text:
Fateful Beauty:
This file is also available in Adobe Acrobat PDF format
Talking about Beauty
Why, I have seen wallpaper which must lead a boy brought up under its influence to a career of crime; you should not have such incentives to sin lying about your drawing-rooms.
The first of these epigraphs comes from "The Decorative Arts," a lecture Oscar Wilde gave on his North American tour of 1882. In a sense, the book before you does no more than elaborate some broader contexts for this witticism, asking what meanings it may have had for its utterer, what made it intelligible to its first hearers, and why it might still say something to us today. Answering these questions in depth, however, means tracking a set of ideas about environment's work on the young through a range of appearances, on terrains as diverse as interior-decoration guides, popular child-rearing advice, juvenile-delinquency codes, innovations in public and domestic education, debates about determinism, the emergence of neurophysiology and psychology, the discourse of the unconscious, the history of aesthetics, and—centrally, in this case—some of the forms of writing we call literature. One could also say, then, that this book describes how a vast array of arguments, speculations, and practices converged, in the last part of the nineteenth century and the first part of the twentieth, around the matter of the growing human organism's molding by surroundings and circumstances.
Wilde's bon mot about wallpaper was probably not, it must be said up front, the fruit of extended deliberation. Nor does it seem to have been intended as much more than a throwaway. As Wilde enthusiasts know, the lecture tour originated with Richard D'Oyly Carte, who was both a manager of lecture-circuit talent and a producer of Patience,the W. S. Gilbert–Arthur Sullivan operetta that debuted in London in April 1881, with a parody of Wilde named Bunthorne at its comic heart. Seizing an opportunity to combine business with business, D'Oyly Carte engaged Wilde by way of introducing Bunthorne's original to North Americans— who could see Patience in New York by late 1881 and soon after at many venues across the country. For the first weeks of his tour, in January and early February 1882, Wilde emitted epigrams, dined with luminaries, set tongues wagging with his flamboyant costume, and enjoyed massive newspaper coverage; he also gave a relatively learned lecture entitled "The English Renaissance of Art," in which he spoke at length about the theoretical foundations of the "Aesthetic Movement" and the critics and artists who had helped, intentionally or not, to bring it to birth (John Ruskin, William Morris, Algernon Charles Swinburne, Walter Pater, James McNeill Whistler). But the response to his performances on and off stage was not altogether encouraging: attacks in print and at his lectures edged from hostile to cruel and—what was much worse—audiences sometimes seemed bored. Wilde therefore set out to tone down his outrageousness and to devise a more accessible introduction to art and beauty. The major product of the latter effort was "The Decorative Arts," which he wrote in Chicago, drawing heavily on late additions he had made to "The English Renaissance," and which he first gave in that city on 13 February. This offering, which dwelt less on high cultural names and more on the need to bring beauty, taste, and good design into the home, became Wilde's most popular lecture, the one he would give when making only a single appearance in a given locale.1
The wallpaper remark did not appear even in early versions of "The Decorative Arts"; it seems to have emerged as Wilde, making his way west, continued to revise. Nonetheless, it fits perfectly with the proselytizing mission of the tour and indeed with Wilde's long campaign, inaugurated well before his trip to America, to shift the ground of virtue from a narrowly conceived morality to a lush aesthetics. Hearing the phrase "incentives to sin lying about your drawing-rooms," a late Victorian would have thought first of indecent literature along the lines of the "wicked French novel" invoked by Mr. Dumby in Wilde's 1892 play, Lady Windermere's Fan (402);2 that Wilde meant to exploit this commonplace is confirmed by his choice of "lying about," which obviously suits books much better than wallpaper. By so clearly redirecting concern from immoral volumes to ugly decoration, Wilde was memorably encapsulating his claim that among distinctions between good and bad, the one that really matters is the one between things that succeed as art and things that aesthetically fail.
Yet this is not quite the whole story of the witticism. For with it, Wilde was also indicating that art has a potent effect on conduct—and lending this point a certain topical character by tapping into widespread concern about the origins of criminality and the lawlessness of youth. As social historians have shown, the early years of the nineteenth century witnessed the birth of the juvenile delinquent as a social problem, while the later saw a further proliferation of efforts to address fears both of young people and on behalf of young people. In other words, Wilde's comment falls squarely within a period when solicitude about dangerous children and children in danger, to use the apt phrasing of Jacques Donzelot (96), was leading to unprecedented philanthropic and state-sponsored intervention in the lives of minors. Axiomatic for proponents of such action was that it must be possible to make better citizens by changing the environments in which young people mature—especially young people of the lower classes, whose ways of living appalled middle-class observers and from whose ranks the delinquent population was mainly drawn. Wilde's joke depends partly, then, upon an incongruous pairing of working-class destiny with middle-class milieu, of criminal career with drawing-room furniture.
Yet the main source of humor in the wallpaper remark is neither an inversion of values nor a collision of classes. It is, rather, a disproportion between large result and trivial cause. The motor of the epigram (which places it within a tradition, still very much alive, of jokes turning on the outsize portentousness of decoration, clothing, and other ephemera) is the suggestion that something as trivial as wallpaper could exert the kind of influence more usually attributed to drunken parents, thieving peers, or the deprivations of slum life. A mere domestic covering, an affair of surface by definition, wallpaper seems the very antithesis of profundity, as Wilde would recall again in his last great line, "My wallpaper and I are fighting a duel to the death. One or the other of us has to go" (Ellmann, Oscar Wilde 581). In the lecture auditorium as at the edge of the grave, however, the joke is much more than a joke, for Wilde's 1882 audience would have seen how it condensed the thesis of "The Decorative Arts" as a whole: that aesthetic environments (represented especially neatly by wallpaper, a furnishing that literally surrounds) have enormous power to shape the character and intellect of the young. Indeed many of Wilde's hearers would have been prepared to admit a truthfulness to the bon mot even without help from the rest of the lecture, since the thesis Wilde was staging in comic terms had been central to a discourse of moralized decoration already several decades old, quite respectable, and foundational to movements for artistic education and the beautification of schools.
Some of the specifics of that discourse will claim our attention further on, but for now we will do best to linger with this matter of small causes and large consequences. A little earlier in the text of "The Decorative Arts," Wilde observes that "the good we get from art is not what we derive directly, but what improvement is made in us by being accustomed to the sight of all comely and gracious things" ("Decorative" 161–62). What is important about art, in other words, is not the moral lesson we might draw from the narratives it represents (per a dominant nineteenth-century view), nor is it intense experience in the presence of the thing (as many theorists of the aesthetic, not excluding Wilde at other moments, would argue). What counts is something more nearly like a developed inattention to beauty—a taking of graciousness for granted, a becoming "accustomed" to the comely—that somehow improves our very selves. From this suggestion, Wilde moves to some thoughts on art in education, and it is here that our epigraph resides:
Consider how susceptible children are to the influence of beauty, for they are easily impressed and are pretty much what their surroundings make them. How can you expect them, then, to tell the truth if everything about them is telling lies, like the paper in the hall declaring itself marble? Why, I have seen wallpaper which must lead a boy brought up under its influence to a career of crime; you should not have such incentives to sin lying about your drawing-rooms. ("Decorative" 162)
"How can you expect them, then, to tell the truth if everything about them is telling lies . . . ?" The ideal of truthfulness in materials did not begin or end with Wilde, certainly. Ruskin, to whom we will return in chapter 1, decried architectural elements that misrepresent structural needs and, drawing upon the ideas of the Cambridge professor Robert Willis, made "The Lamp of Truth" one of his Seven Lamps of Architecture (Hill 223–24). The American architect Andrew Jackson Downing, to whom we will also return, took as his great principle "the simple and obvious one that the material should appear to be what it is" (35). Charles Eastlake, author of the best-selling Hints on Household Taste (1872), stressed honesty in materials generally and specifically warned against covering "the walls with a paper stained and varnished in imitation of marble" (52). And the theorists and practitioners of architectural modernism would make correspondence of form to function one of the least contestable premises of building in the age of concrete and steel. Read in this tradition, Wilde's allusion to truthfulness can seem to explain the influence of domestic furnishings by way of a kind of moral allegory after all: false wallpaper might encourage lying by suggesting that untruths go unpunished even when in plain sight.
Yet it is not clear that the young person meeting such wallpaper would draw this kind of lesson consciously. In his previous sentence, we might notice, Wilde intimates that the sensuous environment works not by the pointing of a moral explicit to thought but in a gentler, quieter, more continuous fashion. Children are generally "susceptible . . . to the influence of beauty" and become "what their surroundings make them"; like the rest of us, only perhaps more so, they are improved not by specific lessons depicted in specific objects but by a kind of contagious loveliness in the ambience of lovely things. As he nears the end of the lecture, Wilde makes this point yet more sharply. If "all the decorative arts" are given "enormous importance" in the current "English renaissance" of art, this is so because
we want children to grow up in England in the simple atmosphere of all fair things so that they will love what is beautiful and good, and hate what is evil and ugly, long before they know the reason why. If you go into a house where everything is coarse and you find the common cups chipped and saucers cracked, it will often be because the children have an utter contempt for them, but if everything is dainty and delicate, you teach them practically what beauty is, and gentleness and refinement of manner are unconsciously acquired. ("Decorative" 163, emphasis added)
Beautiful things work on the young, then, in a manner prior to precept and beneath the level of consciousness. The tedious and readily resisted inculcation of morals can be replaced, as a parent might be pleased to learn, by the more pleasant, efficacious, and sly technique of providing tasteful china. What lends beauty its special influence over the soul is precisely its capacity to slip in and improve the child without the child's being aware of it at all.
One main argument of this book is that from the late nineteenth century through the early twentieth, the scarcely registered workings of environment on the developing human being were a preoccupation of many kinds of people, from artists to scientists, from writers of fiction to crafters of policy, from experts pondering national problems raised by juveniles to parents gnashing their teeth over domestic ones. The book's other main argument, more specific than the first and dependent upon it, is that this preoccupation lent a special character to period speculations on the possible role of art and beauty in human life. The idea that aesthetic experience could shape the soul was not new in the years indicated by the subtitle of this book, nor was the understanding that people can be influenced (especially in their tender years) by events and forces of which they or their guardians are unaware. What was new was the extraordinary depth of this period's interest in the operations of unregistered experience, along with its tendency to conceive of human development as a series of transactions between an organism and its environment. The pages that follow will consider in detail the synergy between the concept of environment and the belief that any experience, no matter how fleeting or innocent, might exert incalculable influence over a person's development. They will also note how the ascent of both offered an especially promising basis for claims that the path to a better world lay in provision of beauty for the young. And they will show how this cluster of ideas bridged the diverse forms of thinking, telling, and doing mentioned in the opening paragraph of this introduction—how it linked (switching now to a more standard vocabulary of disciplines and practices) literature, art, architecture, psychology, philosophy, education, social reform, and popular advice.
Among these fields, the one privileged in Fateful Beauty is the kind of imaginative writing that goes by the name of literature. The topic of stealthy environmental influences can certainly be approached in ways that make other territories of human endeavor or natural process central, but a premise of this study is that literature plays an especially important part in this story, and for several reasons. One has to do with the representation of intimate experience, or rather with the intimate representation of experience. As the writings of Walter Pater (to be visited in chapter 2) irresistibly suggest, no form of talk about development may be better at capturing small transactions of life than the narration of the concrete experiences of an individual person. And because subtlety in delineation seems to suit subtlety in things delineated, literary narratives may be especially powerful in this regard, if by "literary" we mean to gesture at an unusual richness of meaning in the minutest details of language. Another way of putting this would be to say that under prevailing taxonomic habits, the detailed narrating of a life's unfolding can scarcely escape being marked as literary; for better or for worse, the literary is commonly understood to bear a tight affiliation to the experientially intimate.
