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i am a male and have been taking subutex for about 10mths, i am very sensative in tne genital area, find it hard to maintain an errection and sometimes find it hard to ejaculate, i have had all my std tests and can only think it cld be a reaction to subutex as my partner has none of these symptoms, can u give me any advice, thankyou, david
Answers (1)
5 Aug 2010
All medicines may cause side effects, but many people have no, or minor, side effects. The most common side effects reported are: weakness, but limited to only this.
Some severe side effects which need consulting a doc/pharmacist who prescribed the med could be: anxiety or nervousness; mental or mood changes (eg, depression); which could also lead to ED.
It could due to various other factors perhaps not related to meds, it is recommended to seek medical attention & see a specialist, ED is curable.
Sexual weakness as such has not been reported but due to the above side effects it could be effected, take care be well & safe.
Read more: http://www.drugs.com/sfx/subutex-side-effects.html#ixzz0vhqCiQ5u
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8 reviews | 4.1 out of 5
This cream works wonderfully!!! Love it. Makes my day so much nicer. Only one problem and it has nothing to do with the cream. The way it was mailed was not good at all. In a bag so the cream was not protected from being tossed around and the lid was cracked. Am not returning as I do not want to be without it. Need to get the package people to do a better job. BUT get the cream, you will not be sorry.
We have used this product for along time...pain relief....instant....no smell...non greasy....the name fits....it is a dream product!
I use it on my hands, neck and feet and works very well. Am able to move around much better.
Started with a two ounce jar then purchased a nine
Ounce online
I have OA and deal with swelling in my knees frequently. I really like that this product has no smell to it. I don't think it's a miracle product by any means, but I find it helpful to make my knees feel better. I use it in the morning and after exercising and sometimes at night if my knees hurt too much to doze off. I ordered online because my local Wal Marts were out of stock on it. Must be a popular item! This 9 oz. jar was a much better buy than the 2 oz. and the 2 oz. jar was a better buy at Wal Mart than anywhere else I looked, including amazon.com.
I wish I could give a better report for Australian Dream, but I got a rash in the area where I used it. Now, i'm disappointed ..............was hoping it would help me. But, maybe someone else will see better results.
I Use It On My Feet And Legs...Sure Helps Out!!

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The Avengers Sackboy by anjelicimpWatch
©2013-2016 anjelicimp
These are incredible!
Love it
These guys are adorable! What is the zipper for on the Hulk/Stark/(do they all have zippers?)?
yeah, they all have zippers. the zippers are functional, so you can open them up (except iron man) and put whatever you want in there it's really only there for aesthetic reasons, so they look like the sackboy characters from littlebig planet.
Really good!!!
you should make black widow, hawkeye and fury as well~
omg That is tooo awesome keep up the good work, cute aqnd collectible lol.


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|ESPN.com: NHL Playoffs 2009
|[Print without images]
PITTSBURGH -- In the handy Carolina Hurricanes guidebook to victory for this Eastern Conference finals series, the hypothesis was simple: They had the best goaltender, and that was their best chance to beat the Pittsburgh Penguins and move on to the Stanley Cup finals.
Cam Ward was red-hot, and his counterpart between the Pittsburgh pipes, Marc-Andre Fleury was, well, perhaps prone to a wobble or two.
There was just one problem. No one bothered to send Fleury a copy of the manifesto. He outshone Ward, turning aside 23 of 25 shots en route to a 3-2 victory in Monday's series opener.
"I'm not sure we would be smiling if it wasn't for Flower right now," Penguins defenseman Philippe Boucher said. "Even though it was 2-0 in the first, he kept us in there. It could easily have been tied. Then in the second period, they really took over, and he had to make some big saves there. Then he made a couple of huge ones again at the end."
|Evgeni Malkin and Philippe Boucher were two of the Penguins who were able to get past Carolina's Cam Ward in Monday's Game 1.
It was Boucher who was the unlikely hero on this night -- well, apart from Fleury -- as the veteran defenseman scored the winning goal just past the midpoint of the third period on the power play.
In hindsight, Ward probably would like the Boucher goal back as the defenseman's wrist shot somehow squeezed through the Canes netminder and over the goal line. But it's hard to quibble with a guy who had to handle 31 shots on the night and made a handful of eye-popping saves, including one on an Evgeni Malkin breakaway attempt that kept the Hurricanes within a goal at 2-1 in the third period. Earlier, his glove save on Bill Guerin off a lovely Sidney Crosby feed elicited groans from the Penguins faithful at Mellon Arena.
On most nights, Ward's performance would have put the Hurricanes ahead in this series. But, although many would have predicted otherwise, Monday ultimately belonged to Fleury.
"[Fleury is] electric when he gets going," Pittsburgh defenseman Hal Gill said.
On nights like this, Fleury chatters nonstop to his defensemen.
"You can feel how good he's feeling," Gill said. "Ward played really well, but I think Flower played just as well. And he had to."
The Penguins were slow out of the blocks, and Fleury made quality stops on Chad LaRose, Joe Corvo and Eric Staal to keep the Hurricanes scoreless in the first period. Then, with 28.7 seconds left in regulation, after the Hurricanes had closed to within one on the power play and with Ward on the bench for an extra attacker, Fleury smothered a loose puck at the side of the net that Staal couldn't quite control.
"I was on my bum; that's good, eh? I can say that?" Fleury said, glancing over at Crosby to make sure he had used the proper term in English. "And [Staal] just missed a shot, and he didn't get good wood on it, so it just went back at me. A little bit lucky, but I'll take it."
Staal lamented how quickly the play came and went.
"It came real fast. I knew it was coming, but sometimes when you're back there, you can't see it," Staal said. "I wanted to stop it, but it came so quick that it was off my stick before I had a chance to corral it. Unfortunately, it didn't bounce into the net. It could have just gone off my stick and into the net. Instead, it went right into Fleury. Sometimes that's how it goes."
Had Staal managed to deposit that late puck, the storyline once again might be Ward's heroics. But he couldn't, and it won't be surprising if the margin between winning and losing is this close every night in this series.
That save provided a bit of poetic justice. On the Hurricanes' second goal, scored with 1:26 left in regulation, Staal first flicked the stick out of Fleury's hand (Fleury said he thought it was a shot), then swept it just out of the goalie's reach.
"I thought it might have been penalty, but they didn't call it," Fleury said.
Play went on, and Corvo's shot eluded Fleury, who was holding Rob Scuderi's stick by then, setting up Staal's last-second chance.
You won't find many goaltenders who will admit to wanting to outduel their competitor.
"I don't really play against him," Fleury said of Ward, using the standard goaltenders' redirect on beating the opposing goaltender.
Still, somewhere beneath Fleury's always-smiling visage, there must be more than a smidgen of satisfaction at having played a key role in his team's taking an early series lead.
He has joked in recent days about not reading what is written about him or watching what is said about him. And it's not that he's been terrible; just sometimes a little off, for a moment or two. In back-to-back home games against Washington, for instance, he allowed a goal on the first shot of the game.
And with Ward outdueling Martin Brodeur and Vezina Trophy candidate Tim Thomas in the first two rounds, you can understand why the Canes' goaltending edge storylines appeared in the days leading up to this series.
Penguins coach Dan Bylsma acknowledged that there were questions about his team's goaltending, but made it clear those questions were being asked from outside the walls of the dressing room, not within.
"He's a confident kid. He often has a smile on his face, and he's been scrutinized a lot for a young goaltender," Bylsma said. "He has done enough inside our room to answer all those questions and more.
"There was certainly no lack of confidence from the coaching staff and from the players. We know who he is and what he can do. He played a good, solid game for us tonight and made huge saves."
Not that anyone expects the Hurricanes to fold their tents and go home. They have the Penguins right where they want them, given that they lost the opening games of their previous two series only to win both in seven. But neither the Bruins nor the Devils possess the arsenal the Penguins possess.
Malkin scored on a vicious backhander in the first period and added an assist on Boucher's power-play goal in the third. The Pens also got goals from players who have spent some time in hockey purgatory in Boucher and Miroslav Satan, who scored his first of the playoffs on a breakaway after coming out of the penalty box.
Want to know about that goal, though? Satan doesn't get a chance to score it if Fleury doesn't make a terrific glove save on Tuomo Ruutu during the Hurricanes' power play.
Although it might not have been part of the script many people envisioned for this series, it was the story of the night.Scott Burnside covers the NHL for ESPN.com.


