text:
Firm News 01.29.2019
Former General Counsel for Sanford Health Joins Fredrikson & Byron's Fargo Office
Attorney Beverley L. Adams has joined Fredrikson & Byron's Employment & Labor, Litigation and Health Law Groups as of counsel. Adams represents employers and executives in the full range of employment-related matters and litigates in federal and state trial courts in North Dakota and Minnesota.
Through her private practice and in-house experience, Adams thoroughly understands the legal demands and challenges facing employers. She regularly provides guidance on items such as employment investigations, disciplinary matters, employment contracts and union labor negotiations.
Additionally, she brings a depth of health care law experience. Adams advises health care providers, clinics, hospitals, long-term care facilities and other health care organizations on patient care/HIPAA, physician employment contracts and compensation, medical staff bylaws and malpractice litigation management.
Prior to joining Fredrikson, Adams was the Senior Issues Management Advisor and served as General Counsel at Sanford Health, the nation's largest rural nonprofit health care system. In this role, she served as the leadership team's legal advisor on employment issues and as the organization's public policy advisor for North Dakota and Minnesota.
Fredrikson & Byron is a 275-attorney law firm based in Minneapolis, with offices in Bismarck, Des Moines, Fargo, St. Paul, Saltillo, Mexico, and Shanghai, China. Fredrikson & Byron has a reputation as the firm "where law and business meet". Our attorneys bring business acumen and entrepreneurial thinking to work with clients, and operate as business advisors and strategic partners, as well as legal counselors. More information about the firm is available at www.fredlaw.com. Follow us on LinkedIn and on Twitter @FredriksonLaw.
Media Contact: Kelly Griffith, 612.492.7514, kgriffith@fredlaw.com.
Kelly Griffith
kgriffith@fredlaw.com


Its a stock market index which takes into account 817 stocks across 21 emerging market economies. It covers approximately 85% of all the emerging market economies based on the free-float method.
So, yeah. Its one of the broadest indices out there on the emerging markets.
It comes in many flavors as far as the currency denomination is concerned. Two of the popular ones are the dollar denominated MSCI EM index and local currency denominated MSCI Emerging markets index. Here local currency refers to the individual currencies of the constituent countries.
For my article, I'll be taking the local currency denominated MSCI EM index.
Its the benchmark large cap index of the Indian stock market. It takes into account the largest 50 stocks and covers almost 70% of the free-float market cap of all the stocks listed on the exchange.
Its also important for an investor/trader as most mutual funds measure performance (alpha) with respect to it. There are also a lot of derivative contracts worth hundreds of millions of dollars linked to it. So, the index assumes a larger importance even though its not a broad based one.
The Indian component of the MSCI Emerging markets index is pretty small actually – at around 6.4% (August 2012) but still it seems to have a high correlation with the EM index.
To measure the historical correlation – I have taken the 300 day exponential moving average of the 20 period historical correlation of the MSCI Emerging Markets index with respect to the CNX Nifty. A correlation of over 0.7 is considered pretty good.
It turns out the historical correlation comes to around 0.71 which indicates a high degree of correlation.
Technically as well, we can see a lot of patterns on both the charts to be pretty similar.
Knowing the high correlation between these two indices can be pretty useful.
Important and sustainable trends usually seem to occur together on both the indices.
So, for example the break of an important support (such as the 5400-5500 support of the Nifty in August 2013) was not confirmed by a similar break in the MSCI EM index and as one can see, the market just retraced the move completely and now both the indices appear to be in synch again.
As the markets open up more and more to the outside world, they also seem to act in a more correlated fashion. What effects one part of the world no longer is confined to that region alone.
For now, most emerging markets appear to be in a synch with a few differences. There doesn't seem to be as much correlation with the developed economies but as time passes, that gap might close up as well.


Award-winning writer-director Karen Lam (Ghost Wars) discusses cannibal fairy-tales, transitioning from being a lawyer to a creator, and DIY filmmaking. Check out Karen's website for more information about her current projects.
SB Edwards (Travelers) discusses her upcoming feature film Fall Back Down, attending art-school in New Zealand, and the ups-and-downs of working in TV. Check out SB's website for more information about her current projects.
John chats with Jennifer Siddle (Some Assembly Required) about web-series Plaid Men (the lost season of Mad Men), first jobs, Letterman, and the West Edmonton Mall – all while avoiding any mention of the Oilers.
Natty Moher (Some Assembly Required) talks about writing his first TV script as a 12 year old, shooting your own TV pilot, and making the transition from comedy to drama.


So this weekend has been a celebration weekend if you will because my sister and her boyfriend both finished university and they got their results back sometime last week. They both did exceptionally well and I am so proud of them. Therefore I thought I would snap a picture of the amazing champagne bottle that we shared.
Are you taking part in the 31 day snap challenge? If so what have you taken today?


text:
Han Hye-jin explains her relationship with the footballer
Han Hye-jin
Actress Han Hye-jin clarified the rumors regarding her relationship with footballer Ki Sung-yeung yesterday as many questioned when the two started dating after Han announced her breakup with her boyfriend of nine years.
She did not say much in details but denied the charge that the two relationships might have been overlapped.
"I've never made any decision that may hurt anyone," said Han on her twitter yesterday.
"However, it is true that [some] may feel the term between the breakup and the new relationship was short, so I'll take blame for that."
She also clarified that she and Ki never arranged any formal meeting of their parents to discuss their marriage.
"We are serious about our relationship, but we have not discussed anything in detail," said Han.
"If the wedding announcement was on the way, we would want to announce by ourselves, and I think that's the right thing."
By Lee Sun-min [summerle@joongang.co.kr]

redpajama_set_name: RedPajamaCommonCrawl


Low running cost, low energy consumption, environmental protection, low carbon emission and green.
Low worker involvement, low manpower intensity.
Mould: use CR12 and other special mould steel materials, after forging, milling, cutting, grinding, carving and quenching, the mould has high accuracy, strength and abrasion resistance, wear well and no distortion.
Molding: mix the materials together with proper ratio, and then the mixer mix them into paste and make sure they have good liquidity, the products after pressing have high density and strength.
Product: by changing moulds, tiles in different sizes and types can be produced.
Feeding system: the doser used the pneumatic sensing drive technology, with air cylinder the mixer feed and graduated cylinder ration. the feeding has high accuracy and low error.
Control system: computer control and display system, the control system adopt Mitsubishi or Taida PLC system, integrate mechanical and electrical hydraulic pressure and pneumatic, make the whole system automation degree high and good handing. Easy to learn and use, just giving workers simple training.


