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INDEX JOURNAL, Issue No. 2 LawIssue No. 1 Identity
ABOUT, emaj ARCHIVE
Earle's Lithography and the Force of Law by Keith Broadfoot
In Augustus Earle's 1826 lithographic print, View from the Sydney Hotel, a representative of the law turns his back on a lone Aboriginal man in the foreground of the image. Is Earle therefore showing us that in colonial Australia the law turns a blind eye to the fate of Aboriginal people? Undoubtedly yes, but a close analysis of the image reveals that Earle has even more to tell us about the nature of law in Australian colonial society. Drawing upon Giorgio Agamben's thesis that the ontological status of law is determined by what occurs in the supposedly excluded state of its suspension, this article argues that Earle's image demonstrates how the emergence of art in Australia is inseparable from questions of law. With Earle, the violent inscription of what Agamben, after Derrida, refers to as the force of law is one with the mark of the artist. If this is a relation that is visible in Earle's work, it is proposed that the history of Australian art that follows after Earle is, however, the forgetting of this original inter-dependence.
Augustus Earle is regularly credited as the most widely travelled independent, professionally trained artist in the first half of the nineteenth century. He was, as Jocelyn Hackforth-Jones claims, probably the first "freelance travel artist to tour the world."1 Bernard Smith, evoking a similar sense of new-found freedom, suggests that during "a period of approximately twenty years he [Earle] wandered about the world perhaps more extensively than any [other] artist before him."2 As part of this ceaseless drifting across the globe, Earle, more by accident than by design, found himself in Australia. He arrived in Hobart in January 1825 and went on to Sydney later that year where he stayed—except for a six-month visit to New Zealand—until October 1828. As Earle's time in Australia was relatively brief, and given the constant discussion of his peripatetic nature, it might be presumed that Australia was no more than of passing interest to him. Yet, I will approach Earle differently, arguing that his substantial investment in establishing not only a possible home for himself in Australia, but equally for art, should not be overlooked.
During his stay in Sydney, Earle opened Australia's first art gallery, displaying selected prints of "great works" from across the history of European art.3 He also taught art classes at the gallery, in what may have been Australia's first art school.4 However, as an indicator of his long-term ambitions, the gallery was also more importantly the location of his lithographic printing business, Earle's Lithography, the eponym with which he signed his prints. Earle acquired his lithographic press from the then Governor of New South Wales, Sir Thomas Brisbane, who originally had the press shipped to Sydney in order to publish his astronomical observations. In contrast, Earle saw lithography's artistic, rather than solely scientific, potential. In November 1826, he published two lithographic prints, the first in what was planned to be a series of ongoing monthly publications under the collective title, Views in Australia.5 This article will analyse one of these two inaugural prints, View from the Sydney Hotel (fig. 1). As part of the first edition of his projected artistic venture, it is no surprise that this print could be read allegorically as representing the establishing of art in Australia. What may not be so evident, however, is the role that the figure of the law plays in Earle's foundational image.
Augustus Earle, View from the Sydney Hotel, ca. 1826, lithograph, 26.2 x 35.2 cm, National Library of Australia, Canberra.
In the right-hand foreground of the image stand two figures. One faces away from the viewer. He is a distinguished civilian, with his attire indicating he is a member of the legal profession. As we cannot see his face, and thus is depicted without the distinguishing traits of a personal identity, he is included in the image more as a representative of the law. In conversation with "the law" is another representative figure, a high-ranking military man, judging from the attachment of the large feather plume. In the interaction that Earle depicts between these two representative figures, why does the law turn its back to the lone Aboriginal man? Is Earle showing us that in colonial Australia the law turns a blind eye to the fate of Aboriginal people? Undoubtedly yes, but a close analysis of the image reveals that Earle has even more to tell us about the nature of law in Australian colonial society. Drawing upon Giorgio Agamben's thesis that the ontological status of law is determined by what occurs in the supposedly excluded state of its suspension, it will be proposed that Earle's image demonstrates how the emergence of art in Australia is inseparable from questions of law. With Earle, the violent inscription of what Agamben, after Derrida, refers to as the force of law is one with the mark of the artist.
The New Economy of the Image
Earle advertised his new lithographic enterprise with an announcement in the local press that his artistic talents were available to produce "circulars" on "any subject whatsoever."6 This thematic of the economic circulation of the image—the circular—is reflected in the subject matter of View from the Sydney Hotel. As one horse-drawn cart is about to exit the town, another has already replaced it, hastily making its way towards the harbour port below. If one also notices how Earle has drawn attention to the tracks carved into the street, then this is no isolated journey into and out of town, but a continual, repeated loop. The carts, as transporters of goods, establish a connection with the port below, the site for the ever-escalating transaction of commodities. In this sense, the image addresses the notion of commercial potential.
In his reflections on life in early colonial Sydney, the eminent lawyer and judge, James Sheen Dowling, comments on the changing character of George Street, the setting of Earle's print. Dowling writes:
George Street:—the main artery through which the vital stream of commerce flows to the remotest parts of the Colony, extends in an unbroken line from Dawes' Point, the northern extremity of the City, to the old Toll Bar, at the southern, a distance of two miles, and is continued nearly another mile under the name of Parramatta Street, connecting the extensive and populous suburbs of Chippendale and Redfern with the City, and forming the grand approach from the southern and western districts. The newcomer cannot fail of being surprised with the bustle and animation that pervades this street … 7
Although Dowling is describing what George Street had become sometime after Earle made the print, arguably, this is the future towards which Earle's work, or let us say the horse and cart that is about to exit out of frame, is directed. As a print which is doubling as an image of the founding of a new colony and Earle's new business project, Earle would doubtless be wishing to associate the future economic prospects of the colony with his own printing enterprise. Thus, if Dowling metaphorically speaks of George Street as the main artery through which the colony's vital stream of commerce flows, then Earle's aim would surely be to include his own prints among the various commodities transported along this thoroughfare. Further, if the circular path of the carts highlighted in Earle's print can be understood as a figure for the circulation of all the various products in this thriving new colony, then it also stands for one in particular, this print—this image. The grooves of the tracks of the carts as they repeat their endless cycle (the circulation of capital) would equally then be a doubling of the trace of the "inscription" (lithography as a form of "writing in stone") that forms Earle's own print.
Within this everyday colonial scene of economic circulation and exchange, Earle has been quite particular with his placement of the equally representative figure of the "Aborigine." Although in a prominent foreground position, he is unable to occupy a position on the street, or even on the footpath, as many of the other colonials seem to be able to with such calm self-assurance. Where, therefore, does he stand in relation to this new economy of the image? Or more specifically, what is the relation between the inscriptions of the artist, the instituting of art in Australia, and the representative figure of the Aborigine?
Diagram indicating V-shape created by lines added to Earle's View from the Sydney Hotel.
Speed and Distraction
To begin to approach the significance of the inscriptions that have left their mark on the road, the repetitive movement of the carts themselves should first be considered. As noted above, a horse and cart has passed the Aboriginal man on its way into town and another is about to pass him travelling from the opposite direction. This seemingly straightforward observation is not, however, entirely accurate. While the exiting cart has yet to pass the Aboriginal man, Earle has created an effect whereby it is as though the cart already has. An examination of the staff held by the Aboriginal man helps to clarify this view. By following the line of the staff backwards into the image, it becomes apparent that Earle has carefully positioned the wheels of the cart to be just ahead of this line (fig. 2). If this line is extended even further backwards, it meets the base of the cream-coloured wall on the opposite side of the street, roughly at the point where the wall begins and in line with the edge of the paved footpath. The V-shape created by these lines direct the eye backwards into the picture, but also forwards out of the picture. This adds to the sense of movement in the image and the speed of the exiting cart. By rendering the horse's front left leg lifted high, the reins pulled tight, and the horse reaching forward, it is clear that Earle wished to convey that the horse is at full trot, charging as fast as possible into the future. This sense of speed is further accentuated by the manner in which the horse is set against the smoothness of the wall in the background, which can be quickly scanned because of its immaculate finish. In a sense, this element completes the horse's projected movement. As the viewer's look advances in front of the horse, it is as if the horse is being positioned ahead of where it presently is, which is to say in front of the Aboriginal man. This crucial effect, once noticed, is further established by many other interrelated details in the image, adding to the complexity of the deceptively simple scene that Earle portrays.
Detail of Earle, View from the Sydney Hotel.
The driver of the cart leaving town (the cart facing the viewer) is depicted with his head turned. Instead of focusing on the road ahead, the driver glances to the side, momentarily distracted. Who and what is he looking at? At first, it appears that he has turned to look at the Aboriginal man by the roadside, but his gaze is in fact directed elsewhere.8 Standing up in the cart, the suggestion is more that he is looking above this man and across to the verandah of the guardhouse where three soldiers stand. Hence there is, again, an overlooking of, or an inability to see, the Aboriginal man. This is so not only because the driver's look is diverted as he approaches him, but also, as has been argued, insofar as the driver has also already passed him by. Thus, in the next moment, when the driver begins to turn his head back to what lies ahead, it is not to suggest that he would see the Aboriginal man in so doing. From the look to the side and then back to the front, the Aboriginal man will not be visible to the driver as he will have already been placed behind the driver—already, it could be said, relegated to the past.
Equally, this movement from the side to the front as eclipsing the visibility of the Aboriginal man could be understood in terms of the implicit connection that Earle is drawing between the cart-driver and his horse. Depicted with a noticeable lean, the horse veers to the left, away from the Aboriginal man. The horse is also wearing blinkers and is thus, like his driver, blind to the Aboriginal man. Moreover, the blinkering of the horse makes the creature single-minded and determined; it is an animal become machine—the cart already heralding the motorised vehicle—with no other possible purpose than getting into and out of town as expediently as possible. And this assists in further connecting the two carts. Unlike the cart that is exiting, the driver of the cart making his way towards the harbour port would have seen the Aboriginal man as he entered town. As counterintuitive as it might seem, however, this is not actually the case. The exiting cart, seemingly yet to overtake the Aboriginal man, is in fact the other cart that has already passed him by. The entering cart-driver that we only see from behind, who has his back to the Aboriginal man and cannot at this moment see him, effectively doubles the blinkered vision of the cart-driver leaving town. One repeats the other as each fails to see him.
The Social Bond
To reinforce this reading, the same could be said of the stiffly posed soldier on the verandah. His erect posture establishes a link with the slight oddity of the driver, since he also stands upright. However more than this, as the soldier is commencing to step forward, and as we also see him as in line with the man in the cart, he is following the same trajectory. Like an automaton, he will mechanically march forward and then turn to retrace his steps, finding himself once again at the exact position where he now presently stands. The inference therefore is that the repetition of this mindless movement back and forth is precisely like that of the carts that repeat their entering and exiting. And more to the point, this is the same repetition in the failure to see the Aboriginal man. From where he stands, the soldier is also above the level of the Aboriginal man and thus he is unable to see him. There is, furthermore, an important subtlety to the composition that might at first pass unnoticed. The soldier holds his rifle upright and in front of his face. It is not completely straight however but at a slight angle, thereby positioning it in alignment with the first right-hand pillar. If this correlation is projected forward, then the rifle, in combination with the pillar, blocks out the Aboriginal man. The result is the same blinkering of the soldier's vision.
Earle adds even further details to enhance this point. In their order and regularity, the steps to the verandah mimic the march of the soldier. As these steps come forward, imposing themselves on the more irregular and unkept grass and dirt, it is as if they are pushing the Aboriginal man to the side. This impression is underlined by the manner in which the steps connect with the well-trodden and heavily incised path. Turning to the left, this path is in symmetrical opposition to the horse as it veers to the right. It is hence as if each is diverted in their combined ignorance of the Aboriginal man. The closed blinds at the end of the verandah also serve the same end. It is mid-morning; the sun is shining onto the verandah from the left, the East. There is thus no functional reason for the blinds to be drawn. But similar to the two cart-drivers—effectively one as they complete the same circuit, entering and exiting without seeing—so too the closed blinds figure the soldier's lack of sight. It can be assumed that the solider is on duty—on watch—but is his purpose not actually the opposite? He will repeat his march only to ensure that he sees nothing. His vision is like the blankness of the brick wall of the guardhouse that cuts across the spectator's view and which also, if it is proposed that the soldier turns back on reaching the steps to the verandah, marks the limit of the soldier's forward march. As this wall so blatantly and dumbly faces the front, reiterating the dead end of the closed blinds, so it is that the solider will remain incapable of seeing what is, in fact, just before him.
As much as one might initially be drawn to this solider, as he does indeed stand out like the similarly upright and thus also over-exposed cart-driver, the other two soldiers should not be neglected. In contrast to their colleague who is clearly on duty, these two men are off duty. Perhaps they have just finished their shift and are relaxing against the verandah rail. One of the men faces away from the street and like his on-duty colleague appears unaware of his surroundings. The other soldier leans forward over the verandah rail, presumably to look out to the street. He is the only one of the three granted any visual awareness in the scene. Yet strangely, he is also the only one whose face is obscured from view, hidden behind his colleague and a pillar. Thus, even if he is able to see what is happening on the street, what or who he sees is not immediately clear. Why might have Earle, knowingly or not, done this?
