text:
Ways to encourage girls to keep pursuing STEM this Women's History Month
Educators School Leaders
In 2018, we conducted a study in collaboration with Dr. Shalini Kesar called Closing the STEM Gap. Our findings revealed that 31 percent of girls believe that jobs requiring coding and programming are "not for them." In high school, that number jumps up to 40 percent. And by the time they're in college, 58 percent of girls count themselves out of these jobs.
We also discovered that girls who know a woman in a STEM profession are substantially more likely to feel empowered when they engage in STEM activities (61 percent) than those who don't know a woman in a STEM profession (44 percent). Unfortunately, most girls don't have any female role models in STEM to look up to. So it's no surprise that, when asked to describe a typical scientist, engineer, mathematician, or computer programmer, 30 percent of girls say that they envision a man in these roles. As do almost 40 percent of adult women—and 43 percent of women in STEM and tech fields.
You may be asking: How do we reverse these trends? One of the most important first steps is introducing girls and young women to positive female role models in STEM fields. But it doesn't end there. An even bigger impact is possible when those women offer encouragement.
Enter: Microsoft EDU's WomEncouragement Series.
In honor of Women's History Month and International Women's Day, we've created a series of downloadable posters featuring advice and encouragement from women who are paving the way in STEM and opening doors for future generations of girls to step through and succeed.
These are free to download and print so young women and girls can hang them up in their rooms, in their lockers, on their mirrors, or in their classrooms — anywhere they need a dose of positive inspiration!
But we couldn't pull off this project without our education community! We'd love to hear from you, too. Send us your own words of encouragement and we might turn them into a poster or share them on our social channels!
Technology jobs are among the fastest growing in the country, but only 24 percent of computer scientists are women. As educators, when we encourage girls to pursue STEM, we double the potential to change the world for the better and help ensure ALL young people are future ready.
Are YOU ready to help make a difference?
Other resources you can use to help close the gap or inspire girls, and all students, to love STEM:
Get the free STEM action guide. You'll find easy things education leaders, teachers, and parents can do today to help inspire girls to stay in STEM and #MakeWhatsNext.
New! Earn a Girls-in-STEM badge when you take this Microsoft Education Community course that shows how you can turn research into action and engage all students to love STEM.
New! Learn from education experts and teachers to get tips and resources to encourage and engage all students in computer science. Education. Download our free guide to inclusive computer science education now.
Participate in a free Microsoft Store DigiGirlz workshop near you through April. Each store will host 2-hour workshops that include presentations from guest speakers along with live Q&As, hands-on coding, and other STEM activities. Workshop topics will cover Women in Gaming, Aviation, Space, Coding, and Business!
Check out this gender equality MEC lesson to complete with your students.
Sign up for a Skype Collaboration with a woman in STEM and introduce your students to their new favorite role model!
Check out how these amazing female code creators who use STEM and CS to save endangered species, create art, fashion, and animated Pixar movies!
Discover female Nobel laureates, women who have broken boundaries to change science in their fields. Find out how to connect students with female pioneers in the Women Who Changed Science experience
Join the #MSFTEduChat global TweetMeet at 10AM PT on March 19th. The topic is #MakeWhatsNext in STEM, all about empowering young women to pursue careers in STEM to help close the gender gap. This is a great opportunity to engage with educators in over 11 languages globally on this topic!
Learn how EVERY Individual's Actions Can Make a BIG Impact with Dr. Jane Goodall in a special Skype in the Classroom broadcast on April 2nd & 9th.
Explore the Girls & CS resource pages for even more ideas on how to introduce your female students to STEM and encourage them to stay with it.
From Microsoft on the Issues: How girls from diverse backgrounds have the lens computer science needs.
Microsoft MakeCode brings computer science to life for all students with fun maker projects.
Closing the STEM gap matters for everyone. More diversity in thought, background, and experience creates more innovation. Innovation is what will help us solve today's most pressing problems. Together, we can help keep girls inspired and encouraged to pursue a career in STEM.
Spread the support by sharing your words of encouragement or any posters you display using #MicrosoftEDU and #MakeWhatsNext. Then, visit aka.ms/girls-in-stem to learn more.
UN Day of Education celebrates the power of learning
Today is January 24, designated by UNESCO as the International Day of Education, and the theme of this year's celebration is: "to invest in people, prioritize education." The United Nations General Assembly declared an International Day of Education five years ago to celebrate the role of education in building opportunities for peace and development.
Events and Announcements Educators School Leaders
Strengthening relationships between educators and families
Educators have long known that strengthening relationships with their students' families is an essential tool in fostering classroom success. In Organizing Schools for Improvement: Lessons from Chicago, the Consortium on Chicago School Research found that elementary schools with strong connections with families were ten times more likely to improve in math and four times more likely to improve in reading than schools that did not have strong connections.
Educators School Leaders IT Professionals
Commemorating the impact of The King legacy
Beginning in January and continuing throughout February, classrooms across the U.S. will recognize Rev. Dr. Martin Luther King, Jr. and the lasting impact that he and other Civil Rights leaders have made towards equality, justice, and the advancement of our nation.
Educators School Leaders Events and Announcements


Pontoon or Deck boat: That's the Question That You Should Never Forget | Wow find what you want here.
What are the differences between a pontoon boats along with a deck boat? The differences are certainly becoming smaller and smaller. Originally pontoon boats were large, flat, platforms with numerous comfort and limited performance capabilities while deck boats had superior performance with a bit of less comfort. Today the state both made a great progress way. With the birth in the tri-toon, pontoon boat performance can equal and in many cases exceed exactly what a deck boat. Speeds of 40mph plus are certainly not uncommon and 70mph can be found on some models. Pontoons ride very dry since the deck is raised over the floats. They are stable, and with the transom mounted for the underside in the deck, they are all too easy to maneuver with the outboard motor. When deciding which boat you would like, a pontoon or even a deck boat, you will need to first determine how you would like to use the boat. Can you prefer to take teams of friends out for a leisurely ride or will you prefer to be zooming down the river to your favorite fishing spot using your buddies? Both the pontoon as well as the deck boat would satisfy this desire. Do you need to use the kids from the weekends for tubing and wakeboarding or are you planning to modify up each weekend and do these activities?
The 2nd question you should ask is what kind of performance would you like away from your boat? Are you currently content with painstaking leisurely cruise down the river that tops out at 20 mph? Then you'd be very happy with a pontoon boat. Do you want something with good acceleration that will reach top speeds of 45 – 50 mph? Do you need to manage to pull a skier whilst your kids using a giant tube or simply a wakeboard? People aiming to be a part of tow sports like tubing or boarding are usually trying to find the extra performance that comes with an inboard-powered deck boat. Deck boat is planning vessels. The trucker can trim the motor and adjust the bow up or down from this type of water to get a smoother ride. Pontoons, on the other hand, draft, or displace, identical degree of water, despite speed. Deck boats have evolved to the point where they could rival some pontoon boats for their seating capacity and creature comforts. If you lean more towards performance and competitive skiing, a deck boat may make more sense however, if you like to consume a day to the water, you recently can't beat a pontoon boat for relaxation, comfort, safety and ease of use. Many reasons exist for why people don't like pontoons. First of all there're huge gas wasters for the reason that they plow throughout the water instead of on top of it. This process is incredibly poor in efficiency and results in poor acceleration minimizing top end speed.
Secondly, most deck boat is equipped with an outboard that may be underpowered for almost all people's usage needs. It's going to take 15 to 20% more horsepower outboard using a pontoon to complete roughly precisely the same with a deck boat with same HP engine. Finally, on the pontoon having a typical outboard of 60 to 90 HP and Four or five people onboard, there exist little or no prospects for pulling grown-up skier or wake-boarder along with it. You will be competent to pull them, but it would have been a terrible experience since you also can't get enough speed quickly for getting them away from the water. Ensure you look closely at your capacity limit for pontoons. In case your capacity is 12 then cut it back in 9 for you to get those pontoons to a reasonable speed. When your pontoon is loaded to the capacity as stated by way of the manufacturer, you could be putt-putting on the river. Having 80% and up on the maximum capacity weight can result in the performance to suffer.
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text:
Video: Behind the scenes look at The Dutch by Golfing World Go behind the scenes at The Dutch, one of the finest courses in Holland, which played host to this year's KLM Open where home favorite Joost Luiten triumphed in fine style.
Golfing World Destination: The Dutch
Go behind the scenes at The Dutch, one of the finest courses in Holland, which played host to this year's KLM Open where home favorite Joost Luiten triumphed in fine style.
Golfing World: Thomas Pieters' short game tips
Golfing World: Fun and games at the Gary Player Invitational
Golfing World: Fassi takes Annika Intercollegiate title
Golfing World: Young stars compete at Junior Ryder Cup

redpajama_set_name: RedPajamaCommonCrawl


text:
Jan Kasprowicz, né le  à Szymborze près d'Inowrocław et mort le  à Poronin, est un poète, dramaturge, critique et traducteur polonais parmi les plus représentatifs du mouvement littéraire de la Jeune Pologne. Il est considéré comme l'un des plus grands poètes de l'histoire de la littérature polonaise.

