text:
NANO Submission Style Guidelines
NANO Submission Form
General Submission
NANO is currently accepting notes for our 2019-20 issues. Suggested maximum submission length: 4,000 words excluding works cited (sound/film projects should be shorter than 10 minutes in duration). Please include an abstract (150 words). Electronic submission is preferred and should be sent as an email attachment using MS Word (.doc) or Rich Text Format (.rtf). Do not include your name on the attached document, but do include your name and the title of your note in the body of your email. All manuscripts should follow the 8th edition MLA guidelines for format, in-text citations, and works cited. Images, films, artwork, illustrations, and tables will be accepted for the presentation of ideas, and they should be submitted as attachments separate from the text in high-resolution formats. For information on citations, please read NANO's Citation Integrity Statement. Please send questions to [email protected]
Interviews and Reviews:
NANO is currently accepting brief interviews and reviews (book, film, installation, event) for upcoming issues. Suggested submission length: 600-2,000 words. Sound, video and image recordings are accepted (send in high-resolution formats). Send your ideas, questions, or completed interviews and reviews to [email protected]
Copyright and Permissions:
NANO expects that all submissions contain original work, not extracts or abridgements. Authors may use their NANO material in other publications provided that NANO is acknowledged as the original publisher. Authors are responsible for obtaining permission for reproducing copyright text, art, video, or other media. As an academic, peer-reviewed journal, whose mission is education, Fair Use rules of copyright apply to NANO. Send questions to [email protected]
REVISED DEADLINE:
Issue 15 Call for Papers
DEADLINE: THURSDAY, JANUARY 31, 2019
REVISED DEADLINE: FRIDAY, MARCH 15, 2019
Special Issue: Twin Peaks: Season Three
Guest Editors: Matt Miller and Matthew Lau
This special issue of NANO will explore the significance of the recently released third season of the seminal television show, Twin Peaks. Controversial from the outset and divisive to fans and critics alike, the new Twin Peaks (2017) is emerging as perhaps even more radical and important than the original series (1990-1991). The original Twin Peaks is often considered the first cult television show that spawned intensive fan followings in the emergent world of the web, and the immense catalogue of paratexts and influences the series has inspired since has never been fully tabulated. As a central work of American surrealism, a universe of oddities continues to find Twin Peaks's orbit.
It is challenging even to define the latest Twin Peaks season. Creator David Lynch has referred to it as an 18-part feature film, and it has been presented on the big screen as a film at the Museum of Modern Art (MoMA) and other venues. While Twin Peaks has always played with the tricks and tropes of genre television, especially detective fiction and soap operas, it has also pushed beyond the conventional limits of television and transgressed and exploded expectations. Season three of Twin Peaks is amorphous both in terms of its media formations and its constantly shifting tableaux of symbols and themes. It is an origin myth and tale of apocalypse, a profound questioning of the nature of good and evil, a veritable dictionary of post-modernity, a slow-moving narrative painting, a testament to the strength of a single woman, a series of elegies for actors and actresses who died between seasons two and three, a retelling of Homer's The Odyssey, a cosmic dream, and a forum for music videos. Co-writer Mark Frost has extended its world back to ancient Sumerian mythology, but season three of Twin Peaks also tracks the pulse of the moment with major statements on the current opioid crisis and the puzzling reversal of the FBI as an institution being looked to for salvation by a significant portion of the American left.
This issue welcomes multimodal essays up to 4,000 words (excluding works cited) exploring topics relating to season three of Twin Peaks, including but not limited to the following:
• Twin Peaks as genre fiction (for example, science fiction, detective fiction, horror, and soap operas)
• Examinations of use of artistic devices such as symbolism, allegory, and parallelism
• Media transformations and adaptions of season three
• Twin Peaks fandom in all its forms
• Use of music in Twin Peaks (its score, Roadhouse musical interludes, and atmospheric effects)
• Authority in Twin Peaks, including the role of Lynch's refusals.
• Twin Peaks and its literary and media paratexts (especially The Final Dossier)
• Reception of season three of Twin Peaks by the television and film industry
• Explorations of intertextuality in Twin Peaks, season three (with film, painting, music, etc.)
• Explorations of gender and feminist critique
• Examinations of the hero's journey and critique of heroism
• Religious vision and its disguises in season three
• Philosophical implications of Twin Peaks, season three
• The origins of Twin Peaks in Lynch's other works, including not only his films but his drawings, paintings, writings, short films,
and other proto-works
Please direct questions to the special issue editors: Matt Miller, Yeshiva University [[email protected]] and Matthew Lau, Queensborough Community College (The City University of New York) [[email protected]].
NANO is a multimodal journal. Therefore, we encourage submissions that include images, sound, video, data sets, or digital tools in support of a written argument. The multimodal components of the essay must be owned or licensed by the author, come from the public domain, or fall within reasonable fair use (see Stanford University Libraries' Copyright & Fair Use site, http://fairuse.stanford.edu/overview/fair-use/ and the U.S. Copyright Office's Fair Use site, http://www.copyright.gov/fls/fl102.html for more information). NANO's Copyright and Permissions information is on the top left of this page.
For questions about video, audio, or image usage, please contact NANO: [email protected].
NANO uses modified 8th Edition MLA (Modern Language Association) formatting and style. See: https://nanocrit.com/Submissions/Submission-Guidelines
Please use the Submission Form on top left of this page.
Keywords and abstract: Each author is asked to submit 5 keywords and a 150-word abstract to accompany their submission.
Deadlines concerning the special issue to be published in NANO:
• Submission deadline: January 31, 2019
• Publication: spring/summer 2019
We look forward to receiving your contributions.
*Image: Screenshot from Twin Peaks, Season 3, Episode 8, 2017.
DEADLINE: FRIDAY, MAY 15, 2018
Special Issue: Captivity Narratives Then and Now: Gender, Race, and the Captive in Twentieth- and Twenty-First-Century American Literature and Culture
Guest Editor: Megan Behrent
Captivity is everywhere in the texts and popular culture of the twentieth- and twenty-first-centuries—from headline grabbing icons of captivity such as Patty Hearst and Jessica Lynch to the growth of captivity-themed popular television such as Unbreakable Kimmy Schmidt, Orange is the New Black, and The Handmaid's Tale. In its modern iterations, captivity serves to both reify and defy the social construction of race, gender, and national identity endemic to early expressions of the genre.
But, early captivity narratives set the stage for these modern examples. In fact, there is a large body of scholarship from Nancy Armstong, Rebecca Blevins Faery, Christopher Castiglia, Cathy Rex, Gordon Sayre, and Susan Scheckel among others, attesting to the cultural and ideological role that seventeenth-century captivity narratives like Mary Rowlandson's ur-text have played in the development of an imagined national community. These early narratives also established one of the most consistent tropes of the genre: the use of white female bodies "as guardians of the boundaries of race to serve the territorial and political purposes of white men and their claim to dominance," (Faery) or to create what Lauren Berlant has called a "national symbolic."
This NANO special issue seeks to explore this complex legacy by inviting multimodal papers that examine tropes of captivity in 20th and 21st century culture. More specifically, we seek papers that explore the legacy of the captivity narrative genre, particularly its modern, postmodern, and contemporary permutations. This issue seeks to determine the extent to which narratives of captives, particularly those written by women, persist and define American literature and culture.
This issue of NANO welcomes multimodal essays up to 4,000 words (excluding works cited) exploring topics relating to captivity narratives, including but not limited to the following:
the various forms of captivity (e.g., lawful imprisonment, kidnapping, mental or physical illness, abuse, sex trafficking, slavery) in women's narratives of the 19th, 20th, and 21st centuries
captivity narratives in modern and contemporary media (women's magazines, television, film, graphic novels, video games)
captivity narratives, the nation & nationalism, particularly during times of war of political conflict
captivity narratives and the construction of gender and the domestic sphere
captivity narratives, race, and the construction of the other
the use of writing and narrative as therapy to cope with the trauma of captivity
the various coping strategies women have used to deal with captivity in different times and places
social valuations of transculturation in the narratives of captive women, including but not limited to transatlantic, trans-Caribbean, and other border-crossing captivities
voyeurism and the male gaze in women's captivity narratives
Please direct questions to the special issue editor: Megan Behrent ([email protected]).
Submission deadline: May 15, 2018
Pre-production begins June, 2018
Publication: fall 2018
*Image: Coverly-Rowlandson Woodcut from "Bottom Up: Section III: Captivity." Edited by James N. Green and Wendy Woloson. The Michael Zinman Collection of Early American Imprints, The Library Company of Philadelphia, 2004. www.librarycompany.org/zinman/.
REVISED DEADLINE: FRIDAY, JANUARY 12, 2018
Special Issue: The Anthropocene
Guest Editors: Kyle Wiggins and Brandon Krieg
In the Anthropocene–our geological present defined by humans as the dominant, destructive force in the natural world–calamity is familiar. As Jeremy Davies puts it in The Birth of the Anthropocene, "Earth's atmosphere, oceans, rocks, plants, and animals are experiencing changes great enough to mark the ending of one epoch and the beginning of another" (2). We have entered a moment of environmental crisis, yet the concept of "Anthropocene" continues to be used in "diverse, contested, and even incompatible ways" and its influence on humanism and the humanities remains much debated (6).
For McKenzie Wark, the Anthropocene "is a series of metabolic rifts, where one molecule after another is extracted by labor and technique to make things for humans, but the waste products don't return so that the cycle can renew itself again. The soil depletes, the seas recede, the climate alters, the gyre widens: a world on fire" (Molecular Red, xiv). Ironically, Wark sees opportunity in this unsettling. He argues that this age of "carbon liberation" invites a reorganization of time and material resources, one that might generate an endurable relationship between human labor and nature. Jane Bennett sees a related opportunity in the Anthropocene to extend our conception of material geology to include human bodies, noting that humans "are made of the same elements as is the planet," and that, "Like wind or river, human individuals and groups are geologic forces that can alter the planet in countless and, as the concept of the Anthropocene marks, game-changing ways" ("Making the Geologic Now"). Bennett proposes an ethic of "self" as coextensive with other geologic material as crucial to promoting human survival: "For me, one of the effects of a heightened awareness of the interpenetration of the human and ahuman geologic is that it stretches my definition of 'self'-interest to include the flourishing of the complex system of bio-geologic processes. This enriched understanding of 'self' would then, I hope, enable a more extended pursuit of our conatus, the endeavor to persist in being." In contrast, in a most apocalyptic take, Roy Scranton argues that the "biggest problem we face" in the era of climate change "is a philosophical one: understanding that this civilization is already dead" ("Learning How to Die in the Anthropocene"). Nothing can rescue our doomed species. The time has come to rethink what it means to be human on a planet imperiled by human presence.
The aim of this NANO special issue is to explore what shape this new humanism is taking and how literature, film, art, philosophy–really the breadth of the humanities–are responding to the Anthropocene's challenges. What does art made for a dying planet look like? Do artists, intellectuals, and critics see our species as moribund? What moral, ethical, and political challenges face citizens of the Anthropocene? What stories do we tell ourselves about civilization's (inevitable) end? What value or purpose do such tales have? Can a new humanism save us?
This issue of NANO welcomes multimodal essays up to 4,000 words (excluding works cited) exploring topics relating to the Anthropocene, including but not limited to the following:
art and the Anthropocene
philosophy and carbon consumption
the rhetoric of "sustainability" and "green living" in American consumerism
ecocriticism, ecopoetics, and the Anthropocene
narratives of resource depletion
resetting civilization: the Anthropocene's possibilities for renewal
climate change and the American novel
the future of criticism in the age of the Anthropocene
extinction anxiety and popular culture
"prepper" and aftermath/cataclysm fiction
ethical dilemmas of the Anthropocene
teleology, the apocalypse, and the environmental end-game
new worlds: science fiction stories of species relocation
charting time in the Anthropocene
waste, wreckage, and industrial decay
posthumanism and the Anthropocene
the Anthropocene in the age of Trump
Direct questions to the Special Issue co-editors: Kyle Wiggins [[email protected]] and Brandon Krieg [[email protected]].
NANO is a multimodal journal. Therefore, we encourage submissions that include images, sound, video, data sets, or digital tools in support of a written argument. The multimodal components of the essay must be owned or licensed by the author, come from the public domain, or fall within reasonable fair use (see Stanford University Libraries' Copyright & Fair Use site, http://fairuse.stanford.edu/overview/fair-use/ and the U.S. Copyright Office's Fair Use site, http://www.copyright.gov/fls/fl102.html for more information).
NANO uses modified 8th Edition MLA (Modern Language Association) formatting and style. See NANO's Submission page for more information.
Please use the Submission Form on the top left of this page.
Submission deadline: JANUARY 12, 2018
Pre-production begins February, 2018
Publication: Spring 2018
*Image: Crosetto, Paolo. Cava abbandonata amiantifera de Balangero, Torino, Italia. 2006. Wikimedia Commons. JPEG.
NEW DEADLINE: March 5, 2017
Special Issue: Star Wars: The Force Awakens: Narrative, Characters, Media, and Event
Guest Editors: Jason W. Ellis, Alan Lovegreen, and Sean Scanlan
This thing [Star Wars] communicates. It is in a language that is talking to young people today, and that's marvelous.
—Joseph Campbell in conversation with Bill Moyers, The Power of Myth (1988)
There are certainly many more themes in The Force Awakens that speak to us, and help us to learn more about these characters and what makes them tick.
—Dan Zehr, "Studying Skywalkers" column on starwars.com (May 18, 2016)
It is the aim of this special issue of NANO to address the significance of the latest installment of Star Wars by exploring its narrative, characters, media, and event. Across nearly four decades, audiences spanning generations have experienced Star Wars through films, television programs, books, video games, special events such as the annual "celebrations," and other storytelling media, including action figures and LEGO. Following Disney's acquisition of Lucasfilm, George Lucas' production company, audiences experienced a new transmedia event and a continuation of the old stories with the release of Star Wars Episode VII: The Force Awakens in 2015. Joseph Campbell's earlier observations about the first film raises new questions that deserve to be answered about the latest: How does this new film communicate? What language does it use? And, to whom is it speaking?
One way to approach these issues of communication and language is through the convergence of the film's narrative and characters, especially how the transmission of this convergence gets revealed through a variety of media as an event. For example, how does the film's narrative respond to, continue, and challenge those that it follows? And what about the cast of characters—some returning and some new? What do these characters and their performance of the narrative have to say about the here-and-now as well as the past? Of course, the narrative is told through media, which includes different film technologies, digital distribution, DVD and Blu-Ray discs, websites, video games, and apps. And stepping back for a larger perspective, the release of the film and its transmedia supporting elements inform The Force Awakens as an event, in part orchestrated by Disney/Lucasfilm, and in part connected to contemporary events, including #oscarssowhite, #womeninfilm, and #paygap. Furthermore, how does its event(s) relate to those of the past, including specifically those centered on the release of the earlier films and subsequent events awakening fans' nostalgic enthusiasm. The Force Awakens' considerable box office performance and tie-in successes signal how significant this film (and its progenitors) is, and it is the aim of this special issue to explore the promise and pitfalls of its cultural influence.
This issue welcomes multimodal essays up to 4,000 words (excluding works cited) exploring topics relating to Star Wars: The Force Awakens, including but not limited to the following:
transmedia storytelling and The Force Awakens (including "Journey to Star Wars: The Force Awakens" publications, such as Chuck Wendig's novel, Star Wars: Aftermath, and comic books Star Wars: Shattered Empire and Star Wars: Poe Dameron
media transformation and adaptation (e.g., comparing the film with Alan Dean Foster's novelization)
materiality and The Force Awakens (e.g., LEGO, play, and collecting)
Star Wars fandom and cosplay
Star Wars reference materials and publications
starwars.com and the official Star Wars app
Star Wars videogames including LEGO Star Wars: The Force Awakens, Star Wars Battlefront, and the now defunct Disney Infinity tie-ins
Jakku Spy VR experience
Star Wars Celebration and ComicCon special events
social and political movements' coinciding/connecting with The Force Awakens
the hero's journey and the heroes' journeys
movement and storytelling