The cart-driver's sideways glance has been described above as directed towards the verandah. But a closer analysis enables us to be more precise on this point. Rather than just to the verandah, I would propose instead that the man's eye has been caught by the one soldier we cannot see. The casualness of the soldier's pose also intimates that there might be more than a simple exchange of glances taking place. Perhaps there was a good-humoured greeting or the acknowledgment of a shared joke. Of course, we cannot know exactly what transpired, nonetheless the evident suggestion is that there is some level of interaction, however brief and fleeting, that establishes a social bond between the two. This is not, though, without paradox and an "evident suggestion" would appear to be a contradiction in terms. Something here remains hidden, secret. Yet, according to the equations that the image is putting in place, what is unseen is nevertheless exposed in the clear light of day. The cart-driver could have turned to see the Aboriginal man, but this did not happen because his sighting of the military ensured that he did not enter into his thoughts nor field of vision. It is thus the military that has effectively removed the Aboriginal man. The humorous exchange—the social bond created out of sight behind the pillar—might at first seem to be unrelated to this erasure. What, however, is in front of the pillar and what is obscured behind it are one and the same. One is the other as the creation of any social bond in this new colony is equally at the expense, or the exclusion, of any Aboriginal presence.
The Military and the Law
Let us then finally return to the significance of the exchange between the two representative figures of the military and the law. As previously suggested, the costumes of the two men clearly establish their high social ranking. Yet, even without such sartorial indicators, the fact that both men stand unperturbed in the middle of the street equally conveys a sense of authority. The crossed arms of the military and the hands of the law in his pockets can be read as a sign that these two individuals expect others to navigate around them. With their poses that evoke an aristocratic nonchalance, they equally stand there as if to calmly, but at the same time quite pointedly, assert that the public space that is the street is indeed their domain.
Absorbed in what is no doubt learned discussion, what then occupies their thoughts in such a highly visible social space? What matters of public good are they addressing? Will their attention be drawn to the Aboriginal man in the foreground and will his plight enter into their seriously weighted discussion? It would seem not. The military man has his body facing in the opposite direction to the lawyer. However, even if from this position it might be possible for him to see the Aboriginal man, the manner in which he is turned towards the law, in a look that cuts across the picture plane and that runs in line with his own projected shadow, pronounces his obliviousness to this Aboriginal man. Though it is perhaps necessary to qualify this. If not oblivious exactly, he is at least knowingly oblivious, as it is possible to imagine that he could well be keeping the lawyer in conversation precisely so that the Aboriginal man will remain unseen and unconsidered, outside of the purview of the law. In both cases, however, as if to emphasise that the military will maintain its ignorance, even if it is feigned, it is not simply Earle's addition of the line of the shadow which should be noted, with the military as a consequence placing the law in the dark, it is also, if one looks closely at the military figure's face, that he appears to be wearing glasses, a pair of pince-nez. Like the blinkers on the horse, these glasses are darkened, thereby figuring his own turning away from the Aboriginal man. This repeated play upon blindness is ultimately registered by how the law rather blatantly faces away from the spectator and also, of course, the Aboriginal man. Thus, these two will not converse on him. In this colony, with regard to any Aboriginal concerns, law turns a blind eye.
This figurative blindness, however, should not be where the analysis ends, as there is much more than this common, everyday expression that Earle allows us to see. The exacting subtlety characteristic of Earle's art begins to emerge if we adjust our perception about whether the two figures—the law and the military—are standing in "the middle of the street." The two are in reality not in the middle of the street; they are placed slightly off-centre. But the significance of this positioning is that it shifts them more into the centre of what I referred to earlier as the V-shaped area that is created by the diagonal of the Aboriginal man's staff and the line of the wall running along the opposite side of the street. If this represents a space that can be interpreted as dramatising the colony's expansion—with the cart speedily exiting to exploit new territory—then, with his staff becoming a barrier, it is an area from which the Aboriginal man is excluded. As much as he might attempt to use his staff as a means of support, enabling him to lift himself up so that he could fully emerge and stand on flat, secure land, this is repeatedly undermined by the violent incisions that circle around him. None of this violence however seems to be the concern of the law. The law looks elsewhere. Yet, like the face of the soldier that we cannot see behind the pillar, it is not that this hidden side—the violence—is the complete reverse of what we can see. In terms of the law, this is to say that the force of the inscriptions which surround the Aboriginal man are not to be thought of as necessarily opposed to the way in which the law institutes itself. Whether this be Earle's intention or not, insofar as what is behind the law's back is inverted to be positioned in the front, that is, to be in the visible foreground of the image we see, he is showing us that it is what the law does not see that is the law. This, indeed, is why Earle's image is a foundational view of Australia.
The Relation of Exception
To justify this claim I wish to turn to a more theoretical and speculative line of argument, one that points to the wider implications beyond this one example of Earle's work that I have considered here. The inversion that occurs in View from the Sydney Hotel can be understood as exemplifying Giorgio Agamben's thesis that modernity begins with the paradoxical situation whereby the exception to the law (the state of emergency), or in the case of Australia the martial law that was repeatedly declared across the country, actually establishes the law.9 The suspending or violating of the law as constituting the law is what Agamben refers to as a "relation of exception," and he considers this to be the "original formal structure of the juridical relation."10 As he explains, in the relation between the exception to the law and the rule of law:
The exception does not subtract itself from the rule; rather, the rule, suspending itself, gives rise to the exception and, maintaining itself in relation to the exception, first constitutes itself as rule. The particular "force" of law consists in this capacity of law to maintain itself in relation to an exteriority. We shall give the name relation of exception to the extreme form of relation by which something is included solely through its exclusion.11
Earle images this extreme form of relation. Everything circulates in the new colony around the figure of the Aborigine as this something which "is included solely through its exclusion." The particular force of law in the work could consequently also be seen as the intensity of the lines—the incisions in the road that double as lithographic engravings—that aggressively turn around the Aboriginal man. These inscriptions of the force of law would also then be registering the capacity of the law "to maintain itself in relation to an exteriority."
For the law, however, to maintain itself in relation to an exteriority with these inscriptions, an important implication is that these jagged lines would not just be the force of law as that which severs the Aboriginal man from his land. As Agamben further argues, providing a commentary on the political theory of Carl Schmitt: "The 'ordering of space' that is, according to Schmitt, constitutive of the sovereign nomos is therefore not only a 'taking of land' … but above all a 'taking of the outside.' an exception."12 Earle's foundational view of Australia can thus be read as this primary "ordering of space," one in which there is both a "taking of land" and a "taking of the outside." Although it might initially appear as if the Aboriginal man is turning so as to step out of some deep recess, some non-descript hole in the ground, this is not the case. With his staff not in contact with the ground, or as this equally could be thought, not connecting with the material support of the image, he is not seeking assistance so as to raise himself out of a hollow, some absence or vacancy that could be included in space. Rather, with the paradoxical contact-less touch of his staff, the Aboriginal man is embodying a void, an impossible non-place.13 The inscriptions that viciously swerve around him do not only therefore enforce a "taking of land," but also a "taking of the outside."
My reading of Earle's image after Agamben is not that the law has simply turned away from the violence. Law becomes law, or more emphatically, law is law, only in the turning away. This is not to say, however, that what can be seen behind law's back in Earle's image will not be repeatedly erased by the history of Australian art. As another speculative suggestion of what follows from the study of this one image, I can add a final observation. Although we have said that the law is in conversation with the military, the law is not directly facing the military. While the law might be in discussion with the military, Earle has positioned the figure of the law such that he looks past the military. All the law sees is a smoothly rendered blank wall. Turning away, not seeing the Aboriginal man, the emptiness of this wall can be understood to be the immediate profitable outcome that results from this. The cart-driver as colonial landowner will speed by this wall with no time to waste, as the prospect of endless commerce and the exploitation of a yet further empty expanse lies ahead. Equally, if it is, as was suggested, Earle's own print that is one of the potential commodities that is placed into circulation on this street, then the blank canvas of this wall, or better perhaps, this freshly prepared lithographic surface, is ready to receive "any subject whatsoever."
The potentiality of this surface is not, however, presented in isolation. Inordinate attention is given to another, even more expansive (and more immaculate) surface behind: the vast side wall of the building that extends back towards the harbour. That this building covers a sizable area of what is presented as the mountain range in the background—which, in actuality, if you were to view the scene today is just mere hills—adds to the imposing breadth and depth of this building. However, and this the figure of the law cannot see, so it thus joins with what is behind him, the ultimate pure surface in front of the law is the harbour. No violence disturbs the harbour's surface, there is not even a trace of a ripple. A ship peacefully rests there, finding itself almost magically reflected in the water. Although out in the water, this boat is fully enclosed—the walls and roofs of the buildings along the street, in tandem with the land on the other side of the harbour, contain it, safely frame it. In contrast to the Aboriginal man in the foreground of the image, the ship's inclusion in the ordering of colonial space is affirmed, with any open area, any borders, reassuringly sealed. Doubtless to be read as a repetition of the founding of the colony, of the first British ship to enter the harbour, this is a repetition that represses law's origin.
Augustus Earle, Port Jackson, ca. 1826, watercolour, 10.7 x 35.1 cm, Rex Nan Kivell Collection, National Library of Australia, Canberra.
Augustus Earle, Port Jackson, New South Wales, ca. 1826, watercolour, 10.7 x 35.1 cm, Rex Nan Kivell Collection, National Library of Australia, Canberra.
Bernard Smith believed that in the background of one of Earle's watercolours he could detect the future direction of Australian art. Of Port Jackson (fig. 9) he wrote, there was, 'perhaps, the earliest attempt to portray the suffused rose and mauve tones of an afterglow over Sydney Harbour during a summer or early autumn evening—an effect greatly favoured by the Australian plein air and impressionist painters of the last two decades of the [nineteenth] century.'14 Although a seemingly innocent aesthetic effect, if one views another Port Jackson watercolour by Earle, a significance beyond that of the purely atmospheric is attached to the "afterglow" (fig. 10). In noting the presence of Aboriginal people in the foreground of one and not the other, the setting of the sun can be associated with the melancholic passing of the Aboriginal people. The "effect" that the Australian impressionist painters so desired, the delicate abstraction of their painterly gestures that would evoke the "afterglow," could then be understood as a further sublimation, or a forgetting, of what Earle so emphatically included in the foreground of so many of his works.15 If we return for the final time to the foundational image of View from the Sydney Hotel, then this would further imply that after Earle, Australian art consists of the transitioning away from one side of the law to the other, or more, as an attempt to dissociate art and law, as if there were indeed two sides to the law. Yet, if this so, then, as this article has attempted to demonstrate, Earle's work persists as a salutary reminder that this dissociation is not the case, requiring us to turn and look again at what has been placed behind our backs, re-assessing as we do so our understanding of what law is.
Jocelyn Hackforth-Jones, Augustus Earle, Travel Artist: Paintings and Drawings in the Rex Nan Kivell Collection, National Library of Australia (Canberra: National Library of Australia, 1980), 1. ↩
Bernard Smith, European Vision and the South Pacific 1768–1850 (London: Oxford University Press, 1960), 190. ↩
In the advertisement for the gallery Earle makes note of how original prints by Van Dyck, Carracci, Rosa, and Rembrandt would be for sale. Sydney Gazette and New South Wales Advertiser, December 27, 1826. ↩
He placed a call for pupils under the title of "School of Painting" in The Monitor, August 25, 1826. ↩
The first review of these two prints appeared in The Monitor, November 3, 1826. ↩
The Monitor, November 3, 1826. ↩
James Sheen Dowling, Reminiscences of a Colonial Judge (Leichardt: Federation Press, 1996), 23. ↩
The look to the side is a key structural device that Earle used consistently. The most relevant example is in Earle's major painting, Waterfall in Australia (1830). This work includes a self-portrait of Earle. Although many have assumed that Earle has turned to the side to look at an Aboriginal man standing in front of a waterfall, Leonard Bell argues that he is in fact looking past this man, and thus misses seeing him. In the earlier View from the Sydney Hotel, Earle depicts the same scenario. There are many fascinating parallels between the two works as it can be argued that the driver of the cart in this earlier print is also a self-portrait, or at least a stand in, for Earle. Leonard Bell, "Colonial Eyes Transformed: Looking at/in Paintings: An Exploratory Essay," Australian and New Zealand Journal of Art 1, no. 1 (2000): 42–64. ↩
Giorgio Agamben, Homo Sacer: Sovereign Power and Bare Life, trans. Daniel Heller-Roazen (Stanford: Stanford University Press, 1998) and State of Exception, trans. Kevin Attell (Chicago and London: University of Chicago Press, 2005). These are Agamben's two main works on this topic. For Agamben's discussion of martial law specifically, see State of Exception, 18. ↩
Agamben, Homo Sacer, 19. ↩
Agamben, 18. ↩
I have argued that there is the same relation between staff and void in Earle's Waterfall in Australia. See Keith Broadfoot, "Augustus Earle's Waterfall in Australia and the Logic of Fantasy," Art History 42, no. 5 (2019): 914-935. ↩
Smith, European Vision and the South Pacific, 193. ↩
For more on the melancholy effect of Australian impressionism as a sublimation of colonial violence, see Chapter 4, "The Bad Conscience of Impressionism," in Ian McLean, White Aborigines: Identity Politics in Australian Art (New York: Cambridge University Press, 1998), 52–73. ↩
Keith Broadfoot is Senior Lecturer in the Department of Art History at the University of Sydney, Australia. His recent publications have appeared in Art History, Angelaki, and the Journal of Art Historiography.
Agamben, Giorgio. Homo Sacer: Sovereign Power and Bare Life. Translated by Daniel Heller-Roazen. Stanford: Stanford University Press, 1998.
Agamben, Giorgio. State of Exception. Translated by Kevin Attell. Chicago and London: University of Chicago Press, 2005.
Bell, Leonard. "Colonial Eyes Transformed: Looking at/in Paintings: An Exploratory Essay." Australian and New Zealand Journal of Art 1, no. 1 (2000): 42–64.
Dowling, James Sheen. Reminiscences of a Colonial Judge. Leichardt: Federation Press, 1996.
Hackforth-Jones, Jocelyn. Augustus Earle, Travel Artist: Paintings and Drawings in the Rex Nan Kivell Collection, National Library of Australia. Canberra: National Library of Australia, 1980.
McLean, Ian. White Aborigines: Identity Politics in Australian Art. New York: Cambridge University Press, 1998.
The Monitor. Sydney: 1826–1828. National Library of Australia. Accessed August 28, 2020. http://nla.gov.au/nla.news-title3.
Smith, Bernard. European Vision and the South Pacific 1778–1850. London: Oxford University Press, 1960.
Sydney Gazette and New South Wales Advertiser. Sydney: G. Howe, 1803–1842. National Library of Australia. Accessed August 28, 2020. http://nla.gov.au/nla.news-title3.
(https://doi.org/10.38030/index-journal.2020.2.6)


