text:
Your favorite way to get around The New York Times paywall.
The New York Yankees will only face nine different teams in the 2020 MLB season. With 60 games on the schedule, the Bronx Bombers are set for 40 matchups against the AL East and 20 contests with.
The Washington Post and the New York Times are both American newspapers of record (the other two American newspapers of record being the Los Angeles Times and the Wall Street Journal). Both also have storied histories. The Times was founded in 185.
When free-speech absolutism was in vogue, Reddit's co-founders were as susceptible to its appeal as anyone. In 2012, a Forbes reporter asked Ohanian how the Founding Fathers might have reacted.
Please share it in the places you share things, and email it to the prominent people who you know that the New York Times respects and care about. And above all, please sign. Acknowledgements. Thanks to Jacob Lagerros and Rob Bensinger for making the petition with me. Thanks to Paul Graham, Steven Pinker and many others for their early signatures.
The New York Times, where local law allows, has chosen L18 Holdings, Inc., and its panel of experts, to select the wines and operate the clubs on our behalf. The Wine Club is operated without the participation of the Times wine critics or other members of the newsroom. L18 Holdings, Inc. uses direct to consumer shipping permits and ships in accordance with direct shipping laws for sales to AZ.
Her current project is Habits of a Free Mind:. a recent course of action by the New York Times is cause for alarm. On December 27, 2019, the Times published a column by their opinion journalist.
Over the past 18 months, the New York Times has dedicated 21 columns and articles to the subject of conservatives' free speech on campus, while only three covered the silencing of college.
I don't read the New York Times or the Washington Posts on daily basis, so I don't have a paid subscription with them, but I visit those sites once in a while to skim through the latest news. The problem with the NY Times and Washington Post is that they only allow you to read a certain amount of free articles per month, about 10 if I'm not mistaken, then you are prompted with a.
Download comic 8 casino kings part 1 full movie	Famous poker scenes in movies	Black cat jackpot	Mandalay bay hotel map	Agenda cards fallout board game	Kroon casino free slot play	Best online casino games kenya	Lucky charms ingredients trisodium phosphate	Promo code for crystal springs resort	888sport contact live chat	Quest new aussie gold hunters	Egypt dead god	[email protected]	Casino games for cash	2 young lyrics	How to calculate number of combinations in excel	Poker tracker free hud	Euro poker tour	Blackjack basic strategy drill	Free online games poker governor 2	Slot machines play online free
New York Times Link Generator (presented by reddit).
It's almost time to say good-bye to 2018 and the farewell party is already going off in Times Square. Don't miss a single moment of NYC's New Year's Eve celebration. Watch the live stream.
For now, people should feel free to give or not give interviews depending on whether they want to have their name in the New York Times or not. Remember that reporters sometimes take things out of context and so you should try to speak defensively and say simple things that clearly reflect what you mean.
Republican Sen. Tom Cotton of Arkansas excoriated the New York Times after the paper caved to online pressure to pull down his op-ed arguing for greater force against the rioting and looting nationwide. On Thursday, a spokesperson released a statement saying that the op-ed had been rushed to publication and didn't meet the standards of the pape.
The New York Times pioneered the alternative "soft," or "leaky" model in 2011. It allowed non-subscribers to read 20 articles per month (since reduced to 10). And, it created mechanisms for unlimited access. RELATED: Print is dead. Long live print. The exceptions worked like this: When a reader arrived at a story through a search engine or by clicking a link on social media, that story.
On Tuesday, the New York Times announced its content will be entirely free to anyone carrying a library card in California. Here's how to access the news as easily as you access sunshine.
EarthCam presents an extensive collection of live webcams, featuring the most exciting views of New York City's famous Times Square. For the past century, Times Square has been a mecca for music and the arts and has truly become a must-see for millions of tourists every year. Our webcams are the perfect way to see all the action and bright lights of this iconic location!
The New York Times Complimentary access to all content on NYTimes.com is available to all UCI affiliates with a uci.edu email address. For more information, please see The New York Times LibGuide.