vehicles as characters
nostalgia and familiarity
inclusive casting/characters
droids and aliens
hidden bodies/cgi characters (e.g., Maz Kanata/ Lupita Nyong'o and Captain Phasma/Gwendoline Christie)
race and gender in The Force Awakens
terrorism, insurgency, war, and militarism
Direct questions to the Special Issue co-editors: Jason W. Ellis [[email protected]], Alan Lovegreen [[email protected]], and Sean Scanlan [[email protected]].
NANO is a multimodal journal. Therefore, we encourage submissions that include images, sound, or video in support of a written argument. These multimodal components may consist of objects and data sets that go beyond traditional media. The multimodal components of the essay must be owned or licensed by the author, come from the public domain, or fall within reasonable fair use (see Stanford University Libraries' Copyright & Fair Use site, http://fairuse.stanford.edu/overview/fair-use/ and the U.S. Copyright Office's Fair Use site, http://www.copyright.gov/fls/fl102.html for more information. NANO's Fair Use Statement is available on its submission page, http://www.nanocrit.com/submissions-information/).
NANO uses modified MLA (Modern Language Association) formatting and style.
Submission style guidelines: http://www.nanocrit.com/submissions-information/style-guide-nano/
Submission form: http://www.nanocrit.com/submissions-information/submission-form-page-nano1
Schedule: Deadlines concerning the special issue to be published in NANO:
Submission deadline: March 5, 2017
Complete comments and peer review June 2017
Pre-production begins August 2017
*Image by Jason W. Ellis
Call for Papers: Issue 11
Special Issue: Economies of the Gift in an Age of Austerity
Gift exchange is odd, even paradoxical. Giving requires calculation; one must consider the recipient's need and one's capacities. And, after the gift is given, expectation sets in. Was it well received? Will it be reciprocated? As many have noted, the gift, though ostensibly selfless, is very much an interested activity. All the calculations leading up to and following a gift exchange reveal the rules that govern a society, even the tacit ones. The gift is an object and a process. The gift moves, and it also—as a keepsake or memorial—stays put. The gift is personal, social, and cosmic.
Ralph Waldo Emerson writes that "the only gift is a gift of self." For him, the gift is about affinity and recognition: "The gift, to be true, must be the flowing of the giver unto me, correspondent to my flowing unto him." Where for Emerson the gift is about love, for Marcel Mauss, the gift is about the circulation of social power. The gift invites prolific interpretation so much so that, for Georges Bataille, the gift itself is the sign of a general economy of expenditure in which excesses of wealth and energy are either sacrificed in the potlatch of war or formed into art. For Lewis Hyde, gift exchange is the model of all creative work; generosity of spirit is the artist's permission to create, and that work is the artist's gift. Jacques Derrida in his later years finds that the gift is about time: when one gives a gift, one gives the time in which the gift circulates—the delay in which to ponder the reception or to expect the return gift. Working in a contrary direction, Anne Carson and Maurice Godelier understand giving as a form of keeping. Carson suggests that the role of the poet is historically one of "memorable naming," that the artist's gift is memory. Godelier argues that, despite Mauss's emphasis on circulation, many gifts are "inalienable." They are not given into circulation but into sequestration, and social orders depend upon restricting the circulation of gifts we mark as sacred. More recently, feminist theorists such as Tracy McNulty and Rosalyn Diprose have explored ways in which the gift and generosity negotiate relations between the self and culturally different others.
With so many masks, the gift can be found in many exchanges. In what ways is the gift interested or disinterested in some form of compensation, as in the Marshall Plan, or the Koch brothers' support of PBS and NPR programming? How is the gift functioning as an alternative to traditional capital campaigns on sites like GoFundMe.com? How is it a gift of self, as in the vulnerability and challenge in Yoko Ono's Cut Piece? When is it about connection and communication, as in Marina Abramovic's Silent Sitting? Are gifts like Christo and Jean Claude's self-funded installations Gates and Running Fence somehow different in meaning from other public artworks? In what sense is the gift's creation of a community also an exclusion, as we might see in various acts of patronage, such as Ezra Pound's support of writers aligned with his own aesthetic agendas? To what extent does Mauss's notion of giving as display of wealth live on in Gatsby's parties or Musk's SpaceX? Does the gift as expenditure appear in open-software movements, Sweden's Pirate Party? What might be the role of the gift and related rituals of hospitality in the context of current debates about immigration and the refugee crisis?
This issue welcomes multimodal essays up to 4,000 words (excluding works cited) exploring such topics as gifts and:
literature and/or poetry
inspiration and talent
re-gifting and revenge
strangers/refugees
contagion/disease
medical technologies (e.g., organ donation, fertility therapies, genetics)
labor (e.g., unpaid/under-compensated labor, internships, academic publishing, the art market)
intellectual property and information sharing
Direct questions to the Special Issue co-editors: Jennie Stearns [[email protected]] and J.P. Craig [[email protected]]. For questions about video, audio, or image usage, please contact NANO: [email protected]. NANO uses modified MLA (Modern Language Association) formatting and style.
Submission deadline: November 11, 2016
Pre-production begins January 2017
*Image: Detail of Pandora by Dante Gabriel Rossetti, 1871. Source: The Rossetti Archive
Deadline: 3 April 2016
Special Issue: Originality in a Digital Culture
Originality as an ideal has occupied an august position in American cultural history, from Emerson's injunction to "[N]ever imitate" to Apple's "Think different" campaign. Yet the very proliferation of coffee mugs, bumper stickers, fridge magnets, and tablet cases bearing Emerson's words and Apple's slogan shows that not only objects but even the ideas they bear can be disseminated en masse. And in a digital culture in which information can be shared more quickly, easily, and cheaply every day, how do we—scholars, teachers, critics, readers—conceive of originality and theorize its value?
In popular practices of sharing, information is disseminated as widely as possible through networks of others. Influence can be quantified according to measures such as the number of likes, shares, reposts, retweets, subscriptions, downloads, and favorites. Scholarship has an analogous statistical method: tracking the number of citations and downloads of published scholarship.
But while scholarship relies on carefully edited systems of attribution, social media tends to embrace promiscuity. What are the consequences of wide-ranging, even haphazard sharing practices on the value of original work as commodity? If, as Stewart Brand once stated and others have adopted as a rallying cry, "Information wants to be free," what becomes of the practice of original research? (Less quoted is Brand's preceding line: "information wants to be expensive, because it's so valuable.") Recent disputes with Amazon over e-book prices prompted a letter of protest from nearly a thousand authors, ranging from Stephen Colbert to Mary Karr to Stephen King. Writers have skin in this game, after all—as novelist Jonathan Franzen writes, "When information becomes free and universally accessible, voluminous research for a novel is devalued along with it."
Those of us who teach must also reflect on these issues and how they inform our praxis. As students outsource the maintenance of content knowledge to the cloud, how do we revise our pedagogical strategies, either to adapt to this shift in students' intellectual habits, or to ameliorate its effects? How do we teach originality (as both skill and ethos) to students unaccustomed to developing ideas in solitude?
In this special issue, we seek critical reflections or multimodal notes (up to 3,500 words) that sketch new ways of understanding originality in contemporary print and digital culture. Topics may include, but are not limited to, originality and its relationship to the following:
inspiration in collaborative relationships
historical views of collaboration and/or intellectual independence
the ethics of attribution in a collaborative environment
ownership of shared content
anonymity and legality
Snapchat, Yik Yak, and other evanescent media
meme generators
human tissue research and gene patenting
pedagogical emphases on research vs. the generation of original ideas
appropriation vs. plagiarism
open-access journals and research funding
open-source software and authorship
the Amazon-Hachette author dispute
valuations of research
intellectual property, publication, and royalties
Direct questions to the Special Issue co-editors: Tara Robbins Fee [[email protected]] and Samuel B. Fee [[email protected]]. For questions about video, audio, or image usage, please contact NANO: [email protected]. NANO uses modified MLA (Modern Language Association) formatting and style.
Keywords: Each author is asked to submit 5 keywords to accompany their submission.
April 3, 2016: Submission deadline
May 2016: Complete comments and peer review
June 2016: Begin pre-production
Call for Papers: Issue 9
Submission Deadline July 19, 2015
Special Issue: Intoxication
Intoxication is the red-headed stepchild of social and academic discourse about psychoactive substance use. Whether framed as use, misuse, or abuse, intoxication reveals dangerous human desires for social disengagement, escape, or pleasure. Even as we experience and pursue what Lee Stringer refers to as "sprees of abandon," our acts of intoxication are fraught with social tensions related to harm to the self, others, and the community. By linking intoxication with outcomes such as addiction, disease, incarceration, and death, we rarely look at intoxication as a valuable end in itself. Yet intoxication offers a tantalizing paradox: what looks like chaos, insanity, or simply a waste of time from the outside can feel like order, transcendence, or inspiration from the inside. The etymological origins of the term itself reflect the blurred boundaries between poison and elixir. As a point between experience and perception, interiority and exteriority, pleasure and pain, and acceptance and censure, intoxication is not simply a false consciousness to be discarded.
This issue of NANO seeks to move critical attention beyond one-dimensional discourses that frame intoxication in terms of criminality, disease, or excessive indulgence. NANO's guest editors hope to inspire a multi- and interdisciplinary conversation about the possibilities and realities of intoxication that have been less explored in academic and public discourse. Further, we invite contributions that uncouple intoxication from what has been an almost-essentialist relationship with addiction. In particular, we seek contributions that examine or theorize intoxication from new or unusual perspectives.
In a period of decriminalization and changing public policy, how might we re-conceptualize intoxication to better understand its attraction, value, and expressions? What are the critical aspects of intoxication overlooked in the social construction of these experiences? What might we discover about intoxication if it were understood as a performance, an embodiment of subjectivity, or a sanctioned way of transcending social boundaries?
In this special issue, we seek critical reflections or multimodal notes (up to 3,500 words) that sketch new ways of understanding intoxication. Topics may include, but are not limited to, intoxication as:
social or political activity
spiritual ecstasy
cultural expression
intentional hedonism
truth-seeking
Direct questions to the Special Issue co-editors: Alexine Fleck [email protected] and Ingrid Walker [email protected]. For questions about video, audio, or image usage, please contact NANO: [email protected]. NANO uses modified MLA (Modern Language Association) formatting and style.
Revised Schedule: Deadlines concerning the special issue to be published in NANO:
July 19, 2015: Submission deadline
October 2015: Comments and peer review complete
November-December 2015: Pre-production
Submission Deadline March 15, 2014
Special Issue: Corporations and Culture
Power, in Case's world, meant corporate power. The zaibatsus, the multinationals that shape the course of human history, had transcended old barriers. Viewed as organisms, they had attained a kind of immortality. You couldn't kill a zaibatsu by assassinating a dozen key executives; there were others waiting to step up the ladder, assume the vacated position, access the vast banks of corporate memory.
—William Gibson, Neuromancer (1984)
The Court has thus rejected the argument that political speech of corporations or other associations should be treated differently under the First Amendment simply because such associations are not 'natural persons...'
—Justice Anthony Kennedy, Citizens United vs. Federal Election Commission (2010)
Speaking in two of the idioms through which corporations are most commonly articulated—the dystopian imagination and legal jurisprudence—Gibson and Justice Kennedy each suggest ways the corporation exceeds those discourses. The corporation is an evolutionary advance that even science fiction finds fantastical; it is something other than a person which can nonetheless speak like a person, even if it can't die as one. The corporation seems to be omnipresent but elusive, structurally ubiquitous but materially ungraspable. It operates across a wide array of discourses and subject fields without being delimited by any of the spaces it inhabits.
This special issue of NANO seeks new understandings of the relationship between corporations and culture. Given the difficulties of conceptualizing the corporation, what new possibilities exist for art, narrative, activism, theory, criticism, or quotidian practice to produce fresh encounters with particular corporations or the corporation broadly speaking? What intersections and modes of relation between corporations and culture are thinkable in the present? What possible valences of the "and" in the title of this special issue—corporations vs. culture, corporations as culture, corporations within culture, corporations constraining or dictating or underwriting culture—might offer productive routes for analyzing the ways corporations operate?
Topics of particular interest include the following:
• The corporation and embodiment: how does the unified collective identity of the corporation reflect or intersect with postmodern understandings of the human self? If, as Walter Benn Michaels has argued, thinking of the corporate form requires thinking through the human form, how have shifting notions of humanity and posthumanity affected the possibilities for thinking the corporation? How are ideological understandings of the body shifting to make sense of corporate personhood, and how is corporate personhood shifting our sense of embodiment?
• The corporation and hegemony: when the primary means of mass communication, transmission, and distribution are with very few exceptions owned by corporate entities, what possibilities exist to critique, resist, or reshape the corporation within American culture? Academics and activists tend to imagine either that corporations encompass and constrain culture or that they are subject to resistance and critique from outside cultural forces, but what happens if and when corporations and culture are coterminous? Do particularly "corporate" mass cultural forms (top 40 radio, summer blockbusters, etc.) hold any interesting potential to generate critical traction on or against the corporations in which they are enmeshed? Does the corporation's relationship to capital mean a necessarily sympathetic relationship to late capitalist hegemony, or is the corporate form itself potentially benign or counterhegemonic?
• The corporation and representation: what do aesthetic and narrative representations tell us about the contours of the corporation in the American imagination? How might conversations about aesthetic and narrative representations of the corporation be informed by considering the forms of legal and political representation to which the corporation is now entitled? What are the limits to representing the corporation, and what lies beyond those limits?
We seek critical reports or multimodal notes (up to 3,500 words) that offer compelling ways of approaching these questions. Other potential topics can include, but are not limited to:
• the corporation before the 20th century
• corporations and corporate law outside the United States
• corporations and (post)colonialism
• genealogies of legal interpretations of the corporation
• treatments of corporations in visual art or graphic design
• norms and "corporate culture"
• branding and corporate aesthetics
• the process of incorporation
• the corporation from the inside; management perspectives
Direct submissions and any questions to the Special Issue co-editors: Jeffrey Gonzalez (Borough of Manhattan Community College; [email protected]) and Adam Haley (Penn State University; [email protected]).
Schedule: Revised deadlines concerning the special issue to be published in NANO:
• March 15, 2015: submission deadline
• May 2015: Complete comments and peer review
• June 2015: Begin pre-production
NANO uses MLA (Modern Language Association) formatting and style.
Style Guidelines: http://www.nanocrit.com/submissions-information/style-guide-nano/
For information on images, video, sound, copyright, and permissions, visit:
http://www.nanocrit.com/submissions-information/
www.nanocrit.com
Submission deadline: 22 September 2014
Special Issue: The Aesthetics of Trash
This is why the properly aesthetic attitude of the radical ecologist is not that of admiring or longing for a pristine nature of virgin forests and clear sky, but rather of accepting waste as such, of discovering the aesthetic potential of waste, of decay, of the inertia of rotten material that serves no purpose.
— Slavoj Žižek, Living in the End Times
This special issue of NANO begins with a question: in what new ways can trash and waste be acknowledged or conceptualized today?
Contemporary critics are eager to laud sustainability and to celebrate modern and postmodern arts and practices that make inventive use of the wastes of industrial production and the trash of consumer capitalism. These possibilities provide compelling ways to grasp late capitalist culture because it seems to offer a potential answer to an almost unimaginable problem: the ceaseless, ubiquitous, and disastrous production of waste. Some practices of collection and creative reuse in collage, collections, and found-object arts create stunning acknowledgements of the sheer and generally unacknowledged scale of waste (think, for instance, of work of artist Vic Munoz so well documented in the film Waste Land). However, endlessly celebratory emphases on isolated examples of re-use and recycling risk becoming profound disavowals, as if such reuse solved the problem and absolved us of responsibility. Put simply, is this celebration of arts or practices that incorporate or recycle waste simply making us feel better about waste problems that we cannot adequately solve by making some waste useful? Are there ways—through art—to acknowledge or conceptualize waste that would do more than celebrate such recuperations?