text:
Ю́лия Петро́вна Вре́вская (25 января (6 февраля) 1838 или 1841, Лубны Полтавской губернии — , близ г. Бяла, Болгария) — баронесса, урождённая Варпаховская. Друг И. С. Тургенева. Во время русско-турецкой войны — сестра милосердия полевого госпиталя Российского Красного креста.

Биография
Родилась в городе Лубны Полтавской губернии в семье участника Бородинского сражения, командующего Отдельной резервной кавалерийской дивизией, генерал-лейтенанта Петра Евдокимовича Варпаховского (1791—1868) и Каролины Ивановны (урождённой Блех) (1805—1870).

Училась Юлия Петровна сначала в Одесском институте благородных девиц, а затем, после переезда в 1848 году семьи в Ставрополь, в Ставропольском «Среднеучебном Заведении Св. Александры для воспитания женского пола». В 1857 году вышла замуж за И. А. Вревского. После свадьбы они переехали из Ставрополя во Владикавказ. Однако их совместная жизнь продолжалась недолго. В конце августа 1858 года И. А. Вревский был тяжело ранен в бою и через несколько дней скончался. У него осталось трое детей от предыдущего гражданского брака с черкешенкой. Юлия Петровна позаботилась о сиротах — она отправилась с ними в Тифлис, добилась присвоения всем незаконнорождённым детям, носившим до того фамилию Терские, фамилии отца и помогла им устроиться в привилегированные учебные заведения с возможностью унаследовать отцовский капитал.