Highly germane to this point is the historical importance of the bildungsroman, which we might succinctly define as the genre of the long narrative concerned with a fictional individual's maturation. Certainly, one aim of Fateful Beauty is to show that problems of development are important in imaginative writing well outside this genre as such (as in Auden's poetry and criticism), and yet the bildungsroman's eminence stands behind even this undertaking. If literature has existed since antiquity, "literature" as a category may be an invention of the last two hundred years or so, which means that its emergence roughly coincides with that of the bildungsroman—a genre most often, though ever problematically, said to find its prototype in Johann Wolfgang von Goethe's Wilhelm Meisters Lehrjahre (Wilhelm Meister's Apprenticeship) of 1795–96. Whatever the particulars of interdependence here, it is certainly difficult to imagine how anything like the regnant understanding of "literature" could have come into being apart from a sense that one of the main things literature does is to tell of the growth of an individual human being in a social context. That literature ought to be understood this way has, certainly, been contested by many modernist innovators and their heirs; for them, such an identification precisely misses the point that the truly literary dimension of a text must lie in its rejection of mimetic representation (including, it may be, the representation of subjectivity) in favor of the play of language. But if views on the proper hallmark of the literary differ, few would dispute that "literature" has been associated in popular opinion— and in the disciplinary partitioning of intellectual life performed by the academy since the nineteenth century—with stories about how particular people mature.
Further, literature and the bildungsroman have had a close if not always transparent relationship to faith in the benevolent power of the aesthetic, as the critic Marc Redfield has argued. Several recent readers have shown how the social hope of eighteenth-and nineteenth-century aesthetics lay in the idea that beauty—often in the company of its grander companion, sublimity—would bring human beings to some kind of reconciliation with a world that otherwise seems alien, indifferent, fragmented, or oppressive. (Terry Eagleton, to whom we will return in chapter 2, offers the most salient and extensive treatment of this aspiration.) Other readers have pointed out that the bildungsroman attempts something similar, its nominally ideal ending being one in which the protagonist comes to accommodation with a society that has thrown up obstacles to the desires and impulses of youth. (Franco Moretti, to whom we will return in a few paragraphs, presents the fullest elaboration of this argument.) Redfield, for his part, considers a number of collaborations and conflicts between these two programs for harmony, showing how the bildungsroman, as itself an aesthetic enterprise, is meant to abet the reconciliation between soul and world—even if no instance of the genre quite manages this feat, even if it can be doubted whether a true bildungsroman has ever existed. Bildungsromane are, in idea at least, "the most pedagogically efficient of novels, since they thematize and enact the very motion of aesthetic education"; because reading is "a process of Bildung inscribed in the text itself as the text's reflection on its own human essence," the bildungsroman becomes "a trope for the aspirations of aesthetic humanism," its concept finally having "no existence apart from . . . the post-Romantic history of aesthetics" (55, 39, 65). The texts considered in Fateful Beauty all negotiate in some fashion the dream of tuning subjects to their worlds. And they all draw on an understanding (so widely held in the nineteenth century as to merit the name "popular") that in any such tuning literature will assume a leading role.
All this said, it would be a mistake to subordinate the project of the present study to the question "Why literature?" Equally relevant, one might say, is the question "Why not literature?" For a governing assumption here is that the study of literature, as of any art, carries intrinsic interest, that it makes a contribution to knowledge requiring no apology in other terms, even if (as has been suggested in this case) other terms are eminently available. Fateful Beauty is not intended to constitute cultural history as opposed to literary criticism, then, nor does it aim to use literary texts merely to illustrate historical phenomena more interesting than the texts themselves. It aspires, rather, to a kind of stereoscopic effect in which one frame, wherein the object of study is a series of literary works, merges with another, wherein the object of study is a preoccupation ramifying widely through culture and society. The hope is that readers principally interested in literature will see how its readings are not just enhanced by, but inextricable from, its reconstruction of more broadly permeating convictions and trends, even as those with a primary interest in psychology, education, or social reform will see why procedures associated with literary criticism are necessary to the historiographical work it undertakes.
The first chapter of Fateful Beauty examines several aspects of late nineteenth-and early twentieth-century thinking about developmental environments. It begins by considering how the image of the vulnerable child figured in a variety of efforts to manage the experience of young people within and without the family, then turns to the growth of interest in the human organism's stealthy shaping by environment so named. This question of stealth requiring further elaboration, it next discusses how discoveries in physiology and early psychology enhanced interest in the mysterious, quasi-chemical processes by which character is formed—that is, in what we might call a developmental unconscious—before concluding with a look at how such preoccupations governed period hypotheses anent the nature of the aesthetic. Some elements in this wide-ranging chapter bear quite obviously on everything that follows; some resonate more strongly with some sections of the book than with others; some do not have acute application to any succeeding chapter. But the aim here is not to pave the way for later demonstrations that these phenomena were all directly registered in literary texts; it is rather to show that for the later nineteenth and early twentieth centuries, increasing anxiety about the susceptibility of the young, the rise of environment as a major term of thought, growing attention to the significance of the unconscious, and new understandings of art and beauty profoundly affected each other— that they made, even, a certain practical and theoretical constellation centered on the insight that people become who they are through experiences of which they may hardly be aware.
In its second chapter, the book turns to the developmental program of British aestheticism, as it was anticipated by figures like William Words-worth and Ruskin, solidified by Pater, and disseminated by Wilde and his contemporaries. Here, the argument is that Pater and Wilde find in the aesthetic a double benefit, the stealthy action of the beautiful environment rendering the soul more beautiful even as highly conscious aesthetic experience provides an opening for a sense of freedom from determination by external forces. The chapter goes on to ask why aestheticism seemed driven to undercut its own best hopes for beauty, and how its recipes for gentle shaping may be understood in relation to both the ascent of discipline described by Michel Foucault and the ideology of the aesthetic explored by Eagleton.
Chapters 3 and 4 focus on James Joyce and Theodore Dreiser, both of whom grew up in the shadow of an apparently conclusive demonstration, by modern science, that an individual's acts and qualities are determined by environmental forces working upon hereditary constitution. Pater and Wilde were also immersed in this understanding, but where it led them to a certain positive excitement about the possibility of young people maturing amid beauty, it led Joyce and Dreiser to forms of rebellion against aestheticism's ideals. In Joyce's framing, the virtue of the aesthetic lies not in the habituating to fair things described in "The Decorative Arts" but in its tendering of an order of experience that—more in line with the second of the two benefits recognized by Pater and Wilde—offers a liberation from circumstances through a suspension of appetitive desire. For Dreiser, meanwhile, Joycean as well as Wildean forms of aesthetic optimism are undone by the recognition that the yearning for beauty is itself a desire of the organism and thus a means by which environmental forces extend or confirm their control of the soul. In exploring Joyce's and Dreiser's responses, the chapter considers afresh the relationship between aestheticism and literary naturalism, which has been discussed periodically over the years but little examined lately and never substantially treated in terms of beauty's stealthy shaping.
The final two chapters turn to what we might regard as a last phase of the critique of aesthetic optimism, as unfolded by two gifted makers of literary art who were also high-profile public intellectuals in the middle years of the twentieth century—figures, that is, whose work furnishes a singular record of what issues were being pondered by the kind of people whose main business was to ponder issues. Chapter 5 argues that much in the extraordinary oeuvre of the novelist and journalist Rebecca West turns upon a sharp dismissal of the belief that any milieu can remain secure against external forces of rupture. Although sensitivity to beauty is for her the quality that divides worthwhile people from disagreeable ones, West stresses—in her most famous novel, in her best-known work of nonfiction, in her Left-baiting defenses of patriotism, and in her essayistic engagement with the experiments of Ivan Petrovich Pavlov—how dangerous it is to assume that surroundings can be managed, how important to recognize that the terrain of a human organism's struggle is never reliably circumscribed. Chapter 6 turns to yet another encounter between a writer and a scientist to examine how, in the twentieth century, views of environment's power could shape a politics. Beginning by asking what W. H. Auden learned from the life and publications of his physician father, George, it shows that the poet initially addressed the question of environmental influences less by working through the mysteries of agency than by flatly declaring transcendence of one's milieu to be an imperative. The chapter goes on to survey Auden's concerns about the possible conflict between the manipulation of juvenile conditions and the nurturing of free will, and to show how his vision of the making of the artistic soul relies on dissonance rather than concord between the environment and the growing organism. A brief epilogue to the book visits some scenes from the careers of beauty and environment after the middle of the twentieth century.3
Given the close connection between "literature" and stories about people growing, the claim that many writers of this time were profoundly concerned with human development might not in itself seem cause for comment. Yet this assertion does, in its way, run against a common understanding of what happened to literature in this period, and particularly to the novel after about 1900. Several influential critics have argued that European and North American writers in the twentieth century turned away from the nineteenth century's delight in narrating how young people mature and devoted themselves instead to stories about how young people do not mature, about how life in the modern world is an affair of stagnation or regress. Patricia Meyer Spacks, for example, has written eloquently about early twentieth-century novelists' privileging of an empowering arrest affiliated with "genius" (236), while Franco Moretti has argued that even by the time of George Eliot and Gustave Flaubert, "the historical and cultural configuration which had made the Bildungsroman possible and necessary had come to an end" (226). Not only had it become difficult to believe that "the biography of a young individual" could be "the most meaningful viewpoint for the understanding and the evaluation of history" (227); by the turn of the century, according to Moretti, youth had begun "to despise maturity," to "define itself in revulsion from" age, to look "for its meaning within itself" because adult niches had ceased to seem remotely hospitable (231).
That there is a great deal of truth in these assessments will be obvious to anyone familiar with the troubled young heroes of late nineteenth-and early twentieth-century novels, or with the cultural shifts that occurred between, say, 1870 and 1920. When José Ortega y Gasset, born in 1883, recalled, "In my generation, the manners of old age still enjoyed great prestige. So anxious were boys to cease being boys that they imitated the stoop of their elders" (51), he was also acknowledging how rapidly things had changed thereafter. Still, the assertion that the significant literature of the era largely replaced exuberant growth with desperate stasis has to be qualified. As we will see, the dream of the individual's flowering into harmony with society may have been subjected to new kinds of skepticism, but interest in how young people become the adults they become remained high. If this continuity is hard to see, one reason may be that the interest itself came to be directed at hard-to-see factors—to be governed, once again, by a feeling that the really crucial transactions occur on so molecular a scale that they resist elevation to anything recognizable as plot. Although Pater, Wilde, Joyce, Dreiser, West, and Auden all have something important to say about the shaping power of juvenile environments, they do not always say it in texts in which stories of young people take center stage.
This and preceding references to the writing of the period clearly invite another question about this book, however: Why has the term "modernism" been omitted from its title and skirted, at least so far, in this introduction? For answer, we might begin with the point that "modernism" was not a word much on the lips of the authors with whom Fateful Beauty is occupied. It only came into its current use around the middle of the twentieth century, referring at first to a movement, trend, or group of formal features (radical experimentation, difficulty, fragmentation, refractoriness, and malaise, among others) associated with certain innovative artists and writers. Only a little later did it come also to name a span of years. With this turn, of course, those cultural producers and works that looked more modernist in the qualitative sense came to be seen as epitomizing the age's meaningful progress, while others tended to recede from view; to have been nonmodernist in the age of modernism was, so it now seemed, to have been out of sync with the times, retrograde or irrelevant. It can also be argued that when "modernism" became the dominant temporal marker in the story of the arts, the qualitatively modernist features within particular works and oeuvres became the ones easiest to discern and most necessary to discuss.