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John Moore and Michael Abbey founded their clothing line Penny Stock as a reaction to the 2008 recession — sharing the belief that timeless style should be available to everyone, regardless of the state of the global economy. Inspired by a documentary that showed how survivors of the Great Depression had maintained optimism in the face of financial catastrophe, Moore and Abbey took to the drawing board — designing chic yet accessible tops and shirts, pants, dresses, and other sartorial necessities. Based in Culver City, California, Penny Stock now produces a full line of men's and women's apparel, with each garment set off by a penny detail that the wearer can stash away for future use. Call it a reminder to look on the bright side — or a symbol of enduring, attainable style.
Lounge in style this summer with our assortment of knitwear from brands like Jack Spade, Ben Sherman, Supima and more. Featuring a whole host of solid-colored and striped tees, lightweight sweaters and cardigans, plus hoodies and henleys, there are plenty of options to update your off-duty gear this season.
When it comes to interview attire, it's all about looking like the man for the job. Go for a generally conservative feel, but don't be afraid to inject a touch of personality to set yourself apart from the pack. And always, always, nail that fit. With this selection of razor-sharp suiting, shirts, accessories, and footwear, you can't go wrong.
Once in a while, we wind up with some great items that haven't found their way to a good home (read: yours). It's tragic, we know. But there's a silver lining — we've put all our stylish leftovers in one place for easy browsing (and picking). We've only got a few of each item in stock, so move fast before we run out.
Once in a great while, we wind up with a few items that haven't found their way to a good home. It's tragic, we know. But don't worry, there's a silver lining: Now we're offering them to you—at steeper-than-ever discounts—so we can make way for new gear. There are only a few of each shirt left, so you'd better move fast.


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Jason Sands, a wealthy banker and political contributor is found dead inside his residence vault. After being tortured, he had bled to death in his vault. Patrick and the team delve into Jason's private life to find the murderer.
original airdate--October 21,2008 rating--15.28 million
music--Theme from The Mentalist "I Believe" by Blake Neely
Goofs: Adrianna informs Jane and Lisbon that she and Jason Sands planned run away on 'the sailboat', and that Jason was a good sailor who would teach her. Sands' boat is a flybridge motor yacht, not a sailing vessel.
Now You Know--Every episode title contains a reference to the color red, like "Paint it Red", "Scarlett Fever", "Russet Potatoes", or "Bloodshot". This is because Patrick Jane's nemesis is the ingenious sadistic serial killer, Red John.


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Students: Internships, Volunteer Opportunities, Student Ambassadors of Service, Bonner Leader, Scholars in Service, The $100 Solution, Hill House, and Graduate Assistant positions.
Faculty: The $100 Solution, Campus & Community Network, Community Partnership Funds, and Top Life Service
Community: Volunteer Opportunities, Nonprofit Jobs, Support Groups, Meeting Space, Community Resources, Nonprofit Directory, and Campus & Community Network.
About ALIVE CCP
The ALIVE CCP is committed to bringing campus and community together for the enrichment of both higher education and public life. We facilitate collaborative efforts that address local, regional, and global needs while enhancing the level of student learning and educational experience. We are dedicated to providing WKU students with opportunities that cultivate personal growth, ethical values, and public action for the common good. The ALIVE CCP supports engaged scholarship through service-learning and community-based research as part of the WKU curriculum. We also provide numerous opportunities for volunteerism and ongoing community service.
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We challenge those of you reading this to share your stories of impact in the community. Tell us where you have volunteered, what you did, and how it made a difference in your life. Then, mention us on Twitter or Instagram using @wkualivecenter. Feel free to hashtag your message with #aliveccp. We would love to share your stories.
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We awarded George and Eiko Vojkovich with our Seattle Weekly Sustainability Award this year for all the work they've done to bring organic, humanely raised animal products to the consumer, including advocating for mobile slaughter units and their weekly outreach through Seattle area farmers markets.
Next Sunday, August 30, Skagit River Ranch will host a farm day off Utopia Road at the Vojkoviches' Sedro-Woolley farm from 10:00 a.m. to 6:00 p.m. Don't miss the farm tour in the early afternoon, given by co-owner George Vojkovich. Chefs Maria Hines, Craig Hetherington, and Greg Atkinson will compete in a burger cook-off as part of the festivities and also participate in a sustainability seminar with the Vojkoviches. Tickets are $30 per person, which includes lunch off the grill, and kids 12 and under are free. You can purchase tickets from the farm's website.
What Would Brian Boitano
Do Make? Oh yes, this is an actual, honest-to-goodness show on the Food Network. Based off a song from a South Park movie. I saw it with my own eyes. (Click link above for clips.) Is that meta or post-meta? Other than being adorable, Boitano's show scores low on the usefulness scale -- from what's been shown so far, he appears to focus mostly on easy-to-prep party or single-guy food. What do you expect? As an Olympic athlete, the guy probably lived on carrots and wheatgrass for 20 years. Now he's going buck wild and eating... cheese! ...and bacon! Expect finger foods and mocktails, but not as garish and can-oriented as Sandra Lee, and delivered less annoyingly than Rachel Ray. This show surely will be a Food Network hit (much like when all the straights fell in love with Queer Eye) and hopefully, a Saturday Night Live sketch as well.


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Hey everyone! Hope you're all good
Well me and Abi had an awesome photoshoot yesterday at our local laser tag arena and my god the photos! these are probably my favourite pics weve had now and im so happy with them! Were trying to help the local laser tag arena out as they are facing closer so were helping them with a bit of promo work.
So same as last time weve split the pics between mine and Abis pages so go ove and check hers out too! (some awesome ones of her there )
will be uploading more pics very soon as theres so many its gonna take me a while!
Serious photoshoot (for once :P) by PedroTpredatorWatch
©2013-2016 PedroTpredator
What a great way to help with promoting the laser tag arena! I'm sure it helped them a great deal, Pedro, and you got some awesome pictures. Kudos!
Cant wait to do another one
I saw their awesome!


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This is the final week of MotoGP's winter testing ban. Next week, teams will participate..
Suzuki MotoGP GSX-RR Following a three-year hiatus, Suzuki returns to MotoGP for the 2015 season…
Team Suzuki MotoGP News With the 2015 MotoGP Championship quickly approaching, Suzuki has worked nonstop..
Maverick Vinales to Suzuki MotoGP? An agreement between Suzuki and the Moto2 contender and fan..
Suzuki MotoGP With its official return to MotoGP in 2015, Suzuki has much work to..
2013 Catalunya MotoGP Official Test Following the Grand Prix of Catalunya, the MotoGP grid remained..
MotoGP Championship Interview
When is comes to MotoGP racing results, we never publish MotoGP race results or class standings in our headlines. This gives our MotoGP visitors a chance to decide whether they want to wait to first see the TV broadcast or not. Please click through to our MotoGP stories to see the results only when you are ready!
Second Part of Fiat Yamaha Presentation Sees Team Ready for Coming Season.
Continuing on from the team's online presentation -sent across the world on February 12th of this year- Fiat Yamaha concluded the two-part unveiling of their 2009 project with a press conference in their hospitality suite on Friday evening.