Оставшись вдовой в двадцать лет, Ю. П. Вревская переехала в Петербург, где была приглашена ко двору и получила место фрейлины Марии Александровны. За десять лет придворной жизни (1860—1870) Вревская побывала с императрицей во Франции, Италии, Сирии, на лучших курортах Европы, в Африке, Палестине, Иерусалиме.

Деятельная натура Юлии Петровны требовала большего, чем придворные обязанности и светская жизнь. Среди её друзей в России были писатели Д. В. Григорович, И. С. Тургенев, В. А. Соллогуб, поэт Я. П. Полонский, художники В. В. Верещагин и И. К. Айвазовский. Она много путешествовала по Европе, Кавказу, Ближнему Востоку; знакомилась с замечательными людьми (в том числе с Виктором Гюго и Ференцем Листом). Вревская поражала всех, кто её знал, своей начитанностью. С 1873 года Юлия Петровна стала дружить и переписываться с И. С. Тургеневым.

В 1877 году, с началом русско-турецкой войны, Вревская решила ехать в Действующую Армию. На деньги, вырученные от продажи орловского имения, она снарядила санитарный отряд. Сама Юлия Петровна стала рядовой сестрой милосердия, с 19 июня 1877 году в 45-м военно-временном эвакогоспитале города Яссы (Румыния), а с 20 ноября 1877 года в 48-м военно-временном эвакогоспитале близ города Бяла в Болгарии. Она выполняла самую тяжёлую и грязную работу. «Война вблизи ужасна, сколько горя, сколько вдов и сирот», — написала она в одном из писем на родину. В декабре Вревская работала в прифронтовом перевязочном пункте в деревне Обретеник. Последнее письмо Юлия Вревская написала своей сестре Наталье 12 января 1878 года. 17 января она заболела тяжёлой формой сыпного тифа. Скончалась Юлия Вревская 5 февраля 1878 года. Её похоронили в платье сестры милосердия около православного храма в Бяле.

Дань памяти
 Юлии Петровне Вревской посвятили свои стихи Я. Полонский — «Под красным крестом», В. Гюго — «Русская роза, погибшая на болгарской земле».
 И. Тургенев откликнулся на её смерть одним из самых замечательных своих стихотворений в прозе — «Памяти Ю. Вревской».
 В 1920-е годы в Париже работал «Русский союз (община) сестёр милосердия имени Вревской».
 О судьбе Ю. П. Вревской в 1977 году был снят совместный советско-болгарский художественный фильм «Юлия Вревская», в главной роли — Людмила Савельева.
 Принадлежавшее Ю. П. Вревской имение Мишково близ села Дубовик Малоархангельского уезда Орловской губернии не сохранилось.
 В июне 2019 года в Ставрополе установлен памятник трём ставропольским медсёстрам: Юлии Вревской — героине Русско-турецкой войны, Римме Ивановой, отличившейся в Первую мировую войну, и Матрёне Ноздрачёвой — героине Великой Отечественной войны.

См. также
 Российский Красный Крест
 Крестовоздвиженская община сестёр милосердия

Примечания

Ссылки
 ВРЕВСКАЯ (Варпаховская) Юлия Петровна
 Биография Ю. П. Вревской

Участники Русско-турецкой войны (1877—1878)
Женщины XIX века
Юлия Петровна
Баронессы Российской империи
Сёстры милосердия Российской империи
Похороненные в Болгарии
Умершие от сыпного тифа

redpajama_set_name: RedPajamaWikipedia


• I was sorry to hear the Facebook announcement (now confirmed with a store sign) that the Sears store in Jasper is closing in about a month. I left a card for the manager about a story this week but I haven't heard back. Kmart already closed, and this was the last part of Sears left in town, as the national chain is in very bad shape. I was hoping the neighborhood store would survive, but when I heard the one in Fayette had closed a while back, I thought this might happen.
It is another setback in selection for hardware and appliances, especially as the Kenmore and Craftsman brands at Sears were quite trusted at one time. But it is also the end of the road here in the old Sears-JCPenney rivalry that went on across the nation, almost mandating both catalogs were keep at close range. Now the catalogs are gone, and you have to go to Birmingham to visit a store for either chain. It does seem strange.
• Saturday's duties switched suddenly. I was coming to the courthouse to photograph a Memorial Day weekend service at one of the monuments at the courthouse square in Jasper, set for 10 a.m. Saturday. I got there and there was not only no one at the monument, but the whole world was milling around: Ridez For a Reason had a car show (unknown to us) with dozens of cars and many people all across the square, with streets blocked. I started shooting cars instead of veterans, but it worked.
• After interviewing David Dixon at the Sixth Avenue Church of Christ this week, I photographed him in the sanctuary. I was struck that for a church built in the late 1950s or so how well it had been maintained; even the tile floor was in marvelous shape. Architecturally, it really is a clean, textbook style of what would be considered a traditional church with some 1950s modern touches. They should be very proud of how that facility has been kept up.
• I've been doing elections for a long time and it beats me how to even untangle some of the heated exchanges for Tuesday's party primaries. (Yes, you have to pick a party - but the local races are on the GOP ballot.) For example, we have two superintendent candidates who give completely different accounts of school finances. I know how complicated education budgets are, and reviewing their online material last night, I'm still lost; they both cite sources to say how good or bad it is. But no doubt the debt and the finances are the key issue, coupled with character of the candidates and how one sees whether we have improved in facilities and academics.
Oh, and we have a new joker in the deck: Tanya Guin, the arch nemesis of Superintendent of Education Jason Adkins, is waiting on the November ballot now as a newly minted independent candidate. If Adkins is the Republican nominee who runs against Guin, whom he attempted to fire from her principal position, then odds are we could have a battle that makes the trench warfare of World War I look like an Oxford debate club.
The sheriff's race between Jim Underwood, Nick Smith and Steven Shaver is also the other battle to watch Tuesday as character, budgets and drugs will likely be the determining factor. It is too close to call and will likely result in a runoff. Underwood and Smith have clearly fired volleys at each other. Shaver has been the most quiet, but some are impressed with his resume; those qualities could pose an upset.
Underwood and Smith have pushed their resumes hard, but the budgets and lawsuits involving the sheriff have been a big topic. Smith has pushed a platform on Facebook, but his comments on Facebook and his resume in small towns (not the county) have worked both ways, much as the sheriff's actions on the budgets and his statements after the jail break. Smith has done extremely well on steady fundraising and is sitting on more cash at the last minute. And good weather could bring out older voters for Underwood, considered a strength. And again, Shaver could benefit from voters retreating from both. So your guess is as good as mine, as I suspect it will come down to who do you trust.
• By the way, the election is Tuesday from 7 a.m. to 7 p.m. As you are reading my column Thursday morning, I am expecting losing candidates to start pulling up signs. All of them. You can wait until Thursday--heck, I'll let you wait until the weekend. But some of us will be hot if we see the same losing name repeatedly by Monday, June 11.
• I had the enjoyment of writing a long feature on Buddy Thorne for our Senior Living section, which is coming out next week. There was a bunch of material that I had to cut for space, which was a shame.
Thorne, a retired dentist in Jasper, noted one thing that people don't give enough attention to is brushing. He said people don't brush their teeth, which is a primary responsibility.
"You should brush after every meal. If you can't brush, you can rinse vigorously and spit it out," he said, adding people should also brush after breakfast.
"The most important time to brush is at night. At night your mouth is closed," he said, saying the mouth is like an incubator with bacteria "thriving" at that time. That, in turn, creates acid that eats away at the tooth, resulting in cavities. He also warned against artificial sweeteners in soft drinks, as they are more acidic than sugar drinks.
He also noted he is about a plain spoken as one can get, something that he is known for.
"I'm outspoken," he said. "I should shut up sometimes. Rusty Richardson in Bernard's might be the nicest guy who ever lived. I told my son today that I wish I had a little bit of what Rusty Richardson had. I don't want all of it, but I would love to have just a little bit of it.
"My son said, "Dad, you can forget it. You won't ever get it."
He laughed and added he doesn't worry about it because as long as his family and friends respects him, he doesn't care what anyone thinks.
"I'm going to tell them the truth," he said. "I was bad about talking to my patients about being overweight. I'm saying, 'If I didn't' love you, I wouldn't tell you this.' That's what I tell people. They say, 'Well, that's not kind.' I say, "I'm not kind. I'm factual.' If I don't care about people, then I just kind of stay away from them. I'm cordial. But I don't offer any advice that I don't know or care about. But people I love, if I see a flaw — I would want them to point it out to me."