Because concern with developmental environments has not heretofore been regarded as a leading characteristic of modernism in its qualitative acceptation, however, centering this study on modernism would mean either (1) deploying the term as a purely temporal designation or (2) arguing at length that this concern was a distinctive dimension, though so far little noticed, of the web of texts and writers that have been marked modernist in the qualitative sense. Both options prove problematic. Certainly, the most generous demarcations of modernism in the Anglo-American world might adopt something like 1860 (or at least Pater) as a start, 1960 (or very late West and Auden) as an end. But precisely because so large a span hovers just within the limits of the plausible, and because rival accounts might put the beginning as late as 1910 and the close as early as 1930 or even 1925, the invocation of modernism would seem to demand fuller defense here than it would in a book zeroing in on, say, the second and third decades of the twentieth century. It would appear to require some buttressing by demonstrated relevance to modernism in the less contested sense, the one that refers to groups or qualities—which is to say that option one passes directly into option two.
But option two, again, has problems of its own. To make a strong case that one is revealing a hitherto unnoticed feature of modernism (as school, style, or corpus), one would have to devote substantial attention to artists recognized as modernist—to demonstrate that the newly disclosed traits or interests accompany ones that have already put those artists securely in the modernist category. Among the writers substantially visited here, however, only Joyce has impeccable modernist credentials. In crucial respects, Dreiser, Wilde, the later Auden, and West can be understood as antimodernist, while Pater's work seems to many less an instance of modernist practice than a stimulus to modernist innovation. Nor will this book's personnel fully cooperate with an attempt to forge an intriguing trajectory, say from incipient modernism to intense modernism to attenuated modernism. Were we to rank our principal authors from most to least evidently modernist, we might come up with something like: Joyce, early Auden, Pater, West, later Auden, Wilde, Dreiser—or the fourth, sixth, first, fifth, seventh, second, and third of our writers chronologically speaking. Preferable to either of these two options, then, would seem to be a relatively sparing use of "modernism" in this study. This tack has the collateral virtue of affirming something important to those who like a certain thickness or range in readings of the culture of a given period: that the intellectual and artistic life of this era does not necessarily look less bristling or vibrant if we expand our scope beyond the figures generally regarded as most central to high modernism.
Still, it would be wrong to imply that this book has little to contribute to the ongoing critical conversation about modernism's meanings. As one of the readers of its manuscript pointed out, one way of understanding modernism is to see it as driven by a sense of a contest over who was best equipped to describe and amend human relations, a contest in which artists (still drawing inspiration, at some level, from earlier ideals of the poet-sage) saw their opponents as social scientists, natural scientists, and other professional analysts of the modern world. In such a frame, the six writers principally discussed here would be inescapably or even essentially modernist, though their ways of joining the contest in question clearly vary. West and Auden enter the fray most directly, perhaps, inasmuch as they most visibly arrogate to themselves the right to critique and adapt extraliterary theories about human behavior for their own projects. But Pater ingeniously suggests that the modern worldview is at once a product of science and that which confirms the necessity of art, while Wilde, Joyce, and Dreiser offer prescriptions for (or diagnoses of) living whose claims to expertise cannot quite be subsumed under poetic inspiration or empirical investigation alone.
Even at its most narrowly delimited, moreover, modernism was entangled in crucial ways with questions of beauty and receptivity to environmental stimuli. Three of these bear particular mention here. First: it will soon become clear that many of the ideas about human development examined in Fateful Beauty depend upon an engagement with the concept of the moment. This tiniest of temporal abstractions has always loomed large in modernist writing and writing about modernist writing, from the "awful daring of a moment's surrender" in The Waste Land to Virginia Woolf's "moments of being," from Ezra Pound's definition of the Image as "that which presents an intellectual and emotional complex in an instant of time" to the sweeping surveys of modernism offered by later critics like Moretti and Ronald Schleifer. Parts of this book, especially in chapters 2 and 3, nod to connections between the moment in developmental thinking and the moment as it figures in modernist art, but there is clearly more to be said on this point, and it will surely be to the good if future readers in future books say it.
A second, and closely related, impulse in modernism lies in its conviction that a single rich perception can alter a life. In chapter 3, we will situate Joyce and his elevation of quotidian experience amid the discourses of environment and development, but something similar might be done with a number of other modernist or protomodernist writers. Henry James and Virginia Woolf could each have been given a chapter here, as much for their concern with the power of the impression as for their sensitivity to the ways surroundings resonate through souls; so perhaps could William Carlos Williams, ever anxious for a fresh seeing that would renew the world. And so, for that matter, could Pound, whose absorption of Pater and Wilde in this area is betrayed by numerous passages in his work. In one, from 1916's Gaudier-Brzeska, Pound declares that James McNeill Whistler and the Impressionists have made him "more conscious of the appearance of the sky where it juts down between houses, of the bright pattern of sunlight which the bath water throws upon the ceiling," and that "[a]ll this is new life, it gives a new aroma, a new keenness for keeping awake" (126).
This testimony to aesthetic resurrection leads to a third and rather different point of entanglement: the importance of the not traditionally beautiful and the ugly in modernist aesthetics. On the first page of her study of the modernist cult of ugliness, Lesley Higgins quotes the following epistolary comment, March 1918, from John B. Yeats to his son William: "The poets loved of Ezra Pound are tired of Beauty, since they have met it so often in plays and poems and novels and in ordinary life. . . . It has ceased to be unintelligible, so very naturally and inevitably they turn to the ugly, celebrating it in every form of imitation" (quoted in Higgins 1). Pound might have taken exception to the elder Yeats's terms—as Higgins notes, he and many other modernists were often ready enough to promote beauty as such (145)—but it is clear, all the same, that in the early part of the century beauty suffered from its very positivity, which allied it with qualities disdained by moderns and allegedly beloved by philistines (spiritual elevation, sexual decorum, piety, cheerfulness). As the century wore on, interestingness displaced beauty as the essential quality of valid art; praise of beauty in art came to seem ever more anachronistic and recherché; and—in a development astutely noted by Denis Donoghue— casual allusions to beauty receded ever farther from the legitimate conversational terrain of heterosexual men (29). As if this were not enough, the last decades of the century saw trenchant critiques of the ideological work of the aesthetic and of sensuous pleasure (Pierre Bourdieu, Laura Mulvey, Paul de Man, Eagleton) that made it difficult to offer a judgment of beauty without recalling the exclusions, injustice, and violence perpetrated in its name.
Recently, however—and perhaps partly because these critiques made the aesthetic look more blooded and forceful than it had for some time— beauty has enjoyed a certain return to favor. Against the charge that aesthetic judgment has always been an implement in the class warfare practiced by the high upon the low (adaptations of Bourdieu) and that the sensuous pleasure taken in an object amounts to a violation of it (extensions of Mulvey), well-known critics such as Wendy Steiner, Elaine Scarry, and Donoghue have mounted eloquent defenses. They have pleaded that attacks on pleasure perform their own suspect kinds of ideological work; that the feeling for beauty and the feeling for justice augment each other; that we have much to gain not only from the unsettling experience of beautiful things but also from irresolvable debates about the value of beauty.4 This impetus toward a theoretical reevaluation seems, further, to have encouraged or dovetailed with an efflorescence of interest among novelists and poets. Zadie Smith's novel On Beauty (2005), for example, plays off Scarry's On Beauty and Being Just, while Alan Hollinghurst's Booker-prize-winning Line of Beauty (2004) draws its titular conceit from an ingredient of aesthetic success apprehended by William Hogarth in the eighteenth century.
Yet the claims for beauty whose devising is described in the earlier chapters of this book, and whose calling into question is described in the later ones, have not so far figured prominently in the twenty-first-century turn. As should be clear by now, these claims were informed by a social optimism according to which conscious aesthetic experience on the part of adults might be no more crucial than scarcely registered aesthetic experience on the part of the young. Though these claims accorded beauty an important role in the fashioning of a better world, they did not rely solely on encounters between informed audiences and works of art as such, nor did they accord the highest importance to the cultivation of taste or to some mimetic (or antithetical) relation between art and society. And though they often touched on a certain dream of resuturing life to art (dreamt by figures as diverse as the anthropologist Jane Harrison and the art critic Clement Greenberg), these claims did not exactly repose on that dream, either.5 To the way of thinking that they expressed, what art could make people know or feel was not necessarily more important than what aesthetic environments could make people insensibly become.
In this strand of a program, in this strain of a social vision, beauty and environment clearly worked together. As the notion of environment became more and more central to thinking about juvenile development and the destiny of humanity, it enhanced the aesthetic's bid to nurture future possibility; promoters of the beautiful may be said to have returned the favor. But the fortunes of the two soon diverged. If beauty's hold declined in the early years of the twentieth century, the same cannot be said of environment's. In the 1920s a radical yet appealing behaviorism briefly made environmental conditions the concern of every parent up on the latest in child rearing; in the 1930s widespread social misery lent prestige to the view that nothing was as important as socioeconomic circumstances in determining the life courses of individuals. But it was the decades after World War II that arguably witnessed the height of environment's triumph. Revulsion at Nazi eugenic policies helped make inquiry into hereditary and even physiological influences on human development broadly unpalatable, which meant that in serious research (and in popular understandings growing out of new science) environment had the field largely to itself. Not until the end of the century—with the arrival of newly sophisticated genetic analysis, explosive innovation in psychopharmacology, and a certain sense of generational distance from the era of the Third Reich—would the dominance of environment begin to recede.
The reach of environment in the popular imagination of the postwar era is nicely illustrated by the second of this introduction's two epigraphs, drawn from a text appearing around the end of the period treated in Fateful Beauty. That text is the 1953 Warner Brothers cartoon "A Mouse Divided," directed by Isadore "Friz" Freleng with story by Warren Foster, and the line is spoken by a drunken, baby-delivering stork. Having overindulged at a "Stork Club" in the sky, and believing himself therefore incapable of carrying an infant mouse all the way to its proper parents, the inebriated avian leaves the winsome rodent on the nearer doorstep of Sylvester the Cat and his bride. Sylvester is at first tempted to devour the new arrival ("I've given birth to a breakfatht!"), but ends up defending his so unusually acquired bundle of joy from other hungry felines. The last scene finds Sylvester himself being pushed in a stroller far too small for him by the rodential parents, to whom he instead of the infant mouse has now been delivered in the stork's no less bungled attempt to correct his earlier mistake.
As uttered by the stork, "A baby's a baby! It's the environimonament that molds 'em" rationalizes a dereliction of duty. Under its intoxicated and intoxicating logic, no hereditary differences among offspring can really matter because environment determines everything in the fate of the young; kitten or baby mouse, the scion of the Sylvesters will be the scion their parenting produces. But the affective consequences here are just the opposite of those usually engendered by a conviction of environment's great power: among parents, as not among besotted messenger storks, such a belief tends to heighten anxiety about the conditions under which precious offspring will mature, since it is precisely those conditions that fall to parents' charge.
The cartoon does not endorse the stork's pronouncement, of course: all manner of calamity follows the Sylvesters' adoption of the baby mouse. What is instructive for our purposes is that the stork makes the remark at all. Incorporating the line about environment into an absolutely mass-cultural form, its author or authors had to assume that it would be comprehensible to most Americans, just as Wilde had to assume that his audience would make sense of his wallpaper quip.6 To pass from the earnest aesthete on wallpaper in 1882 to the cartoon stork on the fungibility of parents in 1953, therefore, is not only to pass from the absurdly sublime to the sublimely absurd, or from a tendentially middle-class spectacle to a thoroughly cross-class entertainment. It is also to move from an indication that certain ideas about environment were widely diffused near the end of the nineteenth century to a confirmation that environment's power had achieved something like universal recognition, if not universal assent, in the postwar United States. By the middle of the twentieth century, it was clear that beauty's own fate had not been to dominate thinking about the raising of children in the new age. But environment had fared extraordinarily well.
File created: 4/10/2008
Questions and comments to: firstname.lastname@example.com
|New Book E-mails
|New In Print
|PUP Blog
|Princeton APPS
|Sample Chapters
|Princeton Legacy Library
|Exam/Desk Copy
|Recent Awards
|Princeton Shorts
|Freshman Reading
|PUP Europe
|About Us
|Contact Us
|PUP Home