Biographie
Jan Kasprowicz naquit dans une famille très modeste à Szymborze en Coujavie alors occupée par la Prusse. Il était l'aîné de quatorze enfants d'un couple d'ouvriers agricoles. Son père était illettré. À partir de 1870, il fréquenta des lycées prussiens à Inowrocław, Poznań, Opole, Racibórz, et à chaque fois il fut obligé de changer d'établissement à la suite des conflits avec des autorités prussiennes, qui voyaient d'un mauvais œil sa participation aux cercles patriotiques polonais. Pour cette raison, il n'obtint son baccalauréat qu'à l'âge de vint-quatre ans.

Il étudia ensuite la philosophie dans les universités allemandes de Leipzig et Breslau. Durant ses études, il commença à publier des articles dans diverses publications polonaises.

Son premier mariage en 1886 avec Teodozja Szymańska, de huit ans son aînée, ne dura que quelques mois. Après le divorce, l'épouse abandonnée se suicida. La même année, Kasprowicz fut arrêté et détenu par la police prussienne durant six mois pour ces engagements dans des cercles socialistes. Sorti de prison à l'âge de 28 ans, Kasprowicz partit vivre à Lwów (en Galicie autrichienne, dans l'actuelle Ukraine), où il passa 35 années. C'est là qu'il débuta en 1889 avec son premier recueil Poésies (Poezje).

En 1893, il épousa Jadwiga Gąsowska, dont il a eu deux filles Anna et Janina, mais celle-ci le quitta et abandonna ses enfants pour l'écrivain Stanisław Przybyszewski que Kasprowicz fit venir à Lwów pour l'aider financièrement. Il lui prêta de l'argent et organisa pour lui une conférence sur Chopin. Kasprowicz ne put retrouver l'équilibre pendant longtemps et a éleva ses filles avec l'aide de ses beaux-parents.

Il travailla comme journaliste et critique littéraire et de théâtre participant pendant deux ans à la ligne éditoriale du journal le Courrier polonais (Kurier Polski), puis quatre ans (1902-1906) dans le journal Słowo Polskie. Dans le même temps, Kasprowicz écrivit et publia ses propres poèmes qui reçurent l'acclamation de la critique.

En 1904, il reçut le titre de docteur de l'Université Jan Kazimierz de Lwów pour ces travaux sur le lyrisme de Teofil Lenartowicz (Liryka Teofila Lenartowicza). En 1909, il prit la direction du département de littérature comparée, créé à son initiative.

Kasprowicz était renommé pour être un titan de travail, à la force inépuisable. Stanisław Lem écrivit à son sujet : « Il avait dans son comportement l'originalité d'un bohémien, la verve d'un journaliste, qui, en quelque temps, lui a permis de gagner l'argent dont il a eu besoin, lui a donné la bonne humeur d'un ami et même le sérieux professoral ».

Kasprowicz maîtrisait le latin et le grec ancien aussi bien que l'allemand, le français et la langue anglaise. Ces nombreuses traductions en polonais de textes littéraires connurent de vives reconnaissances de la part des critiques. On peut citer les traductions suivantes :

 Grec (Eschyle, Euripide)
 Anglais (Shakespeare, Marlowe, Lord Byron, Shelley, Keats, Tagore, Swinburne, Wilde, et bien d'autres)
 Allemand (Goethe, Schiller)
 Français (Vauvenargues, Bertrand, Rimbaud, Maeterlinck)
 Italien (d'Annunzio)
 Norvégien (Ibsen)
 Néerlandais (Heijermans)

En 1911, il se maria pour la troisième fois avec Maria Bounin, une jeune femme de dix-neuf ans (fille d'un général russe) qu'il rencontra dans un train entre Rome et Naples durant une tournée artistique, et avec qui il connut enfin un bonheur conjugal.

Pendant la Première guerre mondiale et la période de la reconquête de l'indépendance, Kasprowicz s'engagea avec Żeromski dans des actions contre des militants des États centraux. En 1920, lors d'un plébiscite à Warmie et Mazurie, il milita pour l'attachement de ces territoires à la Pologne.

Il fut recteur de l'Université de Lwów .

Dans les vingt dernières années de sa vie, Kasprowicz se rendait de plus en plus régulièrement dans les monts Tatras. A partir de 1923, il séjourna en permanence dans sa villa Harenda située entre Poronin et Zakopane où il mourut le .

Après sa mort, la villa Harenda fut transformé en son musée.

Liens externes

   Brief biography

Poète polonais du XIXe siècle
Poète polonais du XXe siècle
Naissance en décembre 1860
Naissance dans la province de Posnanie
Décès en août 1926
Décès dans la voïvodie de Petite-Pologne
Décès à 65 ans
Étudiant de l'université de Leipzig
Étudiant de l'université de Wrocław
Professeur à l'université de Lviv
Traducteur polonais du XIXe siècle
Traducteur polonais du XXe siècle
Traducteur vers le polonais

redpajama_set_name: RedPajamaWikipedia


Acclaimed I Loved Lucy Returns to the Arts Theatre from 19th July!
Returning after two sold-out runs in 2016, Lee Tannen's incredibly personal, funny, bitter-sweet play "I Loved Lucy" about his 10-year relationship with TV comedy legend Lucille Ball is to transfer to London's Arts Theatre for a strictly limited 7-week season from Wednesday 19 July.
Critically acclaimed Sandra Dickinson returns as Lucy.
Broadway leading man Matthew Scott ("An American in Paris") makes his London debut as Lee.
"Sandra Dickinson gives a sublime, fabulous, tour de force performance.
Following an acclaimed UK premiere at Jermyn Street Theatre in 2016, where it had a second run due to overwhelming public demand, I Loved Lucy is to transfer to London's Arts Theatre for a strictly limited 7-week season from Wednesday 19th July to Saturday 2nd September, 2017.
I Loved Lucy is a personal portrait of an iconic comedic entertainer whose public face is all too well-known. But what was Lucille Ball really like? And how did she choose to live at the end of her life? Out of the spotlight. Based on his best-selling memoir, Lee Tannen's funny, bitter-sweet play reveals the real-life Lucy and what is was like being her friend to the end. Most people who have written about Lucy never even met her. They have relied on others to fill in the blanks. Lee relied solely on Lucy. And he paints a rich personal portrait that can only add to our love of a Hollywood legend. Lee Tannen first met Lucille Ball as a child but cemented their close and enduring friendship as an adult.
Sandra Dickinson returns to her acclaimed role as Lucille Ball.
"A miracle to watch, Sandra Dickinson gives a blazing performance" The Stage.
Born in Washington DC, Sandra Dickinson found fame in the UK in the 1970s as the star of Birds Eye beefburger TV adverts. They established her in a succession of American 'dumb blonde' roles, and it was many years before she was able to shake that image. She has since enjoyed a prolific career on stage and screen. Her West End shows include Singin' In The Rain, A Streetcar Named Desire, Chitty Chitty Bang Bang, Not About Nightingales (NT and Broadway) and Orpheus Descending (Donmar Warehouse). Her films include Steven Spielberg's 2018 release Ready Player One, Malice In Wonderland, Supergirl and Superman III. Among many TV roles she is probably best known as Trillian in the cult sci-fi TV series The Hitchhiker's Guide To The Galaxy. She can be heard voicing various roles in Gumball, Counterfeit Cat and she is the voice of Grandma Tracy in ITV's Thunderbirds Are Go.
Matthew Scott is making his London acting debut as Lee.
Matthew recently starred as Adam Hochberg in An American in Paris on Broadway. His other Broadway credits include Sondheim On Sondheim, A Catered Affair and the original company of Jersey Boys. His other theatre credits include: The Light In The Piazza (Philadelphia Theatre Company), for which he won the Barrymore Award; Saturday Night (The York Theater Co); Beaches, Company, ACE and Side By Side By Sondheim (all at the Signature Theatre); Chaplin (La Jolla Playhouse); First You Dream: The Music of Kander & Ebb (The Kennedy Center); A Wonderful Life (Goodspeed Opera House); Eden and Unknown Soldier (The O'Neill Theatre Center); Ragtime, My Fair Lady and Carousel (all at Paper Mill Playhouse); West Side Story (The Muny); Legally Blonde, Swing!, Les Miserables and Sunset Boulevard opposite Liz Callaway (all for the Pittsburgh CLO).
Lee's memoir became an instant best seller. In 2010, he adapted it for the stage where it premiered at The Laguna Playhouse. Lee's other work includes a new libretto in 2007 for the stage adaptation of the classic children's story Dr. Dolittle, starring and directed by nine-time Tony Award winner Tommy Tune. A year earlier, Lee was a contributing writer for the Drama-Desk-nominated musical The Audience. In 2003, Lee was writer and Associate Director for Paparazzi, an original musical for Holland America Line directed by Tommy Tune. In 2001, Lee wrote and directed All The World's a Stage, a star-studded benefit for Variety Club at Carnegie Hall starring, among others, Barbara Cook, Nathan Lane and Tommy Tune and hosted by Jane Powell. Lee has also written special material for Joan Rivers, Elizabeth Taylor and Shirley MacLaine.
Anthony is Artistic Director of the award-winning Jermyn Street Theatre. His recent productions include Lillian Hellman's The Autumn Garden (★★★★ Fiona Mountford, Evening Standard), Eugene O'Neill's The First Man (★★★★ Claire Allfree, Daily Telegraph), and Charles Morgan's The River Line (★★★★★ Critics Choice in Time Out, The Times, Daily Telegraph, WhatsonStage, and Independent). He was Associate Director to Trevor Nunn on Jermyn Street Theatre's production of Samuel Beckett's All That Fall starring Eileen Atkins and Michael Gambon, which transferred to the West End and New York. Biggs's final production at JST will be Maxim Gorky's The Last Ones which opens on 7 June. He joins the new The Playground Theatre in West London as Co-Artistic Director in September.