New York Times Free Digital Access. FIU is proud to provide complimentary access to NYTimes.com to students, faculty, and staff. This digital access, available to every FIU community member daily, replaces the limited number of paper copies that were previously available on campus.
New York state had a mortality rate of 51.7 deaths per 100,000. This is 125 times greater than Utah, the state with the lowest income inequality and which had a mortality of 0.41 per 100,000. Health. Close. 17.1k. Posted by 1 day ago. States with highest income inequality also experienced a larger number of COVID-19 deaths. New York state had a mortality rate of 51.7 deaths per 100,000. This.
This GIF explains the most clever crossword puzzle in history Not only would the 1996 election dictate the future of the country, it would determine the answer to a New York Times crossword clue.

redpajama_set_name: RedPajamaCommonCrawl


text:
IRON WITHDRAW FROM DEVELOPMENT LEAGUE
The Iron can confirm that the club has withdrawn from the Final Third Development League ahead of the 2016/17 season.
The division traditionally sees fringe first team players and a combination of youth team players face counterparts up and down the country.
Last season, as expected, a lot of focus was put on Sky Bet League One, leading to a number of the fixtures fulfilled entirely by our Academy side and towards the end of the campaign were fielding players as young as fifteen to make up the second string.
Towards the business end of the season, the obligation to fulfil fixtures also led to a number of trialists playing within the side and an inevitable fixture pile-up; an unneeded distraction from the First Team's exploits in League One.
A move to the new stadium in the near future will see the infrastructure of the club change to be able to do a development side justice, with the club remaining open to a return to the league in years to come.
The decision was made taking into consideration that friendly matches can be arranged as and when required to suit the needs of the football club.
Manager Graham Alexander explained the decision to not take part in the league: "At the moment we haven't got the facilities to fulfil the fixtures throughout the season.
"We think we can get higher quality bounce games to play on a regular basis at times and venues that fit in with our training programme. We will still have fixtures for players who need minutes and for the younger players so that we can continue to help their progression.
"We're not ruling out that we will return to the league in the future but at this time we felt that this was the appropriate step to make for the football club."


text:
Govt is resuming Korean language test from mid-December
Published On: November 14, 2021 06:10 PM NPT By: Republica | @RepublicaNepal
KATHMANDU, Nov 14: The government is resuming the Korean language test under Employment Permit System (EPS), which was put on hold for over a year due to e coronavirus pandemic.
Issuing a public notice on Sunday, the EPS section of the Department of Foreign Employment, informed that the language test will take place from December 16 to22. The authority is conducting a computer based test of Korean language this time.
The Korean government had earlier called for the job placement to more than 5000 employees for 2021, for which examinations were supposed to take place in May, 2020. A total of 92,000 applicants had applied for the language examinations which, however, could not take place due to the coronavirus pandemic.
The government authority has looked into sending a new lot of workers to Korea although a large number of eligible candidates are already on the waiting list. The government has recently started the process of sending more than 6,700 individuals who have already cleared the Test of Proficiency in Korean, a mandatory Korean language test, and the skill test for job placement in Korea.
migrant_workers
Workers eligible under EPS and waiting for their turns will be soon permitted for employment in Korea: Korean envoy
KATHMANDU, July 28: Ambassador of the Republic of Korea to Nepal, Park Chong-suk, on Wednesday said that the Korean government will...
North Korea conducts public executions for theft, watching South Korea media: report
SEOUL, July 19: North Korea carries out public executions on river banks and at school grounds and marketplaces for charges such...
North Korea blames US and South Korea for Malaysia attack
UNITED NATIONS, March 14: North Korea on Monday tried to shift the blame for the deadly attack in Malaysia on the...


We had VERY disappointing turn out to last week's Monday evening session. Thank you to the two people who did come along and for those who indicated they could not attend. As such, there was no point in holding the session because the whole point of it is to learn from one another's experiences and to 'bounce' off one another in terms of creating a slightly competitive environment for the benchmark TT.
I will hold the session again, ONLY if I get confirmation of at least 10 people attending. This mid-season review session is valuable, particularly to those who are in their first season of racing; offering an opportunity to learn from those who are more experienced and for suggestions to be offered as to how you can improve (whether you did well or not so well) for the remaining races in the season.
