text:
University to Postpone Relocation of Two Museum Collections
GOLDEN GATE XPRESS -- The Treganza and Sutro Egyptian collections were originally scheduled for a spring 2015 move into Fine Arts 203, but the safety concerns of Dance students over moving into a temporary space in McKenna Theatre has delayed the relocation of the collections.
"It delays an opening by a semester, but that's (a) small price to pay to ensure the safety of our dancers," said Daniel Bernardi, interim dean of the College of Liberal & Creative Arts, adding that there are plans to convert another large space in Fine Arts 203 for curricular and storage needs. The relocation of the collections and dance studio comes as the College attempts to optimize space that is currently spread into six different buildings across campus, according to Bernardi.
"Having the extra semester is very helpful and it respects the process that dance has been going through," said Edward Luby, Museum Studies professor and director. "You walk into a situation where you can do some good, and we are doing good to make the University happy."


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Q: Return NSOutlineView's numberOfChildrenOfItem after a web request I have a list of around 1500 items in my outline view, the children of each item is determined by an API call as the API only gives me all the parents without the children.
Because it is 1500 items I am unable to make a request for each parent to list their children at application startup, therefore I would prefer to return numberOfChildrenOfItem, as it is called after a user expands an item, for an item after a web request has completed
Example code of how my API works:
func outlineView(_ outlineView: NSOutlineView, numberOfChildrenOfItem item: Any?) -> Int {

    // code to determine if root or parent

    } else if parent {
        api.updateDatabaseChildren(for: parent) {
            // database has been updated and parent now has children
        }
    }

}

I am truly unable to work this one out, how do I do this?

A: Start with having your data source return 1 for each parent's numberOfChildrenOfItem, and true for isExpandable.
For the child item in each parent that has not yet loaded its children, supply a dummy item that displays something like "Loading…":
> Parent
> Parent
v Parent
     Loading...
> Parent

When the user expands a parent item, load its children asynchronously from the API. When you have received the results, use insertItems() to insert the child items into their parent item.

redpajama_set_name: RedPajamaStackExchange


The federal government on Sunday vowed to release the names of more persons alleged to have looted public funds.
Two previous sets of lists released by the government have been criticised for containing only the names of the members of the main opposition party, PDP.
None of those named have been convicted with some of them being prosecuted and others not being tried for any offence.
Persons mentioned in previous lists as well as civic groups like the Socio-Economic Rights and Accountability Project (SERAP) have criticised the government for releasing the names.
However, in a statement issued in Lagos on Sunday, the Minister of Information and Culture, Lai Mohammed, said since the release of the first two lists of the alleged looters, there have been overt and covert attempts to intimidate and blackmail the federal government into discontinuing the release of more looters' names.
government of politicising the anti-graft war by releasing the lists. We strongly disagree with them.
However, contrary to Mr Mohammed's claim, the government does have the power to try or prosecute anyone suspected of stealing public funds, and is actually doing so. He is, however, right that only the courts can convict any accused.
Mr Mohammed said it was the PDP that dared to challenge the federal government into releasing the list of PDP looters, hence the argument that the list only contained the names of PDP members falls short without proper contextualization.
"We are not underestimating the desperation of the looters, but we wish to assure Nigerians who are justifiably outraged at the mindless plundering of the nation's wealth also of our determination not to back down. Nigerians must know those who have wrecked the country and mortgaged the future of their children," Mr Mohammed added.
Just before Mr Mohammed's statement was sent to PREMIUM TIMES, the presidency also released a statement where President Muhammadu Buhari again criticised the past PDP administration of massive corruption.
President Buhari said the damage done to the Nigerian economy in the years of plunder was massive, and that government was doing its best to recover some of the loot, but noted that it was impossible to identify and recover all.
"If they had used 50 per cent of the money we made, when oil prices went as high as $143 dollars per barrel, and stabilized at $100 dollars with production at 2.1 million barrels per day for many years, Nigerians would have minded their businesses. You could almost grow food on our roads, as they were abandoned.
"The stealing was so much, and they were so inept that they could not even cover the stealing properly. I wonder how all those things could have happened to our country," the president was quoted as saying.
The president spoke in London when he received members of the Buhari Diaspora Support Organisation, led by Charles Sylvester.
"You met a difficult situation, but you have overcome most of them. We are happy with the agriculture revolution, the ease of doing business, the anti-corruption war, the employment of youths through the N-Power programme, and the blockage of leakages in the public sector through the Treasury Single Account (TSA)," Mr Sylvester told the president.


The Geneva Airport Parking - Parking More is conveniently located 5 minutes by free shuttle from Geneva International Airport.
The car park is exterior closed and accessible 7j7 from 4:30 to 1:00.
This car park is provided by our partner Parking Plus .
Our partner offers a free shuttle service that has 8 places.
The shuttle runs from 4:30 to 01:00.
One way, the departure of the shuttle is according to the departure time filled in the booking form and will drop you at the airport.
When you return, simply call the phone number provided in the Onepark confirmation email. The call must be made after having collected your luggage. The shuttle will pick you up at the airport.
When you arrive at the parking, go to the reception of the parking with your confirmation email.
It is advisable to leave the keys of your car, an inventory will be made before the recovery of the keys.
You can then pick up the shuttle that will drop you at the airport.
Très près de l'aéroport. Le personnel est très sympa. Service rapide et efficace à l'aller comme au retour. Seul petit moins : il faudrait qu'il note l'indicatif Suisse sur leur carte quand on revient pour les appeler.
Très bien. Parking proche de l'aéroport. Navette au rendez-vous. Seul bémol, prix, un peu chère.
Tout c'est super bien passé. L'accueil et la navette efficace et rapide. Ma voiture à était déplacé de que 3kms depuis le lieu de rdv au lieu de stationnement définitif. Je recommande.


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Q: Define a class Calculator that can satisfy the following code. var cal = new Calculator(); cal.add(3, 5);// 8 cal.add([3, 5]);// 8 Define a class Calculator that can satisfy the following code.
var cal = new Calculator(); cal.add(3, 5);// 8 cal.add([3, 5]);// 8

How about my code?
function Calculator(){
   this.p1=p1;
   this.p2=p2;
   this.add =function(){
    return this.p1+this.p2;
    }
}

var cal = new Calculator();
console.log(cal.add(3, 5));

It cannot work

A: You could implement some parameter to the methode add.

function Calculator(){
    this.add = function (p1, p2) {
        return p1 + p2;
    }
}

var cal = new Calculator();
console.log(cal.add(3, 5));

Or use a method for input, a stack and a method for Addition.

function Calculator() {
    this.stack = [];
}

Calculator.prototype.input = function (value) {
    this.stack.push(value);
}

Calculator.prototype.add = function () {
    var value = this.stack.pop() + this.stack.pop();
    this.stack.push(value);
    return value;
}

var cal = new Calculator;
cal.input(3);
cal.input(5);
console.log(cal.add());

A: Spot the difference:
console.log(cal.add(3, 5));
                    ^--^---- two arguments

function Calculator(){
                    ^---zero arguments expected

this.add =function(){
                   ^--- zero arguments, again...

which means p1 and p2 are undefined. If you'd done ANY kind of basic debugging, like checking your browser's debug console, you'd have been told about this.
Perhaps if you had
function Calculator(p1, p2) {

or similar...

A: Add parameters for p1, p2, and an optional array in the "add" method.  You can use the "arguments" object to check if two numbers were passed in or an array.  I'm sure there is a much better way to do this, but not sure.
In your Calculator function do this:
function Calculator() {
    this.p1;
    this.p2;
    this.add = function(p1, p2, arr) {
        var args = arguments;
        if(args.length == 2){
       this.p1 = p1;
          this.p2 = p2;
        }else{
           this.p1 = args[0][0];
           this.p2 = args[0][1];
        }
        console.log(this.p1 + this.p2);
        return this.p1 + this.p2;
    }
};

var cal = new Calculator;
cal.add(5, 4);  \\logs 9
cal.add([5, 4]);. \\logs 9


Episode No. 159 of The Modern Art Notes Podcast features curators Heather MacDonald and Nancy Perloff.
The show begins with a look at a kind of painting that hangs in every major art museum in America and Europe, but that doesn't often receive critical or historical attention: French floral still-life painting. The Dallas Museum of Art and the Virginia Museum of Fine Arts have co-organized "Bouquets: French Still-Life Painting from Chardin to Matisse," an exhibition that looks at the development of — and the surprises within — a familiar genre. The exhibition is on view in Dallas through February 8, 2015.
The exhibition catalogue — a wonderful read that's sure to be on those best-of-2014 lists that should start circulating in the next few weeks — is titled "Working Among Flowers: Floral Still-Life Painting in Nineteenth-Century France." It was published by the two museums and is distributed by Yale University Press. Amazon offers it for $35.
Heather MacDonald, who co-curated the show with Mitchell Merling of the VMFA, is the first guest. In recent years MacDonald has worked on exhibitions of Turner, Matisse, and early 20th-century Russian avant-garde illustrated books.
On the second segment Nancy Perloff of the Getty Research Institute discusses"World war I: War of Images, Images of War," which is on view at the GRI through April 19, 2015. The show looks at how propagandists addressed the war through images, and how artists considered the war.
Air date: Nov. 20, 2014.
Edouard Manet, Vase of White Lilacs and Roses, 1868.
Pierre-Joseph Redoute, Centifolia rose, anemone, and clematis.
Pierre-Joseph Redoute, Vase of Flowers, 1799.
Chardin, A Vase of Flowers, 1750.
Delacroix, A Vase of Flowers, 1833.
Delacroix, Still Life with Dahlias, ca. 1833.
Henri Fantin-Latour, Chrysanthamums, ca. 1889.
Victoria Dubourg Fantin-Latour, Still-Life with White and Pink Stock, late 19thC/early 20thC.


