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Industrial rents in Dubai increased 25 per cent year-on-year in the second quarter while rental values across seven out of nine districts tracked by Knight Frank have recorded double digit growth.
Class 2 buildings in Dubai Investment Park (47 per cent), Jebel Ali (39 per cent) and Ras Al Khor (36 per cent) all saw double digit rental growth in the April to June period, according to Knight Frank. Whereas Class 1 buildings in Dubai Investment Park, Jebel Ali Free Zone (Jafza) and Al Quoz recorded rental growth of 29 per cent, 12 per cent and 9 per cent, respectively.
Knight Frank's Industrial Research Report for the first half of 2014 found demand for industrial property in Dubai is increasing; however, availability continues to be limited.
The report said enquiries for industrial property were ''significantly higher'' in the first half of 2014 compared to the six months earlier. But due to lack of available stock, quarter-on-quarter rental value in the second quarter saw muted growth of 1 per cent.
Improvement in infrastructure
According to Knight Frank, in the first six months of 2014, strong growth in Dubai's retail sector was responsible for ''stimulating demand'' for warehouse and distribution facilities. However, short supply of good quality buildings is forcing some occupiers to settle for lesser quality units.
Enquiries from food and beverage firms for non-freezone locations nearly doubled in the first six months of the year, compared to corresponding 2013 period. Knight Frank said this was due to firms consolidating their operations into single locations.
An improvement in infrastructure and connectivity in Al Quoz has helped boost the take-up of industrial property in the first half, according to the report.
Knight Frank also found that new developments in Al Quoz, Ras Al Khor and Rashidiya typically sized between 30,000 square foot and 50,000 square foot, are likely to be too small to meet demands of larger occupiers.
Source: Staff Report, gulfnews.com


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Challenge: Square and Circle
In this shape learning exercise, students color squares orange, circles blue, and count and write the numbers of each shape present. A clown is shown juggling the shapes.
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San Diego, like many cities is a cultural epic center. It's in the food they serve, the people you meet and the places you visit; and like many cities there are good and bad points about living in San Diego. The same argument can be made for any city but San Diego is often one of those overlooked cities. While New York City has its fast paced, business attitude, Las Vegas is the gambling capital of the country, and Los Angeles is the movie making mecca; San Diego deserves as much considerations as any of these other cities. It may not have the all the business of New York City or the glitz and glamor of Los Angeles but it does have a lot of great beaches and culture of its own. Whether you have lived there all your life or are looking to start new San Diego is worth a look. You never know you might end up learning something new.
The Pros of Living in San Diego
1. Great weather year round.
One of the first things people think about is the wonderful weather. San Diego is no different with temperatures on average between 48 in the winter to 78 in the summer. With such wonderful weather it's no surprise that San Diego is home to some of the best recreational activities. Surfing for example is a major past time for many a San Diego resident. From surf themed bars and restaurants to fashion surfing's influence can be felt everywhere you go. So grab a board and get out and start catching the waves. Even if you're new to surfing fear not. There are a number of surfing schools ready to teach you everything you will need to know to get out and start shredding the half pipe. Schools like San Diego Surf School or Pacific Surf School offer some of the best surfing classes around.
2. Dozens of beautiful beaches to explore.
Feel free to check out some of the amazing waves all along the coast at the many great beaches in San Diego. Mission Beach for example has some gorgeous scenery combined with great surfing or Moonlight Beach where you can take the family out for a great day of sun, sand, and swimming. What isn't to like? If you are looking for something a bit more exotic then look no further. San Diego sits right near the border of the US and Mexico.
3. Close to Mexican/American border.
With a quick hop south you can be in the thick of all the sights, sounds, and tastes Mexico has to offer. If you want something more family friendly check out the world famous San Diego Zoo. Home to some of the most majestic and exotic animals in the country. Getting around the city is also a major bonus as there extensive public transit will take you were ever you need to go. Between commuting back and forth to work, meeting some friends for a drink on the weekend or taking the family out for a fun day of activities the San Diego Metropolitan Transit System is there for you.
4. Lots of outdoor activities like Surfing, Hiking, Biking, and more available.
If surfing isn't your cup of tea, never fear as San Diego also has lots of other outdoor activities waiting to be discovered. Hiking, biking, camping, you name it there are lots of outdoor activities that you and the family can enjoy all year round. Beautiful and serene locations like the Palm Canyon Nature Trail. San Diego is also a great city if your are a fan of comic books as every year San Diego is home to the largest comic book convention in the country the San Diego Comic Con. Every year millions of people gather to celebrate all things geek. Even for people that don't normally enjoy comics the San Diego Comic Con has something for everything. Gorgeous models in extravagant costumes, previews of upcoming block busters, panels with celebrities from your favorite movies and TV shows, rare and unique items for purchase.
5. Low crime rate.
Additionally as is often seen in a lot of western states, San Diego has a more laid back, easy going culture. Unlike places like New York City or Washington D.C. where life moves at the speed of sound, San Diego takes things just a little bit slower. Combine this with a far lower crime rate than other cities in the United States and you can rest easy knowing that not only are you safe but that life isn't so hectic all the time.
The Cons of Living in San Diego
1. One of the highest cost of living cities in the country.
San Diego also has its down sides. For many the cost of living is far higher than you will find in many other places in the United States. This can be seen in the higher cost of groceries, entertainment, and especially for rent. On average a single bedroom apartment will run you around $1,500 a month. Couple this with the drastically lower income rates and you have a recipe for trouble. Places like San Francisco for example have higher costs of living; however it also has a far greater average income.
2. Higher potential for disasters such as Earthquakes and Wildfires.
Another issue which is prevalent with a lot of west coast cities is the threat and/or effect that wild fires have on them. In the case of San Diego it can be a major concern during the warmer months as little to no precipitation is common throughout the southern regions of California. Even if your home or apartment is not at risk of being devoured by these catastrophic events the smoke and ash blown up into the sky can migrate over causing minor problems like over cast, gray skies to serious health issues like repertory trouble. Furthermore as San Diego does reside in the state of California many issues that affects the state also affects the city. Things like higher gas prices for example are a state wide issue with San Diego suffering as much as the rest of the state. While the weather is generally nice year round other regional issues can present problems. Earthquakes for example are common in this part of the country as it resides along the San Andreas Fault. While earthquakes don't often cause major problems there is a higher potential here than other parts of the country.
3. Higher rate of illegal activities tied to Mexican cartels.
While overall its crime rate is lower than other similar cities, it does however suffer from being closer to Mexico. While many of the immigrants that call San Diego home are regular law abiding citizens there are a greater number in San Diego than other cities that partake in illegal activities for the cartels.
In Conclusion
Overall San Diego, like many similar cities has its ups and downs. While the cost of living is more excessive compared to other places around the county many people come for the wonderful beaches and stay for the gorgeous landscape. Very few places around the country can boast year round enjoyable weather, great beaches, picturesque mountains, and non-stop entertainment. While it may not be for everyone, taking off your coat and staying a while can be just what the doctor ordered.