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Mine was bumpy - need to replace my slicks.
Mine was bumpy - need to replace my slicks.
Freakin' COLD again this morning! SO SICK of having to get all layered up in the morning! Even worse when I have to carry different cycling clothes with me for the afternoon ride home due to a 20-30 degree temperature swing.
Still a nice ride, though. Clear skies and 41° this AM. Clouds and rain are moving in, though, gonna be wet and about 60 going home. I don't have real "rain" gear, but have a high-vis wind breaker that's supposed to be somewhat water repellent, and some neoprene socks. I'm not expecting much, and am used to riding wet anyway. I usually get wet with sweat inside that wind breaker anyway.
2011 Felt Z85 105 | Ultegra | KMC | Selle Italia | Vuelta | Topeak
2006 Marin Pine Mountain custom build Dutch-styled, disc-brake'd steel utility hauler
I was riding North on Jay street when two guys stepped in front of the lady riding in front of me. They both reached out towards her and spread their arms out. She tried to get around them and they stepped in front of her. I thought they were trying to grab her! Eventually she manages to get around them and they tried to do this to me. I just swerved around them and one guy yelled something at me. I just looked back and loudly said "Get the hell out of the road, man." To which a third person on the sidewalk yelled at me "Shut the **** up!" Gah, Brooklyn you so love to keep me on my toes.
Just started riding again full time last week and it has been awesome. The weather has begun to get a little nicer here in the PNW.
Riding along and coming to an intersection, I have a green but I see the car ahead with a blinker on so I know he's turning, okay, he turns. Now I notice a very large pickup in between lanes with his blinker on stopped, apparently he wants to turn, but he sees me coming so he's waiting for me to pass, I won't trust any driver so I pull over and stop. The truck makes his turn and I lose my green light.
Should I have kept going and just assumed the truck seen me? No, not taking that risk.
Aside from that it was a bit hot today, my arms actually got a nice coating of sweat from the 11 mile ride home, Southern California is warming up
Giant Rapid 3- COMMUTERIZED *IBERA*Nashbar*Tiagra*105*Velocity*Selle SMP*Gatorskin
Every commute is a race. I do victory laps in my driveway
44F / 7C a bit of a head wind, a bit of a cold coming on...runners continue to multiply like rabits. Almost watched one get run over on COnstitution Avenue trying to beat a light.
Tough commute yesterday with headwinds both ways, but today is starting out much nicer. It was about 10 degrees cooler this morning compared to yesterday with temps in the upper 40s, but it was very comfortable for me. The roads were wet again from showers that were passing through when I got up, but the rain had quit. Only a 20% chance of showers for the afternoon commute time, according to the local forecasters, so hopefully I'll stay dry on the ride home.
A bit colder today, -6C/21F but at least the sun was up and it promises to be mostly sunny for the rest of the day so the commute home should be nice.
I hate this time of year because of the melting snow during the day creates puddles, hides the numerous potholes and then, overnight, freezes into icy patches.
I was asked, "Now that you're an adult, what are you going to do with your life?" I replied, "I don't know, I didn't think I'd make it this far."
Yesterday morning's tailwind was a bit of a head wind on the way home. Nothing too crazy, just a little slower overall.
Cooler ride in this morning, about 50F, but nice. Every few days I notice the sun being up a little higher and the sunshine filtering through to the streets and houses a little more.
37F this morning but actually clear skies and sunny. Supposed to get to 60 today and 70 by Friday. Could spring be far off? Oh wait...
I'm slow, go around
First post of the year! A bit cool this morning 33f, but forecast to be 20f warmer later. Started riding about 2 weeks ago when the weather finally broke. We had about 3 months of brutal weather here in Northern Illinois, but I'm sure everyone is aware of that. The "bar mits" are off. DIY lights will be coming off soon. New tires are mounted. I've switched to Conti touring tires as I like the reflective stripe. Go Spring!
"Why is there a hill after every meal, but not a meal after every hill?"
--Overheard on Grabaawr
Starting to commute by bike from next week....excited! Looking forward to ditching the car already!
My first post of the year also!
Not far from genel (I'm in Milwaukee) so I'll second much of what he said. Alarm went off and I rolled over and looked, my phone said it was 33 degress outside. The spirit, so willing last night, was not as willing this morning and the body didn't want to get out of bed. But I persisted, tossed on one more layer than I thought I would (a performance fleece hoodie) and headed out the door. Leg warmers, winter cycling gloves and a earband to keep those ears warm all helped a great deal, and by the time I got downtown I was warming up nicely. The sun was up over Lake Michigan, the path still only has the most hearty of rides and scant few runners at that point, so that was nice. I persisted this morning because it's supposed to be near 60 this afternoon. And after the winter we had, I didn't want to miss it. Supposed to be windy as hell though, and it'll be a headwind the whole way home. But right now, I don't care
Edit to add ... I commuted all of last year without an incident, and naturally, on the first day of this year I ALMOST had a guy turn left in front of me from the oncoming lane. Thankfully his passenger (wife? kid? I don't recall) was pointing at me and he stopped before I would have went over his hood.
Had quite the start today. Part of my commute takes me across a taxiway which has traffic lights integral to it. I saw a C-130 doing an engine check on my approach, and I had the green. Just as I roll onto the strip, it goes yellow. Quick look to my left and the C-130's on the roll about 150' from me. So I do my best to gun it, as the light is now red. Woke me up for sure.
Don't like your job? There's a support group for that. It's callled EVERYONE and they meet at the bar!!!
I've come to the conclusion that, for me, 50°F is more or less the perfect temp for the morning commute.
Your mileage may vary, tax, tag, and title not included.
Nashville, like L.A. without a tan.
Gray and very windy morning, The Yamaska river is very very high with the snow melting and the heavy rain from yesterday.
I forgot my underwear for the second time in two weeks, I'm getting used to go without them...
Day 3 of my couch to bike commuting series and my legs feel like they've had a Tanya Harding beat down. I almost didn't ride today to give myself a break but I'm helping a friend move tomorrow and I may not get a chance to ride at all until Saturday. I'm planning a 25 mile ride along the north section of the Centenial Trail this Saturday. It's supposed to be sunny and in the mid 50's!
A balmy 42f this morning, thankfully the rain cleared up and the clouds were starting to break. Nice views of the Cascades and the Olympics this morning. Debated stopping to put on an additional layer but stuck it out and eventually warmed up nicely. 10.2miles at 15mph avg.
Last edited by Pir8life; 04-09-14 at 10:16 AM.
It never gets easier, you just go faster
It was a beautiful ride this morning. Temp was about 8°C, no wind and clear skies.
I stopped being lazy and took the boy to daycare. It only adds 9 km to my commute and the route between daycare and work is crummy roads, bumpy, pot holes, no signals and uphill both ways. But me and my son love it and we still pass almost everyone, though we do not catch as many people as I do on my own. I have to work on that.
The addition of nearly 50 pounds of son and seat doubles the bikes weight which was a bit of a beast at the start this morning, but it gets much easier after the drop off!
19 km door to door, one hour in traffic. I can not really do it much faster in the car. The trip home should be faster than the car also!
I can not wait to meander home, maybe we'll have a picnic at the beach for dinner!
I got tailgated by two different cyclists today with in ten minutes of each other. Seriously ? The guy who pissed me off wanted to blaze around the curve descending from the Brooklyn side of the Manhattan bridge. I wasn't going to speed up and take the curve any faster than I wanted to. He eventually forced me to go into the oncoming lane and speed around me. The second guy had multiple opportunities to pass me but chose not to. At least he wound up tailgating the first guy. A guy tailgated me last night. I'm going to break check the next SOB on a bike who tailgates me this **** needs to stop.
44F / 7C and spring keeps rolling on...if I ever figure out how to post piocs in here I will include some nice cherry blossoms I photographed coming in this morning.


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If there were statistics of the most desired places to lose fat from, the abdominal area will most likely be the absolute winner. Belly fat is very common and it is not unlikely to see that even thin people have a tummy that they would gladly get rid of.
Exercises for Weight Loss –
Aerobic Exercise – Aerobic exercise will facilitate fat-loss all over your body, including your belly. You can't "spot-burn" belly fat, but it's usually the first to burn off when you exercise, regardless of your body shape or size. Just be sure that you focus on calorie-burning exercises, rather than sit-ups or crunches.
Strength Training – Increasing muscle will increase your metabolism and fat burning will be far more efficient. Remember, strength training for woman does not mean you will build muscle like a man. Women are different and strength training is very important to strong bones and a shapely firm figure.
Bicycle – One exercise that targets the stubborn stomach area is called the Bicycle. To do The Bicycle, simply lay on the floor pressing your lower back to the ground. Your hands are beside your head. Bring your knees to an approximate 45-degree angle and slowly go through the motion of pedaling a bicycle. Your left elbow will touch your right knee and then your right elbow will touch your left knee.
With the proper diet and these types of excises, you will lose the amount of fat that you want.


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This little squirrel was racing across tree branches & jumping from tree to tree.
Use! Just please:
+ follow the rules in my journal: [link]
+ Credit
+ Let me see what you made either by a comment or a note.
Thank you !
your you live in a strange lost paradise...
Awww......I love tiny mammals. Very nice pic.
Very cool


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Local sports/scores highlights from Friday, May 2nd
Highlights include: MC Track and Austin/Topeka (Hockey).
Sponsored by:
Highlights include: MC Track and Austin/Topeka (Hockey).
Game 2 is Saturday night at 7:05.
The Walleye Classic is scheduled for May 17th-18th.
Highlights include: BP Relays, AL/Austin (SB), MC/Ames (Soccer).
Local golf courses are waiting on the sun to dry out their fairways.
Sickles received 42% of the vote.
Moore finished T-7th at the Drake Relays this year.
The Top of Iowa Conference will begin with the 2015-16 school year.
Schultz is now planning to attend MSU-Mankato.
Mason Ctiy and IF-a fought through the rain on Tuesday afternoon.


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iHerb Customer Reviews
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IFCA, PBT Group, Phumelela, SA French: S. Africa Stock Preview
The following stocks may rise or fall in South Africa. Symbols are in parenthesis and prices are from the last close.
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Zeder Investments Ltd. (ZED SJ): A company which invests in agricultural businesses begins to trade without the right to a dividend today. It closed unchanged at 2.44 rand.