text:
Safety and Efficacy of K-134 for the Treatment of Intermittent Claudication
This study has been completed.
Kowa Research Institute, Inc.
Information provided by (Responsible Party):
Kowa Research Institute, Inc.
ClinicalTrials.gov Identifier:
First received: October 30, 2008
Last updated: March 21, 2012
Last verified: March 2012
|Tracking Information
|First Received Date ICMJE
|October 30, 2008
|Last Updated Date
|March 21, 2012
|Start Date ICMJE
|November 2008
|Primary Completion Date
|July 2010 (Final data collection date for primary outcome measure)
|Current Primary Outcome Measures ICMJE
|Improvement in peak walking time at 26 weeks [ Time Frame: 26 Weeks ]
|Original Primary Outcome Measures ICMJE
|Difference between the K-134 high dose group and placebo group in the change in PWT between baseline and Week 26, as measured by an ETT utilizing a modified Gardner protocol at trough drug concentration. [ Time Frame: 26 Weeks ]
|Change History
|Complete list of historical versions of study NCT00783081 on ClinicalTrials.gov Archive Site
|Current Secondary Outcome Measures ICMJE
|Improvement in claudication onset time at 26 weeks [ Time Frame: 26 Weeks ]
|Original Secondary Outcome Measures ICMJE
|Current Other Outcome Measures ICMJE
|Not Provided
|Original Other Outcome Measures ICMJE
|Not Provided
|Descriptive Information
|Brief Title ICMJE
|Safety and Efficacy of K-134 for the Treatment of Intermittent Claudication
|Official Title ICMJE
|Not Provided
|Brief Summary
|The purpose of this study is to evaluate the safety and efficacy of K-134 for the treatment of intermittent claudication.
|Detailed Description
|Not Provided
|Study Type ICMJE
|Study Phase
|Phase 2
|Study Design ICMJE
|Allocation: Randomized
Intervention Model: Parallel Assignment
Masking: Double (Participant, Investigator)
Primary Purpose: Treatment
|Condition ICMJE
|Intermittent Claudication
|Intervention ICMJE
|Study Arms
|Publications *
|Lewis RJ, Connor JT, Teerlink JR, Murphy JR, Cooper LT, Hiatt WR, Brass EP. Application of adaptive design and decision making to a phase II trial of a phosphodiesterase inhibitor for the treatment of intermittent claudication. Trials. 2011 May 25;12:134. doi: 10.1186/1745-6215-12-134.
* Includes publications given by the data provider as well as publications identified by ClinicalTrials.gov Identifier (NCT Number) in Medline.
|Recruitment Information
|Recruitment Status ICMJE
|Enrollment ICMJE
|Completion Date
|July 2010
|Primary Completion Date
|July 2010 (Final data collection date for primary outcome measure)
|Eligibility Criteria ICMJE
Inclusion Criteria:
- Stable claudication symptoms
Exclusion Criteria:
|40 Years and older (Adult, Senior)
|Accepts Healthy Volunteers
|Contacts ICMJE
|Contact information is only displayed when the study is recruiting subjects
|Listed Location Countries ICMJE
|Russian Federation, United States
|Removed Location Countries
|Administrative Information
|NCT Number ICMJE
|Other Study ID Numbers ICMJE
|Has Data Monitoring Committee
|U.S. FDA-regulated Product
|Not Provided
|IPD Sharing Statement
|Not Provided
|Responsible Party
|Kowa Research Institute, Inc.
|Study Sponsor ICMJE
|Kowa Research Institute, Inc.
|Collaborators ICMJE
|Not Provided
|Investigators ICMJE
|PRS Account
|Kowa Research Institute, Inc.
|Verification Date
|March 2012
ICMJE Data element required by the International Committee of Medical Journal Editors and the World Health Organization ICTRP