text:
|Name: _________________________
|Period: ___________________
This test consists of 15 multiple choice questions and 5 short answer questions.
Multiple Choice Questions
1. Upon seeing Hella again, David pretends not to know what?
(a) Her name.
(b) If they are engaged.
(c) The date.
(d) What time it is.
2. After the murder, David admits to Hella that he felt what for Giovanni?
(a) Suspicion.
(b) Fear.
(c) Hatred.
(d) Love.
3. Where does David run into Giovanni, while with Hella?
(a) A symphony.
(b) A bookstore.
(c) The bar.
(d) Church.
4. When pressed, David tells Hella what about his relationship with Giovanni?
(a) They went to school together.
(b) They are close friends.
(c) They were roommates.
(d) They play soccer together.
5. What country does David suggest he and Giovanni move to?
(a) France.
(b) Italy.
(c) Spain.
(d) The United States.
6. What does David avoid telling his father?
(a) His relationship with Giovanni.
(b) All of these.
(c) His financial situation.
(d) His engagement to Hella.
7. What does David imagine Giovanni did, prior to the murder?
(a) How long he waited to commit the crime.
(b) Who Giovanni drank with ahead of time.
(c) All of these.
(d) The conversation with Guillaume.
8. What role does David take on while Giovanni is at work?
(a) Bookkeeper.
(b) Housewife.
(c) Drunk.
(d) Gardner.
9. What does David's father avoid asking David, regarding his personal relationships?
(a) If David is popular.
(b) If he is seeing anyone.
(c) If David has made any close friends.
(d) If David is homosexual.
10. Why is Giovanni home from work after David's affair with Sue?
(a) He was worried about David's whereabouts.
(b) He got fired.
(c) He is scared to go outside.
(d) He quit his job.
11. David believes that newspapers exist for a purpose other than what?
(a) Creating heroes.
(b) Entertaining the masses.
(c) Making money.
(d) Telling the truth.
12. How does David feel after the encounter with Sue?
(a) All of these.
(b) Masculine.
(c) Important.
(d) Ashamed.
13. David considers Giovanni weak for doing what?
(a) Drinking alcohol.
(b) Begging for his job.
(c) Crying.
(d) Eating sweets.
14. Giovanni believes he can tell Guillaume is in a bad mood when he does what?
(a) Looks respectable.
(b) Starts ranting.
(c) Picks on ruffians.
(d) Has a drink at work.
15. Where does Giovanni stay while awaiting his trial?
(a) With Jacques.
(b) With David.
(c) Giovanni's room.
(d) In prison.
Short Answer Questions
1. When Giovanni insults him, how does David feel?
2. What does Giovanni want from David?
3. When Giovanni is mad at David, what insult does he use to hurt him?
4. What body part of Hella's intimidates David?
5. What does David want out of life that he believes he cannot have if he is homosexual?
This section contains 413 words
(approx. 2 pages at 300 words per page)


