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University of Liverpool, 23-25 July 2008
By: Karina Berger (Leeds), Katrin Henzel (Leipzig),
Charlotte Ryland (Oxford), Alexandra Vinall (Oxford)
The recent 3-day conference 'Impact: German-language Culture and its Reception' was held at the University of Liverpool, organised by Lyn Marven and Rebecca Braun. Coinciding with Liverpool's 'European Capital of Culture' 2008 as well as celebrating the twentieth anniversary of Women in German Studies, this conference addressed how 'impact' may be conceptualised with reference to German-language culture and its reception, both at home and abroad. The broad scope for interpretation, which the central theme offered, was reflected in the diversity of approach, with papers exploring impact in, on and of literature, film, the biopic, museum displays, music, experimental and traditional theatre, the visual arts, the media, translation and language. The conference raised issues about the relation of culture and politics, particularly with regard to twentieth-century German history; how cultural impact affects literary and artistic production; how such production may impact upon societal attitudes; and commercial impact upon the arts. In addition, several papers drew attention to matters associated with reception, including the gap between the artist's intention and reception of their work; the reception of the artist him/herself; and the effects of censorship or political orientation.
The breadth of papers offered at the conference suggested that 'impact' is a concept with significant resonance in German Studies, and one that is central to a wide variety of research interests. That the 'impact' of the theme extends to fields beyond German Studies was evident during the lively and interdisciplinary round table, which took place at Tate Liverpool at the end of day two (see below). Here, the discussion of the impact of German-language culture in the UK included, among others, observations of cultural perceptions, compatibility and differences in the arts, literature and theatre, themes of interest, for instance, to those working in the fields of Cultural Studies, translation or comparative studies. An edited podcast of the round table will be available via the WIGS website shortly (www.wigs.ac.uk).
In her opening keynote lecture, ANNE FUCHS (Dublin) engaged with the question of why the city of Dresden became an iconic memory site for 'German wartime suffering', describing it as one of the most significant 'impact stories' of the 20th century. Based on an analysis of the two-part TV drama Dresden (2006), and the debate surrounding the rebuilding of the Frauenkirche, Fuchs argued that the recent Dresden discourse illuminates wider cosmopolitan trends to recode the war experience.
The first panel of the conference concentrated on theorising cultural impact. KATRIN KOHL (Oxford) stressed the role of language for a concept such as 'impact' by focusing on the power of abstract forms, particularly the metaphor. Based on the assumption that metaphors can be seen as the most important cultural force, shaping the concept of culture and, by extension, our identities, Kohl examined different conceptualisations of national culture that deal with the metaphor "word is a weapon". Her examination included positions of the 18th century (Goethe, Klopstock) as well as conceptualisations in 20th century Germany and led to the conclusion that after 1945 German culture has been dissociated from political functions in the public sphere. ELIZABETH BOA (Nottingham) explored the impact of Kafka's artist stories, demonstrating that these texts reflect upon the relationship between artist and audience, and between the work of art and the cultural institutions that frame it. Boa argued that the focus of these stories, in particular Bericht für eine Akademie and Josefine, die Sängerin oder Das Volk der Mäuse, is in the slippage between intended meaning and reception, and therefore represent the artist as a victim of misunderstanding, confined to the margins and yet celebrated by Kafka for precisely this outsider status. In the last paper of this panel, SARAH COLVIN (Edinburgh) examined the seemingly contradictory concept of the 'zero impact' of prison writing after 1968. Using Peter Paul Zahl (APO-member and later literary award holder) as an example, Colvin examined functions of prison writing that do not intend 'impact' in the standard sense. Colvin's analysis of Zahl's poem 'ninguneo – verniemandung' showed that political prisoners saw their writing predominantly as a way to make their voice heard and keep their identities alive.
In the afternoon, three papers reflected on the cultural impact of the process of translation. Based on English and German translations of Tadeusz Borowski's Holocaust narratives, PETER DAVIES (Edinburgh) enquired into the role of translation in the construction of the Holocaust between cultures. As Borowski's texts cut across several generic categories, Davies examined the way in which translators and editors have dealt with the ethical issues surrounding categorisation, revealing that the different translation strategies reflect both the cultural perceptions and paradigms of the culture of the target language, as well as changing notions of authenticity in writing about the Holocaust. ANNE BODEN (Trinity College Dublin) discussed Paul Peikert's Chronik über die Belagerung Breslaus 1945, a diary describing the siege of Breslau and the mass expulsions in the final months of the war. First published in Poland, and then in the GDR in the 1960s, Boden examined the Polish paratexts that frame the diary, and then focused on the text's reception in the GDR, revealing how the text – which suggests that expulsion was a logical consequence of the Germans' support for a voracious German war machine and constituted a liberation by the Red Army – was used to support the official East German interpretation of the war. Last in the panel, DAVID BARNETT (Sussex) discussed the difficulty of 'translating' German theatre onto the English stage. Outlining the effects of the subsidised German theatre system, and identifying a fundamental conservatism within the institution of a commercial theatre in the UK, he argued that challenging dramaturgies have little chance of appearing, or succeeding, in Britain.
In the keynote lecture that followed, HELEN WATANABE-O'KELLY (Oxford) drew attention to the neglected figure of the 'woman warrior'. By tracing the recurrence of the figures of the Amazon, Judith and Germania, as well as literature's heroic maidens of Brecht and Schiller, Watanabe-O'Kelly argued that the image of 'woman warrior' has in fact dominated the German imagination from at least the Renaissance to the present and takes up a central and continuous place in the country's tradition.
In the opening keynote to Thursday's proceedings, JÜRGEN LUH (Stiftung Preußische Schlösser und Gärten) outlined the SPSG's plans for the 300th birthday celebrations of Friedrich the Great in 2012. The project aims to find innovative and exciting ways to disseminate information on Prussian history and 18th century culture, and to awaken a renewed interest in this period. Luh addressed the issue of the German reception of Friedrich which oscillates between truth and legend, and highlighted how Prussian history has become a far more specialist topic over time, particularly amongst young people who, according to the SPSG's research, have very little knowledge of Friedrich as a historical figure.
Panel A opened with CLAIRE ROGAN's (Wesleyan) examination of the German artist Max Klinger's impact as the first German-speaking artist to depict lesbian desire in art which was displayed to the public. His last portfolio, 'Pavilion' (1916), depicts the travails of an ideal Germanic woman and her resistance to the advances of, amongst others, an Amazon queen. Rogan presented Klinger as having been misrepresented by the main body of reception and argued that the negative reception of the work contributed to the failure to secure a long-term legacy for Klinger's works. This was followed by a paper on the impact of transborder theatre festivals on the German-Polish border by JANE WILKINSON (Leeds). Wilkinson focused on two cross-border theatre events, Unithea and Viathea, as case studies to illuminate wider issues about the impact of such events on cross-border relations. Wilkinson demonstrated that audience reactions starkly contrast with the aims of the festivals, and with the effects which are claimed by the organisers, concluding that while there is general support for such initiatives, it is also questionable as to how effective these are in practice. CHLOE PAVER (Exeter) explored how material culture of the National Socialist period impacts upon museum displays of this period more generally and highlighted the difficulties in presenting the past in such displays. Paver argued that the conception of Nazi Germany as entirely totalitarian is transmitted through such museum exhibitions, primarily because the fringe elements of the regime, such as resistance and dissent, cannot easily be displayed. Museum displays can only focus on those objects which are, so to speak, pervaded by the symbols of Nazism, such as the swastika, and often objects are displayed without their original context.
A parallel session explored 'Transmission and Reception in Popular Culture', taking full advantage of the multimedia facilities available to present a compelling investigation into the impact of political song and film in new contexts. DAVID ROBB (Belfast) examined the reception of songs of the 1848 revolution in the folk revivals of post-1945 West and East Germany. He showed that the broad spectrum of attitudes conveyed in these songs, from positive revolutionary content, through retreat and resignation, to the celebration of emigration, meant that these songs chimed with several strata of society in both the FRG and the GDR from the 1950s to 1980s. The particular lyrics and musical setting chosen reflected both the political situation in the respective countries and the political persuasion of the singer in question. CHRISTIANE SCHÖNFELD (Galway) was also concerned with the new reception of an earlier text, this time the transformation of Lion Feuchtwanger's 1917 drama and 1925 novel 'Jud Süss' into the Nazi film of 1940, directed by Veit Harlan. Contrary to the current view that the film was not based on Feuchtwanger's novel, Schönfeld demonstrated that the film functions as a negative image of the novel, perverting and reversing its intentions. Rather than portraying human weaknesses, as the original play and novel do, the film represents only Jewish weaknesses, in particular by positioning the protagonist's sexual abuse of a young woman at the climax of the narrative.