text:
<?php
namespace App\AdminBundle\Business\PhysicalItemPurchase;

use App\AdminBundle\Business\Base\BaseCreateHandler;
use App\ClientBundle\Entity;

class BulkHandler extends BaseCreateHandler
{
    public function getDefaultValues()
    {
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        return $model;
    }

    public function buildForm($builder)
    {
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            'attr'     => array(
                'placeholder' => 'SUPPLIER'
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            'required' => true,
            'choices'  => $this->helperMapping->getMapping('supplier_list')
        ));
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            'attr'     => array(
                'placeholder' => 'DATE_IN'
            ),
            'required' => false
        ));
        $builder->add('purchasePrice', 'money', array(
            'attr'     => array(
                'placeholder' => 'PRICE'
            ),
            'currency' => $this->helperCommon->getConfig()->getBillingCurrency(),
            'required' => false
        ));
        $builder->add('serialNumbers', 'textarea', array(
            'attr'     => array(
                'placeholder' => 'SERIAL_NUMBERS',
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        ));
        return $builder;
    }

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}

redpajama_set_name: RedPajamaGithub


text:
Declaration of status
The Internal Revenue Service requires that we have declaration of status on file for anyone who is or will be receiving payments from Springer. The type of form to be filled out depends on the country of citizenship. Below are the names and description of the forms that we require.
Revenue service forms
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W8BEN form (pdf, 66 kB)
W8BEN instructions (pdf, 43 kB)
W7 form application for ITN (pdf, 313 kB)
W7 form application for ITN Spanish version (pdf, 318 kB)
SS4 forms for companies (pdf, 108 kB)
SS4 instructions (pdf, 43 kB)
Acceptance (pdf, 835 kB)
US Authors
W9 , this form is to be completed and signed by all US nationals, and US permanent residents. (individuals and companies) This form represents a declaration of US citizenship/permanent residence. At the end of the tax year all authors who fall under this category will receive a 10-99 Misc form listing all payment made during the corresponding tax year.
Tax form for authors/editors publishing with Springer US offices
We recommend that you complete and return these tax forms to us along with your contracts; this will ensure that Springer withholds the appropriate tax rate on your royalties as required by the US Government. While these forms are not required, it is of benefit to you to complete and return these forms to us.
Only fill in these forms when you sign a contract with Springer New York. This information is not relevant to any authors (whether or not based in the US) who sign contracts with Springer offices in any other country.
All United States citizens should fill out and return form W-9 with their Social Security Number (SSN) included. Royalty income will be subject to 28% backup withholdings as required by the United States Government on all W-9 forms received without SSN's.
All foreign authors and editors should fill out and return form W-8BEN and include their assigned United States Government Individual Taxpayer Identification Number (ITIN) in Line 6 of the form. By including the ITIN, the tax treaty between the US and the individual's respective country of residence will be applied. If no ITIN is given, royalty income will be subject to 30% backup withholdings as required by the United States Government. Foreign authors and editors can call the IRS directly at 1-800-829-1040 or visit their website at http://www.irs.gov/individuals/index.html and select the ITIN help function to get help based on their individual circumstances. Providing the individual's country tax ID in Line 7 will not exempt them from withholding. Filling out the W-8BEN without and ITIN only confirms that the person is not a United States citizen. It does not exempt them from withholding's deductions.
http://www.irs.gov/individuals/index.html
If you decide to return these forms at a future date instead of with the fully executed contracts, we ask that you kindly include a photocopy of the fully signed agreement for additional reference.
If you are a repeat Springer Editor and you have already supplied these forms to us in the past, you are not required to send them again.
All of these forms, along with detailed instructions on how to complete them, can also be downloaded from the Internal Revenue Service Website:
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Tax withholding
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As long as we have a completed W9 form, there will be no tax withholding on any royalty payments.
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The Internal Revenue Service requires that we withhold 30% of all royalty earnings for all foreign nationals except as provided below:
Some countries have established tax treaties with the US, which benefits its citizens by lowering the amount of tax withheld by the US taxing authority. The way to take advantage for this is by obtaining an individual tax identification number from the US internal revenue service. This document is valid for life, and can be used with other companies from which our authors may also be receiving payment. For more information please go to IRS.gov and type ITIN in the search term. Then click on the top subject Individual Taxpayer Identification Number (ITIN) you will be prompted to a detailed frequently asked questions section. Once an ITIN is obtained, this must be submitted to our office and we will then apply the appropriate tax withholding rate. *some countries do not have a tax treaty with the US, in this case the rate will remain at 30%
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Book authors, editors and chapter authors are entitled to order Springer books — print and electronic versions — at a generous discount. The quantity of books ordered must be in the normal range for private use. Resale is not permitted.
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or an e-mail that includes the personal SpringerToken¹ (together with instructions how to use it).
If you did not receive one of these e-mails for any reason, you can alternatively request the author discount (SpringerToken) via the request form below. The time between submitting the request and receiving the token should generally not take longer than two working days.
¹) SpringerToken for authors: personal discount that can be used by one person only. It is valid for a lifetime. Just enter it with your first book order. For any further online book orders your author discount will apply automatically.
Request your author discount (SpringerToken)
Ordering books with a discount (SpringerToken)
The SpringerToken is only needed for your first order of Springer books (print and electronic versions). It is valid for a lifetime. For any further online orders you will automatically receive your author discount.
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Tax is charged according to the delivery country. It is possible to enter a tax free code during the ordering process or on you springer.com user profile page (My Springer).
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Invoice copy / invoice correction / statement of account
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Contact the author helpdesk for questions on invoices and statement of account


"Prepared to Dance" is representative of a contemporary style which Chris Tiger enjoyed using.
Chris' preference for light, crisp, clear colors was particularly applicable when painting the plummage of the American Plains Indians. The dancers of the plains tribes labor long hours to complete the fine regalia worn for the dance.
The young man proudly displays his heritage- a heritage which Chris was proud to share.
Limited Edition. Price includes shipping costs.


