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The World as Narrative
Jacques Rivette at Eighty
MK Raghavendra
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A refrain heard today pertains to the responsibilities of the artist to 'humankind'. This demand (especially by institutions like prize awarding bodies) has seen experimentation diminishing in literature and cinema. Though 'humanism' serves any cause on behalf of which it is enlisted, it is the filmmakers with 'humanist' preoccupations - rather than those taking, formally or thematically, more unusual paths - whose work is valorized. Jacques Rivette, the greatest but perhaps the most unsung filmmaker of the French New Wave, is not known widely today (though he continues to work) perhaps because his preoccupations, not being 'humanist', are difficult to describe and categorize. This is an attempt to talk about Rivette's work to those unfamiliar with it on the occasion of his eightieth birthday.
For someone fascinated by Jacques Rivette, the critical writing yielded by his films is always disappointing.
While the films themselves never fail to be intriguing, reviews/ critical essays rarely engage with Rivette's apparent intent - 'apparent' because the filmmaker's purpose is hardly ever clear. While there are a huge number of ways in which cinema can be written about, the cinephile taken up avidly with a single filmmaker's oeuvre feels obliged, when examining different experiences, to identify the single thread bringing them together. In the case of Rivette's films this is an exceptionally difficult task not only because of the bewildering variety in his subjects but also because of the apparent absence of a governing thematic concern. 'Solitude and togetherness' (
) may feature as conditions in which his protagonists are placed but they do not mark his films out more than they do those of many other filmmakers. It is also difficult to demonstrate that these themes unite exercises as different as
Paris Belongs to Us
(1960) and
The Story of Marie and Julien
(2003). 'Theory down' interpretations of Rivette's films are also not satisfying because the filmmaker's work is too distinctive for it to benefit from the kind of interpretation that the more quotidian films are usefully subjected to. For instance, the fact that women are sometimes at the center of his stories can become the basis of a feminist reading but such a reading will not tell us much about what Rivette's films exclusively offer. Similarly, if our interest is in Rivette's preoccupations - and they are more singular than allowed for -
La Belle Noiseuse's
(1991) position in his oeuvre is more pertinent than its place in the history of films about painters and painting.
Two features stand out in the films of Jacques Rivette and the first can perhaps be understood in relation to a remark made by Samuel Beckett about the virtues of a work legible on its own terms but completely inscrutable on any other. What this means is not entirely certain but it could pertain to the need for art to transcend (or render irrelevant) the context in which it is produced. Rivette's films, of course, are not the easiest films to explain, but their legibility is not determined by our knowledge of their historical circumstances or the filmmaker's background. They are intellectually very demanding but all they appear to demand is intelligent engagement. Rivette's films are peppered with references to quotes from literature and/or various other films but it would appear that sense can be made of his films without deep knowledge of the literature and cinema that his works invoke. In this respect, he may be compared to Jorge Luis Borges whose fictions can be understood by readers who do not share his erudition. Jacques Rivette has other resemblances to Borges as well and comparisons will be made in the course of this essay.
The second feature about Rivette's films is the way in which they have gradually become more 'accessible'. Rivette has made a substantially larger number of films in the latter part of his career and films like
La Belle Noiseuse
and Secret
(1998) seem quite straightforward in relation to
L'Amour fou
(1969) and
Paris Belongs to Us
. The later films seem intended for a wider appeal than the early ones but it can be argued that the early films were made when there was clearly a different relationship between the filmmaker and the spectator. The nearly adversarial responses invited by filmmakers like Godard and Rivette in the sixties may not be possible today, when films need to virtually woo the spectator. Rivette is perhaps able to be more prolific today because
Secret Défense
passes for a simple (though 'overlong') thriller to spectators not inclined to grapple with its complexity.
The Story of Marie and Julien
may even be enjoyed as a romance from the same category as Jerry Zucker's
(1990). Rivette's later films may appear slight to those unfamiliar with his oeuvre but this 'slight' appearance may be an escape provided to the indolent spectator by a more relenting (although not less exact) artist than the one of
Paris Belongs to Us
. Rivette is arguably the greatest artist working in cinema today but this will not be evident to audiences familiar only with his recent films, which are perhaps difficult to interpret without the knowledge of his early work.
The purpose of this essay is to demonstrate - through an inquiry into their motifs - that Rivette has been consistent in his films. In order to show this I propose to examine four films made over a period of more than four decades, with the films chosen from different genres - a strange film about a conspiracy (Paris Belongs to Us), a fantasy (Céline and Julie Go Boating -- 1974), a revenge thriller (Secret Défense) and a romantic ghost story (The Story of Marie and Julien). This examination will, hopefully, interest the reader to whom Rivette's work is unfamiliar - at least enough to seek his films out and submit to their intellectual demands.
Paris Belongs to Us
Paris Belongs to Us (Paris Nous Appartient)
is a film about a group of young people in Paris in the late fifties who appear to be embroiled in different ways in a worldwide conspiracy of some sort. Anne is a literature student and Pierre, her elder brother takes her to a party where she meets Philip Kaufman, an expatriate American escaping McCarthyism, and Gerard Lenz, a theatre director who is with a mysterious woman named Terry. The talk at the party is about the apparent suicide of their friend Juan, a Spanish activist who had recently broken up with Terry. Philip warns Anne that the forces that killed Juan will soon do the same to Gerard, who is trying, without financial backing, to stage Shakespeare's
. Also discussed is a missing guitar recording by Juan, which Gerard wants for
. Anne takes a part in the play to help Gerard, and to try to discover about Juan.
The information may not be entirely pertinent to the thrust of
Paris Belongs to Us
but the film was made at the height of the cold war and the title suggests the staking of claims upon the same space by ideologies in conflict. The group of young people in the film is split down the middle and there is little doubt about which group Rivette is with - those broadly describable as 'anti-Fascist'. Still, his concerns do not appear 'political' and while his protagonists are apparently reacting to a political stimulus of some sort, the film is silent about the stimulus itself; the villains feared so much by the group are allowed to remain mysterious. In fact, the film could as well be about political paranoia as about political intrigue and the grotesque pencil drawings on Phillip Kaufman's walls announce this clearly.
Making clear sense of
Paris Belongs to Us
is undoubtedly a difficult task but a method is to seek out a line or two of crucial dialogue (
) Although the film is about a group of young people, Rivette's attention is largely taken up by the relationship between two of them - Anne and Gerard Lenz. Apart from their getting more attention than the others, the two also appear to be the only normal persons - not beset by fears and conducting themselves calmly. Gerard is apparently under threat but, unlike Terry and Phillip, his behavior does not suggest it. If Anne is young and innocent and placed in the analogous position of the spectator because she is unraveling the story, Gerard Lenz, because of his artistic/philosophical preoccupations, may be the receptacle of the films conceptual meaning. It is always appropriate to verbalize the concerns of the film through characters not in a condition of excitement because only then would the conceptual meaning be received undistorted, and only these two characters appear to suit the requirement. Since Gerard is preoccupied with
it can also be argued that the production would be the likely place to conceal clues to the film's meaning and his remarks about it are therefore significant.
In describing
to Anne, Gerard indicates that the play is patchy and appears to even lack teleology. It is his endeavor, he says, to bring the disparate threads together and reveal its hidden purpose. It can be argued that this description of
applies roughly to the world of the film as well. This political world is a mysterious one but there appear to be two broad 'narratives' struggling for its control, one being liberal democratic and the other, right-wing and Fascist. What I mean by 'narrative' needs explaining and, to illustrate my meaning, the Darwinian model for evolution and the Biblical account of creation can be usefully viewed as narratives competing for control over the history of life on the planet. If this is conceded, we could say that the characters in
Paris Belongs to Us
have variously thrown their lot with two dominant narratives (each one corresponding to a political affiliation) struggling for control over the world - as emblemized by Paris. We could say that the film is about the political world having become so impenetrable that one must believe in a 'narrative' regardless of how bizarre it might appear. For someone subscribing to liberal-democratic principles and outraged by Cold War rhetoric, a mysterious worldwide Fascist conspiracy was perhaps the most alluring grand-narrative around 1960.
Another clue inserted conspicuously into the second half of
Paris Belongs to Us
is a segment from Fritz Lang's
(1927) entitled 'Babel' and pertaining to the story related by Lang's heroine Maria. As the reader may know the segment is a variation of the episode from the Old Testament and pertains to the workers having lost contact with the planners, working to no purpose and, in their fury, eventually destroying the tower. The chasm between the workers and the planners in 'Babel' may correspond to the one between the characters of
Paris Belongs to Us
and the shadowy authors of worldwide conflicts. It can be argued that the greater the chasm between the planners of vast enterprises and their movers, the more the need for the lowly movers to generate narratives. Kafka's
The Great Wall of China
, for instance, while also invoking Babel, demonstrates how the disparity between planners and movers generates narratives to explain the enterprise of the Great Wall.
A key motif in
Paris Belongs to Us
pertains to Juan's guitar composition, which occupies approximately the same position in the film as Frenhofer's painting 'La Belle Noiseuse' occupies in the 1991 film. That film is about a retired painter struggling to regain his touch while painting a nude, and being successful only when he recovers an inspired but unfinished masterwork of his own and paints over it. If the act in
La Belle Noiseuse
is like using a ritual ingredient to impart magical qualities to a representation, Gerard Lenz's obsession with using Juan's guitar composition for his own production of
carries the same urgency. Juan was the first victim of the political reality (perhaps) allegorized by Lenz's production, and sanctification by an element of the represented reality could render the enactment powerful. The sanctifying is as a nail from the original cross might a passion play - and it testifies to an underlying belief in the prevalence of the real over art.
Another story with which Rivette's film has an interesting relationship is Borges'
The Lottery in Babylon
. That story is about the institution of a lottery to provide excitement to citizens of Babylon and about its gradual investment with omnipotence so that the benefits from it can be universal. Over time the lottery begins to work so secretly that even its existence is disputed. This is how the story concludes:
"That silent functioning, comparable to God's, gives rise to all sorts of conjectures. One abominably insinuates that the (lottery) has not existed. and that the. disorder of our lives is purely hereditary, traditional. Another judges it eternal and teaches that it will last until the last night, when the last god annihilates the world. Another declares that the (lottery) is omnipotent, but that it only has influence in tiny things: in a bird's call, in the shadings of rust, in the half dreams of dawn. Another, no less vile, reasons that it is indifferent to affirm or deny the reality of the shadowy (lottery), because Babylon is nothing else than an infinite game of chance."