Whilst I am slightly in the huff about this, I have gotten over myself and will look forward to seeing you all in August.
See post/event on Facebook and also via Google+ – you should have received an email about the session.
I have given an indication here of whether your times improved or not.
We also had some interesting comments and experiences discussed in the race review section, looking at the varied approaches of fairly meticulous planning in certain aspects of your preparation and not so meticulous planning in others.
Thanks again for attending. Members suggested a round-up evening as a finale to the RACE FOCUS GROUP year comprising race report talks from some of the RACE FOCUS GROUP members. I think this would make a great evening and could be something that is opened up to the club as a whole.
Come along on Monday night folks. Re-benchmark of your run TT (400m + 1600m) and a race review with your fellow members.
If you are new to the club, you are welcome to come too!


text:
Tag: Cahier Series
The poetry of grief: Loss Sings by James E. Montgomery
Grief and loss has its own language, one that cannot be forced, one that is found waiting when the mourner ready. That is the experience recounted in the 32nd addition to The Cahier Series, a collection of short meditations published by the Center for Writers & Translators at the American University of Paris in association with Sylph Editions. Each volume pairs an author and an illustrator or artist, and examines some aspect of the intersection of writing and translation, allowing a broad scope within which such ideas can be understood and explored. As such, each cahier opens a door to a different way of engaging the world.
James E. Montgomery's Loss Sings is a deeply personal essay that owes its genesis to tragedy. On 24 August 2014, the distinguished Professor of Arabic's seventeen-year-old son was struck by a car when walking with some friends in the city of Cambridge. He suffered what were described as "life-altering injuries." The driver was uninsured. Suddenly his family's world was forever altered as an entirely new set of realities, concerns, and anxieties came into play. The young man with a promising future now faced a life of serious physical disability, marked by increasing pain, decreased mobility, and the need for ongoing care. As surgery, rehabilitation, and the detailed record keeping required for legal purposes began to shape Montgomery's life, he discovered an unexpected appreciation for a cycle of Arabic laments that had long left him unmoved and indifferent. In the early months after his son's accident, a personal translation project involving these poems emerged. Three years later he recorded his reflections on his son's injury and his thoughts on memory and the articulation of loss in a series of dated diary entries. Presented together with a selection of his newly translated verses, the present cahier was born.
The poems at the centre of this fascinating account, are the threnodies of the seventh-century Arabic poet Tumāḍir bint 'Amr, known to posterity as al-Khansā, a woman who composed and sang hymns to the loss of her two brothers in battle—more than a hundred wailing odes that were memorized and passed on for two centuries before they were committed to writing. Although Montgomery had taught these well-known elegies for three decades, through significant losses and traumas of his own including a close proximity to the surreal horror of the attack on the World Trade Towers, he had found them repetitive and cliched. It took his son's injury to unlock their power. As a parent with a seriously injured child, the rules of order were suddenly rewritten. He realized that his son's need for assistance would increase as his own physical abilities declined, and when an unexpected potential health problem of his own arose, his concerns for the future intensified.
Memory is a strange place. It is unreliable, pliant, liable – mercifully so. It makes so many mistakes, gets so much wrong. An event like the one I am describing rips to shreds the veil of the commonplace and the mundane, and memory is charged with the task of remembering the future, of recalling the unusual; for such events reveal to us that the future is little more than a memory.
What unfolds over the course of less than forty pages is a multi-stranded meditation on grief, loss, and the relationship between trauma and memory. As Montgomery notes, the confusion that commonly strikes in the aftermath of trauma is a response to the confrontation of previously trusted memory with a "new reality, an unalterable experience." He recognizes a close analogy in literary translation. In order for a translator to recreate a literary work in another language, decisions must be made about what can be left out as much as what one wishes to retain. With poetry in particular, he says, it may be the only means of transmitting what is irreducibly poetic, and as such, literary translation is "more akin to trauma than it is to memory." As trauma leaves one at odds to make sense of the world, often bound to a silence that swallows up attempts to give voice to grief, the mourner is forced to navigate a "no-man's land" between one remembered reality and a new one. Literary translation echoes this process, and through the act of translating al-Khansā's poetry in particular, Montgomery is able to articulate his own experience of grief and loss through an understanding and appreciation of the very elements that once irked him in these classical Arabic laments.