Q Your journey. What was everything like before you partnered up with an online proctoring company?
Before partnering up with B Virtual we started doing things online, originally with things such as correspondence packets, broadcasting live on television, and then started doing things more web-based. We began with B Virtual in October of 2012, and prior to that point we offered an independent learning program where students could proceed through the course at their own pace. However, we found that students were not being ethical with their classes. We had concern from the administration that if these classes were going to be considered Ball State classes, we would need to improve the authenticity of the coursework and examinations. This is where B Virtual came into play. We found that tests being proctored would help with this.
What sold us on B Virtual was having the ability to have a live proctor per student, assisting with exam set-up, going over rules and regulations, doing room scans, and the sessions being recorded. Many of people would see this negatively but it's really a positive. For example, in our Nursing department, we have seen a 10% decrease in test scores once online proctors were implemented. This has ensured us that we are now getting accurate measures of what the students are capable of.
Q What challenges did you face prior to your proctoring partnership?
Perception of online classes. There was a lot of talk about how online classes would never be equal in quality in comparison to face-to-face classes. One major thing for us was showcasing how they are equal in quality and we have added services to make sure they are maintained that way. We had to take big steps into changing that perception.
Q As an institution, what got you to monitoring examinations online?
The final straw to make a big change for us was a change in administration. We had someone new, Jennifer Bott, take over the online education program. Jennifer was persistent in seeing things through and anything she took on, worked. She helped get access to funds to run proctoring services and made sure we had faculty buy in once available. Jennifer was the champion who made the difference.
Q What criteria did you look for when searching to find a proctoring partner?
Our biggest thing was eyes and ears on the student (audio, video). We wanted sessions to be recorded so that the faculty could review them. We wanted proctoring to be done live as oppose to just submitted recordings as this helped with flagging any issues, or cheating. We wanted to find a proctoring company whose proctors could do minor level troubleshooting so that students remained less stressed in case anything were to happen. Lastly, finding relaxed, patient and friendly proctors were important. We wanted to assist students with making the exam process as stress-free as possible.
Q What are some of the challenges you have faced with B Virtual and how did B Virtual help overcome those challenges?
Even though this was not entirely B Virtual's fault, about a year and a half ago, we experienced a lot of problems with students not getting registered early enough for their online exams and then finding out there was no time slots left when they went to register. This caused an issue with student scheduling until B Virtual introduced us to their Smarter Proctoring Tool. Now, because of this tool, 95-98% of those issues are gone by switching over as oppose to the "hands-on" process we were doing before.
Q In terms of your vision and experience with B Virtual, where do you see improvements being made for the future?
One concern we always have is managing costs. Perhaps finding ways to push the exam cost low enough to use it on more exams within our institution. Right now, we try and restrict our faculty to 2-3 exams per term. We would love to get to the point to say to faculties that they can proctor as many things as they need too because the cost per unit is low enough to do so. I know B Virtual has been working on advances in the area of Biometrics, and we always look forward to see what they come up with, and to their assistance.
Q Where do you see this going in terms of online education and online testing?
In general, I think online education is the only growth area in higher education right now. Everyone is looking for a good value proposition. Realistically the classes we have online are now better quality and better designed than face-to-face classes. Everyone will be shifting to this if they want to exceed and have top quality classes because people are not going to pay the expenses now-a-days for on campus life. When you plug in all the extra costs to attend classes on campus whether it being dorm room rent, meal plans, or textbooks, many people would agree that the cost-effective way to get a quality education is online schooling. Quality control and approach is a big push.
Q What are some areas that you feel there is room for expansion?
I think authentication of the student just to ensure that the student is who you think they are is one of them. Another, on our end, would be creating courses without too much course work. We find that courses that contain too many assignments or tests, students will tend to cheat due to being overwhelmed. We have come along way with trying to limit each course to a certain amount of coursework, and designing courses on student ability.
Q Is there more innovation that you are seeing or hoping comes to the online proctoring market?
Perhaps finding a way to scale things out to use for lower stakes processes would be nice to see. Maybe using proctoring in other ways. For example, from the time a student is enrolled in a class, their work will be checked periodically to ensure authenticity, not just for exams.
Q What advice do you have for people moving forward to online testing?
I think it is important to have a online proctoring partner you can trust and feel comfortable with. Having that connection, like we have grown overtime with B Virtual, is important because if we ever have a problem I know I can reach out to Khalil, Rick, or anyone and always get fast and honest responses. Developing that relationship is critical in knowing what the partner can do for you. A lot of the education business is about establishing relationships. I advise institutions or companies to not go with a mechanical approach. It is easy to hiring a software company to monitor eye movement for exams, but it just simply does not give the same effect.
Q What is your overall level of satisfaction with your partner B Virtual?
On a grading scale, I would give B Virtual an A. We have done thousands and thousands of exams with B Virtual and the number of issues we have had, that were out of our hands, are a handful. The customer service is always top shelf and we keep seeing the growth in faculty and number of tests being proctored. It is so easy to work with B Virtual because we always know we can get in contact with someone right away with any questions or concerns we have. They are quick in getting back to me and the level of acceptance says volume. We have never seen a decline over our previous years. It just works.
Almost four years ago now, we started launching an online piece of our institution, the biggest being Accuplacer. We began a joint project between testing services and the school of liberal sciences (math and English) and started with placement testing. 14% of Humber's student population is international, therefore we wanted an option for them to complete tests online. This is where it all started, and over the years we got more requests from even our local students to switch over to online services. With the demand for online testing services increasing, we decided that is was not enough for just placement testing and international students. The majority of our students using the online education option, in deed live close to campus but find it much more convenient with balancing school, working, and accessibility issues.
For us, it was accessibility for international students...this is where it stemmed from We did not have a secured method to test them. We would have had to send the test by mail to another institution and it was difficult to verify the authenticity and integrity of the test and test taker. We found that by partnering up with a proctoring company, it gave us some control. Even though it was brought on by international students, it has grown ever since to whoever is interested for that convenience. Humber is the largest college in Ontario, Canada. We have a very diverse student body which is made up of students working part-time, working full-time, attending night school, etc. It was next to impossible to capture these students in test center business hours. This is where B Virtual came to the rescue. B Virtual is a 24/7 online proctoring company offering no time constraints!
A: Our biggest concern with testing was academic integrity. When sourcing out a partner, that was first and foremost. Over time, it was also about the relationships and the feeling as though we were partnering with a service that we could constantly communicate challenges, and learn from each other along the way. Customer service was extremely important for us along with privacy, and partnering with a company that had a location in Canada as well. We absolutely love how sessions are recorded and if there were any integrity issues, we are noted and can review videos right away. We are extremely thankful for the quick communication and quick responses offered by B Virtual.
We haven't had any major challenges specifically. Any minor issues we have had so far, for example, troubleshooting, we have had a phone call with B Virtual, had a run down on the issue, what B Virtual needs from us, what we need from them and the problem has always been solved. Client services focuses on things running smoothly and it is so reassuring for me that I am not having to manage every single interaction through our students and our system… B Virtual takes care of that for us.
For improvements, the only thing that comes to mind is when students are scheduling their exam, perhaps nailing down that scheduling exam piece so that they are aware they are choosing the right choice in the drop-down menu and not getting confused with other departments associated with Humber also. We would love to see a Humber College Testing Services parent menu, and then from there choose what exam, sub-category, etc.
Speaking from the testing services perspective, we moved into a brand-new center over two years ago and have found out that the numbers have grown so much that we are unable to maintain the growth of testing based on the current model (in person testing). We are trying everything to push more testing online and to maintain our growth our partnership with B Virtual is vital to help service our numbers. The demand is there, and we just do not have the physical space to accommodate every student on campus. I do not think that online proctoring will ever fully replace testing services, but I believe it works in harmony with it. It helps with better access to better numbers, and more convenience.
Our Coordinator of Accommodated Testing, Robert Forward has suggested that it would be nice to see a more formal way for us to communicate our testing needs to B Virtual. Right now, I believe we write a fairly informal email explaining what we are looking for and what we need their proctors to do. It would be great to see a formal document from them detailing our tests and how they are administered. I would love if they designed something like this for us to complete when we have a new test. It would also be great if this was an E-form available on their website. If they had such a convenient and organized system set up it would be much easier for us to send testing their way in one off type situations.
We are really happy with B Virtual's service. They have been able to check a lot of boxes off the list of what we are constantly looking for.
My advice would be for institutions to do their research and make sure you are working with an organization, like B Virtual, that is willing to be flexible and adaptable to your needs while also upholding your same values and goals (to service students and get them tested). Keep an open mind, do not be terrified of the idea because it is actually a wonderful compliment to our center and has allowed us a huge advancement. Lastly, have a service that accommodates your needs with the best interest of the students.
We would definitely give B Virtual a 10/10! This service is wonderful but the people have been even better. For us, we use a lot of service providers at the college and different software pieces. The warmth and timely responses we have had with B Virtual have been amazing. We appreciate the time we get, and I do feel like even though we are one of many clients, we get grade A treatment. We are very confident in the services we get; their customer service is superb and I would communicate B Virtual to others in a heartbeat!


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Q: verticall image scrolling I am new to PHP and working for one small project. I want vertical image scroller. All images are fetching from database (sql). the problem is after the last image there is blank white space. this white space is visible till the last image reached to the TOP. I want continuous scrolling. after last image, first image should be in queue . Please help

A: Such UI effect should be taken care of on client-side using some jQuery plug-in such as Vertical Scrolling Image Gallery with jQuery and jQuery UI - Scroll Slider

redpajama_set_name: RedPajamaStackExchange


Many of us were shy at a young age, but still find ourselves held back from achieving dreams or making connections with others due to shyness well into adult years. With a little bit of practice, though, shyness can be overcome.
There are a lot of different terms we use to describe shy people: introverted, aloof, perhaps even socially anxious. But shyness, introversion, and social anxiety disorder are all very different things. Introversion refers to a preference for alone time versus socializing to energize, and doesn't mean a person is shy or anti-social. Social anxiety disorder, meanwhile, is a diagnosable type of anxiety that can be treated with medication and cognitive behavioral therapy.
For the sake of brevity, then, let's focus on overcoming shyness, which can happen to anyone. Here are four hints that can help you overcome your fears of social interactions and make talking a little smoother.
Even before you begin practicing talking to other people, work on getting more comfortable with trying new things — whether it's going on a hike for the first time, trying new food you'd normally never experiment with, or going up to say hello to a new colleague. Stepping outside of your comfort zone can help condition you into not worrying so much when entering new territory in speaking to strangers. Little things like trying a vegan dish or making a new friend will soon become less intimidating.
Lack of self-esteem can be detrimental in many aspects of your life, including in establishing social bonds and relationships. To help overcome your shyness, remind yourself that you're worthy of maintaining someone's interest in conversation, even if you may not have much in common with the person. To boost confidence, check out some of these tips, which include practicing things like exercising, dressing well, staying social, avoiding negative thoughts, and improving positive body language.
Especially in stressful situations like job interviews or networking, it's important to remember that while formality is important, just being yourself is the most essential part. Trying to force overly-formal greetings or pretending to be more cocky than you are might place a strain on the interaction. Keeping things casual and friendly will make talking much easier.
Perhaps the most important thing to do to get over shyness is to remember to focus on the other person rather than yourself and to approach all situations with compassion. Instead of obsessing what people will think of you, remember that pretty much everyone probably feels just as awkward and nervous about talking to you as you are to them. If you focus on asking them questions about themselves, making them comfortable, and being kind to them, you'll probably help them drop their defenses and make it easier to connect.


text:
Q: Get temperature of battery on android How do I get the temperature of the battery in android?