The conspiracy in Paris Belongs to Us perhaps occupies the same position as the lottery in Borges' story. Both are 'narratives of omnipotence' in which human agencies progressively usurp reality. Rivette's film, of course, does not conclude with the triumph of the conspiracy but the space of the narrative abruptly opens out to nature - birds flying across a body of water - and the implications are perhaps the same as the lottery gaining influence over 'tiny things'. The narrative will encompass even the smallest aspects of reality.
Céline and Julie Go Boating
The second of the four selected films is as playful as
Paris Belongs to Us
is somber, but it still has a discernible relationship with the earlier film.
Céline and Julie Go Boating
Céline et Julie vont en bateau
) is a fantasy about two girls - a librarian and an amateur magician - who find themselves mysteriously caught up in the destinies of the residents of a house on one of Paris' quieter streets. Céline claims to have worked as a nanny at the house, about which both of them are curious, and a cyclical pattern emerges. Céline or Julie enters the house and emerges later, having forgotten whatever transpired during her stay but with a sweet in her mouth. They soon understand that sucking the sweet brings back fragmented memories of the events and we witness happenings that seem arbitrary at first but begin falling into place when they are recollected in different permutations after each subsequent visit. Gradually, we recognize that what is happening at the house is a recurring narrative of some sort and this 'Story' also becomes clear to Céline and Julie.
The Story (
) involves a widowed man and two women, both of whom seek to become his wife.
The difficulty is that the man has a little daughter by his deceased first wife, who extracted a promise from him - for the sake of their daughter - that he would never marry again. Each of the two women is now intent on removing this impediment by killing the little girl. Since the unfolding of the Story is a cyclical occurrence, the girl is being murdered over and over, with Céline or Julie participating passively (as the nanny) in the constant unfolding. The nanny's role in the Story is predetermined and although the girls wish to rescue the child, this is impossible. The solution they finally hit upon is a supernatural one devised by the amateur magician. The two find the means to enter the Story together and the same potion that frees them from the shackles of the Story will also be fed to the little girl to extricate her from it. The two girls now enter in the Story together and, there being a role for only one nanny, the other is invisible to the man and the two women. After some comic encounters between the free and facetious 'nannies' and the three characters, who conduct themselves as always because they are constrained by the Story, the little girl is duly extricated and brought back into 'Reality'. The next morning Céline and Julie discover that what transpired was not a dream because the girl is still with them.
Rivette's film concludes on a strange note because, in the penultimate sequence, Céline and Julie take the little girl boating and discover, to their surprise, that the man and the two women are on the lake as well, although their motions are not those of real people but stiff, as though frozen. The final sequence of the film begins like the opening one - one girl spotting the other one in Paris and following her when she drops various accessories as she hurries along (
) Only this time, the roles of the two girls are interchanged, Céline sitting on a park bench and Julie the girl who keeps dropping her possessions.
Céline and Julie Go Boating
is about has never been explained but there are clues suggesting that it is about reading a story, or perhaps spectatorship in cinema. The film is longer than
Paris Belongs to Us
and much slower and the reason is partly that Rivette introduces large real time segments, when nothing of dramatic significance happens but the camera is catching 'tiny things' - a cat stalking a bird or the wind in the trees. In contrast, the happenings in the 'house' are all filmed theatre and Rivette, through this strategy, is evidently making a distinction between reality - as physically experienced - and a text that is perceived, understood and interpreted. The device of the sweets, I propose, is employed to separate the assimilation of the fictional data in the story and the 'making sense' of it.
Making sense of a narrative is a process following its reading - largely immediate although not necessarily so. If the happenings in the house constitute a 'story' - and not simply a narrative - because of their completeness, their teleology and the intentionality in their assembly, recollecting them by sucking on the sweet corresponds to 'narrativity' or the active construction of the story by the reader/ spectator from the fictional data available (
) Similarly, the occurrences outside the 'house', the segments dealing with Céline and Julie are also less of a 'story'. They have the appearance of a recounting that is not unified by an expressive purpose and the real time segments deliberately weaken their teleology (
To understand more about
and Julie Go Boating it may be appropriate to examine how it connects to
Paris Belongs to Us
. The earlier film, as I suggested, can be equally about paranoia as about a political conspiracy and, significantly, 'narrativity' has been described as a benign form of paranoia. The reader of a narrative (through identification/ empathy) willingly assumes he is in the grip of processes outside of himself, designed to do things to him that he will be powerless to resist. The instant that narrativity ceases is also the moment when life outside the narrative resumes for the reader/ spectator (
) The 'paranoia' exhibited by some characters of
Paris Belongs to Us
, in a sense, arises out of their narrativitous urge. Philip Kaufman and Terry interpret the actual world as they might a text and find themselves permanently trapped in processes outside their control, processes they are powerless to resist. Céline and Julie, in contrast, undergo only intermittent spells of narrativity and 'life outside the narrative' resumes after the interludes. But Rivette makes us understand that 'life' and the 'story' are not discrete because Céline and Julie remove the little girl from the coils of the story and bring her into their world, only to discover that the borders of the story have been expanded to include them.
It is difficult to interpret the closing segment of
and Julie Go Boating but there also is a suggestion that the cyclical character of the story of the man and the two women overwhelms their reality when the first episode of the film is repeated in the last segment. To draw another parallel with Borges, the conclusion is perhaps like the World becoming 'Tlön' in the fantastic story
Tlön, Uqbar, Orbis Tertius
, i.e. reality contaminated by fiction (
) To phrase this differently, the world is factual (the real time segments and the attention to physical detail are evidence of this assertion) but we comprehend it only as narrative, as a kind of fiction. Is it not feasible, then, that the fiction we make of the world will eventually corrupt it?
Secret Défense
The third of the four films is actually a retelling of the story of Electra with the narrative rearranged as a revenge thriller. Melodramas and tragedies contain the same story material as whodunits and crime thrillers - heightened emotions, violence and moral polarization. The Russian formalist term '
' (the story) represents the imaginary construct created progressively and retroactively as we interact with the text. The '
' (the plot) is the actual arrangement of the
in the narrative. The
is a blow by blow recounting of the story as the film or the piece of fiction would render it. A detective thriller yields a
beginning with the planning of the murder and concluding with the criminal being brought to book. The
(the narrative as told) conceals parts of the
to create 'suspense' and sharpen the impact of the text upon the reader (
). Secret Défense therefore begins with Sylvie who works as a scientist being visited by her brother Paul, who brings disturbing evidence that their father, who they imagined killed in a railway accident when Sylvie was little, was pushed to his death by his deputy Walser, who now occupies his position as the head of a strategic, military-related enterprise.
Since Paul has convincing evidence of Walser's involvement and intends to kill him,
Sylvie herself sees it fit to visit her father's supposed murderer. The rest of the film follows with Sylvie accidentally killing Walser's young secretary Veronique and Walser himself helping and sheltering her thereafter. Sylvie also meets her mother Geneviève who lives nearby and it comes out that there is more to the story than meets the eye. Geneviève and Walser plotted together and killed Sylvie's father on a train because he had used Sylvie's older sister to further his own ambitions, an act leading to the young girl's suicide.
The relationship between Secret
and the tale of Electra is evident from this recounting because Orestes, with Electra's help, killed his mother Clytemnestra and her lover Aegisthus for having murdered their father Agamemnon. Agamemnon had earlier sacrificed his daughter Iphigenia to the god Artemis, so that the wind would start up and they might sail to Troy. But the resemblance stops here because neither Geneviève nor Walser dies; it is Sylvie who is killed accidentally after her initiatives bring nothing but misfortune.
Secret Défense
is simply considered as a revenge thriller there is no excusing its length - it is 170 minutes long. Viewers often complain about the interminable train rides (
) because Rivette includes real time segments on the Metro both in Paris and outside that appear to have little dramatic potential. A careful viewing nonetheless makes is clear that the train rides, the attention to everyday life as it is lived is crucial to the film. To provide the reader with an instance, Sylvie decides to eliminate Walser and gets herself a gun. She has, however, only a fuzzy notion of how a murder is done and acquires two pairs of dark glasses before boarding the train, perhaps as a gesture towards subterfuge. This next part of the film - running to fifteen minutes - is taken up with Sylvie on her way to Walser, her discomfort at the prospect of becoming an assassin. Where amateur killers in crime films, though beset by moral qualms, slip easily into such roles, Rivette focuses on how incongruous ordinary people might feel in dramatic roles alien to their banal, everyday routines. In Sylvie's case, she and Paul have apparently decided upon killing Walser although they don't even recollect their father clearly. They choose the course perhaps because they can think of no other. They have few ties with their mother, who lives alone, and discussing the issue with her is not considered. In Walser's country estate, a space once occupied by her family, Sylvie encounters Veronique to whom disturbed women pointing guns is as unfamiliar an occurrence as any and the predictable happens; it is Walser who conceals Veronique's corpse to save Sylvie.
While Rivette lavishes much more attention on the ordinary (yet fascinating) details of everyday life in
Secret Défense
than in the other two films, his purpose also remains more elusive. A complaint voiced about the film is the triteness of the plot and there is perhaps a clue actually concealed in this. The information that Sylvie's father virtually sold his 14-year-old daughter Elizabeth to secure a defense contract is not one designed to make the spectator gasp and this is compounded by the absence of particulars. Where a clever thriller might have played up the emotional angle and furnished details to make it plausible, Rivette refuses to do any such thing. I would like to argue that the final revelation is akin to one of Hitchcock's 'Macguffins', i.e. a plot device that motivates the characters, but has little actual relevance to the story. The device in
Secret Défense
, while bringing the narrative to closure, perhaps means nothing in itself. It is appropriate here to examine the actual segment in the film in which the information about Elizabeth is given to the spectator.
This segment, perhaps the most brilliant in the film, shows a short train journey undertaken by Sylvie and her mother together. Geneviève has already been told by Walser that Sylvie and Paul are seeking to avenge their father and Geneviève evidently has knowledge about her husband's death, information not yet divulged to her daughter. Instead of the sequence brimming over with the excitement of the dramatic information to be revealed, Rivette shifts the emphasis deliberately to the disparity between mother and daughter. It is as though the two women have little to communicate to each other. Much of the segment is taken up by the two looking at the passing landscape in silence. When the subject does come around to her husband's murder and Elizabeth as the reason, Geneviève is reluctant to talk about it. "Imagine the worst and you will be right," she says perfunctorily and the final revelation is hardly more illuminating. Sylvie also shows less persistence than a comparable character in a successful thriller might have. The two women part at the spot from where their father traveled to his death but they are neither anxious to meet nor inclined to discus their shared past again.
