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Smothered Pork Chops
Pork chops get a bad rap, and nowhere is that more true than in this house. They're one of Shane's favorites, but I usually find them dry and bland and tough. And yes, I've heard that a brine helps, but that takes time and advance planning, and in case I haven't mentioned, I'm something of a procrastinator :) If we're going to have pork, I'd much rather it be tenderloin, ribs or, my personal favorite, shoulder - cooked low and slow until it falls apart. A few times a year, though, I will seek out a pork chop recipe I can add to our meal plan for the week, because I know it will make Shane impossibly happy.
I don't even remember how I stumbled upon these smothered pork chops, but the recipe had rave reviews and the buttermilk gravy sounded fantastic, so I figured why not give it a shot. It's a perfect meal for any weeknight, ready in only about 30 minutes so that's a bonus too. Not a bonus? Dropping the pork chops in the pan in a careless, distracted manner. Hot oil meets forearm resulting in a lovely 2-inch burn I'm still nursing nearly 2 weeks later. I'm pretty sure the scar will help me to always remember this recipe :) That hiccup aside, these smothered pork chops were a huge success. I expected Shane would love them, and I'd tolerate them, but I was happy to clean my plate that night. The pork stayed juicy and tender, and the buttermilk gravy added the flavor I'm usually missing when it comes to pork chops. Dare I say, these might even be a repeat here? That's big, really big.
Smothered Pork Chops
barely adapted from Tyler Florence (via Food Network)
1 cup all-purpose flour
2 tablespoons onion powder
2 tablespoons garlic powder
1 teaspoon cayenne
1 teaspoon salt
1/2 teaspoon freshly ground black pepper
4 pork chops, 3/4-inch thick, bone-in
1/4 cup canola oil
1 cup low-sodium chicken broth
1/2 cup buttermilk
2 tablespoons chopped fresh parsley
Add the flour, onion powder, garlic powder, cayenne, salt and pepper to a wide, shallow bowl. Stir to combine. Pat both sides of the pork chops dry, then dredge them in the flour mixture.
Set a large cast iron pan or skillet over medium-high heat and add the oil. When it shimmers, shake any excess flour off the pork chops and carefully add them to the skillet. Cook for about 3 minutes on each side, or until the chops are golden brown. Transfer the pork to a plate and tent to keep warm. Sprinkle about 1 tablespoon of the seasoned flour over the pan drippings (the exact quantity of flour isn't super important) and whisk to incorporate into the fat and cook off some of the raw flour flavor. Add the chicken broth and whisk to combine. Let the liquid cook down for about 5 minutes, or until reduced and slightly thickened. Whisk in the buttermilk then return the pork chops to the pan. Simmer for 5 minutes, or until the pork is cooked through (at least 145 F on an instant-read thermometer). Season the gravy to taste with salt and pepper and sprinkle with the parsley before serving.
15 comments:
- Richard said...
These chops are making me lick mine! That Sweet Tater looks delish as well! Thanks for sharing - buzzed
- April 3, 2012 at 9:47 AM
- Andrea the Kitchen Witch said...
Never made a buttermilk gravy for chops before. I'm going to have to try this one! Pork chops (when cooked properly) can be one of lifes best foods. These chops look so good!
- April 3, 2012 at 9:54 AM
- Becca said...
I love pork. Especially pork tenderloin. That stuff is amazing!
This looks really great too. I like the sound of the buttermilk sauce :) - April 3, 2012 at 10:02 AM
I do love pork chops, and these were delicious! Thanks for making them!
- April 3, 2012 at 10:55 AM
- Julie @ Table for Two said...
I'd love to get smothered in that sauce.
- April 3, 2012 at 11:15 AM
- Cassie/Bake Your Day said...
I am not pork's biggest fan but the flavors here sound simply amazing. I would definitely love this!
- April 3, 2012 at 3:32 PM
- amanda @ fake ginger said...
Pork chops are my favorite! I made this years ago (or another Tyler recipe that was similar) and I'm pretty sure I licked my plate clean.
That sweet potato in the back looks so good too. There is nothing better than a plain baked sweet potato! - April 3, 2012 at 7:35 PM
- firstname.lastname@example.com said...
Ouch on the burn! I have a thin one inch one on my forearm due to practically the same thing.
The pork chops sound delicious though. I love that they don't use the usual cream of something soup, though I admit to a fondness for those at times too - April 3, 2012 at 8:08 PM
- Gloria said...
I grew up eating pork chops. My grandmother used to make them served with homemade gravy and white rice (like Minute Rice I think). I loved that meal. Unfortunately I have never been able to create a successful pork chop dish at home. They always end up on the dry/tough side. I will have to give these a try! I was sold at gravy.
- April 3, 2012 at 11:03 PM
- Nicole@HeatOvenTo350 said...
I tend to ignore pork chops, too, just because I'm never sure what to do with them. This solves my dilemma. Sorry about the kitchen mishap. I did the same thing around Valentine's day and I still have an ugly scar on my wrist where it touched the pan. At least you have something more exciting than french toast to remember with yours. :)
- April 4, 2012 at 12:55 PM
- wendy (pinkstripes) said...
Sorry about your burn! I'm glad you found a pork chop recipe you enjoy.
- April 4, 2012 at 1:08 PM
- Miss @ Miss in the Kitchen said...
We love pork chops and this looks fabulous!
- April 4, 2012 at 1:39 PM
- Erin @ The Spiffy Cookie said...
I love pork chops but rarely ever make them for some unknown reason.
- April 4, 2012 at 1:49 PM
- swtp said...
You can use aloe vera on that burn even scar and it will heal it to no more burn.
- April 23, 2012 at 12:35 PM
- AnnieDrews said...
I made this over the weekend for my fiance. Let's just say I believe he may be asking me to marry him AGAIN!! :D Delicious
- May 1, 2012 at 12:41 PM


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Washington, DC Sunday, December 30, 2012
No deal on the so-called "fiscal cliff" is expected in the Senate tonight. The Senate will be back in session tomorrow morning at 11am ET. The House comes back at 9am ET.
Earlier in the day, Minority Leader Mitch McConnell (R-KY) announced on the Senate floor that he was waiting for a response from Democrats to a GOP proposal made yesterday. He said he called Vice President Joe Biden to "jump start" the negotiations. "I'm willing to get this done. I need a dance partner."
In reply, Majority Leader Harry Reid (D-NV) acknowledged Sen. McConnell's "good faith" effort, but said "I don't have a counter-offer to make." Leader Reid said that he was working with the president and that a counter-proposal might be available later in the day. Shortly after words, Sen. Reid indicated that one of the issues holding back a Democratic counter-offer were proposed cuts to social security.
During the session, the Senators confirmed Carol Galante to be an Assistant Secretary at Housing and Urban Development (HUD) by a vote of 69 to 24.
Before voting began in the House, the leadership of the House Democratic Caucus spoke to reporters. Chairman John Larson (D-CT) said that the GOP leadership should bring up President Obama's "fiscal cliff" proposal if they cannot come to agreement in their own conference. Chair Larson said that Democrats would caucus everyday that the House is in session.
This morning, President Obama made a rare appearance on NBC's "Meet the Press." The President said he was "modestly optimistic" that an agreement, preventing across-the-board tax hikes and budget cuts, could found, but added "we don't yet see an agreement."
Responding to the President, House Speaker John Boehner (R-OH) said the House "has passed legislation to avert the entire fiscal cliff, and the president has never called for the Senate to act on those bills in any way."