The second session dealt with the cultivation of culture. In his keynote lecture, GUNTHER NICKEL (Mainz/Deutscher Literaturfonds) illustrated the development of German literary sponsorship and in this context the specific role of the (19th century) bourgeoisie. Nickel outlined the numerous possibilities of financial aid available to contemporary writers in the German-speaking regions. Questioning the intention of literary sponsorship, he challenged this kind of 'continous alimentation', where writers stay dependent for long periods of time, and instead recommended the sponsorship of reading, for instance supporting programmes at schools to encourage early contact with contemporary literature.
Panel A opened with a paper by REBECCA BRAUN (Liverpool), outlining her latest research into the Gruppe 47 and examining post-war constructs of Heimat which can be read in(to) their work. Through an examination of documentary films about the Gruppe 47, Braun suggested that the symbolic importance of the group appears to be constructed in two ways: those outside seek to establish the group's place in post-war discourse by connecting the 'rootlessness', which the group sees as self-defining, to the German landscape, while those within preserve the notions of a rootless resistant group which resists definition, which adds to the rhetoric of mythmaking. Thus, Braun's conception of Heimat as related to Gruppe 47 shows us that its primary characteristic is a separatist, coherent myth. Public conceptions of the figure of the author were also addressed in KAREN LEEDER's (Oxford) paper on Ingeborg Bachmann, which discussed the reception of Bachmann through two recent critical essays by Ulrike Draessner and Evelyn Schlag. She addressed Bachmann's iconic status and the myth which has grown up around her as an author, both during her lifetime and after her death, the dramatic features of which have fuelled critical and scholarly fascination with her not only as an author but increasingly as a public figure. Leeder examined the 1954 Spiegel coverage of Bachmann and the image of the author which this conveyed, using this as a way to explore the cultural impact of the author, and more specifically, the female author. JENNY MCKAY (Leeds) examined Ingo Schulze's acceptance speech on winning the Thüringer Literaturpreis in November 2007, in which he outs Germany's commercial chiefs as the new feudal lords. She related this to his collection of short stories, Handy: dreizehn Geschichten in alter Manier (2007), and outlined how this work both supported Schulze's claims about the increasingly feudal position of the German writer, and indicated that authors are necessarily in a state of 'dependent independence' on the financial bounty of these modern barons.
The three speakers in Panel B accentuated the shaping of the public sphere. KATRIN HENZEL (Leipzig) concentrated on the impact of anthologies of quotations around 1800. Based on the thesis that literature changes its functions when quoted, Henzel used examples to illustrate how anthologists influenced the readership. An analysis of paratexts, such as prefaces or subtitles, explained the intentions of these collections. Henzel also showed how anthologies of quotations preserved parts of literary texts, turning them into proverbs, while their writers' identities were lost. MATTHEW PHILPOTTS (Manchester) examined how the literary journal Sinn und Form, once an official product of the GDR, protected itself in the post-Wende period in order to survive on the market. Using Bourdieu's model of the cultural field, Philpotts analysed reviews of the early 1990s to illustrate the struggle for symbolic capital at a time of scepticism towards former GDR journals. On the other hand, Sinn und Form dissociated itself from SED-ideology as well as from the capitalist market by trying to protect the 'Sinn' where there was no longer sense and to retain its small and elitist readership. ANA-MARIA PĂLIMARIU (Iasi) examined the role of the German-speaking minority in Czernowitz during 1918 and 1940 by analysing the Feuilleton of the Czernowitzer Morgenblatt. This newspaper has been one of the most important media sources of the Bukovina and can be seen as a platform for all minorities in Romania at that time. Pălimariu analysed the composition of the Feuilleton, including aspects of rhetorical media research such as the self-image of this medium and its influence on the readership.
The 'Round Table', held at the Tate Liverpool, concluded Thursday's sessions with a discussion on how German-Language culture impacts upon British culture in the 21st century. The panel, chaired by Michael Schmidt, Professor of Poetry (Glasgow) and editor of Carcanet Press, included Christoph Grunenberg, director of Tate Liverpool; Karen Leeder, fellow at New College, Oxford, and translator; Walter Meierjohann, associate director at the Young Vic Theatre, London; and Rebecca Morrison, editor of the journal New Books in German, which aims to introduce German-language publications to the English market. The lively discussion centred on the reception of German culture in Britain, including the visual arts, theatre, literature and translation. Questions about common perceptions of German culture abroad as well as the position of German natives abroad were addressed, as well as concerns about the dearth of young German-language playwrights at British theatres. The difficulties of translating German-language literature for the English-language market were outlined, particularly with regard to poetry. Finally, the discussion moved onto the ways in which German-language culture is disseminated in the UK and it was suggested that it achieved a greater, and more welcome, impact when less overtly 'German'.
ANDREW WEBBER (Churchill College, Cambridge) opened the last day of the conference with his keynote lecture on Berlin as the cultural capital of the 20th century. Based on Walter Benjamin's Berliner Kindheit and his description of Paris having been the cultural capital of the 19th century, Webber examined places and monuments in relation to the history of Berlin, Germany and the world during the last century. Webber offered a survey of different topoi of Berlin, including boundaries and thresholds, concluding with an analysis of Berlin's materiality.
The three speakers on 'culture and spectatorship' examined different forms of witnessing, from Heine's journalistic reports on revolutionary Paris, through the reception of 1950s German film as witness to attempts to come to terms with the past, to a bio-pic documenting the life and death of German poet Rolf-Dieter Brinkmann. LARA ELDER (Oxford) discussed the ambivalent position of Heine's reports on revolutionary politics for the German Allgemeine Zeitung, as an attempt to conceal for the censor while simultaneously revealing for the reader. Elder demonstrated that a theatrical idiom pervades Heine's reports, which implies that French revolutionary politics employed a dramatic mode, manipulating the visual in order to stage-manage its own reception. BEN MORGAN (Oxford) proposed a new reading of the first colour feature film to be made in Germany after the war, Schwarzwaldmädel (1950), as evidence against the received image of 1950s Germany as amnesiac. Rather, he showed that for contemporary viewers the film helped to construct a sense of emotional continuity with the pre-war era, through the re-appearance of pre-war actors and of motifs from earlier versions of the Schwarzwaldmädel story, in particular the popular operetta of the 1910s and 1920s. DEBORAH HOLMES (Vienna) showed excerpts from Harald Bergmann's 2006 film Brinkmanns Zorn and examined Bergmann's discussion of the film in a 2007 interview, in order to explore the generic implications of this experimental film. Holmes highlighted the ambiguous generic status of the film, which uses Brinkmann's own audio recordings with staged visuals, as a unique fusion of the documentary and the bio-pic, while simultaneously assessing its position as 'verfilmte Literatur'.
In the panel on 'cultural icons', the first two papers examined their 'icons'' lack of impact, tracing it to issues of censorship or political orientation. Using Gramsci's concept of the organic intellectual, JOANNE SAYNER (Birmingham) analysed the attempts by Greta Kuckhoff to use her public role to create a democratic anti-hegemony. Analysing a wide range of Kuckhoff's radio broadcasts, journal articles and speeches, Sayner illustrated Kuckhoff's consistent awareness of her own positionality and suggested why Kuckhoff was unable to achieve the impact she wanted, looking at questions of censorship and the remit of a 'public sphere' within the occupation zones. KARINA BERGER (Leeds) examined Walter Kempowski's reception in Germany from the late 1960s until his death in 2007. Outlining the author's status as a persona non grata with the literary establishment in the highly politicised 1970s, Berger traced the cultural and political changes which led to the eventual volte-face in Kempowski's reception, and a new-found appreciation of the author. LAURA BRADLEY (Edinburgh) traced the impact of Wolf Biermann's expatriation on the Deutsches Theater and its production of Michael Kohlhaas in 1976-7, adapted by the director Adolf Dresen, who had refused to withdraw his protest against Biermann's expatriation. Bradley analysed how the theatre dealt with an unexpectedly controversial text under the institutional pressures of state censorship and examined the divergent reception by local SED officials, the Stasi and Western reviewers.