How can artists, philosophers, theorists, activists, and others produce new ways to acknowledge or envision events and phenomena like the Great Pacific Garbage Patch, radioactive wastelands like Fukushima or Bikini Atoll, the animal wastes of feedlots, the water wastes of fracking, or the mountains of trash produced by consumer culture? How can such new conceptualizations address biopower, in which whole populations are controlled by the industrial production of waste or by the dumping of waste? How can new ideas address the ways in which some populations are themselves figured as potential waste or treated as waste, living out what Giorgio Agamben names "bare life."
In this special issue, we seek critical reports or multimodal notes (up to 3,500 words) that sketch new strategies, modes, or practices of acknowledging waste.
Potential topics can include, but are not limited to:
Representations of waste
New trash aesthetics
Trash beyond the dialectic of recycling
Trash and populations
Mapping waste
Collections of trash and waste
Waste and the sublime
Populations and waste
Waste and abjection
Waste and power
Please refer to the sidebar on right side of this page for submission details and preferences. Direct any questions to the Special Issue co-editors: David Banash ([email protected]) and John DeGregorio ([email protected]).
UPDATED DEADLINES:
22 Sept. 2014: Notes due
Nov. 2014: Comments and peer review complete
Dec. 2014: Pre-production begins
Deadline: 28 June 2013
Special Issues: Cartography and Narratives
Building upon the extensive work on literary geography and cartographic cinema, a range of scholars in the humanities have endorsed mapping as a conceptual framework to improve our understating of narratives. Meanwhile, geographers and cartographers have recognized the importance of mapping personal stories and vernacular knowledge in order to better understand their contribution to the production of places. Examples of this fusion between maps and narratives range from GPS drawing to walking as a way of addressing the performative nature of mapping and from the political mapping of journeys and stories of illegal migrants crossing borders to mapping of feelings and emotions.
In order to further explore these relationships between maps and narratives, the commission on Art and Cartography of the International Cartographic Association (ICA) organized and held a workshopon these themes in Zurich, Switzerland, in June 2012.
We are now seeking academic and artistic contributions to be published in two special issues of two academic journals.
The first special issue will be published in NANO – New American Notes Online (issue 6) and co-edited by Laurene Vaughan and Matthew Bissen. NANO is a peer-reviewed online journal capable of publishing a full range of media and designed to encourage new interpretations and new possibilities. We are particularly interested in submissions that explore and articulate representations of place via narrative structures, especially the different ways such places and structures are recorded, communicated, and critiqued. We invite submissions that address forms of these two broad questions: how do narratives traverse through a "somewhere"? And, equally important, how are real and imagined places narrated? Acceptable formats, sizes and lengths are listed below.>
The second special issue will be published in The Cartographic Journal and co-edited by Sébastien Caquard and William Cartwright. It will compile a range of academic papers providing more of a cartographic perspective on the relationships between maps and narratives. Both of these issues will be cross-referenced to give more visibility to the publications as well as to support the interdisciplinary dimension of this project.
To view The Cartographic Journal CFP, click here
The following are some suggestions: Cartography, Mapping, Place, Space, Non-Fiction, Memoir, Critical, Documentary, Film, Representation, Realism.
Jan. 28th, 2013: Call for papers
Jun. 28th, 2013: Deadline to submit full papers & works to
Aug. 30th, 2013: Comments sent by the editors to the authors
Oct. 18th, 2013: Final version of the papers & works submitted by the authors to NANO for the review process (For the detailed instructions to the authors, please refer to NANO's Submission page.)
Nov. 15th, 2013: End of the review process
Jan. 31st, 2014: Final versions of the selected papers sent by the authors to NANO
May 2014: Publication of the special issue in NANO
(This will coincide with the publication of work in the the parallel issue on Cartographies and Narrative in The Cartographic Journal)
Submission Guidelines: Format Guidelines concerning the special issue to be published in NANO: Papers with images –3,500 words maximum; 15 images maximum in high resolution—JPEG format preferred; Film Shorts –5-10 minutes maximum using .mov, .mp4, or .wmv formats (min res = 426 x 400, max res 1920 x 1080); Sound Essays – 10 minutes maximum using .mp3 encoding at bitrates above 256 kbit/s (preferred). Electronic submission preferred. Text submissions should be sent as an email attachment using MS Word (doc.) or Rich Text Format (.rtf). Refer to the list above for multimedia submissions. Do not include your name on the attached document, but do include your name and the title of your note in the body of your email. All manuscripts should follow MLA guidelines for format, in-text citations, and works cited. Please send any questions that you have to Laurene Vaughan and Matthew Bissen (email addresses above).
Copyright and Permissions: NANO expects that all submissions contain original work, not extracts or abridgements. Authors may use their NANO material in other publications provided that NANO is acknowledged as the original publisher. Authors are responsible for obtaining permission for reproducing copyright text, art, video, or other media. As an academic, peer-reviewed journal, whose mission is education, Fair Use rules of copyright apply to NANO. Send questions to the editor.
We would appreciate it if you could inform us in February if you plan to submit a paper or work to one of these special issues. Please feel free to contact Sébastien Caquard or William Cartwright concerning The Cartographic Journal, and Laurene Vaughan and Matthew Bissen concerning NANO.
We are looking forward to receiving your contributions for these special issues.
Laurene Vaughan, Associate Professor Design and Communication, in the School of Media and Communication, RMIT University, Melbourne; Neirenberg Chair, School of Design, Carnegie Mellon University
Matthew Bissen, Architect; PhD candidate in Geography at The Graduate Center (City University of New York); Part-time faculty at Parsons The New School for Design and Hunter College
Sébastien Caquard, Assistant Professor in the Department of Geography, Planning and Environment; Concordia University, Montréal
William Cartwright, Professor of Cartography and Geographical Visualization, School of Mathematical and Geospatial Sciences; RMIT University, Melbourne
Call for Paper: Issue 5
Deadline: 1 October 2013
Special Theme: Digital Humanities, Public Humanities
Scholars, artists, and new media practitioners—including Sharon Daniel, Erik Loyer, Alex Juhasz, Liz Losh, Tara McPherson, Kathleen Woodward, Sarah Elwood, Margaret Rhee, Kim Christen, and Alan Liu—have recently investigated the intersections of digital methods with cultural criticism, demonstrating how investments in technologies and computation are not necessarily antithetical to investments in critical theory and social justice. Building on these investments, this special issue of NANO asks how, when, and for whom digital humanities is also public humanities, with particular attention to project-based research. For instance:
• Which digital humanities projects are currently engaging contemporary politics and social exclusion, under what assumptions, and through what mechanisms?
• How are these projects articulating relationships with their publics and community partners, and through what platforms and forms of collaboration?
• How are public humanities projects being preserved, circulated, and exhibited through digital methods? By whom? Using what protocols and technologies?
• Does public humanities have "data"? If so, then how is that data defined or structured? If not, then what are some concerns about data-driven research?
• What might the histories of digital humanities (however defined) learn from social justice activism, participatory research, context provision, and witnessing?
• How are building, making, or coding activities embedded in social justice initiatives?
Across text, image, audio, and video, authors are invited to individually or collaboratively submit notes or brief "reports" detailing projects that work across digital and public humanities, including projects that do not identify with either term.
For this issue, a note or "report" implies a submission that, at a minimum:
• Focuses on an existing project, which is in development or already live;
• Provides screengrabs, screencasts, or snapshots of that project and (where possible) treats them as evidence for an argument about the project;
• Intersects questions of computation and technology with questions of culture and social justice; and
• Articulates a narrative for the project, including (where applicable) its workflows, motivations, interventions, management, and partners.
Invited by NANO, the editor of this special issue is the Maker Lab in the Humanities at the University of Victoria, including Adèle Barclay, Nina Belojevic, Alex Christie, Jana Millar Usiskin, Stephen Ross, Jentery Sayers, and Katie Tanigawa.
SUBMISSION GUIDELINES: For this special issue, we are accepting submissions across text, image, video, and audio. All submissions should be submitted to both [email protected] and [email protected] by 11:59pm on 1 October 2013 in your time zone. The body of the email should include your name(s), your affiliation(s), the title of the submission, five keywords describing the submission, and media type(s) and format(s) for the submission. Where possible, the submissions should be attached to the email. Should a submission exceed the email attachment limit, then the body of the email should also include a URL for the submission. The URL should not be discoverable on the web (e.g., it should be behind a passcode-protected wall, in a private cyberlocker, or not visible by search engines). Do not include your name(s) in any file name. Your name(s) should only be included in the body of your email.
If your submission is in text, then it should not exceed 3500 words (DOC(X)s and RTFs are preferred). Up to 15 high-resolution (at least 600 dpi) images are permitted (JPEGs are preferred) per submission. Video submissions should be 3 to 10 minutes in duration (MOVs and MP4s are preferred; minimum resolution: 426 x 400; maximum resolution: 1920 x 1080). Audio essays should also be 3 to 10 minutes in duration (MP3s and WAVs are preferred, encoded at 256 kbit/s or higher). Both audio and video can also be embedded in any text submission (no more than 5 instances of embedded media per submission).
All submissions should follow MLA guidelines for format, in-text citations, and works cited. Please email any questions about the submission guidelines to [email protected] and [email protected]
SCHEDULE: Below is a tentative timeline for this special issue:
April 2013: Call for papers
October 1, 2013: Deadline for submissions to [email protected] and [email protected]
October 2, 2013: Peer review commences
November 1, 2013: Comments by the editors sent to all authors
November 25, 2013: Authors return final, revised submissions to the editors
December 1, 2013: End of peer review process
December 1, 2013: Final versions of selected submissions sent by editors to NANO
December 6, 2013: Publication in NANO
COPYRIGHT AND PERMISSIONS: NANO expects that all submissions contain original work, not extracts or abridgements. Authors may use their NANO material in other publications provided that NANO is acknowledged as the original publisher. Authors are responsible for obtaining permission for reproducing copyright text, art, video, or other media. As an academic, peer-reviewed journal, whose mission is education, Fair Use rules of copyright apply to NANO. Please send any questions related to copyright and permissions to [email protected]
QUESTIONS: Please do not hesitate to contact the Maker Lab in the Humanities (special issue editor) at [email protected] with any questions or concerns about this special issue.
We are looking forward to receiving your contributions to this issue of NANO.
The Maker Lab in the Humanities at the University of Victoria
maker.uvic.ca | [email protected]
Special Issue Editors: Adèle Barclay, Nina Belojevic, Alex Christie, Jana Millar Usiskin, Stephen Ross, Jentery Sayers, and Katie Tanigawa
New Deadline: 26 April 2013
Special Theme: Competition
Last July, the world witnessed Olympic athletes perform at their limits for personal and national glory. But, London restaurants also competed for customers. Journalists from around the globe vied for the best story. Fans, too, formed an important part of Olympic competition, even if they were thousands of miles away from the physical action. Fans may not have competed on the track, but fans did compete against the fans of opposing teams.
Why do we feel compelled to compete, to watch competitions, and to pick sides?
Even if NANO invokes the royal "we" to describe who witnessed this competitive macro event, we do so in light of its scale and scope: 200 nations will send representatives to the XXX Olympiad.
Competition is old and vast. Some even argue that it is innate. People compete for housing, jobs, mates, political office, airtime, downtime, the biggest toys, the newest ideas, and the right sneakers. This special issue of NANO seeks submissions on competition writ large.
Three question tracks:
1. Are we competitive because we are animals, or, do we become animals through competition?
2. What do people compete for, and how do they go about it? Is competition cruel, sublime, or something in between?
3. What is new in competition theory? What new competitions are out there? What are the counter-narratives to competition narratives?
A partial list of possible categories/topics:
Business: stock markets, markets, jobs, ethics, globalization, protectionism
Economics: capitalism, Marxism, socialism, oligopoly, monopoly, other systems
Education: getting into college, testing, grades, scholarships, awards, grants
Games: gambling, casinos, cards, board games, schoolyard/informal play
Politics: presidential races, primaries, polls, long shots, running mates, the democratic process, democracy, monarchy
Science: competition theory, game theory, evolution, survival of the fittest, biology, mating
Sports: team, individual, popular, unpopular, dangerous, violent, official, unofficial
Sporting Events: Olympics, Tour de France, World Cup, Super Bowl, World Series
See Submission Guidelines (right sidebar of this page).
Special Theme: Evaluation, Critique, Prizes, and Peer Review
What are the best and newest methods for creating, evaluating, and disseminating scholarly and creative work? This question motivates the next issue of NANO. As digital formats help to foster new ways to share and critique written and artistic work, as more people try to squeeze through the narrowing bottleneck of publishing, approval, and jobs, something has to give, or at least change.
Four guiding questions:
1. How have changes to the university, to scholarly publishing, and to digital publishing formats changed peer review? Will changes to peer review change the nature and methods of scholarship?
2. How have creative contests in the fields of poetry, short story, painting, sculpture, or design changed in terms of evaluation, prizes, and prestige?
3. What can the humanities learn from other disciplines in terms of evaluation and peer review?
4. How can we solve some of the current problems?
Possible Topics:
print/book/online culture, peer review, online peer review, poetry contests, short story contests, art and design contests, evaluation, judging, Pulitzer Prize, Nobel Prize, merit, approval, assessment, credit, collaboration and/or single author, contribution, attribution, plagiarism/remixing, authority/media bias, tenure and promotion, grading, popular culture evaluation, online discussion, digital/paper editing, marking up, peer-to-peer review, external linking, criticism, critique, crowd-sourcing, advice, monograph, scholarly electronic editions, Google, Google Scholar, e-books, e-journals, Wikipedia, Creative Commons, research tools, research blogs, editing tools, archiving, coding, open access
See Submission Guidelines.
Deadline: 17 July 2011
Special Theme: Mystery, the Unknown, Surprise
What's up? What went down? How are you doing? What happened? We all want to know what is going on. We want knowledge. We want to solve the crime. We want to get it right. Yet, we also get a thrill from being in suspense. We like surprise parties and a good mystery novel. This issue of NANO is dedicated to both the sleuth and the mystery maker.
Three question clusters:
1. Is storytelling a way to solve a mystery? Is the lyric the poetic mystery par excellence? Isn't the chief characteristic of drama the unraveling of an intricate mystery that we call plot? Is art more about finding one's way or creating enigma? What is the relationship between mystery and surprise?
2. Why are mysteries so powerful? Think of the prevalence of crime shows on television. Entire bookstores are dedicated just to mystery novels. Is there a business/profit angle to mystery? What might neuroscience say about the desire to seek answers to vexing questions? Are we hard-wired to be in mystery, or, are we hard-wired to figure out mysteries? And where does pleasure and desire enter into the equation?
3. The unknown and the future seem closely connected, but is the unknown also about the past? Religion is concerned with the unknown, and, perhaps, with making us comfortable with the unknown. Adventure and the unknown are correlates too. Does travel writing/cinema satiate our desire for the unknown, but in a safe manner? Do tourists simply like the soft surprise? Does the unknown help us frame ideas of difference and otherness?
suspense, ambiguity, who-done-it, secret, open secret, mystique, mysticism, crime novel, mystery novel, mystery theatre, mystery play, mystery shopper, getting/being lost, religion and the unknown, guessing, negative capability, mystery and cinema, obscurity, difference, the veil, cloak and dagger, magic, surprise attack, surprise party, shock jock, discovery, enigma, aphorism, allegory, Gordian knot, scientific method, reason and unreason