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text:
HomePosts tagged 'Oprah Winfrey'
Film Review: TONI MORRISON: THE PIECES I AM (USA 2019) ***
July 6, 2019 festreviews 2019 Movies, movie, Movie Review, Uncategorized film reviews, gilbert seah, Hilton Als, Oprah Winfrey, Timothy Greenfield-Sanders, Toni Morrison, TONI MORRISON: THE PIECES I AM
This artful and intimate meditation on the legendary storyteller examines her life, her works and the powerful themes she has confronted throughout her literary career.
Timothy Greenfield-Sanders
Toni Morrison, Hilton Als, Oprah Winfrey
This artful and intimate meditation on the legendary story- teller, TONI MORRISON examines her life, her works and the powerful themes she has confronted throughout her literary career.
For those unfamiliar with the literary world of Toni Morrison, Toni is a Pulitzer Prize winner for her novel Beloved and also the recipient of the the Nobel Prize for Literature in 1993 with four novels in Oprah's Book Club. She is at present 88 years of age, and still as spritely as a young author, evident during her interviews captured on film. She has been described more accurately as a legendary storyteller whose books are written from the black perspective.
There cannot be enough praise for Toni Morrison. Morrison has accomplished monumental orgs in her lifetime. Besides her literary works, she also did the biography of Mohammad Ali. On camera, she does not blow her own horn. But the other interviewees on camera like Oprah Winfrey, Toni's friends and author Fran Lebowitz, author/activist Angela Davis, poet Sonia Sanchez, long-time editor Robert Gottlieb are others singing her praises.
Toni's life, career and achievements are actually available for a good read on Wikipedia and one can learn just as much reading Wikipedia as it traces Toni's lifelong journey from child to the present and how her life influenced her works. But Greenfield-Saunders brings her life to the screen with lots of archival footage, such as grainy black and white film of black folk riding horse carriages in the old towns in America. The film also puts her work and black folk into perspective. It is revealed in voiceover that blacks were not allowed to be taught to read not even by the white folk. Toni, who grew up in Loraine, Ohio, went to school and eventually to college. She attended the historically black Howard University (where she faced segregation within the black community), to her stint as an editor at Random House (where she did '70s-era book tours with Muhammad Ali). She was also a single mother with two sons, rising at 5:00 am to write.
The film is directed by photographer Timothy Greenfield-Sanders, who met Morrison in 1981 when he did a cover shoot with her. For this film, he has Morrison looking directly into the camera, while he shoots the others in an "over the shoulder style." As a director, he's known for his "identity" documentaries such as The Black List (inspired by Morrison).
The best part of the doc is Toni's books been described on film as well as the reactions of the books when first published. Mention is given of her works like Beloved. Another book "The Bluest Eye" is described in detail. This is the book she wrote every morning up at 5 am while bringing up her two children. Oprah interviewed, described how she got and called Toni on the telephone, ending up making a film of BELOVED directed by Jonathan Demme. There is no mention, however that the film was a box-office flop.
Though it is pointed out in the film that Toni has both the respect and readership worldwide of Mexicans and Asians, the film would be more directed towards Americans (both black and white). After all, the black American is half and an important part of American history.
Trailer: https://www.youtube.com/watch?v=A8sUwXTWb4M
Film Review: A WRINKLE IN TIME (USA 2018)
March 10, 2018 festreviews 2018 movies, movie, Movie Review, Uncategorized A WRINKLE IN TIME movie, Ava DuVernay, film reviews, gilbert seah, Oprah Winfrey, Reese Witherspoon, Storm Reid
After the disappearance of her scientist father, three peculiar beings send Meg, her brother, and her friend to space in order to find him.
Jennifer Lee (screenplay by), Jeff Stockwell (screenplay by) | 1 more credit »
Storm Reid, Oprah Winfrey, Reese Witherspoon
A WRINKLE IN TIME is the new Disney family fantasy based on the 1962 science fantasy novel written by American writer Madeleine L'Engle. The book won the Newbery Medal, Sequoyah Book Award, and Lewis Carroll Shelf Award, and was runner-up for the Hans Christian Andersen Award. This is Disney's second film adaptation following the 2003 TV movie.
The film follows daughter, Meg (Storm Reid) who with the help of Mrs. Which (Oprah Winfrey), Mrs. Who (Mindy Kaling) and Mrs. Whatsis (Reech Witherspoon) and accompaniment of adopted brother (Deric McCabe) search for her 4-year missing scientific father, known as Dr. Murry (Chris Pine). They encounter different characters and strange animals and things before finally rescuing the father after wining the fight of light vs. the darkness.
Music and soundtrack are not impressive. The ending song "I believe (in me)" by DJ Khaled is the typical 'America is great, I can do anything' mentality that President Trump so often engages that non-Americans are sick of. The soundtrack has the 'wowing' sound that is supposed to enhance at the audience's 'wow' factor. The music also goes up and down in mood as if to constantly remind the audiences how to feel during the film.
The script and film concentrate more on the rescue of Dr. Murry that on the universal fight of good vs. evil. The result is a rather sappy film. The family reuniting scene does not bring tears into the audience's eyes as the film is bad that there is little emotion to be felt anywhere.
The film delivers mixed messages among them: "Be a warrior:" "I can do anything"; and others. But unfortunately the negative message of putting work before family also comes through. There is also an odd moment when the camera shows that Meg has forgiven her taunting schoolmate, Veronica.
The cinematography By German D.P. Tobias A. Schliessler is impressive and the film looks occasionally stunning though all this would be put better into perspective if the film was not all over the place.
The film is enough to give one a splitting headache. Besides the screeching children – young actor McCabe has an especially high-pitched shrill voice. If he not taunting his sister when 'possessed' he will certainly be taunting the audience with his voice. The other scene is the bouncing ball scene whee a dozen or so boys in a neighbourhood simultaneously bounce their basketball as they go: "Thump, thump, thump…" indefinitely.
A WRINKLE IN TIME is noticeable for making a point of having a higher percentage of African Americans and women working in the film. Director DuVaernay's resume includes only one past documentary MIDDLE OF NOWHERE and SELMA, quite different for big budget sci-fi films. Making the Murry family mixed, the husband white (Chris Pine) and the mother black (Gugu Mbatha-Raw) for no apparent reason except to be currently politically or racially correct, does not really work either.
Disney has had a solid string of hits, the latest being the Oscar winning animated COCO and the box-office hit BLACK PANTHER. A WRINKLE IN TIME, which is plain awful puts a huge wrinkle in this trend of hits. It is noticeable worse than the second of Disney's ALICE IN WONDERLAND movies and prove that good intentions do not necessarily turn out good movies. The element of wonder is missing in this fantasy picture.
Trailer: https://www.youtube.com/watch?v=E4U3TeY2wtM

redpajama_set_name: RedPajamaCommonCrawl


text:
Marvel To Treat Iron Man Like James Bond
Jeremy Lebens	 April 30, 2012 Leave a comment
The Avengers is quickly approaching and people can't seem to get enough news and scoops about The Avengers 2, Iron Man 3, Captain America 2 and Thor 2. An interesting piece of news comes from Devin over at Bad Ass Digest.
He had the chance to talk to Marvel's Kevin Feige about the character of Iron Man, played irritatingly and perfectly by Robert Downey Jr. Keep in mind that RDJ signed a traditional three movie deal, before the whole Avengers initiative became an actual reality, so he doesn't have to come back after Iron Man 3, but he'd be pretty stupid to turn down some easy cash.
Feige had this to say about the possibility of treating Iron Man like James Bond, with a new actor picking up where the old one left off:
"I think Bond is a good example. Let's put it this way: I hope Downey makes a lot of movies for us as Stark. If and when he doesn't, and I'm still here making these movies, we don't take him to Afghanistan and have him wounded again. I think we James Bond it."
I'm not sure where I side with this statement. As much as I don't care for the Iron Man character, I really think RDJ has done a great job. If the movies change focus more on Iron Man in the suit and less Tony Stark then I don't see recasting being a big deal, but I don't think anyone can really nail the look and feel of Tony Stark as effortlessly as Robert Downey Jr. There's just something about him that makes him pitch-perfect for the character and I'd like him to see it through for as long as possible.
Are you okay with them swapping out actors for Iron Man or do you think they should try and keep RDJ attached for as long as possible?
The Avengers 2
The Avengers 3D
Thor 2
Jeremy Lebens
I talk about films longer than anyone is willing to listen. My favorite genres are horror, sci-fi and action (better be R-rated!) and I have a slight obsession with Blu-rays and the whole high definition craze.
The Midnight Sky Review
7.2	 December 26, 2020 0
George Clooney steps behind the lens again as a director for The Midnight Sky, a…
Director Patty Jenkins returns to the DC-U after the smashing success that is Wonder Woman,…
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text:
The Strike-a-Light Nature Reserve is a protected nature reserve in the Monaro region of New South Wales, in eastern Australia. The  reserve is situated five kilometres north-west of  and 55 kilometres south of Queanbeyan.

The reserve was created in January 2001 as part of the Southern Regional Forest Agreement. Prior to this, the area was Crown land.

See also

 Protected areas of New South Wales

References

External links

Nature reserves in New South Wales
Protected areas established in 2001
2001 establishments in Australia

redpajama_set_name: RedPajamaWikipedia


text:
Wake up and smell the placebo, for a cognitive boost
August 8th, 2018 Editor's Pick, Psychology
Research at Stevens Institute of Technology reveals that the scent of coffee alone may help people perform better on the analytical portion of the Graduate Management Aptitude Test (GMAT), suggesting a placebo effect to the coffee scent.
The work, led by Stevens School of Business professor Adriana Madzharov, not only highlights the hidden force of scent and the cognitive boost it may provide on analytical tasks, but also the expectation that students will perform better on those tasks. Madzharov, with colleagues at Temple University and Baruch College published their findings recently.
"It's not just that the coffee-like scent helped people perform better on analytical tasks, which was already interesting," says Madzharov. "But they also thought they would do better, and we demonstrated that this expectation was at least partly responsible for their improved performance." In short, smelling a coffee-like scent, which has no caffeine in it, has an effect similar to that of drinking coffee, suggesting a placebo effect of coffee scent.
In their work, Madzharov and her team administered a 10-question GMAT algebra test in a computer lab to about 100 undergraduate business students, divided into two groups. One group took the test in the presence of an ambient coffee-like scent, while a control group took the same test — but in an unscented room. They found that the group in the coffee-smelling room scored significantly higher on the test.
Madzharov and colleagues wanted to know more. Could the first group's boost in quick thinking be explained, in part, by an expectation that a coffee scent would increase alertness and subsequently improve performance?
The team designed a follow-up survey, conducted among more than 200 new participants, quizzing them on beliefs about various scents and their perceived effects on human performance. Participants believed they would feel more alert and energetic in the presence of a coffee scent, versus a flower scent or no scent; and that exposure to coffee scent would increase their performance on mental tasks. The results suggest that expectations about performance can be explained by beliefs that coffee scent alone makes people more alert and energetic.
Madzharov, whose research focuses on sensory marketing and aesthetics, is looking to explore whether coffee-like scents can have a similar placebo effect on other types of performance, such as verbal reasoning. She also says that the finding – that coffee-like scent acts as a placebo for analytical reasoning performance – has many practical applications, including several for business.
"Olfaction is one of our most powerful senses," says Madzharov. "Employers, architects, building developers, retail space managers and others, can use subtle scents to help shape employees' or occupants' experience with their environment. It's an area of great interest and potential."
The present research explores the effect of an ambient coffee-like scent (versus no scent) on expectations regarding performance on an analytical reasoning task as well as on actual performance. We show that people in a coffee-scented (versus unscented) environment perform better on an analytical reasoning task due to heightened performance expectations (Study 1). We further show that people expect that being in a coffee-scented environment will increase their performance because they expect it will increase their physiological arousal level (Study 2). Our results thus demonstrate that a coffee-like scent (which actually contains no caffeine) can elicit a placebo effect.
Adriana Madzharov, Ning Ye, Maureen Morrin, Lauren Block
Stevens Institute of Technology material
Journal of Environmental Psychology abstract
Baruch College
coffee drinking
Graduate Management Aptitude Test (GMAT)
Stevens School of Business
Next article Breast cancer deaths dropping but lung cancer deaths rising in women
Previous article Amsterdam's famous tolerance delivers health benefits