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subset: commoncrawl


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How To Root The Goophone I5! One Click Root!
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NYS Comptroller Thomas DiNapoli Addresses Clean Energy Leadership Task Force
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- WAY too much exercise
- Ditch the yakult and protein shakes - they're giving you more cravings
- Eat more food. How many calories are you consuming?
I started trying to get on the primal diet a few months ago and apart from the odd slip up I have been doing very well and yes although I do feel better in myself and I have lost a small amount of weight but now I feel like I'm eating for the sake of eating rather than enjoying food. My diet has roughly been:
Breakfast: 2 Egg omlette and yakult blueberry yogurt
Midmorning: Tin of mackerel with spinach and a protein shake (full milk)
Lunch: Sliced steak salad with olive oil
Midafternoon: Pistachio nuts and an apple
Post training: Protein shake and 2 egg turkey omlette
I dont enjoy this atall so find eating a chore, I am wondering if I can realistically eat a mixture of my old diet and new yet still feel ok and get in shape? I am fine with the fruit and nuts as snacks but really do not enjoy the salad. I know some people have substituted components of there diet for more healthier option? I cannot cook anything through the day as I work from a van. I get about 10 mins prep time on an evening to make everything so would like to stick to that. Was thinking possibly something like:
Breakfast: Bran flakes and yakult blueberry yogurt
Midmorning: Protein shake and pistachio nuts
Lunch: Grannary bread and beef or lamb sandwich
Midafternoon: Apple and oat bar
Post training: Protein shake and tin of fish
I currentely train Krav maga 2-3 times a week which has a big conditioning session at the start and then having a lifting/abs session on the weekend. I also walk/jog every morning/evening with the dog and do a small morning circuit consisting of turkish get ups, push ups, crunches and squats.
Any advice would be great thanks
- WAY too much exercise
- Ditch the yakult and protein shakes - they're giving you more cravings
- Eat more food. How many calories are you consuming?
I actually don't think your training too much. From what I see it looks to be primarily in the low and slow or functional categories with your 2-3x skill work/week....so seems fine.
If your not enjoying food you could buy a book like these Everyday Paleo from Sarah Fragoso - Paleo Recipes and Paleo Talk Podcast or just search websites for new ideas like here http://nomnompaleo.com/. Getting inventive with different types and combinations of food stuff can really bring some zing back to your palate.
If you only got 10 min. in the evening then buy a slow cooker and use it! Make some of the most nutritious and delicious primal foods available this way. Ribs, stews, roasts, broth....start with a fatty meat add veggies, spices, and herbs to taste....set it on low and 8-10 hours later you've got several servings of great stuff to last you through the week.
Either way, most people have problems with emotional eating and relying on TOO much enjoyment coming strictly from food. Food is fuel. It can also be an enjoyable event and there is no reason not to be when its highly nutritious, but you don't have to cultivate a dependance on it (food related dopamine rush that is).
Looks to me like you need to get a spice and herb rack going and learn how to experiment with different combos.
Last edited by Neckhammer; 10-18-2012 at 09:50 AM.
I'd go out and get a primal cookbook or even some magazines like Saveur or Bon Appetit, look at primal food blogs.... and start cooking.
I am BIG on enjoying food, and you can do a lot with primal cooking without resorting to adding bread. I had BBQ ribs the other day. Make primal pancakes for breakfast. Try new stuff like kimchi and kombucha. I eat salad like once a month. Have your steak with a side of roasted asparagus, sweet potato, cauliflower mash, braised green beans, sauted kale, cabbage cooked with bacon.
Don't limit yourself.
Check out my blog. Hope to share lots of great recipes and ideas!
throwing a bunch of ingredients in a crock pot takes 5 minutes
so you have 5 extra free minutes a day
yeah you are
lolBaby if you time travel back far enough you can avoid that work because the dust won't be there. You're too pretty to be working that hard.
These threads has some really great ideas. Part of the fun of going primal is learning how to cook again. Trying new food combos and breaking free of old food ideas.
"Though she be but little, she is fierce!" - William Shakespeare
http://www.marksdailyapple.com/forum...tml#post964333 (My journal)
And re-reading, you have time constraints. OK, well good eating requires some time commitment if you want to keep it diverse and enjoyable. Maybe you just need to commit to taking some time each week to log some time in the kitchen.
There is probably no way to eat with minimal food prep time that is healthy and long term enjoyable. But, it's important, really important to create a healthy diet that you find sustainable. You obviously make time in your day to exercise, but eating healthy is just as, if not MORE important. On average I spend about 30 minutes a day cooking (and cleaning up). Some days it is more, some days it is less.
Check out my blog. Hope to share lots of great recipes and ideas!
I currentely train Krav maga 2-3 times a week which has a big conditioning session at the start and then having a lifting/abs session on the weekend. I also walk/jog every morning/evening with the dog and do a small morning circuit consisting of turkish get ups, push ups, crunches and squats. /QUOTE]
Ok....so this is what the OP does. You really think this is "WAY too much exercise"? Come on! 2-3x skills training....fine. "A (as in one) lifting/abs session on the weekend....fine. Walk/jog 2x/day.....fine. "Small" moring circuit of body weight movements...fine.
Jogging IS slow movement for most people....I can't get my heart rate above the "low and slow" area with a jog. The morning circuit is NOT chronic in any manner. I assumed these to be bodyweight. Some pushups, airsquats, crunches and such on a daily basis is perfectly OK.
Anyway, the OP is not "enjoying" food and I think we can focus more on that.
I know. I am just picking at it because personally, when I have lots of stressors such as exercise, I don't enjoy ANYTHING.


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Very friendly personnel, mostly Philippine, spoke of the nora virus outbreak a few weeks earlier but problem was solved on this cruise.
Found the ship very sensitive to movement on the ocean even with windforce 3-4. Did not experience so much movement with previous cruises with Norwegian cruiseline and royal caribbean. I even asked if the stabilizers were out of order.
Food was very good, must say that in the Pinnacle Grill ($ 30 / person extra fee) food was no better, only quieter surroundings but not worth the extra money: buy some nice cocktails for that.
Never sailed with Hal before, atmosphere was not too formal as I expected, did hear from more experienced HAL clients they didn't like the new carnival approach with open seating dining as this means waiting and thus less service, but one can switch to fixed seating if so desired. I think a lot will leave HAL and go for Cunard for more formal service and atmosphere.
Overall had a good time, some nice ports, some old places with crappy villages I didn't like (tortola, dominica)
greetings Johan0070


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Uncorrected proof (trade paperback format. ) Advance issue of the first US appearance of Pullman's first fantasy novel for children, originally published in a slightly different form in England by Chatto and Windus. The US edition is the first to contain Diana Bryan's illustrations (although they are not included in this proof copy.) A combination of horror, suspense and humor - "In the mountains of Switzerland, the wicked Count Karlstein plots to abandon his two nieces in a hunting lodge as prey for the Demon Huntsman and his ghostly hounds." 240 pp. Cover by Kevin Hawkes. Very near fine in gray and white illustrated wrappers (one corner slightly bumped) . An uncommon proof. .
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Upper Allen Township police said they are looking for the man who robbed a Subway restaurant at knifepoint.
The robbery happened Tuesday night along Gettysburg Pike.
The man ordered the employees to not move and took cash from the register, police said.
Upper Allen Township police said this robbery is likely connected to two other recent Subway robberies on the West Shore.
Last month, Subway restaurants in Lower Allen Township were robbed -- one in the Windsor Park Shopping Center and one along Wesley Drive.
Anyone with information is asked to call Upper Allen Township police at 717-238-9676 or the anonymous tip line at 717-591-3790.


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NBA playoffs are less than a month away; everyone is buzzing about who will win the title of this season's Most Valuable Player. With only a few weeks left of regular season games, the MVP candidates are in crunch time to prove who deserves the title the most.
Here's a list of seven players that are likely to win 2011-2012 MVP.


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Created in this Craftsy class
Craftsy Block of the Month 2012 taught by Amy Gibson
In Craftsy's first-ever Block of the Month, Amy Gibson brings you 10 specific quilting techniques - appliqué, string quilting, paper piecing and more.
Other projects made as part of this class:
QuiltingPurple Plum
QuiltingSomething old for somebody new quilt
QuiltingAmy's Block of the Month
Offer some kudos...
Join the conversation...
Ask a question...
Add your comment...
Love these!
01/15/2012 Flag
Loving this combo. Extremely artsy. May have to do a quilt in this fabric.
02/06/2012 Flag
02/16/2012 Flag
I especially love the wonky colors.
03/24/2012 Flag
Thanks. We will see how it all looks in a whole quilt top!
03/25/2012 Flag


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"Retelling the Renaissance, East and West" is an international symposium which brings together writers and historians representing numerous specialisations to investigate the Renaissance, both as a historical period and an ideology of western origins and progressive rebirth. The event is designed to stimulate post-graduate research and to help bridge the gap between academic and more popular approaches to historical enquiry. Opening up debate between top academic scholars and distinguished authors cannot fail to reveal the relevance for today of the stories we tell about East and West in that pivotal moment known as 'the Renaissance'.
Speakers: C.E. Bosworth, Jerry Brotton, William Dalrymple, Caroline Finkel, Deborah Howard, Robert Irwin, Philip Mansel, Nabil Matar, Barnaby Rogerson, Philip Schwyzer
Convenors: Dr Mohamed-Salah Omri and Professor Gerald MacLean of the Centre for Mediterranean Studies. The event is sponsored by the British Academy, the Centre for Mediterranean Studies and the Institute of Arab and Islamic Studies, with support from the School of English and the Centre for European Studies, at Exeter University.
DATES: 30th APRIL to 2nd MAY 2004
Venue: Institute of Arab and Islamic Studies, University of Exeter
Accommodation and meals are available as a package. For information about costs, registration details and for the provisional programme, contact Lindy Ayubi and/or consult the website, as indicated.