Updated: Monday, December 31, 2012 at 3:41pm (ET)
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- Contemporary Art at the Gardner
- ExhibitionsCurrent ExhibitionsPast Exhibitions
- Adam Pendleton: Untitled
- Raqs Media Collective: The Great Bare Mat & Constellation
- Stefano Arienti: Wild Carrot
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- (TAPESTRY) RADIO ON: New Work by Victoria Morton at the Gardner
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- Taro Shinoda: Lunar Reflections
- Su-Mei Tse: Floating Memories
- Luisa Rabbia: Travels with Isabella, Travel Scrapbooks 1883/2008
- Cliff Evans: Empyrean
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- Sculpture and Memory: Works from the Gardner and by Luigi Ontani
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- Lee Mingwei in the Courtyard, 1999. Photo: John Kennard
- Lee Mingwei, Host in The Living Room Project, 2000. Photo: Anita Kahn
- Lee Mingwei, The Living Room Project, 2000. Photo Anita Kahn
- Lee Mingwei works with Kindergarteners at the Mission Hill School, 1999. Photo: John Kennard
- 2008 AIR Su-Mei Tse and 1999 AIR Lee Mingwei, 2008. Photo: TSY
Lee Mingwei
1999, 2000, 2005, 2007, 2008, 2009
Website: www.leemingwei.com
Born in Taiwan and currently living in New York City, Lee Mingwei creates both participatory installations, where strangers can explore issues of trust, intimacy, and self- awareness on their own, and one-on-one events, where visitors explore these issues with the artist himself through eating, sleeping, walking and conversation. Lee's projects are often open-ended scenarios for everyday interaction, and take on different forms depending on the participants. Time is central to this process, as Lee's installations often change during the course of an exhibition.
Lee received an MFA from Yale University in 1997, has had solo exhibitions at the New York Museum of Modern Art, Whitney Museum of American Art, Brooklyn Museum, Isabella Stewart Gardner Museum, Los Angeles County Museum of Art, Museum of Contemporary Art Cleveland, Taipei Museum of Contemporary Art, Queensland Gallery of Modern Art and other venues. He has also been featured at Biennials in Venice, Lyon, Liverpool (2006, 2010), Taipei, Echigo-Tsumari, and the Whitney, and at the Asia Pacific Triennial.
Currently, he has two solo exhibitions in New York, at the Brooklyn Museum (Lee Mingwei: The Moving Garden, October 5, 2011–January 22, 2012) and at the Museum of Chinese in America (Lee Mingwei: The Travelers and The Quartet Project, October 20,2011 – March 26, 2012).
Lee Mingwei began each day of his June 1999 residency with a swim at the YMCA and frequently explored Boston by bike or on rollerblades. His time at the museum was devoted to experiencing the galleries and courtyard, as well as looking through archival materials. Early on, Lee became interested in the role that Isabella Gardner played as a hostess and an interpreter of her collection. He made repeated visits to archives where he researched letters, looked at photographs, and at illustrated music programs. He also examined Mrs. Gardner's travel albums, guest books, and several Asian textiles including an early 19th century flag embroidered with dragons and clouds from China, which was a gift from the painter, collector, and scholar, Denman W. Ross.
The Living Room was conceived as a result of Lee Mingwei's residency at the museum. It was his response to Gardner's love of entertaining, collecting, and her desire to foster intimate interactions with art. In February 2000, the Special Exhibition gallery became filled with furnishings, plants, live birds, and refreshments. Lee's intent was to give visitors the opportunity to participate in a process of exchange and hospitality, which he determined to be a vital part of life at Fenway Court during Gardner's lifetime. In conjunction with the exhibition, Lee and Jennifer Gross, the Curator of Contemporary Art, produced a catalogue that described the thinking behind the exhibition, highlighted several other of Lee's projects, and included a text by Lewis Hyde.
For several a days in February, and in March, Lee carried objects into The Living Room that meant something special to him and acted the part of the host. He invited visitors and staff to spend time in the room, relaxing and discussing the articles on display, sharing personal experiences, and musing on new and old aesthetics and other values reflected in the museum. On the remaining days, Lee invited volunteers to participate in the project and become hosts of The Living Room. They came from many walks of life - staff at the museum, members of the Governance Board, past Artists-in-Residence, teachers and students, all of whom had a significant relationship with the museum. Thirty-two individuals were chosen from a lottery system to bring in objects that meant something special to them. Over the course of two days, each acting Host talked with visitors about the museum and about the significance of the objects they had chosen to share. The vast array of interests represented ranged from tutorials on flower arranging and ice fishing, to historic events, to a day of a cappella serenades. Hosts brought bones, shopping bags, games, textiles, pencils, CDs, and works of art. Some changed the space into a temporary art studio and others spoke about personal experiences, about their family histories, the experience of being a part-time firefighter, and on the earthquake that devastated northwestern Turkey six months prior.
Also in March 2000, Lee Mingwei worked with fifteen 10th graders from the Boston Arts Academy, who were studying set design and theater props. The final objective of the program was for students to design a collaborative artwork for the Community Creations student exhibition in May of that year. Students from the Boston Arts Academy visited The Living Room to observe and reflect on the installation before meeting with Lee Mingwei. While in the gallery, they wrote a journal of their thoughts, ideas, and the questions they wanted to ask the artist. Most of the students were interested in the installation concept and the decisions made by the artist in designing the space. The next day the students met with Lee in The Living Room, where he was acting as Host, and spoke with him about his work and what inspired him. Back in class after a series of discussions and workshops, the students designed and later constructed a bedroom and garden area in the museum gallery in which they incorporated their artwork, personal items, and their collections.
Lee also worked with twenty Kindergarteners at the Mission Hill School. The class had been talking about the meaning of objects while making a classroom quilt based on things that were important to each child. The students visited with Lee in the The Living Room and in the classroom to discuss what personal objects mean, why people care about them, and what they tell us about ourselves and others.
Lee Mingwei has returned to the Gardner Museum several other times over the years. In March 2000, he spoke about The Living Room during an Eye of the Beholder lecture and in October 2005, gave a Noontime Talk about his current projects. In 2007, eight years had passed since Lee had first come to the Gardner Museum as an Artist-in-Residence and that September, Su-Mei Tse, a friend, had just completed three weeks of her residency at the museum. Seizing the opportunity, the two artists spoke about their time at the Gardner Museum, their work, and their upcoming exhibition at the Museum of Contemporary Art Taipei. Lee returned again for the opening of Su-Mei Tse's exhibition Floating Memories in July 2008 and stayed to lead a meditation in the exhibition gallery to reflect on the new work during Gardner After Hours.
Because of the deep impact The Living Room exhibition had on the museum in 2000, Lee Mingwei was invited back in 2007 to collaborate on Gardner Museum's new building project and to help design a room inspired by his project. Staffed by a series of "hosts" – volunteers, staff, artists, and other special guests, this space will promote conversation and reflection, as well as help visitors answer any questions they may come with, and inspire new ones. That year a working group met at his apartment in New York and again later at the Gardner Museum. In November 2008, Lee returned for a two-week mini residency staying in the Carriage House apartment for one last time before it was taken down, to work and visit the galleries and research the archives. He was back again at the museum in the Fall of 2011 to explain his work to the many volunteers who will be working in the room and to the future Hosts of the new Living Room project.


text:
Say I have some image files (for instance, the result of scanning some sheets) and I want to combine them into a single pdf file, each image on a different page.
Is there a faster / more convenient way than converting each one to a pdf file and then combining those (say, as explained here)? Or, if this is more or less how it is to be done, which the more intelligent and less tedious possible way to do it?
Here are the steps to save multiple images in Preview into a single multi-page PDF.
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Simple ... Open Preview, make sure the Drawer is open and Drag the Image in underneath the Page Thumbnail.** Hope it helps **I'm a noob sorry, only saw the link now, what so difficult in this method ? | |||||||||||||
I made 2 quick screenshots for you: 1) select thumbnails view: 2) Drag second PDF e.g., from Desktop, into thumbnails pane, but above the thin silver line where the red arrow is pointing at (otherwise it won't be saved). And then just save the PDF | |||
paste in word and save as pdf...best possible way | |||||


text:
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Eilhart von Oberge
Eilhart von Oberge fl. late twelfth century-
German poet.
A seminal figure among German courtly poets, Eilhart von Oberge is the author of the oldest complete version of the medieval romance of Tristan and Isolde (or, Tristant and Isalde, in Eilhart's orthography). In his Tristant (c. 1170) Eilhart relates the tale of a tragic love affair between the eponymous Cornish hero and an Irish princess wedded to his uncle. Featuring a protagonist controlled by his predetermined fate, Eilhart's Tristant is viewed by contemporary scholars as an homage to the already declining feudal social order and epic literary style of the medieval period. Because the work is presumed to be the closest among many versions to the narrative of the lost French prose archetype, scholars tend to value Eilhart's rendering of the tale particularly highly. Tristant is frequently studied in conjunction with other adaptations of the same material, including those by the French poet Béroul and the Anglo-Norman bard Thomas of Britain. In addition, the poem is important for its considerable influence on later versions of the story, including Gottfried von Strassburg's Tristan (c. 1210) and its subsequent variations.