And yet, despite its essential role in the comfort of our homes, many homeowners forget about basic maintenance of their HVAC systems. Heaters and air conditioners are complicated machines that require routine inspection and maintenance to remain in peak condition. It may not seem important, but putting off this maintenance can lead to big problems down the road.
If you neglected this essential maintenance and suddenly find yourself faced with a problem, don't worry! From air conditioners breaking down in the heat of July to furnaces sputtering out in the middle of a deep winter freeze, we've seen it all. Our experienced technicians have the skills and experience needed to quickly diagnose and repair even the most serious of problems. If you need emergency maintenance of your heater or air conditioner, don't hesitate to get in touch! Call McNatt Inc in Sinton today at 361-247-0605.
Just because you haven't experienced an unplanned failure doesn't mean you should be ignoring maintenance. Long-time homeowners know just how essential it is to schedule annual maintenance of their homes' heating and cooling units. Trust us when we say a little bit of preventative maintenance goes a long way. In fact, having your heater and air conditioner regularly serviced is the single best thing you can do to prevent serious problems down the road! If you can't remember the last time you had your HVAC system serviced and want to get back on track, the time to act is now.
Experienced homeowners also know that even the best heating and air conditioning units need to be replaced eventually. Whether you're seeking a more energy efficient unit or simply need to replace a unit that's past its prime, our product catalog at McNatt Inc has something for everyone. Looking for a unit that reduces your energy bill? All our products carry the important ENERGY STAR certification. In search of something a bit more unique? Many of our units have unique features like humidity control and allergen filtration. No matter what you need, chances are, we can find a product that fits your needs.
There's a reason we have such a good reputation here in Sinton: our skilled technicians prioritize quality customer service and are committed to getting things right the first time. So, whether you need to schedule routine maintenance, are interested in upgrading your home's HVAC system, or need emergency maintenance to fix that old air conditioner, get in touch with us today by phone at 361-247-0605. We would love to help!