A: Try this:
private class mBatInfoReceiver extends BroadcastReceiver{

    int temp = 0;

    float get_temp(){
        return (float)(temp / 10);
    }

    @Override
    public void onReceive(Context arg0, Intent intent) {
        temp = intent.getIntExtra(BatteryManager.EXTRA_TEMPERATURE,0);
    }

};

then define in your Variable declarations:
private mBatInfoReceiver myBatInfoReceiver;

and in onCreate:
    @Override
    public void onCreate(Bundle b) {
        super.onCreate(b);
        setContentView(R.layout.activity_main);

        // ...
        // Add this

        myBatInfoReceiver = new mBatInfoReceiver();

        this.registerReceiver(this.myBatInfoReceiver,
                              new IntentFilter(Intent.ACTION_BATTERY_CHANGED));

     }

later call e.g in a OnClickListener()
float temp = myBatInfoReceiver.get_temp();

String message = "Current " + BatteryManager.EXTRA_TEMPERATURE + " = " +
                  temp +  Character.toString ((char) 176) + " C";

A:     public static String batteryTemperature(Context context)
    {
        Intent intent = context.registerReceiver(null, new IntentFilter(Intent.ACTION_BATTERY_CHANGED));
        float  temp   = ((float) intent.getIntExtra(BatteryManager.EXTRA_TEMPERATURE,0)) / 10;
        return String.valueOf(temp) + "*C";
    }

A: http://developer.android.com/reference/android/os/BatteryManager.html
public static final String EXTRA_TEMPERATURE
Extra for ACTION_BATTERY_CHANGED: integer containing the current battery temperature.

A: TextView BatTemp;

private BroadcastReceiver mBatInfoReceiver = new BroadcastReceiver(){
        @Override
        public void onReceive(Context arg0, Intent intent)
        {

          // TODO Auto-generated method stub

          int temp = intent.getIntExtra(BatteryManager.EXTRA_TEMPERATURE,0);

      };

@Override
      public void onCreate(Bundle b)
      {
        super.onCreate(b);
        setContentView(R.layout.activity_main);

        BatTemp = (TextView) this.findViewById(R.id.textView8);

        this.registerReceiver(this.mBatInfoReceiver,new IntentFilter(Intent.ACTION_BATTERY_CHANGED));
      }