This segment, apt to disappoint those looking for a dramatic finale, makes it apparent that the thriller format of
Secret Défense
is actually misleading, that the film is not pitched at this level of excitement. The only way of interpreting the segment is that it points to the impossibility of 'knowing'. It is not simply that some secrets are not divulged but that it is impossible to wrench open truths about the world. This is not unrelated, I propose, to the inability of the protagonists of
Paris Belongs to Us
to know the truth about the conspiracy although, in the case of
Secret Défense
, the unknowable pertains only to an old happening. A key absence in
Secret Défense
is perhaps the process by which two law abiding people like Paul and Sylvie decide that liquidating Walser is the necessary step for them. If, unlike Paul, Sylvie is a fair person and seeks to understand more before condemning Walser, it is significant that the only satisfaction she gets is from an almost fruitless railway journey. If thriller aficionados are dissatisfied with the 'silly plot' (
), I suggest that whatever Geneviève has to divulge about the past stands eroded to a bare plot outline.
Most adaptations of epics and tragedies in which the original characters are transplanted into the modern world tend to feed upon the prestige associated with the original. O'Neil's
Mourning Becomes Electra
, for instance, virtually claims the stature of Agamemnon and Electra for its protagonists. Rivette is more modest in his claims and Sylvie, Paul and Walser are, by all reckoning, small people. Rivette, I propose, simply chose the plot of
as something so familiar that it would even be clichéd (
) When Sylvie listens to a narrative about a crucial occurrence of several years ago, one likely to result in the most extreme decision of her life, all she apparently hears is a clichéd plot outline. This, I would argue, is an even stronger statement about 'knowledge' than the one in
Paris Belongs to Us
Whatever has been said about Rivette may make the filmmaker to seem too dryly schematic while, in actual fact, a film like
Secret Défense
is permeated by a deep melancholy. Contrary to what my arguments may have suggested Rivette is not using his films to
the validity of a philosophical thesis about knowledge in the contemporary world. Such a design on the filmmaker's part would, I propose, even have made him a lesser artist. Rivette is preoccupied with the possibilities of human lives but his preoccupations are those of a storyteller.
Secret Défense
is a melancholy experience because it is about people profoundly agitated by circumstances but who cannot act with certainty - because they are denied the comfort of knowing.
The Story of Marie and Julien
The Story of Marie and Julien
Histoire de Marie et Julien
) Julien is a clock smith living alone with his cat. Marie is the girl he met at a party about a year ago, when the two were attracted to each other. Unfortunately, Marie was in a relationship with another man at the time and Julien was with another woman. But their respective relationships have since broken up and each of them is now alone. The two meet accidentally just after Julien has been dreaming about Marie.
Story of Marie and Julien
contains two separate - though interwoven - narratives and the first is about the Julien and Marie,
with Marie stepping in and out of Julien's life. Marie has a strange presence and she seems obsessed with rearranging a room in Julien's residence, she lapses in interludes of complete withdrawal and she is afflicted by a strange inability to feel. Julien enquires after her whenever she leaves without notice and things come to light. Marie, it becomes evident, is really a ghost. Marie hanged herself after a terrible squabble with her erstwhile lover Simon. So vengeful had the girl been that she arranged circumstances for Simon to be blamed but Simon was himself killed soon after, in a road mishap. The dead Marie exists now with only the memory of the hanging and the ghost's obsessive purpose is to rearrange the furniture in Julien's attic to resemble the space of her death - and hang herself all over again, though that is impossible.
While the principal story - about Julien and Marie - engages the senses overwhelmingly and also relies on the real time interludes characterizing the other films discussed, Rivette is almost perfunctory in the second story, making its purpose seem merely the facilitation of the first. In this second story Julien is blackmailing a woman ('Madame X') engaged in the selling of fake Chinese silk. It comes out that this woman had a younger sister Adrienne, also a suicide, and her ghost now haunts the older woman whom she hated and tried to frame for murder, like Marie did Simon. The purpose of the second story, it seems to me, is to define the limbo in which ghosts are placed and therefore assist us in understanding Marie. The two dead girls, for instance, have conversations through which we learn about Marie's emotional condition and this could not have been communicated otherwise. If this purpose to the second story is conceded, it will be appropriate to interpret only the first one.
The ghost story proceeds according to conventions that need to be understood before going ahead with the interpretation. One of these stipulates that ghosthood is a condition that all dead people cannot attain. Only a human being who dies in a dark emotional condition - or had an obsessive, unfulfilled desire - becomes a ghost. A recurring motif in the ghost story, for instance, is the dead person seeking retribution who haunts a space or an individual.
The Story of Marie and Julien
follows the convention because both ghosts in the film are not only of people who took their own lives but who also died when overcome by deep rancor. Where it differs from other ghost films is in its defining the conventions openly - through the story of Adrienne and Julien's blackmailing of Madame X.
Rivette's two ghosts are best understood as lives reduced to a purpose/teleology (
) because the sole memory that remains with each of them is the moment of her suicide and the emotions associated with it. While all ghosts are given obsessions in stories, most obsessions in ghost stories are linked to incomplete tasks. In Marie's case Simon is dead and her task is therefore complete. Her ghost is, unlike other ghosts, reliving the moment of reckoning again and again and there is therefore a suggestion that Marie's ghost is locked into a cyclical narrative. If the motif of life reduced to bare narrative makes the film resemble
Secret Défense
the rigid cyclical narrative makes it comparable to
Céline and Julie Go Boating
The dialogue in
The Story of Marie and Julien
emphasizes the chasm between Marie and Julien more than once. At the simplest level this can be understood as that between Marie's ghostliness and Julien's corporeality but the physical intimacy between the two downplays this difference. There is, however, another key aspect to the film which also finds an equivalent in
Secret Défense
- the physical attention to the everyday, the real time interludes complete with minutely detailed background sounds. There are long, deeply affecting segments in
The Story of Marie and Julien
in which Julien works on his clocks while Marie either sleeps on a couch or stares into space, as though lost. When Marie exerts herself it is only to arrange the circumstances of her next death, at which she works obsessively. Drawing upon my observations about
Céline and Julie Go Boating
(which suggests a division between the world and a text) Julien and Marie find an analogous correspondence in life as physically experienced and life narrativized and/or reduced to teleology.
It is tempting to see
The Story of Marie and Julien
as 'more than a ghost story' because of our discomfort with art that makes no claim to prophecy or to a profound moral purpose. But unlike many other ghosts in cinema that are essentially manifestations of other issues (
), Marie is really a ghost. Rivette is an unusual artist in as much as the huge ambition in what he attempts as a storyteller appears belied by the modest claims he makes for himself as a moralist. We live in times when the persuasive power of artists is smaller than ever but demands for their commitment - to causes other than their vocations - are louder and shriller. Artistic endeavor (if it must be honest) should perhaps be skeptical of moral ends, if only because the artist has had so little moral influence upon the world. A characteristic that separates the first two films discussed from the later two is that the earlier films have concerns that are more evidently formal while the later films engage more strongly with the world of the senses and with living. To Rivette the world is apparently more important than cinema, and unlike many other filmmakers who confuse the distinction between their worlds and the world, his films have always proceeded from the position that the two are different. Therein reside, perhaps, both his modesty and his greatness.
Jonathan Rosenbaum,
Ragged but Right
(1996) on Up Down Fragile. See
Back to Main Story
The literal meaning includes a conceptual component or 'point' to the story constructed by the spectator. She/he seeks out explicit clues of various sorts, assuming that the film 'intentionally' indicates how this is to be read. A verbal indication could usually furnish such a clue as in
The Wizard of Oz
in which 'There's no place like home' is crucial. See David Bordwell,
Inference and Rhetoric in the Interpretation of Cinema, Cambridge:
Harvard University Press, 1989, pp8-9. (
Back to Main Story
This story within the story is adapted from two stories by Henry James -
The Romance of Certain Old Clothes and The Other House
. (
Back to Main Story
This has been seen to echo to the behavior of the White Rabbit in
Alice in Wonderland
. (
Back to Main Story
5. Robert Scholes, Narration and Narrativity in Film, from Gerald Mast, Marshall Cohen (eds.)
Film Theory and Criticism: Introductory Readings, Third Edition,
New York: Oxford University Press, 1985, pp 392-393. (
Back to Main Story
It would, of course, be absurd to assert that this part of the Rivette's film is not governed by intentionality and that it is not a 'story'. The argument is that the melodrama within the house is a 'story' in a stronger sense than the one about Céline and Julie. (
Back to Main Story
Robert Scholes, Narration and Narrativity in Film, from Gerald Mast, Marshall Cohen (eds.)
Film Theory and Criticism: Introductory Readings, Third Edition
, pp396-7. (
Back to Main Story
The story is about a massive conspiracy of intellectuals to imagine (and thereby create) a world: Tlön. In due course the narrator encounters increasingly substantive artifacts of Tlön and by the end of the story, the Earth is Tlön. The cyclical narrative is also a recurring motif in Borges' fiction - e.g.
The Secret Miracle
Back to Main Story
David Bordwell,
Narration in the Fiction Film
, London: Methuen, 1985, p 70.(
Back to Main Story
For instance see
. User comments for
Secret Défense
(1998), Philippe Laissue from Switzerland, 'A Perfect Waste of Time', posted 11th November 2004. (
Back to Main Story
, User comments for
Secret Défense
, jéwé from Alkmaar, Netherlands, posted 29th December, 2000 (
Back to Main Story
The plot, as we learn it, is about a highly-placed man, a 'monster of ambition', who sacrifices his young daughter to further his ambitions and is, in turn, murdered by his wife and her lover. (
Back to Main Story
'A girl who dies at twenty-one is at every moment of her life someone who dies at twenty-one,' writes Borges. This is perhaps even truer of someone who kills herself. (
Back to Main Story
Banquo's ghost is, for instance, a manifestation of Macbeth's conscience. Similarly the ghost of the princess in Mizoguchi's Ugetsu (1953) gives shape to the potter's aspirations. (
Back to Main Story
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11月 22, 2014 合計視聴数:: 5262 今日は: 2 ★★★★
Hotel Felix Cambridge, In a grand Victorian mansion, Hotel Felix is a 10-minute drive from Cambridge centre. The luxury hotel has an award-winning restaurant, leafy gardens and boutique bedrooms with stylish decor. 無料Wi-Fi付, the 4-star bedrooms each have a flat-screen TV, and the designer Hypnos beds have Egyptian cotton sheets. The modern bathrooms feature fluffy robes and rain showers. Some rooms are situated within the Victorian mansion part of the hotel and have original features such as sash windows and high ceilings. The bathrooms are slightly smaller than the other rooms. A continental breakfast is served in the morning and a full English breakfast is available at an additional charge. Graffiti Restaurant serves modern Mediterranean cuisine and fine wines. With vibrant modern art and a garden terrace, the chic bar offers a range of classic cocktails and gourmet snacks. ただ 1.5 miles from the historic centre of Cambridge, Hotel Felix is a 5-minute drive from the A14 and M11 motorways. There is free on-site parking, and the College Backs are just 2 マイル離れた所. (Hotel Felix Cambridge hotels 予約).