text:
6.2 Preferred title for the work
To enter your comments, click on the link where you want to comment. Always log in before editing a section.
Click here to get to Title (6.2-6.3)
Click here to get to Chapter 6 Identifying works and expressions
Click here to get to RDA Sections 2-4, 9 page in the wiki
Combine into a single section on Title. Then add an optional sub-element Preferred, which would be just a yes/no flag. Alternatively, create separate subsections for the element sub-types Preferred title and Variant title, analogous with what was done with Title in chapter 2. Weiss 2/10/08
6.2 Preferred title for the work
RDA omits instructions to record the source of title. At the same time it has instructions to record the source of information used as additional elements with references to 5.9. Seems logical go also record the source of the title de Groat for OLAC, 2/9/08
6.2.0 Basic instructions on preferred titles for works
220.127.116.11 Scope
Broaden this away from just referring to preferred access points. Follow the lead of Getty's Union List of Artist Names, changing to: "the title consistently used to refer to the work and as a default for displays". Weiss 2/10/08
Agree. Randall 2/12/08. Agree. Glennan 2/16/08
22.214.171.124 Sources of information
Apart from the rule numbers themselves, this rule is an exact repetition, CHARACTER FOR CHARACTER, of 6.0.2. This is a prime example of the ludicrous redundancy in RDA. Randall, ALCTS/CRS, 2/10/08
Delete; covered sufficiently in 6.2.1. Weiss 2/10/08. Agree. Glennan 2/16/08
Identical to 220.127.116.11 Reword as there, or delete it here. Knop,ATLA,2/9/08
It is not clear whether "modern sources" in the first sentence are synonymous with "modern reference sources" in the following sentence. If "modern sources" are meant the same as "modern reference sources," both in this section should read "modern reference sources." If not, clarification regarding "modern sources" would be helpful. Suzuki for CC:AAM TF on RDA Feb. 4, 2008
Identical to 18.104.22.168 Reword as there, or delete it here. Knop,ATLA,2/9/08
Delete; there is no value added here. Weiss 2/10/08
Agree. Randall 2/12/08
220.127.116.11 Choosing the preferred title
"For instructions on choosing...." Change to "For additional instructions on choosing...." Some of the instructions in 6.2 do apply to these special types of works as well (see 184.108.40.206.4, which uses "additional"). - Glennan 1/3/08
126.96.36.199 Recording the preferred title
Why is this heading "Recording the preferred title" used here as well as as a more general heading above 6.2.6? --Hostage, IFLA, 2/8/08
Agree; all this section does is refer you to the sections coming up. Entirely superfluous. (Same can be said for other similar sections in other chapters.) Randall 2/12/08; Weiss 2/17/08
184.108.40.206 Transliteration
Incorporate into chapter 0. This should not deviate across different data elements. Weiss 2/10/08
Agree. Randall 2/12/08. Agree. Glennan 2/16/08; Maxwell 2/18/08
Make this an option and/or an addition analogous to 5.4.2. Many libraries n the US "prefer" Roman script, but have and use capabilities of other scripts. Weiss 2/10/08
Agree. Randall 2/12/08. Agree. Glennan 2/16/08; Maxwell 2/18/08
Problem: This seems to contradict the instruction in 5.4.1. Solution: The rule in Chapter 6 makes perfect sense. I think it is 5.4.1 that needs to be clarified. -Theroux for D. Brooking, ACRL/SEES/Automated Bibliographic Control Committee, 2/9/08
I don't see a contradiction. Weiss 2/17/08
Should not be proscribed, but be optional since many catalogs can now handle other scripts. Knop,ATLA,2/9/08
By "different script," I assume you mean a non-Roman script. At first, I thought we would get different preferred access points for the same work. I would note that the time is coming when ILSs will be able to display non-Roman scripts. In that case, will we have two preferred access points, one under the transliterated title and the other under the vernacular script? Knop for Fieg, ATLA, 2/10/08
Vastly simplify all of these sections to just: "Generally select the title that is most likely to be known by the intended users as the preferred title for a work. If multiple titles are thought to be relatively equally known, select any such title" plus examples. I'm not saying that we should do things differently necessarily; we should just be less prescriptive about it. Let the examples serve as best practices. Weiss 2/10/08
Very strongly agree. Randall 2/12/08
6.2.1 Works created after 1500
6.2.1 and 6.2.2: Be sure to explain why 1500 is chosen as break point; not obvious to persons who don't regularly work with pre-1900 materials (obviously tied to printing press invention in the West in 1454 – hey, what about printed items in the East? Wasn't printing invented long before in China? So those items would have a different dividing point? In which case this needs to specify items printed in the West). LARSGAARD/MAGERT 1/23/08
Agree. Randall 2/12/08. Agree. Glennan 2/16/08; Weiss 2/17/08; Maxwell 2/18/08
18.104.22.168 General guidelines
Statement of Problem: I'm disappointed that RDA decided to stick with the AACR2R approach of preferring original language forms to the name commonly known. With all the talk of an international linked authority file that would allow cataloging agencies to use forms of name commonly known in their own cultural context with non-linguistic machine links to bring together entities internationally, and with IME ICC 5.2.4, I thought RDA might seize this opportunity to implement the principle of name commonly known at last. It is the use of uniform titles that are not commonly known that has turned countless librarians and institutions against the use uniform titles ever since the time of Verona. The reasons you give for this practice in RDA are preponderantly based on the convenience of the cataloger and not the convenience of the user. The fact that 'commonly known' can change over time does not prevent us from aiming at it for subject headings, so I don't see why other entities could not have identifiers that change as public usage changes. If you are not going to do this, though, shouldn't you include some examples here in other languages and scripts, such as Tchaikovsky's Nutcracker suite (i.e., the Cyrillic for Shchelkunchik)? And isn't it rather odd that choreographic works based on the Nutcracker suite are entered under the English form of the title (see examples under 22.214.171.124.)? Can a movement notation have an associated language (this may be revealing my own ignorance here)? How will the link be made among these related works? Solution and Reason: Please change your minds and allow RDA to be the first Anglo-American code that adheres to its stated principle of using the name commonly known for all entities. If you are not going to do that, please fix the examples to show the hideous results of the current approach. Martha M. Yee, UCLA Film & Television Archive, 02/03/2008
Agree. Weiss 2/17/08; Maxwell 2/18/08
Given that we are moving towards internationalization, and given that we will probably end up with work records, who should we continue to have to choose the original title rather than the title in the language of the agency? Agencies in different countries should be able to choose the title by which the work is best known to their patrons. de Groat for OLAC, 2/9/08
This should be able to be solved at a machine-processing level by coding a work record for preferred title display. I would prefer that approach. Glennan 2/16/08
Agree. Better yet, code the language of each title, which does not change across catalogs. Then have a machine algorithm that picks preferred languages. For example:
- English, if no English, then Spanish, if no Spanish, then Chinese
- English, if no Enlgish then original language
Weiss 2/17/08
Agree. Maxwell 2/18/08
Choosing the title of form of title in the original language by which the work has become known does not agree with the principles and objectives document, p. 5, under "Language preference": "If there is a commonly used title for a work in the language and script of the catalogue, preference should be given to that title." Why is RDA not following its own principles? 220.127.116.11.1 will lead to the perpetuation in English-language catalogs of such preferred access points as "Tchaikovsky, Peter Ilich, 1840-1893. Shchelkunchik" instead of "Tchaikovsky, Peter Ilich, 1840-1893. Nutcracker". Who among U.S. users will think to look under "Shchelkunchik" for "Nutcracker"? I presume this is the reason for adopting the principle of language preference. Bob Maxwell, Jan. 1, 2008.
Strongly agree. Weiss 2/17/08
The instruction for musical works, which parallels this rule, is in 18.104.22.168, "Choose as the preferred title for a musical work the composer's original title in the language in which it was presented." Switching the preferred title for works like "Shchelkunchik" to English, while addressing the very real issue Bob raises above, presents some significant problems, as detailed in the ALA response to IME ICC 5.2.4 Forms of Uniform Titles (5JSC/CILIP rep/1/ALA response). - Glennan 1/4/08
Agree with Glennan. Scharff, MusLA 1/20/08
Agree. (That's why I like Weiss' suggestion.) Randall 2/12/08
[EXAMPLE] Example for Whitaker's almanack seems like a new practice to use (presumably) a title by which the resource has become known as the preferred title for a serial. Foreign-language examples are needed here. --Hostage, IFLA, 2/8/08
How much research is a cataloger supposed to do to determine the title or form of title in the original language by which the work has become known? Is this an unreasonable expectation? KINCY, MedLA Liaison on behalf of NLM 2/08/2008
Agree that this is an issue. Chapter 0 needs to talk about effort in general terms. Weiss 2/17/08
Problem: Throughout the draft, the phrase "use in resources embodying the work" is used. Does this mean manifestations of the work? Solution: Use FRBR terminology. -Theroux for D. Brooking, ACRL/SEES/Automated Bibliographic Control Committee, 2/9/08
Agree. Randall 2/12/08; Weiss 2/17/08; Maxwell 2/18/08
Example for Martin Chuzzlewit. The note appended in parentheses could be used for variant access points later on in the RDA instructions. P.622 For the first four examples, I would say, "Maybe." I am assuming that the preferred access point for the title will have notes indicating the rationale for the choice and indicate the sources consulted. With regard to the example for Gulliver's travels, is Lemuel Gulliver considered to be a pseudonym for Swift? If so, would this title be entered under Gulliver, Lemuel with variant access point for Swift, Jonathan. Gulliver's travels? Or would it be under Swift since reference sources might indicate that. In any case, I would think there would be a variant title entry one way or the other with notes explaining the decision made and the sources consulted. Regarding the example, Blind date, would there be a "see also" or "see" reference for Chance meeting? Knop for Fieg, ATLA, 2/10/08
Statement of problem: The wording "by which the work has become known" doesn't sound quite right. Solution: Change to: "by which the work is best known." This wording is used for rule 188.8.131.52.1. Knop for Schwartz, ATLA, 2/10/08
Agree. Weiss 2/17/08
126.96.36.199 Title proper of the original edition
18.104.22.168 Simultaneous publication under different titles
In this instruction and others throughout RDA, we find the instruction, "choose the title proper of the first received as the preferred title." In that case, could we end up with various preferred titles? What if the subsequent receipts of the title do not have the information that this is an item simultaneously published under a different title? It should be absolutely mandatory that a variant access point be created for such simultaneously published works. Otherwise, the status of the access point should be coded provisional or incomplete in some way if the receiving the item first is aware that the item has been published under a different title. Knop for Fieg, ATLA, 2/10/08
"First resource received" would not seem to apply to remote resources. We suggest changing this to "first resource received or accessed (for remote resources)" or "first resource available". Randall, ALCTS/CRS, 2/10/08
Agree. Glennan 2/16/08; Maxwell 2/18/08
6.2.2 Works created before 1501
6.2.1 and 6.2.2: Be sure to explain why 1500 is chosen as break point; not obvious to persons who don't regularly work with pre-1900 materials (obviously tied to printing press invention in the West in 1454 – hey, what about printed items in the East? Wasn't printing invented long before in China? So those items would have a different dividing point? In which case this needs to specify items printed in the West). LARSGAARD/MAGERT 1/23/08
Looks like there is a slip here, and it points to a problem. 126.96.36.199.1 about Classical and Byzantine Greek works says "[...] choose a well established title in the language preferred by the agency creating the data as the preferred title." but 188.8.131.52.2 says "If there is no such English title, choose the Latin title." Shouldn't it say "If there is no title in the language preferred by the agency creating the data, choose the Latin title"? All of the examples are "English-centric," but if we really are broadening this to be applicable to agencies that could prefer some other language, shouldn't there be some (not saying one for every case!) examples identified as representing a choice that such an agency could make? de Groat for NRMIG 2/8/2008
Agree. Weiss 2/17/08; Maxwell 2/18/08
Should this section be called "Textual works before 1501"? It appears very print based, or does it actually also refer to other pre-1500 media (i.e., Gregorian chant, pre-Renaissance artworks, etc.)? Allgood, MARBI Rep., 2/10/2008
184.108.40.206 General guidelines
It is not clear whether "modern sources" in the first sentence are synonymous with "modern reference sources" in the following sentence. If "modern sources" are meant the same as "modern reference sources," both in this section should read "modern reference sources." If not, clarification regarding "modern sources" would be helpful. Suzuki for CC:AAM TF on RDA Feb. 4, 2008
As I commented under 184.108.40.206.1, preferring a title in the original language (without even a fallback on using a title in the language of the agency) doesn't follow the principles document. And I note that in the two "exceptions," 18.104.22.168 and 126.96.36.199, the preference is for using a title in the preferred language of the agency. (I do note that in the case of the titles of Latin and Greek works, the Latin title is often the "commonly known" title to users of those works, which is why they crop up in 184.108.40.206.) Bob Maxwell, Jan. 1, 2008.
Agree. Weiss 2/17/08
Would it be useful to have a reference here to 184.108.40.206 (guidelines for ancient laws, etc., i.e., certain works created before 1501)? (Actually, it seems to me 220.127.116.11 could be merged into 18.104.22.168.1, but if they remain separate, they should certainly refer to each other). Bob Maxwell, Jan. 1, 2008.
Agree. Weiss 2/17/08
EXAMPLE: Edictum Theodorici is an example of an ancient law, and therefore should be under 188.8.131.52.1 (although the fact that it works here, too, does demonstrate that the two rules come up with the same result and therefore could easily be merged). Bob Maxwell, Jan. 1, 2008.
[EXAMPLE] Pardoner's tale is part of Canterbury tales, so example should be under 126.96.36.199. --Hostage, IFLA, 2/8/08
Why are there separate rules for Greek works? We know the exception exists in AACR2 but what is the justification for continuing this practice? KINCY, MedLA Liaison on behalf of NLM 2/08/2008
Because they usually more commonly known by a title in a modern language (language preferred by the agency) or by their Latin title. Maxwell 2/18/08
In the first example, will an appendix outlining the procedure for underlining? With regard to the fifth example, wouldn't the title "Pardoner's tale" be under "Canterbury tales"? See your previous instructions in 184.108.40.206.1. In the sixth example, I would think that a variant access point would be made here. This would be a good example further on when variant access points are discussed. Knop for Fieg, ATLA, 2/10/08
Statement of problem: The phrase "modern sources" doesn't sound specific enough. Solution: Consider changing wording to "modern reference sources" instead of "modern sources." Knop for Schwartz, ATLA, 2/10/08
Disagree. I think "modern sources" might be preferable, since we often find evidence for the commonly known form of these titles from modern publications of the works rather than reference sources. I do think using both phrases in 220.127.116.11.1 is confusing and unnecessary. Maxwell 2/18/08
220.127.116.11 Classical and Byzantine Greek works
184.108.40.206. (p. 6-23) Why are the Greeks treated differently? What possible principle drives this? Why prefer language of the catalog, then Latin, and only the original Greek as a last resort, when other works are prefered under the original language? Despite the nod to internationalization by changing "English" to "language preferred by the agency creating the data", these rules haven't gone far enough. 22.214.171.124 are not general guidelines, but rather specific guidelines for works in the script of the cataloging agency. Contrasting with that is the treatment of works not in the script of the cataloging agency at 18.104.22.168. Last is the subset of 126.96.36.199 comprised of Greek works where there is a corpus of reference works that cite the titles in Latin (assuming that the Greeks themselves never adopt RDA, in which case their classical works will be covered under 188.8.131.52?). Sorry to go on a harangue here, but this is another instance where AACR rules don't make a good transition into the new FRBR context, and supposedly principled structure of RDA. Where also the poor wisdom of a quick and dirty solution in order to achieve the insane production timeline has once again come back to haunt us and the JSC. MYERS, 1/18/2008
Agree that we should end special rules for Greek. Weiss 2/17/08
Problem: Why are works in Greek treated differently? This appears to be arbitrary. The Arabic title under 22.214.171.124.1 would not be any more familiar to users than an original Greek title would it? Solution: Either treat Greek like all other languages or provide a convincing rationale for not doing so. -Theroux for D. Brooking, ACRL/SEES/Automated Bibliographic Control Committee, 2/9/08
Is there a special reason that of all the works created before 1501, only Classical and Byzantine Greek works are singled out for special treatment? Hark yon light, methinks I sense a western bias to be stamped upon! Allgood, MARBI Rep., 2/10/2008
I'm wondering if it's just historical precedent that never got questioned. Perhaps long, long ago Greek was the major non-roman alphabet language being cataloged, and they wanted to both minimize transliteration and avoid use of the Greek alphabet, so they went with the Latin forms. Just a wild guess... Certainly we should question it now. Randall 2/12/08
Agree with all concerns expressed above. Glennan 2/16/08
See my comment above. It's the commonly known principle. Maxwell 2/18/08
Editorial: (Reservations about these exceptional rules for the Greeks aside) An artifactual reference to "English title" should be changed to "well-established title in the language preferred by the agency creating the data" as written in 188.8.131.52.1 MYERS, 1/18/2008