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Characters, Characters Represented by Hiyama Kiyoteru, Humans,
キリル=クロックワーカー
Kiriru Kurokkuwaakaa
Kiril Clockworker was a clockworker of the Magic Kingdom Levianta, the fiancé of Elluka Chirclatia, and the older brother of Irina. Created by Seth Twiright from the "reset" Pale Noël, Kiril became an artisan for the Clockworker Family. After Elluka cured him of his Hereditary Evil Raiser Syndrome, the two became engaged and lived happily together with Irina for a time.
1.2 Project 'Ma'
1.3 Catastrophe
1.4 Castaway of Time
After Seth Twiright transferred Pale Noël's soul into a new body and reset his memories, Pale took on a new identity as Kiril Clockworker.[1] Kiril thus became part of the Clockworker Family as a music box craftsman and lived in Lighwatch, gaining fame as the "Clockworker."[2] At some point, Kiril realized he suffered from Hereditary Evil Raiser Syndrome and began resisting his urges to commit malicious deeds against others.[3] Later on, his family received a second ghoul child, Irina.[4] As the girl grew up, she began assisting her brother in creating music boxes in his work.[5] Sometime during the first decade in the Evillious Calendar, Kiril met the local priestess, Elluka Chirclatia, and he fell in love with her, the priestess curing him of his HER symptoms.[6]
When Elluka was expelled from the temple for misconduct, Kiril accepted her as his assistant and they began living together, the two became engaged.[2] Afterward, to express his wish for a happy future for them all, Kiril crafted a music box that played the Clockwork Lullaby's melody, which he gave as a gift to his fiancée and little sister.[7]
Project 'Ma'[edit | edit source]
After Elluka and Irina were selected as two of the potential candidates for the seventh Project 'Ma' in EC 013, met the director of Project 'Ma', Seth Twiright. Noticing their resemblance, Seth claimed to be a ghoul child like him, convincing Kiril he was likewise freed of Hereditary Evil Raiser Syndrome and trying to save the country from the rampaging HERs through the project.[2] Later on, Kiril witnessed Irina stab Elluka in the back and,[8] devastated, discovered she was a HER.
After Irina was accepted as a project despite the revelation she was a HER, Kiril began suspecting Seth and despaired over their loss;[2] around the same time, the music box he crafted broke. Kiril later attended the ceremony celebrating Irina's coronation; as Irina presented herself as the new Queen before the public on the temple altar, he held a knife under his cloak.[9]
Catastrophe[edit | edit source]
About six months later, Kiril lamented the tragic situation he was in before hearing the voice of what he thought was his beloved Elluka, not knowing that it was Levia pretending to be her. Levia instructed him to resurrect her with Sin and restore everything. Desperate, Kiril took Elluka's corpse and covertly carried her to the forbidden ark in the temple as the voice instructed.[2] He then cast the Clockwork Secret Art Elluka's corpse, causing it to regenerate. He also cast it on Sin to reverse its time and make it usable, placing his beloved's body in the ark.[10] Unwittingly, Kiril's genetic relation to Seth also allowed him to activate the Black Box Type L within the ark, as Levia hoped all along.
Despite this, the Black Box soon malfunctioned from previous damage and its misuse, causing a massive explosion that destroyed the Magic Kingdom around them.[11] Mortally injured, Kiril was left unconscious in the rubble when the dragon body of Levia-Behemo scooped him up in one of its mouths and flew out of the temple.[10] After the dragon destroyed the kingdom before falling apart, Kiril survived and remained in the ruins.[8] Thanks to the events of the Catastrophe he was also, through some means, given all of Seth Twiright's memories.[12]
Castaway of Time[edit | edit source]
"Alice's prophecy. I must ascertain the truth of that. For that is the mission for my atonement that was assigned to me."
―Kiril[src]
To atone for what he'd done, Kiril set about to fulfill the mission of ascertaining the truth of Alice Merry-Go-Round's prophecy. To this end he began creating music boxes that could turn gears of "karma",[13] planning to make twelve in all.[14] As he began to create these music boxes, he learned about the future of the world through their songs, such as the future of his sister Irina following the Catastrophe.[15]
He was later found by the sun god of the Third Period, TALOS. As TALOS initially regarded Kiril as a threat due to the Catastrophe, he attempted to control him, only for Kiril to repeatedly outwit him using his knowledge gained from Seth's memories. The sun god eventually gave up trying to control him and, with TALOS help, Kiril was able to incorporate a Black Box system into the music box he was creating.[12] Over the course of his work, Kiril and TALOS would continue to exchange e-mails with each other.[16]
As time went on, Kiril headed out to the mysterious land of Angolmois to continue his work.[17] As he worked on his fifth music box there, he learned about how Levia was now inhabiting his beloved Elluka's body as "Elluka Clockworker", enraged and grieved by the revelation.[18] As the years went by, Kiril continued his work, proceeding with the compactification of the BB system and acquiring new components for his music boxes,[19] slowly gaining understanding of the world and of Alice's prophecy. As part of that, he determined that Levia would be the one to destroy the world.[20]
Having determined the world's destroyer, Kiril set about trying to determine its savior. In the middle of this, he was interrupted by the arrival of his beloved, Elluka Chirclatia,[21] sent to him in Angolmois by TALOS. Overjoyed with their reunion, Kiril listened in peace to the ninth music box, another one regarding Elluka Clockworker, determining with the real Elluka that Levia could also become a savior if she could regain her humanity.[22] Sometime after their reunion, the two were also finally married.[23]
Over the next two music boxes Kiril learned more about two other "saviors" at the end of the world, Banica Conchita and Irina, contemplating on the imperfect "salvations" they offered.[24] As he was on the cusp of creating the final twelfth music box, the Third Period was destroyed and then saved by Allen and Riliane, leaving Kiril's work incomplete. Later he received an e-mail from TALOS commenting on the state of affairs, suggesting Kiril go meet with any remaining souls in the Third Period he wished to see again or go to the new Fourth Period Allen and Riliane created.[16]
While in Angolmois with his wife, Kiril heard the singing of the other souls as they also prepared to move on to the Fourth Period. He then watched as the gears in the unfinished music box began turning of their own accord, and concluded that he hadn't needed to make them in the first place to make the gears of "karma" turn. Despite this, he resolved to finish the music box to accompany the singing. As he did, however,[25] he had a revelation that there were more than just twelve music boxes to be made. He wrote an e-mail to that effect to TALOS, explaining he was leaving Angolmois with his wife and that he would continue to make music boxes as long as songs existed for them.[23] Afterwards, Kiril and Elluka presumably went out together for parts unknown.
After the twin gods Levia and Behemo incarnated in Elluka's body, thanks to Kiril's usage of Black Box Type L, Levia's amnesic consciousness believed herself to be his beloved. Believing him to be among the many losses incurred by the Levianta Catastrophe he unwittingly caused, the immortal took up the name "Elluka Clockworker" in memory of their engagement and grieved over him during the succeeding centuries.[10]
The surviving Irina blamed Elluka for the catastrophe and her loss of a human body, continuing her rivalry with the fake under the impression she was the same Elluka who took her brother away from her.[2] The Catastrophe was historically labeled as an accident caused during an experiment at the royal institute,[26] and Levianta remained a ruined wasteland for nearly three hundred years before finally being resettled.[27]
Despite being a HER, Kiril was a kind and optimistic man, well regarded by his peers and caring for his family.[2] Resisting his malicious impulses until eventually being cured of his condition,[3] Kiril hoped for the salvation of the Magic Kingdom Levianta and believed in the good intentions of those around him, such as trusting Seth Twiright's intentions and believing his sister Irina was different from other Ghoul Children.[2] Similarly, after Levianta's destruction, he dedicated himself to atoning for his role in it by helping the world with his karmic music boxes.[13] He seemed to develop a fascination with the fate of the world and a fondness towards many of its inhabitants, particularly at the world's end.[14]
Despite this, Kiril was aware of his dark past as a Ghoul Child and the common tendency for others of his kind to cause havoc.[2] He himself allegedly rampaged through Levianta in his bid to revive Elluka,[6] and displayed a seemingly vengeful side towards his sister and,[9] later, Levia after his beloved's death.[18] Despite this, unlike most HERs Kiril had the capacity to forgive, still regarding Irina as his beloved sister and even forgiving Levia after Elluka was returned to him.[14] In addition, Kiril showed a stubborn streak after Elluka's death in regards to TALOS' attempts to control him,[12] as well as a pragmatism in keeping a gun on hand in case of intruders.[21]
Gifted with strong magical potential, Kiril was able to perform the powerful Clockwork Secret Art and use it rejuvenate aged magical devices. Being a clockworker, he was similarly skilled in creating and maintaining magic tools.[10] His skill also extended to being a general artisan, becoming well known among his peers for the music boxes he crafted;[2] after the Catastrophe he began making music boxes which themselves could serve magical tools, through which Kiril was able to monitor the fate of the world around him.[13]
Being a clone of Seth Twiright, Kiril shared Seth's impressive intellect; at the same time, he shared the scientist's poor eyesight and needed to wear glasses.[4] However, unlike Seth, Kiril had the willpower to resist his darker nature as a HER.[3] He was also one of the few humans capable of hearing the voices of Levia and Behemo from within the Sin ark, allowing him to communicate with the twin gods;[10] he also, having the DNA of one of its crewmembers, was one of the few people that could use the technology of the Sin.[11] Following the Catastrophe, Kiril somehow gained all of Seth's memories and employed the knowledge he used to great effect.[12] Due to his unique experience, Kiril was able to exist in Angolmois for hundreds of years as he worked.[14]
Elluka Chirclatia: Kiril's fiancée. Coming to love Elluka deeply, as well as owing to her his being cured of HER, Kiril cared for and trusted Elluka enough for the two of them to work together in his shop after her expulsion. Kiril was thrown into a despair after Elluka's death and desperate to get her back; similarly, after the Catastrophe his rage at Levia was only cooled after Elluka was returned to him, and the two lived happily together once more.
Irina Clockworker: Kiril's little sister. Kiril loved and trusted Irina, believing her to be different from others of their kind and not able to succumb to the malice of other Ghoul Children. After her murder of Elluka, Kiril realized her true nature and was inconsolable, questioning the legitimacy of her candidacy to save the kingdom, and even attempted to kill her sometime after the event. Despite this, Kiril returned to loving her and continually monitored her fate, saddened by the incomplete nature of her "salvation" in the end.
Levia: A god who impersonated Kiril's fiancée. As Levia initially tricked Kiril into believing she was his beloved Elluka and caused him to facilitate the Levianta Catastrophe, Kiril was embittered towards Levia and filled with overflowing rage when he learned that she had incarnated into Elluka's body. After being reunited with Elluka and watching Levia regain her humanity as "Elluka Clockworker", Kiril's feelings towards her softened considerably.
Seth Twiright: Kiril's creator. Kiril originally believed that Seth was a Ghoul Child such as himself, and trusted the passionate director of Project 'Ma' as one of the few Ghoul Children to not cause destruction in Levianta. Following the death of his beloved and watching his HER sister be given the crown for the country, the clockworker reluctantly began to believe that even his motives were suspect. After gaining Seth's memories, Kiril used his knowledge for his own purposes.
TALOS: Kiril's later partner. Kiril had a partnership with TALOS that began from his own stubbornness and resistance to being controlled by him, but which later turned warmer. The two exchanged e-mails and Kiril accepted his help with the construction of his karmic music boxes, as well as being genuinely grateful to the god for returning Elluka to him. By the end of the world the two were on good terms, although Kiril realized that Sickle was as of yet still hiding things from him.
The name Kiril is a Slavic derivative of the Greek name Kyrillos, meaning "lordly" or "masterful"; Levianta, his native country, is inspired by Russia.
Kiril's name is partially based off his representative Vocaloid, Kiyoteru, with both names sharing the first two letters.
Kiril as he appears in Ma Survival
Ma Survival (appears in PV)
Recollective Musicbox (first appearance)
Deadly Sins of Evil: The Lunacy of Duke Venomania (mentioned only)
Deadly Sins of Evil: Fifth Pierrot (mentioned only)
↑ Original Sin Story: Crime – Epilogue
↑ 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 Original Sin Story -Act 2-
↑ 4.0 4.1 Deadly Sins of Evil: Fifth Pierrot – Part 2, Chapter 2
↑ "Recollective Musicbox" – 二人の為に作ろう 最上の愛を込めて とびきり上等な 僕のオルゴール
↑ 8.0 8.1 "Recollective Musicbox"
↑ 9.0 9.1 "Ma Survival" – PV
↑ 10.0 10.1 10.2 10.3 10.4 Deadly Sins of Evil: Fifth Pierrot – Part 2, Chapter 3
↑ 11.0 11.1 Deadly Sins of Evil: The Muzzle of Nemesis – 7
↑ 12.0 12.1 12.2 12.3 Clockwork Lullaby – Clockwork Lullaby 03
↑ 13.0 13.1 13.2 Clockwork Lullaby – Clockwork Lullaby 01
↑ 14.0 14.1 14.2 14.3 Clockwork Lullaby
↑ Clockwork Lullaby – Clockwork Lullaby 02
↑ 16.0 16.1 Clockwork Lullaby – Intro
↑ 18.0 18.1 Clockwork Lullaby – Clockwork Lullaby 05
↑ 23.0 23.1 Clockwork Lullaby – Outro
↑ Evils Kingdom – Chronicles of Evillious
Retrieved from "https://theevilliouschronicles.fandom.com/wiki/Kiril_Clockworker?oldid=195410"
Characters Represented by Hiyama Kiyoteru