Biographical Information
Almost nothing is known about the life of Eilhart aside from his composition of the Tristant. Extant documentary evidence from the court of Braunschweig, including nearby Oberg, suggests that Eilhart may have been a vassal to Duke Heinrich the Lion. Some scholars speculate that he may have been commissioned to write the poem by Heinrich's second wife, Mathilde, but no conclusive proof exists to support this claim. While the majority opinion holds that Eilhart was born at Oberg and lived his life there, it is also possible that he may have composed his famous work elsewhere, or under the direction of another patron. In addition to the paucity of evidence concerning his life and career, no existing records authenticate the time or place of Eilhart's death.
Textual History
Scholars generally regard Eilhart's version of the Tristan story as the most faithful to the original French prose Tristan (speculatively dated between 1150 and 1160), which is now lost. Probably composed in about 1170, Eilhart's poem may have been written as late as 1190, according to some theories. Its survival into the contemporary period relies on a number of sources, including three fragmentary twelfth- to thirteenth-century manuscripts, three redactions from the fifteenth century (all complete), and a late-fourteenth-century Czech translation that includes added material to compensate for missing scenes from Eilhart's version. An extant medieval chapbook also offers a rendering of Eilhart's story in prose outline. Contemporary translations of the Tristant include one in French verse and an English prose adaptation by J. W. Thomas.
Major Works
Eilhart's sole work, the Tristant, depicts the life of the noble warrior Tristant, a peerless knight in service of his uncle, King Mark of Cornwall. Stoic and brave, Tristant brings high honor upon himself by successfully winning battle after battle. His main adversary off the battlefield, King Mark, is usually considered to be a rather conventional villain figure (although some critics have questioned this simplification of his character). The singular object of Tristant's desire, Isalde the Fair, returns the hero's love passionately, but remains unattainable to him because she is married to Mark. For her, love is a form of exquisite suffering, and life without Tristant is inconsequential. In an early encounter in the story, Tristant challenges the Irish duke Morolt, who has unjustly demanded that Cornwall pay him tribute. Engaging in single combat on a small island, Tristant emerges victorious after delivering Morolt a mortal wound to the head. He later learns, however, that Morolt has poisoned him during the battle. Now Tristant must visit Morolt's sister, Queen Isalde of Ireland, in order to acquire an antidote. Healed by the Queen, Tristant subsequently slays a dragon that has been terrorizing the kingdom of Ireland. In return he secures the Queen's daughter, Isalde the Fair, as a bride for King Mark. On the return trip to Cornwall, Tristant mistakenly drinks a love potion prepared by the Irish Queen for her daughter and King Mark and instantly falls in love with the young maiden. After the marriage of Isalde and Mark, the secret affair between Tristant and Isalde becomes the central feature of the tale, as Mark and other jealous noblemen of the Cornish court attempt to catch Tristant and Isalde in adultery. Meanwhile, the King engages a cunning dwarf to set traps for the lovers and gather evidence of their deceit. Eventually, Mark discovers Tristant and Isalde after they have run off to the forest together. Clothed and sleeping, they lie separated by Tristant's sword. Quietly, Mark exchanges the sword for his own (an act they will be certain to notice when they awake) and departs. Afterwards, Tristant is exiled and years pass. The hero marries another woman, but cannot forget his love for Isalde. When it becomes clear that he will never again be with his beloved, he loses his will to live and dies. Shortly thereafter, Isalde arrives to join the mourners of his death. Lying beside his motionless body, she dies as well. In a symbolic denouement, two trees spring up from their graves, their limbs intertwined. In addition to the main action described above, the poem also features several Arthurian interludes, including a visit to the court of King Arthur, a stag hunt, and appearances by other noteworthy knights of the tradition. Scholars perceive the poem only peripherally as a work of Arthurian legend, insisting that such sketches in Eilhart's Tristant occur only briefly, serving to juxtapose an established epic setting with the closer and more problematic court of King Mark. Thematically, Eilhart's Tristant has been viewed as a depiction of heroic valor subverted by reckless passion. The inexorable progress of fate looms large in the poem, demonstrating that nothing can be done to change its path once certain events have transpired, even if seemingly by pure chance. Overall, the poem's theme is thought to hinge on its blending of heroic honor, fate, and passionate love.
Critical Reception
Scholars have traditionally analyzed Eilhart's Tristant alongside other versions of the Tristan legend from roughly the same period, including those by the French poet Béroul, the Anglo-Norman Thomas, and the German Gottfried von Strassburg. Through such comparisons, Eilhart's work has been found generally lacking, whether it be in terms of exposition, character delineation, or thematic development. Thus scholars have variously deemed Béroul's version (with its emphasis on passionate love and high adventure), or Thomas's and Gottfried's more psychological renderings of the Tristan legend as superior to Eilhart's somewhat informal and stylistically simplified verse narrative. Additionally, a number of scholars believe that Eilhart may have omitted some original scenes from the story (later included by subsequent authors) for the sake of clarity or brevity. Such omissions are thought to have contributed to Eilhart's avoidance of psychological depth or motivation in his characterizations, a quality often thought to mar the Tristant. Others have questioned Eilhart's use, or misuse, of narrative motivation in the work. Many commentators have acknowledged a lack of traditional narrative plausibility in Eilhart's Tristant, arguing that the inexplicable and supernatural forces of fate and chance condition and carry the action of the poem. Still others have observed that Eilhart's narrative was perhaps intended primarily as a defense of the feudal social order and its ideology. The author's focus on the inexorable power of destiny, in contrast to his characters' actions or desires, frees Tristant, Isalde, and Mark from guilt or complicity and externalizes the concerns in the story, making it an exemplum of deterministic fate and providential order in action. In this sense, scholars have noted, the poem validates the status quo of feudal hegemony, rather than analyzing the individual merits of its protagonist or other principal figures. Despite all of these objections, a contemporary trend in critical thought on the Tristant has been to question the received view of the poem, and instead to study the work on its own artistic merits. Recalling elements that made the poem popular in a bygone era, late twentieth-century commentators have begun to admire the dynamic qualities of Eilhart's storytelling technique, including his exploitation of narrative intervention to carry the tale, his robust style unimpeded by the demands of psychological motivation, as well as his use of low, whimsical, and almost mock-heroic humor—features almost universally lacking in contemporaneous versions of the story. Minor elements, such as Eilhart's clever use of epithets in delineating character and foreshadowing action, have also been noted. Putting aside discussion of its similarities to or departures from other versions of the tale, commentators on Eilhart's Tristant have instead concentrated on its skilled blend of romantic and epic forms, and have admired its artistic integrity as it traces the heroic arc of Tristant's life and the events culminating in his tragic demise.
Principal Works
Tristant (poetry) c. 1170
Eilhart von Oberge's Tristant (translated by J. W. Thomas) 1978
(The entire section is 12 words.)
SOURCE: Whitehead, Frederick. "The Early Tristan Poems." In Arthurian Literature in the Middle Ages: A Collaborative History, edited by Roger Sherman Loomis, pp. 134-44. London: Oxford University Press, 1959.
[In the following excerpt, Whitehead contrasts versions of the Tristan legend by Eilhart and Béroul, claiming that Eilhart's German poem suffers in comparison because of its narrative abridgement and occasional psychological implausibility.]
Nineteenth-century scholars agreed in regarding the [Tristan] poems of Eilhart and Béroul as essentially a single version (version commune or version des jongleurs) and in contrasting it with that of Thomas and his derivatives (version courtoise). Bédier, having demonstrated that the three poems and the Prose Tristan were derived from a common source,1 showed that Eilhart and Béroul reproduced this archetype with great fidelity,2 whereas Thomas made considerable changes. This was also the opinion of Gertrude Schoepperle.3 But Bédier believed4 that Eilhart and Béroul had departed from the archetype in limiting the effect of the potion to three or four years, and since this deviation could not have been made independently, he postulated an intermediate common source, which he called y.
The duration of the spell is...
(The entire section is 2700 words.)