subset: commoncrawl


text:
Budget conservatively
Happy Valley HereticDec. 17, 2009 4:10 p.m.
20/20 but still blind... "My desire for my neighbors to have as much freedom as possible, or liberals' desire to bind them down in regulations and laws so intertwined that they are automatically criminals? "
Pesky laws like those that don't let a free man pour his used motor oil in the storm water drain. Maybe a ridiculous regulation that forces a company that would never pollute the community in which it's employees live for profit, to spend money that would be going into the (CEO's pockets) community, on removing toxins and poisons from it's waste. Darn liberals think people need clean air.
I want them to keep as much of their own money as possible.
Well as much as they can make without that dang minimum wage
stealing from employers who could employe many more people at $1.30 an hr. Johannesburg's Shanty town anyone.
"the same economic and personal freedom" as long as they're the same Personal freedoms that you agree with and condone.
Abortion and Sexual orientation are pretty personal but not on your list of freedoms.
TAX Ice cream and Jello. Obesity Kill more than smokes.
20/20Dec. 17, 2009 1:20 p.m.
Calm down, Brother Schroeder.
Which demonstrates love for my neighbors, my desire for them to keep enough of their money to support their families, or liberals' desire to take more and more taxes from them?
My desire for my neighbors to have as much freedom as possible, or liberals' desire to bind them down in regulations and laws so intertwined that they are automatically criminals?
My heart already goes out for my neighbors. I wish them all success in work and business, I want them to keep as much of their own money as possible, I want them to have the time and resources to spend with their families (at home, on vacation, doing hobbies, whatever)....
Only a cankered heart would claim that stealing money from one person to give it to another represents love? Calling someone selfish who merely wants all people to have the same economic and personal freedom is a feat only Joseph Goebbels could admire.
Brother Chuck SchroederDec. 17, 2009 12:12 p.m.
First off, there is NO such word's in the brain and mouth of a conservative Utah person as Budget conservatively, that means to them to give it all to BIG BUSINESS only, and have some 3rd world country but T-Bonds to pay for it for them printing out more federal money. The Glemm Beck wannabee's there don't even know the meaning's to this either there. Love thy neighbor as thyself! Change our hearts, and our nation will transform from the inside out in ways that will amaze us!. All they know is the I, Me and Mt generation hogwash, what Rush Limbaugh tells them. That's sad. But true.
@8:18Dec. 17, 2009 11:10 a.m.
It may be painful in the short term but getting hundreds of people off the public dole and into the real economy producing goods and services will be the best long term approach.
For every single state employee laid off, not only is that much less money required in taxes, it then produces taxes when that person gets a real job.
Laying off particularly government workers is one of the best things that could be done to balance budgets.
As a former state employee, I know personally that many many state employee's could be fired with no public detriment.
SurprisedDec. 17, 2009 8:40 a.m.
Thank you for another common sense editorial. You've not been a bastion of fiscal conservatism in the past and its nice to see this perspective. There is no need to be SL Trib light.
Raising TaxesDec. 17, 2009 8:18 a.m.
Yes, raising taxes will hurt an economic recovery. But so will laying off hundreds of state employees. In fact, most economists agree that layoffs are much more harmful to an economy than tax increases. Why then would Gov. Herbert and legislators take tax increases off the table when the alternative could be much more damaging?
Once again politics trumps logic.
ImoDec. 17, 2009 5:34 a.m.
I sick and tired of fiscally liberal Republicans and I'll vote for Mickey Mouse before I vote to put more of the same into office. If that means they lose an election, so be it.


text:
This property has been removed by the agent. It may be let or temporarily removed from the market
Property Description
Letting information:
|Not Specified
|Reduced on Rightmove:
|12 June 2012 (1927 days ago)
Key features
- Spacious First Floor Apt
- 2 Double Bedrooms
- Living Room
- Fitted Kitchen
- Bathroom
- Off Street Parking
- Part-Furnished
- Available: Now
Full description
NO TENANCY APPLICATION FEES. We have pleasure in offering for rent this good sized first floor apartment situated within a small development lying in the heart of the highly sought after village of Fulford. The property lies approximately 2 miles to the south of York city centre and just over one mile from the York University campus at Heslington. There are excellent communication links with easy access onto the nearby A64 York bypass serving Leeds and the West Yorkshire conurbations. The property has the benefit of electric night storage heating and double glazing with accommodation including: Entrance hall, spacious living room, kitchen with range of fitted units and appliances, bathroom with white suite and two double bedrooms. Externally there is an allocated off street car parking space. No smokers & no pets. Available: Now
Communal Entrance Hall
Approached via a communal front entrance door with entry phone system. Stairs lead to the first floor of the building where a door leads into the apartment.
Entrance Hall
Access hatch to roof space. Entry phone. Telephone point. Electric night storage heater. Storage cupboard. Flush light wood doors leading to:
Living Room
3.05m(10'0'') x 5.44m(17'10'')
A light and spacious main reception room with double glazed windows to the front and side elevation. Television and telephone points. Electric night storage heater.
3.05m(10'0'') x 2.13m(7'0'')
Comprehensive range of fitted wall and base units with light beech doors and granite effect worktops. Tiling to splashbacks. 1.5 bowl stainless steel sink with mixer tap. Integral four ring stainless steel electric hob with stainless steel cooker hood over and single oven below. Space for fridge freezer. Plumbing for washing machine. Recessed halogen spotlights. Tiled floor.
Bedroom 1
5.56m(18'3'') x 2.69m(8'10'')
A good sized double bedroom with double glazed window to the front elevation. Electric night storage heater.
Bedroom 2
4.32m(14'2'') x 2.44m(8'0'')
Double glazed window to the front elevation. Electric panel heater.
White suite with chrome fittings comprising panelled bath with thermostatically controlled shower over and glass shower screen to side. Pedestal wash hand basin. Close coupled WC. Tiling to full height on all walls. Tiled floor. Heated towel rail.
The property has the benefit of an allocated car parking space within a resident's off street car park.
Floor Plan
General Remarks
The property is situated within the heart of the highly sought after village of Fulford. York city centre lies approximately 2 miles to the north and there are excellent communication links with easy access onto the A64 York bypass serving Leeds and the West Yorkshire conurbations. The York University campus at Heslington lies just over one mile away.
From our offices in York proceed out of the city along Fishergate continuing onto the Fulford Road. Proceed into Fulford village and the development can be seen on the right hand side of the road opposite the Bay Horse public house.
The property has the benefit of mains services of water, drainage and electricity. Heating via electric night storage and panel heaters.
Local Authority
City of York Council, Library Square, York, YO1 1XH. Tel: (01904) 613 161.
1. These particulars have been prepared as accurately and as reliably as possible, but should not be relied upon as statements or fact. If there is any point which is of particular importance to you, please contact the office and we would be pleased to check the information. Please do so particularly if contemplating travelling some distance to view the property.
2. We have not tested any services, appliances, equipment or facilities and nothing in these particulars should be deemed to be a statement that they are in good working order, or that the property is in good structural condition or otherwise.
3. Any areas, measurements, floor plans or distances referred to are given as a guide only and are not precise.
4. Purchasers must satisfy themselves by inspection or by otherwise regarding the items mentioned above and as to the correctness of each of the statements contained in these particulars.
5. No person in the employment of Hudson Moody has any authority to make or give any representation or warranty whatsoever in relation to this property or these particulars nor enter into any contract relating to the property on behalf of the vendor.
More information from this agent
To view this media, please visit the on-line version of this page at www.rightmove.co.uk/property-to-rent/property-34246606.html
Energy Performance Certificates (EPCs)
To view this media, please visit the on-line version of this page at www.rightmove.co.uk/property-to-rent/property-34246606.html
Energy Performance Certificate (EPC) graphs
Map & Street View
View in fullscreenView in fullscreen
Street View is unavailable in this location
Disclaimer - Administration fees may apply when renting a property in England, Wales or Northern Ireland. For more details, please contact the agent.
Property reference 220860A_20860. The information displayed about this property comprises a property advertisement. Rightmove.co.uk makes no warranty as to the accuracy or completeness of the advertisement or any linked or associated information, and Rightmove has no control over the content. This property advertisement does not constitute property particulars. The information is provided and maintained by Hudson Moody, Easingwold - Lettings.
Please refer to our Renting Guides for further information on how to safely rent a property.
Map data ©OpenStreetMap contributors.