text:
NOWCAST WVTM 13 News at 7:30am Saturday
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Hourly/7-Day Forecast
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Buy Alabama's Best (Ad)
COVID-19 in Alabama: Tracking the curve, latest case data, testing sites Breaking News: Sign up for our Coronavirus & Rossen Reports Newsletters <% if ( weatherAlerts > 0 ) { %> Severe Weather <% var weatherAlertsMessage = "There " + ( weatherAlerts > 1 ? "are" : "is" ) + " currently " + weatherAlerts + " active weather " + ( weatherAlerts > 1 ? "alerts" : "alert" ); %>
Bowe Bergdahl pleads guilty to desertion, misbehavior before the enemy charges
AP Photo/Ted Richardson
In this Jan. 12, 2016, file photo, Army Sgt. Bowe Bergdahl arrives for a pretrial hearing at Fort Bragg, N.C.
SOURCE: AP Photo/Ted Richardson
Sgt. Bowe Bergdahl has pleaded guilty to desertion and misbehavior before the enemy via his attorney Monday. Bergdahl was charged after he disappeared from his base in Afghanistan in June 2009 and was held in captivity by the Taliban until May 2014. The Taliban released Bergdahl in a prisoner swap for five detainees at Guantanamo Bay. During questioning from a judge, Bergdahl said Monday, "I left my observation post on my own." He also said, "I understand leaving was against the law."The misbehavior charge carries a maximum penalty of life in prison, while the desertion charge is punishable by up to five years.Former President Barack Obama did not grant Bergdahl's request for a pardon before leaving office despite commuting 330 sentences just 24 hours ahead of transferring power to President Donald Trump.During the 2016 presidential campaign, Trump said Bergdahl "should be shot" for walking off his post. Trump also said that "in the good old days, he would have been executed."After Trump became President, Bergdahl's lawyers argued the judge should dismiss the charges against their client because of Trump's comments, contending that it would not be possible for Bergdahl to get a fair trial.But a military judge ruled against dismissing charges against Bergdahl in February despite his lawyers' claim that Trump violated their client's due-process rights.In August, Bergdahl chose to be tried by a military judge instead of a jury.
FORT BRAGG, N.C. —
Sgt. Bowe Bergdahl has pleaded guilty to desertion and misbehavior before the enemy via his attorney Monday.
Bergdahl was charged after he disappeared from his base in Afghanistan in June 2009 and was held in captivity by the Taliban until May 2014. The Taliban released Bergdahl in a prisoner swap for five detainees at Guantanamo Bay.
Bergdahl due to be sentenced for endangering comrades
During questioning from a judge, Bergdahl said Monday, "I left my observation post on my own." He also said, "I understand leaving was against the law."
The misbehavior charge carries a maximum penalty of life in prison, while the desertion charge is punishable by up to five years.
Former President Barack Obama did not grant Bergdahl's request for a pardon before leaving office despite commuting 330 sentences just 24 hours ahead of transferring power to President Donald Trump.
During the 2016 presidential campaign, Trump said Bergdahl "should be shot" for walking off his post. Trump also said that "in the good old days, he would have been executed."
After Trump became President, Bergdahl's lawyers argued the judge should dismiss the charges against their client because of Trump's comments, contending that it would not be possible for Bergdahl to get a fair trial.
But a military judge ruled against dismissing charges against Bergdahl in February despite his lawyers' claim that Trump violated their client's due-process rights.
In August, Bergdahl chose to be tried by a military judge instead of a jury.
WVTM Birmingham, Alabama
©2021, Hearst Television Inc. on behalf of WVTM-TV.


text:
State Services Commissioner – role and functions
Working at SSC
The Corporate Centre
Performance Improvement Framework Reviews
One hundred years of New Zealand's Public Service
Acts administered by the State Services Commission
The Auckland Policy Office
Mr Peter Hughes CNZM
State Services Commissioner and Head of State Services and Chief Executive
"I strongly believe in the ideal of public service and I have devoted the whole of my working life to it. It is a privilege to serve as State Services Commissioner." Peter Hughes
Peter started at the State Services Commission in July 2016. He has had a career spanning more than thirty-five years in various roles across the state sector, most recently serving as Secretary for Education from 2013.
Peter began his career as a clerk with the Department of Social Welfare. He was promoted through policy and operational leadership positions before entering executive level management in the New Zealand Income Support Service. He then served as Deputy Director-General of Health, Chief Executive of the Health Funding Authority and Secretary for Internal Affairs.
In 2001 he was appointed Chief Executive of the Ministry of Social Development, New Zealand's largest government department. He held this role for ten years before becoming Professor of Public Management and Head of the School of Government at Victoria University of Wellington from 2011 to 2013.
Peter attended Victoria and Massey Universities and holds a Master's Degree in Public Administration from Harvard University, completed while studying as a Harkness Fellow of the Commonwealth Fund of New York.
He is a fellow of the New Zealand Institute of Management and of the New Zealand Institute of Public Administration. In 2010 Peter was made a Hunter Fellow for services to Victoria University, and he is also a Fellow of the Australia and New Zealand School of Government.
Peter was made a Companion of the New Zealand Order of Merit in 2012 for services to the State, and in 2013 was voted Wellingtonian of the Year in the Government category.
Ms Helene Quilter QSO
Deputy State Services Commissioner
Helene started her public service career as a frontline worker in the Department of Social Welfare. She went on to develop a career in the Department and then in the Ministry of Social Development where she finished her time as a Deputy Chief Executive in 2007. From 2007 to 2012 Helene was a Deputy Commissioner with the State Services Commission responsible for chief executive and agency performance in the Justice and Security sectors. Helene was appointed Secretary of Defence in 2012 and completed her term of office in June 2019. She was appointed Deputy State Services Commissioner in July 2019.
Helene became a companion of the Queen Service Order in 2019. She holds a Masters in Strategic Studies from Victoria University.
Ms Hannah Cameron
Deputy Commissioner | Strategy & Policy
"I am motivated by a desire to connect thinking and problem-solving across government to deliver better results for New Zealanders." Hannah Cameron
Hannah joined the SSC in April 2018, having previously held the role of Deputy Chief Policy Officer at the Ministry of Health.
Hannah came to New Zealand from the United Kingdom in 2004, in search of a home where she could continue to work at the centre of policy-making and democracy, but also have easy access to the great outdoors. She found Island Bay, Wellington, and has not looked back since. She believes that New Zealand can be a wonderful place to raise a family, and is frustrated that not all New Zealanders have equal access to a safe and fulfilling life.
Hannah has worked in the New Zealand public service for 14 years in government departments that also include the Ministry of Education, Ministry of Justice and Department of Internal Affairs. During that time, she has worked on policy issues as varied as family violence, organ donation, special education and medicinal cannabis, building a strong network of colleagues across government.
Hannah grew up in Nottingham, has a MA in social and political sciences from the University of Cambridge and spent the first part of her career in London as part of the UK Government's Fast Stream programme.
Ms Kellie Coombes
Deputy Commissioner | System & Agency Performance
"I was called to public service when I was in university … I genuinely believe in the collective vision of contributing to make New Zealand a better place for us all, now and in the future." Kellie Coombes
Kellie moved from Taupo to attend Victoria, University of Wellington, where she graduated with a first class honours degree in Public Policy in 1998. She has lived in Wellington ever since, except for her OE time in London.
Kellie joined public service as a graduate policy analyst at the Ministry of Education and has been in public service for all her New Zealand-based career. She joined the Commission 3 years ago, post time as the Private Secretary to the Minister of State Services. Kellie previously held policy and operational leadership roles at the Department of Labour, and the Ministry of Social Development.
Kellie is committed to women in the Public Service achieving their potential and goals, and believes it is important that our Public Service reflects the diversity of the community it is here to serve.
Ms Catherine Williams
Deputy Commissioner | Integrity, Ethics & Standards
"Integrity is crucial to the trust and confidence New Zealanders have in the Public Service. I'm proud to play a part in supporting Public Servants to maintain that trust and confidence." Catherine Williams
From organising blue light discos as a teenager to leading trans-Atlantic global banking teams, Catherine brings extensive experience in positive influence through strategic thinking to the State Services Commission.
Her first taste of the New Zealand Public Service was a holiday job as a university student working for the Department of Internal Affairs.
This "fascinating" glimpse into what it means to be a public servant helped shape her decision to refocus her energy from global banking to the Public Service about 14 years later.
The roles Catherine has been attracted to allow her to connect big-picture strategies with operational pragmatism, in a way that has a genuine positive impact on New Zealanders.
She has held senior leadership positions at the New Zealand Qualifications Authority and the Ministry of Business, Innovation and Employment. She joined the leadership team at the State Services Commission in 2016.
Catherine holds a BA in English Literature and a BSc in mathematics and chemistry.
Ms Dale Farrar
Deputy Commissioner | Workforce & Talent Management
"Our people are our biggest asset. I'm committed to an inclusive and diverse public sector that enables our people to reach their full potential, giving us better services for all New Zealanders." Dale Farrar
Dale joined the State Services Commission in June 2017, having specialised in strategic people leadership in both public and private sector organisations.
Her public service career began as a solicitor for the Ministry of Education and she's spent close to 17 years in government agencies.
Dale's expertise spans organisation development, talent management, people change management, leadership development, and employment relations strategy and practice.
She has held a number of senior executive human resource management roles in a diverse range of global and local industries, most recently as executive vice-president human resources at Fisher & Paykel Appliances.
Dale studied law, history and philosophy at Victoria University, graduating with an LLB and BA.
Ms Nicola Purvis
"Upholding the rule of law is an important component in ensuring the integrity of New Zealand's public service. I'm privileged to play my part, along with my State Services Commission and Government Legal Network colleagues, in helping the public service to be world class." Nicola Purvis
Nicola joined SSC as the Chief Legal Officer in April 2019. Prior to joining SSC, Nicola worked at the Department of the Prime Minister and Cabinet, as the corporate legal services manager and, most recently, as private secretary to Hon Dr Megan Woods in her greater Christchurch regeneration portfolio. Nicola also has extensive experience as a corporate and commercial lawyer in the private sector.
She has an LLB (Hons) degree from The University of Waikato and is a barrister and solicitor of the High Court of New Zealand.
Ms Ruth Berry
Mr Alastair Hill
Director | Office of the Head of State Services
"New Zealanders are at the heart of everything we do in public service. Supporting our agencies and our people to make the greatest possible positive impact to the lives of New Zealanders is what drives me every day." Alastair Hill
Alastair joined SSC in January 2017 after nine years at the Ministry of Social Development where he started his public service career.
Alastair entered public service in 2008, having graduated from university and returning to his hometown of Palmerston North as a case manager for Work and Income. This experience cemented Alastair's passion for public service and wanting to ensure New Zealand's government agencies do more to deliver for the communities they service.
Previous roles included working for Ministers as a private secretary, supporting senior leaders, and leading teams. Prior to joining SSC, Alastair was responsible for the Ministry of Social Development's employer engagement strategies. He enjoys bringing public service agencies closer together, cutting through complex issues, and a bringing a focus on the front-line to Wellington's political environment.
He has a BA Political Science and Geography from Victoria, University of Wellington, and is currently studying towards a Master's degree in Public Management.
Last modified: 26 July 2019