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O Brother Where Art Thou And Odysseus Comparison Essay
The novel, The Odyssey by Homer and the film, O' Brother, Where Art Thou are very separate tales, yet they share many of the same factors. One of these factors is the main characters from each, Odysseus and Ulysses Everett McGill. Both are leaders, on an odyssey home to be reunited with their family, and reclaim their old lives. Despite their character resemblance, I believe Odysseus was the outstanding leader of the two. Odysseus managed the Cyclops predicament exceedingly better than Everett. When stuck with Polyphemus, Odysseus went to work promptly, crafting an escape from the Cyclops. "...and he quickly drove the sleek flock into the vaulted cavern, rams and all -none left outside in the walled yard- his own idea" He thought of a bona fide plan to help him and his crew. Everett's reaction was not the same, as far as we are aware. They cut the fiery cross down, and it happened to fall on Big Dan. There was no true exhibit to lead us to think that this was even Everett's idea, and even if so, I believe there was miniscule strategy put behind this action. Odysseus showed, contradictory to Everett, that he is a well deserving leader.…show more content…
Waldrip in comparison to Odysseus's handling with the suitors. Accordingly, in Homer's great poem you can find this passage; "So they mocked, but Odysseus, mastermind in action… scanned every inch… horror swept through the suitors…" Odysseus hid in plain sight to analyze the loyalties of the suitors, found who was worthy, then connivingly served his justice with the suitors. On the flip side, Everett saw Vernon and without hesitation attempted to physically challenge him, and lost. McGill did no planning to get Vernon out of his family's lives, the situation ended up that way out of luck. Everett could have tried much harder to fight for his family and wife from the suitors like unto
The Tragic Hero Of Odysseus In Homer's Odyssey
It shows up when he and his man are fleeing the Cyclops on this ship and he just could not help bragging to Polyphemus about it and revealing his name. "I would not heed them in my glorifying spirit, and yelled: Cyclops and ever mortal man inquire how you were put to shame and blinded tell them Odysseus, raider of cities took your eye." (Homer Odyssey 9.548-51). Another example of his big ego was when he did not take circe's warning about avoiding Skylla.
Analysis Of Good Characters In Macbeth
Pg 27-29). Even tough we see him arguing with himself and feeling disgusted, showing that he is very much humane, and his only fault being way too ambitious. That was interesting because we get the feeling that something out of the ordinary is coming up and our anticipation gets into the story straightaway. At the very end, in the beginning of Macbeth's downfall we didn 't expect that a murderer like him would, even in defeat, display conscience and bravery. "I will not yield to kiss the ground before young Malcolm 's feet,...
Theme Of Greed In Lord Of The Flies
For some extra money, Milo makes deals with the Germans, he agrees to bomb his own friends without a second thought, killing several in the action., while saving the runway and hanger so his pilots could get a quick meal. By this decision, it is clear to show how greed is so great in Milo that he decides to bomb his own. In this case, greed leads to poetic justice. This time Milo had gone too far.
Essay On Sacrifice In The Kite Runner
In his mind, he believes that Baba will send Ali and Hassan away, and, as a result, he will finally gain some peace. To Amir's surprise, Hassan confesses to stealing his gifts without hesitation symbolizing "Hassan's final sacrifice for [him]" (105). At that moment, Amir realizes that Hassan knew of his betrayal, which added to his already guilty conscience. Hassan could have easily told Baba the truth and he would have believed him because"[everyone] knew that Hassan never lied", which, in turn, would ruin Amir's relationship with his father (105). He probably knew that Amir was unworthy of his sacrifice, that he was the "snake in the grass, the monster in the lake", but he lied for Amir's own benefit
O Brother Where Art Thou Essay
There are many modern renditions of the beloved Odyssey by Homer, but which one stays true to the original plot: O, Brother Where Art Thou? or The SpongeBob Movie? Though the two movies are aimed at different audiences, it is important that they both convey the same story of the centuries old tale. O, Brother Where Art Thou? followed The Odyssey's storyline more closely than The SpongeBob Movie, and was easier to understand the messages being shown.
Odysseus Tribulations In Homer's The Odyssey
Eventually, the men escaped the cave by tying themselves to the underside of the Cyclops's sheep. Despite his immense intellect, Ulysses falls short on occasion. After escaping the cave, the men made their way back to the ship. Feeling emboldened by his wonderful scheme, Ulysses began to taunt the giant. Despite his men's pleas, Ulysses would not yield.
Greek Values In Odysseus In Homer's The Odyssey
To this the rough shout they [other cyclopes] made a sage reply: 'Ah well, if nobody has played you foul there in your lonely, we are no use in pain given by great Zeus.'" (IX 444-447). Odysseus was clever not to give the cyclopes his real name because, he knew if he did the other cyclopes would recognize him and try to go after him. Instead he stated that his name was Nohbdy. This was also a clever move on Odysseus' part because when the other cyclopes asked who stabbed him it would sound like he was saying nobody instead of Nohbdy.
Odysseus An Epic Hero Essay
He did this thanks to his great strength, leadership skills, and cunning. He tricks the cyclops into becoming drunk and while he sleeps, he blinds him. He had also previously told the cyclops (Polyphemus) that his name was "Nobody" so that when Polyphemus was in pain from being stabbed in the eye he would yell, "Nobody is hurting me". This shows Odysseus' great cunning and leadership skills. This example proves that Odysseus was a strong leader and easily filled the role of an epic hero.
Creon's Power In Sophocles Antigone
Power razes all of its enemies to the ground, and its enemies are ignorant of its presence. Power negatively affects others by turning someone with power on their allies, making the owner paranoid, and diminishing common sense. In Antigone, King Creon turned on his own niece in order to preserve his self-serving law. Power turns the holder onto their allies. Creon created fear in the hearts of his own sentries who selflessly worked hours keeping him safe.
Odysseus: An Adequate Leader In The Odyssey
After his success in killing off the Trojans by hiding inside an immense wooden horse and attacking when the Trojans least expected it. After that event, Odysseus started to lose his substantial leader skills. Overall, Odysseus demonstrates characteristics of an inadequate leader in the duration of his journey. First, the sequence of inauspicious incidents happened all because of Odysseus's poor judgement. Upon arriving at the island of the Cyclopians, Odysseus decides to enter the cave where Polyphemus resides.
Comparing Odyssey 'And O Brother Where Art Thou?'
a group of friends follow the main characters until the end or until they die. Everett's main companions are Pete and Delmer, while Philius and Eumaios are the main companions to Odysseus. The companions are similar in their loyalty to the hero and the shared lust of both parties to return their native land. The many connections between 'O Brother Where Art Thou?' and The Odyssey support that the movie is based on the epic poem.
Telemachus Change In The Odyssey
"Suitors plague my mother-against her will-/… By god, it's intolerable, what they do-disgrace,/ my house a shambles!" (Homer. 2. 55- 68) is an excerpt from Telemachus' speech to rid the suitors. He literally tells the suitors that they are leeches and they lack the guts to properly ask for his mother's hand in marriage by asking her father.
Frankenstein Vs Replaceable You Essay
Many of the advantages are that we can now successfully avoid illness and diseases because we can take out the gene that engenders it. Frankenstein is an example of a disadvantage of using genetic engineering. Victor Frankenstein is the creator of a monster who learns that because he is ugly and everyone hates him, he can kill Victor's friends and family for making him the way he is. Victor creates the monster in order to destroy the meaning of death but the actions he takes after creating the monster leads to many more deaths than expected. Victor's thoughts after bringing the monster to life were, "A mummy again endued with animation could not be so hideous as that wretch.
Lone Survivor In The Odyssey
Odysseus- Lone Survivor The Trojan War is over, many boats full of men set off to Ithaca, where they meet their destruction. Yet one man pulls through and reaches home. Odysseus, the highly admirable hero from The Odyssey, told by Homer and translated and put onto paper by Robert Fitzgerald.
Compare And Contrast Odysseus In O Brother Where Art Thou
Odysseus is a Trojan War hero that has been trying to get home for twenty years. In, O Brother Where Art Thou, Everett is a criminal which has escaped from a chain gang so he stop his wife from marrying another man, these two characters are different based on how Everett is more focused on the task at hand while Odysseus is more
More about O Brother Where Art Thou And Odysseus Comparison Essay
Oedipus at Colonus

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If you have an app, you must know what you are doing, right?
There's an app for that. Since the App Store went live in mid-2008, millions of apps have offered everything from exercise tracking and podcast listening to online couponing and weather reports -- first for Apple users, then later, Android.
In the first quarter of 2018, the Google Play App Store offered more than 3.8 million apps, while the Apple App Store offered around 2 million. In the last few years, more businesses are building their own apps for a reason -- an app signifies credibility for your company.
Mobile app vs. responsive website.
People often get confused about how a mobile app is different from a responsive website. Your website should be responsive to all devices, meaning it will appear different on various screen sizes, optimizing that user's experience. The best responsive websites also remove or add content based on the device.
A mobile app serves a different purpose. Some apps have one specific function related to a company, while others offer fun or useful services or tie into your location. Mobile apps are designed to run more smoothly on mobile devices, and the navigation is built specifically for touch.
How an app creates authority.
Authority is usually a formally dedicated power. It gives someone the right to be heard. That is what you want for your business -- to stand out from the rest and give yourself a platform to influence the public and create a name for your brand. Using an app as the platform can make more users want to listen to you, giving you not just authority, but credibility. Here are a few ways your app creates authority.
Ever since the dawn of the smartphone, people have been drawn to the screen. According to a study by Flurry, an analytics firm, most smartphone users spend up to four hours a day on their mobile phones. Having an app with a customer service section can be a great addition to your business because your consumers can reach you at any time. You can answer their questions around the clock from anywhere. They'll feel more connected to your business, and more comfortable buying your product, knowing that your business will help troubleshoot at any time.
While many people build apps, not all businesses have apps. An app can put you above the competition. You'll be seen as innovative. When someone is interested in your product or service, you can tell them that they can get more information on your app. They will be more inclined to believe in you as a business because you are successful enough to have an app.
A lot of people are talking about the power of data these days, and that's undoubtedly true in marketing. If you have an app, you can learn more about your customers and what they are responding to, and you can better engage with them in the future. Leverage that information for your sales and marketing teams, as well as those developing your services and products.
Your app's presence on a customer's phone is a reminder about you every time they swipe the screen. You can set your app to send notifications about exclusive deals or news, often prompting engagement. While everyone drowns in a sea of advertisements, an app can create a more personal connection. You can also use the app to reward your customer with loyalty programs. For example, at Starbucks, once you have a card, you earn stars every time you spend money. Once you get a certain number of stars, you get a reward.
Your company might not make any money from an app. Some brands are creating benevolent apps, which provide a service, offer useful information or help people with decisions. Such apps build trust in your company. Studies have shown long-term economic benefits for companies that earn consumer confidence in this manner.
Related: Does Your Business Really Need a Mobile App?
Why you might not create an app.
You don't have the time or money to manage it after launch. An app isn't a launch-and-done project. Your app will require code updates and changes to stay in working order. You must have someone in place either in-house or through a third party who can help maintain it.
You haven't thought about who on your team will manage the app. Someone internally should monitor the app's content and use. What about marketing? What about small changes that need to occur?
You're launching an app "just because." We listed many reasons relating to authority, but a company can't just expect to create any old thing and see results. The best apps focus on a specific aspect of a business and offer something people will find useful.
In 2018, our devices are the way of the world, and that trend will only continue as we gravitate toward wearables, glasses and other AR devices. Building an app is a great way to gain authority and reach your target audience.