Agree. Glennan 2/16/08; Weiss 2/17/08; Maxwell 2/18/08
Editorial: (Reservations about these exceptional rules for the Greeks aside) An artifactual reference to "well-established English title" should be changed to "well-established title in the language preferred by the agency creating the data" as written in 220.127.116.11.1 MYERS, 1/18/2008
Agree. Glennan 2/16/08; Weiss 2/17/08; Maxwell 2/18/08
188.8.131.52 Anonymous works written neither in Greek nor in the preferred script of the agency
I realize this is just a carryover from AACR2 25.4C, but it is not clear to me how this is a necessary rule, given 18.104.22.168.1 (general guidelines). One of the examples in 184.108.40.206.1 is an "anonymous work written neither in Greek nor in the preferred script of the agency". 220.127.116.11.1 might in some cases result in a different preferred title since the two rules have slightly different pecking orders for sources, but why should they? (See my comments above on 220.127.116.11.1) Bob Maxwell, Jan. 1, 2008.
I think the sentence should begin "If the original title ..." (not language). --Hostage, IFLA, 2/8/08
Yes, this is really weird; is this talking about the *language* or the *alphabet/script*? Randall 2/12/08
I think "title" is too restrictive; would "text" work better? Glennan 2/16/08
[EXAMPLE]: Why is the preferred title for the 3rd title listed in the example not in English? What is the example trying to illustrate or emphasize? KINCY, MedLA Liaison on behalf of NLM 2/08/2008
Agree that this example does not follow from the instruction. Weiss 2/17/08
Problem: Why are anonymous works treated differently only if they are in scripts not preferred by the agency (again, except for Greek!)? If the rationale is that the established original title would be less recognizable to users than the established title in the agency-preferred language, why doesn't this apply to foreign languages in the agency-preferred script? And even though there are several English variants of "Slovo o polku Igoreve", it seems that one could be easily chosen as the preferred title and references can be made from the others.
Solution: Decide what the *principle* is. Apply it consistently for works before 1501. Or for works after 1501 for that matter. Do we prefer the original language or not? And why? Any exceptions need to have convincing rationales. (I honestly don't know whether I prefer the original language or a language preferred by the agency/its users. There are complexities on both sides. I just don't like rules that seem arbitrary and hard to remember.) -Theroux for D. Brooking, ACRL/SEES/Automated Bibliographic Control Committee, 2/9/08
Agree. Weiss 2/17/08
In the third example, is that a transliterated title? If so, what happens if a Slavic cataloging agency receives this work first? Will the preferred title then be in the Cyrillic script? Knop for Fieg, ATLA, 2/10/08
6.2.3 Cycles and stories with many versions
188.8.131.52 Cycles
220.127.116.11 Stories with many versions
With regard to the second example, Amis et Amiles, take a look at the NAF entry for that. When searching under this title, I only found the 530 reference; there was a note indicating the number (I don't know why; I only got one reference). This is a collective title and would make a good example of what will happen when the parts under entered the larger work. Also, the authority record was based on information in reference works, not according to the language of the cataloging agency. Knop for Fieg, ATLA, 2/10/08
6.2.4 Manuscripts and manuscript groups
I have a fair amount of experience with manuscript headings. It seems to me that there is a misunderstanding here on the use of manuscript headings. Preferred titles for manuscripts are NOT intended (at least as currently used) as an identifier for the work contained in the manuscript, but for the manuscript itself as a physical entity. "Codex Amiatinus" does NOT stand for the work contained in the manuscript, which is the Bible in Latin, but for the manuscript itself. There is no need for a special rule for formulating manuscript headings if what we're worried about is coming up with preferred access points for the intellectual works contained in manuscripts. They follow exactly the same rules as any other works. It doesn't matter how they are published (or copied). However, manuscript headings ARE needed to identify the physical manuscript, which is treated somewhat like a work of art, a physical creation. This of course, itself, can be considered a "work." But it's not the same as the intellectual work contained IN the manuscript. I realize the RDA rule is a modified version of the AACR2 rule (25.13), but it has left out the most important part of 25.13, that the heading is for "the manuscript itself;" and in any case, the AACR2 rule is itself somewhat muddled and mixed up about what these headings are for. The basic rule should read:
Choose as the preferred title for a manuscript or manuscript group (in this order of preference): a) a title that has been assigned to the manuscript or manuscript group subsequent to its creation or compilation [examples] b) the name of the manuscript or manuscript group if it is identified only by that name [actually, I don't see the difference between a and b either here or in AACR2; perhaps they could be combined] c) a devised title ... [no changes necessary].
Bob Maxwell, Jan. 1, 2008
Agree. Glennan 2/16/08
Agree with the problem, but it seems to me the solution is to move these rules to chapter 2. Weiss 2/17/08
In a) and b) the title that has been assigned to a particular work may be related to the name of the manuscript and there probably should be related references under the preferred access point. See your second example und "b." The Dead Sea scrolls have part of their own titles. Since this is a manuscript group, will RDA's previous instruction about placing the specific title under the larger part apply or will the parts still be under their own specific titles? Knop for Fieg, ATLA, 2/10/08
The examples in section c appear to be name/title access points. 6.2 is only talking about about preferred TITLE, not the entire preferred access point. No other rule in 6.2 (except 184.108.40.206.2, which is a different kind of instruction) has anything at all in the examples giving the preferred name. That makes it look like the name is being used as a title element. Either the examples in this rule should be changed to remove the name, or all of the other examples should include the name (where applicable). Randall, ALCTS/CRS, 2/10/08
Agree. Weiss 2/17/08
220.127.116.11c Is the additional jargon "devised title" really necessary in this section? It doesn't appear to have been used elsewhere. Can't we limit ourselves to preferred titles and variant titles? Therefore at 126.96.36.199. c) delete the introductory clause: " a devised title using"; and at 188.8.131.52. revise the final clause to read: "… record a variant title constructed according to the instructions given under 126.96.36.199 c). Allgood, MARBI Rep., 2/10/2008
Another argument to move to chapter 2. Weiss 2/17/08
Will the distinction be maintained concerning a work about the title of the work and a work about the manuscript? Knop for Fieg, ATLA, 2/10/08
Is the additional jargon "devised title" really necessary in this section? It doesn't appear to have been used elsewhere. Can't we limit ourselves to preferred titles and variant titles? Therefore at 22.214.171.124. c) delete the introductory clause: " a devised title using"; and at 22.214.171.124. revise the final clause to read: "… record a variant title constructed according to the instructions given under 220.127.116.11 c). Allgood, MARBI Rep., 2/10/2008
6.2.5 Incunabula
As with manuscripts, I have a fair amount of experience cataloging incunabula. RDA 22.214.171.124 is a modification of AACR2 25.14A. Much as with the manuscript headings, I think 25.14A must have been intended for headings for the incunable itself ("incunable" is more common now in English than "incunabulum"). In any case, the original AACR2 rule read: "Use as the uniform title for an incunabulum the title found in standard reference sources for incunabula." It does NOT say anything about the preferred title for the WORK contained in an incunable. Unlike manuscript cataloging, there is no practice of naming or giving a separate reference for the incunable itself in cataloging. If one were necessary, one could easily create an access point for the particular expression of the work. I don't see why there should be a different rule for referring to an published book created in 1499 (incunable) and one created in 1501 (not incunable). And there is no reason to have a special rule for naming WORKS that happen to have been published as incunabula (between 1450 and 1500). We already have a rule for naming these works, and that is 6.2.2, "Works created before 1501." Almost all of the major classical works were first published during the incunabula period; it would be absurd to have a rule telling us that we must use, in choosing their preferred titles, the rather obscure titles found in standard reference sources for incunabula. This AACR2 rule, which as far as I can tell has never been used, should be deleted and not carried into RDA. Bob Maxwell, Jan. 1, 2008.
Agree. Weiss 2/17/08
Although we are dealing only with titles here, it would be helpful to give full author/title examples here. See the instructions about attaching a title to a person, family, or corporate body. It should also be pointed out that the examples fall under the category of works published before 1500. Knop for Fieg, ATLA, 2/10/08
Disagree; examples should only exemplify the present instruction. Weiss 2/17/08
6.2.6 Parts of a work
18.104.22.168 General guidelines
188.8.131.52 One part
18.104.22.168.1 (p. 6-27) This rule is difficult. It does not adequately illustrate the recording of the preferred title of the part as an element of the preferred access point for the part as opposed to recording the preferred title of the part alone as a variant title. To use the examples, the recorded preferred title for _Two towers_ is, _Lord of the rings. Two towers_, not just _Two towers_, which as the title of the part itself would be the recorded variant title (cf 188.8.131.52.3). MYERS, 1/18/2008
Agree. Randall 2/12/08
It's confusing because the preferred title for the part is only one part of the preferred access point for the part. The preferred title for the part is added to the preferred access point for the work as a whole to make the preferred access point for the part in 18.104.22.168 (to use the clear, concise English that RDA is known for). --Hostage, IFLA, 2/8/08
Agree that there seems to be an inconsistency in whatthe term "preferred title for the part" means. Weiss 2/17/08
HA! (my response to Hostage's last remark) Randall 2/12/08 However, Hostage's analysis is correct. Glennan 2/16/08; Maxwell 2/18/08
You refer to the general guidelines in 5.5. There you will find fuller examples. Why not use that same fuller form here? Or you could consolidate the instructions 5.5 and 188.8.131.52.1 or consolidate the examples. I think it would be better to have the full examples given again rather than clicking between sections. Knop for Fieg, ATLA, 2/10/08 This same idea applies to the examples on p. 6-28 instead of clicking back to the instructions in the parts of the larger work. (It should be noted here, as I noted before, that "Book 1" is not a title of a part, but a numerical designation, the difference between $p and $n). Knop for Fieg, ATLA, 2/10/08
I suggest adding, as a final sentence after "... as a numeral.": "Follow the pattern already established for other parts." E.g., if "Book 1" is the pattern already established for the Iliad, we shouldn't suddenly use "Liber 10" even if the publication of Book 10 says "Liber 10" on it. But there's no guideline suggesting this in RDA. Bob Maxwell, Jan. 1, 2008.
Agree. Randall 2/12/08. Agree. Glennan 2/16/08; Weiss 2/17/08
Statement of Problem: Many television and radio programs lack episode titles or numeric designations and need to be identified by broadcast date (see LCRI 25.5B). Solution and Reason: Please allow television and radio programs that lack episode titles or numeric designations to be identified by broadcast date (see LCRI 25.5B). Martha M. Yee, UCLA Film & Television Archive, 02/03/2008
Agree with problem, but broaden the solution to other disambiguators as well, but sticking with a single one for each series. Weiss 2/17/08
Often television and radio programs do not have either names or numeric designators for individual parts. It would be useful to include from LCRI 25.5B Appendix "in the absence of both a numeric designation and an individual title, use the date of broadcast in the form [yyyy-mm-dd]." Current practice is to use brackets; would RDA practice be to omit the brackets? de Groat for NRMIG 2/8/2008
Agree. de Groat for OLAC, 2/9/08
Agree. Randall 2/12/08. Agree. Glennan 2/16/08
This rule should be preceded by the word "Also", for clarity. Randall, ALCTS/CRS, 2/10/08
Agree. Glennan 2/16/08
Disagree. Weiss 2/17/08
This contradicts 22.214.171.124.1. Weiss 2/10/08
Disagree; it only needs the word "Also". (Weiss' comment proves my case.) Randall 2/12/08
18.104.22.168 Two or more parts
This and all similar alternatives will cause confusion to our users if applied, who will expect to find the whole work when they will actually get only parts. I can't see the purpose of these alternate rules except for the convenience of the cataloger. I suggest they be removed. Bob Maxwell, Jan. 1, 2008.
Agree. Glennan 1/2/08; Weiss 2/17/08
Agree just as vehemently as before. Scharff, MusLA 1/20/08
Agree. Randall 2/12/08
Problem: Don't lie to the user. If the resource is not the whole, but only parts, do not use the same preferred title for the whole. Solution: Bring back "Selections": History of the decline and fall of the Roman Empire. Selections. -Theroux for D. Brooking, ACRL/SEES/Automated Bibliographic Control Committee, 2/9/08
Agree. Randall 2/12/08. Agree. Glennan 2/16/08
In the first line, there too many "two or more"s. Knop for Fieg, ATLA, 2/10/08
Typo: Strike second instance of the phrase: "two or more". Allgood, MARBI Rep., 2/10/2008
I think this leads to quite misleading data. Change to: "... use the preferred title for the work as a whole, followed by ', ' and the word 'parts' in the language of the agency." I don't like designating internal formatting, but it doesn't seem worth creating a separate sub-element. Weiss 2/10/08
Agree with analysis of "misleading data." Disagree with use of "parts" instead of "selections" for reasons stated in earlier comments. Glennan 2/16/08
6.2.7 Compilations of works
Delete the whole section. Yes, the whole section. That would have compilations treated as a regular type of work, generally getting title-page titles. I think all our convolutions with uniform titles in the end are a detriment to our users. It would be better to go with the an easy rule that doesn't confuse users, and spend the time otherwise spent reading the rules on collective titles and establishing the collective title instead on giving added entries for the works contained in the compilation (similar to alternative 220.127.116.11.2). Yes, I know that isn't going to happen when the compilation contains 98 poems, but it is not that difficult to get a machine-readable list of most prolific authors' works. Weiss 2/10/08
Disagree, largely based on my experience cataloging sound recordings, most of which are compilations (and not all of those have collective titles). Glennan 2/16/08
188.8.131.52 Complete works
If 6.2.7 is retained, to be extra clear here, change to: "For a work that is a compilation of works, ...". Weiss 2/10/08
Agree. Randall 2/12/08.
220.127.116.11 Complete works in a single form
Prefer a separately numbered instruction referencing the music exception instead of embedding the reference to 6.18.5 in this text, following the pattern in 188.8.131.52.2. - Glennan 1/3/08
Agree. Randall 2/12/08
Disagree. Weiss 2/17/08
220.127.116.11.1. (p. 6-29) What about references to (and development under 6.3 of) rules for recording the title proper of a compilation as a variant title to the collective title referencing the form? MYERS, 1/18/2008
Agree. Randall 2/12/08
Maybe; I'm not sure this is always a good idea.... Glennan 2/16/08
If 6.2.7 is retained, add "Diaries". Weiss 2/10/08
Agree. Glennan 2/16/08; Maxwell 2/18/08
Delete; there is no value added here. Weiss 2/10/08
Agree. Glennan 2/16/08
220.127.116.11 Other compilations of two or more works
It seems to me that eliminating the "rule of three" did not have to include dumping "Selections" as a collective title element or subelement. Its use as a subelement would be far preferable to the alternative to use the same access point for a work and a collection of excerpts from it (e.g. at 126.96.36.199.3). While I understand that hierarchical displays in a machine environment don't require strings to be as structured as "Correspondence" and "Correspondence. Selections," I think it unfortunate that the draft seems so reluctant to support alphabetical browse lists. Scharff, MusLA 1/20/08
Agree. Randall 2/12/08. Agree. Glennan 2/16/08; Maxwell 2/18/08
This is a place where treating compilations as works in and of themselves creates problems. In some ways, a compilation of selections from two or more of an author's works is a new work, and in some ways, "selections" is an attribute of an expression of the complete works of that author. I'd prefer treating "selected" or "selections" as a separate attribute in preferred access points for compilations such as these, rather than adding "selected" before the form part of preferred titles. In other words, return to the AACR2 practice (in 25.10A.)of:
Correspondence. Selections Essays. Selections Novels. Selections [etc.]
instead of the examples here. - Glennan 2/6/08
Agree. Randall 2/12/08; Maxwell 2/18/08 (on the preference against "Selected ...")
Disagree that compilations sometimes are and sometimes aren't works; I think they always are. "Selections" (or whatever word) relates to teh work, not the expression. Agree now that this should be a separate sub-element. But I htink it should only be used if there is no collective title. Weiss 2/17/08
This instruction is not clear at all, especially when it comes to relating the instructions to the examples below it. If the compilation is complete, why not use just one term, "Correspondence, "Essays," e.g.? The terms used in the examples suggest that only selected portions of the correspondence, essays, etc. are in the work in hand. If that is what you mean, then I would suggest the following construction: [name]. Correspondence. Selections. (In MARC: [name]. $t Correspondence. $k Selections). Knop for Fieg, ATLA, 2/10/08
I find this instruction clear; Fieg seems to have missed 18.104.22.168. Glennan 2/16/08
If 6.2.7 is retained, get rid of a and b, simplifying the sentence to: "For a compilation consisting of two or more but not all the works of one person, family, or corporate body, record one of the following collective titles:". Weiss 2/10/08
Agree. Randall 2/12/08. Agree. Glennan 2/16/08; Maxwell 2/18/08
You don't have to choose between the collective title and specific title. You can have both. In the description, you can have the collective title, Essays, Short stories, etc. and also create analytics for then in the record: in MARC 700 12 …. Knop for Fieg, ATLA, 2/10/08
What will be the preferred access point for the compilation as a single resource? (see our comments 22.214.171.124.4) Randall, ALCTS/CRS, 2/10/08