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It is good to be the king. Or queen.
How good?
Well, Brian L. Roberts earned $25,087,379 in compensation last year as president and chairman of Comcast Corp., according to Equilar, which conducted a survey for The Inquirer of executive compensation at publicly traded area companies. (His compensation was tied to Comcast's stock performance, which rose about 60 percent in 2012.)
That figure put Roberts at the top of the heap, locally, and is about 294 times the $85,000 median salary of all Comcast employees, according to the website SalaryList, which says it derived that median figure from government and company reports.


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In our company, we have many machines (running windows/unix) connected
by LAN.I would like to have the list of all files from each machine
that have been shared. (In windows you can share folders so that they
are visible to other machines.)
I read that rsync can be used "for listing files on a remote machine."
I want only the filenames, actual data inside these files is not
Could someone please explain me how I can do this using rsync?
Also, it is required that machines which I am trying to scan have
rsync or some sort of client installed?


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LISBON - The Shale Tavern & Grille on state Route 154 is officially open.
Owned by Naffah Hospitality Group, which also owns the Days Inn motel next door, the restaurant has actually been opened for about a month before the grand opening.
In addition to several other local motels and a banquet facility, Naffah also operates Inner Circle Pizza in Canfield. In a November story about the opening, Michal Naffa said he intended to pattern the Shale Tavern after the Inner Circle, which he described as a combination family restaurant/sports bar with a wide variety of menu options.
Article Photos
A ribbon-cutting ceremony was held recently to officially announce the opening of The Shale Tavern & Grille in Lisbon, The restaurant, owned and operated by the Naffah Hospitality Group, actually opened about a month ago in what is called a "soft opening." Shown are (front, from left) restaurant manager Valerie Musolino, owners Mallory, Michal and Karen Naffah, restaurant general manager Joe Bowers, Cheryl Mills from Lisbon Village Hall; and (back) Ryan Hillman of the Lisbon Chamber of Commerce, Dan Seitz of Naffah Hospitality Group, Lisbon Councilman Jeff Snyder, Rick Stacy, owner of the Lisbon Save A Lot and a member of the chamber, and Lisbon Councilman Willis Coleman. (Photo by Tom Giambroni)
According to a news release, The Shale Tavern features ribs, steaks, pork chops and Italian dishes. The restaurant also has an outside patio that will be open weather permitting.
The restaurant employs about 40 workers, while the Days Inn has another 30 employees.


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Teen in Ellis County dies from injury at party
Investigators say death is suspicious
Published 5:57 AM CDT Jul 29, 2013
State investigators are looking into the death of an 18-year-old from Mooreland. OSBI says Kolby Bowers was injured at a party near Fargo in Ellis County over the weekend. Agents spent Sunday at the scene and talked to dozens of party-goers. The medical examiner will determine the cause and manner of death. Agents say the death is suspicious.
Copyright 2013 by KOCO.com All rights reserved. This material may not be published, broadcast, rewritten or redistributed.


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Ex-AG says legal Bill would undermine profession
THE PROPOSED Legal Services Regulation Bill will make the legal profession "subject to indirect supervision and control by the Minister for Justice", according to former attorney general John Rogers. He had asked why the Government had adopted a policy "to vest such extraordinary controlling power in the Minister for Justice."
Mr Rogers made his remarks to a meeting of the Duleek branch of the Labour Party, of which he is a member, last week. "The policy of this Bill is to completely undermine the independence of the legal profession from the government of the day," he said.
Separately, the organisation representing lawyers in Europe, the CCBE, has written to the Minister for Justice and the Taoiseach asking them to review the provisions of the Bill in the light of established European principles on the independence of the legal profession.
"At present the CCBE considers the Bill to constitute a grave threat to the independence of the legal professions in Ireland and consequently a threat to the rule of law," it said.
Mr Rogers said the majority of the 11 members of the proposed Legal Services Regulatory would be appointed by the Government and the chief executive officer of the authority would be appointed by the Minister for Justice.
This contrasted with the Medical Practitioners Act 2007, where the chief officer of the Medical Council was appointed by the Medical Council, he said.
While the 25 members of the council were appointed by the Minister for Health and Children, he added, most of the appointees were nominated by nominating bodies, such as the Royal College of Surgeons, the Royal Irish Academy, the Health Service Executive and the Health Information and Quality Authority.
He added that if the Bill was enacted, a legal practitioner could be "inspected" at the instigation of the Minister for Justice.
"Already there has been a very significant departure from convention in the appointment of the same person as Minister for Justice and Minister for Defence. In western democracies the responsibility for these departments is vested in separate persons so as to ensure proper accountability for the exercise of police and military powers. This is particularly so, as in the case of this State, where the Army is regularly relied on in aid of the civil power.
"Why is it government policy to vest more and more powers in the one Minister?," Mr Rogers asked. "Do the exigencies of the security of the State require it? Why is the Oireachtas being asked in the present circumstances to vest these far-reaching powers in relation to the legal profession in the same person that this Government has already vested with responsibilities and authority in a clear departure from convention?"
In its letter, the CCBE said the Bill "contains provisions involving an encroachment on the independence of the legal professions in Ireland which have not been adopted" in any other EU jurisdiction.
"The proposed Legal Services Regulatory Authority to be established under the Bill will have unacceptable control over both professions under the Bill," its president, Marcella Prunbauer-Glaser, said. "It will control all aspects of professional practice, including training, entry and discipline.
"The CCBE, therefore, calls upon the Irish Minister for Justice and Defence to revise the provisions concerned in order to reflect the principles ensuring the independence of the legal professions enshrined in both European Union and international law and in the CCBE's charter of core principles of the European legal profession and the code of conduct for European lawyers," she said.
The Irish Council for Civil Liberties has also expressed reservations about the Bill. In an advisory document, it noted advantages in the independent regulation of lawyers and judges.
However, it recommended that the Bill be amended to ensure that the appointment of personnel to the regulatory authority be carried out by an independent body and that the control of the functions of the authority be expressly confined to the authority, without ministerial influence.


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Supermarket Psychology (and a few insider tricks)
The Economist is known for its deep analysis and heavy topics, but I found this article about supermarkets and the science of shopping . The first time I heard about supermarket psychology was when someone explained to me that the most appealing products were always shown at eye level. When the product is placed at eye level, you are more prone to picking it up and subsequently buying it. That's only the beginning.
If there's one lesson to be learned after reading this article, it's that supermarkets are one big maze and we're the rats running through them.
(Click to continue reading…)


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Saturday's District 10 tennis results, April 12
Saturday's Cathedral Prep results at the Altoona Invitational:
First singles flight, fifth-place match: Allender (Altoona) def. Prichard (Cathedral Prep) 4-6, 6-4, (14-12)
Second singles flight, third-place match: Fowler (Manheim) def. Ma (Cathedral Prep) 6-1, 6-0
Third singles flight, fifth-place: Clark (Cathedral Prep) def. Harris (Abington Heights) 6-2, 7-5