text:
Варвара Сергіївна М'ясникова  — радянська актриса театру і кіно, заслужена артистка РРФСР (1935).

Життєпис
Варвара Сергіївна М'ясникова народилася 22 вересня (5 жовтня 1900) у Петербурзі .

Після закінчення жіночої гімназії в 1918 році працювала інструктором-оператором Наркомпросу . Закінчила Інститут живого слова в 1922 році. У 1922 — 1925 роках — актриса Експериментального театру, потім — Ленінградського Великого драматичного театру ім. М. Горького, з 1928 року — знімалася на кіностудії «Ленфільм» та інших радянських студій. Підробляла викладачем художнього читання у ШРМ школі робітничої молоді.

З 1949 до 1959 року працювала в Театрі-студії кіноактора та на кіностудії Мосфільм.

Варвара М'ясникова була дружиною кінорежисера Сергія Васильєва (з яким через деякий час розлучилася), у шлюбі з яким у неї народилася дочка, також Варвара.

Актриса похована на Серафимівському цвинтарі Санкт-Петербурга.

Фільмографія

 1928 — Інженер Єлагін
 1928 — Паризький швець
 1929 — Людина з портфелем
 1930 — Лягавий
  — Наші дівчата — Шура
  — Спляча красуня — Віра, революціонерка
  — Особиста справа — Ганна Штукова
  — Три солдати — Варя, працівник ревкому
  — Чапаєв — Анка-кулеметниця
  — Волочаєвські дні — Маша
  — Оборона Царіцина — Катя Давидова
  — Попелюшка — Фея
  — У них є Батьківщина — жінка на аеродромі
  — Круті сходи — мати Євгена Наріжного
  — Капітанська дочка — мати Гриньова
  — Му-му — Любимівна

Озвучування мультфільмів

 1951 — Серце сміливого

Нагороди та звання

 Медаль «За трудову доблесть» (6 березня 1950) — за видатні заслуги у розвитку радянської кінематографії, у зв'язку з 30-річчям .
 Заслужена артистка РРФСР (1935).

Примітки

Радянські акторки
Акторки за алфавітом


text:
Q: Delete observations in a panel when identifier is contained in a list of values I have an unbalanced panel with the panel id member
I would like to delete particular members from the data set (i.e. in every panel they appear), and would like to delete those specific members that appear in a list/vector of values.
If I have the list of values of member (say 1, 3, 10, 17, 173, 928)
I would like a way to drop every observation where the panel id (member) is contained in the list.
The list is ~1500 values long, so rather than manually  typing
drop if member == 1
drop if member == 3
drop if member == 10

drop if member == 928

I would like to somehow automate this process.

A: @Brendan Cox (namesake, not a relative) has the nub of the matter. To expand a bit:
Note first that
drop if inlist(member,1,3,10,17,173,928)

would be an improvement on your code, but both illegal and impractical for a very large number of values: here 1500 or so certainly qualifies as very large.
At some critical point it becomes a much better idea to put the identifiers in a file and merge. For more on the spirit of this, see http://www.stata.com/support/faqs/data-management/selecting-subset-of-observations/
It's not a paradox that you merge here (temporarily making a bigger dataset) even though you want to make a smaller dataset. merge identifies the intersection of the datasets, which is precisely those observations you wish to drop. merge to create unions of datasets merely happens to be the main and most obvious motive for using the command, but there are others.

A: You do not specify how the list is structured. Please remember to post all details relevant to your problem.
Below two examples.
clear
set more off

*----- case 1 (list in another .dta file) -----

// a hypothetical list
input ///
idcode
1
3
end

list

tempfile mylist
save "`mylist'"

// rest of data
clear
use http://www.stata-press.com/data/r13/union.dta
list if idcode <= 4, sepby(idcode)

merge m:1 idcode using "`mylist'", keep(master)
list if idcode <= 4, sepby(idcode)

*----- case 2 (list in a macro) -----

clear
use http://www.stata-press.com/data/r13/union.dta

// a hypothetical list
local mylist 1, 3

drop if inlist(idcode, `mylist')
list if idcode <= 4, sepby(idcode)

help inlist mentions the following limit:

The number of arguments is between 2 and 255 for
                           reals and between 2 and 10 for strings.


text:
Q: Firebase CloudFunctions: Querying Nodes I am exploring Cloud Functions with FCM to do a push notification to my iOS app device. I have the following structure and I am listening for people who registered to an event. I want to extract the eventHost so that I can go to my users node to find the userUID and eventually his deviceID, and send a push notification to him.
{
  "events" : {
    "XXX" : {
      "eventHost" : "YYY", //<-- How do I get this node?
      "eventID" : "XXX",
      "registered" : {  //<-- Listening for this node
        "ASKDJHAIUCHA" : {
          "name" : "Emma Watson",
          "userUID" : "ASKDJHAIUCHA"
        }
      },
    },

  },

  "users" : {
    "YYY" : {
      "deviceID" : "1234456",
      "name" : "Andrew Garfield",
      "userUID" : "YYY"
    },
  }
}

My code for the Cloud Functions as such so far:
exports.sendNotification = functions.database.ref('/events/{eventId}/registered')
    .onWrite(event => {
      const register = event.data.val();
      const eventHost = functions.database.ref('/events/' + event.params.eventId + '/eventHost')
      console.log('sendNotifications', eventHost);

      const payload = {
        notification: {
            title: "Event Registration",
            body: "Someone registered to your event!"
        }
      };

      const options = {
        priority: "high"
      };

      return admin.messaging().sendToDevice("theDeviceID", payload, options)

    });

And my Swift portion when adding value into the database is as such:
@IBAction func registerButtonDidTap(_ sender: Any) {

        let personDict = [FIRConstants.UserInfo.Name: user.userName,
                          FIRConstants.UserInfo.UserUID: user.userUID]
        let registerPerson = [user.userUID!: personDict as AnyObject] as [String: AnyObject]
        let values = ["registered": registerPerson]

        FIRHelperClient.sharedInstance.checkIfEventHasRegistrants(ref, event.eventID!) { (has, error) in
            if let error = error {
                print(error.localizedDescription)
            } else {
                if let has = has {
                    if has {
                        self.ref.child("events").child(self.event.eventID!).child("registered").updateChildValues(registerPerson)

                    } else {
                        self.ref.child("events").child(self.event.eventID!).updateChildValues(values)

                    }
                }
            }
        }
    }

My cloud functions is definitely not complete as currently I am hardcoding theDeviceID. As I am pretty inexperience with Node.js and am trying to write both the iOS code in Swift and the server side code, so pls pardon me if this question is elementary. Some advice here would be helpful, thanks.

A: You'll need to read the host, which your code currently doesn't do.
exports.sendNotification = functions.database.ref('/events/{eventId}/registered')
    .onWrite(event => {
      const register = event.data.val();
      const eventHostRef = functions.database.ref('/events/' + event.params.eventId + '/eventHost')
      return eventHostRef.once('value', (eventHostSnapshot) => {
        const eventHost = eventHostSnapshot.val();
        console.log('sendNotifications', eventHost);

        const payload = {
          notification: {
            title: "Event Registration",
            body: "Someone registered to your event!"
          }
        };

        const options = {
          priority: "high"
        };

        return admin.messaging().sendToDevice("theDeviceID", payload, options)
      });
    });

I highly recommend that you spend some time learning how to interact with the Firebase Database through JavaScript before continuing though. This doesn't have to be through Cloud Functions. You could also use the Firebase Database Admin SDK from Node.js on your client or take the Firebase codelab for web. Whichever one you take, it will ensure you're much better prepared for interacting with the database through Cloud Functions.
As a final warning: you're nesting multiple data types under a single list. This is not recommended, since it leads to all kinds of problems down the line. Instead, I would pull the registered users into their own top-level node, so that you get:
{
  "events" : {
    "XXX" : {
      "eventHost" : "YYY",
      "eventID" : "XXX"
    }
  },
  "registered" : {
    "XXX" : {
      "ASKDJHAIUCHA" : {
        "name" : "Emma Watson",
        "userUID" : "ASKDJHAIUCHA"
      }
    }
  },
  "users" : {
    "YYY" : {
      "deviceID" : "1234456",
      "name" : "Andrew Garfield",
      "userUID" : "YYY"
    }
  }
}


text:
Roshan Joseph
Professor - Industrial & Systems Engineering
Roshan Vengazhiyil Joseph is a professor in the Stewart School of Industrial & Systems Engineering at Georgia Tech.
Dr. Joseph's research interests are in the broad areas of applied and computational statistics. A major focus of his research is in developing novel statistical methods for solving complex engineering problems. He has several years of consulting experience in solving quality-related problems in industries.
Dr. Joseph's honors include Distinguished Dissertation Award from the University of Michigan in 2003, CAREER Award from National Science Foundation in 2005, Jack Youden Prize from the American Society for Quality in 2005, Coca-Cola Junior Chair Professorship from ISYE in 2008, Best Paper Award from IIE Transactions in 2009, and Edelman Laureate from INFORMS in 2017. He is a Fellow of the American Statistical Association (elected in 2012). Currently he is serving as the Editor-Elect of Technometrics (2019).
Dr. Joseph received a Ph.D. degree in Statistics from the University of Michigan, Ann Arbor in 2002 and holds an M.Tech. degree in Quality, Reliability, and Operations Research and a B.Tech. degree in Production Engineering and Management.
roshan@gatech.edu
Groseclose 337
Ph.D. Statistics (2002), University of Michigan
M.Tech Quality, Reliability, and Operations Research (1995), Indian Statistical Institute
B.Tech Product Engineering and Management (1993), University of Calicut
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Zenith Systems, Inc. is a human resource sourcing agency that has served the IT staffing requirements for corporations and global ERP and non-ERP consulting businesses for over nineteen years and has placed over 1000 people. Using cold-calling, referrals, Job Boards, Social Media and a 500,000 resume database, our mission is the expedient identification and recruitment of qualified technology professionals. We have served the professional technology staffing requirements of corporations, specializing in Information Technology along with business analysts focused in BPR and ERP.
Zenith Systems, Inc. takes great pride in the quality of our work and building lasting relationships with clients. No matter what difficulties are encountered in the search process, we will not stop until you are completely satisfied.