text:
- 73Promote
Art Print
Love Musicby Catherine Doolan
Collect your choice of gallery quality Giclée, or fine art prints custom trimmed by hand in a variety of sizes with a white border for framing.
Nicely done = Cheers!
Thank you Tex and Michael :)
cool concept !!
Thanks B :)
Thank you Helen :)
Nice, looks great on you're Products :)
Thank you :)
well done!!
Thanks Bruce! :)
Thank you, Luda :)
This is awesome! very creative!!
Thank you :)
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text:
i love the spoon so cute
very nice !
Really nice concept !!!
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great picture! how did you get the background so blurred?
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waaw! i luv this concept.. really amazing
really cool snap,great color contrast.
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This is cute. That is one interesting spoon you've got there!
Beautiful work
wow i love this <3
Awww, this is actually cute. X3
only thing I dislike about this is the shadow of the spoon.
Everything else seems perfect c:
Everything else seems perfect c:
sweet photo
great shot & composition! i like the background color, fits to the spoon and the hearts
Absolutely love this image. Everything about it. I think the only thing I'd like to do to it is switch out the hearts with conversation hearts. Though doubtful it'd be any better. I love it!
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Bardzo fajny pomysł i łyżeczka urocza! Brawo
I love how you named it heartbeat! Makes so much sense (as a title should)
Great idea and wonderful work!
Great idea and wonderful work!
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text:
Difference between revisions of "JSimpleXML:: getStackLocation"
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Gets the reference to the current direct parent.
Description:JSimpleXML:: getStackLocation [Edit Descripton]
protected function _getStackLocation ()
- Returns object
- Defined on line 256 of libraries/joomla/utilities/simplexml.php
See also
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text:
When the new Warriors ownership group took over, they madeit clear that they believed Golden State could be a destination franchise forbig-time free agents and soon.But judging by the teams recent
With the deadline for franchise tags just two days away, 11 NFL teams have locked up scheduled free agents with the designation.The 49ers, of course, placed a one-year, 6.2 million tender on safety
The 49ers have agreed to terms with veteran long-snapper Ryan Pontbriand, whom the Cleveland Browns released after his errant snaps were at least partially to blame for two November losses.The 49er
The 49ers have announced an addition to their coaching staff. Tracy Smith will assist special teams coach Brad Sealy with his responsibilities. Also, two other coaches received new titles.
The day after the 49ers' season concluded, coach Jim Harbaugh said he planned to keep the 49ers' coaching staff intact.