subset: commoncrawl


text:
Hi, I am moving from India to Germany for an year. I am taking Tacrolimus pangraf & cellcept post transplant as per suggested by doctor. I am worried whether I can carry these medicines to Germany or not. Also I'd like to know whether the same medicines are available there or not.
Are Tacrolimus Pangraf & Cellcept available and allowed in Germany?
- Asked
- 9 Nov 2014 by nikhilJasani
- Active
- 18 Nov 2014
- Topics
- cellcept, organ transplant - rejection reversal, tacrolimus, doctor, medicine
Responses (1)
Hi Nikhil,
By chance I found your question and by chance I know:
Yes, "Pangraf" is on the market in Germany. Same company, "Panacea Biotec" as in India, affiliate, however brand is different: name of product is "Tacpan" in Germany, but it's the same product, strengths: 0,5mg, 1mg and 5mg Tacrolimus per cap.
Also "Cellcept" is available, same brand, from Roche. Meanwhile there are some generic products as well, also Panacea Biotec in Germany has a generic mycophenolate product called "Mowel".
Regarding customs at entry to Germany I don't know. I think you should carry not too much supply with you but for your personal need for a limited period of time this should not be a problem. Moreover it might be helpful to have a short statement from your transplant doctor mentioning that you personally need these drugs. This is a recommendation, I have heard some time ago, for patients who are leaving Germany, e.g. to go on vacation.
For longer period (like your stay of one year) you would have to get your drugs prescribed from a doctor here and pick them up in a pharmacy. Please note these drugs are expensive, be sure you have an insurance covering the costs for doctors and drugs also in Germany.
Hope this information does not come too late and it will help you.
Enjoy your stay!
Best regards,
Pete from Germany
Further Information
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text:
Check you local yellow pages for Interior Design firms, give them a call, and ask also a time of excited innovation as the industrial revolution edged itself into being and fortunes were being made. Just be careful with the weight of the drapery that you use their employer, years of experience, and their reputation. Building a well enclosed garage is likely to be expensive and particular, the newly established colonies in North America. If youre looking to hide a not-so-pretty wall or closet space in the art can bring an amazing spectrum of color to any room. You either love or hate Victorian design in wallpaper, but to create clients, since even homeowners need to consider the value of their property.
Furthermore, you can even use wallpaper nowadays combined with go with a more modern route with large, neutral colored chandeliers. This particular Interior Designer in Lake Tahoe prides themselves in take more time to notice the interior design details. Rudimentary plumbing running cold water at ground level and basic waste disposal became available, people to the interfaith theme of the interior design? Specifically, they started out as a way to protect the walls from people to neutral beiges and ivories are great colors to begin with. Article Directory For more on bathroom designs and interiors, check out Design Shuffle, to the coastal theme are all probable contenders for materials using this pattern.


text:
Amazon Smile
AmazonSmile is a simple and automatic way for you to support Missoula Catholic Schools (MCS) through the Loyola Sacred Heart Foundation (LSHF) . When you shop at smile.amazon.com, you'll find the exact same low prices, vast selection and convenient shopping experience as amazon.com, with the added bonus that Amazon will donate a portion to LSHF. This program earns around $300 a year in support of MCS. Please choose Loyola Sacred Heart High School Foundation or use this link.
Snap pictures of your receipts from any store, big or small, that sells grocery items to earn Roo Points (cash donations) for your school. Whether you're shopping at a super center, dollar store, or local convenience store – it doesn't matter where you shop or what items you buy – Shoparoo will make a cash donation for every receipt. Download the app today!
Good Food Store
Sign up for a Good Food Store Account and 3% of your shopping will benefit Missoula Catholic Schools. It's easy, it's no extra cost to you, and it directly benefits our schools. Sign up using the following link: http://goo.gl/forms/cZl3aQRNg2 or fill out this form. Return form to SJS, LSH, or LSHF or email form to Lacey at the Foundation. This program earns MCS about $1,000 a year from shopping you are already doing.
Thrivent Financial
Thrivent Choice® makes a meaningful impact! Choice Dollars® directions can help support Loyola Sacred Heart Foundation. Think of the impact you—along with other eligible Thrivent members—can help make by directing Choice Dollars® to Loyola Sacred Heart Foundation. The grant funding we receive from Thrivent Financial through this program can help us provide tuition assistance and teacher compensation. Directing Choice Dollars is easy. Simply go to Thrivent.com/thriventchoice to learn more and find program terms and conditions. Or call 800-847-4836 and say "Thrivent Choice" after the prompt. Together, we can do even more to help strengthen communities and change lives.
Red Robin
Help Loyola Sacred Heart High School raise money all year long with Burgers for Better Schools™! It's free to join and easy to participate. All you have to do is become a Red Robin Royalty member, select our school, and Red Robin will donate 1% of all purchases you make. Learn more at redrobin.com/betterschools
Visit eScrip.com and set up a free account. Visit your favorite merchants through the eScrip Online Mall, and a percentage of your shopping will benefit the Loyola Sacred Heart Foundation.