text:
Marginal Beings: Hybrids as the Other in Late Medieval Manuscripts–By Heidi Thimann
In Western Europe in the Middle Ages, tales of monstrous men circulated in manuscripts such as the Wonders of the East, a book written in two versions, Latin and Anglo-Saxon, between ca. 970 and 1150.[1] The Wondersdetailed the outer reaches of the earth and its strange inhabitants such as the Blemmyae, a race of peoples with eyes on their chests. Similarly, the earlier eighth century Liber monstrorum describes the monstrous races as well as terrifying animals and hybrid creatures.[2] One thing stood out among these texts: the monstrous races were always in the exterior regions of civilization, in deserts, caves, and desolate and hostile environments. As John Block Friedman notes, "Men who lived outside cities, since their lives were guided by no law, were not really human, as for example Homer's Cyclopes, who lived apart in caves."[3]
Figure 1:Mappa mundi. Psalter. London (?), after 1262. British Library, London, Add. MS 28681, fol. 9. Courtesy of the British Library.
This is particularly apparent in an English psalter from ca. 1260 that depicts a map of the earth with Jerusalem at its center and over which Christ presides as Salvator mundi. (Figure 1) As Michael Camille observes, "The further one moves away from the center-point of Jerusalem, the more deformed and alien things become."[4] Indeed, in the bottom-right edge resides fourteen of the monstrous races including the Blemmyae and the Cynocephali, a race of dog-headed people.
These edge dwellers are the inhabitants of what the French cultural theorist, Michel de Certeau, might mean when he speaks of the borderland as the space of the other, "the far-off land which substantiates the alterity of the savage."[5] It is this otherness, relegated to the borders, that we find in the margins of medieval illuminated manuscripts, particularly in psalters and Books of Hours aimed at the laity. Here hybrids (half-men, half-beast), grotesques (monstrous beings), and babewyns (simian-like creatures) lurk and make mayhem, always threatening to traverse the edges of the main miniature or text. These "composite creatures,"[6] or hybrids, as I shall refer to them hereafter, occupy a liminal space where the sacred meets the secular and profane. Humorous, repugnant, or seemingly benign, they act upon the text and/or image like a medieval trickster. These hybrids were also known in the Middle Ages as a variant of the term babuini, from which our word baboon is derived.[7] I posit that the hybrids/babewyns are a type of other in medieval culture, figures onto which the medieval reader would attempt to project and diffuse fears of the outcast and the marginalized, particularly those perceived as sinful.
In this article, I will examine the hybrids (half-men, half-beast, and the monstrous beings) in the margins of medieval psalters and Books of Hours. In order to clarify the role these hybrids play in these texts, I ask how they operate in medieval visual culture and how they can be read as a type of other in what may seem to be very pious texts? Taking Michel de Certeau's essay "Montaigne's 'Of Cannibals': The Savage 'I'" as my point of departure, I argue that the borderland occupied by the hybrids is a site of disruption and rupture that challenges the authority of the text/main miniature itself. I suggest that the figures' carnality and monstrous embodiment is a type of mirror of otherness within the intended manuscript reader/viewer. This mirror of otherness is meant to have a two-fold function: one to amuse and the other to have a didactic purpose—that is to focus on sinful or "monstrous" behavior that should be remedied by contemplating the central miniature or image. In other words, the medieval person believed that sin and damnation lurked in the borders, while grace and salvation were found in the miniature. For the medieval viewer, man apart from God occupies this border space while the Word is made manifest in the miniature. Outside the miniature or sacred text in the borderlands lies the alien other which is constantly reflecting its alterity back at the reader/viewer. Thus for the Christian viewer, the non-Christian other lurks within the Christian self.
De Certeau and the Space of the Other
In his essay, "Montaigne's 'Of Cannibals': The Savage 'I'," Michel de Certeau, working in the vein of deconstruction, proceeds to map the text of Montaigne, seeking to uncover how it operates. He speaks of the text as constructing spaces which define a cultural boundary.[8] Thus, there is the "space of the other" and "the space of the text"[9] which allows for a topographical model or approach to textual analysis.
The text behind de Certeau's essay is, of course, Montaigne's "Of Cannibals," which constructs the other/the cannibal as the noble savage. At the end of Montaigne's essay, the cannibal makes an improbable trip to Rouen and holds up a metaphorical mirror to his French hosts which shows them their own barbarity. Montaigne's point is that the other resides within.
Commenting on the savage's nomadism, de Certeau contends that it defines the cannibal. "What is foreign escapes from a place," he states.[10] Furthermore, "The cannibal is a figure on the fringe who leaves the premises, and in so doing, jolts the entire topographical order of language."[11] Like the figures on the fringe, the medieval hybrids in the margins inhabit the space of the other. They are literally demarcated and cut off from the space of the main miniature which marks a cultural boundary, as it were, where disruption and destabilization occur. Just as de Certeau remarks "that which is foreign escapes from a place," the figures in the borderlands slither in and out of the margins, drag in text, or make obscene gestures which mock the central image or reader. They too "jolt the topographical order of language" through the destabilization of the borderland. De Certeau's theory of the other provides a way of conceptualizing how the border areas of the medieval margins act topographically and discursively so that they can be useful in understanding the relationship between text and miniature. Never fully taking over the space of the page, these monstrous hybrids nonetheless destabilize the border areas, making their presence known, often by mimicry, thus announcing their alterity to the reader.
Buttressing de Certeau is Homi Bhabha's concept of mimicry through which "colonialism…exercises authority through the figure of farce."[12] Here, we find a parallel to the disfigurement of the hybrid. The hybrid is, in the words of Bhabha, "a subject of difference that is almost the same, but not quite."[13] To Bhabha, "The menace of mimicry is its double vision which in disclosing the ambivalence of colonial discourse also disrupts its authority." [14] He continues, "It is a discourse on the crossroads of what is known and permissible and that though known must be kept concealed; a discourse uttered between the lines and as such against the rules and within them."[15] I would argue that the hybrid acts within Bhabha's definition of mimicry—"a discourse on the crossroads," "half-visible, half-concealed" playing "by the rules and against them." The hybrid, in Bhabha's definition, subverts the dominant discourse of the theological meaning conveyed by the central miniature (for Bhabha this would be the discourse of colonialism) by "sly appropriation"[16] and in fact resists its hegemonic power. The space of the main miniature dictates the rules of the game in its ordered stable site, but the monstrous hybrids attempt to play with those very borders, and are kept largely at bay by the seemingly impermeable boundary.
Jeffrey Jerome Cohen echoes Bhabha by describing the hybrid as "a composite figure derived from biology, botany, and the discourses of race, the hybrid conjoins differences without fully assimilating them."[17] While Cohen looks at Mestiza hybridity taken from Hispanic/Chicana postcolonial theory as a model for medieval hybridity, I am interested in his use of the borderlands as a site where "monstrous hybridity produces an unbounded middle space, as unstable corporally as it is geographically and temporally. This middle, this bridge, conjoins influences; it is the borderlands."[18] This takes us full circle to de Certeau and space as that which defines cultural boundaries. The margins of manuscripts are these unstable border sites—liminal, indeterminate spaces where these monstrous figures of fantasy and dream reside.
The Monstrous Races
The Middle Ages inherited its concept of the monstrous races from the Classical world. As John Block Friedman points out, the monstrous races were often called "Plinian" after the Roman author, Pliny the Elder, whose meticulous descriptions of them were widely circulated in manuscripts in the Middle Ages.[19] Pliny's Natural History was influenced by the Greeks Ctesias (early 5th century B.C.E.) and Megasthenes (4th century B.C.E.) who both traveled to India and wrote accounts of their respective voyages.[20] According to Friedman, their influence on Pliny cannot be denied. "Pliny was an obsessive compiler and ransacker of other people's books for odd pieces of lore," Friedman notes.[21] Pliny not only claimed to have collected 20,000 bits of factual information from one hundred authors, but he was an extensive traveler for his time, visiting most of what would become modern Europe.[22] Bestiaries from the Middle Ages provided a visual catalogue of these mysterious, alien races described by Pliny.[23] Troglodytes (hole creepers), Blemmyae(the people with eyes on their chests), and Amyctrae (a race of peoples with large lower lips) were among those described.[24] By the late antique and early medieval period, these monstrous races are referenced again in Augustine's City of God and Isidore of Seville's Etymologiae.
During the Patristic period, Augustine describes the monstrous races in Book 16, chapter eight of the City of God. He, like Pliny, describes a race called the Sciopods "who have one leg with two feet and can run with remarkable speed without bending a knee […] They lie on their backs in the summer and keep the sun off with their feet."[25] He also mentions the Cynocephalae "whose dog-like heads and barking voices prove they are more like animals than men."[26] Augustine concludes after listing these races that if they exist, they must have descended from Adam and have a soul.[27]
For Isidore of Seville, monstrosity is constructed using the human body as the norm for form.[28] David Williams has examined Isidore's taxonomy, stating that for Isidore "monstrosity includes: hypertrophy of the body, atrophy of the body, excrescence of bodily parts, superfluity of bodily parts, deprivation of bodily parts, mixture of animal and human parts…and the monstrous races."[29] Williams argues that because of Neoplatonic thought, the body in the Middle Ages was "related to the allegorical concept of microcosm in which the cosmos is contained in the 'little cosmos' of the world and both are represented in miniature in the human body."[30] Inherited from the Classical Greco-Roman ideal of harmonious and symmetrical parts, the medieval body was thought to be a reflection of God's ordering of the cosmos. When Isidore focuses on the monstrous as disharmonious, he is paving the path for later medieval illuminators who would draw upon the monstrous races constructing them as hybrid abominations to remind the viewer of his/her own sinfulness.
Monsters in the Margins
Nowhere is the monstrous more apparent than in medieval visual culture. From cathedral tympanums, to stained glass, to misericords, and in illuminated psalters and Books of Hours, the monstrous always had a presence in the most sacred of medieval sites. The twelfth-century Abbey Church of the Madeleine at Vézelay is an early example of this phenomenon. There, above the central portal, is an imposing tympanum where Christ sits rigidly presiding over the Apostles who surround him holding books as they receive the Word depicted in rays emanating from Christ's hands. (Figure 2)
Figure 2: Tympanum, Abbey Church of the Madeleine at Vézelay, 12th century