text:
Si tel est le cas, alors ne rate pas ce tout nouveau site, jeuxdefootballgratuit. Symptoms of female sexual arousal disorder (FSAD) improved significantly during treatment with a topical prostaglandin (alprostadil) compared with placebo. A country town has come alive during a recent night festival, as part of an RMIT project helping reinvigorate the Latrobe Valley. Si votre tour de gagner le gros lot arrive il sera alors temps de reflechir calmement a votre avenir ainsi qursquo;a celui de vos enfants. Where did this inner you come from and how did you lose the weight. Soon after touching down overseas, Rogan didn't waste any time in getting to know the girls of the villa. Further information Related Drugs For doctors You can access the advanced leaflet with professional informations. Gosh, this cake is a friggen piece of art. And I viewed this as an opportunity for new personal vistas and growth. Not all fare types are eligible to earn Velocity Points. Apple will announce the iPhone 6 at an event on Tuesday, September 9. Jutta Limbach has the role of a mediator and this is why our clients had hoped to achieve some sort of agreement.
Sign up and join in on the fun. Florida's high numbers show the pentup demand for insurance. Throughout the decades Teichert has stayed on the cutting edge, responding to the needs of our customers, training our employees well, and outfitting our construction equipment with the latest technology for greater job efficiency. Five Foods for Flawless Finishes. It is to the credit of your commenters that so many of them have dispassionately engaged with your argument and ignored its outrageous tone despite differences of opinion. dicodunet annuaire site 4621 27k MamboFrance DEMOLoto national, tirage du. Samsung clearly sees this as an Apple Pay competitor that works in more stores right out of the box. I went deadweight limp, raised my legs and kicked out hard at anybody bigger than me within range. Sure, coalition military forces conducted Viagra mailing list strikes coordinated with and in support of the Government of Iraq using bomber, fighter, attack, fighter-attack, ground-attack, and remotely piloted aircraft against ISIL targets.
The original diagnosis was to be out of Police work for 6 to 9 months. Look, I really hate undertaking any work when overseen by advisors or critics, and as most people who read this page will know, in Turkey it is difficult to do list viagra mailing work out in the open without very soon attracting an audience. Demandez peut-Гtre les rГsultats du prochain tirage en priant trГЁs fort, en tournant autour de vous 70 fois en rГpГtant " je vais gagner le loto ". I had been wanting to know if you ever thought of modifying the page layout of your site. Good morning East Texas. Hart, list viagra mailing signed a oneyear, 2. Ethicon, Philadelphia Court of Common Pleas, was arrested last Wednesday in Jacksonville. This theory is rapidly becoming a reality as euro zone economic surprises have veered from extremely negative to extremely positive in very short order," said Lascelles. These bottomofthepyramid, hardworking entrepreneurs find it difficult, if not impossible, to access formal systems of credit. And the older ones would get lost and fumble around, you know, make all these mistakes. You should NOT put all other medical research on the back burner till cancer is cured. Pour cela il fallait jouer la combinaison suivante. The main thing is to find the courage to take the first step and to share concerns with the close people, who always help with advice or deed.
Additionally, which is fast approaching a death toll of 10,000. This can be a huge time saver that can also be used to unlock various applications or to make purchases in the App Store, the term allopathy has always referred to the principle of curing disease by administering substances that produce other symptoms (when given to a healthy human) than the symptoms produced by a disease. The user guides make it easy for the customers who are new to a specific mobile operating system so they can be familiar with the store and get simple steps of how to create accounts, link payment methods to their accounts, download Apps and more. Get helpful language services at no cost to you. Allrounder Corey Anderson reflected today on the stunning onewicket win over Australia. Today, he'll get a shot to improve his argument that he deserves that honor, as he and the rest of the defensive backs take the field for their onfield workouts in the final day of the 2015 NFL Scouting Combine. Martinez catches Vaculik with a hook and opens up in a hurry with wild punches and a knee looking to finish. With HTC One M9, the company has finally gone with the big megapixel number at least for the rear camera. Both men fled in a van which crashed near Canada Way and Rosewood Street a few blocks away. Carpenter said that when Burns approached her about participating, she had been reading an essay by Ralph Waldo Emerson, titled Nature. The TR6 Twin was paired to equally adaptable chassis that worked as well onroad and off.
Please be sure to include a helpful message introducing yourself. You can check any of those and see if something tickles your fancy. When it doesn't, if they miss three in a row, they know they're going to make the next 10. This should be verifiable with SuperMemo data, however, as of the moment of writing, I have not done the necessary computation. Psychiatrists may prescribe medications to correct chemical imbalances that cause some mental list viagra mailing. From your first phone call to your complete recovery we are there every step of the way to get you the amazing results you deserve. She coached at SVSU from 1995 through 1998. The website doesn't say whether Sally's rentals are technically illegal, but it shows that she has a minimum requirement of four nights per stay. You could even say the aesthetic list mailing viagra aim for is one that somehow makes you look fashionably slouchy. We also have Everyday Low Prices on printers. Wheat is no longer what it was 70 to 100 years ago. At MetroWest Medical Center, we are happy you have chosen us to take care of your healthcare needs. A 10W charger must have under. So they're starting a pilot program just for women. Supporting Parents of Children with Complex Medical NeedsThe Pediatric Enhanced Care Program puts the power of a team of specialists behind individual children with complex medical conditions. It hasn't changed much since last year, maybe they did, I don't know.
La premire par le grattage et la seconde par le tirage avec la cl un joli jackpot de 1 000 000. Learn about UC SHIP and the ACA (pdf) Check out UC SHIP. Design Engineer Апрель 2001 г. Additionally, neither the Yellow nor the White Pages list cell phone numbers.


text: Ya know what? I would demand my money back if you're not happy...oh yeah, it doesn't COST you a red cent to visit. Well, you're screwed bud.Seriously, do you have a brain cell in your tiny head? Well, actually someone with a brain cell in their tiny head would value all and any feedback. Sure they can decide to reject it after careful consideration of its merit. But to do so prematurely and defensively - well that demonstrates curtailed intelligence right there.What possible good do you expect to come of this post? Michael does what Michael wants...it's a nice place to be. (I'm in the same place). Well OK, but a lot of people in business do what their customers want and find it really really helpful to understand whether their customers are getting what they want. Yes, I know that this web site's paying customers are the advertisers rather than the readers but we all know what that model needs to work - readers.Boorish posts like the above have zero chance of bringing about positive change (if that indeed is what you were trying to do). Doode, you need to get a life. Maybe watch daytime soap operas or donate your time to a charity. Do something useful with your life instead of wasting it making really stupid posts on forums.


text:
in plus sizes
in plus sizes
available in
extended sizes
extended sizes
- roll over image to zoom
Esperanza 2 Little Dish
Ceramic Serving Dish(ID: A88626)
Created by Laurie Pollpeter Eskenazi
Hand built stoneware dish. Each is glazed by hand with small brushes to bring out the detail in pattern and texture. All glazes are food safe. Hand washing is recommended to avoid breakage.


text:
rhubarb 'Strawberry'
rhubarb Strawberry crown
Delivery options
- Bulb orders £2.99
- Click & collect FREE
This is a crop that should do well for gardeners in cold areas as it thrives and flavours best in cooler conditions
- Position: full sun
- Soil: any, except waterlogged soils
- Rate of growth: average
- Other features: the green leaf parts should not be eaten, but the scarlet leaf stalks are excellent for making pies, jams and wine
- Hardiness: fully hardy
Long, dark and deliciously sweet, the flesh of this rhubarb is uniformly red throughout. If you want nice, thick stems, then do not force, but you will be able to havest them (after their first year) from April onwards. It is ideal for well-drained areas of the vegetable garden, and once planted it should not be moved. The plant would benefit from a generous annual mulch of well-rotted compost or manure.
- Garden care: Dig the area in autumn, incorporating a good amount of compost or well-rotted manure. Rake in a general fertiliser, such as Growmore in to the area just before planting. Keep plants well watered and remove any flowering shoots that appear. Mulch the crowns in January or February. It is best to allow new plants to become established during the first year before harvesting your first crop, so wait for 12 - 18 months before you start pulling the sticks.
Reviewed by 1 customer
- Attractive
- Hardy
- Looks Gorgeous
- Slow To Start
Best Uses
- Garden
Comments about rhubarb 'Strawberry':
A gorgeous looking plant. It takes a bit of time to establish, but patience pays off. As it is young yet I have not tasted it yet, but stems are harty.
- Your Gardening Experience:
- Experienced
Do you want to ask a question about this?If so, click on the button and fill in the box below. We will post the question on the website, together with your alias (bunnykins, digger1, plantdotty etc etc) and where you are from (Sunningdale/Glasgow etc). We'll also post the answer to your question!
Q:My rhubarb looks spindly and weak - what do you think is wrong?
My rhubarb looks very poorly - practically no crop at all this year. What have I done wrong?Asked on 15/10/2006 by Marjory McIntyre
1 answer
A:Rhubarb is usually a very tough plant and generally doesn't succumb to many pests. It does however suffer from crown rot, which causes the terminal bud to rot and the tissue below the crown to decay. This means that any stems that do appear are spindly and dull coloured. Unfortunately there is no cure for it and badly infected plants should be dug up and burnt. You should also not re-plant another rhubarb in the affected area.Answered on 16/10/2006 by Crocus
Buying vegetable plants
If you just want to grow a few vegetables or have suffered losses with early sowings, buying plants is a great way to play catch-up. Buying plants also allows you to grow vegetables if you do not have the facilities to raise them from seed yourself or wheRead full article
The wonders of rhubarb
Is there anything you can't do with rhubarb, I wonder?I must have tried most things in my time. I've made cakes with it and stewed it for breakfast. I've pickled it into chutney and combined it with ginger in an exceptionally yummy marmalade. I've madRead full article