A: Try reading the static int BatteryManager.EXTRA_TEMPERATURE


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Hi. I just got GMC working but i can't find how can I open the window so I could se teacher's fingers better etc you know. "live guitar lesson" is wat I mean. Anybody could help?
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text:
Modern Shakespeare Studies or Shakespeare and the sleuths: An interview with Professor James Shapiro
by Jean-Martin Büttner
Professor James Shapiro is an authority on Elizabethan and Jacobean literature, and author of the recently published The Year of Lear: Shakespeare in 1606 (Simon & Schuster, 2015). At a lecture given at the British Museum on 29 July 2016 and in the following interview, Shapiro elaborated on his approach to understanding Shakespeare in the context of his time, showing how Shakespeare's extraordinary plays responded to the tumultuous events he experienced, which in 1606 included the Plague, a new king's desires to unite England and Scotland, and the aftermath of the Gunpowder Plot.
The interview also discusses the relevance and the problems of staging Shakespeare's plays today, with particular reference to The Taming of the Shrew, The Merchant of Venice, King Lear, Macbeth, and Richard III. In the context of 2016's Shakespeare 400th anniversary celebration of the life and work of the Bard, the interview contributes to the dialogue of how best to approach Shakespeare's plays to make them relevant to today's audiences.
Some of the information was incorporated into the article 'William und die Detektive', published in the Tages-Anzeiger, 3 September 2016. The following interview is reproduced with the kind permission of Jean-Martin Büttner.
Helena Lustenberger
London Review Bookshop Café, 29 July 2016
You will attend the International Shakespeare Conference being held in London and Stratford. Are some of these people mad in their obsessions?
Not the people at this conference. There will be hundreds of scholars from all over the world. Because Erdogan prevents academics from leaving Turkey, I'm hoping that the scholars from Turkey will be allowed to attend. These are scholars – men and women, old and young – who have committed their lives to working on Shakespeare. Unless you think that is mad, and it may well be. The people who tend to be a bit mad are those not part of this scholarly community, but let's just say in the periphery or outside of it. It's exciting every four years to get together with scholars from around the world, and because Shakespeare is increasingly global, it's going to be interesting for me to see whether the talk of global is equal to the reality of global.
What an opening! While reading your books I came to the conclusion that one of the attractions about Shakespeare is you have to become a sleuth. Can you elaborate on that?
Sure. All literary scholarship is, in a way, detective work. And that makes literary scholars detectives, although they might not think of themselves in that way. Anyone working on the late 16th century, whether you would be working in England, Germany, in Iceland, or in Africa, has to deal with the fact that the traces of life and of cities are almost gone. And you have to work hard finding the scattered clues to the lives, to the work, to the theatres, to the culture in order to recreate not a crime scene, but a literary scene – a cultural scene that might explain that culture a little better. That might in turn explain how we are who we are as a culture today. So I'm very conscious that I am constantly picking up clues.
Unlike most scholars, the clues that I attend to are not only books, but are physical clues to the extent that those clues survive, whether it is an archaeological dig or coins from the period, something that puts me physically in touch with that age. I'm about to give a talk at the British Museum Library, and I'm going to share with the people in the front row this coin, which is a hammered sixpence from 1606. It has King James's partly obliterated face on one side.
Extraordinarily precise and detailed.
It is. And it's a connection to that world. It was hammered out by some workmen, and in that year Shakespeare may have held this, he might have paid for a drink, not a latte, but an alcoholic drink – they didn't have coffee in England in Shakespeare's times. But this is the way that I do my detective work. And I think that's an astute observation.
Since you're talking about it, do you see magic in some places? I'm asking this because I went to Stratford-upon-Avon yesterday and was deeply disappointed. Two days before, I went to the Globe to see The Taming of the Shrew and was enthralled.
I love that Taming of the Shrew. I love going to the Globe. My only complaint about it is that its dimensions are slightly larger than they should have been. It's a hundred feet across, and it should be 75 feet across. They didn't know that when they built it. They knew it only later. It means that more people get to see the plays, but it's slightly more difficult for the actors.
But I share the same sense that Stratford is a tourist destination. Even the house where Shakespeare was born loses its charm after repeated viewing. People have been disappointed by this house for hundreds of years. Henry James wrote a brilliant story called The Birthplace about the people who keep the house and tell tourists about Shakespeare's life. Essentially, they are fiction writers, and they're creating stories. If they only told the truth – because so little that is known about Shakespeare's life in that house survives – there would be nothing to say. So I find Stratford-upon-Avon a charmless town. I love the theatre there, and I was there yesterday. There's a wonderful Hamlet, there's an extraordinary Alchemist, and rehearsals are going on right now for what will be a brilliant King Lear. It's just the stuff that survives, I mean Shakespeare's words. But the physical remains of Shakespeare's life, the traces of it, are not enough to excite me much.
Let me come back to the production of The Shrew we saw at the Globe. Kate's famous speech at the end when she completely surrenders to her husband was given in a deeply ironic manner, thereby turning what she was saying into the opposite of what it meant. Do you think Shakespeare had this reading in mind when he wrote what was to be his second play?
That's a great, great question. And the answer to that is: We don't know. All we have are the words on the page. And of course, the speech would have been delivered by a young teenage boy speaking and being dressed as a woman. But that having been said, it's a very hard play to figure out. The ending would either be sarcastic and ironic, or it will be dutiful and obedient. And it's a very difficult play to get right. I was involved in a small way in a production in New York in which it was performed by women only. So that was another way of undermining the premise.
Of the fact that this woman is called a 'shrew' – she's not. She's just a lively, young, particularly headstrong individual, and she is somehow tamed by this man. But there are so many ways to attack this play. Is it that they discover something in each other that we don't see that throws them together? Is she playing a game at the end to entertain the others? We don't know! What I liked about this particular production at the Globe is that it was set a hundred years ago in Ireland where Irish men could beat their wives and it wasn't even exceptional. So by putting the play at that time and place, the director was trying to say something about how much has changed in a hundred years. I'm not quite sure that much has changed.
Also the play includes a lot of violent scenes. He's basically a rapist, and the bed she's lying on looks like a rack. There is an implication of rape.
Absolutely. Domestic violence I would say.
It also occurred to me how physical the Globe production looked. You can't miss the energy that interprets the play.
Last Summer I saw a production of The Merchant of Venice starring Jonathan Pryce at the Globe. It was extraordinary. I've spoken with the very talented director before, Jonathan Mundy. I had written a book called Shakespeare and the Jews (1996). And I saw the same play two weeks ago in New York City, the same production. And it was a completely different theatrical experience. At the Globe the audience, as in Shakespeare's day, didn't know how the play was going to end. There was suspense; they were jeering Shylock in the beginning, but feeling remorse for that by the end. In New York City, everybody knows the story, half the audience was mouthing the words along as the actors were reciting them. So much of the excitement of the performance was lost. At the Globe the clown pulled people onstage from the audience and made them part of the play. They tried it again in New York, but the audience were so resistant, they wanted that fourth wall. So I love the Globe, I love the exuberance of the crowd, and I even like the naiveté of the crowd as well. I'm struck always knowing how they are going to do the last speech. But they don't know the last speech is coming. So it's very different.
It was a real 3D experience. There was this moment when the main character was saying "kiss me Kate" and added "kiss, kiss, kiss", indicating to the crowd to say it with him, and the people did it.
Oh, this is great.
And it sounded like a mob.
Yes it did.
And it suddenly turned into something sinister.
It did, and I think a lot of Shakespeare is sinister in that way. And depends upon whipping a crowd up – either to be for or against somebody. And he writes about it. There is a wonderful passage in Richard II where he talks about a crowd who turns against an actor who fouls a better actor on stage. He's assuming his audience is fully engaged and excited. And the Globe does that exceedingly well.
Reading your books, I am struck how intensely Shakespeare takes in the things happening around him. He is a man for all ages, as Ben Jonson famously wrote, but he also was a man of his time. He writes in codes and allusions, dates back persons from his time, but the present is densely interwoven with his plays. I was not aware how much that is, can you expand on that?
Sure. There was no newspaper in Shakespeare's day. No radio, no mass media. The only way that ideas circulated was through gossip or through sermons that people attended or through plays. So the theatre became a place where a culture turned to understand itself. To understand, for example, in the first half of Shakespeare's career how people wrestled with their anxiety about political succession. Queen Elizabeth had no children and no designated heir to succeed her. So, in play after play after play, Shakespeare writes about political succession.
When King James came to the throne, it's a different story. Succession was no longer the issue because James had a wife and children. What became an issue was the Union of Scotland and England because King James was both King of Scotland and England. And that in plays like Macbeth and King Lear this issue is becoming increasingly significant. I do believe the plays are for all time, but they are only for all time because we are heirs to the problems of immigration, race, globalism, and family that are created or recreated in Shakespeare's day. Right now, we speak in a post-Brexit moment when Britain is separating itself from Europe. And soon, I suspect, Scotland will separate itself from England. The issues that are woven into plays like Macbeth and King Lear will remain in the present time as urgent as they were 400 years ago.
You had an interesting approach to Shakespeare yourself because first he was alien to you.
I hated him!
Then you became enthralled. Can you remember the process? I am asking because a colleague of yours is wondering how we can explain to kids today why Shakespeare is important and wonderful.
People often say, Shakespeare should be mandatory in classrooms, and I just say that is a really bad idea. In my case, I had to study Shakespeare in school but I did not have a good teacher and his plays were not done in a theatrical way. I didn't understand them, hated them, and was alienated from them. For these reasons, I never took a university course in Shakespeare. So my Shakespeare education took place in this city, which was, in the 1970s, a place where you could see for less than a Euro a play with your student card. And for the first time you could fly here through discount airlines inexpensively. I would fly over and see 20 plays in 20 days, quitting whatever summer job I held down, come over and sleep in church basements and youth hostels. And I did it every year when I was 17 till 22. After so many years I had seen hundreds of brilliant productions of Shakespeare. And it turned out that I had understood them fairly well. So it became something that I pursued and continue to pursue decades later. It was thrilling. The Shakespeare you are exposed to when you are young and open to the world and experience, is often the most powerful you will ever see. I saw Jonathan Pryce in 1981…
… as Hamlet. It was my first play.
It was the first great play I had ever seen.
He looked like a punk.
He did. And when he had the ghost of his father come out of him, the audience levitated – they all lifted out of their seat. So you know what I'm saying then. And it was like a very powerful drug with different side-effects that are as long-lasting.
At the same time the language remains extraordinarily complex. I'm sure even people at that time didn't understand everything.
Shakespeare was constantly inventing and altering words or compounds so even his earliest audiences could not have known them. In Macbeth, Macbeth speaks of assassination. Since nobody knew the word then, I imagine the playgoers were turning towards each other and ask themselves: "What did Macbeth say? What's that word?" And no one then or now gets every word or all the nuances. All we can do is try to absorb as much as we can. You could probably say the same thing about a Rembrandt painting or a Beethoven symphony. No one is going to get all that was intended in the act of creation. Most of us are fortunate enough to get enough to find it a transformative experience.
I'd like to talk about equivocation, a term which played an important role in some of Shakespeare's later plays – and plays an important role in 1606, your latest book. Was the use of equivocation a way for Shakespeare to create heroes that were ambiguous, or having a sort of pretext to do so?
That is a good question. I thought about that word in a concept a lot. You know, what it means to think one thing or say something else or, in a most unambiguous way, to speak in a double fashion. And I think that Shakespeare, when he was in his early 20s, had come up to London and was acting, had to recognise that he was always thinking one thing as an actor and saying someone else's words. And that the very act of being a professional actor is to equivocate. In the aftermath of the Gunpowder Plot, 20 or so Catholic gentry tried to blow up Parliament and kill the royal family, but they were discovered in time and a treatise of equivocation was found in one of the conspirator's lodgings. The nation became transfixed by what they were experiencing in the theatre all the time.
Which is to say the doubleness of language, of performance here was transformed from the world of imagination and make-believe to the political world. And if you could take an oath in court but withhold your true intention, you could not have, they felt, no genuine civil discourse. You could not have a society. So this is something that is both necessary to create but also dangerous in the political and social world. So that word equivocation became a very significant one this year.
As you write in your book, one of the reasons that plays like Lear or Macbeth became so dark is that a whole society had realised what could have been ten times 9/11.
Yes. And we are in a kind of slow-moving version of that now every week for the last month in Munich, in Nice – everywhere there are terrifying terrorist attacks. The Gunpowder Plot was the first failed terrorist attack. But nobody thought of it. How do you respond to terrorism? Do you expel all the Catholics in England? Do you, as some in Parliament suggested, say that none can live within 10 miles of the city? Do you take away their children and raise them under different rules? Do you take in Syrian refugees? Do you enforce rules against wearing the hijab in France? We are still wrestling with so many of the same questions, and it's viable for me to see how four centuries ago, when these issues were emerging for the first time, how Shakespeare and his world made sense of that. I don't study Shakespeare because I want to live in the past. I study him because I want to understand those things in my culture that television, journalism, papers, even the best ones, cannot reach down in explaining well enough.
So Shakespeare's language is a way of dealing with violence?
I think the plays are filled with violence. Even the lightest plays are violent plays like Taming of the Shrew or As You Like It. It begins with a wrestling match in which people are badly injured. Shakespeare lived in a violent culture, and I think he understood that culture pretty well. Very often when we do Shakespeare poorly we try to suppress that element, and that is a mistake.
I agree. What I meant before is that the expressions of violent and fearful acts through language in a theatre are some kind of sublimation – even though that is a dangerous word. Since the language itself is dealing with these acts, it can also be cathartic.
It does, but it also can unnerve. Shakespeare understood the raw power of language extremely well. He understood that words could destroy or heal. And his plays, early and late, are filled with both.
Ralph Fiennes putting his film of Coriolanus in the Balkan war makes the same point, though. And he's English.
He's great, and I love that film. It's an American story right now, more than a Bosnian or Serbian story, although it was back then. And I think it is a brilliant production. It took that play and made it feel contemporary.
All of Shakespeare's war tragedies are about civil wars, but the language he uses makes us understand these wars.
But we are not as good as he was at telling that story. And with a work like Troilus and Cressida, dealing with the effect of a war-torn society on love, how corrosive it is, how love is just destroyed by what war does to peoples' personalities and sensibilities. . . . I'm very lucky that I not only get to work on these productions but get to see them made. I probably understand better now than 10 years ago when I was not doing this how difficult it is to do Shakespeare well in a theatre. I will never review something critically again because I have seen how much blood and sweat and intelligence goes into even unsuccessful productions. The magic that goes into great ones is extraordinary and couldn't be explained.
Reading your books, I realize time and time again in what unsafe times Shakespeare lived. He rarely mentions the Plague, though. Why do you think that is?
The Plague was the great terror of the age. When Shakespeare first came to London in the early 1590s, the Plague struck and took away one out of seven people. When it struck again in 1603, it took about the same percentage and it would have destroyed Shakespeare's livelihood because the theatres were closed every time there were 30 or 40 deaths registered from plague in the town. It's like yelling "fire!" in a theatre today. It's not ok. You don't want to remind people congregating in a densely filled place that it could cost them their lives. I think it was so scary that it couldn't be spoken of – except indirectly. And when he does speak of it indirectly, it carries a special horror.
Thank you, Jim.
My pleasure – it was great talking to you. Terrific questions.
This is why I have the greatest job in the world.
Byrne, C. (Dir). (2016, 13 May – 6 August). The taming of the shrew by William Shakespeare, Globe Theater, London.
Goethe, J.W. (1795-96). Wilhelm Meister's Apprenticeship (German: Wilhelm Meisters Lehrjahre). Berlin, Germany: Johann Friedrich Unger.
Günther, F. (2014). Unser Shakespeare: Einblicke in Shakespeares fremd-verwandte Zeiten. Munich, Germany: dtv Verlagsgesschellschaft.
Tages-Anzeiger. (2016, 3 September). William und die detektive. Retrieved from http://www.tagesanzeiger.ch/kultur/klassik/william-und-die-detektive/story/26389674
Professor James S. Shapiro was born and raised in Brooklyn, New York and studied at Columbia University and the University of Chicago. He is currently Larry Miller Professor of English and Comparative Literature at Columbia University, where he has been teaching since 1985. His publications include 1599: A Year in the Life of William Shakespeare (2005), Contested Will (2010), The Year of Lear: Shakespeare in 1606 (2015), all of which have won prizes. Check out his 3-hour documentary The King and the Playwright first aired on BBC4 in 2012 http://www.bbc.co.uk/programmes/p00qhsr5 For more details see http://www.jamesshapiro.net/bio.htm
Born in Basel, Dr Jean-Martin Büttner studied Clinical Psychology and English and Psychopathology, and wrote his dissertation on Rock Music as narrative. Since 1985, Jean-Martin has been working for the Tages-Anzeiger, Zürich as a journalist, political analyst, and correspondent for various special features including literature and culture.