SOURCE: Trindade, Ann. "The Enemies of Tristan." Medium Aevum 63, no. 1 (1974): 6-21.
[In the following essay, Trindade discusses the narrative structure of the Tristan legend as it exists in poetic versions by Eilhart and others, placing particular emphasis on the function of antagonists in the story.]
The enemies of Tristan are many and varied in what are usually called the 'primary' versions of the legend. Their number and degree of individualization varies, and while the principal editions and studies of Tristan texts have included comments on individual variants as they occur, there has been, as far as I am aware, no study devoted entirely to this group of characters alone. I propose to show that there are important advantages to be gained from studying them as a group and in terms of their narrative function.
First, while a number of influential Arthurian scholars have maintained that the study of origins is less important than the application of traditional literary criteria to the texts themselves,1 nevertheless the fact that we refer so frequently to the 'legend', or 'story', or Tristan independently of the Tristan versions indicates that the processes of transmission and development will always be a legitimate object of study. The Arthurian field is not unique in possessing a number of traditional themes and characters which persist throughout...
(The entire section is 8098 words.)
SOURCE: Thomas, J. W. Introduction to Eilhart von Oberge's Tristrant, translated by J. W. Thomas, pp. 1-46. Lincoln: University of Nebraska Press, 1978.
[In the following excerpt, Thomas encapsulates the manuscript tradition of Eilhart's Tristant and summarizes what is known of the poet's life. The critic continues by examining structure, style, narrative technique, and the theme of fate in the poem.]
Composed some time between 1170 and 1190, the Tristrant of Eilhart von Oberge is the earliest complete account of the tragic love story of Tristan and Isolde and the version which, according to many scholars, most closely resembles the lost original.1 As such, it is an invaluable reference point for all studies of the medieval Tristan material: its origins, as well as its widespread literary exploitation during the twelfth and thirteenth centuries. However, Eilhart's epic poem is also important in its own right and was popular in Germany for some five hundred years, inspiring various works of plastic arts as well as of literature.
We know Tristrant through three early manuscripts, three late ones, a Czech translation, and a chapbook. The early manuscripts are from the end of the twelfth or the beginning of the thirteenth century and are fragmentary, containing in all only 1,075 (85 overlapping) verses, or slightly...
(The entire section is 10631 words.)
SOURCE: Wiesmann-Wiedemann, Friederike. "From Victim to Villain: King Mark." In The Expansion and Transformations of Courtly Literature, edited by Nathaniel B. Smith and Joseph T. Snow, pp. 49-68. Athens: University of Georgia Press, 1980.
[In the following essay, Wiesmann-Wiedemann compares versions of the Tristan story by Eilhart, Thomas, and Gottfried with the prose French narrative source, arguing that Eilhart's work privileges the feudal order, while the other writers take elements of psychology, love, and action (respectively) as their main components.]
In her study of the Tristan story, Joan Ferrante compares corresponding episodes in different versions of the legend, but she treats characters only insofar as they figure within these episodes.1 This article follows one character, Mark, in order to show how the ethos of different versions and the effect that each work as a whole has on its readers influenced the portrayal of the cuckolded king. Four texts lend themselves to a comparison because they are meant to tell the whole story, even if we lack the complete versions. These are Eilhart, with his feudal point of view; Thomas, with his interest in unhappy love; Gottfried, with his elevation of love to a religious level; and the French Prose Tristan, with its simplistic ideology.2 I concentrate on three points of special importance for assessing Mark's role: his...
(The entire section is 5902 words.)
SOURCE: Schultz, James A. "Why Does Mark Marry Isolde? And Why Do We Care? An Essay on Narrative Motivation." Deutsche Vierteljahrs Schrift für Literaturwissenschaft und Geistesgeschichte 61, no. 2 (June 1987): 206-22.
[In the following essay, Schultz studies the differing forms of narrative motivation employed by Eilhart and Gottfried in their versions of the Tristan legend.]
Although narrative motivation has only recently become a theoretical concern of literary scholars, it has always been a practical concern of storytellers, for anyone who tells a story must give some attention to the causal connections that join the events being recounted. It is not surprising then that storytellers who are inclined to reflect on their own activity will occasionally offer us their thoughts on the subject nor that Gottfried von Straßburg, surely one of the most self-conscious of medieval vernacular writers, should introduce such reflections into his Tristan. These reflections are formulated as an attack on another "Tristan" with which he assumes his audience is familiar and which closely resembles the somewhat earlier Tristrant of Eilhart von Oberg. At issue is the motivation of a crucial event in the story, Mark's marriage to Isolde.
Eilhart and Gottfried begin their accounts of Mark's marriage from the same premise: Mark has made his nephew, Tristan, his heir and has vowed...
(The entire section is 8341 words.)
SOURCE: McDonald, William C. "The Fool-Stick: Concerning Tristan's Club in the German Eilhart Tradition." Euphorion: Zeitschrift für Literaturgeschichte 82, no. 2 (1988): 127-49.
[In the following essayt, McDonald interprets the symbolic significance of Tristan's club in Tristant and in later adaptations of the legend the followed Eilhart.]
Although critics have examined the Tristan poems of Eilhart von Oberge (fl. ca. 1170) and his followers through a wide variety of methodologies and critical approaches, a pervasive motif has largely gone unexplored: the large stick carried by the protagonist when he is dressed as a fool is placed in high relief. The function of Tristan's club engages our attention here, not least for its contribution to reception theory. Eilhart, whose poem affords very early access to the episode of Tristan's folly1, introduces the club as the hero's distinguishing feature for his final adventure of love. Tristan, in exile, wishes to see Isolde again and feigns madness to enter Mark's court. After a battle in support of Kehenis (Kaherdin), from which he receives a head wound, Tristan has a long period of convalescence. He is shorn of hair and scarred, so disfigured that he need not fear discovery when assuming the role of Isolde's rescuing devotee in Cornwall. Tristan's nephew advises him to go to court alone, acting foolish and dressed in a hooded coat;...
(The entire section is 5168 words.)
SOURCE: Cormier, Raymond J. "Eilhart's Seminal Tower of Pleasure." Fifteenth-Century Studies 17 (1990): 57-63.
[In the following essay, Cormier comments on Eilhart's innovative retelling of the story-within-a-story of Gariole and Kehenis in his Tristant.]
Eilhart von Oberg postpones the dénouement of his tragic Tristan love story by inserting a cameo that mirrors the sad destiny of his main characters.1 This observation refers to the tale of Gariole and Kehenis, who find themselves deeply in love but thwarted by an evil, jealous husband.
In the words of Eilhart (as translated by J. W. Thomas, 137-38): "Not far from Karahes lived a mighty lord named Nampetenis. …" This warrior, having retired from high, knightly deeds and pursuits, now spends all his time at the hunt shooting game or stays busy watching over his beautiful wife whom he keeps guarded in complete custody, grimly even and dishonorably. That is, he has very high castle walls built and three moats dug around the structure. Nampetenis himself carries the keys to the castle; he is the gatekeeper and allows no males young or old, bondsmen or nobles, to remain within whenever he rides out to hunt. Only women can stay to watch over and keep the company of the sorely vexed Lady Gariole.
Now Gariole, before her marriage, had promised Kehenis secretly that she would receive him if...
(The entire section is 3314 words.)
SOURCE: Brockington, Mary. "Tristran and Amelius: False and True Repentance." Modern Language Review 93, no. 2 (April 1998): 305-20.
[In the following essay, Brockington explicates a scene from the Tristan legend in which King Mark discovers the sleeping lovers in the forest, exploring the different approaches to the episode taken by Eilhart, Béroul, and Thomas.]
The scene in the Morrois forest, where the wronged husband, King Marc, sees Tristran and Yseut, the fugitive lovers, asleep, decides not to kill them, and retires silently, leaving tokens of his presence, is one of the most important in the whole Tristran tradition.1 The verse redactors, particularly Beroul, present it in highly dramatic form, and it appears in manuscript and textile illustrations of the story. In terms of plot, it is pivotal; it closes one series of episodes (blood on the sheets, capture, escape) allowing Yseut's eventual return to Marc, and prepares the way for the next series (Tristran's exile, returns, and eventual death). The French prose redactor discarded it, as its softening of Marc's harsh attitude was inconsistent with his reworking, and instead has Marc discover Yseut alone and recapture her; yet he discarded Beroul's version with reluctance, retaining details for use in other scenes (appropriate or not).2 The earlier form of the scene was not lost, however. An Italian who adapted the...