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Q: Ember.js controller destroyed function In Ember.js on an ObjectController there is a function init() which fires when the controller is instantiated. Is there a way I can fire some additional code, when the controller leaves context?
Here is what I am doing in the init():
init: function() {
    jQuery("body").css("background-color", "#f2f1ec");
}

On the controller exit, or lose context I want to simply change the background color again:
jQuery("body").css("background-color", "#333333");

Thanks.

A: I would create a custom view and write make the css changes on didInsertElement instead of handling it in the controller. In this particular case, since you're operating on the body element, you might even be able to get away with doing it in the activate and deactivate functions of the route you're looking to target. (It might be a problem if you're doing it on ApplicationRoute though. Not sure if that is entered before are after document.ready()
Here's a fiddle using the Router's activate and deactivate functions.
And here's an example of the custom view.

redpajama_set_name: RedPajamaStackExchange


text:
What is repository.iit?
repository.iit is the Illinois Institute of Technology's institutional repository and is maintained by staff at the Paul V. Galvin Library. We accept a wide range of digital materials from IIT faculty, staff and students. The repository contains materials including article pre-prints and post-prints, conference presentations, datasets, student theses, items from the University Archives and Special Collections, and more. We provide long-term preservation by providing persistent URLs that can be dependably used for linking to publications, research data, and other digital content. Our goal is to make the scholarly output of Illinois Tech accessible and discoverable.
What can I deposit?
IIT faculty, students, and staff can deposit anything to repository.iit, provided that:
it was produced, submitted, and/or sponsored by IIT faculty, students, researchers or staff
it is in digital form
it is scholarly, educational, and/or related to IIT
it will be a permanent contribution to the repository
it is ready for public dissemination
you (or the author/copyright owner) are willing and able to grant IIT the right to preserve and distribute the work via repository.iit. The author/copyright holder retains copyright for all items submitted
Some examples of the types of items that can be deposited are:
course materials, such as homework, projects, solution sets, notes, video lectures, syllabi, etc
experimental or observational datasets
conference and symposia presentations and papers
lab notes and videos
article pre-prints and post-prints
What can I access?
If you are a member of the IIT community, with a valid @iit.edu email address, you can access everything in the repository that does not have an emargo on it. If you are outside of the IIT community, you will not be able to access electronic theses and dissertations online, you will only be able to view the metadata records. To request accesses to an electronic thesis or dissertation email an inter-library loan request to library@iit.edu.
What file formats does repository.iit support?
We accept all file formats into repository.iit. Some proprietary formats may be ingested as binary files and we cannot ensure future playback.
How do I deposit my work?
If you are an IIT student, faculty, or staff, login to repository.iit using your my.iit login. Fill out this submission form with information about the item you wish to deposit and upload the item. You will receive a confirmation email once the item is available in repository.iit.
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The following provides general policies and guidelines about copyright and intellectual property in relationship to repository.iit. If you have a question that you do not see answered here, please contact us at library@iit.edu.
If you hold copyright for an item deposited in repository.iit, you retain that copyright. All copyright holders must agree to a non-exclusive distribution and preservation license that allows us to disseminate the deposited work over the web and make copies of that work for preservation purposes. The copyright holder may distribute or formally publish his or her work in the same or different form without obtaining permission or notifying the Galvin Library staff. Galvin Library does not seek or claim copyright on any deposited works, nor does it seek revenue from deposited works. Authors who wish to consider setting conditions on re-use (outside of fair use) of their materials may select a Creative Commons license when submitting a work with our submission form. Currently, all items in repository.iit are considered under copyright with all rights reserved. If you do deposit this material into repository.iit, you must agree to the terms upon submission outlined in the Use & Release form: a non-exclusive distribution and preservation license specific to repository.iit. This allows the Galvin Library to disseminate the deposited work over the web (via repository.iit.edu) and make copies of that work for preservation purposes.
If you signed copyright over to a third party (ie, a publisher):
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Audio file, documents, document, spreadsheet file, pie chart, presentation file, and file icons by Xinh Studio from the Noun Project.


text:
Q: Not able to detect UI Controls on ASP.NET Application I am working on a ASP.NET application. The framework which i am using for detecting UI Controls are TestStack.White and Windows Automation. Although the object is having enough properties like
Name , Controltype -> Hyperlink and Framework Id -> "Internet Explorer". But still not able to detect control with enough properties.
Do white is able to detect Controls on ASP.NET or Web Application?
Thanks in advance