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District heating networks
Large scale greenhouses
Newheat • Blog • Thermal • Everything you need to know about how solar thermal energy works
Everything you need to know about how solar thermal energy works
Hugues Defreville
All about the greenest of energies: solar thermal energy
A solar thermal power plant converts solar radiation into heat using solar thermal collectors.
What is a solar thermal collector? How does it work? How does it differ from a photovoltaic solar collector? Don't panic, here are the answers to all your questions about the most virtuous of all renewable energy production sources!
To begin with, a little terminology: sensor, panel, module, collector… do these terms describe different technologies? Not at all! they are all used interchangeably to describe the same technologies. At Newheat we prefer to use the terms "sensors" or "collectors", which are more precise and meaningful than the generic tem "panels" or "modules"!
Solar thermal vs. solar photovoltaic
Even if both technologies use the sun's energy, they are totally different!
Their objective is to collect and transform solar energy into 2 distinct forms, electricity and heat (or thermal/heating energy). They are based on different physical principles:
The solar thermal collector is the equipment used to transform solar radiation into heat.
The physical principles behind this energy production include thermal absorption and conduction. In the special case of concentrating systems, reflection also plays an important role.
The photovoltaic solar collector uses the photoelectric effect to transform photons (particles of light emitted by the sun) into electricity.
This transformation is achieved using a semiconductor material with specific atomic characteristics. When a photon with the right energy level (i.e. at the right wavelength) comes into contact with this material, electrons are set in motion within it and create an electric current.
Historical focus: If you want to shine in Society, you should know that Edmond Becquerel, a French physicist from the 19th century, is considered to be the father of photovoltaic solar energy (he discovered the photovoltaic effect in 1839). As far as solar thermal energy is concerned, it is another French engineer, Augustin Mouchot, who can be considered the pioneer of the use of this technology on an industrial scale. In 1866, he invented the first solar engine consisting of a parabolic reflector that concentrates the sun's rays on a glass cylinder to produce steam and thus power industrial machines.
The different types of solar thermal collectors
A solar thermal collector is a sort of heat exchanger that absorbs solar radiation which it transforms into thermal energy, it is then transferred to a heat carrier liquid circulating in the collector. The liquids used can be air, water, oil or a mixture of water and propylene glycol (a biodegradable antifreeze liquid traditionally used as a food additive). Phase change materials (e.g. molten salts) can also be used for concentrated systems. There are different types of solar thermal collectors. They are generally classified into two main families, non-concentrating (stationary) collectors and concentrating collectors equipped with a solar tracker. The characteristics of a collector determine its operating temperature range and therefore the applications that can be covered.
For example, non-concentrating collectors can produce temperature levels below 100-120°C and concentrating technologies will produce temperature levels up to 200-300°C and even 800°C for some.
Non-concentrating technologies
These technologies capture the entire solar radiation and generally use water as a heat transfer fluid. Although they are limited in terms of delivery temperature, they are simple to deploy (no pressure in the circuits) and robust (feedback from massive use over several decades).
Here are some of the most widely used concentration-free technologies:
Unglazed collectors, made of an absorbent material, in which the heat transfer liquid circulates directly. They do not use the greenhouse effect or insulation. They are often made of a flexible, black polymer in which water circulates. They are cheap and are used for simple low temperature applications such as pool heating.
Flat plate collectors use the greenhouse effect and consist of a glazing, an air space and a metal of good thermal conductivity covered with a selective absorber. The metal is in contact with copper pipes in which the heat transfer liquid circulates. An insulator on the rear side limits heat loss. This is the most common type of collector and is used for common applications such as domestic hot water heating.
Evacuated tube collectors consist of a tubular or finned glass tube surrounding a receiver containing an intermediate liquid (heat pipe) or directly the heat transfer liquid. The vacuum greatly reduces losses. It should be noted that flat plate vacuum collectors have also recently been developed, which combine the technical advantages of the two types of technology
Concentrated technologies
Unlike non-concentrating technologies, they capture only the direct (rather than the total) component of the sun's radiation and use mainly pressurised water, steam or thermal oil as the heat transfer fluid.
They can achieve higher delivery temperatures, but their deployment requires the use of sun-tracking systems, and requires a design that respects the pressure constraints imposed by these temperature levels. The robustness and reliability of these installations is also lower due to this higher complexity, and requires more maintenance and cleaning of the collectors than non-concentrating technologies.
Here are the main concentrating technologies:
Linear Fresnel mirrors. In this case, a series of flat mirrors are used, mounted on sun-tracking mechanisms that allow each mirror to move in a specific way so that the radiation is constantly directed onto the collector. This system allows a larger mirror area for a given surface, less wind load and a totally fixed collector that does not rotate with the mirror. This simplifies the mechanical and hydraulic system.
Parabolic trough collectors. They are made up of trough-shaped mirrors and a linear collector placed in their centre. A heat transfer liquid circulates in this collector. A tracking system with a single axis allows the sun to be tracked from east to west and ensures that the radiation reaches the collector after being reflected by the mirrors.
Parabolic discs. As their name suggests, these systems are shaped like parabolic dishes, similar to satellite reception dishes. The mirror is mounted on a pillar and oriented towards the sun by a two-axis tracking system. The heat transfer fluid is fed to a collector system at the centre of the dish, which moves along with the mirror. The advantage here is that we have a completely autonomous system that allows for small power plants adapted to local needs, or for larger but totally modular plants.
Tower power plants. Here a field of large flat mirrors called heliostats (Greek for "sun-fixing") is used, each with its own motor and two-axis tracking system. They all point to a single point at the top of a tower where a collector is placed. The great advantage of this system is that it minimises the circulation of heat transfer fluid and achieves a potentially very high concentration factor and consequently a very high temperature.
To obtain satisfactory performance, these technologies must be implemented in the form of very large infrastructures (towers of several tens of metres, Heliostat fields of several hectares or tens of hectares), leading to particularly complex systems subject to particularly high temperature and pressure constraints.
How is the market doing for these technologies?
Concentrating solar power technologies are currently mainly used for electricity generation applications using thermodynamic systems (driving a turbine with the heat produced to generate electricity). This market is faced with very strong competition from solar photovoltaic technologies, the price of which has fallen sharply in recent years. Its development prospects therefore seem limited. However, new, more massive and more competitive high-temperature thermal storage solutions are emerging, which could change this situation.
In recent years, many suppliers of concentration technologies have launched the development of products adapted to the thermal needs of industrial processes, producing at suitable temperature levels and whose installation is simpler and more flexible.
What about solar thermal photovoltaic (PV-T) collectors?
Indeed, there are photovoltaic thermal solar collectors (PV-T), or "hybrid" solar collectors, designed to produce photovoltaic electricity and to collect thermal energy from the sun at the same time. This type of collector is composed of a "classic" photovoltaic part, behind which a "thermal collector" part recovers the heat energy sent by the sun (particularly the infrared radiation usually lost in the form of dispersed heat) via a heat transfer liquid. This liquid can be air (in this case we can talk about "aerovoltaic" collectors) or water (possibly glycol).
There are many advantages to these technologies: they improve the overall energy yield thanks to this dual use of electricity and heat, but also improve the performance of the photovoltaic component, as the photovoltaic cells function poorly above a certain temperature level.
However, their cost is inevitably slightly higher than thermal or photovoltaic technologies "alone", and the applications allowing the simultaneous optimal use of the two energies produced are currently limited to relatively low temperature levels.
What is the efficiency of a solar thermal collector?
The efficiency of a solar thermal collector is the ratio of the energy produced in the form of heat by the collector to the total solar energy received by it. In the case of solar thermal, this efficiency can reach up to 80% for low temperature applications. These efficiencies are very high compared to photovoltaics, where the efficiency (for a "commercial" collector using mono-crystalline silicon cells) is more like 15%.
Thus, the efficiency of solar thermal collectors is on average 4 to 5 times higher than the efficiency of a photovoltaic collector.
This is due to the different nature of the physical phenomena at play in these collectors, as presented earlier in this article. Indeed, only a small part of the sun's energy (certain wavelengths of the "light spectrum") is used by photovoltaic technology, whereas the whole of the sun's irradiation is used by solar thermal technologies.
However, it is important to understand a key point related to solar thermal technologies: one of the main factors influencing the performance of a collector is the temperature of the heat that is to be produced by it, and more precisely the difference between the temperature produced and the outside temperature (which directly influences the level of heat loss). When this temperature difference increases, the losses will also increase and the performance will decrease.
It is therefore always important to target the lowest possible temperatures in the range desired by the consumer in order to optimise the operation of these technologies.
This is one of the main criteria to be taken into account when comparing the interest of different solar thermal technologies between them (along with their implementation and maintenance costs). The diagram below will allow you to visualise the typical performance curves of the main solar thermal technologies used.
Considering all this, what is Newheat role?
At Newheat we are willing and able to work with all types of solar thermal technologies.
Indeed, we do not produce collectors and do not sign any exclusivity agreements with technology suppliers.
This total independence is crucial to us : we can freely select the most suitable technology for each project we study, based on its objective technical and economic performance and the specific needs of our customers.
This approach is particularly protective of our clients': it avoids any conflict of interest consisting in recommending solutions that are not optimal for them but in which we would have a direct economic interest!
Once the most relevant technology has been selected, thanks to our engineering and modelling expertise, it is integrated into a complete energy system that we design and build in-house. This means that the reliability, efficiency and cost of production are optimal compared to the demands of our heat-consuming customers. But that's another topic we'll cover in a future article: stay tuned!
What about the plants already built by Newheat? As of March 15, 2022, all projects realized and operated by Newheat are based on flat plate collector technologies, without concentration. Indeed, considering the levels of temperature requirements for these first projects, those technologies appeared to be the most competitive. You can find the different projects here.
However, Newheat is currently investigating projects using other types of solar thermal technologies, such as concentrating, evacuated, unglazed or hybrid PV-T! You can follow the announcement of new projects via our news!
Solar heat and waste heat recovery for large consumers.
© 2023 Newheat. All rights reserved
By continuing to browse this site, you agree to our use of cookies in order to optimize the quality of our service.


text:
Q: issue with 'first-child' selector in jquery

Honda

Jazz

Freed

CRV

Oddesey

Nissan

Grand Livina

Livina X-gear

X-Trail

Toyota

Fortuner

Prius

Innova

Question:
I want to put class:hori(make red color) to this list:

Honda

Jazz

Freed

CRV

Oddesey

So I use $('#car :first-child').addClass('hori');But the output is not what I want. Except Nissan and Toyota, all the texts turns into red color. so what is wrong with the css selector code?