(The entire section is 3606 words.)
Further Reading
Haug, Walter. "Reinterpreting the Tristan Romances of Thomas and Gotfrid: Implications of a Recent Discovery." Arthuriana 7, no. 3 (fall 1997): 45-59.
Argues that the discovery of the so-called Carlisle Fragment of Thomas of Britain's poem Tristan calls for a scholarly reappraisal of the relationship between the principal post-Eilhart versions of the Tristan story.
Henning, John. "Irish Saints in Early German Literature." Speculum: A Journal of Mediaeval Studies 22, no. 3 (July 1947): 358-74.
Considers the Tristan tradition as it highlights developments in continental European perceptions of Ireland during the medieval period.
McDonald, William C. "Character Portrayal in Eilhart's Tristant." Tristania 9, no 1–2 (autumn-spring 1983–84): 25–39.
Seeks to evaluate Tristant on its own merits, examining the poem's style, genre, and characterization.
———. "King Mark, the Holy Penitent: On a Neglected Motif in the Eilhart Literary Tradition." Zeitschrift für Deutsches Altertum and Deutsche Literatur 120 (1991): 393–418.
Discusses King Mark as a complex figure, arguing that Eilhart's subtle characterization prevents him from coming across as a stereotypical villain.
(The entire section is 315 words.)
Source: Classical and Medieval Literature Criticism, ©2004 Gale Cengage. All Rights Reserved. Full copyright.


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Welcome to Residential Programs - Your "Home Away From Home"
More and more undergraduate and graduate/law students are discovering the benefits of on-campus living. As a campus resident, our students forge lifelong friendships, get to know students from other states and countries, and gain valuable leadership and team-building experience. Living on campus means our students are close to classes, the library, computer labs, the Student Center, recreational facilities, and the hundreds of activities, sporting events, and educational, social, and cultural programs that take place on campus throughout the academic year.
Even if your home is close to Hofstra's campus, living on campus may be the perfect choice for you. Students living on campus have an opportunity to learn to live independently while having the support of resident assistants (RAs) who live on their floor, sponsor programs, provide informal counseling, and oversee community life in the residence halls. Students living on campus have the added advantage of developing time management skills and communication and interpersonal skills as they learn to live with fellow residents. Our halls are staffed 24 hours a day by resident security representatives and have full-time live-in professional staff available to respond to student issues and concerns.
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The mission of the Office of Residential Programs is to create educational living learning communities outside the classroom. The residence halls will provide a safe and secure environment in which students will develop:
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- respect for the "Code of Community Standards"
while providing the highest quality of service to our residents.


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Charlotte Yeo
I have been a keen Artist since I was a child, enjoying all aspects of Art from Pottery, to Paint, but it was not until I met my Husband in 2008 that I became interested in Photography. My husband had been a Photographer for some fifteen years previous to us meeting and as I watched him with his Camera, I became more and more interested.I went online to find more and more information about it and after several hours of reading and getting to know the Camera, My husband had given to me, found myself addicted.
I now take my Camera with me everywhere and have become a partner and Photographer in our own business. I still never stop seeking information about Photography, and am constantly trying to add new skills and techniques to my knowledge. I have even started sharing my education with my husband who is now learning alot of new things through me. Although, there is still so much I seek his advice and experience on too. I enjoy shooting images from differant angles and view points with differant filters etc. It's still the artist in me, shining through.
My next project will be to learn more about Studio Photography. My husband is the Studio Photographer and until now, I have been happy to leave that part to him. However I am becoming more and more curious about differant lighting effects and am now constantly asking why? and how?
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Please Note: The picture shows the 6' x 8' (approx) Goodwood Wroxham Professional Tongue and Groove Shed with optional side window. The storage box in the picture is not included.
Product Description:
The Goodwood Professional sheds are a range of attractive, multi-functional buildings for the serious (or trainee) DIY'er, gardening enthusiast or contemplator!
The Goodwood Wroxham Professional Shed is an attractive variation on the usual garden shed, one cris-cross opening window is supplied as standard.
We are proud of our Goodwood Professional range of sheds and the range has endeavoured to consider all details in the design using quality fixtures and fittings, all exterior fittings are treated against rust.
Fascia and finishing timbers, assembly instructions, hardware and glass are supplied to enable assembly of the building.
These sheds are produced to the highest standards using quality timber from sustainable sources.
A comfortable space to work in with a minimum INTERNAL eaves height of 1835mm (6') - ridge heights will vary dependant upon the width of building but are a minimum internally of approximately 2190 mm (7'1").
Robustly constructed using extra strong framework measuring 45 x 45mm (2" x 2") spaced at not more than 800mm (2' 8").
This shed fully deserves its title as a 'Professional Shed" because of its: extra strong framework , extra high eaves height for storage of taller items, extra high door height, full length piano hinges on the door so you will not get trapped fingers and no hinges showing on the outside, fully ledged, braced and framed door for extra security and strength, the option to customise your Goodwood Professional Shed to a 19mm Pine Log Pattern wall finish and the option to upgrade the floor to extra strength.
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When choosing a location for your garden shed an allowance should be made for the roof overhangs. It is essential that this building is assembled on to a firm, level base. Assembly onto an uneven base will cause problems. All sizes stated on our Goodwood range of sheds are approximate - the metric measurements stated refer to the floor size.
Full assembly instructions are provided with the Apex Shed and with all the fittings in the box as standard you will be amazed at how simple this professional shed is to install. You can of course choose the option to have your shed installed for you.
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Roof - The roof is manufactured from high quality 12mm x 120mm planed pine tongue and groove matching pattern boarding.
Please note The Goodwood range of sheds are all pre-treated (unless otherwise specified) using a high quality anti-fungicide wood protection primer. We recommend that you treat the shed with a high quality, spirit-based, timber preservative prior to assembly. This will protect the timber from weathering on your shed making it last longer and will need to be repeated accordingly in relation to manufacturer's instructions.
Specification:Please note: all imperial measurements are approximate and the Goodwood Range of garden buildings are made from metric measurements. The metric measurements stated refer to the floor size. Product Name: 6' x 10' (approx) Goodwood Wroxham Professional Tongue and Groove ShedFootprint (Depth x Width): 1.79m x 2.99m (5'8" x 9'8" Door Side)Height To Ridge: 2.110m (6'9")Height To Eaves: 1.835m (6'0") Walls: 12mm Shiplap Tongue and GrooveDoor:SingleDoor(s) Height x Width:1.778m x 0.905m (5'8" x 2'9")Lock:Two Way Operational LockRoof:12mm Shiplap Tongue and GrooveRoofing Felt:Green MineralFloor:12mm Shiplap Tongue and GrooveBearers:45mm x 45mm (2" x 2")Bearers Direction:Window(s):1 x Opening 3mm Horticultural Glass Framing:45mm x 45mm (2" x 2")Portabases Available: TBCFSC CertifiedYesFree Delivery:Yes*Installation Available: Yes
Specification:Please note: all imperial measurements are approximate and the Goodwood Range of garden buildings are made from metric measurements. The metric measurements stated refer to the floor size.
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These are big sheds arriving in single panels which are very heavy and as such will not fit through a house or a garage with standard doors. You must ensure that you have adequate access to take the shed to site. If on delivery you find that the shed is too big for your access and cannot accept delivery you will be charged a collection fee.
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Booking Delivery Once your order has been placed, you will be contacted by our manufacturer's delivery team and advised of a specific delivery date. You can then address any delivery problems with the team as required before accepting the proposed date to your satisfaction.


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XCronoX wrote:I am on my NG+, I just didn't use Gust and 5pb so they were both at rank 1 and are only on rank 2 after their events after they first join and been using em in battle since.
If it's game over and put you back to Main Menu, then you're not supposed to. It's probably one of the most challenging bosses so far in my playthrough but he's beatable.Ghaleon wrote:Just curious, are you SUPPOSED to lose the first fight with killachine? Cuz i read someone talking about having a hard time with the 2nd, and the 2nd disnt seem any harder to me.