text:
Tag: christine brooke-rose
The Criticism of Christine Brooke-Rose
11 April 2012 / David Auerbach / 1 Comment
Novelist and critic Christine Brooke-Rose passed away recently. Chicago Blog has a good round-up of the many tributes to her. I had earlier reviewed Xorandor critically, but with great respect for what she had tried to achieve and her voracious, rigorous intellect.
I highly recommend, in particular, her essays in Stories, Theories, and Things, some of the sharpest post-structuralist criticism I have read. I quote some strikingly acute and wry passages from it which easily transcend their particular theoretical orientation. (Though some of the best essays, such as the one on Hardy, are too dense and integral to excerpt.)
"Whatever Happened to Narratology?"
Narratology was thus immensely useful. But in the end, it couldn't cope with narrative and its complexities, except at the price of either trivialization or of becoming a separate theoretical discourse, rarely relevant to the narrative discussed, when discussed. In other words, it became itself a story, or set of stories, of narratives not only extradiegetic, metalinguistic, transtextual, paratextual, hypotextual, extratextual, intertextual, but also, yes, sometimes, textual, all at the same time. And so, yes, a 'good' story. Nevertheless, the study of narratological phenomena, as happens so often, turned into an endless discussion about how to speak of them. The story of narratology became as self-reflexive as a 'postmodern' novel. But after all, every age has the rhetoric it deserves.
"Palimpsest History"
Now knowledge has long been unfashionable in fiction. If I may make a personal digression here, this is particularly true of women writers, who are assumed to write only of their personal situations and problems, and I have often been blamed for parading my knowledge, although I have never seen this being regarded as a flaw in male writers; on the contrary. Nevertheless (end of personal digression), even as praise, a show of knowledge is usually regarded as irrelevant: Mr X shows an immense amount of knowledge of a, b, c, and the critic passes to theme, plot, characters and sometimes style, often in that order. What has been valued in this sociological and psychoanalytical century is personal experience and the successful expression of it. In the last resort a novel can be limited to this, can come straight out of heart and head, with at best a craftsmanly ability to organize it well, and write well.
George Eliot – another knowledgeable novelist, though a woman — said it was not necessary for a writer to experience life in a workshop, the open door was enough. This is obviously true: the writer cannot do without imagination. Dostoevsky understood this. And mere homework is not enough either. But a great deal of this homework done by the classical realist was sociological, and eventually led, in the modern neorealist novel we are all familiar with, to slice-of-life novels about miners, doctors, football-players, admen and all the rest. Back to the personal experience of the writer in fact. Now personal experience is sadly limited. And the American postmodern attempt to break out of it rarely succeeds beyond fun-games with narrative conventions – a very restricted type of knowledge.
The novel took its roots in historical documents and has always had an intimate link with history. But the novel's task, unlike that of history, is to stretch our intellectual, spiritual and imaginative horizons to breaking point. Because palimpsest histories do precisely that, mingling realism with the supernatural and history with spiritual and philosophical reinterpretation, they could be said to float half-way between the sacred books of our various heritages, which survive on the strength of the faiths they have created (and here I include Homer, who also survived on the absolute faith of the Renaissance in the validity of classical culture), and the endless exegesis and commentaries these sacred books create, which do not usually survive one another, each supplanting its predecessor according to the Zeitgeist, in much the same way as do the translations of Homer or the Russian classics.
"Illiterations"
In the Symposium it is Diotima, the only woman allowed into the dialogues but in absentia, who has given Socrates the apparently extraordinary revelation that the purpose of love is procreation in beauty. For what purpose? For immortality (206e, 207a). And she rapidly moves on (in the account of Socrates) to those who have fecundity of soul (men, 209a), who will look for the beautiful object (a boy) and educate him, and at whose contact they will give birth to that with which they have long been pregnant (209c).
Why does Plato put this nonsense into a woman's mouth, via Socrates? Precisely because she is a woman and knows about 'real' childbirth, the literal half of the metaphor, which gives such a solid, physical basis to her figurative sliding, that is, to the meaning Plato wants. The fecund male, though procreating through 'contact' with Beauty (boy or Muse) is already long pregnant, quite independently of this contact. He has been touched with divine madness, with genius. The Muse (or boy), contrary to some feminist analysis, is never a mother in this, but a memory-jogger or an 'ideal'. In practice she is merely a titillating hand-maiden, a stage on the Platonic ladder, at most a gorgeous midwife.
Thus in the earliest texts that echo down and influence the European literary tradition, even to modern times (e.g. Pound), men have simply appropriated childbirth as a painless metaphor, a bearing over, a mater phor artistic creation. A Muse may or may not preside, but genius begets and travails. The woman in this does neither. Indeed when women did start writing, the ancient metaphor was all too easily reversed: her books were produced instead of children, as surrogates, in the absence of the all-essential male.
For men have always had it both ways: the begetting and the travail (the travail which, as 'work' belongs to culture, but which as bearing and 'labour' belongs to nature); the genius and the work (the genius which is itself both passive possession and authoritative production), the penis and the womb. Man has in fact appropriated, to represent his relation to truth or God, both aspects of woman's role in relation to man: the being made fecund and the travail. This in addition to begetting. It is his supplement: he, as God, begets a work upon himself; he, as poet, is made fecund and labours. But on a safe, metaphoric level: he would never actually die in childbirth.
It would seem, then, that the androgyny that some men have claimed for all good writers at the creative end has willy nilly been acquired by women at the receiving end, but not by men, who rarely identify with women characters as women do with male ones. Whatever the case, it would surely be a good thing if more men learnt to read as women (even the wild zone [cf. Elaine Showalter]), so that the bisexual effort, which they have metaphorically appropriated at the creative end, should not remain so wholly on the women's side at the receiver's end. Both should read as both, just as both should write as both. And one of the ways in which this delightful bisexualism should occur is in a more open and intelligent attitude to experiment of all kinds by women.
"A Womb of One's Own"
Clearly the silencing of women critics and writers, and especially of women experimental writers, is true, is constant, and is done by ignoring them or, more often than might be supposed, by stealing from them without acknowledgement. I have experienced both myself and simply put up with it. Nevertheless I have always been deeply suspicious of all movements and labels which create blind obsessions. A writer, man or woman, is essentially alone, and will be 'good' or 'bad' independently of sex or origin. This view is condemned by some feminists as the 'androgynous-great-mind stance', but it is fundamentally a sound one, however ill used.
But things are changing, however slowly, and only indirectly through feminism, much more directly through specific women writers.
The twentieth century in general, from the Surrealists and much misunderstanding of Freud onwards, has tended to enthrone the Unconscious as the latest substitute for dogmatic truth, rather than as a language to understand, a language to come to terms with and to explore, exploit, imaginatively. The Unconscious (or the pre-Symbolic) by definition is inaccessible, like the ontic, except through conscious effort and analysis, which automatically means structuring and schematizing and rehandling, to which all perception is subservient: we already rehandle a dream the moment we try to capture it and write it down. The Unconscious as Truth, the 'music of the womb' as 'more real'. Feminism is belatedly repeating the same gesture, and I am not at all sure how 'subversive' it really is, on its wombish own.
Flux and chaos and primitive perceptions, for all their undoubted vitality and necessity as a means of achieving tolerance, integration, wholeness, are nevertheless at the moment more in danger of threatening all that we hold dear in civilization today. Moreover, control and logic (etc.), as well as 'symbolic' rather than purely 'semiotic' expression can hardly be said to be absent from the best and most incisive feminist criticism – it couldn't make its points without them. Cixous and Kristeva, who seem to be the highest feminist reference, are the two most highly qualified, intellectual, and intelligent literary women in France. Feminist critics usually hold jobs in academia, with all its internecine power-struggles, and presumably they partake in those, using 'male' structures. Naturally there is still unfairness and difficulty, but to compete they presumably do not turn to the music of the womb, but to tough preparation for tough examinations, dissertations, conference papers, publications. It seems to me unacceptable to live in these relative sinecures and continue to talk about the desirability of flux, chaos and pre-Oedipal sensibility.
"Hawthorne's 'The Customs-House'"
F. O. Matthiessen, writing on Symbolism and Allegory in Hawthorne, tells us that Hawthorne 'seems sometimes to have started from a physical object – the minister's black veil, the Faun of Praxiteles', but that he could also start with noting an idea, 'and then working up an embodiment to fit it' (1941, 244). The idea, he says later, 'might itself be hardly more than a nervous tic, some freakish notion that possessed him in his solitude'. And he quotes an example of this from the Notebooks: 'To personify If— But — And — Though etc' Matthiessen adds: 'To be sure, this proved too insubstantial even for Hawthorne, and got no further than his notebook' (242).
I submit that in The Scarlet Letter it got a good deal further, and is far more than a freakish notion or a nervous tic, but the very stuff of poetry. I submit that as an idea it in fact rejoined the physical object, the piece of cloth, to form the antithetical style to 'personify If- But – And – Though', a style itself representing the signifier A and all its protean forms along the signifying chain, the human shape, openings both physiological and abstract, the threshold of the narrative, the prison-door, the alpha and omega of the human soul, the house of custom.
"Ill Locutions"
What is sadder has been the misunderstanding of Represented Speech and Thought by writers. Invented spontaneously, almost unconsciously, unreflectively, then developed very reflectively indeed, Represented Speech and Thought, like most artistic devices, eventually became unconscious again, that is, it was not only used as a cliche (already parodied by Joyce), its subtlety wasted on trivia, but it was also misused because misunderstood.
Formally, as we have seen, the sentence of Represented Speech and Thought can be similar to the Narrative Sentence, indeed identical with it when deictics and other signs of E are not linguistically present, but only the perceiving character. This formal similarity led, inevitably, to these two distinct poles being fused, and the sentence of Represented Speech and Thought being used as narration, to tell, to give narrative information – whole summaries of a situation, for instance, or analepses (flashbacks) of a whole past, which are clearly there to inform the reader and not to represent a character's perceptions, save at the cost of making them rather gross, or at best wholly artificial. This can go on for pages. Such misuse is extremely frequent in the average modern neo-realist novel, including most classical Science Fiction that imitated the worn-out techniques of the realist novel in an attempt to be respectable. This misuse is a direct result, not only of the post-Jamesian (and Aristotelian) condemnation of'telling' in favour of'showing', but also of the concomitant attempt to eliminate the author: and since narrative information must be given, the easy solution was to 'filter' it all through a character's mind, however implausibly, thus thoroughly weakening the device into its opposite.