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text:
Fire, poison, and black tears
- Ευστοργιος Αβραμίδης
- 1 χρόνια πριν
- Προβολές:
1 Studia Graeca et Latina Lundensia 18 Fire, poison, and black tears Metaphors of Emotion in Rebétiko Marianna Smaragdi Centre for Languages and Literature 2012
2 2012 Marianna Smaragdi Distributed by: Centre for Languages and Literature Lund University P.O. Box 201 SE Lund ISBN ISSN Photography: Fredrik Schoug Printed in Sweden by Media-Tryck in Lund 2012
3 To my parents Ulla Johnsson-Smaragdi, med stor beundran och oändlig saknad Φώτη Σµαραγδή, µε απέραντη αγάπη κι ευγνωµοσύνη
5 Acknowledgements There is a great number of people to whom I would like to express my gratitude for support of various kinds, and without whom this dissertation would not have been possible. Firstly my thanks go to my chief supervisor, Dr Vassilios Sabatakakis, for his guidance and support during the years of my candidature, and for encouraging me to take up doctoral studies. I am also thankful to my assistant supervisor, Dr Christoforos Charalambakis of the University of Athens, for the valuable advice he has offered me. I wish to express my deepest gratitude to Professor Stathis Gauntlett for his invaluable help, many useful remarks, and not least for his thorough proof-reading of my drafts; any remaining mistakes are my own. I am furthermore indebted to the Foundation of Greta Thott och Hjalmar Gullberg for funding my field trip to Athens for a literature search, as well as for financial support during the final stages of my work. Thanks are also due to the participants in our local Greek seminar at the University of Lund for many useful comments and suggestions; to my friend and room-mate Dr Aron Sjöblad for constant encouragement and interesting discussions on metaphor and other topics; my friends and colleagues on the third floor, Dr Jessica Carlzon and (imminently Dr) Stefan Carlzon, for their support and constructive discussions. Thank you all for the lovely lunches and pep-talks! I owe special thanks to my father, Fotis Smaragdis, for my initiation in rebétiko on those long car journeys to and from Greece; to my sister Areti, my brother Christos and his wife Tina, for their confidence in me and for constantly backing me up. I also wish to express my heartfelt thanks to my very dear friends no one mentioned and none forgotten ( but you know who you are!) who always trust that I know what I am doing even when I do not trust it myself. Last but not least I would like to express my profound gratitude to my family: my always supportive and understanding husband, Panagiotis Androglou, who has given me the strength to proceed with my work, and my three wonderful daughters, Melina, Elena and Niki, who have helped me to keep in mind what is important in life throughout my work on this dissertation; σας αγαπώ. Lund, August 2012 Marianna Smaragdi v
6 vi
7 Contents Acknowledgements... v Contents... vii List of tables... ix 1 Introduction Aims Scope Method and sources Content Analysis Coding Choices Gathering, Saving, Coding and Analysing the Data Previous Studies on Rebétiko Rebétiko Background The Origins and Evolution of Rebétiko Definition of Rebétiko Metaphor Definitions of Metaphor and Other Tropes Metaphor Theory Approaches to Metaphor Conceptual Metaphor Common Source and Target Domains Kinds of Metaphor Metaphor in Literature and Poetry Similarities and Differences between Metaphor and Metonymy Metonymic Relationships, Idioms and Metaphor Metaphor across Languages Mapping, Highlighting and Blending Subsystems and Levels of Metaphors Metaphors of Emotion Universality and Cultural Variation Aspects of Emotion Concepts The Force of Emotion Emotions and Relationships Concluding Remarks vii
8 4 Metaphors of Emotion in Rebétiko Range of Emotions Force as Source Domain in Rebétiko Emotion is a Natural Force Emotion is Internal Pressure inside a Container Emotion is an Opponent Emotion is a Social Force Emotion is a Mental Force Emotion is Insanity Emotion is Fire/Heat Emotion is a Physiological Force Emotion is Physical Agitation Emotion is a Burden Emotion is a Physical Force Emotion is Light/Darkness Emotion is a Potent Substance Other Source Domains Emotion is an Animal The Human Body as a Source Domain The Mind and the Soul as Source Domains Literal Expressions of Emotion Further Observations on Metaphor in Rebétiko Metaphorical Blends Striking Stereotypes in the Metaphors of Rebétiko Figura Etymologica Formulaic metaphors Similarities between Metaphors in the Corpus and those in Erotokritos and Greek Folk Song Summary and Conclusions Appendix 1: Translation of Notions Used as Metaphorical Source Domains Appendix 2: List of Songwriters Bibliography viii
9 List of tables Table 1. Source domain: natural force...60 Table 2. Source domain: internal pressure inside a container...74 Table 3. Source domain: opponent in a struggle...78 Table 4. Source domain: social force...84 Table 5. Source domain: mental force...89 Table 6. Source domain: insanity...93 Table 7. Source domain: fire/heat...99 Table 8. Source domain: physiological force Table 9. Source domain: physical agitation Table 10. Source domain: burden Table 11. Source domain: physical force Table 12. Source domain: light and darkness Table 13. Source domain: strange substance Table 14. Source domain: animal Table 15. Source domain: the human body Table 16. Source domain: the mind and soul Table 17. Literal expressions of emotion Table 18. Source domains denoting emotion ix
10 x
11 1 Introduction 1.1 Aims There is very little about the emotions that is not metaphorically conceived Zoltán Kövecses 1 This dissertation is primarily a study of metaphors of emotion in rebétiko song texts. 2 Particular attention will be devoted to the interpretation of certain frequently recurring words and phrases (such as those signalled in the title: φαρµάκι poison, φωτιά fire, and δάκρυ tear ) as literal or as metaphorical, or, in some contexts, as either. The metaphors of emotion in rebétiko will be examined in the light of the theories of conceptual metaphor developed by George Lakoff and Mark Johnson 3 from 1980 onward and subsequently elaborated in respect of emotion metaphors by Zoltán Kövecses. 4 This dissertation will thus test the applicability of these theories to metaphors of emotion commonly encountered in Greek, and specifically in rebétiko song texts. Following a particular concern of Kövecses, the analysis will examine whether the various metaphors encountered are conventional or creative, and universal or culture-specific. The lyrics of rebétiko should prima facie be suitable texts for this purpose, given the enduring popularity and increasing pervasiveness of the genre among successive generations of Greek-speakers, which suggests that it expresses what might be termed the Greek spirit and Greek mentality to a significant extent. However, despite the wealth of social and cultural evidence encoded in it, the language of rebétiko lyrics has received scant attention in the copious secondary literature about the genre (reviewed collectively in section 1.4 and incidentally in chapter 2 below), and metaphors are rarely mentioned. The basic thesis advanced here is that metaphors of emotion are of crucial significance to the poetry of the emotionally charged genre which is rebétiko. 5 This dissertation will also explore the possibility that certain metaphors might be considered genre-specific and consequently serve as genre-markers to some extent. One might have expected an examination of figurative expression in rebétiko to be concerned primarily with those tropes which might be deemed the most salient genre-markers or at least peculiar to the genre. The most conspicuous candidates 1 Kövecses (2000:85). 2 The terms rebétiko, metaphor and metaphor of emotion are defined for the purposes of this thesis in chapters 2 and 3. 3 Lakoff & Johnson (1980/2003). 4 Kövecses (2000, 2002, 2005). 5 Cf. Tsounis (1995:95): There is a long history of association between music, ethnic identity and emotion in Greek culture. 1
12 for this role would be certain metaphors relating to hashish smoking, such as τεκές (literally dervish lodge ; metaphorically hashish den ) 6 and ντερβίσης ( dervish = hashish smoker ), 7 or the bouzouki, such as κουρντίστηκες στην πένα, στο καντίνι ( you re tuned with a plectrum, to the D-string = you re all dolled up to the nines ). Also those embedded in the argot (called Λαϊκή in Greek) generally associated with rebétiko, e.g. χήνα (literally a goose ; metaphorically a drachma note, λαχανάδες ( cabbage-pickers = pickpockets ), παντόφλες ( slippers = wallets ), and κάνε τουµπεκί ( fix some tobacco = keep quiet ). 8 Yet this dissertation will instead seek to demonstrate that the figurative expression which typifies rebétiko is centred on the metaphor of emotion, which it does not monopolise among other song genres. Prima facie the metaphor of emotion may be less saliently distinctive, but analysis reveals it to be more broadly characteristic of the genre as represented in my corpus. In order to examine the genre-specificity and the originality or conventionality of the metaphors in rebétiko in depth, a comprehensive comparison with other genres of Greek song would be needed, notably folk songs (dimotiká), other popular songs (laiká), songs of revue theatre (επιθεωρησιακά), as well as other types of popular literature (shadow theatre, brigand novels, etc.). Accordingly, this pilot study of metaphorical language in rebétiko, can only aspire to tentative findings regarding the conventionality of the metaphors in its corpus. The limited comparison with other genres in this study (4.5.5 Similarities between Metaphors in the Corpus and those in Erotokritos and Folk Song) is intended to be indicative of what a broadly based comparison might yield Scope The primary focus of this dissertation is restricted to the metaphors of emotion found in the corpus of texts compiled for this purpose. Accordingly, the runs in the concordance programme ConcappV4 (cf. 1.3 Method and Sources) have been applied to the most prevalent words and combinations of words. The categories of metaphors of emotion will be explained below at The force of emotion. The corpus comprises song texts composed between roughly the end of the 19 th century and the middle of the 20 th (from the 1880s to the 1960s; cf. 2.3 Definition 6 Vasilis Tsitsanis s metaphor µέσα στον τεκέ της ψεύτρας της ζωής µας in the hashish den of our false life (Πριγκιποµαστούρηδες) is a spectacular example of this type of image. 7 Rebétiko metaphors relating to hashish smoking have been discussed by Thorsen (2001). She sensibly does not labour the rather implausible connection between rebétiko and Sufi cosmology on the basis of these words, but explores the analogy created between mangas culture and Muslim mysticism as the ultimate provocation on part of the manges against a dominant discourse which sought to suppress any connection to Eastern culture, p Metaphors embedded in Greek urban argot have been enumerated among dead or prosaic images by Gauntlett (1978:90-92). 9 Cf. also Gauntlett s comparison of metaphor in rebétiko and folk song (1985: ). 2