In the Skills details it supposed to explain what ailments is dealt with the Skill may inflict. It won't always work as enemies may block then. I don't remember if there was any in-game tutorial explaining what those ailment icons are but I pretty much learned it by observing.Ghaleon wrote:Is there some kind of status buff/debuff description thing with icons? I dont know what iffy's "la doofus"! Skill does, and what the icon is supposed to represent. I also dont know what virus does. Didnt note it in the manual.
lordryo wrote:I plan on updating the original post will information regarding all endings, character, and any other information people might have about the game. I'll do this tomorrow.
XCronoX wrote:I'm almost to the point of the final save to go back to and reload, and 5pb is still rank 2 Gust finally went up to Rank 3. Is it ok to pick up some of the other CPU's long as I don't get all of them or raise their affection? cause going to Leanbox for the story event will have me picking up Vert as well.
Aside of equipping Armor and Ornament, I'm not sure how to increase specific stats. Items or buff Skills would also work in battle temporarily.Ryft wrote:The Lily Rank confuses me, but mostly how to do pair attacks and things like that.
Also, is there a good way to upgrade MOV and AVO? I'm trying to train for Brave the Hard.
Arnold Teddie Rosario wrote:Didn't read the whole thread....
Anyone knows how to get past Brave the Hard? I'm stuck with a lv 34 nepgear and Uni who's level is unknown.No SP to start with either.....
Snow wrote:I need help lol... I'm stuck at the part where I have to do a fetching quest for materials to repair the ship to get to Leanbox. Problem is, I forgot what the materials actually were and I have no idea what to do... No event mark or anything.
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Roboto & Blast attack. I almost went with Faker because I like his color scheme, but ultimately Roboto just better LOOKS the part.
Vintage Cancelled "Evil Robot"
I love the mechanical characters in MOTU and wish we had more of them in classics. Select your favoite figure of the three already released in classics, as well as the one from the list of yet unreleased robots/androids that you'd like to see the most.
I made this poll for the characters that are completely artificial. No cyborgs or anybody with squishy bits allowed. At first I was going to add Cy-Chop and maybe Optikk, but it's hard to pick where to draw the line for being more machine than biological life. There are tons of characters in this universe that have mechanical parts. Who's to say Cy-Chop isn't still more flesh than say Hordak, Horde Prime, Sy-Klone, etc.
Roboto & Blast attack. I almost went with Faker because I like his color scheme, but ultimately Roboto just better LOOKS the part.
Looks like I forgot to include the Horde Troopers. I like them but they tend to slip my mind since they don't have a single distinct personality as a character, mostly sword-fodder. Sorry guys, for any Horde Trooper honorable mentions just leave a comment.
On a side note, I love the Photog support!
Roboto (by far!) and Multi-Bot.
Most Wanted MOTU Classics:
*MotU ~ Ninjor/Rio Blast *PoP ~ Angella/Mermista *200X ~ Roboto/Calix *Filmation ~ Teela Na/Lord Masque
*Play-Sets ~ Snake Mountain/Fright Zone *Vehicles ~ Roton/Land Shark *Beasts ~ Night Stalker/Stridor
Faker, Multi Bot.
Very tough choice between the 3 released. I chose Photog because he reminds me of the Fugitoid. (I think of Jey as having had his mind transferred into his Photog Emulator robot rather than having physically merged into one entity.)
As for unreleased, while I would love to get them all in MOTUC, my vote went to Blast-Attak. I loved that toy as a kiddo and recall horrifying my grandma when I exploded him in front of her!
Not to sound like a creepy cheerleader for Uki, but it's nice to know there is at least one person on this forum who is extremely positive & friendly all the time. I don't think I could be that nice even if you paid me. If we ever give out awards for "forum member of the month", Uki gets my vote. -Mr. Shokoti
Jungle Attack He-Man in Classics!
Faker and Evil Robot...
"Wheresoever on earth he dwells, man is prey to two weaknesses: the need to pray and the need to love."-Marquis de Sade
"It is not by reasoning or by our understanding that we have received our religion; it is by external authority and command."-Michel De Montaigne
Heretical Vintage Purist and Non-Fan Extraordinaire!
I voted for Roboto and Blast-Attak.
"Oh Lord, Bless this M&M... and the mighty cockroach I slain in battle to get it." - Al Bundy
It's funny, I always thought Faker was more well-loved than Roboto. Guess I was wrong.
blast attak,faker, artilla
Faker is my favorite MOTU robot by far. His classics release is solid (that most 2nd wave figures are better than him show what strong versions the 4H did for the second wave).
Grayskull robot is my second favorite. I have mixed feelings over what I have seen of the robot prototype.
Faker & Dylamug...his voice is one of the creepiest in the motu universe
Turn Mermaid Speculation Into Mermaid Support
Where's the fish!!??
Sy-Klone is full robot with human consciousness, like Extendar which is who I would choose if on this poll.
Cy-Chop is a cyborg, like trap Jaw and Man-E-faces. Fair enough to leave them off. I like the "No squishy bits allowed" rule
Hordak and Hordeprime are probably both more machine now then "men", but we know they have a "soul", even if it is black as pitch.
Optikk is an sentient Eyeball Driving a headless robot...[I love typing that sentence!]
Last edited by LORD FALLEN ELDOR; May 2, 2013 at 12:19am.
"Teacher, which is the greatest commandment in the Law?" Jesus replied: " 'Love the Lord your God with all your heart and with all your soul and with all your mind.' This is the first and greatest commandment. And the second is like it: 'Love your neighbor as yourself.' All the Law and the Prophets hang on these two commandments" (Matthew 22:36-40).
I want the Evil Robot!
Quote the Raven, Nevermore.
It can't rain all the time.
"Live the journey, for every destination is but a doorway to another."
The Fearless Photog!!!
If I was a kid he'd be my favorite too.
Wish List: Eldor, Skeleton Warriors, King Argho, Horde Wraiths, Kobolds, Prahvus, Lord Masque, Rock Monster, Gen. Tartaran, Evil Seed, Carnivorous Plant, Lizard-Man, Hawke, Crimson Fury, Melaktha, Spinwit, Ra-Jarr, Kelclar, King Miro, Dare, Missile-Toe, Sh'gora, Vizar, Harpy, ABC Giants, Lodar, Dragoon, Darius, Negator, Masks of Power Demons, Slob-Boar, Bubblor, Three-Beast, Nocturna
I thought both Sy-Klone and Extendar were cyborgs. Sy-Klone's bio mentions him having Gar ancestors, which implies some kind of lineage. I may very well be wrong though. I don't know much about Extendar other than I loved the figure as a kid. I was under the impression he was a living person that Hordak heavily experimented on with parts similar to Mekanek's neck. If that's true, between him, Snout Spout, and Dragstor there's going to have to be some kind of support group for people horribly mutilated by Hordak
I voted for Faker, but I also want the never released "Horde Robot". I'm sure with some 4H-magic he'd be awesome!
Maybe Marzo as an archenemy was the biggest thing to happen to Mekaneck, but as far as Marzo was concerned...it was Tuesday.
Faker. I have always been a fan of Faker for whatever reason.
I've been banned! twice now!!!!
Look out for a new forum where it's an adult community for the MOTU brand and other toylines. Coming soon!................
Follow me on Twitter
My feedback threadhttp://www.he-man.org/forums/boards/...or-Brian-Ozone
Faker, hands down for me.
Recent....Sea Hawk & Geldor
Wanted....Grizzlor, Modulok, Glimmer, Filmation Hordak & Clawful
Needed....Dragstor,Two Bad & Attack Trak
Oh man, did I forget to use these [sarcasm][/sarcasm] again? Sorry....
How is BLAST ATTACK beating out Dylamug!?
Dylamug is wayyyy more interesting a character.
Incidentally I voted for Artilla lol... I like that character a lot.
A Want List of Sorts: Veena, Double Trouble, Lodar, Lizard Man, Blast Attack, Tung Lasher, Perfuma, Sweet Bee, Imp, Red Eye, Filmation Kowl, Arrow, Gwildor, Madame Razz & Broom, Angella, Eldor, Entrapta, Huntara, Mantisaur, Stridor, Night Stalker, Dree-Elle, Uncle Montork, Vultak, ... and all the other POP & NA characters.