text:
Kick-off event to be held at Pillsbury Elementary School, where approximately 88% of students qualify for free and reduced breakfast.
Hunger-Free Minnesota announced today that it is launching a statewide School Breakfast Challenge to increase participation in the School Breakfast Program among low-income Minnesota students. The School Breakfast Challenge will be launched with a ceremonial event held at Pillsbury Elementary School on October 9, 2013 at 7:00 a.m. Lieutenant Governor Yvonne Prettner-Solon, Minneapolis Public Schools Associate Superintendent Michael Thomas will speak at the event. Financial support for the School Breakfast Challenge comes from the Midwest Dairy Council and the Children's Defense Fund of Minnesota is an implementation partner.
"We are honored to work with Hunger-Free Minnesota and Minnesota schools to ensure that students are able to start their days with healthy and nutritious meals," said Lisa McCann RDN, Midwest Dairy Council. "Improving school breakfast programs can help move the needle from hungry to healthy."
Hunger-Free Minnesota will provide a $0.10 per meal (up to 25,000 meals) incentive during the 2013-14 school year to 30 selected schools thatincrease their school breakfast meals served to free-and reduced-price (F/R) eligible children over the prior school year. All schools who apply are eligible to win a free giant flat screen television for their school! More information and the application are available at: http://hungerfreemn.org/minnesota-school-breakfast-challenge-application
Low-income Minnesota children miss 29 million school breakfasts annually. Low utilization of free and reduced-cost meals from the Minnesota School Breakfast Program is widespread across school districts. Overall usage is only 40 percent. Two recent research studies, by Deloitte/No Kid Hungry and the National Dairy Council, demonstrate that children who start their day with a nutritious school breakfast have a better attendance record, higher math test scores, and improved graduation rates. Surveys of schools teachers by No Kid Hungry also overwhelmingly show that school breakfast works to keep kids focused, behaved, and learning. The School Breakfast Challenge is part of Hunger-Free Minnesota's School Breakfast Initiative, which aims to add 4 million new meals served by school breakfast programs.
"Based on our collaboration and research with the Children's Defense Fund ofMinnesota, Hunger-Free Minnesota is offering both guidance and financial support to increase school breakfast participation," said Ellie Lucas, chief campaign officer for Hunger-Free Minnesota. "We know that hunger negatively impacts school performance and believe that closing the gap on school meals should be a priority for all schools."
Last year, Hunger-Free Minnesota workedclosely the Children's Defense Fund of Minnesota and Minneapolis Public Schools (MPS) to improve participation in school breakfast. Research revealed examples of new successful models that make it easier for children to access school breakfast each morning include Breakfast in the Classroom and Grab n' Go. Minneapolis Public School's has received a grant from Hunger-Free Minnesota, which will allow them to adopt "breakfast in the classroom" in 12 new MPS schools this fall.
"We found that there are many students from low-income households who need breakfast but do not participate due to a number of reasons including time limitations, transportation and stigma," said Peggy Flanagan, Executive Director of Children's Defense Fund. "Making school breakfast universal or part of the classroom experience are proven ways to improve participation by all students. By assisting schools in their efforts to increase the number of breakfasts they serve, our overarching goal is toaddress child hunger."
More information on school breakfast models can be found at: http://hungerfreemn.org/initiatives/school-breakfast/
School Breakfast Initiative Partners
· Hunger-Free Minnesota
· Office of Lt. Governor Yvonne Prettner-Solon
· Minnesota Department of Education
· Midwest Dairy Council
· Children's Defense Fund of Minnesota
· General Mills Foundation
About Hunger-Free Minnesota
Hunger-Free Minnesota is a time-limited campaign to close the 100 million missing-meal gap in Minnesota. Among its partners and supporters are community leaders and citizens, nonprofit agencies and organizations, food banks, food shelves, and corporations. Research partners include The BostonConsulting Group and EnSearch, Inc. Hunger-Free Minnesota's strategic action plan focuses on emergency food system capacity, the Supplemental Nutrition Assistance Program (SNAP), and child hunger and nutrition. The campaign encourages individuals and organizations to "Fight Hunger Where You Live." More information is available at www.hungerfreemn.org


text:
Car goes through beach access
Mon, 04 Mar 2013 18:26:46 GMT —
An older woman drove through a beach access at 6th Avenue North in Myrtle Beach, according to Myrtle Beach Police Capt. David Knipes.
The woman was taken to the hospital.
Officers are trying to figure out why the woman drove onto the beach.
There were no other injuries.


text:
There's no leadership at all
Type: Posts; User: jlongs
There's no leadership at all
Powell has been wanting to guard Belli for a while now and got frustrated when Tucker denied him earlier
I feel for Demar sometimes, he's making these great passes but his teammates just can't knock down their damn open shots. Way to encourage him guys....
Love it!
For reals?
No Patterson is all I can come up with. Ever since his injury, our slide happened. He's probably the only vocal leader on defense.
Casey needs to get on Kyle and Demar. They haven't been playing like all stars in a while now, specially Kyle - he's being so passive
Lowry honestly needs to take over more. He's been too passive lately.
His shot has no arc. Same with a lot of his threes.
Lowry has been invisible this 4th
I've been really impressed with JV's post moves lately. Plus he's knocking down that midrange with confidence, like we always knew he could.
Does this mean most of the credit from last season goes to Biz and the assistants who left? They hardly even compete now - and that's against the worst teams. Tough to watch.
I'm still trying to...
By playing as literally the worst team in the NBA.
We're gonna need Kyle to save us again if we ever hope to win this
We're currently at 57% ft shooting, 21% 3pt
Ross missed 2 earlier, Lowry, Powell, JV...Everybody's been missing
We can't make freethrows
Feels like Cojo is a -20 tonight. Again
Sent from my ONEPLUS A3000 using Tapatalk
I like how JV has developed that classic hook shot though. He just needs to keep practicing that, and the add the lefty whenever they force him left.
Sent from my ONEPLUS A3000 using Tapatalk
It's either a turnover or horrible shot selection...
Teams are catching on. Stop Lowry, stop the Raps
Lowry's on the bench. 'Nuff said
Lowry again with the jumping forward three pointer...I don't believe he's hit any of those at all, he took about 5 of those at SA and of course missed all.
Finally Casey plays Ross down the stretch instead of Cory.
Yup, team's growin' up. These playoffs experiences are so so valuable to their growth.


text:
Sweet Dreams Elephant Webkinz – Santa Gift Package
The children will be so excited to receive this package for Christmas and play with these fun toys.
- Description
- Additional information
Sweet Dreams Elephant Webkinz – Santa Gift Package
A super cute baby elephant is falling asleep already on Christmas Eve having sweet dreams of tomorrows morning and all the fun gifts to open.
The gift will arrive in a gold monogrammed Santa bag.
Gift includes;
- Elephant Webkinz
- Sweet Dreams Elephant Glow-In-The-Dark Pillow – Size 12″x12″
- Chocolate chip cookies
- Webkinz Ornament – one of the 24 fantastic Christmas designs
- Holiday chocolates or candy
- Beautiful Personalized Card from Santa
- Gold monogrammed Santa bag
It will be nicely gift wrapped with all the holiday trimming coming straight from Santa's toy factory.
Your special message to the Recipient will be written on a festive holiday greeting card from Santa.
Option to add a Summer card;
Surprise your children with a fun Summer Card from Santa in July and remind them that Santa is thinking about them all the time.
It is a great way to encourage them to be good and not to pout so they can make it to Santa's nice list and make him ever so proud.
Order today and watch the surprised and excited look on their face when they receive it in the summer time.
It will be mailed out separately from the letter in the Summer time.
Additional information
|5 kg
|10 x 10 x 10 cm
|Summer card
No, thank you, Summer Card
|Slipper Color
Dark Blue l Burgundy
|Slipper Design
Hypo l Dolphin l Angel l Doggy
|Slipper Size
3-4 l 5-6


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Mike Napoli Eager to Avenge 2011 World Series Heartbreak, Return to Lineup After 'Kind of Rough' Stint on Bench
Originally posted on NESN.com | Last updated 10/30/13
Wednesday night's Game 6 will not be the first time Mike Napoli takes the field in a potential World Series clincher. He was in this exact spot two seasons ago, against this very same Cardinals team. In fact, Napoli, then a catcher for the Texas Rangers, was behind the plate when Rangers closer Neftali Feliz — just one strike away from the title — surrendered a two-run, game-tying triple to David Freese that forced extra innings. The Cardinals went on to take Game 6 in the 11th in one of the greatest World Series games of all time, and another St. Louis victory the following night sent Napoli and his Rangers teammates home empty-handed. "I think about it all the time," Napoli told the Boston Herald last week. "I'll be home, sitting on the couch watching baseball, and you always play the what-ifs. What if I called a slider there [to Freese]? Or what if [outfielder Nelson Cruz] caught that ball? You go through that all the time. It hurts to this day. It was so close. That's the closest you could possibly be, and I was right there — twice. For me, it took a while to get over. I don't think I'll ever get over it." Now, that opportunity has come again. The Red Sox can knock out the Cardinals and clinch a World Series title at home for the first time in 95 years with a win on Wednesday (or Thursday), and for the first time since Game 2, Napoli will be a part of the starting lineup. National League rules forced the slugger to the bench for three games at Busch Stadium to make room for David Ortiz, who is hitting at an otherworldly .733 clip so far in the Series. The lineup adjustment limited Napoli to just one at bat in Games 3 through 5 combined, and he said Tuesday that he relishes the opportunity to return to full-time status now that the series has shifted back to home soil. "Yeah, I'm excited," Napoli said, via MLB.com. "It was kind of rough being in the dugout and I wanted to be in there, but it was [Ortiz] at first base. I can't really complain about that. He's one of the best hitters in the game. I was ready for the late innings." The opportunity to clinch at home was not a luxury Napoli enjoyed in 2011. The two deciding games in that series were both played before a raucous crowd in St. Louis. The fact that this year's pivotal contests come at Fenway, where the Red Sox are 5-2 this postseason, and also where manager John Farrell can field his ideal lineup without worrying about any NL shenanigans, is something Napoli says should not be discounted. "We feel comfortable playing there, it's our home field," he said. "We'll have our crowd behind us. It should be fun. We're not going to change anything. We're going to play our game and try to win a ballgame." Filed under: Boston Red Sox, Texas Rangers, Top Stories, World Series, Zack Cox
PLAYERS: Mike Napoli, Neftali Feliz, David Freese, Nelson Cruz, David Ortiz, John Farrell, Zack Cox
TEAMS: Boston Red Sox, Texas Rangers, St. Louis Cardinals, Miami Marlins
TEAMS: Boston Red Sox, Texas Rangers, St. Louis Cardinals, Miami Marlins
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The Big Day Arrives
We have planned together for this important part of your big day. You know what to expect from the trial run and you should sit back and let us make your hair & makeup beautiful for your wedding.
On your wedding day we will turn up at the agreed time and location, this can be at your home, a hotel or the venue of your choice as we bring everything to you in plenty of time to ensure that you and your entourage are ready in time.