text:
Things to see and do - Moscow
Leaving for Russia
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Assambleya Nikitskaya is ideally situated within the heart of Moscow, a 5-minute walk from the Kremlin, Red Square and the State Historical Museum. It offers free high-speed W-Fi. All rooms at the Assambleya Nikitskaya Moscow are air-conditioned, and feature a flat-screen TV, refrigerator and private bathroom. The on-site lobby bar is open 24 hours a day, and room service is also available. Many metro stations are within a 5-minute walk from Hotel Assambleya Nikitskaya. These include Okhotny Ryad, Arbatskaya, Borivitskaya, Biblioteka Lenina and Teatralnaya. Expocentre is a 20-minute metro ride from the property.
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WebMD Symptom Checker helps you find the most common medical conditions indicated by the symptoms broken bones (multiple fractures), swelling and warm to touch including Bursitis (anserine), Cellulitis, and Bruised shin.
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text:
My Dinner With Zagat
A night on the town with guidebook royalty.
This was a typically Zagatian interaction. Zagat walks into a restaurant, receives an enthusiastic reception from the maitre d's and chefs, and then, for the benefit of his guest, unleashes a gust of Zagatlike pronouncements—bon mots intended to capture the flavor of the place. At Jean George, he said: "Lunch here is probably one of the best values in New York"; at Buddakan: "It's like eating on the stage of a Broadway show"; and at La Grenouille: "This is the last great old-world French restaurant … truly a classic … one of the most charming private rooms in all of New York." Mrs. Zagat has a similar enthusiasm for restaurant-going, but a more demure style and a rather larger reservoir of patience. When we had a free moment, I asked her how often the Zagats dined out. "Most weeknights. Tim has lunches out. And we do a lot of breakfast meetings, too." And on weekends? "We like to go to our house in the country." (Where the Zagats also dine out.) As to the maitre d's, chefs, and restaurant owners who fling themselves at them: "We don't ever get to be friends with them to the level of 'Let's go out to lunch.' "
Perhaps not, but the Zagats occupy an enviably cushy perch in the New York restaurant scene. The city's major food critics—Frank Bruni at the Times, say, or Adam Platt at New York—are treated like minor royalty upon entering a restaurant. But then they must actually review the restaurant, which can prompt bad feelings and make their re-entry a few months later a rather cold and uncomfortable occasion. The Zagats assign the reviewing to an army of readers and are never in danger of being anything other than beloved enthusiasts. Their arrival at Gabriel's, on 60th St. at Broadway, was met with a hostess asking, "Do you have a reserv"—a thought snatched out of midair by Gabriel Aiello, the owner, as if he were capturing a horsefly. With hearty greetings, Aiello gave the Zagats a tour of the dining room (marking the spots where Sydney Pollack and Bill Keller had eaten, separately, earlier that evening), and then led them to the bar for complimentary blood-orange bellinis and hot chocolate. Tim Zagat remarked, "Gabriel's makes the best hot chocolate in New York."
The Zagats' adherence to the wisdom of crowds—an Internet Age idea they pioneered before there was an Internet—is not so much a business strategy as a guiding philosophy. The Zagats have their own opinions about restaurants, of course. But ever since they began circulating early surveys among their close friends, they have enjoyed deferring to the advice of avid diners; one of Tim's favorite phrases is, "I would never replace Einstein with 100 physicists, but I would replace a restaurant critic with a hundred customers." Ask him where to find the best French cuisine in New York and he'll tell you that Zagat readers point to Le Bernardin, on West 51st St., which scores a 28 out of a possible 30 for food—though he prefers La Grenouille, which scored a point lower. * Ask Zagat about the Michelin Guide, which uses "professionally trained inspectors" rather than proles, and he'll say, "If I'd written the Michelin Guide to hurt Michelin, I couldn't have done a better job."
After more than four hours on the hoof, the Zagats arrived in the Meatpacking District, at 10th Ave. between 15th and 16th Streets—a Bermuda Triangle of fine dining demarcated by "over-the-top" Morimoto, "amazing, high-ceilinged" Craftsteak, and Mario Batali's "ultra-civilized" Del Posto. The Zagats selected the latter for dinner, and moments after they entered the door (without a reservation) they were met by the co-owner Lidia Bastianich and given a quiet table in the dining room. After dinner, Zagat was cornered by a man who was speaking excitably in Italian. Zagat could not quite make out what he was saying, but the gist of it seemed to be that the Italian was involved in the food industry back home, and his life had been touched in some small but important way by the Zagat food guides. Greeting Zagat was an honor on par with meeting the renowned Batali, and the man waved over his friends, and soon a dozen Italians were chirping and smiling at Zagat. Zagat posed for photographs and, when the Italians' wonderment was exhausted, he handed them all Zagat guides.
Correction, Feb. 5, 2007: An earlier version of this article misstated a Tim Zagat quote. The highest-scoring French restaurant in the Zagat survey is Le Bernardin, not Daniel. (Return to the corrected sentence.)