text:
Sarah Abitbol (* 8. Juni 1975 in Nantes) ist eine ehemalige französische Eiskunstläuferin, die im Paarlauf startete.

Karriere
Ihr Eiskunstlaufpartner war Stéphane Bernadis. An seiner Seite wurde sie von 1994 bis 2003 französische Meisterin im Paarlauf. 1993 hatten sie ihr Debüt bei Welt- und Europameisterschaften. Ihre erste bedeutende internationale Medaille gewannen sie mit Bronze bei der Europameisterschaft 1996. Bei den Europameisterschaften 1998, 1999, 2000 und 2001 errangen sie stets die Bronzemedaille. 2002 und 2003 wurden Abitbol und Bernadis Vize-Europameister hinter den Russen Tatjana Totmjanina und Maxim Marinin. Ihre einzige Medaille bei Weltmeisterschaften gewannen die Franzosen 2000 in Nizza bei ihrer Heim-WM. Sie wurden Dritte hinter den Russen Marija Petrowa und Alexei Tichonow sowie den Chinesen Shen Xue und Zhao Hongbo. Es war die erste WM-Medaille für Frankreich im Paarlauf seit Andrée und Pierre Brunets Titelgewinn 1932. Ihre einzigen Olympischen Spiele beendeten Abitbol und Bernadis 1998 in Nagano auf dem sechsten Platz. Die Olympischen Spiele 2002 in Salt Lake City mussten sie aufgrund eines Risses von Abitbols Achillessehne absagen. 2003 beendeten sie ihre Karriere.