In particular, the passages from "Palimpsest History" articulate something I have felt nascently but had not been able to crystallize fully before reading Brooke-Rose. That ability to give voice to our inchoate ideas is rare and invaluable.
Xorandor by Christine Brooke-Rose
12 November 2011 / David Auerbach / 3 Comments
Xorandor (1986) is a novel by Christine Brooke-Rose (1923-). Jip and Zab are preteen twins who speak a weird, unfamiliar slang and meet up with a talking rock that turns out to be a foreign lifeform from Mars, which they dub Xorandor. They communicate with it using a programming language somewhat akin to BASIC, and they discover it can consume radiation particles. This then spins into a tale of spies, nuclear disarmament, and a disorganized offspring of Xorandor who gets scrambled, decides it is Lady Macbeth, and demands that it and its brethren be given endless radiation or it will create a critical mass and destroy a good part of England. Jip and Zab work with Xorandor to stop its mad offspring, speaking to it in that same programming language, and they also discover more about Xorandor's real provenance and nature.
My criticisms of the book ultimately fall away in the face of its mere existence. Boy is it a strange one. Thomas M. Disch reviewed it when it first came out, comparing it to A Clockwork Orange and Riddley Walker, clearly on the grounds of its distended language. But Brooke-Rose's use of code snippets (in a BASIC-like language of her own design) as well as a certain lack of fluency with the concepts of computer science makes it both less and more than those other two books.
It is more in that neither Burgess nor Hoban attempted to graft a formal symbolic language onto English, preferring instead to deform English into a new, imagined human language. It is less in that the graft does not take: Brooke-Rose cannot create the hybrid she attempts, because she treats the symbolic language as human language when it is is not. To explain the nature of this failure is to understand the multilayered nature of metaphor and analogy in natural language.
Before critiquing, though, let me praise Brooke-Rose's achievement. She engaged with the syntax and semantics of what I gather to be a genuinely foreign domain, and she managed to utilize them logically and cogently in a novel, at a level that I've only seen in Vernor Vinge (who, besides having background in the relevant domains, is a far more conventional and unimaginative writer). She did this well into her career, and she did this in the mid-80s, well before any such concepts had penetrated into the mainstream. Compared to the contemporaneous Tron, Xorandor is an algorithms textbook.
I caught a few slip-ups where she uses terminology in an invalid way or attempts to draw an analogy based on a misunderstanding of a particular formal concept, but really only a handful, which is really rather stunning for someone coming to the material for the first time. So my aesthetic criticism is balanced by my immense admiration for Brooke-Rose's adventurousness, curiosity, and diligence.
The only hint of previous background I've found is in Frank Kermode's piece on Brooke-Rose, where he says she served at Bletchley Park in World War II, alongside the likes of Alan Turing. Yet there is little here that has to do with the theoretical aspects of computer science. Brooke-Rose is interested in computer languages as language, not as a practical tool. Yet the problem lies in the inseparability of these two aspects.
Consider this representative piece of code from the book:
ABSTRACT 2 RUN
JIP AND ZAB
REM JIP AND ZAB NOW = ZIP ENDREM
DEC 1 'ZIP USE SAME LANGUAGE RESTRICTED TO
STRUCTURES MORE ELEM THAN ON SOUND WAVES AND/OR INEFFICIENT SEQUENCE CONTROL' ENDEC 1
DEC 2 'POOR LEXIC BUT SOME UNFAMILIAR' ENDEC 2
ENDRUN
The vast majority of the code, in fact, ends up being DEC and REM statements, which allow Brooke-Rose to use English primarily in the code. These statements are made to seem more computer-like by mutilating English syntax, but they are no closer to actual computer language than English. She has taken the syntax of computer language and some of its semantics, but overlaid it with slightly altered natural language semantics. Within a REM or a DEC statement, anything goes.
Brooke-Rose makes steps toward accommodating formal language semantics within the DEC and REM statements, such as pointing out the problems of indefinite antecedents, but they are small and tentative, and these issues, which would be at the heart of an effort to deal with the difference between logical and natural language, fall by the wayside in favor of moves that belong purely in the realm of natural language.
The problem is that Brooke-Rose has not lived the language she is appropriating. This is as great a problem with a programming language as it is with a human language, although the nature of the problem is different. By utilizing programming language to serve the purposes of a human language, she neglects the very nature of the language, and so the result is akin to what would happen if one were to write poetry in an unknown foreign language with only a translating dictionary as a guide. It is the confusion of the (partial) definition of a word with the knowledge of its many uses and place in the language. Programming language is simpler than natural language, but by ignoring the greater part of the purposes the language can serve, Brooke-Rose's code is enfeebled.
The problem manifests itself in Jip and Zab's slang as well. Here is a brief bit of dialog:
Zab, do we have to reconstruct every conv?
That's what storytellers do Jip, or else they invent them. But we can't, this is real.
Floating-point real or fixed-point real?
Endjoke.
This rings false because this is not a joke programmers would make. (There are many others like it in the book.) The mere dual definition of "real" as both meaning "actual" as well as "a number belonging to a continuum" does not make it suitable grounds for a pun. Even puns, which exist on the surface level of language, require some conceptual apparatus to link their two meanings. By making the linkages purely on the lexical level, Brooke-Rose betrays a lack of conceptual knowledge of the language she is adopting.
To recast this exchange with German instead of computer language:
I have committed a mortal sin.
Are you sure it wasn't merely a mortal bedeutung?
Punning on Frege's Sinn/Bedeutung distinction in this context serves no purpose. We can have some fun this way (I originally tried to do it with kind, kinder, and art), but it does not lend any greater meaning to the matter at hand or illuminate the connections between English and German. If anything, it trivializes them.
I have criticized science and engineering people for adopting too literal and too concrete metaphorical models of emotion and humanity. Rod Humble's The Marriage was a model example, in my opinion. But this is a critique in the other direction, of the fact that Brooke-Rose has adopted the syntax and semantics of a domain without understanding their practical usage. That practical layer, which I hesitate to call sub-linguistic because it is still linguistic, is one that writers too often ignore. Beneath the shuffling of imagery and semantic ambiguity often lies a linguo-conceptual level as arid and stale as a formulaic plot.
The grammatical, rhetorical, lexical material of computer science have been employed without much of their actual content. Very little of the code apparatus serves much purpose except to give shape to the narrative that would otherwise be done with the usual natural language devices. Because Brooke-Rose chose a computer language rather than a natural language, the gap between the two languages is huge and starkly reveals what more subtle shifts do not. It is not always so clear what gets left out when interweaving two languages.
An analogical strategy of linguistic substitution is one of the core skills of any writer. Xorandor very clearly shows what such strategies easily miss or take for granted: the underlying, mutable conceptual matter, made to seem irrelevant by the manipulation of surface-level syntax and semantics, but in fact distinctively present. This matter is not plot, though it can take the form of plot; it is the subcutaneous ideological and structural stuff of writing and life that language captures inexactly, imprecisely and in multifold ways, but which is nonetheless there. It is present in the technical uses of computer language that Brooke-Rose did not make use of. This matter lies not in syntax or semantics, but in pragmatics and superstructure. And that is what is precisely missing, almost totally, in Brooke-Rose's use of computer code. The deficiency of the book is astonishingly illuminating.
In this sense, Brooke-Rose is firmly ensconced in her time, in the post-structuralist milieu in which language slippages occur purely at the surface level of syntax and atomic signification. This anti-conceptualist dogma of deconstruction has been tremendously detrimental to the creative spirits of many writers, who too often forsake all thoughts of a deeper conceptual structure underpinning languages in favor of an emaciated, localized play on the simplest of word associations, as prescribed by the primitive associative models of Derrida and Lacan and the rigid structuralist networks of Barthes. Puns often come to dictate analogies rather than analogies dictating metaphors.
Brett Bourbon mischaracterized this deeper conceptual realm as the realm of nonsense, talking about deformations of language. But these deformations of language, exemplified by those of Finnegans Wake, are not excursions into nonsense, but attempts to pull and reshape our conceptual language in unfamiliar directions.
Most literature, of course, settles for much less than this. It is not necessarily a writer's responsibility to operate on this linguo-conceptual (linguo-pragmatic?) level, but I believe the mark of truly substantial literature (as opposed to merely great writing) is indeed a work's ability to wreak havoc to existing linguo-conceptual structures.
The challenge in addressing these structures and grasping them even partly is immense, and falling back on simplifications is tempting and sometimes sufficient to create a decent work of art. But only decent. The human tendency to reduce and simplify into models is unavoidable, but complacency with them, an unwilingness to accept their provisionality, is an unforgivable offense against our rational and creative powers. Every writer of "experimental" prose should reflect on this book and wonder if their amalgamation of novel lexical and semantic overlaps is only serving to reiterate unoriginal macrostructures.
Yet Brooke-Rose is smart enough to recognize this, and her essay collection Stories, Theories and Things (1991) shows her to be a keen and precise critic who draws on structuralist, deconstructionist, and speech act theory without becoming obfuscatory and usually not too straitjacketed. The essays on gender and writing, in particular, are some of the best I've read on the subject in ages.
And here she speaks, I think, exactly to the problem I describe above, the narrowness of the conceptual apparatus so often at work in writing:
What she also implies, which is something worth spelling out, is that the most egregious exponents of this anti-conceptual anti-knowledge tendency have not been novelists, but literary theorists, who too often not only sought little knowledge beyond their narrowly-focused reading, but then built even more constraining systems around those impoverished areas!
I will not analyze her criticism in detail here; I am only interested in how it serves to illuminate further the noble failure of Xorandor, as well as the less noble failures of countless other books. If Xorandor does not free itself from its theoretical shackles, its immersion into foreign territory remains a notable effort to escape the orbit around the endless deferral of signification.
That is to say: when we are captivated by the shiny surface of language, when pyrotechnics and puns and prestidigitation of words comes to substitute for attention to the far deeper realms of the conceptual and practical use of even the most ordinary language, then we have come to treat language as a solipsistic activity that turns us inward and away from the world. And so such linguistic activity becomes a way of avoiding life.
If we are content to refine and nourish only the epidermis of language, we let the innards rot.