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| ACADEMICS | Centers & Institutes
As a Worcester State University faculty member, you can rely on the Center for Teaching and Learning for support and ideas to improve the interconnected teaching-learning process. We foster teaching excellence rooted in scholarship and service within Worcester State's specific disciplines and across our collaborative interdisciplinary faculty community.
We facilitate lifelong learning in higher education teaching through innovative, creative, and theory-based practices. We also celebrate teaching excellence among our faculty with the annual Alden Excellence in Teaching Award. This award is bestowed upon two faculty members each year who are nominated by students, colleagues, or alumni.Our conference room and library are outfitted for coffee breaks and active meetings/ discussions—we encourage you to drop in or reserve the room whenever you have the need. We bring faculty members together and support teaching and learning at Worcester State with informal gatherings, workshops, talk and book series, and other events throughout the academic year.
Please note that the leadership of the center is in transition. Andrea Bilics, who served as director for 9 years, retired in August 2015. The center's future leaders will find well-established programs thanks to the strong foundation of faculty development that she created.
The center's library is your source for books, videos, and articles related to teaching and learning. You can access the collection at LibraryThing, and it also is cataloged and searchable in the WSU Library catalog. For best results, input a keyword and limit your search in the right-hand sidebar under "Location" to "CTL Faculty Library."
As a faculty member, you are welcome to borrow books from the center's library. We invite non-faculty to use our materials while visiting the library. Print copies of the Chronicle of Higher Education also are available to read in the center, and we have several examples of completed tenure binders to serve as a resource during your tenure and promotion process.
We have an advisory board comprised of faculty members, who serve 3-year terms. The current board members are:
Dan Hunt (Communication)Margaret Bouchard (Education)Douglas Dawson (Education)May Lutz (Criminal Justice)Maria Fung (Mathematics/First-Year Seminar)Sam O'Connell (Visual and Performing Arts)Tona Hangen (History)Pat Marshall (Academic Affairs)Don Bullens (MSCA union president)Daron Barnard (Biology)Anne Falke (Liberal Arts and Sciences Curriculum) Kara Medeiros (Communication Science and Disorders)


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The process of creating models in CINEMA 4D can be incredibly complex or amazingly simple. It really depends on the type of object and how much detail or realism that you're going for. Normally, I'd be starting this process with a sketch, but I'm actually starting off with the finished model, because I want you all to understand and see the type of hierarchy we're going to be building. I think it's going to be easier to understand where we're going for if you can see the objects themselves. So what I've got here is a very simple flying saucer and I've got two null objects as parents: one that's at the ground level and one that's in the center of gravity of the saucer.
And then I've got something called an Array Object for the legs; and then I've got the antenna, which is sticking out at the top; and then I've got the cockpit, which is a sphere and another object underneath it; and I've got the body. And when I twirl open the body, the body contains all those other components. Now the way I've organized this hierarchy is based on my idea of how I'm going to be animating it. And we'll talk more about that at the end of this movie, organizing the hierarchy. But really the important thing to understand is what we're going for. So let's start off with the Body object. We're going to be creating a body out of something called an oil tank.
So let's make a new scene and let's start off by making an oil tank. If we click and hold on the primitive object, you'll see there is the Oil Tank. And the Radius I'll leave at 100 and I'll change the Height to be 50. And what that does for me is that gives me an object that is much flatter, like the body of a flying saucer. So let's zoom in here just a bit. Now the Oil Tank is going to become the body of our ship, and you'll see that the edges are really sharp, and so I wanted a little bit more of a twilight feel to it, so we need to round off this edge.
But rather than try and model this in, we're going to use another object to create a rounded bead around the edge of this ship. So if I click and hold on these guys, a Torus object will do nicely. A torus is a fancy way of saying a donut. And so when I first add that to the scene, if I back out a little bit, you can see that the donut is much larger than my Oil Tank originally was. So what I need to do is use the Scale tool. So if I hit the letter T on the keyboard, I get the Scale tool. Now I can scale that down until it's just touching the outer edge.
Now, these little handles here can be used to change the shape and if I click and drag those, even if I have the Scale tool, when I click and drag those handles, I can grab that and make it much, much smaller. I think that's looking pretty good right there. Now I can use the Scale tool again to scale it down till it matches up with the edge. If I zoom in a bit, you can see what's going on here. Now, a lot of times it's very important to look at your object from other angles. And so I'll middle-mouse-click and look at it from the top view, and I'll zoom in.
I'll click and drag right there and drag right there. And if I deselect, you can see that I've got little bit of a gap between there. And so I'll take that torus, hit T on the keyboard again to get the Scale tool, and scale it down until there's just a little bit of overlap. I don't want to go in too far. I want to have it just be overlapping just a bit. And now I've got that lined up nicely. Now that I've got the Oil Tank and the torus lined up, I can parent those two together. Let's do a quick save. I'll go to the File menu and do a Save As. And in the project files, in ch02, I'm going to call this one flying saucer working.
So now that I've saved that file out and I can move on to adding the extra details on the saucer. So the next thing I want to add, if we go back to our reference model, are the little bits that go around here, these little guys that are highlighting white. And these are just simple capsules that are being arranged around the body using the Array Object, and that's what this thingy array does. I've changed the name of it and called it thingy array, but it's really an Array Object. And we can use the array to create a circular arrangement of objects around the ship.
So let's switch back to our scene. Go to Window and then go to flying saucer working. And I'm going to middle-mouse-click again to get back to the Perspective view. Now let's add a capsule to the scene, and the capsule is a little bit too big, so let's scale it down. Again, T on the keyboard to bring up the Scale tool and then scale it way down. Now, I know from experience that I want to be able to rotate this capsule underneath the array. In order to do that, I need to have the capsule as a child of a null object. So let's add a null object and parent the capsule to the null, and then let's add an Array Object and parent the null to the Array.
When we do that we end up with an array of these little capsules all around our ship, and that's being controlled by the Array Object. The number of copies controls how many there are, and the Radius controls where they are spread to. So let's create about 23 copies, sounds about right. That will give us 24 total items. And now we can use the Radius. Let's drag that in, go in to right about that far, and now I want to take the Array Object and raise it up. And I want to raise it up until those guys are about halfway out of the surface of the ship.
Now what I can do is take the Capsule, select it, and use the Coordinate Properties in the Capsule and adjust the Pitch. And I can change that Pitch to about 75 degrees or so. Let's call it yes, 75; I think that will look good. And what that does, as you can see, is that aligns those little capsules up around the edges of the flying saucer. And now we've got a great little surface detail with not a lot of effort. So let's take this array and parent it under the Oil Tank, and our body is just about done.
Now, what we need to do is make the cockpit that's going to be on top of the saucer, and that's going to be a simple sphere object. So if we go to the Primitives and grab a Sphere--and it's going to start out really big, so we need to make it smaller, so let's get the Scale tool out again, T on the keyboard, and scale it way down. It seems to be about right. And then let's raise it up on the Y axis. Now, this is a situation where I need to middle-mouse-click and switch over to one of the other orthographic views. I want to look at it from approximately the side, so let's zoom in. There we go.
And now I'm going to scale down again. Hit T on the keyboard and drag to get that scale down, and that's pretty good right about there. Now I can take it and drag it up until it's about halfway exposed out of the top of the ship. Now this is going to be the cockpit, but if you switch back, we can see that on the sides of the ship-- let's deselect that-- you notice that there is a little bit of a straight edge where that cockpit meets the ship. It will look a lot more interesting if we had a little bead that would show up right there on the edge.
So let's grab the torus that we had made from before--rather than starting with a new torus it's easier to grab this one and change it. So let's select that, hold down the Ctrl key, and then click and drag a copy of that torus up near the Sphere. Now what we've got is a second torus in the scene and if we drag that up, you can see that there is our old torus there and here's our new torus. So let's switch again to the orthographics and bring the right-hand view full screen. And let's raise that up until it lines up roughly with the intersection of the sphere and the ship.
Now, we can use the Scale tool, select the letter T, click and drag any place in the gray area to scale that thing down. Now when you get in a little bit smaller, let's go back to the Perspective view and then take a look at how big that is. Now, sometimes it's hard with this little overlay, the selection overlay that appears, if we deselect that, you can see that we've got it a little too big still. And so let's take the torus--sorry, wrong torus. Let's grab that torus and go to the Object Properties, and let's adjust the Ring Radius.
The Ring Radius controls how big the whole thing is. The Pipe Radius controls how thick the pipe is that surrounds it. So let's go to the Pipe Radius and now I'll make that just a--oops! That's a little too big. I accidentally click and held. So I'll hit Command+Z or Ctrl+Z, and now we can just use that to arrow up. And that's a little too thick, so let's take that slider right there and just drag it down just a bit, and that looks pretty good right about there. You notice I'm not using numbers for this process, and that's because I'm really trying to get you into the idea of just eyeballing things at this point.
There's times to be numerically precise, and there's times where you can just free-form and really have fun with it, and that's what this process is all about. So there's the cockpit. Let's take the Torus and parent it to the Sphere. Now we can make our antenna. The antenna is going to be simply just another sphere. So let's take this existing sphere, hold down the Ctrl key, and drag a copy up. Now the Torus that's there we don't need anymore, so let's select that and delete it. And this is going to be our antenna base. Now so that we don't get it confused with the other sphere, let's double-click on it and call it Antenna base.
Now the Antenna base is going to be in the same location but just above, so let's raise it up and in the side view, let's get it so that it intersects with the top of the other sphere. Now we can use our Scale tool and scale it way down again. There we go. And now we've got this nice little dot sticking out at the top of our cockpit, and I think that's pretty good. Now we can make the antenna itself, and the way we'll do that is by using a Cone Object. So let's click and hold on the cube and select the cone, and the cone now is going to become our antenna. So it's too big of course.
So let's start off by making it smaller. Click and drag with the Scale tool and now we can raise it up on the Y axis. I just hit E on the keyboard to bring up the Move tool, and we can drag it straight on up. That's pretty good right there. And I'm going to middle-mouse-click again to get to the side view. Let's take an opportunity to save--Command+S or Ctrl+S--and now we can go to the cone and we can go to the Bottom Radius and scrub that in until it's very, very thin. There we go.
And now we could take that and move it down. Hit E on the keyboard to get the Move tool and now we can insert that in right there. You can see now we've got that antenna sticking out of the top. Now what we want to do is have an antenna top, so let's take the antenna base. Let's drag it right up here above the cone and call it Antenna tip. So now the Antenna tip needs to be at the top of the Antenna and much smaller, so let's switch back to the Side view and middle-mouse- click again and drag that straight up on the Y axis. Now you notice I'm being very careful about which axis I do that on.
Let's drag it up there, and let's hit the T on the keyboard and scale it way, way down. There we go. And now we've got our antenna tip right there at the top. Looking good. Let's take those guys and parent the Cone to the Antenna base and the Antenna tip to the tip of the cone so we've got that kind of hierarchy going on. Now we can close that up and close that up. Let's rename the Sphere and call it Cockpit, and let's rename the Oil Tank and call it Body. Now the last thing we need to do are the legs, and so the legs are going to be a combination of objects.
So before we do that, let's add a new null object to the scene, and that null object is going to become our Ship Parent. And that Ship Parent if I select all of these objects and drop it underneath there, that Ship Parent is at the center of gravity of where the flying saucer needs to spin from. So now when we take that Ship Parent and move it around--I'll hit E on the keyboard--you can see that the whole flying saucer moves together. Command+Z or Ctrl+Z. Now, we don't want to be able to see this for this next process. We want to hide this in the scene, and that's where this middle status column comes in.
These two gray dots in the middle column of the Object Manager are the Visible in Renderer and Visible in Editor icons, and if I click twice on the top one, my ship disappears. It's still there in the scene; all I've done is hidden it from view. So now we can draw our leg out. So let's start off by making a nice cylinder, and let's grab a cylinder. It's going to be a little too big. So let's use the Scale tool and scale it way down, and then let's make it really thin. Let's make the Radius of it about 1.
That's pretty good, and now we can go back and grab another sphere. So this sphere, now we are going to make the little foot that's on the end of the cylinder. But we don't need a whole sphere; all we really need is a hemisphere. And so if we go to the type under the Sphere Object Properties, we can select Hemisphere and that gives us a perfectly flat sphere. Now, don't worry that the Sphere is hollow underneath. We're not going to be seeing that in our ship, so we're going to just leave it as is. So now if we take that Sphere and hit T on the keyboard and use the Scale tool and scale it way down, we end up with a nice little foot.
We could take that Cylinder, raise it up on Y, just hit E on the keyboard and raise it up, and now that becomes our leg. Now we can add another null object to the scene, and this is going to become our Leg Parent. Let's rename that Leg Parent. Now we could take the sphere and the cylinder and parent them up, and now with our Leg Parent, we've got a solid object that we can move around. Let's make our ship visible again by clicking once on that gray dot, and now we've got our ship ready to go.
In order to make copies of this Leg Parent, we're going to use another array object and so if we click on the Array Object--and let's take the Leg Parent and parent it right up there. And you see that we instantly get a whole bunch of copies of that leg. We really only need two other copies, so if we go to the array object and change the number of copies from 7 to 2, we end up with three legs. And every great flying saucer only has three legs. Now that's the awesome thing about them. So now we could take the array and change the Radius down until the legs are inside the flying saucer, and that's a pretty good range right there.
Now what we can do is take the whole flying saucer and raise it up. So before we parent the array up, let's take the ship parent and raise it up on Y until the legs are inside the body. Now you can see that our saucer is sitting on the ground plane with our legs firmly embedded in it. We can add one more null object and then we can call that one ship uber. I like to call things at the very top of the hierarchy uber, which is part of my CINEMA 4D German heritage. And I'll call the Ship and then I'll hit the Option+U, in particular, an umlaut, and then u-b-e-r.
Now we can take this array, put it inside the Ship Parent, and call it Leg Array, and then take the Ship Parent and put it inside the Ship uber. And now we've got a way to make our ship stand on the ground. So now matter where we move that ship, we can have it land on the ground firmly by just changing the Y value of that null object when we animate. Let's save this, Command+S or Ctrl+S. So that's really great look at the process for creating a very simple model out of primitive objects. As you can see, it wasn't that difficult and really, it was a lot of fun.
The important thing is to have a clear vision of what it is you're trying to create.