13 of rebétiko). As mentioned below, it has become conventional to divide the broad rebétiko genre into thematic subcategories (such as χασικλίδικα, ερωτικά, της φυλακής, του υπόκοσµου), 10 and some studies are restricted to one or more subcategories (e.g. Aulin & Vejleskov 1991). However, the various attempts at classification have been undermined by the facts that very often a single song text can belong to more than one category, that the thematic categories often overlap, and furthermore that some songs are thematically indefinable. As this dissertation is not restricted to subcategories, it suffices for current purposes to foreshadow the thematic scope of the material under analysis by listing the range of themes represented in the corpus (and in the metaphors it contains) in order of prevalence, as follows: love unrequited love, jealousy, deceit, separation gender relations, marriage society, life poverty imprisonment crime emigration sorrow and pain fantasy of exotic places and riches as escapism labour military service maritime trades various other trades the lifestyle and values of Greek low-life friendship pride, dignity and honour music and musical instruments revelry: singing, dancing, drinking wine rivalry illegal life, gambling use/abuse of potent substances hashish and other narcotics alcohol illness, aging and death war and other historic events the Asia Minor Disaster of 1922 the Population Exchange of E.g. Petropoulos, I (1968/1979), Damianakos (1976/2001), and Kounadis (2000). 3
14 the dictatorship of Metaxas the Second World War the German occupation of the Resistance the Civil war of earthquakes and floods the mother figure (and rarely the father and other family figures) praise of localities or persons, and rarely divinities/religious personae (if not merely an exclamation or a formula) 11 It must also be acknowledged that, while this dissertation confines its analysis to the song lyrics alone, rebétiko is in fact a complex artistic combination of verse, music, and dance which has arisen within definable social structures. However, the dissertation will not engage with the extensive, and at times rather inflamed, debate about the origins, cultural value or political dimensions of rebétiko unless these are inextricably involved with metaphorical expression in the lyrics. Although the focus of this dissertation is resolutely on the lyrics of rebétiko, one sociological observation that deserves to be made at the outset is that the range of composers and lyricists contributing to the genre is socially broad and diverse. It ranges from barely literate manual-labourers-turned-professional-musicians (such as Markos Vamvakaris and Michalis Yenitsaris), via paupers and drop-outs (such as Yiorgos Mouflouzelis and Anestis Delias), to tertiary educated white-collar workers (such as Minos Matsas and Kostas Virvos). It also includes some individuals of average education but exceptionally developed literary talent (such as Vasilis Tsitsanis, Yiorgos Mitsakis and Eftichia Papayiannopoulou). The majority of the lyricists included in the corpus have written mostly rebétiko song texts; however, some have also written other kinds of laiká. The corpus analysed in this dissertation was produced by approximately 80 songwriters, some more prolific than others, but almost all of them now quite well-known in Greece as a result of the growing interest over the last forty years in the biography of rebétes. 12 As to the scope of metaphor in this study, the investigation is primarily of a linguistic nature, following the theories of conceptual metaphor mainly developed by George Lakoff and Mark Johnson 13 (cf. 3.2 Metaphor Theory). However, the theory has not been applied in an exclusively Lakoff-Johnsonian manner, but is 11 Expressions like «Χριστέ και Παναγιά», «Θεέ µου» and «Χριστιανός κι ορθόδοξος» are most likely formulae, and do not constitute a substantial religious reference in the song texts of rebétiko. Most rebétiko song texts are distinctly secular, as are most Greek folk songs. Cf. Christianopoulos (1961). 12 A list of the songwriters included in the study can be found in Appendix Lakoff & Johnson (1980/2003). 4
15 influenced by the complementary work of Zoltán Kövecses, 14 who has extensively honed the theory surrounding metaphors of emotion. Where appropriate, the analysis also encompasses and identifies examples of metonymy, personification, and simile as a part of figurative language, as the main concern of this dissertation is the meaning and function of the expressions, not a strict classification of tropes. 1.3 Method and Sources The corpus of approximately 1350 rebétiko song texts analysed in this dissertation was compiled specifically for this purpose from sources representing various time periods and thematic subcategories. The song texts are drawn from digital re-recordings of old rebétiko records, especially a series compiled by Kounadis, 15 and various anthologies of rebétiko dating from 1968 onwards. The most useful anthologies have been those of Petropoulos 16 and Schorelis, 17 which have both widely influenced subsequent works on rebétiko. Other anthologies consulted include Michael-Dede (2001) and Tsourakis (2000). When song texts appearing in the anthologies have also been found in digital recordings they have been corrected in accordance with the recordings, which are usually the original source of the anthologist s transcriptions. All transcriptions from digital recordings, whether or not they also occur in an anthology, have been made with due care, but they may well contain errors due to the poor sound quality of early recordings and the transcriber s inevitable limitations as a listener. 14 Kövecses (2000, 2002, 2005). 15 Αρχείο Ελληνικής ισκογραφίας, compiled by the doyen of rebétiko collectors and commentators Panagiotis Kounadis, is a series of 50 CDs, each presenting 10 songs. The series was distributed as an insert in the Athenian newspaper Το Βήµα during the summer of In Kounadis produced an expanded version of this archive for Τα Νέα, another newspaper of the Lambrakis Press Group, this time comprising 20 books, each containing two CDs with 20 songs each (a total of 800 songs), together with his annotations and essays. Since the compilation of the corpus for this dissertation had already been completed and the computer analysis had commenced before it appeared, it was too late to switch to the new series, which in any case overlaps substantially with the previous one. However, Kounadis s new transcriptions and annotations have been taken into account. As Gauntlett (2001b) points out, researchers of rebétiko today are frequently confronted with the problem of keeping up with an oversupply of recorded material of uneven quality. All the digital rerecordings used as sources for the rebétiko corpus are listed under Digital recordings in the bibliography. 16 Petropoulos, I (1968/1979). This anthology and its various sequels (Petropoulos, I (1982/1990), together with Schorelis ( ), see below), have been widely criticised as inaccurate and unmethodical, for giving rise to false conclusions in various derivative studies on the subject, and ultimately for obstructing the correct definition of the terms rebétiko and rebétis. Cf. Gauntlett (1982, 1991). The anthologies have been used with due caution in this dissertation. 17 Schorelis ( ). 5
16 Songs for which recordings have not been found have, where possible, been corrected by comparing the various anthologies. A further reservation regarding sources of texts arises from the difficulty of demarcating rebétiko from other kindred genres. The boundaries of the rebétiko genre are contested (cf. 2.3 Definition of rebétiko), and some songs included in the corpus may be disputed, while other songs deemed important by some commentators may not have been found, or may have been judged to belong to another genre. 18 In particular, neorebétika and archondorebétika (cf. 2.3 Definition of rebétiko) have been excluded from the corpus, not without reservations, but establishing the chronology of all the potentially eligible songs recorded after 1960 was simply not feasible within the time constraints. Ultimately, it is to be hoped that the occasional and isolated mistake or disputed selection will not seriously undermine the overall validity of my thesis. The corpus of texts as compiled should yield a satisfactory indication of which metaphorical expressions are most common in the genre and the context in which they occur, and this will facilitate the identification and analysis of the main metaphors of emotion present in rebétiko. (The differences between metaphors of emotion and other metaphors are described at 3.3 Metaphors of Emotion.) To this end, the corpus of text will be run in the concordance programme ConcappV4, in order to extract the most prevalent words and combinations of words in all their contexts. As it is important to find all the versions of a word, including derivatives, the runs will be performed on the words stem (or stems if a verb), with and without accent marks. This will capture different parts of speech in every inflection of a word and yield a more complete picture of metaphors used in various contexts. The translations of the song texts into English are mine. Whenever possible, the metaphorical expressions have been translated into corresponding English expressions, except where a literal translation is needed to illustrate the usage of particular words. Translation of Greek slang in general, and rebétiko slang in particular, is problematic, and in many cases the English translations are only approximate and nuances are unfortunately lost. My experience confirms the conclusions of an article on translation of rebétiko lyrics by Gail Holst-Warhaft: Translating the slang-filled lyrics of the rebetika into another language, especially one like English, raises serious theoretical and practical problems [ ]. My conclusion is that any solutions we arrive at do little more than remind us that the language of the rebetika resists, among other things, translation The early smyrnaic songs are particularly troublesome, as they are considered by some to be folk songs of Smyrna, and by others to be rebétika of the smyrnaic period, while Pennanen (2004) regards the whole smyrnaika category as a Greek nationalist myth. It is also especially difficult to define the genre of certain songs by Babis Bakalis, Apostolos Kaldaras, Eftichia Papayiannopoulou and Kostas Virvos. 19 Holst-Warhaft (1990:184). 6
