {string} The "reactRoot" ID of elements rendered within.
   */
  registerContainer: function(container) {
    var reactRootID = getReactRootID(container);
    if (reactRootID) {
      // If one exists, make sure it is a valid "reactRoot" ID.
      reactRootID = ReactInstanceHandles.getReactRootIDFromNodeID(reactRootID);
    }
    if (!reactRootID) {
      // No valid "reactRoot" ID found, create one.
      reactRootID = ReactInstanceHandles.createReactRootID();
    }
    containersByReactRootID[reactRootID] = container;
    return reactRootID;
  },

  /**
   * Unmounts and destroys the React component rendered in the `container`.
   *
   * @param {DOMElement} container DOM element containing a React component.
   * @return {boolean} True if a component was found in and unmounted from
   *                   `container`
   */
  unmountComponentAtNode: function(container) {
    var reactRootID = getReactRootID(container);
    var component = instancesByReactRootID[reactRootID];
    if (!component) {
      return false;
    }
    ReactMount.unmountComponentFromNode(component, container);
    delete instancesByReactRootID[reactRootID];
    delete containersByReactRootID[reactRootID];
    if (require('./React').__DEV__ === true) {
      delete rootElementsByReactRootID[reactRootID];
    }
    return true;
  },

  /**
   * Unmounts a component and removes it from the DOM.
   *
   * @param {ReactComponent} instance React component instance.
   * @param {DOMElement} container DOM element to unmount from.
   * @final
   * @internal
   * @see {ReactMount.unmountComponentAtNode}
   */
  unmountComponentFromNode: function(instance, container) {
    instance.unmountComponent();

    if (container.nodeType === DOC_NODE_TYPE) {
      container = container.documentElement;
    }

    // http://jsperf.com/emptying-a-node
    while (container.lastChild) {
      container.removeChild(container.lastChild);
    }
  },

  /**
   * Finds the container DOM element that contains React component to which the
   * supplied DOM `id` belongs.
   *
   * @param {string} id The ID of an element rendered by a React component.
   * @return {?DOMElement} DOM element that contains the `id`.
   */
  findReactContainerForID: function(id) {
    var reactRootID = ReactInstanceHandles.getReactRootIDFromNodeID(id);
    var container = containersByReactRootID[reactRootID];

    if (require('./React').__DEV__ === true) {
      var rootElement = rootElementsByReactRootID[reactRootID];
      if (rootElement && rootElement.parentNode !== container) {
        (require('./React').__DEV__ === true ? invariant(
          // Call internalGetID here because getID calls isValid which calls
          // findReactContainerForID (this function).
          internalGetID(rootElement) === reactRootID,
          'ReactMount: Root element ID differed from reactRootID.'
        ) : invariant(// Call internalGetID here because getID calls isValid which calls
        // findReactContainerForID (this function).
        internalGetID(rootElement) === reactRootID));

        var containerChild = container.firstChild;
        if (containerChild &&
            reactRootID === internalGetID(containerChild)) {
          // If the container has a new child with the same ID as the old
          // root element, then rootElementsByReactRootID[reactRootID] is
          // just stale and needs to be updated. The case that deserves a
          // warning is when the container is empty.
          rootElementsByReactRootID[reactRootID] = containerChild;
        } else {
          console.warn(
            'ReactMount: Root element has been removed from its original ' +
            'container. New container:', rootElement.parentNode
          );
        }
      }
    }

    return container;
  },

  /**
   * Finds an element rendered by React with the supplied ID.
   *
   * @param {string} id ID of a DOM node in the React component.
   * @return {DOMElement} Root DOM node of the React component.
   */
  findReactNodeByID: function(id) {
    var reactRoot = ReactMount.findReactContainerForID(id);
    return ReactMount.findComponentRoot(reactRoot, id);
  },

  /**
   * True if the supplied `node` is rendered by React.
   *
   * @param {*} node DOM Element to check.
   * @return {boolean} True if the DOM Element appears to be rendered by React.
   * @internal
   */
  isRenderedByReact: function(node) {
    if (node.nodeType !== 1) {
      // Not a DOMElement, therefore not a React component
      return false;
    }
    var id = ReactMount.getID(node);
    return id ? id.charAt(0) === SEPARATOR : false;
  },

  /**
   * Traverses up the ancestors of the supplied node to find a node that is a
   * DOM representation of a React component.
   *
   * @param {*} node
   * @return {?DOMEventTarget}
   * @internal
   */
  getFirstReactDOM: function(node) {
    var current = node;
    while (current && current.parentNode !== current) {
      if (ReactMount.isRenderedByReact(current)) {
        return current;
      }
      current = current.parentNode;
    }
    return null;
  },