Autobiografie
In ihrem im Januar 2020 erschienenen biografischen Buch Un si long silence enthüllt Abitbol, "dass ihr damaliger Trainer sie im Alter von 15 Jahren vergewaltigt habe". In der Folge wurde öffentlich, dass auch weitere Sportlerinnen Opfer des Trainers geworden waren und der Eissportverband nichts dagegen unternommen hatte, obwohl die Übergriffe den Verantwortlichen von "zahlreichen" Opfern gemeldet worden waren. Von Seiten der Staatsanwaltschaft wurden Vorermittlungen aufgenommen. Anfang Februar 2020 trat Didier Gailhaguet, der langjährige französische Eiskunstlaufpräsident, gegen den selbst es keine Missbrauchsvorwürfe gab, von seinem Amt zurück. Gilles Beyer, der von Abitbol beschuldigte Trainer, hat sein Fehlverhalten in einer Erklärung zugegeben und Sarah Abitbol um Entschuldigung gebeten.

Ergebnisse

Paarlauf
(mit Stéphane Bernadis)

Weblinks

Einzelnachweise

Eiskunstläufer (Frankreich)
Olympiateilnehmer (Frankreich)
Teilnehmer der Olympischen Winterspiele 1998
Französischer Meister (Eiskunstlauf)
Autobiografie
Literatur (Französisch)
Person (Sexueller Missbrauch im Sport)
Franzose
Geboren 1975
Frau

redpajama_set_name: RedPajamaWikipedia


Model-based robustness testing requires, precise and complete behavioral, robustness modeling, for example using state machines, to support automated test case generation. Robustness behavior is a crosscutting behavior and, if modeled directly, often results in large, complex state machines. These in practice tend to be error-prone and difficult to read and understand. As a result, modeling robustness behavior in this way is not scalable for complex industrial systems. To overcome these problems, Aspect Oriented Modeling (AOM) can be employed to model robustness behavior as aspects in the form of state machines specifically designed to model robustness behavior. In this paper, we present a RobUstness Modeling Methodology (RUMM) that allows modeling robustness behavior as aspects. At the core of RUMM is a UML profile (AspectSM) that allows modeling UML state machine aspects as UML state machines (aspect state machines). Such an approach, relying on a standard and using the target notation as the basis to model the aspects themselves, is expected to make the practical adoption of aspect modeling easier, and thus in our context support robustness modeling for the purpose of automated model-based testing in industry. We discuss the benefits, such as reduced modeling effort and improved readability, achieved when applying RUMM to an industrial case study where we have used the profile to model the crosscutting robustness behavior of a videoconferencing system.


1995 360/12V64 this is special its a great guitar.I put in a 12 saddle bridge and put in 7.4 toasters. Great FG on this one!
Model 366/12 from 1967, the alleged "David Bowie 366/12" For more information foloow the link below.


MARY BETH HICKS drives #14 in young guns class, and sings the National Anthem at the track.
These were the pit kids. The stands had a candy drop too.
In the renegade race DYLAN CHAPPELL went up and over the turn one wall.
There it goes...and he drove it back.
MARY BETH HICKS was leading the young guns race, but dropped out when a water hose broke off.
I hope that's coming out of the tank.
David Smith "pushes" through the pits.
heading in to turn one.
#p8 young guns class, CHRIS PATTERSON. I saw him put the helmet on..and I still don't believe it.
Dylan's car hung up on the wall.
Mike won with the sourest sounding motor that ever won a race.
Grab the skull and lets go.
Meet the smiling ladies in the ticket booth.
It was decided to finish the job and let the car go all the way over.
#17 renegade class Dylan Chappell would have a very exciting night.
The track owners mother and sister.
kids gather for the candy drop.
They pulled it over the wall and down the embankment and didn't roll it.


Automated generators are free and fast, but what are the quality implications?
A logo generator is a free website service which automates a range of possible logos for your business. The only input you can give to the design is the text that is displayed and the industry area your logo style should represent. These inputs are made on an online form and quite literally 'at the push of a button' choices of possible logos are generated for you. The service is typically free – making a logo generator the cheapest of all the available logo design options. However these designs use standard catalogue images (or 'clip art') for any graphical element of the logo, which are not copyrighted to any individual company. This therefore means you could see an identical image used in your logo on another business' design. Once you have used the generator to select a logo design no amends can be made, limiting the amount of control you have over the style people will associate with your business.
Value for money: Fair. The standard of design matches the price.
Quality of the design: Poor. One file format, low-res.
Contact with designer: No, online only.
Ease of ordering process: Very easy – simply click a button!
Ease of creation process: Requires very little from the business owner.
The logo generator service is best for price and speed and is perfect for a one-off temporary business venture which may not survive as a long-term company, or for a very early concept that you're not sure yet whether you want to invest your money in taking to the next stage. However, it is a completely inflexible service which gives you, the business owner, very little control. Though the price of the service carries no risk to a start-up business, ask yourself if you mind potentially seeing your design replicated elsewhere? Or if you mind the logo generator dictating what will become your uniform business colours and style? If you want to build a professional reputation and for customers to share that perception, your logo should match your intent.


Veteran Nashville guitarist Jeff White has carved out a lasting reputation as one of country music's best all-around talents, a first class guitarist, songwriter, and capable singer. The extent of his passions and personal skills found their fullest expression on his first two solo albums, 1996's The White Album and its 1999 follow-up The Broken Road, but his third solo release Right Beside You is the fullest realization yet of his considerable talents. White is a virtuoso within the country and bluegrass realm, but there are inklings of greater talents peering from behind the curtain. His versatility is one of the album's most remarkable features and often manifests itself in subtle ways. The album makes substantive use of many guest stars. Bekka Bramlett, Del McCoury, Alison Krauss, and Vince Gill are among the luminaries gracing the album with their presence. It's an all-around stellar effort.
The earliest mark of its exceptional quality comes with one of White's originals, the album's second track "Blue Trail of Sorrow". White comes up aces invoking a lot of the genre's lyrical stock imagery, but his voice is a remarkably expressive instrument capable of investing even well-worn sentiments with new found vitality. His voice finds an excellent match on the song with Vince Gill's tenor vocal. "Right Beside You" is another exceptional White-penned composition, co-authored with James Alan Bartram, with a layered musical approach and an upbeat, but never careening, tempo. Ronnie McCoury and Jerry Douglas make memorable contributions on mandolin and dobro respectively.
Jerry Douglas' dobro makes a lasting impression on the hard-driving "The Cold Hard Facts". It's another example of familiar lyrical content earning a new spin thanks to White's meaningful vocal approach. In his hands, this rumination on a failed love affair isn't some cliché parade – instead, it feels torn straight from the pages of White's everyday life. "Another Road" is another White co-write, this time with Bekka Bramlett and Tom Brit, and one of the album's strongest songs. This plumbs much deeper than many of the earlier and later songs and gains added emotional depth thanks to a moving turn on harmony vocals from Bramlett. White's penchant for obscure covers hits its zenith with the following Carter Family track, "Ain't Gonna Work Tomorrow", an A.P. Carter written gem that contains all the customary grit and reality one expects from the first family of country music. Vince Gill's on point harmony vocals helps strengthen the old-timey feeling that White is clearly aiming for.
"Climbing Up a Mountain" is dominated by Michael Cleveland's wonderful fiddle, but each musician contributes to the song's bright sheen and effortless movement. The album's final track is the traditional "Pretty Saro" and White is joined by noted Irish folk group The Chieftains along with his usual collaborators. It's a wonderfully elegiac ending for an album that reflects and romps in equal measure. Right Beside You has been well worth the way. Jeff White's playing and singing talents anchor everything quite well, but it's the seamless blend of various influences and the album's profoundly melodic base that stands out above all.


text:
Whittled Away
U.S. EPA Administrator Christie Whitman handed President Bush her letter of resignation yesterday, citing the desire to spend more time with her family. Whitman, who was frequently at odds with the Bush administration and constantly under fire from conservationists and industry leaders alike, did not mention political differences as a factor in her decision to step down from her post. Her resignation — which will be effective June 27 — comes shortly after the White House called on Cabinet members and senior staff to leave now or commit through the 2004 election. In her letter to Bush, Whitman defended the EPA's policies, which environmentalists have characterized as a series of attacks on air, water, and land protections. Enviros have been predicting Whitman's resignation since last year, with some calling on her to step down on principle to protest the Bush administration's anti-environmentalism.

redpajama_set_name: RedPajamaCommonCrawl


Super Puzzle - Preschool Kids APK helps you playing a game,killing time,get into shape,keep kids entertained,get to sleep,make money. If you need coloring app, Super Puzzle - Preschool Kids APK is the best cute game,kid friendly,stress reliever,super fun,educational game.
You are Downloading Kids Animals Jigsaw Puzzles Latest APK 18.1. Last Updated: Jul 13, 2018.
Kids Animals Jigsaw Puzzles developed by app family kids games for boys and girls is listed under category Educational 4.1/5 average rating on Google Play by 47716 users).
Kids Animals Jigsaw Puzzles 's main feature is ❤ Fun free puzzle game for pre-school kids with many colorful pictures! ❤.
Kids Animals Jigsaw Puzzles apk was fetched from play store which means it is unmodified and original.
6 puzzles are available for free and the full set of 18 are unlocked by purchasing the game.