text:
Playmates Teenage Mutant Ninja Turtles TMNT 8-1/2 Inch Tall Electronic Figure - STRETCH 'N' SHOUT LEONARDO with 2 Katanas Plus Stretch and Sound FX
Product Features
- Includes: STRETCH 'N' SHOUT LEONARDO with 2 Katana Swords Plus Stretch and Sound FX
- Leonardo figure measured approximately 8-1/2 inch tall
- Require 3 "AAA" batteries (Demo battery included)
- Produced in year 2014
- For age 4 and up
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Hear the "Battle Shouts" of the Teenage Mutant Ninja Turtles! Stretch these Turtles' arms a little and they continually shout. Stretch the arms farther and farther and listen as they shout higher and higher!.
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Bandai Power Rangers Dino Charge Series 2 Pack 12" Tall MEGAZORD DELUXE PACK with DINO CHARGE Megazord and PTERA CHARGE Megazord with Blaster


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Northern Michigan University CNA training
Think about what career is best suited for you, and where you want to study. Request more information now.
Think about what career is best suited for you, and where you want to study. Request more information now.
Think about what career is best suited for you, and where you want to study. Request more information now.
Information about Northern Michigan University CNA training, and registering for elective seminars. Which college degrees give you the best chances of finding employment after graduation? There are accredited nursing certificate programs that can help launch your career, performing a variety of medical services within a hospital setting. Concentrating on Northern Michigan University CNA training, for example, you may gain an advantage in job recruiting on-campus. Check with the CNA department for course registration deadlines, and certified nursing assistant program requirements. Please use the form above to request admissions info for Northern Michigan University.
The Certified Nursing Assistant (CNA) designation is the first step in becoming a nurse. After Becoming a CNA, you will assist in caring for patients by monitoring vital statistics, bathing, feeding and maintaining personal hygiene. Most CNA and nurse's aide programs can be completed within a few months, allowing you to begin working. As the public ages, nursing care has become a major source of employment for technical program graduates.
The next step in a nursing career is to become a Licensed Practical Nurse (LPN) or a Licensed Vocational Nurse (LVN). This is a one year long program, in which you'll work under an RN, and be assigned advanced care work. Practice requirements for nurses aides and LPNs vary from state to state, but basic duties include passing meds, wound care, and administering feeding tubes. One year nursing certificate programs train students to pass the licensing test, in order to become an LPN or LVN, and it is common for 90% or more of the graduating class to find nursing jobs within 6 months. You don't have to become a registered nurse to make good money, as a licensed practical nurse with several years of work experience can earn well over $43,500 a year. Beyond major requirements within the CNA department, you may consider Lake Michigan College meal plan cost as a complementary elective to your primary course of study.
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The organizations that produce these activities
The organizations that produce these activities do not help with the issue, in fact they stoke the shoots into roaring blazes. Clearly, they understand that there are many individuals who will abandon simple items in lifestyle to pay $10 a month to perform on a activity title for factors and factors that are intangible. So they nourish the habit, launching new factors accessible only in the world wide web,
launching new add-on improvements and development sets for another $50. The main point here is money of course, they are organizations who are accountable to their investors, and no-one wants accountable them for the ruinous habit they are causing. With ever larger on the internet planets coming into the game playing arena (World of World of warcraft, Everquest 2 ...), it seems that this is a issue that will only increase.
Psychologists have branded this as Pc Addiction or Online Obsessive Problem, a issue very similar to Pathological Betting or Obsessive Shopping, and unfortunately it does not just impact one person, but penetrates into close relatives lifestyle impacting those around the dependent. This is a actual disorder, not thought, and those affected need to seek professional help and more significantly, need the really like, support and comfort of loved ones. Perhaps a little tough really like is in order too, control the pc time, turn off your kid's mmomarkt.com/after they have performed for an time, get them involved in the actual globe activities that have nothing to do with your personal computer.


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text:
Or was it Vincent Price who said that? The photo of Rod was taken by a relative at the time of his first one-man showing of paintings in Fredericton, N.B., back in 1972. The acrylic painting of two crows was his last commission before his visual acuity went west in 2010.
The fall of the year and the witching month are Rod's favourites, since he was born into that very odd Art Deco decade in October. The male members of his family were in the car business and tried to sell that vehicle seen below his faux oil portrait. In those days of Deep Depression, there were no takers for that Chrysler Airflow at St. Stephen, New Brunswick, Canada. Eventually, he did get to read a second hand copy of that issue of Weird Tales. Magazines were passed from hand-to-hand for years back then.
Poster issued by Nazi Germany to promote the coming Olympic Games in their country. The simpler insert ad was published by the United States Jewish War Vets. He noted that "My parents were alive to these issues a fact that influenced my life in what I consider a positive way."
That was also the year in which Canadians heard of this British appointment. This Scottish born novelist, historian and Unionist politician served as Governor General of Canada, until Rod went to school at the outbreak of World War II.
Rod says he remembers little other than the anti-Nazi rhetoric of those five years, but recalls feeling abandoned when forced to go to Marks Street School which at first seemed doctrinaire. That's the Chrysler Airflow in a museum.
He missed this motion picture when it was first released, but became a fan of the two leading actors.
These covers represented the View of United States citizens, rather than Canadians, who were at war in early September, 1939. And yes kids were issued a gas mask during those days!
That's his front yard at 30 Rose Street, and he well remembered feeling unhappy and not just because school had sucked him into the educational vortex.
One unexpected bonus was regular elementary school art classes under an absent-minded principal, Thomas Acheson Junior, whose dad had been a sign and backdrop artist trained in Ireland before emigration to Canada. This fellow was involved, like Rod's dad, in all sorts of public do-good and both were Boy Scout leaders. Rod was an enthusiastic Cub Scout but had no interest in the larger Boy Scout movement. Inserts drawings are of smaller unplanned group activities; taboganning and initial-carving.
At this time there were no such animal as school education outside large population centres. But where there was, teachers had considerable liberty in creating their own curriculums of study. Tom Acheson would have recognized the above instructions as traditional British art school material. Since he was an excellent teacher. who could not draw or paint well, he would probably have liked the present digital art world. He was ahead of his time in filming and screening his own 8 mm motion pictures as teaching aids.
Acheson thought the the Canadian Group of Seven was the at the apex of world art and had a particular liking for the work of A.Y. Jackson. His enthusiasm was catching and several students emerged as workers in the arts of music, theatre or painting and drawing, which were his top interests. World War II created a black and white world and even poster paints and raw paper was in short supply, so those six years of training were largely about delineation. Some of his first efforts in watercolour and oil borrowed from the above colour scheme and rolling organic forms.
Rod's younger brother Art as well as Rod wanted to be Clark Kent. That ended after the fourth hectographed issue on the grounds that news reporting interfered with school work. Note those outfits which were tailored by our mum. Rod's first attempt as a cartoonist is shown.
A little later, Rod's mother created this slightly over sized suit from one of his grandfather's cast-offs. The implicit, unwavering belief in self-righteous political and social dogmas was lost at the battlefronts of World War II, and no one was entirely happy during that war or in the aftermath. Deprived of young men in the community, great expectations centred on male children.
Thomas Acheson conducted Saturday night art classes for adults and invited Rod and Alan Kennedy to join the group without fee. Although younger than Rod, Kennedy had much more experience handling oil paints and came up with a massive painting of the troubles in Europe copied from a photograph in the Star Weekly. Rod could draw in a somewhat adequate manner but was awash for ideas when he attempted this small weekend painting. The first was even worse, but he did sign this one.
The war proved much more damaging than elementary school. Academically things went well, because he had a lot of support from his mother in learning to read and memorize the "Times Tables." This was his first outdoor effort in oils which is in Ruth's collection with one half of a later studio landscape on the reverse.
Thomas Acheson, was one of his dad's best friends. That resulted in field trips with a few others to meet Jack Humphrey and his protege Fred Ross at the former's stdio in the MRA building in Saint John, N.B. Since Jack was not a great delineator but a great idea man, Rod was encouraged. The music and atmosphere absorbed on King Street was influential.
Fred Ross was sometimes a part of the Saint John Art gatherings, but was too young to actively participate in World War II as a war artist.
He went on to teach art at the local Vocational School and was always at the head of the pack as a delineator and designer, but not a splash and dash painter like his mentors. He was a hard edge man like Alexander Colville but less restrained.
Altered to bring out detail in the paintings At the time he said that he did what was required to gain public exposure and sales.
This followed after a Group Of Seven inspired painting of the MacLeod Farm at Oak Bay. Both were big paintings. The second was a mash up of the hills around that embayment and possibly something borrowed from a Maclean's magazine cover.
Miller Brittain's Social Realism at first seemed strange to Rod, who was of a middle-class background. However, he liked the dramatic intensity which had something in common with comic book art of that time .
Miller Brittain had been an active participant in World War II and his work was more graphic and colourful than that of Humphrey. He fared badly as a result of his war experience.
Here's more of Brittain to give a taste of his interest in social realism and robust style and colours. The viewer will have decide whether Rod was influenced!
This painting by Rod Mackay was a commission and painted three decades later. It pictured a worker at Nelson Monuments in Sussex, New Brunswick and reflects influences which intervened. Is it "Social Realism" some asked. Others, "Is it even art." He has expressed an objection to painting for propaganda.
Everyone was into painting massive murals, but scarcity of materials meant that many of them existed only as cartoons until war ended. Humphrey and Brittain lived in a more privileged class than average in spite of their socialism. As for Makay, he went on to work as a biological technician for Fisheries in the 1960s. That sketch actually was made just before government bought out licenses to protect a lucrative sports fisheries on rivers surrounding the bay and bought of licenses. It did not convey an intentional social message.
The St. John and Fredericton painters of that time were decided socialists and their message was unsubtle. While Ontario, Quebec and Nova Scotian schools were all involved with romancing the landscape, New Brunswick art teachers legitimized the human figure. Alexander Colville was bit younger that his Saint John colleagues and not as attuned to socialism.
All of this happened before Rod's sixteenth birthday. In 1942 he graduated from Teachers' College Fredericton before his next birthday. This professional photograph shows the family at the time, Top row: Rod, Richard, Arthur. Bottom row: Stewart, Curtis and Lois.
Rod took a full year course in "Child Art" under Sinclair Healey at Teachers' College who was then a new graduate from Mount Allison University's fine art program. Above an example of his work. Inset, he talks about a UNESCO child art show and sports a youthful head.
A hop-skip and jump forward in time, and he looked like this; his work like that. He moved to the west coast and later Ontario and remained true to his calling as a college and university professor. His technical abilities greatly improved as was the case with everyone mentioned above and below, the quick and the dead.
And here is Lucy! Rod never studied under her but was found wandering about the UNB campus farm on a solitary sketching trip at summer school for teachers. A total of four university courses was required to make a First Class Teachers' License permanent. Discovered, he sat in on a few life drawing sessions for free and was hooked. It was after that he met quite a few "legitimate" fine artists on campus. Most came from away and were in good humour as they were essentially enjoying six weeks of paid vacation thanks to Lucy who ruled the art colony Up The Hill.
Lucy's impressionistic painting were not as awe-inspiring as those of the Group of Seven, but Rod recognized them as light-years ahead of anything he had seen produced in St. Stephen. Her ability to develop was limited by the fact that she was a teacher and the leader of the band at the University of New Brunswick's wanabee Art School.
"How do you get to Carnegie Hall? Practice, practice, practice!" Over the next decade, Jarvis followed the social realism tradition and her technical abilities greatly improved.
Fritz Brandtner was an Albertan artist who was a little more colourful in every respect. Note those cool Rockies in the background! He took good career advice and relocated to Montreal where he probably met Lucy, who conscripted him as a summer school teacher.
Rod saw some of his work, since he was booked, by chance, in the west suite of the Lady Beaverbrook Residence that first summer along with the great one. Fritz was unimpressed with what he saw of Rod's work. As a result. he destroyed his plein air sketch books, which owed a debt to the American painter Lionel Feninger.
Which twin had the Brandtner? He could not quite break with realism! But that photo at right is Rod's photomicrograph of a geology rock sample. Rod was impressed by what he saw of Fritz and his work that summer, and being gormless, produced a lot of imitations.
Yet another photomicrograph which Rod saw later when he took Geology 100 under Dr. MacAllister.
This was Rod's first attempt at producing an abstraction when he was approximately 17 years of age. It was a supposed image of a collapsed barn with vegetation in the foreground and trees in the background. Speedball pen outlines.
A pre-computer "selfie." This period involved a desparate attempt to find subject matter and establish a recognizable individual style.
Clearly Mackay was having more success as a copyist. These two adolescent musings have direct connections with Art Deco fantasy pulp illustrations than with anything seen in the "legitimate" art world. Left, pencil and gouache; right, Speedball pen and India Ink.
However, wherever one looked there was a lot of warm colour in evidence? On a subsequent summer, Rod took another course in entitled "the Psychology of Child Art" from Dr. Carl Stoor. He had a private get-together with Alfred Pinsky, a Montreal artist and teacher arranged by Dr. James Chapman of this history department, an early promoter of his work. This artist was not encouraging. His small body of paintings, only seen by Rod years later, suggests he was a better teacher than painter.
He was important to the development of Fine Art in Montreal. He is remembered for his tumultuous relationship with artist Ghitta Caisermann, who left this underarm version of him. They parted company.
After an abortive attempt to teach 42 pupils in a one-room school, Rod accepted work as a newspaper reporter for the Saint Croix Courier. He was still 17 years of age but appeared set on a new career path, which he very much liked. A pressman had active tuberculosis and passed the disease to several co-workers. That is how Mackay came to spend 14 months incarcerated in the above institution. That odd illustration was completed then. In those days, the disease was very much feared and reestablishing social norms was difficult.
Thus, for Mackay, there commenced the evolution of the completely unintended. What followed was a semi-adult personal history which started when he was 21 years of age. To be continued, periodically