As Uwe Geese notes, "In accordance with the Acts of the Apostles, the radiating coffers depict the nations that need to be converted."[31] Separated from the main scene by a wavy border and below it, is a frieze of the monstrous races including the Panotii, a race whose ears are so large that they use them as blankets or to fly away from predators.[32]
(Figure 3) The church was located at the starting point of four pilgrimage routes to Santiago de Compostela, and as Geese remarks, "Vézelay was the place where innumerable pilgrims gathered in order to start their journey together."[33]
Figure 3:Panotii on the lintel of the central portal, Abbey Church of the Madeleine at Vézelay.
It was also here in 1145 that Bernard of Clairvaux rallied pilgrims for the Second Crusade.[34] Friedman notes that little is known about the sculptor or who planned the iconography of the tympanum although the same individual carved the capitals at Cluny. Friedman also states that Peter the Venerable was director of studies under Abbot Renaud de Sémur at the time, and "Peter may have contributed to the imagery of the tympanum."[35] Whatever the case, the role of the tympanum was to instruct the pilgrim or crusader in what he/she might encounter at the edges of the earth and in unknown and hostile lands—that which needed to be kept at bay by the example of the Apostles. Thus, literally, at the bottom of Christ's feet, the sinful lurk separate and apart from God.
Inside the marginal spaces of cathedrals also lurked the monstrous. A thirteenth-century transept rose window from Lausanne Cathedral depicts anEpiphagus. Related to the Blemmyae, he has eyes in his shoulders. Debra Higgs Strickland argues that the lack of a true head in the ubiquitous Blemmayai and Epiphagi adorning medieval visual culture can be traced in meaning to John of Salisbury (c. 1115-1180). His treatise, the Policraticus (1159) describes the body politic with "the head signify[ing] the prince, the heart the senate, the ears, eyes, and mouth judges and governors of provinces […] the feet, the peasants."[36] Lacking a head, Strickland observes, would mean a lack of "political organization but also [would connote] godlessness."[37]
And at Aosta Cathedral in the choir stalls reserved for the clerics, a wood carver with a sense of humor as well as a sense of sinful behavior has brought the monstrous subtly into the heart of the cathedral. Not visible to the laity, but only witnessed by the clergy, this rather bawdy misericord, as Michael Camille points out, was "used during the long hours of liturgical performance, which is why they were called 'mercy seats.' The often very physical nature of the imagery is perhaps linked to the body parts of the clerical anatomy with which they came into contact."[38] The choir bordering and framing the altar space was thus turned into a site of ribald disruption, a place where the sacred literally met the profane. Bordering the altar itself would also have been an ornate candlestick, and one in gold presented by Abbot Peter (b. 1104) to the monastery of St. Peter at Gloucester is an example of the monstrous on decorative liturgical objects. It is richly adorned with babewyns, serpents, and fantastic hybrid creatures. Although this is an English example, this is the sort of sumptuous object in with the French Abbot Suger of the abbey of St. Denis delighted and to which Bernard of Clairvaux, as we will soon see, would strenuously object.
In psalters and Books of Hours, particularly those destined for the laity, the monstrous races would appear with increasing frequency after 1250, and in their earliest phase would be most visible in English examples.[39] A psalter from ca. 1260, most likely illuminated for a friend or family member of Edmund de Lacy, Second Earl of Lincoln,[40] is a case in point. (Figure 4)
Figure 4: Exotic Archer Shooting a Sciopod. Rutland Psalter. London (?), c.1260. British Library, London, Add. MS 62925, fol. 87v (detail). Courtesy of the British Library
Known as the Rutland Psalter, the illuminator depicts in the bas-de-page of the manuscript an Ethiopian shooting a Sciopod in the bottom with an arrow. As Debra Higgs Strickland points out, this image is attached to Psalm 85. She states, "This psalm is a plea for God's protection from enemies, and so the line which appears just above the monstrous vignette reads: 'O God, the wicked have risen up against me, and the assembly of the mighty have sought my soul; and they have not set thee before their eyes.' (Ps. 85:14) As a parody, this line might be spoken by the Sciopod, under attack by his enemy, the Ethiopian. It is perhaps notable that the medieval interpreters of this passage identify the 'assembly of the mighty' as the proud, the proud who called for Christ's Crucifixion, or the damned who belong to the Devil."[41]
The humorous aspect of the encounter, however, would not be lost on the medieval viewer. Mikhail Bakhtin aptly expresses this in his study of Rabelais. He observes,
The men of the Middle Ages participated in two lives, the official and the carnival life. Two aspects of the world, the serious and the laughing aspect coexisted in their consciousness. This coexistence was strikingly reflected in thirteenth- and fourteenth-century illuminated manuscripts […] Here we find on the same page strictly pious illustrations…as well as free designs not connected with the story. The free designs represent chimeras (fantastic forms combining human, animal, and vegetable elements) comic devils, jugglers […] masquerade figures, and parodical scenes—that is purely grotesque, carnivalesque themes. All these pictures are shown on the same page, which like medieval man's consciousness contains both aspects of life and the world.[42]
Thus the image on the margin of the Rutland Psalter would serve a dual function, to instruct (referencing the Psalm above) and to amuse. Michael Camille points out that the visual pun was linked with a verbal pun over the wordconspectus (to see or penetrate visually)[43] He notes, by the time of the Rutland Psalter, there would have been a division of labor between the scribe and the illuminator. "The illuminator usually followed the scribe, a procedure that framed his labor as secondary to, but also gave him a chance of undermining the always written Word."[44] The dual message of amusement and instruction is visible in another English psalter from the second phase of marginal illustration, which Lilian Randall finds from 1300 to 1350; it is characterized by a proliferation of images on the margins.[45] Like the Rutland Psalter, a pattern begins to emerge of an aristocratic taste for these images in the margins. The Luttrell Psalter is an example of the proliferation of this imagery for the nobility.(Figure 5)
Figure 5:A boy steals cherries; monsters fill the surrounding borders. Luttrell Psalter, c. 1325-1335. British Library, London, Add. MS 42130, fols. 196v-197r. Courtesy of the British Library.
Made for Sir Geoffrey Luttrell of Irnham in Lincolnshire between 1325 and 1335, the manuscript portrays daily life on a medieval estate, including farming, preparing animals for the table, and feasting.[46] Yet on the margins of the main scenes and text are these fantastic creatures menacing the border areas. Here, we have at bottom left a boy stealing cherries from a tree while the farmer awaits his descent from the tree with raised club. To their right is a green-beaked monster with tiger body and reptilian feet, and on the far right, there is an armless fellow with chicken feet and a small joker springing from his head like a parody of Athena emerging from the head of Zeus. On the far left resides a blue-faced dragon with spotted reptile body and horned hat. Alixe Bovey posits that "If the monsters are interpreted as symbols of spiritual monstrosity, then perhaps the image is a warning to the viewer of the dangers of petty thievery and the ubiquity of the devil."[47] If her supposition of these monstrous beings is correct, then the message is that temptation lurks all around, but so does the consequence.
A French Book of Hours made for an anonymous patron in the 1320s includes the Office of the Dead, which was typically "a solemn text read to pray for the souls of the dead."[48] (Figure 6) Here, in the main miniature, a group of monks sings the Office while in the margin is a veritable cacophony of chaos.
Figure 6:Monsters and Babewyns Ape the Office of the Dead. French Book of Hours, 1320s. British Library, London, Add. MS 36684, fol. 125r. Courtesy of the British Library.
Babewyns are depicted under the text mocking the central miniature. They too are singing the Office in a mocking way and bending over obscenely with a psalter stuck to one's bottom. Another psalter falls to the ground. The presence of a laughing skeleton, as Bovey observes, mocks death, and at bottom left there is a grave-digging Sciopod-like hybrid with a shovel over his shoulder and a long-beaked bird/rabbit at far right that threatens to snip the sacred text in two.
The bald-faced mockery of the sacred and the solemn brings up the question of what was the reception of these images by the clergy. Scholars have a paucity of evidence in primary sources, but two survive, and one is by Bernard of Clairvaux. Written in 1125, Bernard of Clairvaux' Apologia to Abbot Williamwas "the product of the controversy which arose between the Cistercians and the adherents of an established monasticism regarding the Rule of St. Benedict."[49] The Cistercians, with Bernard as the spokesperson, were defending themselves in their austere interpretation of the Rule against the more critical Benedictines. St. Bernard writes:
What excuse can there be for these ridiculous monstrosities in the cloisters where the monks do their reading, extraordinary things at once beautiful and ugly? Here we find filthy monkeys and fierce lions, fearful centaurs, harpies, and striped tigers, soldiers at war, and hunters blowing their horns. Here is one head with many bodies, there is one body with many heads. Over there is a beast with a serpent for its tail, a fish with an animal's head, and a creature that is a horse in front and a goat behind, and a second beast with horns and the rear of a horse…One could spend all day gazing fascinated at these things, one by one, instead of meditating on the law of God. Good Lord, even if the foolishness of it all occasion no shame, at least one might balk at the expense.[50]
Another Cistercian, Adam of Dore, echoes Clairvaux:
[I am] struck with grief that in the sanctuary of God there should be foolish pictures, and what are rather misshapen monstrosities than ornaments; I wish if possible to occupy the minds and eyes of the faithful in a more comely and useful fashion.[51]
He goes on to criticize not only the monstrous in the margins of illuminated manuscripts but in objects destined for the altar filled with "double-headed eagles, four lions with one and the same head, centaurs with quivers, [and] headless men grinning".[52] In both Bernard's Apologia and Adam of Dore's tract, the emphasis was on the monstrous as excess. Despite the two Cistercians' admonishment of these images, they persisted with abandon, particularly in Books of Hours destined for the laity.
A Case Study: The Hours of Jeanne d'Évreux
Figure 7:Pucelle, Jean (fl.c1319-1360s). The Hours of Jeanne d'Évreux, c.1324-1328.Grisaille and tempera on vellum, 3 1/2 x 2 5/8 in (8.9 x 6.2 cm). folio 159 verso. The Cloisters Collection, 1954 (54.1.2). The Metropolitan Museum of Art, New York, NY, USA. Image Copyright © The Metropolitan Museum of Art/ Art Resources, NY
The Hours of Jeanne d'Évreux was made by the artist Jean Pucelle or his workshop for the third wife of Charles IV of France for either her wedding or coronation in 1324. Pucelle represents Lilian Randall's second prolific phase of marginal illumination; courtly tastes seemed to defy the stern warnings of Bernard of Clairvaux two hundred years earlier. The proliferation of images in this tiny Book of Hours (over 200 marginal figures) would indicate the artist's intention to instruct and delight Jeanne. I the miniature on the verso side, depicts St. Louis (Louis IX), Jeanne's great-grandfather, imprisoned by the Saracens on his Crusade; he had lost his breviary, which here is miraculously restored to him by the Holy Spirit. On the recto side, we see the prayer to be recited at the Office hour of Sext. In the historiated initial D for Deus is a hybrid playing a stringed instrument. A monk with a serpent's tail slithers below, invading the text. Below him is a ferret-like creature or possibly a cat, a cowled gnome, and in the bas-de-page,, a lion advances with a jaunty hat, while a beggar sounds a bag pipe, which the Atlantes holding up the miniature of St. Louis strain to hear.