It's my birthday y'all!!! Yes I am the big 3-1. I've made it past the thirty hump and I couldn't be happier with life right now. With that being said, I wanted to do something different today. I have been blogging for almost a year now and I feel like you still don't know a lot about me. I decided to give you 31+ random (not so random) facts about little old Daneisha. Check them out below and let me know what you think. Do we have anything in common?!?!
I cannot start my day without a Venti Vanilla Latte from Starbucks.
I'm a mom of the coolest, smartest, and most stubborn little boy.
Before I got pregnant, I knew for years that I would have a son whose name would be Elijah. The law of attraction is real. But that's a whole other story.
Having my son completely changed my life and my body. Neither will ever be the same again. It's the reason you will never see me with a crop top on.
Having my son also contributed to me starting this blog. I wanted to inspire women to love themselves and their bodies; especially those who have children. Don't give up on your beauty or your style just because you have children.
Because I've always been a procrastinator, I crammed a lot during grade school and college. I actually do it in just about every part of my life. It's a habit that has been the hardest for me to break.
I was in the Gifted Program and Advance Placement all through elementary, middle, and high school. So I guess the cramming worked. Or maybe I was just gifted and advanced at cramming. Either way, I hope the "gifted" part rubs off on my son.
I am a CPP (Certified Payroll Professional). It's kind of a big deal in the payroll world.
I get overwhelmed by messiness and dirty dishes; which is why I take forever to clean them (I know that's a hard concept to grasp). However, I feel very much at ease when everything is neat and clean.
I'm a style blogger whose closet is an absolute mess!
My sweet tooth is quite uncontrollable. I love sugar in every way, shape, and form; that includes cakes, ice cream, candy, juice, and all things sugary. This is another thing that I am not proud of.
I love strawberry flavored everything as well (ice cream, soda, cake, candy, scents, EVERYTHING).
One of my favorite musicians is Bob Marley. I want to visit Jamaica just to go to all of his memorial sites.
I love getting up Saturday mornings, turning on my Bob Marley music, and dancing around the house. I haven't done this in a few years.
While in high school, I spent most of my lunch hour in the library reading every book I could find (very nerdy, I know). I wish I had more time and patience to read like that nowadays.
My favorite authors/poets as a teenager were Walter Dean Myers, Omar Tyree, Langston Hughes, Dr. Maya Angelou, and Mildred D. Taylor.
The last three books that I read were Shonda Rhimes' Year of Yes, Jen Sincero's You Are A Badass, and Megyn Kelly's Settle For More.
I'm an introvert who purposely puts herself in situations where she has to interact with people. Sometimes it works out, sometimes I'm a wallflower.
I don't believe in zodiac signs. Scratch that! I don't believe in all zodiac signs. However, the Gemini sign is very real. I mean, have you met any Gemini's lately? Cuckoo (Only the men though).
I have 7 tattoos that I got throughout my 4 years at Georgia Southern University…my "living life on the edge" years. I made sure to put them in places that were easy to hide.
My two favorite cities to visit are Miami and New Orleans. If I could visit both every year, I would.
All of my thoughts and feelings are written all over my face. No poker face here.
I literally make an attempt everyday to remain humble. If ever I start trippin', God reminds me to sit down and #behumble.
Once I set my mind to conquering something, I don't quit. That's one of the reasons I'm still blogging.
I'm an emotional shopper. I shop when I'm happy, excited, sad, angry, in love, and every other emotion.
I thrive on getting a good deal when I'm shopping. And I must tell everyone about it. Another reason why I love blogging!
When I was a teenager, I hated my lips. Now I love them! They're one of my favorite features.
My least favorite part of my body is my feet. They're just not cute.
Okay, I kind of went overboard on my list. So, here are a few bonus facts about me!
Just in case y'all want to buy me a drink, my favorite alcoholic beverage is the Perfect Patron Margarita from Applebee's.
I secretly fear success. I'll get into that in another post.
I am most at peace sitting at home with my son, eating popcorn, and watching "Trolls".
My favorite song on the radio right now is Taylor Swift's "Look What You Made Me Do." I get this instant care-free, unbothered attitude when I start singing it. Love Taylor!
However, I'm currently listening to Otis Redding's, "My Lover's Prayer" as I write this.
Whew!!! This was a long post! But it was so fun and interesting trying to come up with a list of all of these things that describe me. I usually have a very hard time telling people about myself. I guess I just never think much about my likes and dislikes. It was great reflecting though. I hope you enjoyed it. Let me know what you think about some of my facts. Tell me about yourself too! Have an amazing day on me!
Happy Birthday 🙂 ! I have to admit that I prefer Otis Redding MUCH more that Taylor Swift, but she's still pretty good.
Happy Birthday 🙂 . I must admit that I prefer Otis Redding, but TS is pretty good too.
HAPPY BIRTHDAY, DANEISHA!!! I am a classmate of your mom. I always enjoy seeing your beautiful pics. I don't usually do/read blogs but decided to read yours today. You are a very beautiful and smart young lady and I'm sure your mom smiles from ear to ear in being proud of you. Happy Birthday again, enjoy!
This is such a cute blog post for your age! I'm loving the outfit so much, too!
Hey Daniesha, Happy Birthday hon! I'm 33 and I will be 34 next week and honestly if I could go back to my twenties I would not. I content with my life now. Anyway, I'm happy to learn so much great things about you. I think the one thing resonated with me is how you fear success, and I'm the same way. I have to check myself to see if I am self-sabotaging myself. Anyway, about your outfit it is on point as always, I thought those boots were black for a hot minute and I realized that they blue velvet. They look so soft to the touch and I kind want to pet them (I know weird). The dress is so pretty, but you always have the best clothes.
Loved knowing so much about you, especially that you don't quit once you start something!
Really cool post. My birthday is coming up so I might have to do something like this as well.
I assumed your closet would be as pristine as your outfits!! Lol love that. Happy birthday!
That's awesome, great idea for a post. I'm with you on that strawberry thing, even though I know it doesn't really taste anything like a real strawberry, still amazing! Happy birthday.
31 looks amazing on you! Though this is the first time I visit your blog, I think this is the perfect first post to read. I learned a lot about you!
These are some great facts about you. Now I feel like I know you a little better. You will absolutely love Jamaica and Miami. I love it there too. I would love to see your tattoos. You have a great sense of style girl. And happy belated bday.
You certainly are a lovely young woman.
Those boots are amazing!! Happy Birthday!
i dont know much of ladies stuff , but i would like to say you wish you happy birthday and also your collection seems astounding and dazzling , though..


Description Amy is a fine art photographer who specializes in child, baby and maternity portraiture. Her style is personal, unique and candid.
Views 1046 views, 0 incoming clicks. Averaging 0 views and 0 incoming clicks per day.


Join neighbors and friends for an evening of live music! Bring your blankets, chairs and dinner for a picnic in the park because you won't want to miss this night of fun.
Due to noise levels and safety concerns, please leave your canine friends at home. Glow sticks will be provided by Whitestone REIT.
Registration is not required for this complimentary public event.


text:
Q: How can I use the variable input into a python dictionary? Good day everyone, May I ask something. I've been having trouble with this problem code. I really need to make my own word translator but the problem is when the translation_word doesn't have the key and values.
The code:
enter = input("Please Enter the word/s: ")

translation_word = {
    "ONE": "Uno",
    "TWO": "Dos",
    "THREE":"Tres",
    "FOUR": "Kwatro",
    "FIVE": "Singko",
    "SIX": "Sais",
    "SEVEN": "Syete",
    "EIGHT": "Otso",
    "NINE": "Nwebe",
    "TEN": "Gis",
    enter.upper(): enter

}

Keys = enter.upper().split()
print(Keys)

# get translation and join the translated words into a single string
Values = ' '.join(translation_word.get(str(Key)) for Key in Keys)
print(Values)

expected result:
input: one two three eleven
output: Uno Dos Tres eleven

The code actually worked if I tried the input one two three but when I added something without in KEY&VALUE it always says error.

A: you can use a simple if statement to check if the key exists and print something if it doesn't. For example:
if key in translation_word:
  Values = ''.join(translation_word.get(str(Key)) for Key in Keys)
  print(Values)
else:
  print("This word can't be translated, please enter a different word")

redpajama_set_name: RedPajamaStackExchange


The new update comes after the dev team separated the client-side and server-side elements of the project, with the latter being renamed ASP.NET Core Razor Components, now part of the .NET Core 3.0 effort.
Razor Components was separated out from the client-side efforts because those ran into some problems, some related to working with the also-experimental WebAssembly project that provides a compilation target for C# and other higher-order programming languages so they can be used for Web development.
The simple fact is that the client-side model relies not only on WebAssembly but also the efforts of the Mono team and their WASM .NET runtime. While progress is being made extremely quickly it's not quite there yet. AOT is not an option, there is extremely limited debugging, performance needs to be improved, download sizes are too big, etc.
The server-side model gives Microsoft a chance to get Blazor out there to people almost immediately. And as it runs on good old .NET Core it's also got a solid base. It's also important to remember that due to the Blazor architecture, with its separation of app execution from rendering, any developments made will benefit both models. So client-side is not going to get left behind.
Blazor team lead Daniel Roth provided an update on that situation in a post last week announcing Blazor 0.8.0. "As was recently announced, server-side Blazor is now shipping as ASP.NET Core Razor Components in .NET Core 3.0," he said. "We've integrated the Blazor component model into ASP.NET Core 3.0 and renamed it to Razor Components. Blazor 0.8.0 is now built on Razor Components and enables you to host Razor Components in the browser on WebAssembly."
Another new development is that Blazor tooling is now included in the second preview of Visual Studio 2019.
"Previously to get tooling support for Blazor projects you needed to install the Blazor extension for Visual Studio," said Roth. "Starting with Visual Studio 2019 Preview 2, tooling support for Razor Components (and hence Blazor apps) is already included without having to install anything else. The Blazor extension is now only needed to install the Blazor project templates in Visual Studio."
After noting some .NET runtime improvements, known issues and guidance for updating existing projects, Roth reviewed Blazor's present status and future.
"This release of Blazor was primarily focused on first integrating Razor Components into ASP.NET Core 3.0 and then rebuilding Blazor on top of that," Roth said. "Going forward, we plan to ship Blazor updates with each .NET Core 3.0 update.
"Blazor, and support for running Razor Components on WebAssembly in the browser, won't ship with .NET Core 3.0, but we continue to work towards shipping Blazor some later date."