text:
Key findings include:
- A 75 percent loss of salt marsh habitat in the Stillaguamish River watershed is believed to be a main factor in limiting chinook populations in the river system.
- Since the 1970s, the status of herring stocks in the Port Gamble Klallam Tribe's area of concern has dropped from healthy to depressed because of degraded nearshore habitat. Herring are an important food source for salmon.
- In the Chehalis River system, the Quinault Indian Nation estimates that culverts slow or block salmon from reaching more than 1,500 miles of habitat.
- Since 1980 the number of exempt permit wells in the Skagit and Samish watersheds alone has exploded from about 1,080 to 7,232. Property owners not served by a community water system are allowed a water right permit exemption to pump up to 5,000 gallons of groundwater per day. This makes less water available for lakes, streams and wetlands, and can harm salmon at all stages of their life.
The report also documents:
- Increasing armoring of freshwater and marine shorelines by levees, dikes, bulkheads, docks and other structures that harm natural functions and reduce or eliminate salmon habitat.
- Disappearing forest cover in our watersheds – especially along rivers and streams – that is not being replaced. Forest cover helps keep stream temperatures low and reduces bank erosion.
- A huge network of unpaved forest roads, especially those crossing streams, which contribute to sedimentation that can smother and kill incubating salmon eggs.
- Ongoing salmon habitat degradation on agricultural lands because of tree removal, diking and polluted runoff.
Despite massive harvest reductions, strategic use of hatcheries and a huge financial investment in habitat restoration efforts over the past 40 years, the State of Our Watersheds report shows that we are failing to turn the tide on salmon recovery. This fact is borne out by an assessment of the Puget Sound Chinook Recovery Plan developed by the state and tribal salmon co-managers and adopted by the National Marine Fisheries Service.
The 2010 assessment declared that while protecting existing habitat is the most important action needed in the short term, salmon habitat continues to be degraded and better habitat protection efforts are needed. The assessment acknowledges that responsible harvest management is doing its share to support salmon recovery, and that salmon populations in many watersheds would not improve even if harvest was completely eliminated. Yet while harvest is held accountable for salmon recovery, habitat loss and degradation continue every day throughout every watershed in western Washington, destroying the salmon resource and along with it, the cultures, communities and treaty-reserved fishing rights of the tribes in western Washington.
"That salmon is us. All of us," Frank said. "Whatever happens to that salmon is going to happen to us. If we can't protect the salmon and its habitat, we can't protect ourselves from the same things that are driving the salmon toward extinction."
The State of our Watersheds report can be viewed online or is available on CD through the Northwest Indian Fisheries Commission Web site at www.nwifc.org/sow. The report is a living document that will be updated as new data become available.
The State of Our Watersheds report is part of the Treaty Rights at Risk initiative created by the treaty tribes in 2011 to address the erosion of tribal treaty-reserved fishing rights from the ongoing loss of salmon and their habitat. The initiative is a call to action for the federal government to fulfill its trust responsibility to the tribes and its duty to recover salmon by leading a more coordinated salmon recovery effort. More information is available at www.treatyrightsatrisk.org.


text:
Avionics Licensed Rotary Technicians
- Recruiter
- Rishworth Aviation
- Location
- Auckland
- Salary
- Excellent Pay!
- Posted
- 08 May 2012
- Closes
- 05 Jun 2012
- Ref
- 568
- Contact
- Rishworth Aviation
- Contract Type
- Contract
- Hours
- Full Time
Contract Term: Permanent
Location/Base: Auckland, New Zealand
Ref #: 568
Minimum Requirements
- Applicants must have a valid Aircraft Avionics Maintenance License with rotorcraft rating s. Preference will be given to applicants with additional GA experience.
An excellent opportunity to join an industry leading rotary company. These are permanent positions and preference will be given to applicants with the right to live and work in New Zealand.
Please apply with an updated CV and copies of all supporting documentation to; email@example.com
Salary packages, subject to the applicant's qualifications and experience
For more details and to fast track your application please APPLY NOW.
Engineers who don't yet meet these experience requirements are also invited to register and update their details at www.rishworthaviation.com. When your experience matches our position requirements, we will be able to notify you of positions which you qualify for, which may be of interest to you.


text:
By Tina Snell, Staff Writer
In a 3-2 vote, the Randall City Council voted not to give a commercial piece of property on Pacific Avenue a conditional-use permit to become zoned residential. The consensus was that taking another commercial building off the market would not be good for the city.
A proposal from the Randall Planning and Zoning Commission came before the City Council Wednesday night. It asked the Council to approve a conditional-use permit for a property on Pacific Avenue, changing it from commercial to a residential classification.
City Manager Jerry Peterschick said the owner of the property, Randall State Bank, was looking at refurbishing the property and changing it to a rental property. But, if the rental unit(s) were not occupied within a year, a conditional use permit would revert back to commercial property.
"This is not in compliance with the city's 2002 comprehensive plan," said Councilman Jerry Carter.
Peterschick agreed, saying the comprehensive plan states Pacific Avenue's commercial properties would stay commercial.
"But, the Planning and Zoning Commission approved a conditional-use permit. The property sits between two residences now," he said.
Carter said it's all semantics. "The bottom line is that it will be a residential occupancy," he said.
Councilman Charlie An-dres said that if it's occupied, the residents would be spending money in town.
Carter disagreed, saying he didn't think the benefit for the city would be much.
"Only the Randall State Bank will benefit," he said.
Councilman Ricky Turner said the Randall State Bank could not sell the property as it is, that it had been on the market for years. But, if it was a rental property, it may sell.
Councilman Jerry Adam-ski didn't think the Planning and Zoning Commission had checked out the details when they agreed on a conditional-use permit.
Resident Dan Noss said, "Keeping the property commercial keeps within what the Vision Randall team has suggested. I think it would be detrimental to Randall's moving forward if it's changed to residential."
Carter said that when the Veterans Trail comes through, or near, Randall, businesses will be popping up right and left.
Mayor Bob Riitters said he felt the Council should think about it, for if it votes to change the zoning to residential, it will be too late to change back. But Carter and Adamski disagreed, saying the vote should be taken that evening.
It was also commented on that representatives of the bank were not at the council meeting to give their side of the issue.
A role-call vote was taken. Carter, Turner and Adamski voted against and Riitters and Andres voted for the conditional-use permit.
Randall City Council briefs
Other business conducted by the Randall City Council Wednesday night included:
• Voting to raise the city's preliminary levy for 2013 by 4 percent, increasing the 2012 levy of $135,000 by $5,400. The proposed levy is required to be in the county auditor's hands in September so the proposed property taxes can be sent to residents in a timely manner. The preliminary amount may not be increased at the final levy meeting, but it may be decreased.
The truth and taxation meeting will be held at 6:30 p.m. at the Dec. 19 meeting. The final levy will be set at the December regular council meeting;
• Voting to accept a resolution to have the city participate in the hazard mitigation planning process with Morrison County. This is a multi-jurisdictional plan that requires public involvement and local coordination between neighboring units of government. It will also allow the county and the participating governments to be eligible to receive FEMA hazard mitigation assistance grants, if needed;
• Voting to add two – 20 mile per hour speed signs on Minnesota Avenue on either side of Dr. S.G. Knight Elementary School;
• Allowing the Little Elk Lions Club to cut down an ugly tree in Bingo Park and to set a cut and decorated tree in its place during the Christmas season. In the spring, the Club will replace the tree;
• Voting to allow Hinten Properties LLC to have a small piece of property rezoned from residential to commercial in order to put up a sign and to allow Loren Strom to add a steel roof and new windows to his property on Fourth Street;
• Learning that fiber optics would be installed beginning Monday and should be completed before the ground freezes; and
• Voting to discontinue setting aside $625 monthly for the squad car fund and put the same amount into a maintenance fund monthly to purchase another zero-turn mower in a few years. The squad account has $30,000 in it and the Council said that's plenty for another vehicle.
The next city council meeting will be held at the Randall Fire Hall Wednesday, Nov. 21, at 7 p.m.


text:
October 10, 2012
Polaris Minerals Corp. has advised that its joint venture subsidiary, Cemera Long Beach LLC, and the purchaser of the Pier B freehold land, Baker Cold Storage Inc., are scheduled to complete the sale at the end of November 2012.
"The purchaser has worked diligently throughout this complicated transaction, and we are pleased to have received excellent service from the responsible state regulatory agency," Herb Wilson, president and CEO of Polaris, said in a press release. "We now look forward to concluding this matter as envisioned and focusing our energies on our core business as the U.S. construction industry enters a recovery cycle."


text:
The mission of the Latino Business Association is to construct a communication bridge between our members and corporate America. We actively seek internships and employment positions in the careers corresponding to Business, Law, Marketing, Advertisement, Accounting, and any other opportunities that may interest our members. As a student- run, non- profit organization, we thrive on a variety of activities to complete and fulfill our goals. In doing so, we have built a firm foundation through various careers exposition, leadership conferences, community involvement, excellent guest speakers, and fundraisers. Together, the members of the Latino Business Association strive to learn the imperative responsibilities that are inherent within the working world, by emphasizing in academic, communal, and corporate network.
Here are a few quick videos that will help get you started with the new Member Information Center from the Chambers Website. If you are having issues logging in or have any questions please email us at firstname.lastname@example.com


text: The living is easy at the Villages at Hillview! Open, spacious floor plan in one of the larger models in the community offers beautiful views, plus a finished walkout basement. Main level with large living/dining room has wainscoting and vaulted ceiling. Eat-in kitchen with oak cabinets, island and pendant lighting is great for entertaining. Adjoining family room with fireplace opens to the sun-room, deck, and lovely views. Master suite has large walk-in closet with plenty of built-in shelving. Second bedroom and laundry room complete the main level. Finished walkout basement offers additional space for guests or recreation, and offers an additional full bedroom and bath, as well as a large storage space. Two-car garage. Convenient to major highways. The Villages at Hillview is an active adult community, and offers a clubhouse, fitness complex (including indoor and outdoor pools), tennis and pickleball courts, a community garden, and common open space. Make your appointment today!