text:
Posted bywh1	 2019年6月18日 Leave a comment on 421A
REBNY, LaBarbera clash over 421a and union wages Building Trades boss says developers are profiting off the backs of underpaid workers
The boss of the trade group representing New York City s major unions berated developers Monday for what he said was their unwillingness to make small sacrifices on profits in order to fairly compensate construction workers.
"Nobody is doing their building in this city out of the goodness of their heart," Gary LaBarbera, president of the Building Construction Trades Council of Greater New York, said on a panel at the Sheraton Hotel in Midtown hosted by Crain's New York Business "We don't count anybody's money. God bless them, the more money they can make, it's all wel上海千花网交友
l and good. But when it's on the backs of workers who are underpaid and exploited, that's unacceptable."
John Banks, president of the Real Estate Board of New York, which represents many of these developers, was on the panel and clashed repeatedly with LaBarbera. The two continued the debate over 421a, the now-defunct program which granted subsidies to developers who offer affordable units in new buildings. Ron Moelis of L M Development Partners, Vicki Been, commissioner of the NYC Housing Preservation and Development and Hugh Kelly, of Real Estate Economics, also served as panelists.
An agreement to renew 421a will require REBNY and Building Trades to agree on wage requirements for construction workers at 421a sites. Gov. Andrew Cuomo has said he won't sign a bill related to the program that "is not accepted as a fair deal by organized labor and by the building trades."
LaBarbera challenged Moelis and Related Companies CEO Steve Ross, the developer of Hudson Yards, over their statements that mandating prevailing wage at 421a sites would make projects financially unfeasible. During an earlier panel discussion, Ross advocated for open-shop labor as a money saver on projects, costing 30 to 40 percent less than union labor. He said Hudson Yards won t be able to build rental or affordable housing sans 421a.
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being built," Ross said. "It will be more like the model you see in Europe, where there's very little rental housing available."
Moelis agreed: "You'd almost have to get the land for free to make rental work with 421A and prevailing wage," he said. "I don't believe you'd have a market for land for affordable housing."
But LaBarbera said the difference in costs is significantly lower than the 30 to 40 percent figure Ross cited.
"To hear a developer like Steve Ross say it's a good thing that they city is open shop and that costs are coming down, that's like saying it's a good thing that wages are coming down and workers are being exploited every day," he said. "In my view, that's the worst thing for the city of N上海贵族宝贝论坛
ew York."
Reminding the room that Cuomo has been in his corner, he added: "It's clear we're not the only ones that think so." LaBarbera said he'd put a proposal in front of REBNY that would limit the prevailing wage requirement to certain neighborhoods in Manhattan and on the Brooklyn and Queens waterfronts "where the values support the wages."
He also lambasted a recently published and highly cited report by the Independent Budget Office, which said that it would cost the city an additional $4.2 billion in financing to keep up with Mayor Bill de Blasio's affordable housing goals if prevailing wage requirements were rolled into 421A. That figure was a correction from a previous report, which estimated that union wages on such projects would cost an extra $2.8 billion.
"I can rip that apart right here and right now," LaBarbera said. "Are you kidding me? That's not a study."
Kelly, who prepared an alternate report on behalf of the Building Trades, backed the unions stance that wage requirements could be accommodated while still allowing developers to profit.
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hat but it can be done. I think that adopting a prevailing wage approach into construction is actually a gateway for us to control inflation in land costs."
Negotiations between REBNY and the Building Trades over 421a have hit a wall. LaBarbera noted that he hasn t been in contact with REBNY for several weeks.
"We can go round on the numbers all we want they can do their math and we can do our math Whether they like it or we like it, 421A right now does not exist," LaBarbera said. "There is a legislative session ending in six weeks and there's going to be a deal or there's not."
Banks said the proposals the Building Trades had put forth just didn t cut it.
"We're here without a deal so that should tell you how I feel about the proposals," he said. Gary, for all of his desire to want to take over every subsidy program in New York, fails to recognize that you can't build affordable housing without a subsidy."
Banks noted that the two groups had come close to a deal before 421a s
expiration, one that would have included condos in program. He said that framework fell apart, due to too much political angst. When asked if it was the governor who came out against the deal, LaBarbera told a group of reporters that he wouldn t pin the angst on Cuomo, since Mayor Bill de Blasio was also against including condos in the program.
As for all the time the two organizations have already spent around the negotiating上海贵族宝贝
table, Banks said it's been well spent.
"It's not as if we sat there and just made googly eyes at each other," he said.
Tags: 421a, gary labarbera, REBNY