A: #car :first-child selects every element that is a first child of anything within the #car element.
To select only the first
 use this instead:
$('#car > :first-child').addClass('hori');

The > will make sure only to select a direct descendant of #car.
Of course, you don't really need jQuery as this can be done in CSS as well.

A: You need to tell which first child exactly, please see the jsfiddle , I have changed the html little bit
html

Honda

Jazz

Freed

CRV

Oddesey

Nissan

Grand Livina

Livina X-gear

X-Trail

Toyota

Fortuner

Prius

Innova

css
.hori { color:red;}
.tori {color:green;}
.lori {color:blue;}

js
$(document).ready(function() {
       $('#car li>:first-child').addClass('lori');
        $('#car >:first-child').addClass('hori');
        $('#car li > ul > li:first-child').addClass('tori');
});

redpajama_set_name: RedPajamaStackExchange


A 32-year-old man has been charged with the murder of landscape architect Joanna Yeates, police said.
Vincent Tabak will face Bristol Magistrates' Court on Monday accused of killing the 25-year-old.
Detective Chief Inspector Phil Jones, who led the inquiry, said: "This evening we have charged Vincent Tabak with the murder of Joanna Yeates.
"I would like to pay tribute to Jo's family and Greg for their assistance and dignity in the most difficult of circumstances. Their support to us has been invaluable.
Dutch engineer Tabak, who lived next door to Miss Yeates at 44 Canynge Road, Clifton, Bristol, was arrested on Thursday.
Specialist search teams have been examining Tabak's flat, which he shares with his girlfriend, Tanja Morson, an analyst for Dyson, in Malmesbury, Wiltshire.
Miss Yeates shared her rented home with her boyfriend, Greg Reardon, 27.
Tabak's arrest was the second to be made by detectives since Miss Yeates's frozen body was found dumped in a lane on the outskirts of Bristol on Christmas Day. Her landlord, Chris Jefferies, 66, was arrested on December 30 and questioned for three days on suspicion of murder before being released on bail.


text:
Imelda Staunton and Russell Tovey star in ITV's Flesh and Blood
Staff Reporter | On 15, Jun 2019
Imelda Staunton and Russell Tovey will star in ITV's new drama, Flesh and Blood.
The darkly witty and gripping four-part series is created and written by Sarah Williams (The Long Song, Case Sensitive, Poppy Shakespeare) and explores family dynamics and modern relationships as they spiral towards a tragedy and possible crime.
Staunton (Maleficent, Paddington, Harry Potter, Vera Drake) and Tobey (Years and Years) lead an impressive ensemble that includes Francesca Annis (Home Fires, The Little House, Cranford) and Stephen Rea (Dickensian, War & Peace, The Honourable Woman). They are joined by Claudie Blakley (Manhunt, Grantchester, Lark Rise To Candleford), Lydia Leonard (Gentleman Jack, Absentia, Apple Tree Yard), Sharon Small (London Kills, Trust Me, Born to Kill), Lara Rossi (Cheat, Crossing Lines), Keir Charles (Man Up, Love Actually, Green Wing), Vincent Regan (Victoria, The Royals, Atlantis), David Bamber (Valkyrie, Doctors, The Bourne Identity), Stephanie Langton (Ransom, Law & Order UK), Clara Indrani (Vera, The Rebel, EastEnders) and Grace Hogg-Robinson (The Coroner, Mum).
They will be directed by BAFTA nominee and Grierson award winner Louise Hooper (Cheat, Vera, Cold Feet) in a modern story of three adult siblings – Helen (Claudie Blakley), Jake (Russell Tovey) and Natalie (Lydia Leonard) – who are thrown into disarray when their recently widowed mother Vivien (Francesca Annis) declares she's in love with a new man, Mark (Stephen Rea).
As she nears her 70th birthday, the siblings' suspicions are heightened when retired GP Mark sweeps their mother off her feet, shifting her priorities away from her children. The happiness of her 45-year marriage to their father, Terry, is called into question, which sends a seismic shock through the lives of the siblings. Years of secrets, lies, rivalries and betrayals come to the surface and threaten to blow apart everything they've held dear.
With their large family home overlooking the Sussex coast, their inheritance and the happy memories of their childhood all suddenly threatened by the arrival of Mark, the siblings attempt to find out more about him. But will their long-buried grudges and complicated personal lives allow them to pull together?
Then there's Mary (Imelda Staunton), who has lived next door to Vivien for 40 years. Despite not being family, Mary appears unhealthily attached to Vivien and her family's unfolding drama.
Filming is now underway on location in London and along the Sussex coast. The series is produced by Letitia Knight (Dark Heart, Vera). Silverprint Pictures' Creative Director Kate Bartlett (Dark Heart, Shetland, Vera) will executive produce the series with Sarah Williams.
What's leaving Netflix UK in June / July 2019?
Top 10 on Catch-Up: What's on-demand this week?
First look: Rob Lowe stars in ITV's Wild Bill... May 25, 2019 | Staff Reporter
BBC leads 2019 RTS Awards nominees March 6, 2019 | Staff Reporter
Netflix snaps up ITV Marcella for international distribution... April 4, 2016 | Staff Reporter
Netflix bags first major BAFTA as BBC rules TV awards... May 14, 2018 | Staff Reporter


text:
Q: segmentation fault при выводе словаря set Решаю небольшую задачку на тему словарей. Писал подульно, чтобы было можно сразу найти ошибки. Стал тестировать. В некоторых случаях выдаётся ошибка при вызове функии Print. Суть блока кода такая. Есть некий словарь словарей строк. В нём сейчас имеется некоторое количество элементов. На вход подаётся 2 строки, если первая строка есть, тогда создаётся временная переменная, в которой дабавляются все значения что были в этом элементе словаря. Затем удаляется этот элемент словаря и добавляется новый. Если в элементе словаря только 3 элемента или меньше, ошибка на первое добавление не срабатывает и всё выводится. При следующем добавлении, уже вылетает данная ошибка. Никак не пойму в чём дело...
void PrintSet(const set <string> &vectStr){
    for(auto s: vectStr){
        cout << s << endl;
    }
}

void Print(const set<set<string>> &input){
    for(auto s : input){
        PrintSet(s);
    }
}

//проверка есть ли элемент в словаре
bool FindInSet(const set<string> &setStr, const string &inputWord){
    return setStr.count(inputWord);
}

//ADD word1 word2 — добавить в словарь пару синонимов (word1, word2)
void Add(set<set<string>> &input){
    string word1, word2;
    cin >> word1 >> word2;
    set <string> words;
    words.insert(word1);
    words.insert(word2);
    set <string> tmp;
    bool check = false;// нет в словаре

    for(auto s :input){
        if(FindInSet(s, word1)){
            tmp = s;
            for(auto add : words){
                tmp.insert(add);
            }
            input.erase(s);
            input.insert(tmp);
            check = true;
        }
    }
    if(check == false){
        input.insert(words);
    }

}

int main() {

    set<string> test = {"word", "words", "worde", "wow", "wwooccwoowo", "woccw", "wwccoowoowo"};
    set<set <string>> test1;
    test1.insert(test);
    Add(test1);
    //Add(test1);
    cout << "end" <<endl;
    Print(test1);
    return 0;
}

A: for (auto s :input){
  ...
  input.erase(s);
  ...
}

Вы удаляете из input текущий итерируемый элемент контейнера. После этого поведение не определено. Все падает.
Range-based for цикл не является каким-то "волшебным" циклом, в котором можно делать что угодно. Range-based for - это не более чем "синтаксический сахар" для обыкновенного цикла с итератором. Этот итератор просто скрыт от ваших глаз. Уничтожив текущий элемент контейнера, вы сделали этот внутренний итератор невалидным. Далее все накрылось.
Не надо пользоваться range-based for в ситуациях, когда вы собираетесь модифицировать итерируемый контейнер.
P.S. У вас передача параметров везде выписана "по ссылке", чтобы избежать создания копий, а итерирование везде тупо делается по значению, создавая на каждой итерации никому не нужные копии "тяжелых" объектов. Раз уж вы умеете передавать аргументы по ссылке, то и итерировать, наверное, по ссылке должны уметь?


text:
Cogapacori (Kogapakori, Nanti), pleme američkih Indijanaca porodice Arawakan, uže skupine Nanti,  naseljeno u tropskoj šumi uz rijeke Camisea i Timpia u Peruu. Polunomadski lovci, sakupljači i ribari. Ima ih nekoliko stotina, najviše 600 (2002.).  Ime Cogapacori dano im je od Machiguenga, i moguće obuhvaća uz izolirane i nekontaktirane ili slabo kontaktirane šumske Machiguenge i srodne aravačke skupine u područjima rijeka Camisea, Timpia, Ticumpinea i Manu. Ove skupine Machiguenge ne smatraju prijateljima i smatraju ih 'divljacima' i 'ubojicama'. Govore jezik nanti kojim se služe i srodni Machiguenga.