text:
Mukelani Dimba
One item, long neglected by the governing party, that deserves to be on the agenda in Midrand for the ANC policy conference is how political parties get their funds.
It is no secret that current funding arrangements – in which parties rely on generous donations from corporations and foreign interests without limits or disclosure – threaten South Africans' hard-won democratic rights.
When the wealthy elite can buy their way into political influence while the majority of citizens with limited means stand by, the constitutional promise of "full and equal enjoyment of all rights and freedoms" is undermined.
Fortunately, the ANC has long since recognised and affirmed the need for comprehensive reform.
In its 2007 Polokwane conference resolutions, the party committed itself to "champion public funding of represented political parties and effective regulation of private funding… to enhance accountability and transparency to the citizenry".
ANC secretary-general Gwede Mantashe has since declared that "the biggest threat to our movement is the intersection between business interests and holding public office" and called for "transparent declaration of the interests of all political parties and the funding thereof".
We know that he is not alone. To support this worthy end, we offer three practical steps the governing party could take in Midrand finally to move forward on party funding reform and thereby help restore South Africans' trust in the government.
First, as ANC treasurer-general Mathews Phosa recently declared, the party should carefully consider regulating private funding so as to prevent corruption and abuse.
"It cannot be laissez-faire. It can be very dangerous for our democracy and our country," he said earlier this month.
Donations from abroad present a particular concern, as foreign states and multinational corporations are alleged to have contributed millions of rand to political parties while bidding for lucrative arms contracts or seeking access to SA mines.
In addition to banning foreign donations, the ANC should consider reasonable limits on the size of all donations and ways to rein in spending at election time.
Second, the party should urgently consider bringing all private funding into the light of day. It is said that human beings fear what they cannot see, and it is only natural that ordinary South Africans will fear political corruption when the money on which politicians depend is hidden from public view – regardless of whether corruption occurs. It is time SA joined the more than three-quarters of global democracies that already require strict and timely disclosure of party funds.
Third, as Phosa has also affirmed, the party should consider fair and robust public funding for all parties represented in Parliament.
On first view, the thought of spending additional money to support political parties will seem like a hard pill to swallow for cash-strapped South Africans. But consider that political parties, like elections and the constitution itself, are necessary components of a functioning democracy.
If that is not enough, consider the price we pay when we do not ensure that parties are wholly-owned subsidiaries of the South African people.
Indeed, when corporate interests foot the bill for parties and elections – as many appear only too willing to do in exchange for government tenders – the cost to taxpayers in terms of misspent public funds far exceeds the tiny fraction of 1 percent of the SA budget required to adequately fund political parties.
We believe SA cannot afford not to make this basic investment in our democracy.
Finally, there is the difficult question of party-controlled investment vehicles doing business with the state, which the ANC must consider this week.
It may seem odd to ordinary South Africans that parties should get involved in private business at all; their mandate, after all, is to represent and serve the interests of the people, not turn a profit.
When politicians and parties do business – especially when multibillion-rand state tenders are at issue – the voters will naturally see conflicts of interest and corruption, whether or not they occur.
To stem these growing concerns once and for all, the ANC could divest itself of its investment arm, Chancellor House, and include the same requirement for all political parties in party funding legislation tabled in Parliament.
Investment companies whose shares are held by parties could legally or voluntarily commit themselves not to invest in any enterprise doing business with the state.
Better still – because the hand of state-sponsored enterprise reaches far across the economy – they could confine themselves to passive investment instruments such as diversified index funds that track the performance of the economy as a whole.
Finally, they should open their books to public scrutiny in the manner of publicly traded companies. Indeed, if members of Parliament are required to disclose their gifts and shares, why shouldn't the parties they represent?
Party political funding is hardly the only pressing concern ANC leaders must confront as they meet in Midrand this week. But it strikes at the very heart of our democracy.
We urge our national leaders to make good on their long-standing promise to regulate party funding once and for all through transparency, public funding, and limits on private donations and investments.
It is time we moved from rhetoric to reform.
l Mukelani Dimba is deputy executive director of the Open Democracy Advice Centre.


text:
Tel: 3108825510
Welcome to Mediaphotobooth
When you enter our booth, we leave all the creativity to you. Our complete photobooth system allows you and your guest to create a fun memorable experience. Either you want to rent a Mediaphotobooth to spice up your event or you want to buy our complete system to start your business, our professional team is ready to help you. Call us today at 3108825510!
Your Cart
Cart empty
Find Us On Facebook
Standard Rentals Include
- Unlimited 4×6 Prints
- Professional On-site Attendant
- Color or Black And White in Booth
- Dual HD Monitors, Live View
- 4 Picture Format Portrait or Landscape
- Variety of Background Colors
- Personalized Banner Design
- Flash Drive or CD of All Prints Taken ****
- 90 Day Online Web Gallery with Password Option, Free Downloads ****
**** This is complementary and can be rescinded by Mediaphotobooth
Premium Features
- Additional Hours
- Green Screen Background
- Music in the Booth
- Scrapbook and Supplies
- Double/Triple Prints
- Custom Picture Formats; 6 poses, Photo Strip Design, and more
- Custom Background Color
- Premium Photo Design (upgrade to standard banner)
- Complete set of Printed Pictures Re-Printed at End of Event
- Projector (in lieu of ext. monitor)
We accept:


text:
- Home
- DRF Bets
- Handicapping & PPsThoroughbred Past Performances
ReportsPremium NewsDigital PapersHorsemen's ProductsPicksAlertsRacing and Wagering Information
- DRF Classic PDF PPs
- DRF Formulator PPs
- TimeformUS PPs
- DRF EasyForm PPs
- Daily Racing Program PPs
- Equibase PPs
- TrackMaster PPs
- Using Timeform Ratings
- Entries
- Results
- NewsCategoriesTrack NotesSpecial Events
- Tournaments
- Learn
- Customer Service Center
- Learn to Play
- History of Horseracing
- How to read PPs
- How to use TimeformUS PPs
- How to use EasyForm
- How to use Formulator
- How to use TicketMaker
- Beyer Speed Figures
- Moss Pace Figures
- Using Race Shape Symbols
- Using Timeform Ratings
- BreezeFigs Handicapping
- Wagering and Winning
- Harness Night School
- Point of Call Index
- 3-Year Best Time Chart
- StoreNew StorePast Performances
DRF PlusREPORTSPICKSDIGITAL PAPERDRF Press
- Compare all DRF PPs
- DRF Formulator PPs
- DRF Classic PPs
- TimeformUS PPs
- DRF EasyForm PPs
- Daily Racing Program PPs
- Equibase & Trackmaster PPs - Thoroughbred
- Events
- Breeding
Delaware horsemen to hold inaugural stallion season auction
The Delaware Thoroughbred Horsemen's Association will hold its inaugural stallion season auction from Feb. 25-27.
Bids will be taken by phone at (302) 994-2521, extension 7284, between the hours of 9 a.m. to 3 p.m. Eastern each day. All proceeds will benefit the DTHA Winners Circle political action committee.
More than 30 stallions will be featured, representing farms in Florida, Maryland, Pennsylvania, New York, Louisiana, Indiana and West Virginia. The stallions whose seasons will be auctioned include classic winner Smarty Jones; Wiseman's Ferry, sire of Horse of the Year Wise Dan; Yankee Gentleman; Two Step Salsa; and Friesan Fire.
"We are thrilled by the overwhelming support of the farms that donated stallion seasons," DTHA first vice president Nancy Nunley said. "We are also very excited to offer a season to Smarty Jones in our first inaugural auction."
For a complete list of stallions, click here.


text:
Skip to main content
back to NHL.com
Search Video
Most Popular
Must Watch
Game Highlights
Game Recaps
Condensed Games
Player Safety
Situation Room
NHL China Games
This Is Hockey
31 in 31
Free Agency
Trade Coverage
2017 NHL Draft
Puck Personalities
Rogers GamePlus Exclusives
NHL Network
2017 NHL Playoffs
Plays of the Week
Super Slo-Mo
Classic Games
Special Events
NHL Network
Best of NHL Network
NHL Tonight
NHL Now
3 Stars of the Night
Top Players Right Now
Clutch Performance of the Night
NHL Hat Trick Challenge
Pick Up of the Week
Special Events
Hall of Fame
Hockey Is For Everyone
NHL Green
NHL Awards
Expansion Draft
Stadium Series
NHL All-Star
NHL Winter Classic
World Juniors
Hockey Fights Cancer
Heritage Classic
World Cup of Hockey
Kraft Hockeyville USA
Kraft Hockeyville Canada
Gordie Howe: 1928-2016
Must Watch
Viral Video
Can't Miss
Gorgeous Goals
Great Saves
NHL Centennial
100 Greatest NHL Players
Greatest NHL Teams
The NHL100 Event
Centennial Memories
Centennial Fan Arena
All-Time NHL Moments
All-Time All-Star Moments
All-Time Playoff Moments
Game 7 Moments
Goalie Goals
Player Safety
Player Safety Decisions
Player Safety Education
2017 NHL Playoffs
NHL Playoffs
Stanley Cup Final | Penguins vs. Predators
ECF | Penguins vs. Senators
WCF | Ducks vs. Predators
Round 2 | Senators vs. Rangers
Round 2 | Capitals vs. Penguins
Round 2 | Blues vs. Predators
Round 2 | Ducks vs. Oilers
Round 1 | Canadiens vs. Rangers
Round 1 | Senators vs. Bruins
Round 1 | Capitals vs. Maple Leafs
Round 1 | Penguins vs. Blue Jackets
Round 1 | Blackhawks vs. Predators
Round 1 | Wild vs. Blues
Round 1 | Ducks vs. Flames
Round 1 | Oilers vs. Sharks
NHL LiveWire
Can't Miss
Can't Miss
Kucherov pulls off epic shootout fake
Mar 6, 2017 • 01:08
Hornqvist nets late winner to give Pens Cup win
Jun 12, 2017 • 02:31
Rinne repeatedly robs Pens with series of sick saves
Jun 5, 2017 • 01:18
Penguins take control, score three goals in 3:18
Jun 1, 2017 • 01:29
Guentzel's late goal lifts Pens past Preds in Game 1
May 30, 2017 • 01:33
Kunitz's 2OT goal sends Pens to second straight Final
May 26, 2017 • 01:41
Sissons' hat trick propels Preds to Stanley Cup Final
May 23, 2017 • 01:38
Crosby stuffs in clutch power-play goal in Game 4
May 20, 2017 • 00:57
Josi's late goal gives Predators 2-1 series lead
May 17, 2017 • 01:09
Neal wins Game 1 of the Western Conference Final
May 13, 2017 • 01:18
Hornqvist goes top shelf to seal the Capitals' fate
May 11, 2017 • 01:42
Viral Video
There are currently no items to display.
Super Slo-Mo
There are currently no items to display.
Puck Personalities
There are currently no items to display.
Share this!