Photog (wha..?) and Blast-Attack.
I chose Faker and Blast-Attak. Though I really want to see Artilla.
Proud supporter of the Snake Men.
Most Wanted: Slave Girl, Eldor, Spinnerella, Mermista, Peekablue, Crita, Lizorr, Tyrantisaurus Rex, Battle Ram, Great Black Wizard.
Most Wanted for Filmation Sub: Madame Razz with Broom, Lord Masque, Ileena, Granita, General Sunder.
No Slave Girl? Watch us hurl!
A barbaric world without slave girls? That's truly barbaric!


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Volcom Gear
Volcom Accessories
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It's a good week to be J.J. Abrams
There might be a few different droids in J.J. Abrams' future.
In addition to reportedly signing on to direct "Star Wars Episode VII," the "Star Trek" director will also have a presence on the small screen with a new sci-fi pilot.
According to The Hollywood Reporter, Fox has ordered Abrams' untitled buddy cop show about police officers who are partnered with highly evolved androids.
"Fringe" executive producer J.H. Wyman will write and executive produce the series, which is set in a near future, THR reports.
Despite Abrams telling Entertainment Weekly in November that he turned down the opportunity to direct the next installment of "Star Wars," the publication has confirmed The Wrap's report that he will, in fact, helm the anticipated film.
Copyright 2013 by CNN NewSource. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.


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Cytomegalovirus (CMV)You Can Prevent Cytomegalovirus (CMV)What is CMV?CMV, or cytomegalovirus (si-to-MEG-a-lo-vi-rus), is a virus that is found in all parts of the world. What causes CMV?For someone with HIV or AIDS, CMV can cause retinitis (blurred vision and blindness), painful swallowing (dysphagia), diarrhea, and pain; weakness; and numbness in the legs. How is CMV spread?CMV spreads from one person to another in saliva (spit), semen, vaginal secretions, blood, urine, and breast milk. You can get CMV when you touch these fluids with your hands, then touch your nose or mouth. People can also get CMV through sexual contact, breastfeeding, blood transfusions, and organ transplants. What are the symptoms of CMV?
Comment on this
A blood test can tell you if you have CMV, but this test is not commonly performed. CMV doesn't always cause symptoms. When they first contract CMV, some people have:
But these are also symptoms of other illnesses, so most people don't know it when they get CMV. Patient CommentsViewers share their comments |


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Welcome to CowboysZone! Join us! Come on! You know you want to!
You cannot post in the chat room because you have not posted enough in the forums!
Fox assigns Brennaman and Billick as new #2 announcing team for Fox playoff coverage
Discussion in 'Fan Zone' started by WoodysGirl, Jan 11, 2013.
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Video above is from another passenger aboard the ship
COLORADO SPRINGS, COLO. -- A Colorado Springs woman aboard the Disney Fantasy, a cruise ship that got caught in the outskirts of Hurricane Sandy over the weekend, shares some remarkable photos.
Kelsey Prescott said her and many of the passengers aboard the Disney cruise survived a 12-hour ordeal in the atrium of the ship during a period winds were close to 80 mph and waves were 50 feet high.
"These huge displays (in the gift shop), which happened to be on wheels were rolling, and all of the mugs were smashed," Prescott said. "We were seeing merchandise just everywhere, some of it was loaded up against the windows of the gift shop."
While there was significant damage to the inside of the ship, nobody on board was hurt.
"You really felt like you had to hold on to something to keep from rolling or falling to the other wall, it was that intense, the boat had tipped so far to the side," Prescott said.
Prescott said the cruise was scheduled to go up the eastern coast of Florida and said the captain likely caught up with the storm when it idled to about 6 mph.
"We stayed in the atrium till five in the morning, all night and we did not sleep, we were to scared," Prescott said.
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The latest victim of the Affordable Care Act delays: small business owners.
Although the federally-run marketplaces will launch this upcoming Tuesday, small businesses won't be able to enroll online until November. Instead, they'll be forced to sign up via fax or paper mail, according to a U.S. Health and Human Services Department official.
After months of assurances that the federal government would meet its own Oct. 1 deadline, the Obama administration acknowledged the delay on Thursday.
In a press release, the health department noted that "all functions" of the small business exchanges "will be available in November." In other words, it won't all be ready by October.
The business exchanges, also known as the Small Business Health Options Program, are meant to provide an easier and cheaper venue for business owners to shop for health insurance for their employees. It's supposed to offer entrepreneurs a single website where they can compare similar health plans. The system is designed to lower premiums by grouping many small business employees together -- something the insurance industry describes as pooling risk.
However, business owners shopping on the exchanges will find their options limited in the first few weeks. For example, they'll be able to peek at health plan overviews but won't see details, like accurate estimates of premium costs.
Businesses won't be made eligible for plans on the exchanges -- or federal tax credits -- until November. However, health officials say they're sure health law coverage will be up and running by January, as mandated by the 2010 Affordable Care Act.
While these delays will affect the small business exchanges, they won't apply to individual exchanges -- the marketplaces where people can shop for their own insurance. It's a distinction some find confusing.
Senior Obama administration officials offered no explanation for the delay, but said they want to make sure the exchanges function correctly -- especially because they expect glitches. Officials minimized the importance, saying they don't expect many people or businesses to enroll right at the start anyway.
Critics of the health law were quick to jump on the issue as yet another sign that health care reform is fraught with problems. Missouri's Rep. Sam Graves, who leads the House Small Business Committee, hopes it will help convince others to join him and fellow Republicans in their latest attempts to repeal the law.
"This delay matters because it is another sign that serious glitches remain and it leads to more and more confusion and uncertainty for many small businesses about compliance," Graves said in an email.
Still, some question the significance of the delay, saying that few businesses plan to use the SHOP exchanges anyway, and will go through brokers instead.
"People will continue to use brokers because it's the same cost, and you get a broker's knowledge, expertise and experience to guide you through buying insurance," said Timothy Finnell, a health care broker who services small businesses in Tennessee.
The enrollment delay is the latest in a series affecting the health law's implementation. In April, the Obama administration decided to narrow the scope of the SHOP exchanges. In 2014, businesses that turn to the exchanges will be limited to choosing a single plan to cover all their employees. It'll be another year before they can put employees on different plans.
Then in July, the administration pushed back the employer mandate. Previously, companies with 50-plus full-timers had to start providing coverage in 2014 or face penalties. Now they have until 2015.


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Blowout Cards Promotions! (And Other FREE Giveaways!) Try to Win a FREE Box of cards & other awesome free giveaways, contests, and promotions! |
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08-08-2012, 11:30 AM | #1 (permalink) |
Blowout Cards 2012 PGA Championship Golf Promo! (CLOSED)
Blowout Cards 2012 PGA Championship Golf Promo! Who's Gonna win the 4th major ??? It's time to find out! THE PRIZE: 2003 Upper Deck SP Game Used Golf Hobby Box! Here's the PROMO: 1) PICK the WINNER of the 2012 PGA Championship 2) PICK the WINNING SCORE The First post with the correct entry (# 1 and # 2) will receive a box of 2003 Upper Deck SP Game Used Golf! BONUS: 1st Post to correctly pick the Top 3 finishers in the correct order will receive a 20 Box CASE of 2003 UD Golf Retail ! Here's a list of players in the field: 2012 PGA Championship field - Golf 1) Rory Mcilroy 2) -6 Bonus: Rory Mcilroy, Nick Watney, Padraig Harrington Rules: 1. No Purchase Necessary to participate 2. The First Post with the correct entry will each receive the Prize! 3. Your entry must be posted in this Thread to participate. 4. All picks must be submitted by 12 PM Noon EST on Friday, Aug 10th, 2012. 5. You must notify us via email at email@example.com of your correct entry by 1 pm on Monday, 08/13/12. (Once informed, we will check your post in the thread to verify) 6. You are not allowed to edit your post or your submission will be automatically void and your entry will be disqualified. We reserve the right to alter, cancel or change this challenge at anytime for any reason 7. Only 1 entry per person 8. Most importantly....HAVE FUN ! Thanks again for your continued Business and Support ! Chris Thank you all for participating in our Blowout Cards 2012 PGA Championship Golf Promo! 2012 PGA Championship Winner - Rory McIlroy -13 Top 3 Finishers were: McIlroy - 13 Lynn - 5 Rose, Bradley, Poulter, Pettersson -4 The 1st post with the correct guess was Post # 112 (jlzinck). Please email us at email@example.com for your FREE Box of 2003 Upper Deck SP Game Used Golf! Stay tuned for many more Great Promos from Blowout Cards ! Thanks Chris
Shop all of the Holiday Madness Deals Here! Last edited by blowoutcards2; 08-13-2012 at 07:32 AM. |
08-08-2012, 11:37 AM | #6 (permalink) |
Tiger Woods
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08-08-2012, 11:37 AM | #7 (permalink) |
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PLEASE don't ask me "what's your lowest price." If I list a price and say OBO.....then make an offer. Homepage, which is ALWAYS up to date. http://mysite.verizon.net/vzeyb3w3/cleescardsampstuff/ |
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08-08-2012, 11:52 AM | #18 (permalink) |
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-3 Bradley, charley hoffman, bubba watson
http://s1152.photobucket.com/albums/p493/newyorkmetsfan866/ I collect METS, KNICKS, PENGUINS, DOLPHINS, FLORIDA GATORS, UCONN HUSKIES PC: Tim Tebow, Rudy Gay, David Wright, Mike Piazza, Kemba Walker, Lamar Miller |
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Intel CEO Paul Otellini said this week his successor will likely be tapped from within the company when he retires this May.