17 The spelling of the song texts in Greek has been standardised to facilitate the search for words and expressions in the corpus. Finally, the transliteration of the names of Greek lyricists aims to reproduce the Greek phonetically for a reader of English Content Analysis This study employs the techniques of content analysis, 20 as this method enables analysis of a large number of texts, as required here, and focuses on the frequency with which words or concepts occur in texts or across texts. In this manner it is possible to point to similarities and differences in the content of the song texts, as it can reveal messages in a text that are ordinarily difficult to see. A problem with content analysis is that it does not show that the same words used in different contexts can have very different meanings. One solution to this problem is to examine each context and to code the various connotations found. This method facilitates the study of cultural concepts, which are of particular interest to this dissertation. Using the computer programme ConcappV4 for the analysis requires certain coding choices to be made as to the words, phrases, and concepts to be included in the study. Those choices pertain to level of analysis, handling of irrelevant information, creation of translation rules, level of implication of concepts, existence or frequency of the concepts, and the number of concepts. Since this study is of an exploratory and descriptive nature, no specific results are pre-empted. Nor is there a single specific hypothesis to be verified or disproved, apart from a general assumption (based on informal observation) that the lyrics of rebétiko are both highly metaphorical and emotional (cf. 1.1 Aims) Coding Choices For the level of analysis the choice is between coding single words and coding phrases. Coding single words facilitates the contrast of a specific type of text with general usage, which could be useful for current purposes. But since it is also necessary to analyse phrases in metaphorical expressions, some phrases have also been coded. Another choice relates to handling irrelevant information such as pronouns, prepositions, and other universal words, the options being to skip, delete or use them. In the case of this study, instances of the irrelevant information would include literal meanings of metaphors, but these cannot be detected by the computer programme. The next choice is in the creation of translation rules, between using an existing thesaurus or a specially constructed thesaurus. With the former, the peculiarities of slang or double meaning might be lost, whereas a specially 20 The following methodological exposition on textual analysis is mainly based on Carley (1993). 7
18 constructed or special-purpose thesaurus is better suited to a particular sociolinguistic environment, and is based on the detailed analysis of a sample of text. The latter has naturally been preferred for current purposes. The level of implication of concepts is another choice to be made. Meaning is always lost when only explicit (manifest) concepts are used. The use of implied (latent) concepts admits the comparison of underlying shared meanings and social knowledge in texts. In this study the use of implied concepts is significant, as knowledge of social meaning might enhance the analysis. The next decision concerns coding existence or frequency. In this study a frequency-based comparison of the song text has been used, in order to describe similarities, differences, and patterns in the metaphorical expressions. Finally, the number of concepts has to be determined. A number of 100 to 500 concepts is generally considered enough to code knowledge on any specific topic, and 250 concepts suffice to cover the plethora of words and phrases expressing emotion in the corpus, whatever their thematic range. The investigated concepts are listed and translated in Appendix Gathering, Saving, Coding and Analysing the Data The concepts to be coded were identified by careful perusal of the corpus in search of words and phrases from the metaphorical source domains associated with emotion (cf The Force of Emotion). Then using the computer programme (ConcappV4), these words and phrases were located in the text corpus. This process identified further concepts for consideration for the final analysis. An alphabetic list of the words and concepts, together with their immediate context, form a concordance, from which can be extracted, inter alia, the frequency with which each of the concepts was used, thereby facilitating content analysis. After extracting frequency counts of concepts from the texts, the textual analysis proceeded, using the concordance to focus on the number of concepts shared, as well as on the pattern of concepts shared across texts. This study is of a qualitative nature, rather than quantitative nature, in that greater emphasis is placed on describing and discussing interesting cases. However, a quantitative method is used to illustrate the frequency and the metaphoricity of the various concepts. To establish what constitutes the specific metaphorical language and sociolinguistic environment of the rebétiko culture in uncertain cases, an external point of reference is needed. For the comparison with prevalent Modern Greek usage, three substantial Greek dictionaries are used: Babiniotis (1998/2002), Kriaras (1995) and Triantafyllidis (1998). Selected metaphorical expressions found in the rebétiko corpus are also compared with corresponding expressions in Greek folk songs and in the Cretan verse romance Erotokritos by Vitsentzos Kornaros, 8
19 making use of Alexis Politis s anthologies of Greek folk song, 21 Philippides-Holton concordance of Erotokritos 22 respectively. and the 1.4 Previous Studies on Rebétiko Rebétiko appeals primarily to large numbers of people in Greece and in Greek communities over the world (mainly in the USA, Australia, and Europe), and as one of the principal musical and cultural expressions of the Greek nation, it has inevitably become the subject of an enormous range of divergent opinion. 23 Moreover, the artistic complexity of the genre is reflected in the multiplicity of disciplines involved in its systematic study, including musicology, social science, history, and philology. Kostas Faltaits was the first philologist to write about rebétiko (though not using that term); in 1929 he maintained that song texts now considered rebétiko merit serious study as poetry. 24 There has still not been much systematic research on rebétiko, whether as poetry or otherwise, although since the 1990s the amount of scholarly work on the subject has increased substantially. Most work on rebétiko continues to be conducted by amateurs. 25 The resultant publications are mostly articles or essays in newspapers and magazines or on the Internet, and are often argumentative in nature, but they also take the form of biographies of composers, songwriters, singers, and musicians. 26 As previously mentioned, there are also numerous anthologies of varying quality, with accompanying information on the song texts, the composers and their lifestyle. The most prolific Greek commentators on rebétiko include: Ilias Petropoulos, who published the first substantial anthology of rebétiko song texts (using the term in the title); 27 Tasos Schorelis, whose four-volume anthology of rebétiko songs and annotations has already been noted; and Panagiotis Kounadis, who owns an extensive and wellorganised archive of old rebétiko records. Kounadis s published work includes two 21 Politis (1999a, 1999b). 22 Philippides & Holton ( ). 23 Cf. Gauntlett (2001b:130): «Όντας [ ] στοιχείο του καθηµερινού λαϊκού πολιτισµού, το ρεµπέτικο παραµένει θέµα για το οποίο πρέπει υποχρεωτικά να έχουν όλοι γνώµη και όλοι µπορούν δηµοκρατικά να παριστάνουν την αυθεντία στη ρεµπετολογία, όπως στη ποδοσφαιρολογία». 24 Faltaits (1929:152) «Τα τραγούδια [ ] αυτά είνε άξια κάποιας προσοχής. Έχουν ειλικρίνεια και αυθορµητισµό που εκπλήττει και γοητεύει. Και δεν είνε µόνον η ειλικρίνεια και ο αυθορµητισµός των, αλλά και η στιχουργική τέχνη των, που και µόνον αυτή επιβάλλει να τα προσέξουµε». 25 Thus an Institute of Rebetology operates in England under the private management of the enthusiast Ed Emery and has been holding annual international conferences on rebétiko on the island of Hydra since See e.g. Georgiadis (2001), Papazoglou (2003), Papaioannou (1982), Tsitsanis (1979), Vamvakaris (1973), Virvos (1985), and Yenitsaris (1992). 27 Petropoulos has also written several other works on subjects of the Greek underworld, to which he ascribes the rebétiko culture. 9
20 large volumes 28 assembling his extensive journalistic output and interviews with rebétiko performers, as well as annotated transcriptions of songs and discographies. Nearchos Georgiadis and Ilias Voliotis-Kapetanakis 29 have both produced a number of books on the politics and history of rebétiko. 30 One of the pioneers of rebétiko outside Greece was Gail Holst, 31 who first aroused the interest of the rest of the world in this music style with a book whose Greek translation also includes articles on rebétiko from the Greek press The scholarly studies on the subject are mostly articles and papers, but also a few dissertations. The first doctoral thesis was by Stathis Gauntlett, 32 on the song texts of rebétiko from a thematic, stylistic, prosodic, and linguistic point of view. Both in his thesis and elsewhere, Gauntlett has given much attention to the language of rebétiko, as well as to genre categorisation. 33 His work on rebétiko, accomplished over 40 years and addressing numerous aspects of the topic, is seminal. Other relevant dissertations are by Demeter Tsounis, 34 who examines the contemporary significance of rebetika music in Adelaide, South Australia, by identifying the social and cultural processes which nurture the music in the Australian multicultural context, 35 and Despina Michael, 36 on the image of the Modern Greek popular musician. These researchers are all active in Australia, and significantly most scholarly researchers of rebétiko actually live outside Greece. This may, as Gauntlett puts it, be due to the fact that the social taboos which caused academics in Greece, with a few honourable exceptions, to abstain egregiously from even acknowledging the existence of the genre, did not apply in the English-speaking world. 37 Apart from the 28 Kounadis (2000, 2003). 29 Georgiadis (1993, 1996, 1999, and 2001), Voliotis-Kapetanakis (1991, 1997, and 2007). 30 Gauntlett (2001b) points out that the four authors mentioned above all lack documentation for many of their statements on events regarding rebétiko, and that they draw exaggerated and premature conclusions from the song texts. Cf. p. 163: Η αξία των τραγουδιών στην τεκµηρίωση της επιστηµονικής ιστοριογραφίας είναι πολύ πιο περίπλοκη υπόθεση απ ό,τι φαίνεται να αντιλαµβάνονται οι αυτοδίδακτοι φιλόλογοι και ερασιτέχνες ιστοριογράφοι του ρεµπέτικου. Κυρίως ξεχνούν ότι η ποιητική του τραγουδιού το καθιστά τέχνη (art) και ως εκ τούτου επιτήδευση (artifice), δηλαδή κάθε άλλο παρά άµεσο, αδιαµεσολάβητο παρατηρητήριο µιας αντικειµενικής, εξωκειµενικής «πραγµατικότητας». Also cf. Kotaridis (1996:23): «Οι στίχοι είναι µέρος του κόσµου τους, δεν είναι ο κόσµος τους σε άλλο επίπεδο όσο και αν οι αναλύσεις µας διολισθαίνουν προς το να υποστασιοποιούν τις αναφορές για τον κόσµο, εκλαµβάνοντάς τες ως τον ίδιο τον κόσµο, σχεδόν ολόκληρο τον κόσµο και µάλιστα σε ενικό αριθµό». 31 Holst (1977). 32 Gauntlett (1985). Gauntlett s thesis was approved at Oxford University in 1978, but here the edited version published in 1985 is primarily used. 33 See e.g. Gauntlett (1982). 34 Tsounis (1997). 35 The quotation is taken from the abstract for Tsounis (1997). 36 Michael (1998). 37 Gauntlett (2001a:50). 10