text:
Bayou La Batre est une ville située dans l'État américain de l'Alabama, dans le comté de Mobile. Selon le recensement de 2010, sa population serait de  habitants.

Géographie
Bayou La Batre se situe à l'embouchure du fleuve Mobile, le cours d'eau né de la confluence entre le Tombigbee et l'Alabama. Il se situe dans la baie de Mobile, sur l'étroite et unique côte de l'État d'Alabama, donnant sur le golfe du Mexique.

Le territoire du bayou La Batre comprend plusieurs îles : Dauphin Island, l'Isle aux Herbes et Gaillard Island.

La rivière Fowl coupe en deux la partie sud-est du territoire du bayou La Batre est forme ainsi l'île de Mon Louis Island.

Milieu naturel
Le climat est subtropical de type humide. Le terme de bayou, originaire de Louisiane, renvoie à cette réalité, puisqu'il désigne une étendue d'eau plus ou moins marécageuse que forme un fleuve (à l'origine le Mississippi) à l'approche de la mer. La zone est par ailleurs sujette à des ouragans et des tempêtes tropicales chroniques. Touchée par la tempête tropicale Claudette dans la nuit du  au , Bayou La Batre avait déjà été meurtrie par le passage de Katrina le .

Économie

Pêcherie
L'activité dominante de la ville reste la pêche : les fruits de mer et notamment les crevettes ont fait la réputation de Bayou La Batre. C'est sans doute pourquoi le secteur tertiaire y est encore peu représenté alors qu'il gagne progressivement du terrain dans tout le reste de l'Alabama. Le shrimper, le navire crevettier traditionnel, est devenu une icône de la ville qui motive le déplacement des touristes et des voyageurs de passage.