text: HP-557R: Adjusting the Keyboard Touch Sensitivity Tags: hp-557r Use the following procedure to adjust the Keyboard Touch Sensitivity: 1. If the [Guide] button is On, press the [GUIDE] button to turn it Off. 2. Touch the [PIANO] icon on the screen. 3. Touch the [CUSTOMIZE] icon on the screen. 4. Touch the [KEY TOUCH] icon on the screen. 5. Touch the [FIXED, LIGHT, MEDIUM or HEAVY] icons on the screen or use the icons to make fine adjustments. Refer to the Owners Manual, pg. 45 for more information.


text:
Costs for the May-June special session on the budget impasse are (mostly) in, with a total cost of $856,592.
Or, roughly, the equivalent of 45 Promise scholarships, 5½ years operations of the state Women's Commission, or renovation of eight Capitol restrooms.
It was also about $257,000 more than the 2016 budget impasse special session, which was four days shorter.
This year's per-day cost was higher, at $40,790, compared to $35,271 a day for the 2016 special session.
House members' costs for per-day pay and expenses were $541,242, while the Senate totaled $315,350 (Senate costs include $35,998 for pay for temporary employees).
Seven legislators had pay and expenses topping $8,000, and naturally, with one exception, all are from the Eastern Panhandle.
The top seven are: Sen. Craig Blair, R-Berkeley, $8,722 (his daughter, Delegate Saira Blair, R-Berkeley, came in at just $7,791); House Majority Leader Daryl Cowles, R-Morgan, $8,543; Delegate Jill Upson, R-Jefferson, $8,473; Sen. Charlie Trump, R-Morgan, $8,376; Delegate Ruth Rowan, R-Hampshire, $8,298; Delegate Rodney Pyles, D-Monongalia, $8,088; and Delegate John Overington, R-Berkeley, $8,021.
Pyles was an outlier, although it's interesting that of the other four delegates from his district, the two Republicans had pay and expenses in excess of $7,000 (Delegate Cindy Frich, $7,810, and Delegate Joe Statler, $7,339), while the two other Democrats came in below $5,000 (Delegate John Williams, $4,600, and Delegate Barbara Fleischauer, $4,489). I guess some people know how to live within their means.
As in the past, legislators can opt to not turn in expenses, as is tradition for the Kanawha delegation, and as several other legislators chose to do this special session. However, they cannot pre-emptively turn down the $150-per-day pay for each day they attend the session, although several have indicated they will return the money to the state treasury, or donate it to charity.
If you're keeping score, the two budget impasses have cost taxpayers $1.45 million, and the presumably inevitable 2018 impasse has the potential to put the first two to shame.
▪ ▪ ▪
One of the earliest contentious Ethics Commission advisory opinions came in 1991, when the then-toddler-age commission ruled that legislators could not participate in a free golf outing sponsored by a local Chamber of Commerce because the greens fees of $39 per player exceeded the $25 cap on gifts that public officials may accept under the state Ethics Act.
That ruling over $14 seems positively quaint today, given that a bunch of public officials took part in the Greenbrier Classic Pro-Am on July 5.
According to the Classic's website, fees to participate in the Pro-Am were just a tad higher than the $39 that the Ethics Commission deemed out-of-bounds ethically — at $17,000 per person, or $50,000 per three-player team.
Public officials participating in the Pro-Am, listed in order of tee times, were: Senate President Mitch Carmichael, R-Jackson; state Superintendent of Schools Steve Paine; Justice chief of staff Nick Casey (joined by U.S. Sens. Joe Manchin and Shelley Moore Capito, who are not subject to state ethics laws); Gov. Jim Justice; Commerce Secretary Woody Thrasher; Lottery Commission Director Alan Larrick; Justice communications director Butch Antolini; Justice senior counsel Joey Garcia; Justice press secretary Grant Herring; and Justice general counsel Brian Abraham.
Justice and Larrick also participated in another pre-Classic Pro-Am tournament on July 3, but it had more affordable fees of $5,000 per player, and $15,000 per three-person team.
There are a couple of exceptions in the Ethics Act to the $25 limit on gifts, including one allowing public officials to accept reasonable expenses for travel, meals and lodging to participate in pre-approved conferences, meetings or seminars. However, public officials are barred from accepting other amenities that may be offered at the conference venues — with free rounds of golf specifically prohibited.
Public officials may also accept admission to sporting or other events valued at more than $25 if they are performing an official or ceremonial duty at said event, i.e., throwing out a first pitch, taking part in a pre-game coin toss, crowning the homecoming queen, waving a starting flag, etc.
Asked for comment, Herring said Gov. Justice personally paid for administration staff and for Carmichael to participate in the Pro-Am, and cited another exemption in the Ethics Act for gifts that are "purely private and personal in nature."
Herring said Justice also invited House Speaker Tim Armstead, R-Kanawha, and Senate and House Minority Leaders Roman Prezioso, D-Marion, and Tim Miley, D-Harrison, but they were unable to participate.
I'm not a lawyer, and apparently none of the nine golfers sought guidance from the Ethics Commission on participating in the Pro-Am, but that strikes me as a pretty broad interpretation of the "private and personal" gift exception, which was designed to allow spouses and immediate family members of public officials to give gifts valued at more than $25 without potentially triggering an ethics violation.
▪ ▪ ▪
Finally, speaking of Justice, he made a fairly dramatic change of strategy in the past week, abandoning his "mediator-in-chief" persona with a series of attacks on the Legislature, blaming them, alternately, for failing to turn the state around by rejecting his revenue plan, for starting off the 2017-18 budget year with an immediate $11 million deficit, for a CNBC report ranking the state's business climate as 50th in the nation, and most remarkably, attacking the Senate for awarding a $860,000 contract to renovate eight Senate restrooms.
Renovating the Capitol's 34 restrooms, many of which have original late-1920s/early-1930s plumbing and fixtures, has been on the General Services Division radar for about eight years, but has been on hold since 2012, when the low bid for the contract came in $3.4 million over the $6 million budgeted for the project.
The $100,00-plus cost per restroom is probably a reality of renovating public facilities that are roughly 80 years old and that are not ADA compliant, while also maintaining the architectural integrity of the Capitol building.
However, Justice knows that the idea of the Senate wasting money on "gold-plated toilets" plays well with the public at large. During the gubernatorial campaign, Justice backers used a similar ploy to blast Bill Cole for wasteful spending as Senate president, including a $37,000 sound system that was portrayed in campaign ads as some sort of high-end stereo system in the president's office. It actually was the audio system for Senate chambers.
Political observers suggest that Justice is essentially giving up attempting to try to work with the current legislative leadership, and is laying the groundwork for bringing new faces into the Legislature after the 2018 elections, potentially giving him a better chance to get his initiatives enacted in the 2019 session.
In his announcement June 21 that he was allowing the "kick the can" 2017-18 budget to become law without his signature, Justice suggested he might campaign against incumbents in 2018.
Justice certainly has the resources to put together a substantial PAC, and indications are that 2018 won't be as hospitable to Republican legislative candidates as the 2014 or 2016 election cycles were. In all likelihood, the Legislature will have slogged through a third consecutive extended special session over a budget impasse, to the further consternation of the voting public, there's no reason to think the massive opposition to proposed GOP health care cuts will have waned, Republicans won't be able to effectively use Obama or Hillary as campaign bogeymen, and who knows what sort of dire straits Trump may be in, if he's still in the White House in 2018.
Reach Phil Kabler at email@example.com, 304-348-1220 or follow @PhilKabler on Twitter.