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We have worked with companies in many different industries - from local, state, and federal government, military, banking and investments, construction, health-care, insurance, manufacturing, real estate, retail and sales, and software development. We have also worked with non-profit and volunteer organizations.
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text: New series. Jodie Whittaker makes her debut as the 13th Doctor, who crash lands following an explosive regeneration that has apparently destroyed the Tardis. She finds herself lost and alone in Sheffield, with no memory of who she used to be - and has an encounter with three seemingly ordinary people whose lives are about to change for ever. Bradley Walsh, Tosin Cole and Mandip Gill co-star as the Doctor's new companions.


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Was born in Moscow, in the family of artists.
Member of the Union of Artists.
Diploma of the Russian Academy of Arts (2012).
- The Monapasier Gallery in the Palais Royal area isA famous place, the national treasure of France, a square of boutiques of very different content, often useless, but of cultural and historical significance.
I recently finished as an interior designer thereA small object - a boutique of amber with a very interesting technical specification: the image of a luxurious palace France in a few theatrical exalted interpretation, the maximum capacity and the most spectacular demonstration possibilities - 15.5 square meters. M, the convenience of fitting and the place for the seller.
It was clear that you need to make such a sweetCandy, strengthening the vigorous luxury of the amber collection, attracting curious already from a distance with a glowing warm light showcase. A musical box constantly appeared in my head, upholstered in dark velvet with gilding and shining with embroidered pearls.
I must say that the room was not new. There already had a store of the same name, absolutely faceless and not very convenient in terms of functionality. The task was interesting, but the problems and difficulties did not wait. The first thing I wanted was to save the unfortunate, eternally freezing sellers. In a humid Paris climate, there is little chance of warmth if there is no heating in the room. The warm floor is the first thing that came to my mind.
Once the warm floor, then the tile, historically relatedWith sidewalk outside the window. I immediately remembered about the Portuguese factory Top Cer, whose products I use very actively in Moscow. It is interesting that the gaze immediately fell on the Paris collection. Then began the mad search for the seller. And it was unthinkable and incomprehensible! The market in France is small and conservative, "foreigners" on it a little. Find factories famous in Moscow is very difficult. I found the tile in some provincial suburban warehouse.
Wallpapers of the German factory Paravox came without problems,In Paris they were not there either. Furniture, with professional requirements, elements and details, was ordered according to the drawings in Lithuania, and it should be noted that it is of excellent quality. The style of furniture was collected from the main classical quotations.
The central large theater chandelier isFoscarini Caboche amber color. I have long loved this collection, it behaves impeccably in any interior, shines well and is very pleased with the look - that yellow, that is transparent. Color, transparency and shape are very close to associations with amber. The luminaire is very far away on the approach, and in the evening it is a kind of beacon, a magnet that attracts even casual passers-by.
Next was a leather armchair for those waiting for theirI'll give the satellites. It was immediately bought in an unnamed vintage salon near Bastia. The conceived mirrors could not be found in the salons of Paris, but the flea market came to the rescue.
The most ridiculous story is connected with coffeeA table that was supposed to stand near a mirror and a chair. This was immediately found in the bank of my memories, this is the American factory Jonathan Charles, and the table is called Eglomise. So, its, well it's small, had to carry from Moscow by plane, since it was the easiest.
Despite all the adventures, it was very niceWork under the shadow of the Parisian plane trees, next to the lights of the Rue de Rivoli, work with such understanding intelligent customers! This can only dream of any designer. The work lasted slightly more than three months, everyone was satisfied and even said that the buyers became much more!


text:
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Exceptional ormolu and rock crystal twenty-four-light chandelier. Made of cage form, the central stem cast with bulrush and a fruit-filled vase, issuing twenty-four scrolled candlearms hung with rock-crystal fruit-form drops and prisms.
(Listed in archives files, Private collection).
François Linke, born in 1855 in Bohemia (Czechoslovakia), worked as a cabinet-maker, rue du Faubourg-Saint-Antoine in Paris from about 1882 until his death in 1946. In 1900, at the apex of his career, he opened a new shop at the famous Parisian place Vendôme. He specialized in Louis XV and Louis XVI style furniture: all pieces were beautifully mounted with gilt-bronze ornaments, and he received numerous commissions. Later Linke decided to collaborate with the well-known sculptor Léon Messagé (1842-1901) and integrated new lines and shapes announcing the "Art Nouveau" style. His great success is definitely the 1900 Universal Exhibition where he was awarded the gold medal for his extraordinary kingwood desk, designed by Léon Messagé. At this occasion, the "Revue artistique et industrielle" commented that "Linke's stand is the biggest show in the history of art furniture".


I love to be at the dog park and rolling in the fresh cut grass. I also love my cat sister Olivia and spend most of my time cuddling with her.
If you're lucky enough to find me at work I'll be the one greeting you at reception with a big smile and flawless groom.


text:
Tense moments at YLW
David Wylie - Mar 9, 2017 / 8:14 am | Story: 191096
Photo: Contributed
UPDATE: 8:10 a.m.
There were tense moments Thursday morning after the pilot of a private Cessna Citation plane suspected landing gear trouble.
Police, ambulance and fire rushed to the airport at about 7:30 a.m. after the plane – which had departed from Vernon Regional Airport – reported potential issues to the Kelowna International Airport air traffic control tower.
The plane, which had two people onboard, was diverted to YLW.
"It did do a flyover and they saw that the landing gear was out," said Jasmine Patrick, spokeswoman with the Kelowna airport.
The plane landed safely at about 7:45 a.m.
It's unclear where it was originally headed.
ORIGINAL: 7:50 a.m.
There was an emergency response at Kelowna International Airport Thursday morning.
It appears a plane was having landing gear issues – but has now landed successfully.
Emergency crews rushed to the airport just after 7:30 a.m.
The airport is expected to release more details this morning.
Police chase caught on camKelowna - 2:00 pm
Bail for att. murder suspectKamloops - 1:30 pm
Being more inclusiveVernon - 1:27 pm