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Mount Pleasant police are searching for a Huger man who they said held up a convenience store, then escaped an armed passerby who pulled a gun in an attempt to stop him.
To offer tips
Anyone with information on Markel Jovan Wright's whereabouts can call the Mount Pleasant Police Department at 884-4176.
The robbery is the fourth gas station holdup in 10 days in the town, and that has some store owners concerned.
John Manigault, owner of JBA Gas on U.S. Highway 17, has owned the store since 1994, and said he has warned his clerks to be careful. "We try to be safe all the time," he said.
The latest robbery occurred Wednesday night at the Kangaroo store at the BP station on U.S. 17 and S.C. 41. A passerby with a gun intervened and nabbed one of the accused robbers. The other got away, Police Maj. Stan Gragg said.
Police refused to the release the name of the gun-wielding Samaritan, citing safety concerns because one of the suspects remained at large.
The Post and Courier located the man Thursday. He declined to speak with a reporter, saying only that he would be open to sharing his story once police arrested the second robber.
The man the Samaritan held at gunpoint, 17-year-old Deion Watson of Press Lane in Huger, is charged with armed robbery in connection with the incident, Gragg said. Police still are searching for Markel Jovan Wright, 23 of Hidden Way in Huger, he said.
Police also arrested Wright on June 18 and accused him of stealing cash from the register at his place of employment, the Walmart on Proprietors Place off U.S. 17, according to an incident report.
An employee told investigators Wright had been taking money from the registers since he started working at the store on June 7, the report stated.
Wright is accused of taking $3,350, the report stated. He was charged with breach of trust with fraudulent intent and released from jail on $10,000 bail on June 20.
He had been out of jail just six days, police said, when he and Watson allegedly robbed the Kangaroo store at gunpoint Wednesday.
Officers were dispatched to the store at 7:19 p.m. to check on a report of shots fired inside of the business, an incident report states.
Two men walked into the store with rags covering their faces, Gragg said. They showed a gun to a clerk, took an undisclosed amount of money and fired a shot as they left the store, he said.
That's when the Samaritan with a gun came along and challenged the two at gunpoint. The passerby had one of the men on the ground at gunpoint when officers arrived, the report said.
Wright got away, while Watson gave up and was arrested when officers arrived, police said.
The armed robbery was the store's second, and Mount Pleasant's fourth in 10 days, Gragg said. Investigators suspect Wednesday night's holdup is connected to at least one of the other robberies, he said.
On June 21, a man wearing a white T-shirt, blue pants and a white cloth mask walked into the Kangaroo store with a large knife shortly after 3 a.m., an incident report states. The store's clerk told officers she handed the robber $100 in small bills, and that he then ran from the store.
On June 18, officers were called to the Refuel gas station at 1181 Venning Road, near the Hungryneck Boulevard intersection, according to a report. A man dressed in a gray hoodie and a black shirt entered that station at 8:14 p.m., showed the clerk a gun and stole an undisclosed amount of money, Gragg said.
Two men on Sunday robbed another Kangaroo gas station at gunpoint just before midnight. The masked men entered the store at 2390 Highway 41 and stole cash and merchandise, police said.
Natalie Caula and Glenn Smith also contributed to this report.


text:
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text: Seems a bit high to me. A local butcher gave me 56lbs of suet for free just by calling and asking them. I trim the suet and turn it into tallow by rendering it myself. It makes a GREAT cooking oil, far superior to just about anything else I've used, and certainly MUCH cheaper than coconut oil.