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Property Name: Happy Village Syeobul Guesthouse
Property Address: 26-1, Poseok-ro 1092beon-gil Gyeongju, , 780-080
Property Description: Property Location
Located in Gyeongju, Happy Village Syeobul Guesthouse is minutes from Tumuli Park and Heavenly Horse Tomb. This guesthouse is within close proximity of Cheomseongdae and Daereungwon Tomb Complex.
Make yourself at home in one of the 5 air-conditioned rooms featuring refrigerators. Complimentary wireless Internet access is available to keep you connected. Bathrooms have showers and hair dryers. Conveniences include complimentary bottled water, and housekeeping is provided daily.
A complimentary continental breakfast is served daily.
Business, Other Amenities
Free self parking is available onsite.
Location Description: Near Tumuli Park
Property Facts: Total Number of Rooms: 5Total Number of Floors: 2Year of Last Renovation: N/A


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Find your new home in 80239, COYou are viewing homes 1 to 2 of 2 homes for sale
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Yesterday I went grocery shopping at Wal-Mart and I saw they had jugs of Couscous! Even thought it was expensive ($8/pound), I really love this stuff so I splurged. It`s so easy to make.

1 cup water

1 cup couscous

small handful of dried rosemary

pinch of pepper

powdered chicken stock (or use chicken broth instead of water)

2 Roma tomatoes (or any tomato you like)

olive oil (so the tomatoes won`t stick to your sautee pan)

Wash and dice the tomatoes. Sautee them quickly in a pan with the olive oil until water just begins to come out. Remove from heat.

Add water, pepper, rosemary, and powdered chicken stock to another pot. Bring to a boil and remove from heat. Add the couscous and stir. Let sit for about 5 minutes (or until water is absorbed).

Add the tomatoes and any juice from the sautee pan into the pot with the cooked couscous. Mix together and you`re done!

I`ve already made this twice...and can`t stop eating it!
Photos are my own.
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God, says Paul Sibcy, is everything that is. All of usafaithful seekers or otherwiseahave some area of confusion, hurt, or denial around this word, or our personal concept of God, that keeps us from a full expression of our spirituality. Healing Your Rift with God is a guidebook for finding your own personal rifts with God and healing them. Sibcy explains the nature of a spiritual rift, how this wound can impair your life, and how such a wound may be healed by the earnest seeker, with or without help from a counselor or teacher. Healing Your Rift with God will also assist those in the helping professions who wish to facilitate what the author calls ultimate healing. The book includes many personal stories from the authoras life, teaching, and counseling work, and its warm narrative tone creates an intimate authorareader relationship that inspires the healing process.A Guide to Spiritual Renewal and Ultimate Healing Paul Sibcy. So, what has this experience taught me that can be helpful for the reader in healing her rift? Three things: (i) ... Treat it like a gift from God, and then ask for the instruction manual.
|Healing Your Rift with God
|Paul Sibcy
|Atria Books/Beyond Words - 2007-04-13