In another image, St. Louis performs one of the Seven Corporeal Acts of Mercy. (Figure 7) Here he is burying the dead while his compatriots cover their respective noses from the stench. On the recto side, we see two hybrids in the historiated initial D: one is vanquishing the other with a sword while a beggar seems to be pulling out the foliage surrounding the scene.
Figure 8:Pucelle, Jean (fl.c1319-1360s). Pucelle, Jean (fl.c1319-1360s). The Hours of Jeanne d'Évreux, c.1324-1328.Grisaille and tempera on vellum, 3 1/2 x 2 5/8 in (8.9 x 6.2 cm). folio 154 verso – 159 recto. The Cloisters Collection, 1954 (54.1.2). The Metropolitan Museum of Art, New York, NY, USA. Image Copyright © The Metropolitan Museum of Art/ Art Resources, NY
Below a tonsured monk slithers out of the text, and two creatures signal the end of a phrase. At the bottom, a hybrid vanquishes a dragon symbolizing the devil. In this lovely manuscript, painted in grisaille technique (grey and white tones with hints of color), we have a total integration of miniature and margin. Pucelle and his shop, ever the innovators, breached the borders of the margins. De Certeau's space of the other is intruding on the space of the text. The sacred text seems to be threatened in a very subversive way while the miniatures of St. Louis seem to be self-contained, less disrupted by the hybrid/monsters in the margins. Jeanne was being instructed to emulate the pious acts of her great-grandfather, [53] and the focus here is on the miniatures of St. Louis while the hybrids served two functions. The first was to instruct her that the world of earthly chaos was only tamed by a focus on the spiritual. The second was to serve as a site of pure amusement and delight. From a Bhabhaian perspective, what is occurring in the margins is a sort of theological colonization. The hybrid represents the other who is constructed as a mimic of the Christian. The mimic reveals the medieval person apart from God—a grotesque simulacrum of a person in communion with the divine. This is evident in another miniature and its textual meddlers in The Hours of Jeanne d'Évreux. (Figure 8 )
In the verso scene, St. Louis washes the feet of beggars. In the facing folio, as Michael Camille points out,
[T]he contrast is between the humility of the beggar and king and the pride of the corrupt clergy in the top-right historiated initial. [A hooded female hybrid] peers into a mirror symbolizing vanity at the right of the text, while in the historiated initial, a fat priest plays the bellows of pride from a book held out by even a fatter monk.[54]
Creatures and hybrids slither in and out of the text while a poor barefoot beggar beseeches Jeanne to follow St. Louis' example. The hybrids' emphasis is on pride and the vanity of earthly things, thus they are relegated to the margins, the space of the other. Based on de Certeau's topographical model and its conditions of testimony, reason, for Jeanne, lies in the Word of God that she would recite, the information is laid out before her in a system of signs both textual and pictorial of which she would make sense, and reliability would be akin to the authority of the miniatures of St. Louis, set off by a demarcated line from the impending disorder of the borderlands.
But if reason and authority lay in the central miniature, what purpose could the monstrous possibly serve in the margins? Here we find a theological explanation. In the Summa halesiana II by Alexander of Hales (13th c.) as paraphrased by Umberto Eco, "Creation as a whole [was] to be appreciated in its entirety, where the contribution of shadows [was] to make the light shine out all the more, and even that which can be considered ugly in itself appears beautiful within the framework of the general Order." [55] The medieval conception of the world was that God accounted for all beings, human and the monstrous. Thus Jeanne was to travel into the borderlands or margins of her manuscript and know that the beggar as the other, who expressed sin in his bodily disarray, was part of the divine plan. What was reflected back at her was that the other was in fact mirrored in the self. To drive the point home, Pucelle and his workshop paint the female hybrid on the right who holds up a mirror.
What the artist Pucelle understood, and what he and his shop tried to represent to Jeanne, was that the central miniature in tandem with the marginal figures worked as a team. As she would recite out loud the Hours and mark the day with her book, she would be aware of the goal of the text. The medieval person had a completely different conception of time than contemporary notions of temporality. Time was marked in Christological terms with everything dependent upon the four last things: death, judgment, heaven, or hell. Thus time was of the essence, and the chance to be redeemed through the example of her great-grandfather St. Louis was at hand. The marginal beings could have reinforced her awareness of the sins of pride and vanity, and their disturbance of the Word, by literally slithering in and out of the text, they called attention to this disturbance in a very visual way. What remains undisturbed and set apart are the miniatures of St. Louis from which she would take her lesson of charity toward the poor and the marginalized.
As Homi Bhabha states, the hybrid "is a subject of difference that is almost the same, but not quite." [56] To the medieval person, that sameness was a reflection of the otherness within the self. Albert the Great (b. 1206), writing in De Animalibus, would note this imperfection of the other stating of the monstrous race of the Pygmies: "They do not have the use of reason, nor modesty, nor feelings of honor. They do not revere justice, nor practice the virtues of the republic. They imitate men in many things and have words of speech, but they have them imperfectly." [57] It was this imperfection of the monstrous focused on by medieval illuminators that served a didactic function for the intended reader. Note Albert's focus on the Pygmies' lack of civilized behavior. Those relegated to the outer reaches of the earth, the monstrous races, were furthest away from the divine. Occupying the borderlands of culture, they, like Montaigne's cannibal, hold up a metaphorical mirror to what lurks within the so-called civilized medieval person as a result of the Fall.
In sum, it is these borderlands or margins of psalters and Books of Hours which are constructed cultural spaces occupied by the other—an other reflected within the medieval reader/viewer himself or herself. The borderlands of manuscripts are the site of the ribald, the earthly, and the sinful. They are disordered places that serve to focus the reader/viewer's attention on the ordered "civilized" space of the main miniature. In Jeanne d'Évreux' voyage into the margins of her Book of Hours, it would be a place of which she would be asked to take heed and set her sights on the spiritual example of her canonized great-grandfather, St. Louis.
Didactic, amusing, or frightening in form, medieval hybrids offered a voyage to that "far-off land which substantiates the alterity of the savage." [58] By keeping the monstrous in the margins, the barbarian other was somehow contained, as if under glass, near yet far enough away. The authority of the main miniature was challenged, but so was the challenge to the medieval person to refrain from sin. Artists, like Pucelle, clearly demarcated the borders of the miniature as a safety zone, one in which grace and salvation resided. It was here, away from the ribald and the bawdy, that the eye was to rest and contemplate the divine.
Heidi Thimann
Heidi Thimann is a third-year doctoral student at the Graduate Theological Union in Berkeley. She received her B.A. in French from U.C. Berkeley, and a M.A. in the History of Art from U.C. Davis. She also has an M.A. in Art and Religion from the Graduate Theological Union. Her area of specialization is the late medieval period with a particular interest in Books of Hours for aristocratic French women. Her dissertation will reflect her interest in pictorial representations of medieval readers.
Marginal Beings: Hybrids as the Other in Late Medieval Manuscripts by Heidi Thimann is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
Alixe Bovey, Monsters and Grotesques in Medieval Manuscripts (Toronto, 2002), p. 8.
Ann Knock, "The 'Liber monstrorum': An Unpublished Manuscript and Some Reconsiderations," Scriptorium 32 (1978), 19-28.
John Block Friedman, The Monstrous Races in Medieval Art and Thought (New York, 2000), p. 30.
Michael Camille, Image on the Edge: The Margins of Medieval Art(Cambridge, Mass., 1992), 14.
Michel de Certeau, "Montaigne's 'Of Cannibals': The Savage 'I'," in Heterologies: Discourse on the Other, trans. Brian Massumi. Theory and History of Literature, Vol. 17, eds. Wlad Godzich and Jochen Schulte-Sasse (Minneapolis, 1986), p. 69.
Camille's term, Image on the Edge, p. 12.
Ibid. According to Camille, Babewyn was a term first used by Chaucer, which would eventually be the catch-all word for hybrids. Camille points out that the term relates for Isidore of Seville to simius or an ape who mocks or mimics. The prevalence of apes and ape-men in the margins of manuscripts points to a medieval fascination with visual puns or mockery.
De Certeau, "Montaigne's 'Of Cannibals'" p. 68.
Ibid., p. 67.
Ibid., p. 70-71.
Homi K. Bhabha, The Location of Culture (London, 2004), p. 121.
Ibid.>
Bhaba's term is "sly civility."
Jeffrey Jerome Cohen, "Hybrids, Monsters, Borderlands: The Bodies of Gerald of Wales," in The Postcolonial Middle Ages, ed. Jeffrey Jerome Cohen (New York, 2001), p. 85.
John Block Friedman, The Monstrous Races in Medieval Art and Thought, p. 5.
Ibid., p. 7.
For a complete list of Pliny's monstrous races, see John Block Friedman, The Monstrous Races in Medieval Art and Thought.
St. Augustine, City of God, trans. Gerald G. Walsh, et al. (New York, 1958), p. 365.
Isidore of Seville, Etymologiarum, Book XI (Oxford, 1911). See particularly de Portentis that describes how the monstrous races differ in form from humans.
David Williams, Deformed Discourse: The Function of the Monster in Medieval Thought and Literature(Montreal, 2002), p. 107.
Uwe Geese, "Romanesque Sculpture," in Romanesque, trans. Fiona Hulse and Ian McMillan (Cologne, 2004), p. 277.
Pliny's description of the Panotii reproduced in John Block Friedman, p. 18.
Geese, p. 277.
Friedman, p. 78.
Debra Higgs Strickland, Saracens, Demons, and Jews: Making Monsters in Medieval Art (Princeton, 2003), pp. 47-48.
Michael Camille, Gothic Art: Glorious Visions (New York, 1996), p. 151.
Lilian M.C. Randall, Images in the Margins of Gothic Manuscripts (Berkeley, 1966), p. 9.
Strickland, p. 57.
Ibid., 58.
Mikhail Bakhtin, Rabelais and His World, trans. Hélène Iswolsky (Bloomington, 1984), p. 96.
Camille, Image on the Edge, p. 22.
Randall, p. 10.
Bovey, p. 47.
Jean Leclercq in his introduction to Cistercians and Cluniacs: St. Bernard's Apologia to Abbot William, trans. Michael Casey (Kalamazoo, 1970), p. 3.
Bernard of Clairvaux quoted in Cistercians and Cluniacs, p. 66.
Adam of Dore quoted in Lilian M.C. Randall, p. 4.
For more on The Hours of Jeanne d'Évreux and its message of charity, see Gerald B. Guest, 'A Discourse on the Poor: The Hours of Jeanne d'Evreux,' Viator 26 (1995) 153-180 and Joan A. Holladay, 'The Education of Jeanne d'Evreux: Personal Piety and Dynastic Salvation in her Book of Hours at the Cloisters. Art History 17 (1994) 585-611.
Camille, Image on the Edge, p. 138.
Alexander of Hales paraphrased by Umberto Eco in History of Beauty, trans. Alastair McEwen (New York, 2005), p. 148.
Bhabha, The Location of Culture, p. 121.
Albert the Great quoted in Friedman, The Monstrous Races, p. 191.
de Certeau, "Montaignes 'Of Cannibals: The Savage 'I'," p. 69.