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This three hour session has two parts. The first part is a discussion and talk about poster design. This emphasises how the design process should be approached in PowerPoint, but there is much that is also applicable in other tools. The second part is a workshop where you are encouraged to bring along your own resources and start to create your own poster in PowerPoint 2013. If you are not yet ready to do this, there will be resources available that you can use to create a practice poster.
|Intended audience
|Those wanting to use existing PowerPoint skills to create simple, effective posters for conferences and events
|Prior knowledge
|A working knowledge of PowerPoint 2013, as covered by the PowerPoint: Fundamentals course
|A course book must be purchased when you attend the course (included in the Cost below)
|PowerPoint 2013
|Presentation with practical exercises
|Further information
|You are encouraged to bring along your own resources (text, images, diagrams, logos) to use in creating your own poster.
|Where next?
|Digital image courses
Course provider: IT Learning Programme
Frequency: Every term. Express an interest in future dates for this course.


text:
Hello All,
I am asking a silly question, but I have never worked on this.
When I use,
db2ckbkp -d
.\tape0 -> What exactly is "
.\tape0" how do I get this info for my tape which is already mounted on the Server?
this is the name of the tape device being used.
Please check the following notes:
199662 DB2 Backup on Windows 2000
141872 Specifying the buffer size for backup
And see the following link:
[Backing up to Tape|http://publib.boulder.ibm.com/infocenter/db2luw/v9/index.jsp?topic=/com.ibm.db2.udb.admin.doc/doc/c0006201.htm ]
db2ckbkp -d \\.\tape0
.\tape0 is a Tape Device Name which is connected to the Windows Server, from where you want to verify DB2 Backup image.
Under Windows Server , the tape device name is addressed with
Under Unix the same thing is addressed with /dev/rmt0, /dev/mnt0, etc.
Bhavik G. Shroff
When I run the command for Windows in my Windows server I get,
Please mount the source media on device
Although the tape is mounted as per the Server Admin guys at the site
The default when a tape device is detected it will prompt the user to mount the tape.
If the tape is already mounted, You can continue with the proposed option. Even you can see the Tape name under that Library info as suggested before using Computer Management console.
Bhavik G. Shroff


text:
BAGHDAD, Iraq - The Iraqi Governing Council chose a longtime anti-Saddam Hussein exile to become prime minister of Iraq's interim government, making the surprise announcement Friday despite U.N. concerns about his ties to the United States and the CIA.
The selection of Iyad Allawi - a Shiite Muslim council member who headed an exile group made up of former Saddam military officers - was an assertion of influence by the U.S.-picked body.
After apparent initial hesitation, the United States endorsed the choice to head the government due to take power on June 30.
A senior Bush administration official in Baghdad, speaking on condition of anonymity, confirmed Allawi will become prime minister, and the White House praised Allawi as "a fine and capable leader."
U.N. envoy Lakhdar Brahimi, who has been leading discussions on forming the government, also all but endorsed Allawi. Brahimi "is perfectly comfortable with how the process is proceeding so far," a statement by his office said.
The United Nations acknowledged the timing of the council's announcement was a surprise but said Brahimi would work with Allawi on the makeup of the government, due to be announced in the coming days.
Allawi had been "high on (Brahimi's) list" of possible premiers," spokesman Fred Eckhard said at U.N. headquarters in New York. The announcement "is not how we expected it to happen ... but the Iraqis seem to agree on this candidate."
Still to be chosen for the new government are a president, two vice presidents and 26 Cabinet members. The president, a largely symbolic post, is to be a Sunni, and the vice presidents are expected to be a Kurd and a Shiite.
Allawi has maintained a low profile here and is thought to have a limited power base in Iraq.
But council members wanted a prime minister with a strong background in security to deal with the persistent violence that will be the most compelling challenge for the new government.
Allawi's Iraqi National Accord party included many army officers who defected during Saddam's rule, and a relative serves as Iraq's minister of defense. He also is a member of the majority Shiite community, whose leaders had insisted that one of their own take the most powerful government post.
The choice was a rejection of Brahimi's initial preference for a weak government of nonpolitical figures to take power June 30 and prepare for national elections by Jan. 31.
Absent any opposition, however, it appeared the United Nations had little choice but to accept the Governing Council decision, given international demands for the Iraqis to have a greater say in their own affairs.
A U.N. official said Brahimi had advance word that the council would pick Allawi, and that Brahimi, while respecting Allawi's abilities, was concerned about his close identification with the Americans and the CIA.
Governing Council member Raja Habib al-Khuzaai told Associated Press Television News that the decision to select Allawi occurred at a special meeting that began at 3 p.m. Friday.
© 2016. All Rights Reserved. | Contact Us


text:
By BRIDGET SMITH
I sat in a news editorial meeting the other day and there was a discussion about what stories would be covered for the day.
One of those was a suicide awareness press conference. Families who had lost relatives would be there to talk to the press. There would be a quilt with all the suicide victims faces on it. I was relieved I wouldn't be covering it. I watched how everyone squirmed around the editorial table and the delicate discussion about how to cover it ensued. Suicide. It just makes people uncomfortable.
I wasn't uncomfortable though. Because it happened to me. It had been six years since my family unravelled like a plot out of a novel. If someone had told me my mum would die of cancer, your brother would go to jail in the US and your other brother would commit suicide within a six month period I would have told them – wrong family, sorry.
This Christmas Eve will mark six years since my brother decided to hang himself at home after a night out. He was only 30 (possibly 31 I was never good with birthdays). We were the best of friends and like any siblings the worst of friends at times. If you think people find it hard to know what to say when you are grieving, try matching it with suicide. It is awkward and silent. And not fun when Christmas carols are playing in the background either. As I say, awkward.
My brother had simply lost his way. Probably smoked too much pot in his late teens, a broken down relationship with his partner, the loss of his mother and brother going to jail and a father who couldn't cope. It was a far cry from the idyllic childhood in small town Central Queensland. We were a broken family.
On reflection my brother was also very sick. Mentally ill. As his life unravelled he began talking to me about people out to get him. I just thought in that usual sisterly way that he was weird and would get over it. I was oblivious to it.
Yet I had sat in the doctor's surgery with my brother while he cried about his inability to cope, I listened while he curled up in the gutter and told me he wanted to kill himself and I organised counselling sessions for him. Alarm bells you might say? Well, probably, but you never think someone has the ability to end their life especially when you are a pragmatist like me.
I don't ever wonder why he did it. I don't really think he wanted to end his life. I just don't think he had the tools to cope or the medical support. A lethal combination when mixed with mental illness.
The worst thing about death is that all of a sudden you find yourself six years down the track, sitting in an editorial meeting surrounded by people who know nothing about your story. A lot has happened in those six years, I married a wonderful man my mum and brother will never meet and I'm pregnant with their first grandchild and nephew they will never know.
This Christmas I will be with my husband and father. Just the three of us. A far cry from the wonderful family gatherings of the past where Mum had over shopped for the year and we all sweltered around a midday roast dinner. Oh, how I miss those days.
Life does go on and that is the shitty thing about death.
Bridget Smith has been a broadcast journalist for 14 years. She loves interior design, travelling, drinking champagne and attempting to cook.
If this post brings up issues for you, or you just need someone to talk to, please call Lifeline on 131 114. You can also visit the Lifeline website here and the Beyond Blue website here.