  /**
   * Finds a node with the supplied `targetID` inside of the supplied
   * `ancestorNode`.  Exploits the ID naming scheme to perform the search
   * quickly.
   *
   * @param {DOMEventTarget} ancestorNode Search from this root.
   * @pararm {string} targetID ID of the DOM representation of the component.
   * @return {DOMEventTarget} DOM node with the supplied `targetID`.
   * @internal
   */
  findComponentRoot: function(ancestorNode, targetID) {
    var firstChildren = findComponentRootReusableArray;
    var childIndex = 0;

    var deepestAncestor = findDeepestCachedAncestor(targetID) || ancestorNode;

    firstChildren[0] = deepestAncestor.firstChild;
    firstChildren.length = 1;

    while (childIndex < firstChildren.length) {
      var child = firstChildren[childIndex++];
      var targetChild;

      while (child) {
        var childID = ReactMount.getID(child);
        if (childID) {
          // Even if we find the node we're looking for, we finish looping
          // through its siblings to ensure they're cached so that we don't have
          // to revisit this node again. Otherwise, we make n^2 calls to getID
          // when visiting the many children of a single node in order.

          if (targetID === childID) {
            targetChild = child;
          } else if (ReactInstanceHandles.isAncestorIDOf(childID, targetID)) {
            // If we find a child whose ID is an ancestor of the given ID,
            // then we can be sure that we only want to search the subtree
            // rooted at this child, so we can throw out the rest of the
            // search state.
            firstChildren.length = childIndex = 0;
            firstChildren.push(child.firstChild);
          }

        } else {
          // If this child had no ID, then there's a chance that it was
          // injected automatically by the browser, as when a `<table>`
          // element sprouts an extra `<tbody>` child as a side effect of
          // `.innerHTML` parsing. Optimistically continue down this
          // branch, but not before examining the other siblings.
          firstChildren.push(child.firstChild);
        }

        child = child.nextSibling;
      }

      if (targetChild) {
        // Emptying firstChildren/findComponentRootReusableArray is
        // not necessary for correctness, but it helps the GC reclaim
        // any nodes that were left at the end of the search.
        firstChildren.length = 0;

        return targetChild;
      }
    }

    firstChildren.length = 0;

    (require('./React').__DEV__ === true ? invariant(
      false,
      'findComponentRoot(..., %s): Unable to find element. This probably ' +
      'means the DOM was unexpectedly mutated (e.g., by the browser), ' +
      'usually due to forgetting a
 when using tables or nesting
 ' +
      'or  tags. Try inspecting the child nodes of the element with React ' +
      'ID `%s`.',
      targetID,
      ReactMount.getID(ancestorNode)
    ) : invariant(false));
  },

  /**
   * React ID utilities.
   */

  getReactRootID: getReactRootID,

  getID: getID,

  setID: setID,

  getNode: getNode,

  purgeID: purgeID
};

module.exports = ReactMount;