text:
Brachystele unilateralis är en orkidéart som först beskrevs av Jean Louis Marie Poiret, och fick sitt nu gällande namn av Rudolf Schlechter. Brachystele unilateralis ingår i släktet Brachystele och familjen orkidéer. Inga underarter finns listade i Catalogue of Life.

Bildgalleri

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Orkidéer
unilateralis


text:
TWO BRITISH MUSIC HALL TRADITIONS: TOPICAL SOCIAL HUMOR AND THE USE OF A COMIC CHARACTER AS THE SPOKESPERSON FOR THE COMMON MAN
PUBLICITY STILL: THE CHAMPION
Jeffrey Vance Collection
PUBLICITY STILL: SHOULDER ARMS
Roy Export
By establishing his screen character as a loveable comic underdog and then embroiling him in the burning social issues of the day (such as immigration and World War I), Chaplin cemented a bond between himself and his audience that lasted thirty-two years (1915 to 1947). Communicating in pantomime via his mouthpiece Charlie, Chaplin became an intellectually respected commentator on his times until he abandoned the little tramp entirely to appear as the much less sympathetic Monsieur Verdoux—a cynical predator and serial murderer born out of his disillusioning experiences with right-wing political oppression and the FBI. Although Chaplin did not literally play the little tramp character in The Great Dictator (1940), worldwide film audiences had no difficulty visually identifying and emotionally empathizing with his little Jewish barber character as the underdog tramp's first cousin.
Viewed in hindsight, Chaplin's courageous artistic decision to denounce publicly the Kristallnacht persecution of the Jews in Nazi Germany by transforming his little tramp mouthpiece into their symbolic spokesman proved to be the first political misstep that got him into the hot water which ultimately led to his permanent exile in 1952. Denounced publicly in the halls of Congress and labeled secretly by the FBI in its files as a political troublemaker and potential security risk for his impolitic and Cassandra-like prescience concerning Adolph Hitler, Charlie Chaplin was officially designated a pre-mature anti-fascist (see next essay).


Click to viewIf and when that terrible day your Mac dies finally catches up to you, you can be back up and running with all your applications, settings and data in under 5 seconds with a bootable system clone. By mirroring your entire Mac's hard drive to an external FireWire drive, you can boot from that disk using any other Mac and have your entire system at your fingertips, no tedious software installations, System Preference setting or desktop wallpaper hunting required. Using the excellent free version of SuperDuper and a regular old FireWire drive, here's how to mirror your Mac onto a bootable disk.
For more on backing up your Mac using this method plus plain old document backup, see Complete, Free Mac Backup. PC users, the process isn't quite as simple for you (with free software, anyway) but here's how to partition and image your hard drive with the System Recovery CD.


Adaptable and discreet, The TAD Axiom 24 pack has been engineered as a flexible carry system for daily adventures and key companion for journeys abroad.
A 4-column, 3-row grid of PALS webbing on each side of the main compartment keep key items organise and accessible even when the pack is full.
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A flat, centred welt pocket conceals 3 rows of single-column 1" webbing, compatible with small accessories such as Pharos Markers, bike lights, or even our S1 and S2 sheaths.
Inspired by the inter-modal container system, the Helix (HX) attachment system provides a lightweight, modular solution for configuring storage platforms. Helix supports standardised, interconnecting modules which can be configured as fixed or railed storage, a multitude of compression and attachment options, and panelled storage configurations.
The main compartment includes two rows of Helix attachment points along the back panel for use with a wide range of organising accessories, including, Control Panels, and Transport Sleeves. Additional webbing loops at the top and bottom pair with our Compression Strap Kit to secure bulky loads, and provide a blank canvas for configuration options.


text:
Q: Android, Java, Creating a thumbnail keeping aspect ratio I'm trying to create a thumbnail of a certain height but maintain the aspect ratio. I'm using the code below but the problem arises when say if an image is somewhat small the image generated will not fill the thumbnail area. imageURI is just the path to the image.
            BitmapFactory.Options o = new BitmapFactory.Options();
            o.inJustDecodeBounds = true;
            BitmapFactory.decodeFile(imageURI, o);
            final int REQUIRED_SIZE=70;

            int width_tmp=o.outWidth, height_tmp=o.outHeight;
            int scale=4;
            while(true){
                if(width_tmp/2<REQUIRED_SIZE || height_tmp/2<REQUIRED_SIZE)
                    break;
                width_tmp/=2;
                height_tmp/=2;
                scale++;
            }

            BitmapFactory.Options o2 = new BitmapFactory.Options();
            o2.inSampleSize=scale;
            Bitmap bitmap = BitmapFactory.decodeFile(imageURI, o2);

A: Your code is always scaling the bitmap to have at least 1/4 of width or heigth. If the original image is already large enough it will be even smaller.
I assume you display the image in an ImageView (your thumbnail area?. If the image does not fill the ImageView you have to configure the ImageView to resize the image correctly. If your ImageView and the image to display have different aspect ratios, the only way to make the image fill the ImageView will distort the image.
What I do: I use the BitmapFactory to decode the image into a size thats larger, but nearly the size I want the thumbnail to have. Its better to use powers of two as scaling parameter, so I do that. And then I set the android:scaleType parameter of ImageView to make the image display as I like:
public static Bitmap decodeBitmap(Uri bitmapUri, ContentResolver resolver, int width, int height) throws IOException{
    InputStream is = resolver.openInputStream(bitmapUri);
    BitmapFactory.Options options = new BitmapFactory.Options();
    options.inJustDecodeBounds = true;
    BitmapFactory.decodeStream(is,null,options);
    is.close();

    int ratio = Math.min(options.outWidth/width, options.outHeight/height);
    int sampleSize = Integer.highestOneBit((int)Math.floor(ratio));
    if(sampleSize == 0){
        sampleSize = 1;
    }
    Log.d(RSBLBitmapFactory.class, "Sample Size: " + sampleSize);

    options = new BitmapFactory.Options();
    options.inSampleSize = sampleSize;

    is = resolver.openInputStream(bitmapUri);
    Bitmap b = BitmapFactory.decodeStream(is,null,options);
    is.close();
    return b;
}

<ImageView android:scaleType="fitXY"></ImageView>


text:
Solution home My Wedding Online Getting started
How to create your Playlist Print
Modified on: Tue, 6 Apr, 2021 at 10:27 AM
On the Main Menu click on the Pages dropdown and then on Suggest A Song Page.
Or on the Dashboard, click on the Suggest A Song Page button.
The below Playlist table will be displayed. Click on the Edit button in the top-right corner of the screen.
Make changes where necessary and click on Save.
Guests may request songs that they would like to be played. To add the songs, click on the +New Suggested Song button. The songs added here, will automatically be added to your website.
Description of the fields for New Suggested Song.
RECOMMENDATION: The song can either be requested to be played or requested not to be played. Click on the dropdown and a list of options will appear.
SUGGESTION MADE BY: This refers to the particular guest who requested the song. Click on the dropdown and a list of guest names will appear. Select the guest who made the suggestion.
ARTIST: This is the writer/composer of the song.
SONG TITLE: This is the title/name of the song.


Janzé is situated at 47.97° North latitude, 1.5° West longitude and 70 meters elevation above the sea level.
Janzé is a small community in France, having about 5,927 inhabitants.
The map of Janzé enables you to safely navigate to, from and through Janzé.
More, the satellite view of Janzé lets you see full topographic details around your actual location or virtually explore the streets of Janzé from your home.
Use your GPS sensor to get directions in Janzé or to find a specific place in Janzé.
How to plan an awesome holiday trip to Janzé on your own: 10 travel tips!
Detailed hotel facilities and prices for all hotels around Janzé, France: Compare & Book !
Tags: Janzé road map, Janzé GPS navigation, Janzé satellite view, Janzé street view.


Safari Packages "Fly & Lodge" are the most exclusive way to experience the breath-taking beauties of this region: prestigious lodges located in the most fascinating and spectacular areas of the Parks, exclusive Safari activities conducted by some of the best and most dedicated guides in the industry, meals cooked by excellent chefs and inter-camp charter flights will make you live experiences that you won't forget for the rest of your life.
African View Tours and Safaris' Experts have traveled extensively throughout the region and personally hand-picked the best lodges for each cost-brackets, in order to create exclusive Safari Packages for all price-ranges.
Safari Packages "Fly & Lodge" are the ideal choice for all those who want to transfer with domestic inter-camp flights (or with short road transfers, based on the destinations and the price-bracket) and who chose All-inclusive accommodations providing all meals, game viewing activities operated by the lodges, laundry services, etc. in order to experience the best this region has to offer without compromises.
The cost per person is usually higher compared to mobile safaris, but this higher cost is motivated by premium luxury services, where "luxury" is provided by the exclusivity of the of the locations visited.