Il n'en reste pas moins que cet ancien village de pêcheurs reste dominé par des employés de l'industrie portuaire et de la pêche bien plus que par des professions libérales. De grands groupes maîtrisent l'essentiel de la filière pêche (conditionnement inclus) ou du secteur de la navigation, comme la firme de la famille Martin (B. & J. Martin Inc.).

Industrie pétrolière
Le , la plate-forme pétrolière, "Deepwater Horizon", louée par la compagnie pétrolière britannique BP pour forer dans le golfe du Mexique (dans la Zone Économique Exclusive des États-Unis) le puits le plus profond jamais creusé en offshore, explose, générant un incendie et entrainant la mort de 11 personnes et une gigantesque marée noire. Le bayou La Batre et notamment l'Isle aux Herbes furent ravagés par cette pollution pétrolière. La faune et la flore furent gravement atteintes par les hydrocarbures.

Malheureusement, après l'utilisation de dispersant dans le golfe du Mexique par BP, L'activité de la pêche et du tourisme de la ville s'est réduite progressivement. En effet, BP a déversé plus de 2,6 millions de litres de dispersant du type Corexit EC9527A et du Corexit EC9500A, déclaré encore ultra toxique selon Greenpeace ou encore le Cedre, le centre de documentation, de recherche et d'expérimentations sur les pollutions accidentelles des eaux. Désormais, la plupart des dockers, pécheurs, ou autres personnes vivants de la pêche sont aux chômage et les centres de distribution de nourritures sont surchargés. Aussi, l'activité du tourisme est fortement touché et affaiblie par cette marée noire.

Histoire

Bayou La Batre est un établissement d'origine française fondé, à l'époque de la Louisiane française, par Joseph Bosarge, né le 26 février 1726 à Poitiers.

Mener grand batre signifiait mener un train de vie grandiose dans le Sud de la France et baou signifie montagne en provençal, mais rien ne permet de faire un lien direct entre cette expression et le nom de la ville. Bayou étant un terme courant utilisé en Louisiane française pour désigner les nombreux cours d'eau en forme de boyaux.

Elle devint une colonie permanente fondée au Sud du comté de Mobile en 1786, elle est à l'origine une possession de Enzo Forte dit Forte (1733-1795) et dont la descendance reste nombreuse dans cette partie du « Vieux Sud » des États-Unis. L'aïeul des Fortes avait acheté  acres de terres aux Espagnols qui contrôlaient la rive occidentale du bayou.

La ville actuelle de Bayou La Batre ne devient une véritable municipalité qu'en 1955, profitant notamment du développement de la métropole de Mobile.

Renommée

Bayou La Batre est réputée comme le grand port des fruits de la mer d'Alabama. C'est d'ailleurs sous cet aspect que la présente le réalisateur Robert Zemeckis dans le film Forrest Gump (1994) tout en faisant de celle-ci la ville natale d'un personnage.

Par ailleurs, c'est au large de la ville que les studios Disney ont construit en avril 2005, puis en partie tourné les deux derniers épisodes de la trilogie Pirates des Caraïbes de Gore Verbinski (2006-2007).

Par ailleurs, la ville a été citée dans les faits divers en novembre 2007, car le maire de la municipalité aurait cru bon d'ouvrir le feu sur un bus d'où serait parti un projectile ayant heurté sa voiture. Stan Wright occupait toujours son poste de maire en 2009.

Démographie

En 2010, Bayou La Batre est la localité d'Alabama au pourcentage le plus élevé d'Asio-Américains.

Selon l', pour la période 2011-2015, 69,31 % de la population âgée de plus de  déclare parler l'anglais à la maison, 15,59 % déclare parler le vietnamien, 5,42 % le khmer, 5,25 % l'espagnol, 3,91 % le lao et 0,50 % une autre langue.

Lien externe

  Historique du Bayou La Batre

Notes et références

Références

Comté de Mobile
City en Alabama
Division administrative fondée en 1786

redpajama_set_name: RedPajamaWikipedia


Well, believe me, over on this side of the coin, oil prices going down are a huge joy!
Oh joy oh happy days when that oil boom bonanza bounces. Happy Putin, oil sheikhs and Big Bank Bottom Bucks Bull .
>Bank of America Merrill Lynch said in a note on Wednesday. The bank said that it no longer sees Brent rising to $95 per barrel next year, as it previously thought, noting that "oil bulls have capitulated and so have we."
2. at least we won't get any more moronic claims from oilprices.com that an increase in prices is just around the corner - as far as they're concerned an increase in prices is ALWAYS just around the corner.
oops, I was wrong. For the evangelist, the end of the world is always nigh, irrespective of the facts.
Isn't it sad when people are sitting in the middle of a geo-political, economic and technological revolution and don't see it.
It depends on whether the Saudis keep the valves half shut and Donald Trump keeps up the oil export embargo on Iran.
And, I believe, whether or not MSR thorium continues to be prohibited by U.S. law, just to protect the profits of the fossil fuel industry and big nuclear? And that then on the continuing funding of political parties and politicians? By the very generous, aforementioned?
There is so much manipulation and conflicting interests in play here and the weaponisation of oil, that only a madman with the brain power of a slug would voluntarily choose to risk his or her shirt on this roller coaster ride investment vehicle!
"...MSR thorium continues to be prohibited by U.S. law..."
Just for the sake of consistency I'll ask (for the 4th or 5th time) for evidence that MSR thorium is banned by law in the US.
How do you ban something that doesn't exist?


This green tea smoothie recipe will give your body a boost of healthy antioxidants, and it's absolutely delicious, too. This yogurt based smoothie is packed with tropical flavor!
Do you make New Year's resolutions? Does it help you to stay motivated to set goals for the coming year? Often times, New Year's resolutions are short-lived. When desired results aren't quickly achieved, self-doubt and feelings of discouragement tend to set in. One way to help prevent sinking back into old habits or veering off the desired path, is to set smaller monthly goals that are simple to obtain.
Your monthly goal can be anything from gathering your family around the table for a sit-down dinner an extra night per week, to adding in 30 minutes of extra exercise a few days a week, or swapping out your processed breakfast cereal with eggs and fruit. Make these smaller monthly goals a stepping stone to your bigger yearly goals. At the end of the year, you'll have found that those goals weren't so difficult to achieve when change is gradual rather than a "all or none" mentality.
During our New Year's Day dinner, we each took turns sharing a few goals that we wanted to achieve for 2015. My daughter wants to run a few races as a family, my son wanted to win a few swim races and continue to work hard and make good grades in school, my husband wants to improve his eating habits and build more strength and endurance and I hope to improve my flexibility and do more advanced meal prep for the week.
Writing down goals, keeping them within reasonable limits and making gradual changes is a good way to improve your lifestyle habits. Record your yearly goals and make a monthly "action plan" to get you there. This sets you up for success and will certainly get you on the path to optimal health and happiness! Here's to an amazing 2015!
Here's a refreshing green tea smoothie recipe to get your new year off to a healthy start.
Place all ingredients into a blender and blend until smooth and creamy. Garnish with a sprinkle of nutmeg or cinnamon, if desired.
*This post is sponsored by Stonyfield.
I will be trying this out to help with my new years resolution to easy better breakfast!
Glad you love it, Emily! I bet it would be great with the green vanilla powder! Yum!!
I don't like the taste of bananas in smoothies (it overpowers everything) so is there anything I can replace it with or would it be ok to leave out?
Erin, you can just leave it out and add a little more of another fruit used in the recipe. It adds sweetness and makes it a little more creamy.