• The registration for individuals does not open. Is the registration link disabled?
• When paying online by credit card, it asks for my CVV number. Where is that?
• I've registered online. Now what?
• When will I know what workshops I received?
• I registered online but didn't get to make my workshop choices.
• Should I bring my Workshop Confirmation Form to Congress?
• I registered online but didn't print out a Workshop Confirmation Form.
• I registered by mail. Can I get a Congress Registration Confirmation?
• I didn't get a Congress Registration Confirmation email.
• I registered online. I provided an email address. It's been three weeks after registration.
Why didn't I get an email confirmation of registration?
Confirmation Form shows a blank email address.
• How do I know if I got my first choices?
The registration for individuals does not open. Is the registration link disabled?
Check to make sure your browser allows pop-up windows. Online registration for Congress and for Youth Day utilize pop-up windows to get to the registration form.
When paying online by credit card, it asks for my CVV number. Where is that?
The CVV Number ("Card Verification Value") appears on Visa, MasterCard and Discover credit and debit cards as a 3-digit number on the back of the card, or as a 4-digit number on the front of American Express cards. Providing a CVV number proves that you physically have the credit or debit card with you - and helps to reduce fraud.
NOTE: CVV numbers are NOT your card's secret PIN (Personal Identification Number). A PIN code will allow you to use your credit or debit card at an ATM or when making an in-person purchase with your debit card or a cash advance with any credit card. You should never enter your PIN code when asked to provide a CVV number.
I've registered online. Now what?
Be sure you have included your email address. All confirmations -- and access to the online registration system -- are made through an email link in your confirmation. Emails will confirmation all your workshop selections. Tickets will be mailed out beginning in January.
When will I know what workshops I received?
The workshops you are able to select online are the ones you are registered for, and those will show on your tickets when they are mailed (or printed out by barcode at Congress.) Be sure to provide your email address when registering (either online or by mail) to receive an email confirmation of your workshops selections.
I registered online but didn't get to make my workshop choices.
Be sure you register with an email address. You will be sent an email confirmation, which will include a link to re-enter the online registration system.
Should I bring my Workshop Confirmation Form to Congress?
If you don't receive your tickets in the mail by Thursday prior to Congress, bring your Workshop Confirmation Form to Congress as proof of registration. Later email confirmations will include a barcode, which allows you to easily print your tickets on site at Congress.
I registered online but didn't print out a Workshop Confirmation Form.
The Workshop Confirmation Form is confirmation that we have received your workshop choices, but not necessarily that your registration has been processed. Once you have completed online registration, your registration will be processed and will be assigned a RECongress Registration number. Your registration is confirmed by email (only if an email address has been provided) within two weeks or so of your online registration.
I didn't get a Congress Registration Confirmation email.
Congress Registration Confirmations are sent to those who have registered online or by mail AND gave their email address. It's also possible that there was an error in the email address provided.
I registered online. I provided an email address. It's been three weeks after registration. Why didn't I get an email confirmation of registration?
You might not be the recipient of the email. An email confirmation may not have been received due to mistyped email address or the confirmation is going to some other email address (the person who paid).
How do I know if I got my first choices?
If you register online, you will be assigned tickets to all available workshops. Once a workshop has filled, it will no longer be a valid choice of workshop. If you register by mail, be sure to include first-, second- and third-choices PLUS your email address. You will receive email confirmation of which workshops you have received.


text:
25 Oct, 2020 16:54
'US doesn't know who it's dealing with!' Erdogan dismisses Washington's threats over S-400 deployment
FILE PHOTO. A view shows the tip of S-400 "Triumph" missile system. © Reuters / Vitaly Nevar
Turkey is not a "tribal state" that can be pushed around, President Recep Tayyip Erdogan has said, dismissing the American warnings over its procurement of Russian-made S-400 anti-aircraft systems.
Ankara will see through the deployment of its S-400 systems, which will not be disrupted by any threats or sanctions, Erdogan made clear, speaking in the eastern Turkish city of Malatya on Sunday. The Turkish leader even dared Washington to go ahead and introduce any S-400-related sanctions it might be planning.
You don't know who you're dealing with. Whatever sanctions you have, don't keep us waiting – introduce them. We paid for the F-35. You threatened us. You said, 'Send the S-400s back to Russia.' We are not a tribal state. We're Turkey.
Erdogan's tirade comes in response to recent remarks by the Pentagon, which, on Friday, blasted Turkey's tests of the Russian-made systems. The US Department of Defense said it condemned the tests "in the strongest possible terms," warning that Ankara's activities might yield "serious consequences for our security relationship."
"We have been clear and unwavering in our position: an operational S-400 system is not consistent with Turkey's commitments as a US and NATO ally," the Pentagon said.
Also on rt.com US issues more threats to NATO ally Turkey after Erdogan confirms tests of Russian-made S-400 systems
Turkey's military, however, insists that's not the case. On Saturday, Defense Minister Hulusi Akar spoke on the S-400 issue. Striking a significantly more reserved tone than Erdogan, the official insisted the S-400 procurement does not mean Turkey is alienating itself from NATO. Akar then pointed fingers at other nations within the alliance who operate Russian-made weaponry, namely S-300 air defense systems, taking a thinly veiled jab at Turkey's neighbor and rival, Greece.
The S-400 purchase has been a major issue in US-Turkey relations for months. The controversial procurement has resulted in Turkey's exclusion from America's F-35 fighter jet program, and the country has been threatened with additional restrictions. Ankara bought the S-400s from Russia as part of a $2.5 billion contract last year, and the systems are expected to become fully operational by the end of 2020.
Also on rt.com Erdogan says Macron needs 'mental health treatment' and doesn't understand freedom of religion
Trends:Recep Tayyip Erdogan newsTurkey news Turkey-US news
Russian human rights activist calls on Telegram messenger to block 'pornbots' after thousands of women are stripped naked by AI
'If Trump wins, my profession is done': Pollsters hedge bets for ANOTHER potential election day upset