text:
Oriel Mostyn Art Gallery
Established in its current form in 1979, Oriel Mostyn Gallery is a leading gallery for contemporary art in Wales, offering access to the visual arts both for the immediate community and for the region as a whole. It has a strong profile nationally and internationally, and is able to attract artists and exhibitions of the highest standard. It has a dedicated education programme as well as a shop which stocks a variety of crafts, glassware, jewellery, books and magazines.
Venue Type:
10.30am – 5pm TUESDAYS TO SUNDAYS
Admission free
Additional info
Main gallery, craft shop and toilet accessible by wheel chair. We regret that the Education Gallery is currently not accessible to wheelchair users. Please contact us in advance to arrange any assistance that might be required. 'Type-talk' available.
War II
- 14 November 2015 — 15 May 2016 *on now
WAR II is the sixth in our History Series of exhibitions, which explores the story of the MOSTYN building, placing it in the context of the town of Llandudno and further afield.
This rich heritage acts as a starting point to bring together historical artefacts and images alongside works by contemporary artists.
As a sequel to WAR I (MOSTYN, 2014) which focused upon the building's function as a drill hall during WWI, this new exhibition moves on to WWII and the building's use as a 'Donut Dugout', which provided food and recreation for American troops resident in the town.
Contemporary artworks are placed in close dialogue with the findings from historical research, allowing us to view the past through the lens of the present.
Suitable for
- Any age
Diango Hernandez: Time Islands and Space Islands
- 14 November 2015 — 15 May 2016 *on now
MOSTYN is proud to present the first solo exhibition, in a UK institution, by Cuban born and Düsseldorf-based artist, Diango Hernandez - one of today's foremost conceptual artists from Central and South America.
Comprising old and new works, and drawing upon the artist's experiences whilst growing up in Cuba, Hernandez's exhibition imbues those experiences with a Western perspective.
The show includes, amongst others, a site-specific wall mural
a series of fruit sculptures and reclaimed furniture
works on canvas and offset printed paper
and a fragile construction of rusted steel - a numerical representation of the years 1959 to 2008 in descending order.
The exhibition is produced in collaboration with Marlborough Contemporary, London and Federico Luger Gallery, Milan. It is curated by Alfredo Cramerotti (MOSTYN, Director).
Suitable for
- Any age
Iwan Lewis: Uprisings
- 14 November 2015 — 22 May 2016 *on now
Born in 1980 and based in Wales. Iwan Lewis works primarily in painting and installation.
Drawing from a broad spectrum of cultural influence Lewis's landscape is often surreal yet diaristic, indulging in mis-readings and failed languages. His work seeks to obtain a sense of visual poetry. The fragment is heavily relied upon in the work to suggest rather than to reveal a narrative. This can show up through a deliberately considerd title or by playing one piece against another. By allowing a portrait, within an installation of paintings, to act as both narrator and a formal representation, a fictional narrative takes place.
Suitable for
- Any age
- 14 November 2015 — 15 May 2016 *on now
'&' (pronounced 'and') is an exhibition exploring collaboration as a subject and concept for the projects on view and the exhibition overall. It has been brought together by GLITCH, MOSTYN's collective of under-25 year olds which is a part of Circuit, led by Tate and funded by the Paul Hamlyn Foundation.
'&' includes projects by the group that explore a variety of their personal interests through collaboration with an outside agent and is a follow-up to the group's first show (Gallery1) which took place from November 2014 until March 2015. Collaborators include, amongst others, artists, graphic designers, tailors, historical archives, MOSTYN's curator and team, and merge together both art and curatorial practice.
'&' also presents existing and previous collaborations that have occurred amongst the disciplines of art, design and fashion. The projects by GLITCH group members are thereby placed in a wider context offering the viewer a framework in relation to various aspects of culture, as well as the world at large.
Suitable for
- Any age
Oriel Mostyn Art Gallery
12 Vaughan Street
01492 879201
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Wright Investors Service Comprehensive Report for Mitsubishi Pencil Co Ltd
Quantitative analyses of financial statements (Income Statement, Balance Sheet and Sources of Capital), extensive ratio table...
Will MITSUBISHI PENCIL CO., LTD. Perform Long Term?
How Will MITSUBISHI PENCIL CO., LTD. Perform Over the Long-Term?
Should Investors Steer Clear of the MITSUBISHI PENCIL CO., LTD.?
Will MITSUBISHI PENCIL CO., LTD. Perform for Long-Term Investors?
MITSUBISHI PENCIL CO., LTD.: Downgraded to Above Average
Will MITSUBISHI PENCIL CO., LTD. Deliver Long-Term Returns?


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Hi, I have created a simple thank you page I need however, the privacy setting 'Privately publish' + 'Private' doesn't work and it appears on the navigation bar on my website.
I have deleted it and created a new one with the same result. I have another page I created months ago. It has the exact same settings and it works. I'd like to know what can I do to make the second page work using the same private settings please.
http://beatrizvalverdegarzon.com/thank-you-subscribing/ (this page needs to be hidden)