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|34 Reviews
|Property type
|Minimum Stay
|3 nights
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This comfortable beach condo has been completely renovated (and dog proofed) with stainless steel kitchen, Italian-tile floors, marbleized bathroom, and patio. Go out the back gate onto dog beach for an off-leash stroll with your pooch (all breeds) 24/7.
Enjoy the Snowy Egrets, pelicans, ducks, and sandpipers in the estuary; meander along the bike path for other birdwatching or use the one bike; a two-minute walk West along the bike path to the public (no-dog) beach and surfing, boogie boarding (four on site), or just watch the surf crash on the rocks. Walk two minutes East to the skate-board park and wild-life viewing.
The main shopping area of 'OB' (Ocean Beach) is within walking distance, including antique row. So is fishing off the OB pier or surfing alongside it. Restaurants range from the quick-and-cheap to on-the-waterfront-moderately-pricey. There are many nightspots. You will not want to miss this last-of-the-original beach town atmosphere complete with street fair every Wednesday.
Ocean Beach is centrally located. It is a ten-minute drive to Mission Valley shopping malls, Sea World, Balboa Park, Old Town, Downtown San Diego, Petco Park, Qualcomm Stadium, and the main airport. It is 20 minutes to the Tiajuana border, Wild Animal Park, and LegoLand.
Hi. I'm a retired lawyer. My hobbies are playing duplicate bridge and watching football...not at the same time! I completely renovated this unit, inside and out, a few years ago. It was a true labor of love so it is near to my heart. I try to maintain it in top condition. It's near to most places you'd want to visit in San Diego and borders the beach. The Wild Animal Park and the Tiajuana border are about 20-30 minutes away. Naval bases are 10-12 minutes. It's about a mile off Interstate 8 that connects with the other freeways. I love Ocean Beach. It's one of the original So. California beach towns.
Sharron purchased this condo in 1997
There's just no place like Ocean Beach in my eyes. I love it here. It's a very relaxed natural atmosphere; no 'artificial environment' like you find in some other communities. I walked my dogs on Dog Beach every Friday afternoon for 25 years. Finally, I knew I had to make it permanent. Ocean Beach as a community is very dog-friendly. There are even some outdoor dining establishments that allow your dog to lie at your feet while you dine. And there are some dog-centric events such as the annual 'weiner-dog' races on Dog Beach. There's a Farmer's Market every Wednesday afternoon and lots of community events such as kite-flying in March, christmas parade, beach-blanket bingo,and sand castles after Thanksgiving, etc..
Perfect walk out the gate down to the beach! I wanted something with easy access to the beach since I came alone with 4 kids under 8 and my two pugs and this was perfect! We were able to get everywhere we needed with a short walk and house was perfect size! Thank you Sharron for everything!
Sharron was very helpful in getting us settled and oriented. The kitchen was well equipped and the gas stove was a real treat. Good parking in the carport.
Two recliners in the living room-no fighting!
The beach is steps away out the back gate. The garden is lovely.
The neighbourhood of Ocean Beach is terrific. Lots of restaurants, shopping, antiquing, pubs etc.
The pier, the surfers and the sunsets are outstanding.
The only issue is the same for lots of San Diego neighbourhoods-noise from the jets using the airport. You get used to it.
If you have a dog with you this is the place for you as dog beach is right there!
We would definitely return.
This is a nice rental the location was great. Dog beach right at your backyard, which our dog had a chance to enjoy everyday. Close to Fiesta Island, which is also a favorite for our furry baby. Sharron was a good host. Our only gripe was the queen bed was way too soft and the box spring creaked with just the slightest movement. Time for a replacement. So after the 1st night, we slept in the 2 twin beds which were much more comfortable and worked out okay. Would consider staying again.
We had such a relaxing time here. The dogs enjoyed the beach and it's great that you can just walk there from the back gate. It's a duplex, with a single story unit on the bottom (the rental) and the owner lives on the 2nd and 3rd floors. We rarely heard her, though we would occasionally hear her dogs run across her floor (which wasn't loud because they're little dogs). The flooring in the unit is tile and the furniture is leather; perfect for lounging with your pooches. The TV doesn't get a lot of channels; I think it's probably the smallest cable package available (my husband was a bit disappointed to not be able to watch his favorite shows on The Travel Channel) and I don't think it's a DVR (if it was, I couldn't figure out how to rewind live TV), but that's OK; it's a vacation! We should have been out and about instead of watching TV! There's a full kitchen with stove and microwave, but all we used was the fridge to store the dog food and restaurant leftovers. The beds were a bit more firm than we're used to, but we've got a Sleep Number-style bed at home, so it's rare to find anything like that when traveling. The sofa and recliners were comfortable. There are closets in both bedrooms with lots of storage space. The WiFi works well. The shower has a lot of water pressure.
Sharon was very helpful with explaining how everything worked and offered to dog-sit if we needed it.
There are also many dog-friendly restaurants nearby. The Daybreak Island Grill is within walking distance and serves great Hawaiian-themed food. A little further down on Newport Avenue is Mike's Taco Club (dog-friendly patio). Lots of unique tacos; hubby LOVED the octopus taco (not my cup of tea).
Anyway, it was a great place to stay and we'd love to do it again.
This was our second time here. Great time again, will for sure be back.
My wife & I took our 2 dogs to Dog Beach for the Labor Day Weekend. We stayed 4 nights & were joined by 1 other adult with her 2 dogs. We had concerns that the home would be too small, but there is plenty of room inside & also the adjoining rear yard and covered patio area was large enough to accommodate us. The main bedroom is roomy and has small desk, big closet & flatscreen TV. The secondary bedroom has 2 beds & big closet. The kitchen & refrigerator were more than adequate & we cooked most of our meals there. There is also both Keurig & standard coffee maker. The toaster didn't work well & should be replaced. Having only 1 bathroom and 3 adults presented its challenges, but all in all, the property was well maintained & adequate for our stay. As most others have reported, the owner lives onsite in upstairs unit & the rental is downstairs with only a view looking out into the rear yard (not the beach). However, you can see a little bit over the fence of the city lights across the channel & that was nice. As also noted in most reviews, there's a rear gate that leads directly to the surrounding beach and wetland area that provides primo access to anywhere you want to go (Dog Beach, Wetlands trails, etc). From the rear gate, you have a commanding view of the area beaches, wetlands, ocean, and even Sea World, who had nightly fireworks to entertain us. The few downsides to our trip were: When we arrived, temp inside unit was 80 degrees, so we turned on the AC. However, after several minutes we realized it was only blowing hot air (temp actually increased two degrees) and turned it off. We later learned there isn't AC, so we were relegated to using the ceiling fans (dated, but sufficient) & some floor fans that are provided (some worked, some don't). You would think at the beach that the temp inside would be comparable to the outside temp, but this unit is very warm inside. Also, I wasn't thrilled with the parking situation. While there is 1 dedicated parking space for the unit inside the carport, the owner parks in adjoining space so there isn't much room for 2 cars (we could barely open our car doors & packing/unpacking was tricky). As for street parking, forget it. Very hard to get. I noticed the same cars parked in front of unit & across the street for entire stay (never moved), and we had to park our 2nd car several houses away. Lastly, furniture & beds are very uncomfortable, but there are 2 decent recliner chairs in living room.
Other Activities: boating, wildlife viewing, shopping, kayaking, mini golf, racquetball
|Rate Period
|Weekend Night
|Monthly *
Oct 1 2016 - Dec 30 2016
3 night minimum stay
Dec 31 2016 - May 26 2017
3 night minimum stay
My Standard Rate
3 night minimum stay
|$100 + Tax
|Tax Rate
Monthly rate based on 4 weeks; Monthly available $2700/month post-Labor Day -Pre-Memorial Day; Call owner at 619-223-1400 to book; Summer season rents weekly Saturday to Saturday only; You should obtain travel insurance to protect you if you need to cancel for any reason. Cancellation more than 90 days in advance, we will refund everything except 15% & merchant charges . No cancel later.
* Approximate monthly rate. Actual rate will depend on the days of the month you stay.


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- Explore community
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Wood Anemone
Observed: 27th March 2011 By: Mushroom Lady
Added: 27th March 2011
Other observations of Wood Anemone (Anemone nemorosa)
Species with which Wood Anemone (Anemone nemorosa) interacts
Anemone nemorosa
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MyTime Builds A Bridge For Messaging Between Businesses and Customers Using Twilio
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Blackwood Miners' InstituteAdd to favourites
- Telephone 01495 227206
- Website www.blackwoodminersinstitute.com
Beauty and the Beast
Rainbow Valley Productions presents a colourful adaptation of the classic fairy tale. Starring Owen Money.
Sat 10 Dec
£15 (£12; Children £12)
Sun 11 Dec
£15 (£12; Children £12)
Thu 15 Dec
£15 (£12; Children £12)
Sat 17 Dec
£15 (£12; Children £12)
Sun 18 Dec
£15 (£12; Children £12)
Mon 19 Dec
£15 (£12; Children £12)
Tue 20 Dec
£15 (£12; Children £12)
Wed 21 Dec
£15 (£12; Children £12)
Thu 22 Dec
£15 (£12; Children £12)
Fri 23 Dec
£15 (£12; Children £12)
Sat 24 Dec
£15 (£12; Children £12)
Mon 26 Dec
£15 (£12; Children £12)
Tue 27 Dec
£15 (£12; Children £12)
Wed 28 Dec
£15 (£12; Children £12)
Thu 29 Dec
£15 (£12; Children £12)
Fri 30 Dec
£15 (£12; Children £12)
Cascade Dance Theatre
Three very different, engaging dances. Poppet is a feel-good dance full of humour by choreographer Jem Treays; Quite Discontinuous is a sinuous, intricate male duet by choreographer Jasper van Luijk and Collidron, by choreographer Phil Williams, is a work for five dancers to marimba music by Harriet Riley.
Mon 7 Nov
£12 (£10; Children £10)
The Definitive Elvis Experience
Ben Thompson performs songs from throughout Elvis' career from his early days to the iconic stage show of the 1970s.
Sat 25 Feb
£19.50 (£18.50; Children £18.50)
Gary Clarke's Coal
THE drama, the tragedy and the unbreakable spirit of a working class community fighting for its future the show the critics hailed as "urgent and heroic" and "emotional dynamite" is back! Following a critically acclaimed sell out debut Spring tour at dance venues and theatres across Britain, Gary Clarke Company now sets off on a major national autumn season with COAL! COAL commemorates the 30th anniversary of the Miners' Strike and reflects award winning choreographer and dancer Gary Clarke's own experience of growing up in the midst of the 1984/85 industrial dispute as a child of the Yorkshire coalfields, where some of the most brutal and bloody confrontations of the bitter year-long dispute took place. Given a Four Star review by The Times during its spring season, COAL is a riveting dance theatre show that takes a nostalgic look at the hard hitting realities of life at the coal face. COAL now embarks on the second leg of a critically acclaimed national tour featuring 16 performers - seven professional contemporary dancers including TC Howard (acclaimed for her work with Vincent Dance Theatre and Wendy Houstoun), a live on stage brass quintet and four local community women, both specially recruited at every venue. Bands playing in the autumn season will include the Kirkintilloch Band, Brighouse and Rastrick Band, Carlton Main and Frickley Band, NASUWT Riverside Band, Tredegar Town Band and the Fairey Band. The unforgettable voice the Prime Minister at the heart of the dispute is provided by Steve Nallon, still best known for his many performances as Margaret Thatcher in long-running cult TV hit Spitting Image. COAL combines Gary Clarke's vivid visual performance style and splintering physical language as it marks the 30th anniversary of the turbulent end of the Miners' Strike.
Thu 24 Nov
£12–£14 (£10–£12; Children £10–£12)
Fri 25 Nov
£12–£14 (£10–£12; Children £10–£12)
Mark Thomas: Red Shed
Incisive humour and satire as Mark Thomas explores the arena where he began stand-up: a red wooden shed in Wakefield.
Tue 29 Nov
£15 (£10–£15)
Whitney: Queen Of The Night
A celebration of the music and life of Whitney Houston. This award-winning production features a stellar line up with rising West End star Rebecca Freckleton.
Thu 27 Oct
£22 (£0–£22)
Tell us more about this venue.