The Extraordinary Jubilee of Mercy has come to and end, but mercy must continue to be lived out and celebrated in our communities. In this Apostolic letter, issued at the Jubilee's conclusion, Pope Francis proposes various initiatives and points of reference to ensure that we continue to build our lives on mercy.
Mercy can never be a mere parenthesis in the life of the Church; it constitutes her very existence, through which the profound truths of the Gospel are made manifest and tangible. Everything is revealed in mercy; everything is resolved in the merciful love of the Father. Pope Francis, Misericordia et Misera.


text:
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Recanati-Kaplan Applied History Initiative
Manara Magazine
Strategic Brief
About MENAF
Leadership, Fellows & Staff
"Strategies and Ethics of Hybrid Warfare in the Gulf:
Drones, Cyberwar and AI in the High-Stakes Struggle
between Iran and Saudi Arabia"
Published in February 2021
The competition between Saudi Arabia and Iran is being fought across multiple conventional and high-tech platforms, turning the Gulf into a unique strategic theatre of hybrid warfare. This research raises key questions about the nature of hybrid war strategies. Issues of focus incorporate the domestic implications for Iran and Saudi Arabia in utilising cyberwarfare, drones, and AI-driven techniques, and the dangers of information – and weapons – sharing with proxies; the positioning and character of leadership, ideology, and external pressures; the impacts of regional and international relationships; and ethical considerations in relation to the role of AI in hybrid conflict situations, a primary area of concern for the British government.
Company number 12116147.
Charity number: 1198630.
© Cambridge Middle East and North Africa Forum 2022.


text:
DAUGHTER OF SMOKE & BONE Movie has a Screenwriter
March 14, 2013 March 14, 2013 / Nat
The movie rights to Daughter of Smoke & Bone were won by Universal back in 2011, and now they've finally hired a screenwriter, which is always a good sign for the movie-making process.
Some movement is finally taking place on Universal's adaptation of author Laini Taylor's popular YA fantasy novel Daughter of Smoke & Bone. The studio bought the rights to the book back in December of 2011 after an intense bidding war, but we haven't heard anything about the project since. Now Heat Vision reports that Stuart Beattie (Collateral, 30 Days of Night) has been tapped to write the script for the feature film adaptation, with Joe Roth (Alice in Wonderland, Snow White and the Huntsman) on board to produce. The story centers on a 17-year-old art student whose father sends her all over the world collecting human teeth for a mysterious purpose. The young woman realizes that she's part of an ancient struggle between angels and demons, and finds herself in a love affair with a warrior angel (as one does).
As fans, we can only hope that those involved will become greater than their past works to make this screen adaptation come to life in a way that both fans and non-readers of the book can enjoy. As is always the case, it's been touch and go with some book-to-movie adaptations, and this book is certainly not immune to that. There's a lot of fantasy elements in this that can tend to overpower the storyline, so the balance has to be there. Let's hope the Stuart can work that out.
via Collider.
Daughter of Smoke and Bone, Joe Roth, Laini Taylor, Movie News, Stuart Beattie
← ARROW at WonderCon and Colton Haynes Locked In for Season 2
Superhero Saturday: Marvel – 'THE AMAZING SPIDER-MAN 2' →


At Building Staff Solutions (BSS) we are looking for an Instrumentation Technicians for the Dublin area. 2+ years of experience required. Our client is a leading International Engineering Contracting Group with a long history of completing projects on time, within budget and to the highest standards. They specialize in providing mechanical, electrical, instrumentation, fire protection and maintenance solutions to world class clients.