#Rowing: Ireland took gold and silver at the World Under-23 Rowing Championships in Poznan, Poland, today. The Ireland lightweight pair of David O'Malley and Shane Mulvaney showed tremendous self-belief to take the gold. Italy seemed set to dominate their final, but Ireland and Greece moved on them before the 1500 metre mark. Italy could not deal with the speed of their opponents and fell back to third. Greece would not give in easily, but Ireland, who took bronze last year, would only settle for the gold and won by two-thirds of a length.
The lightweight quadruple of Miles Taylor, Niall Beggan, Ryan Ballantine and stroke Andrew Goff produced quite a turn of speed to take their silver.
They looked well off the main action in the first half – they were sixth at 1,000 metres. But in the third quarter they charged – and continued that charge to the finish, where only Italy could hold them off.
The women's pair of Emily Hegarty and Tara Hanlon were out of contention in their B Final. The lightweight double of Lydia Heaphy and Margaret Cremen looked very good in the early stages of their race but faded to fifth and will compete in a B Final.
Ireland have two A Finals to look forward to on Sunday. Ronan Byrne, in the single sculls, and the lightweight double of Fintan and Jake McCarthy both finished second in their semi-finals.
Lightweight Pair – A Final: 1 Ireland (S Mulvaney, D O'Malley) 6:54.48, 2 Greece 6:56.24, 3 Italy 7:00.07.
Lightweight Quadruple Sculls – A Final: 1 Italy 6:10.13, 2 Ireland 6:11.45, 3 United States 6:12.55.
Lightweight Double Sculls – Semi-Finals (First Three to A Final; rest to B Final) 1 Spain 6:41.66, 2 Ireland (F McCarthy, J McCarthy) 6:42.45, 3 New Zealand 6:44.17.
Single Sculls – Semi-Final (First Three to A Final; rest to B Final): 1 United States (B Davison) 7: 14.65, 2 Ireland (R Byrne) 7:17.88, 3 Germany (M Weber) 7:24.24.
Lightweight Single Sculls – D Final (Places 19 to 24): 2 Ireland (H Sutton) 7:21.95.
Pair – B Final (Places 7 to 12): 6 Ireland (E Hegarty, T Hanlon) 7:51.20.
Lightweight Double Sculls – Semi-Finals (First Three to A Final; rest to B Final): 1 Italy 7:24.69, 2 Australia 7:30.08, 3 Greece 7:31.23; 5 Ireland (L Heaphy, M Cremen) 7:47.66.
#Rowing: Ireland's David O'Malley and Shane Mulvaney took a bronze medal at the World Rowing Under-23 Championships in Plovdiv, Bulgaria today. Italy won a tense race. Turkey led early on, but Italy and Ireland came through fast. With 500 metres to go, Italy had taken the lead with Ireland and Turkey just behind. In the final quarter, Italy secured first with Turkey just rebuffing Ireland to take the silver. Mulvaney and O'Malley had taken bronze a year after just missing out on a medal.
Lightweight Pair – A Final: 1 Italy 6:33.05, 2 Turkey 6:36.70, 3 Ireland (S Mulvaney, D O'Malley) 6:37.63; 4 Britain 6:45.33, 5 France 6:46.74, 6 Denmark 6:53.36.
Semi-Final One: 1 Denmark 6:18.69, 2 Italy 6:21.85, 3 Germany 6:23.22.
Semi-Final Two: 1 Canada 6:19.88, 2 Spain 6:20.66, 3 South Africa 6:21.69; 4 Ireland (F McCarthy, J McCarthy) 6:22.56, 5 Britain 6:23.77, 6 Poland 6:42.15.
#Rowing: David O'Malley and Shane Mulvaney won their repechage at the World Under-23 Championships in Plovdiv in Bulgaria today and qualified for the A Final of the lightweight pair. The UCD men led the field through the race, with only France staying close. The two finished in that order, and both qualified for Saturday's decider.
Lightweight Pair – Repechage (First Two to A Final; rest to B Final): 1 Ireland (S Mulvaney, D O'Malley) 6:37.47, 2 France 6:40.28.
Lightweight Double Sculls – Heat Four (First to A/B Semi-Final; rest to Repechage): 1 Ireland (F McCarthy, J McCarthy) 6:22.85; 2 Poland 6:27.26.
#Rowing: Ireland's lightweight quadruple won their heat at the World Rowing Under-23 Championships in Plovdiv in Bulgaria today. The crew of Niall Beggan, Stephen O'Connor, Andrew Goff and Shane O'Connell gave an outstanding performance. They outpaced early rivals Denmark, and when Britain challenged in the second half they more than matched them to win by 2.73 seconds. Britain and third-placed Spain qualified directly for the semi-finals.
David O'Malley and Shane Mulvaney finished second in their heat and must come through a repechage on Thursday to make the A Final of the lightweight men's pair. The winner of each heat would qualify for the A Final. Ireland's crew looked well in contention as they disputed the lead with Italy until 1,000 metres. But the Italy crew upped their rate and left Ireland behind. Their winning time was almost 12 seconds faster than the crew which won the second heat, Britain.
Lightweight Pair – Heat One (First to A Final; rest to Repechage): 1 Italy 6:41.77; 2 Ireland (S Mulvaney, D O'Malley) 6:47.52.
Lightweight Quadruple Sculls – Heat One (First Three to A/B Semi-Finals; rest to Repechage): 1 Ireland (N Beggan, S O'Connor, A Goff, S O'Connell) 5:59.39, 2 Britain 6:02.12, 3 Spain 6:03.16.


Campbell River Fishing Charters, your fishing guide available for salmon fishing. Campbell River Fishing Charters offers fishing charters off Vancouver Island. Fishing for the magnificent Spring and Coho salmon or sightseeing the waters of Vancouver Island.... this world renowned fishing capital of the world is the place to be.
We can set your hooks for all five species of wild Pacific salmon and bottom fish. Chinook (Kings), Coho (Silvers), Sockey, Pinks, Chums also Halibut and Ling Cod, Prawns and Dungeness Crabs. Enjoy your professional fishing adventure off beautiful Vancouver Island today.


text:
Скачать korn greatest silence mp3 - фото ms kreed
Korn III: Remember Who You Are is the ninth studio album by the American nu metal . On May 27, Roadrunner Records released a free MP3 download The untitled eighth studio album by American nu metal band Korn, often known as Untitled or Korn II, was released on July 31, 2007, through Virgin Records Get the latest News news with exclusive stories and pictures from Rolling Stone. Here you can free download latest music albums mp3 and lossless - Mediafire, Torrent, Zippyshare, Rapidgator.
Overall chart. Listed below are the overall rankings for the best albums in history as determined by their aggregate positions in over 27,000 different greatest album. Greatest Hits, Vol. 1 is a greatest hits compilation released in October 2004 by American rock Tour 1999 · Queen of the Damned soundtrack · Family Values Tour 2006 · Nightmare Revisited · Silent Hill: Downpour soundtrack · Korn Kovers. Artist - Korn Track - Another Brick In The Wall Album - Greatest Hits Volume Queen of the Damned: Music from the Motion Picture is the original motion picture soundtrack to the 2002 vampire horror film Queen of the Damned, which was released. Songfacts category - Songs About Drugs We send out the Songfacts Newsletter once a month. It contains a big list of the new songs that were added, information.
Jun 7, 2005 Women's bodies have always been a wartime battleground. But on the eastern borders of the Democratic Republic of Congo, where civil war. The Sound of Silence, Artist Nevermore's version/interpretation of Simon and Garfunkel's The Sounds of Silence. Featured in Nevermore's album Dead Heart. The 50 Greatest Love Songs of All Time. Read this first! Bloggers, DJs, and critics helped us assemble this comprehensive list of great love songs. Lists \ The 30 Greatest Dubstep Songs of All Time From Skrillex to Shackleton, the bassmasters who dropped the music world Want some other choices for music? Here's some other sites: Pandora – Your own personal online radio station. Slacker – Another personal online radio station. Zortam Mp3 Media Studio is all-in-one Mp3 application suite. It has several modules such us Zortam Mp3 Auto Tagger, Mp3 Organizer, ID3 Tag Editor, Mp3 Player
Mar 20, 2008 A woman describes her rape to a health worker in the Democratic Republic of Congo in 2006. Photograph: Spencer Platt/Getty. In the past. Based on over 6,000 votes, Smells Like Teen Spirit is ranked number 1 out of 367 choices. Agree? Disagree? Place your vote on the top 10 list of Greatest '90s Rock Songs. The latest news articles from Billboard Magazine, including reviews, business, pop, hip-hop, rock, dance, country Korn Kovers is an unreleased cover album by American nu-metal band Korn. On July 12, 2010, . Despite the silence that ensued following the album's failure to meet its unspecified April . "Love My Way" received airplay in 2005, which led to an MP3 rip of the song surfacing on the Internet shortly after. . Greatest . by Richard Gibbs and Jonathan Davis of American nu metal band Korn. . Jonathan released it in mp3 form via Amazon.com & iTunes on November The Music Collection - 84.85 GB - The Bands List - The Player 10,000 Maniacs - 44.50 MB 01 Noah's Dove.mp3 02 These Are Days.mp3 03 Eden.mp3 04 Few and Far Between.mp3. We kick off our list of the 10 Best Korn Songs with one of the band's newer tracks. 'Get Up' is the product of a collaboration with dubstep artist Skrillex. Mar 30, 2015 Nevermore – "The Sound of Silence" (Simon & Garfunkel) I unearthed this treasure when I came across an mp3 pack for Apocalyptica. As far as I'm concerned, Cave In are one of the greatest bands of all time. a hilariously charming music video, and has become one of Korn's most popular songs. Korn (stylized as KoЯn) is an American nu metal band from Bakersfield, California, formed in 1993. The band's current lineup includes founding members Jonathan Davis. Over the years of teaching, I've found a growing need for profound lovingkindness and compassion--a transformation of the heart--to underlie the insights and. Disturbed reveal their new video for the Simon Garfunkel cover, 'Sound of Silence.
Счинные ребрышки рецепт просто и вкусно
Изобразительное искусство вокруг нас 3 класс учебник в pdf
Rmd 720
Три пирата мультик
Карту на прохождение для майнкрафт 1 5 2 stalker
Windows для пк через торрент
Mini 0801 прошивка 20140116
Государственные стандарты сборник ескд
Эркин халматов песни
Кино онлайн сверхъестественное 6 й сезон все серии подряд
Саундтрек к мультфильму планета сокровищ


text:
Q: Accessing resources with a LWJGL applet I have a game made in LWJGL that I am trying to port to an applet. After my first attempt, I realized that I could not use new FileReader(path) for the applet and found that I should use ClassLoader.getSystemResourceAsStream(path) I then put the resource folder into the main src location in eclipse. When I ran it using eclipse's applet viewer, it seemed to work fine. Then I exported the jar including the resources. I set up the html like the basicapplet that is included with the LWJGL applet files. However, when I run it, it crashes each time, because it can't load the resources. Now, ClassLoader.getSystemResourceAsStream(path) seems to be returning null; I am sure that the res file is located in the root directory of my jar. Could it be that the loader is loading from some where else? Any help would be greatly appreciated.

A: If the resources are inside the games jar file I used this.
this.getClass().getResource("/imgfolder/image.png") to reach a resource within a jar.
If it's outside the jar I just use FileInputStream.


Seya Sadewmi was reported missing in Kotadeniyawa on Sept. 11, 2015. It was confirmed two days later that the young girl had been raped and murdered.
A 17-year-old schoolboy and a 35-year-old man, both neighbors of the victim, were arrested in connection with the murder. The individual known as Kondaya who was arrested along with the school student, was portrayed as the main suspect in the murder by the police, but a short while later the police arrested Kondaya's brother. DNA samples confirmed him as the main suspect in the case.
Later on Oct. 1, 2015, the 17-year-old schoolboy was acquitted by court as a result of the failure to match his DNA sample. The acquitted school student said that he had shared a picture of Seya on Facebook after the murder and that is why he was arrested. He added that he was beaten in a way that a schoolboy should never be beaten.
On Oct. 2, the schoolboy lodged a complaint with Police Headquarters following his release, seeking an inquiry into the assault that he was subject to. A resolution on this matter remains unknown. On the Sunday, Jan. 17, the student's mother claimed that the boy has been made to abandon his education and is also facing disrepute in society.


Our team has got years of hands on experience in creating customized mobile applications that can make your users to work on real-time. We make native mobile apps for any platform as well as make hybrid (cross-platform) apps. Adding to it, We develop websites and their mobile versions and make them responsive.
Our Mobile App Consultants and Architects have helped many companies roll out robust mobile apps across diverse platforms. Our Mobile applications foster amazing possibilities for conversation and engagement with audience anytime anywhere. We are technically sound with dedicated in-house mobile application team serving the following mobile apps requirement.