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MARTINSBURG - Brandon Ashenfelter is rarely, if ever, unaware of his surroundings in any athletic arena.
So when he looked a bit befuddled as he heaved up a 3-pointer from the right corner as time ticked away in the first quarter of Martinsburg's 78-70 victory over Rocky Mount Prep, N.C. in the championship game of the Martinsburg's Hoops Tournament, one had to wonder exactly why.
The 6-foot-2, 220-pound Ashenfelter's awareness was one of his key attributes on the football field.
Article Video
An absolute beast at quarterback for the two-time state champion Bulldogs, Ashenfelter is known for tossing long touchdown passes - not launching fadeaway 3-point shots.
With plenty of time to set up a better shot, it didn't matter, as Ashenfelter's 3 swished through the net, and put his team up 19-15 at the end of the first quarter.
"Honestly, I thought the clock was lower than it was, and I just heaved it up, but, you know, it went in," Ashenfelter said. "I'm 1 for 1 for 100 percent, and that's probably gonna be my last (3-pointer) for the year."
Article Photos
Martinsburg's Jalen Lewis slashes around Rocky Mount Prep's James Bonds during the fourth quarter of the Martinsburg Hoops Tournament on Thursday. The Bulldogs won the championship. (Journal photo by Ron Agnir)
Martinsburg's Donté Grantham shoots over Rocky Mount Prep's James Bonds during fourth-quarter action Thursday night. (Journal photo by Ron Agnir)
He's also known for his bruising style of play - on both the gridiron and the hardwood - and he carried a bit of that football mentality over from Martinsburg's state title win over George Washington to the game against the Jaguars (10-3) Thursday night. He even drew a warning after celebrating toward the crowd after a successful layup on which he was fouled early in the fourth quarter.
"Basketball is different than football, I'm still in my football mentality a little bit," Ashenfelter said of the celebration. "You can do that stuff in football, you can't really do that stuff on the basketball court."
He sank the and-one foul shot, and whenever the Bulldogs needed a key bucket or a tough rebound, Ashenfelter was there, as he scored 24 points off the bench for Martinsburg as the host Bulldogs took home the crown.
"Brandon is a bull inside," Martinsburg coach Dave Rogers said. "He's very aggressive."
Down by four midway through the third quarter, Ashenfelter jumped a pass and took it coast to coast for a layup to make the score 44-42, and two possessions later, he got inside for a tough layup that brought Martinsburg (6-0) within one.
And in the fourth quarter, Ashenfelter was 3 of 3 from the field, and made all three of his free-throw attempts, which included two tries for Martinsburg's last points of the night as Rocky Mount was forced into fouling.
"Any time my team needs me at any time in a basketball game - I'm a senior, I know they look up to me to do the right thing and make a big play - I just wanted to step up for my team," Ashenfelter said.
Ashenfelter and Donte' Grantham combined for all but two of Martinsburg's 25 fourth-quarter points. And Ashenfelter, who's pretty good at fitting passes into tight windows, fed Grantham under the basket, and Grantham slammed home a dunk that put Martinsburg up 65-60 with just over two minutes left in the game.
Grantham, the tournament's most valuable player, led all scorers with 29 points.
Things were made a bit easier for Martinsburg early, though, as Rocky Mount center Deshawn Freeman came down awkwardly in the first quarter, hurting his knee, and couldn't continue.
Just moments earlier, Freeman had thrown down a thunderous dunk on an alley-oop from Jacob Barrett on a breakaway that gave his team a 13-8 advantage.
It was the only field goal of the night for the 6-foot-6 junior who's being heavily recruited by several Division 1 schools, but Rocky Mount coach Eddie Knudsen didn't make any excuses for the loss.
"We're not gonna play any different with (Freeman) on the bench and him on the floor," the coach said. "Our guys have played through injuries (to teammates) before, so that's not excuse.
"It meant that they had to fight a little harder, and they didn't scrap enough."
The game resembled a track meet throughout, as both squads ran the floor, trying to outduel the other with transition play.
With Freeman on the bench, several others had to fill the scoring void and did.
Donte Samuels and Gary Smith led Rocky Mount with 14 points apiece, James Bonds netted 12, and Barrett had 11. Samuels and Barrett were also named to the all-tournament team.
Smith hit back-to-back shots - a layup off a steal and a 3 to give Rocky Mount a 30-29 second-quarter lead after Martinsburg had been up by as much as six.
A Jordan Robinson runner with 20 seconds left in the brought Martinsburg within 33-31 at the half.
The Bulldogs trailed by as many as seven points in the third quarter before a Grantham 3-pointer rattled home to cut the Bulldogs' deficit to 44-40 right before Ashenfelter committed his aforementioned thievery.
Addy Gilmore and Jalen Lewis joined Ashenfelter and Grantham on the all-tournament team for Martinsburg.
"I just thought our kids hung in there and played tough ... they did what they had to do," Rogers said, "and we're thankful for the win."


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Environment and Sustainability
As a University we recognise the growing importance of environmental and sustainability issues. We understand that, as an educational establishment, we have a responsibility not only to educate our staff and students on more sustainable practicesbut also to lead by example by improving our own performance. One of the ways that we have done this is by implementing an Environmental Management System (EMS) to the ISO 14001 standard. This is enabling us to take a more structured approach to managing our environmental impacts.
EcoCampus and ISO 14001
We enrolled on the EcoCampus scheme, which is a phased approach to introducing an EMS specifically designed for the Higher Education sector, in 2009. There are four phases: bronze (planning), silver (implementing), gold (operating) and platinum (checking and correcting) with platinum stage being broadly equivalent to ISO 14001. In January 2013 we achieved the coveted Platinum award and were one of only 10 universities to do so to date. In 2011 we were also certified to the International Standard ISO 14001:2004 for Environmental Management Systems.
Get further information about the EcoCampus Project.
Environmental Policy and Objectives
Our current Environmental Policy and Environmental Objectives and Targets can be found below:
Further information
Find out more about our environment and sustainability work in the following areas:


text:
• Personal Injury Cases
Family LawResolve your family law disputes with the help of Mozella T. Ross, Attorney at Law. Ms. Ross is a family law attorney that provides legal representation for cases involving child support, custody, adoption, and divorce. Ourlegal team establishes/disestablishes paternity and works with child support modification and termination to meet your needs. We also file dependency and neglect petitions. Call us today for more information about our family law services.
About Mozella T. RossMozella T. Ross is a family law attorney and defense lawyer with 20 years of experience. She heads a team oflegal professionals that are committed to helping you win your case. It is her goal to give you peace of mind by putting your legal matters into competent hands.
MembershipsMemphis Bar AssociationNational Bar Association
Service AreaThe State of Tennessee
Hours of OperationMonday–Friday, 8 a.m.–5 p.m.Also Available by Appointment


text:
The Weepies
Deb Talan and Steve Tannen are a married couple who make music together as The Weepies -- their newest album is Be My Thrill. They talk about spiders and snakes in their California house, letting the Obama campaign use one of their songs, and the ups and downs of being a couple in a band.
SONGS: Please Speak Well Of Me, Can't Go Back Now, Be My Thrill, I Was Made For Sunny Days


text:
Many casual followers of the energy space fear the words "hedging" and "energy company" thanks to Enron. In reality, hedging oil and gas production can be a very effective tool for a company, and can be a way that investors like you and I can analyze the future. Different types of companies can employ different hedging strategies, which is why you see LINN Energy (NASDAQOTH: LINEQ ) and BreitBurn Energy Partners (NASDAQOTH: BBEPQ ) -- both exploration and production MLPs -- hedge a very large part of their production while Big Oil doesn't.
Even more interesting, though, is that we can use a company's hedging strategy to get a feel for oil and gas prices in the future. Tune into the video below and you can find out why Ultra Petroleum's (NASDAQOTH: UPLMQ ) decision to move away from gas hedging is a telling sign for the future of gas prices.
Be a smart energy investor and buy the smartest energy companies
Exploring for oil is getting tougher by the day, so exploration and production companies need to develop more techniques to find and extract these exotic resources. There is one behind-the-scenes energy company that is built to help companies do just that, and make big profits along the way. The prospect for this company is so great, our chief investment officer has selected it as his No. 1 stock for this year. In our comprehensive report "The Motley Fool's Top Stock for 2013.", we outline how this company will change the way we drill for oil and give you the name of this under-the-radar-company. Simply click here and we will give you free access to this valuable investing resource.


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The WTT prize money is generous not only in its amount ($1M) but also in its rather even distribution so any participant will wins an nice equitable amount. A winning team member will win $25,000 while a skater from the last placed team will receive $16,250, assuming a prize is shared equally by all eight members including each of the Pairs and Dance partners. This is such an opportunity for some skaters not usually on the big event podium.
- The skating federation of each country is allowed to keep up to 10% of the team's prize money.
- And the shares of the eight skaters are not exactly equal. Each singles skater receives 15% of the remaining amount. Each pair or dance couple receives 20%.
(The Japanese federation also is paying for travel expenses for skaters, judges, etc. - from all teams.)
In revision, a winning team Single member's take will be $30K, and $40 per couple, and the lowest prizes will be $19,500/Single and $26K/couple. Not bad at all, for figure skaters. Especially when it is net.
Here is some photos:
"Kiss & Cry" in its center and 6 cheering booths in the make!
Last edited by deedee1; 04-17-2012 at 09:11 AM.
Updates on skaters:
Hitting 3-3 a couple pf times. Looked delighted and in a great shape.
Was all smiling and doing some funny steps!
Showed up in the Mens practice today.
Though it took him 13 hrs flight to Japan, he slept very well last night, he said.
Hitting 4T. Looks in a great shape, too.
You can also follow the TV Asahi's official twitter, though it's in Japanese:
Here is hoping Patrick putting behind him the pressures and the distress of coaching change to bring us a flawless Aranjuez! And it better be uploaded to Youtube. Pronto.
Wishing all skaters a great time and their best skates!
According to Alena Leonova's blog at a Russian new agency R-Sport website (in Russian), she has been ill and running a fever prior to her departure to Japan. She was off ice for one day, felt better next day (the day of departure), but once she got on the ice she realized that she was very weak and cannot do any triples She is determined to attend both practices tomorrow, though.