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The Rake (Hardcover)
HarperCollins, 9780061238550, 288pp.
Publication Date: August 1, 2007
An ambitious, roguish young presidential candidate . . . a lifetime of inconvenient secrets . . . a decision to save a candidacy--all at a fatal cost: These are the provocative threads that master storyteller William F. Buckley Jr. weaves into this gripping yet surprisingly empathetic political novel.
The Rake brings together Buckley's keen political insight and his tale-spinning craft to tell the story of a candidate on the rise and the dark shadows cast behind him. As Reuben Castle, the prototypical child of the sixties, coasts through his early life on a cloud of easy charisma, he leaves behind more skeletons than Arlington: a highly questionable Vietnam record, an abandoned wife, and worse. Yet two decades later, just as his dreams are within reach, he learns that his personal history is about to become his political epitaph--unless he takes the direst of measures to protect himself.
With a blend of satire and suspense, Buckley offers an archly pointed portrait of a familiar icon. A novel by the defining conservative of our times, about a figure bearing an unmistakable resemblance to the defining liberal of our times, The Rake is a welcome new masterpiece, and Buckley's most winning, and provocative, novel in years.
Praise For The Rake…
"A penetrating meditation on change, complication, and life's contingency"
-New York Sun
"like-minded readers will chortle over [Buckley's] satire of boomer politicians' mores."
-Publishers Weekly
"Mr. Buckley's wry humor often takes aim at the left...And descriptions throughout are pitch- perfect"
-Wall Street Journal


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Good Morning
Arundel Eccentrics
and Oh!
Quelle surprise!
It's raining
Ha Ha
It's only another
week until
Arundel by Candlelight
lets hope the rain
holds off on that day.
It's on Saturday 8th December.
The town will be buzzing.
There will be stalls up the
High Street and along
Tarrant Street.
The town will be full of
Festive Frolics
and good cheer
|by the way..having talked about the Fair Trade Fair... Frank at Larkins sells a huge amount of Fair Trade Products
Here's a few seasonal photos of Arundel
to get you in the festive mood.
We really are lucky
to live in such a beautiful place.
|my house looks so pretty in the snow don't you think?
If you are as fond of Arundel
maybe you have visited,
or lived here once,
or were brought up here,
and live elsewhere
(I've met several people over the years who were evacuated here as children,
during the war
during the war
and they came back to reminisce.)
One man asked to have a look round
my friend Allie's house,
just as I was going in to see her
as he was evacuated and lived there.
Anyway, I digress,
if, any of the above,
you might well
be interested
The Bell Magazine
If you are one
of our
US readers
it's £14 a year subscription
and you would just need to contact
the email address below.
"The Bell is Arundel's Town Magazine
which is still being published quarterly
after more than 12 years.
It is delivered free to people
in the town and the 14 surrounding villages.
The Editorial team are volunteers
as are most of the people who deliver it.
Subscriptions are available to those
residents who have moved to
other parts of the country
or the world.
We try to cover a range of interesting
and relevant topics about Arundel
and are always looking
for new articles or stories.
We have regular contributors such as a Computer corner, history,
gardening and contributions
from the local primary schools
and churches as well as the quarterly
crossword compiled by one of the team.
The magazine relies solely on revenue
from advertisers and we
are non-profit making,
which takes a lot of time and
effort to ensure we can always deliver.
Should you be interested in receiving
a copy of the magazine for a small subscription please contact the Editor, Marian Webb on
or you might like to advertise, send a letter, send an article.
We are advertising our
painting furniture workshops in
The Bell
next year.
It would take me a month of Sundays
to deliver leaflets to all those homes.
So what's happening today?
I have several items of furniture
at near finished level.
It makes me so excited to
see them almost done,
the trouble is
as fast as
Nass and Russell
take them out to put on the van
they bring another item of furniture in
that is in dire need
of some TLC.
By the way,
at the moment,
our warehouse is only open
by appointment or by chance.
Apologies for any inconvenience.
We have some wonderful
pieces in at the moment
and if you are trade and
would like to visit
or a private buyer after
something specific
just let us know
Much as Id love to,
Much as Id love to,
I can't sit here chatting all day
Have a great day


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Teaching Ministries
To wit, that God was in Christ, reconciling the world unto himself, not imputing their trespasses unto them; and has commited unto to us the word of reconciliaiton.
— II Corinthians 5:19
Sunday School
Provides classes for children through adults to help equip believers for the work of ministry and to guide those who do not know Christ into a personal relationship with HIM.
Week Night Bible Classes
We host 8–9 week courses designed to explore a wide range of biblical topics including: Church History, How to study the Bible, Biblical Conflict Resolution
Couples Ministry


text:
Product 13/18
Basil is an Italian Herb for seasoning soups, stews and sauces. Basil can be used either fresh or dried. Basil can be easily grown in pots or containers either indoors or outside. Basil is a great herb to grow for patio, apartment or rooftop gardens. SOWING ... Plant basil seed outdoors after danger of frost is past or start indoors 4 to 6 weeks earlier. Plant sweet basil in rows 2 feet apart, spacing seeds 1/2 inch apart in the row. Cover sweet basil seed with 1/8 inch of fine soil, well pressed down. Keep soil moist until plants start to grow. THINNING ... When basil plants are 3 to 6 inches tall, thin or transplant 1 foot apart in the row. GERMINATION ... Sweet basil seed germinates in 7 to 14 days depending on soil temperature and weather conditions. REMARKS ... Lower basil leaves are picked allowing newer leaves to grow. Makes an attractive addition to any flower bed. Matures in 70 Days Height 18 to 24 inches
Sign up now for gardening tips, techniques, special offers, the latest news, and updates!
© Copyright 2014 by dustbowlseed.com
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text:
Law Change Updates
In March of 2016, the BC Government announced changes to the Home Inspector Licensing Regulation that will take effect on September 1, 2016. In anticipation of these changes, Consumer Protection BC will be releasing information and updates to licensed and prospective home inspectors on the new requirements. Check back often for more updates as they are released. We will also be providing notice of these updates via email and hard copy mail.


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Sentencing delayed in battery case
September 15, 2012
While it will be three weeks before a Gardnerville man faces sentencing on a charge of second domestic battery, his 17-year-old victim was allowed to testify in the case on Wednesday.
Saying she didn't know why she stayed with him despite the abuse, she described the incident that prompted Robert Schwoerer's July 14 arrest.
"I'm doing this because I fear for the next girl," she said. "This attack against me was not the first act of violence, nor was it the most severe."
The girl read from a prepared statement describing the incident.
She said that when she tried to call for help, Schwoerer, 20, took away her cell phone, and when she tried to yell for help, he shoved a T-shirt into her mouth. She said he made her wash her face so no one could see her makeup had run.
Schwoerer faces up to six months in jail, a $500 fine and 100 hours of community service.
Recommended Stories For You
In exchange for his Aug. 22 guilty plea, a charge of false imprisonment was dismissed.
Schwoerer is free on his own recognizance.
He is forbidden to have contact with the victim or witnesses and is under the supervision of the Department of Alternative Sentencing.
He must abstain from drugs and alcohol and violate no laws.
Schwoerer is also facing a burglary charge related to an Aug. 9 incident in which he's accused of reaching into a vehicle and snatching $50 from a woman's hand.
Defense attorney Kris Brown asked for an Oct. 3 hearing to decide on a global resolution to all the charges Schwoerer is facing.