Speaking at a Sanford C. Bernstein conference Wednesday, Otellini said on-boarding an external candidate would eat up too much of Intel's time, as it would take the new CEO years to fully grasp Intel's culture.
"In this environment, why take the risk and take the time?" Otellini said, according to a report from Bloomberg. "So my sense is that they will stay inside."
[Related: Report: Apple Considers Replacing Intel Chips In Macs]
That said, Otellini also noted that his successor is not ultimately chosen by him, but by Intel's board of directors. "It's not up to me, but I think that's the most likely outcome," he said, adding that he feels "very comfortable" with the internal candidates being considered for the CEO role.
Otellini shocked the tech world last month when he announced his plans to retire in May, after eight years at Intel's helm and almost 40 years at the company. When he retires, Otellini will be 62, or three years younger than Intel's mandatory retirement age.
According to an interview Intel Chairman and former CFO Andy Bryant held with Barron's last month, Otellini's retirement in May will come much sooner than the chip maker had hoped. Bryant said he tried to convince Otellini to keep the CEO role for at least another year, but Otellini was adamant about handing off the reins.
"After almost 40 years at Intel, and the Intel CEO job for eight years, which is a really hard job, [Otellini] felt it was time to move to the next generation of leadership," Bryant said in the report. "We do have big issues in front of us, moving to the tablet and phone markets, and he was ready to let the next generation lead those battles."
Intel solution providers also emphasized the importance of Intel's new leader being able to push the chip maker into the mobile market, especially as PC sales continue to slide.
Intel hasn't disclosed which internal candidates are being considered for the CEO role, but COO Brian Krzanich and CFO Stacy Smith are likely in the running.


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Hello, I have an old water radiator system in my place, which hasn't been used in about 20 years. The former tenant put in a central gas heater system about 20 years ago. I want to remove the radiators (there are 3, 2 are about 2' tall by 2 ' wide, the single is 2' tall by about 1' wide). There is also a gas boiler unit in my kitchen I'd also like to remove. First off, how do I drain the water out of the system? There is a water valve right behind the boiler and it appears to be turned all the way clockwise. I tried to remove one of the unions on one of the radiators with a drip pan and a 16 gallon shop vac. The water doesn't appear to be stopping, since I've already emptied the shop vac twice. Is there some other way to purge the water? Is there some valve in the basement I'm missing? | |||
#1 Is this a property you own, or are you renting? joecaption | ||||
if the property is yours. 1st...TURN OFF GAS 2nd....DISCONECT ELECTRICITY do not go another step forward till those 2 things are done... you need to find the "make up water" valve. find your main water line. trace it with your eyes, find the tee that branch's off and ties into your heating system there is a valve at that junction turn valve to the left. depending on how old the valve is, the gate on the inside may or may not stick and break off at the lowest point in the system, crack open a union or open a valve and drain system into a floor drain.. even thou you have drained it, it will still have water traped in pipes, demo what you want to demo then. if you plan on bringing system back on line call a plumber to ck out the old/new system for water/gas leaks and public safety concerns it will take a license to turn it back on once a old system has been remodeled, it has to be brought up to code. there are new safety controls that will have to be added./ or the gas co. will shut you down https://www.youtube.com/watch?v=vn7bkncf1_E | ||||
I will disagree a little with Frodo... once you start taking out significant portions of a gas or oil boiler heating system, it's time to take the whole thing out. as he pointed out, you may be compromising an old make-up valve by actuating it. you will also compromise the load the boiler is designed to feed by removing a significant part of the plumbing and radiators. I'm no expert in this multi-level licensed field, but I'm going to throw out the figure "10 percent" and stand my ground on it. the entire system needs to be re-evaluated by a competent, licensed, bonded contractor beyond that point. it may need adjustments to any pressure-balance or statis tanks, temperature adjustment on the boiler... or it may become too overpowered for the load and risk failure. sig: if this is a new economy, how come they still want my old-fashioned money? | ||||
swschrad. i agree with you 125%, i guess i didnt make my point clear, when i said it will take a licence and new safety controls added and that it SHALL be brought up to code. [shall means it will or it will not pass inspection] i sometimes dont realise that by saying a license will be needed the average op dosent understand plumber speak for..pull a permit, hire a plumber, have it inspected. pay $ my bad.. thanks https://www.youtube.com/watch?v=vn7bkncf1_E | ||||
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Each episode of this TV series depicts a short, strange tale…with a twist! With eerie stories vaguely reminiscent of 'The Twilight Zone,' viewers learn to appreciate that things are often not as they seem. The usual plot formula is comprised [...]
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Stephen Biro is the President of Unearthed Films, the world's foremost purveyors of DVD extremes. Since its launch in 2001, Unearthed Films has given the Western world such classics as Aftermath, Slaughtered Vomit Dolls, and This Hollow Sacrament. Unearthed Films [...]
Book Review: Brew - Author Bill Braddock
December 10th, 2013
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Book Review: The Summer Job - Author Adam Cesare
December 8th, 2013
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November 17th, 2013
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Muse Lyrics. All songs by Muse
Hello and welcome to ringtones and lyrics website Audiko.net. Here are all available Muse lyrics by represented in the album order. We can offer you 32075 song lyrics including 25 by Muse including the latest mega hits such as Follow Me, Supremacy or Feeling Good. If you want to make a cover version|sing it at home you can choose among lyrics listed here. Being fans of Muse and Alternative Rock, we have collected and checked all available texts here at Audiko. Together with lyrics you can download the ringtone of Follow Me or Supremacy for free.
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Black Holes And Revelations 2006
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- The Groove
- Thoughts Of A Dying Atheist


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Coffee - Past The Best-Buy Date
Hmmm.. We don't know why, but these coffees and drinks just didn't sell as expected and they are now past their best-buy date and discounted for your benefit!
Coffee roasters always want customers to get the very best possible taste and full flavor of their products. Controlling roasting process parameters and carefully sealed packaging are all part of their efforts. Whether it's a vacuum sealed bag, a sealed tin, or a special single serve container the roaster determines a date when the coffee will still be at peak flavor. Coffee or packaged drinks used beyond their best-buy date are safe to drink, but some of the flavor may be lost. For more information check out definitive statements at the Shelf Life Advice website.
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This product is now past the best-buy date and discounted accordingly. Tassimo T-Disc Gevalia Kaffe Colombia Coffee is described by Tassimo as "Medium Intensity" Smooth, rich and never bitter. Made with 100% Colombian beans. The package includes 14 Gevalia Kaffe Colombia Coffee Tassimo T-Discs. Each T-Disc makes a 11 fl oz cup of coffee. How to: Place a (12 fl oz) mug on the cup stand. Insert the Gevalia Kaffe Colombia Coffee Tassimo T-Disc into...
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Tuesday 10th of December 2013
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