text:
World Quizzing Championships 2011
June 6, 2011 in Quizzes
The 2011 World Quizzing Championships took place on Saturday last, June 4. The event was held in 79 venues, spread across 32 countries. Alas, there wasn't a heat in Ireland – the nearest was in the UK. As luck would have it, myself and my long-term quiz buddy Mike were in England at the weekend for the wedding of our old friend Patrick to his fiancé Ruth.
Sure, it took almost two hours to drive from Leeds, where the wedding was on, to Lichfield, where the quiz took place. But, again luckily, the wedding wasn't until 4pm so we managed to fit everything into a very packed day. We set off at 9am and arrived in Lichfield just before 11. The quiz itself takes the form of an exam. Paper 1 started at 11:30am and took one hour. As we were running to a tighter schedule than everybody else, we were allowed to start Paper 2 pretty promptly and ended up finishing up around 1:50 pm.
However, even then, we couldn't get on the road straight away as I got nabbed for an interview with Adam, a journalist from The Sunday Telegraph. Never the shyest, I couldn't resist this albeit I did bring the interview to a close at about 2.05pm. After that it was into a garage for some crisps and a Mars bar before getting back onto the motorway. We made it to Leeds just before 4pm and were in our seats a good 10 minutes before the bride arrived! 😉
So, what was it like? Well, you're talking quizzing royalty here. For instance, I bumped into Kevin Ashman as I walked down the corridor in the direction of the toilets! I was hoping to have a word with Pat Gibson, probably Ireland's greatest ever quizzer and the reigning champion, but unfortunately our paths didn't cross. In fact, due to our hurried circumstances, we didn't really get a chance to talk to anyone, except those who were beside and opposite us at our exam table. These were Roderick Cromar, a Scottish gent in his 50s, and Jesse Honey, an English guy (with an unforgettable name!) who was around our age, that is to say early 30s. These guys were very welcoming and friendly. They were also a little surprised that this was our first event on the quizzing 'circuit'. That we had decided to dive right in at the deep end was the summation of their reaction.
The Cathedral Lodge Hotel (and Lichfield itself) seemed, on the face of it, to be a strange choice of venue. A relatively small, old-fashioned hotel where we only fitted in by the opening of a partition wall, thus creating a room which had the shape of a captial T. Chris, one of the organisers on the day, answered this unasked question before the quiz started though by telling us that the venue had been chosen in memory of Mark Bytheway, the 2008 champion, who passed away last year. He was a native of Lichfield.
The quiz is really eight quizzes. Each of the two papers contains four sections. These are: culture, entertainment, history, lifestyle, media, sciences, world and sport & games. Each section has 30 questions so each paper contains 120 of the blighters. Fans of maths will have worked out that this means you have, on average, 30 seconds to do each question. At the end of the day, your lowest score is discounted so totals are thus out of a max of 210 points.
As we had to rush away, it was the following morning before we found out how the quiz finished up. Pat Gibson had retained his title with a phenomenal score of 186/210. This was so good as to be 10 points ahead of his nearest challengers Tero Kalliolevo (Finland) and Kevin Ashman. Four points behind them, on his own in fourth, was Jesse Honey, late of our table. Both myself and Mike were delighted to see him finish this high up the leaderboard.
For the record, I scored 111 points. My highest was 19/30 in media. My lowest was an abysmal 6/30 in culture. This got discounted, thankfully, but it still had an effect on my final placing. The rule at the WQC is that ties are broken, in the first instance, by comparing the discarded score. 10 of us finished on 111 but my discard score was 4 worse than the next person, so obviously I dropped right down to the bottom of that pack. Thus I was officially ranked as 190th, the highest of the Irish competitors*. I'm pretty chuffed at this considering the rush that was on us. I'm content enough to ignore the fact I scratched out at least two correct answers and put wrong ones in their place! 🙂
If you feel like being thorough, you can check out the full final score list here. I will post up some questions from the WQC in my next blog post.
* Pat Gibson represents England in the world of competitive quizzing.
Update: I am no longer the highest-ranked Irish competitor. Paul Culloty from Kerry scored a magnificent 141 points so he's way above me. On the plus side, my ranking has actually improved to 182nd, as of this post. 🙂
Tags: championships, quizzing, world
← The song remains the same: answers
The late Peter Murphy →
9 responses to World Quizzing Championships 2011
dave said on June 6, 2011
I knew id heard of Jesse Honey before
http://en.wikipedia.org/wiki/Jesse_Honey
John Nolan said on June 6, 2011
He won Mastermind in 2010?!
Shows how much I know about the names of previous winners of TV quiz shows…
Brendy said on June 6, 2011
I would have to suggest that you are the man to ensure that the next world quizzing championship does have an Irish heat. You could then pick the venue base on where your next friends are to wed.
Interesting Brendy…
especially following on from your Freudian slip regarding the wedding band. 😉
Michelle said on June 6, 2011
Did you notice that the guy who won the media round only got one question wrong, the one you were telling us about over dinner. Must be nice!
Yes. Yes I did.
william said on June 6, 2011
Just to let you know there was a heat held in kerry young Paul Cuttoty topped the scoreboard with a mindblowing 141
John is there anywhere i could get the full set of questions
Michael Coyne said on August 15, 2011
Happened upon this: http://cityroom.blogs.nytimes.com/2011/06/06/q-who-finished-112th-in-the-battle-of-the-brains/ Don't think the Telegraph journo ever submitted a story though.
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