Izvori

Vanjske poveznice
The Camisea Nanti Project 2002
Nanti

Arawakan
Peruanski Indijanci
indijanska plemena


text:
Weekend Preview: Minnesota Magicians
Springfield, Illinois – The Springfield Jr. Blues are preparing for a weekend trip to Minnesota to take on the Magicians on Friday and Saturday. The two game set will be the first meeting of the year between the teams and the first of 10 games throughout the season.
Springfield Jr. Blues (4-3-1-0; 9 pts, 4th in Midwest)
Ben Schmidling (St. Joseph, MO) leads the way offensively for the Jr. Blues with four goals and six assists through eight games. Rookie Ryan Reid (Phoenix, AZ) leads the defensive corps with two goals and four assists, while Sam Sterne (Batavia, IL) leads the team with a plus-7 rating. Caleb Hannon (Buffalo, NY) has been solid in between the pipes for Springfield as he is currently 2-0-1-0 with a 1.33 GAA and a .956 save percentage.
Minnesota Magicians (5-3-0-0; 10 pts, 2nd in Midwest)
Minnesota has been led by an outstanding early performance from Ethan Haider who is 4-2-0-0 with a 1.67 GAA and two shutouts on the season. Matthew Stanton, four goals and four assists, and John Keranen, five goals and one assist, lead the way offensively for the Magicians.
Catch the games live on HockeyTV Friday at 7:15 pm and Saturday at 7:00 pm. Make sure to follow our Facebook and Twitter pages for player news, game updates, and event information.
Tagged: Ben Schmidling, Caleb Hannon, Minnesota Magicians, nahl, ryan reid, Sam Sterne, springfield jr blues
Techel, Brainin Named Midwest Division Stars of the Week
Springfield Jr. Blues Alumni Report
Ben Schmidling Commits to St. Norbert College
Sterne Commits to UW-Superior
Jr. Blues Split in Minnesota, Will Host Two Games in Springfield


3M Scotchgard Fabric & Upholstery Protector - 296 Ml.
3M Scotchgard Oxy Carpet & Fabric Spot & Stain Remover - 650 Ml.
Cleenol Autocleen Foam Alloy wheel cleaner - 750 Ml.
Cleenol Autocleen Windscreen and Glass Cleaner - 750 Ml.


Two goals apiece from captain Sam Roberts and Alan Lack helped Raiders rally to beat Division Two rivals Haringey at the Sapphire Ice & Leisure Centre.
Dan Hitchings put the hosts ahead in the fourth minute but a cross-checking penalty against Lack gave Huskies a chance to level on the power play through Lee Mercer.
Kamil Kinkor and James Buckingham picked up double minors for fighting with Raiders also seeing Brandon Webster binned for cross-checking to allow Haringey to move 2-1 up through Bryn Griffiths with another power play goal.
And former Romford junior Stephen Woodford put Huskies 3-1 up late in the first period, a lead they held until past the midway point when Roberts netted on a Raiders power play.
The gloves came off again seconds later, with Raiders seeing Webster and Clint Walton binned for four and 14 minutes repectively, while Haringey lost Mercer for 14 minutes and Buckingham to a game misconduct.
Kinkor levelled matters once the dust settled, but tempers frayed again as Lack clashed with Luke Martin-Digby, with Haringey's Jack Lee earning a 10-minute misconduct penalty and Woodford given a 2+2+10 penalty for leaving the bench.
Webster converted on a Raiders power play before the end of the middle session to put them 4-3 up and George Gell grabbed their fifth with just over 10 minutes remaining.
A tripping penalty against Seb Downing gave Lack the chance to make it 6-3 on the power play, before Huskies saw Joseph Willingham beat Brad Windebank for their fourth goal of the night.
It was only a consolation, though, as Roberts and Lack claimed their second goals of the game in the closing minutes to cap a second win of the season for the newcomers.
Scorers, Raiders: Lack 2+2, Roberts 2, Webster 1+1, Kinkor 1+1, Gell 1, Hitchings 1, Veares 0+2, Brown 0+1, Huggett 0+1.
Huskies: Griffiths 1, Mercer 1, Woodford 1, Willingham 1, Jackson 0+1, Lee 0+1, Downing 0+1.
Shots on goal: Windebank 11-11-8=30-4; Buckingham 15-23-13=51-8.
Penalty minutes: Raiders 34 Huskies 82.


I had the privilege of working on Melody for Murder with Pen-L Publishing, and it was a thoroughly delightful book. I loved the main character, Bertie, and all the trouble she gets herself into trying to help others. You can find my review of the book on amazon.com at this link.
I'm thrilled to share this interview with the author, Carolyn Wilkins. Welcome, Carolyn!
My latest project is a murder mystery. It is the sequel to my current book Melody for Murder, which comes out with Pen-L Publishing in June. The series features Bertie Bigelow, an African American choir director and amateur sleuth who lives on the South Side of Chicago. At this point I'm most of the way through the second draft of the sequel to Melody and hope to have something ready to submit to Pen-L by the end of the summer.
Click on the cover to purchase from amazon.com.
My whole family loves to read and write. My mother is a wonderful storyteller, and my father, a lawyer by profession, wrote poetry, skits and song parodies for fun. As long as I can remember I've written stories, songs, and poems. However, I didn't take myself seriously as an author until I published Tips for Singers in 2008.
I try to write every day. Sometimes when things are really busy at work or I am on the road, this doesn't always happen. But I've noticed that my writing flows much better when I am able to maintain a consistent daily routine. If possible, I try to write in the morning before my brain gets too cluttered up with other things.
I will say, however, that I am also to some degree a seasonal writer, meaning that I write a lot more during vacations when I do not have to teach.
Of course, I read murder mysteries, lots of them. I just finished Vertigo 42 by Martha Grimes and before that Prime Time by Hank Philippi Ryan. Today I will treat myself to Dennis Lahane's latest – Live By Night. I also enjoy well written and briskly paced nonfiction – Eric Larson (The Devil in the White City) is a master. Before the summer is out I will read his newest book about the sinking of the Lusitania as well.
After I finished my singing textbook, I decided to write a memoir about my grandfather, who was appointed Assistant Secretary of Labor by President Eisenhower in 1954. At the time, he was the highest ranking African American in government. As it turned out, he had a very rough time in the Labor Department and ended up resigning his post abruptly after only 3 years. Haley's seminal book about discovering his family's hidden past was a big influence.
This book was one of the first mysteries I read that had an African American female protagonist. At the time (1994), this was revolutionary! I've read every one of her books since. Two other authors who inspired me in this regard are – Eleanor Taylor Bland (the Marty MacAllister series) and Barbara Neely (the Blanche series). All three of these series were huge for me because they showed me it was possible to write traditional mysteries with black characters.
The granddaddy of all mysteries! I grew up reading Christie, Dorothy Sayers, and Amanda Cross as a kid. Maybe if I hadn't, I would not be writing mysteries now.
With difficulty! Right now, because Melody for Murder is coming out June 1, I am spending a lot of time on the web and in person promoting it. But hopefully, once I get the book launched I'll be able to focus more on writing the sequel. My best advice on this is to put aside quality time for your creative work (in my case, the early morning hours) and do my social media stuff later in the evening.
When I am teaching, I try to get up at six so that I can meditate, exercise, and write a bit before breakfast. That way, if I am too tired to do anything when I come home from work that night, at least I will have accomplished something.
Now that it's summer, I can be a bit more relaxed. In addition to my writing, I try to make time for playing and practicing music, visiting friends, and having time to just vegetate.
Your main character in Melody for Murder, Bertie, is a choir director. I sense that you are also a music teacher and have a musical background. How much of you and your background is reflected in Bertie?
A great deal of my own background went into Bertie's character. I am a singer, a piano player, and a choir directer. Both my mother and I have taught music in the Chicago City College system, so that part of Bertie's story came easy for me. Of course, I also took many liberties – my experience as a teacher was considerably less exciting than Bertie's.
What do you think is Bertie's biggest flaw? Did you plan that, or did it evolve as you wrote?
I think Bertie's biggest flaw is also her most endearing trait. She is, as she tells one of the characters in my book, "an inveterate optimist." She always sees the best in people and tends to plunge into situations that a more cynical individual would regard with greater caution. This quality gets her into lots of trouble – bad for Bertie but good for readers, as it keeps the plot humming.
To some degree I planned this. But her personality also evolved and clarified itself during the writing process.
The city of Chicago is almost a secondary character in Melody. What do you love the most about that city and why did you chose to set your story there?
Often when you read books about Chicago, they take place Downtown or on the North Side, which have a very different feel. When I wrote my book, I wanted to give the reader a taste for a part of the city that is often overlooked. As I was born and raised on the South Side, it is also the part of the city that I know best.
I loved that Bertie has tea every morning instead of coffee. I'm also one of those rare people who doesn't care for coffee. What about you? Coffee or tea?
I have to say I'm a tea person. I will drink the occasional cup of coffee, as Bertie does in the book. However, when I am at home relaxing, I (just like Bertie) prefer to put the kettle on.
The cover for your book is wonderful. Pen-L does consistently great covers for their books, but I'm wondering how much you already knew what you wanted it to look like and how much came from your publisher?
Didn't Pen-L do a fantastic job?! When we first discussed the cover, I sent them jpegs of other covers for music-themed mysteries. But the cover Pen-L came up with is better than any of them – it is truly eye-catching.
First of all, be stubborn! Believe in yourself and in the value of your work. Lock in your writing time and do not allow it to be interrupted. Don't let other people, whether they are friends, family, or book professionals, discourage you.
Second of all, be flexible. Be willing to receive and at least consider criticism that is given from a place of being supportive. Read and study the work of authors you admire for tips, and always be ready to revise your story one more time.
Check out Melody for Murder at Pen-L Publishing's web site, and you can sample a chapter for free!
And you can watch Carolyn's book launch concert at this link through YouTube.
You can find Carolyn on Facebook, on Twitter, and at her web site.
This entry was posted in Author Interviews, Book Review and Commentary and tagged author interviews, Carolyn Wilkins, Chicago, Damn Near White, Guest Blogs, Melody for Murder, murder mysteries, They Raised Me Up on June 1, 2015 by MegDendler.


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