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Bookseller Image
Bibliographic Details
Title: DON'T WASTE YOUR TIME IN THE CANADIAN ...
Publisher: self published
Publication Date: 1993
Binding: Staple Bound
Book Condition: Good
Edition: 1st Edition
Scarce book,No other copies like this found on the net at the time of listing. This is the original book, no photographs or diagrams inside. Very collectible. Photo is of actual book -54 pages, minor markings and fading on cover and minor wear, otherwise a lovely copy. Bookseller Inventory # 003510
Payment Methods
This bookseller accepts the following methods of payment:
AbeBooks Bookseller Since: 14 December 2004
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Thank you for shopping with Orphan Books. We will do everything we can to make your book purchasing pleasant and easy. If you have any questions or concerns, please let us know. We appreciate your patronage. Abebooks payments are in U.S. Dollars Only. You may use your credit card by selecting the ABE E-Commerce option. Sorry, but we no longer take Paypal. Shipping is not included in price. We guarantee our books. Please email us if you feel a book has been misrepresented in any way. The book can...[More Information]
Orders usually ship within 1 business days. Shipping costs are based on books weighing 2.2 LB, or 1 KG. If your book order is heavy or oversized, we may contact you to let you know extra shipping is required.
Store Description: I have been a bookseller for more than 10 years. I closed my bricks and mortar shop to focus entirely on ONLINE sales.


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Paris: French Open miracle man Tommy Robredo, the first player in 86 years to win three successive Grand Slam matches from two sets to love down, revealed he could hardly hold his racquet because of pain.
Robredo, 31, clinched a 6-7 (5/7), 3-6, 6-4, 6-4, 6-4 win over 11th seeded Spanish compatriot Nicolas Almagro on Sunday to earn a place in the Roland Garros quarter-finals.
Having also defeated Dutchman Igor Sijsling and French wildcard Gael Monfils in similar dramatic marathon circumstances, Robredo became the first man since Henri Cochet at Wimbledon in 1927 to win three on the bounce from such a deficit.


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The Ollie's House and Bug Ollie attraction as seen from the top of the deep
After you mosey through Ollie's house, you'll be ambushed by her Private Porch in the back yard. There you can locate Ollie while she is re-filming a scene from her last film, Disney's Citizen Kane. Be sure to ask her a silly question!
Ruin everything with Princess Mode
© copyright 2011–2016
A Pants Aflame production


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Home >> Mechanical Engineering
problem 1:
Discuss the stress-strain diagram for steel with essential sketches. Illustrate the role of Young's Modulus, Bulk Modulus and Shear Modulus in design of a component.
problem 2:
Critically discuss on principles of design optimization.
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prepare down the salient features of the computer aided drafting. List some software Packages for engine the components design.
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Mechanical Engineering, Engineering
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The capital investment cost for a switchgrass-fueled ethanol plant with a capacity of 250,000 gallons per year is $3 million. The cost- capacity factor for this particular plant technology is 0.59 for capacities ranging ...
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Two kg of refrigerant 134A undergoes a polytropic process in a piston-cylinder assembly from an initial state of saturated vapor at 2 bar to a final state of 12 bar, 80 C. Determine the work for the process. Also, determ ...
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Two standard waveguides are given: WR3, with dimensions a = 0.86 mm and b = 0.43 mm, operatingat400GHz, andWR2300, with dimensions a = 0.5842 m and b = 0.2921 m operating at 600 MHz. Both waveguides are air filled (these ...
Derive the transfer function between commanded and actual speed if the control used in Figure 13.2-5 is used. Assume that the electromagnetic torque is equal to its commanded value, that the load torque is zero, and that ...
Water flows in laminar flow along a horizontal channel which has a width of 4 m. It is observed that the depth of water in the channel is 3 cm and that small gas bubbles which form at the floor of the channel, take 220 s ...
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Home » Romance » Nancy J. Farrier » Sonoran Star
Sonoran Star
All her life, Kathleen O'Connor's flaw has isolated her. Even her mother is ashamed of her, and Kathleen fades to the background, quietly nurturing her devotion to God. Still, she longs for a husband and children. When Deputy Quinn Kirby makes a slight miscalculation, he quickly recovers from his embarrassment and determines to make the best of the situation. He recognizes this veiled woman's beauty, and he's more than ready to stake his claim. The only problem is, she won't have him. Stunned by the fact that a handsome man is showing an interest, Kathleen sets aside the desire of her heart, feeling that what she wants is wrong. Will God work a miracle to bring these two hearts together?


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More details about St Augustine Visitor Info Center
According to our records, this business is located at 10 W Castillo Dr. in St Augustine (in St Johns County), Florida 32084, the location GPS coordinates are: 29.8997816 (latitude), -81.3151184 (longitude). St Augustine Visitor Info Center is categorized under Legislative Bodies (SIC code 9121). Known organization manager is Billy Triay. The company employs approximately 19 people. You can contact the company by phone at (904) 825-1000; the following fax number is also provided: (904) 825-1064.
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text: On Tue, 12 Aug 2003 at 15:21:34 -0700, Greg J. Lehane wrote: > Fingers crossed I have figured out how to reproduce this consistently. > > any platform/configuration > > 1. Open J with a new blank document > 2. Load a native text editor (say notepad) with any random text file > 3. Now, select some text from the native editor, hit edit -> copy > 4. bring focus to J by clicking somewhere on the toolbar or border (NOT THE > TEXTAREA, don't move the cursor) > 5. hit edit -> paste [the paste works fine] > 6. Now, select another piece of text from your native editor, edit -> copy > 7. bring the focus back to J by clicking withing the textarea (or move the > cursor in any way) > 8. now try pasting [the first copied string is pasted] > > I think if you somehow move the cursor in J, by clicking or arrow keys, > "in-between" the native copy and J's paste. The VM somehow, replaces the > current "system" clipboard with the previous version from the last paste. > > This happens on linux with all the latest versions of everything, aswell as > Win2k. > > I would be happy to attempt a fix if someone could point me to the likely > source. It's not immediately apparent to me. Wow, what a subtle bug! Thanks for figuring out that precise scenario! Now I just have to figure out a fix. The problem is, KillRing.promoteLastPaste(), called from Dispatcher. eventHandled(), is replacing the contents of the system clipboard with the contents of the last paste, provided the last editing operation in j was NOT a paste (so moving the cursor would trigger this). This is done so cyclePaste will be more likely to Do The Right Thing. (Multiple cyclePastes in a row mean you're looking for the right thing to paste, so when you stop and do something else, the last thing pasted gets promoted, so it will be the first thing offered the next time you do paste or cyclePaste.) It's taken 4+ years for someone to notice this unfortunate interaction with the system clipboard. I'll try to fix this in the next development snapshot, but at the moment I'm still trying to sort out all the issues (I'd still like cyclePaste to Do The Right Thing when I'm done). (It looks like maybe just tracking the clipboard owner should do the trick.) Thanks for all your work on this problem! -Peter