text:
8 Reasons You Should Know Michael Stewart
When it comes to hit Broadway musicals, Michael Stewart wrote the book… literally. Stewart penned the libretto to some of the greatest musicals in Broadway history, and you may never have heard of him!
The book of a musical is the show's narrative structure and dialogue. The book writer, or librettist, determines the show's point of view, creates the show's framework and song placement, and writes all of the dialogue. According to one Broadway bromide, when a show fails, everyone blames the book. When a show succeeds, everyone praises the score. The book writer never gets any credit!
Well, here at Tams-Witmark we certainly recognize the incredible contribution of a musical's book writer, and we know Michael Stewart was one of the all-time greats. So, on the anniversary of his birth, here are…
8 Reasons You Should Know Michael Stewart:
Janet Dacal and George Merrick in Goodspeed Opera House's 2016 production of BYE BYE BIRDIE
1. BYE BYE BIRDIE (1960) – After contributing to two musical revues, Michael Stewart struck gold with his first full-scale Broadway venture. Stewart wrote the libretto for this breakout hit, which won the Tony Award for Best Musical and continues to grace hundreds of stages worldwide every year. Stewart's book featured plenty of quotable lines, like this impassioned speech from Mr. McAfee:
Gentlemen, the democracy is over! Parliament has been dissolved; the Magna Carta is revoked, and Nero is back in town! And you don't offer an emperor a warm Seven-Up!
Or Mae's classic maternal guilt-trip:
Who am I anyway? A sick old woman… probably won't last the night. I just want a simple stone, with one word carved on it: Albert's Mother.
James Mitchell, Anna Maria Alberghetti and Ensemble in CARNIVAL!
2. CARNIVAL! (1961) – After the wackiness of BIRDIE, Stewart wrote a gentler, more contemplative libretto for this adaptation of the 1953 film Lili. Produced by David Merrick, CARNIVAL! received Tony nominations for Best Musical and Best Author of a Musical. Stewart wrote this lovely monologue for Lili, whose heart has been broken by a carnival magician:
I've been putting things together in my head all day, Marco… and I know now that I've been living in a little girl's dream, not seeing anything except what I wanted to see. Not that dreams are bad to have… it's just that there's a time for them to end. Like there's a time for going to school, a time for losing our parents, a time for falling in love with a beautiful magician, and a time for waking up. And we just have to learn each time to say, "This is over. Now, go on to the next thing."
I guess it's something nobody can teach you, Marco. You just get older… and you know. It's a blue carnation. It could never be real. But it was very beautiful.
3. HELLO, DOLLY! (1964) – Stewart's Tony Award-winning book for this mega-hit, adapted from Thornton Wilder's The Matchmaker, may be his finest work. Brilliantly structured and hilariously paced, HELLO, DOLLY! includes exchanges like this (and can't you just HEAR Bette Midler's voice as you read these lines?):
DOLLY: Congratulations, Mr. Vandergelder! All New York is buzzing with the news that you've practically proposed to Irene Molloy. The streets are lined with eligible young ladies prostrate with grief. All my congratulations and sympathy…
VANDERGELDER: Sympathy?
DOLLY: Did I say that? A slip of the tongue, that's all. No, I'm delighted with the happy news. After all, she wasn't easy to unload—by that I mean you know what people said, I although I, for one, never believed the rumors. No, I didn't…
VANDERGELDER: Rumors? What rumors?
DOLLY: Nothing to get upset about, Mr. Vandergelder. I mean, according to all known facts, her first husband passed on quite naturally. It's just that he went so sudden. A few spoons of chowder she made special for him and pfft! But, it could happen to anyone. No, there's no truth in it. Just one word of advice, Mr. Vandergelder: Eat out.
Joel Grey, Bernadette Peters, Jerry Dodge and Betty Ann Grove in GEORGE M!
4. GEORGE M! (1968) – Stewart co-wrote this libretto with his sister Francine Pascal and her husband, John Pascal. The musical, starring Joel Grey and featuring Bernadette Peters, told the life story of legendary composer/entertainer George M. Cohan. The book captured the lingo and cadence of vaudevillian show-talk, evidenced by this line from George's father, upon the birth of his son:
Little George, the Yankee Doodle Kid, that's how we bill him in the act. Not that he's going into this business unless he wants to. That boy's not putting a foot on a stage 'til he's eighteen or nineteen, or even twenty-one… months.
5. MACK & MABEL (1974) – That old Broadway bromide comes to mind here: This show, despite a glorious score from composer/lyricist Jerry Herman, never quite got off the ground, and closed after only 66 performances. Of course, everyone blamed the book. But Michael Stewart earned a Tony nomination for Best Book of a Musical, and subsequent re-writes have been unsuccessful in improving Stewart's original work. The story, a tragic romance between silent movie director Mack Sennett and his leading lady, Mabel Mercer, may have been too dark for musical comedy audiences.
Jim Dale and Company in BARNUM
6. BARNUM (1980) – For this huge, colorful, circus-themed hit, Stewart wrote lyrics to music by Cy Coleman. Earning his first Tony nomination for Best Original Score, Stewart contributed delicious patter for leading man Jim Dale in the role of P. T. Barnum, the Greatest Showman on Earth:
Quite a lotta
Roman terra cotta,
Livin' lava from the flanks of Etna,
Statuary,
Ride a dromedary,
See the Temple tumble and the Red Sea part.
McNamara's band,
The fattest lady in the land,
A pickled prehistoric hand,
A strand of Pocahontas' hair.
Crow and Sioux
Who're going to
Be showing you
Some rowing through
A model of the rapids on the Delaware!
Lee Roy Reams, Wanda Richert and Company in 42ND STREET
7. 42ND STREET (1980) – Stewart co-wrote the book to this tuner with Mark Bramble, and they were nominated for Best Book of a Musical. Adapted from the novel and loosely based on the movie, 42ND STREET is the ultimate show biz story, featuring a slew of Broadway standards by Harry Warren and Al Dubin. Young Peggy Sawyer, a simple hometown girl from Allentown PA, is the lucky understudy who gets her big chance at stardom when the leading lady literally breaks a leg. Stewart's script contains one of the most famous lines in show business:
Sawyer, you're going out there a youngster. But you've got to come back a star!
Chita Rivera, Donald O'Connor, Maurice Hines and Company in BRING BACK BIRDIE
8. BRING BACK BIRDIE (1981) – Musical theatre geeks will appreciate this one: 20 years after the success of BYE BYE BIRDIE, the original creative team reassembled to create a sequel, and Michael Stewart once again wrote the book. The show famously flopped, playing only four performances on Broadway, but Stewart did write some great lines for Mae, once again insulting her daughter-in-law Rose when they are reunited:
Rose, what happened? Start with the accident. How long were you under the truck before they got you out? Never mind… the plastic surgeon did miracles. Of course, it'll be much better when he takes the staples out.
Michael Stewart was truly one of the most successful book writers of Broadway's Golden Age. We are so grateful for his humor, intelligence, and creativity.
Thank you and Happy Birthday to Michael Stewart!
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Car Dealer 101 - Garden Grove
When: Mon., Feb. 8, 11 a.m., Mon., Feb. 22, 11 a.m., Mon., March 8, 11 a.m., Mon., March 22, 11 a.m., Mon., April 12, 11 a.m., Mon., April 26, 11 a.m., Mon., May 10, 11 a.m., Mon., May 24, 11 a.m., Mon., June 14, 11 a.m., Mon., June 28, 11 a.m., Mon., July 12, 11 a.m., Mon., July 19, 11 a.m., Mon., July 26, 11 a.m., Mon., Aug. 2, 11 a.m., Mon., Aug. 9, 11 a.m., Mon., Aug. 16, 11 a.m., Mon., Aug. 23, 11 a.m., Mon., Aug. 30, 11 a.m., Mon., Sept. 6, 11 a.m., Mon., Sept. 13, 11 a.m., Mon., Sept. 20, 11 a.m., Mon., Sept. 27, 11 a.m., Mon., Oct. 4, 11 a.m., Mon., Oct. 11, 11 a.m., Mon., Oct. 18, 11 a.m. and Mon., Oct. 25, 11 a.m.
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In Store Inventory Management (SIM), the Auto Receive Store functionality does not work per configuration setup.
When a store is identified as an auto receive store, SIM should automatically update the Stock on Hand (SOH) for the transferred item. However, the transferred quantity remains IN TRANSIT in SIM table STORE_ITEM_STOCK after a transfer is dispatched from the source store.
Select two stores in SIM. One is a receiving store (in the example, store 168). The other is sending store (store 100). Set up Auto Receive for both store 168 and store 100.
Change Store to each store, and go to Admin > Setup > Sim Stores > Auto Receive Stores.
Add the other store as a 'Selected Auto Receive Store'.
Change Store to store 100.
Go to Main Menu -> Shipping/Receiving -> Transfers.
Create a Store to Store transfer for an item, to store 168.
Go to Main Menu -> Shipping/Receiving -> Transfer Shipment.
Click Create: select Destination Type Store, Destination 168, then Apply.
Click Document to select the Transfer approved before, then click Items & Quantity.
Click Info: to enter Container ID, then click Apply.
Click Confirm: Shipment becomes Complete.
Click Dispatched: Shipment becomes Shipped.
Query STORE_ITEM_STOCK with the item id and both store_id. Observe Stock on Hand remains in transit.