We are all likely well aware of the kind of cliché, stock phrases, and time-worm comforts that are offered as a solace in times of loss. When faced with profound grief ourselves, there is often a sense that common statements fall short of the magnitude of our emotions. Yet we reach for them—in condolences, eulogies, obituaries. Or worse, for fear of sounding banal we say nothing. It takes the near loss of his son for Montgomery to finally feel the power of these clichés, in the personal and the poetic:
Experience, memory, artifice and art are confronted by the absence of comfort, and earlier versions of a poet's selves are rehearsed and re-inscribed in memory – but the brute truth of the mundanity of death is the age-old cliché about clichés, namely that, like death, they are too true.
The seventh-century warrior society to which al-Khansā belonged was bound by intense devotion to the cult of the ancestor. Death in battle demanded both vengeance and epic memorial. The latter was the responsibility of women, and her sequence of Arabic keenings—songs of loss— are the most extensive, powerful and poetically inventive to have survived to the present. Her poems are defiant. She will allow no accommodation of her loss over time, her grief stands still, "(h)er doleful, disembodied voice, entombed forever in the inanimate sarcophagus of metre, rhyme, and language."
Night is long, denies sleep.
. I am crippled
by the news—
. Ibn 'Amr is dead.
I will cry my shock.
. Why shouldn't I?
Time is fickle,
. Disaster shock.
Eyes, weep
. for my dear brother!
Today, the world
. feels my pain.
Montgomery's reflections on his own experiences with loss and the parallels he sees in translation speak clearly to lived grief and trauma. The yearning, aching threnodies of al-Khansā woven throughout, call from the distant past with a pain and longing that is recognizable, real, especially for anyone who is, as I am, still caught in the lingering aftermath of a series of significant losses. But throughout my engagement with this book there was one thought that I could not shake, a possible understanding that the author himself is perhaps not fully aware of. He admits that he is not entirely certain why these ancient Arabic laments finally reached into him when they did.
I worked for years with the survivors of acquired brain injury and their families. I recall one family in particular whose son was injured in a single vehicle rollover in his late teens. His parents admitted at the intake, to a double sense of grief—for their son's ever-altered future, and for their loss of an image of their own anticipated freedom on the cusp of their youngest child's pending adult independence. Two futures and their attendant memories altered in an instant. Yet this kind of grief—the grief of survival—is not easily mediated. When the parents attempted to attend a grief support group in their community they were pushed away. "What do you have to grieve?" they were asked, "You still have your son." There is no accepted ritual or memorial for this kind of loss. With each step through rehabilitation, fighting for funding, worrying about an undefined but infinitely more precarious future, a song of loss sung anew every day. It does not surprise me in the least that a sequence of laments that hold so fast to grief, repeating, reinforcing and seeking voice in the comfort of cliché would break through at this time in Montgomery's life.
How fortunate that he was able to hear them and feel inclined to guide these verses across the distances of language and time to share with us. Paired with abstract illustrations in black and shades of grey by artist Alison Watt, this small volume speaks to the universality of loss and the longing to find expression through the stories, myths and poems we turn to in times of trauma.
Author roughghostsPosted on January 6, 2019 Categories Arabic, Books, poetry, Reflection, Review, TranslatedTags al-Khansā, American Univeristy of Paris, Arabic, book review, books, Cahier Series, grief, James E. Montgomery, laments, literature, Loss Sings, memoir, poetry, Sylph Editions, translation2 Comments on The poetry of grief: Loss Sings by James E. Montgomery
Waxing lyrical and irritable: QWERTY Invectives by Éric Chevillard
French writer Éric Chevillard opens QWERTY Invectives, his contribution to the Cahier Series, with a short reflection on translation, its importance and its limitations. Although any text will invariably suffer certain mutations on its passage from one language to another, these changes need not be met with certain despair. The re-imagining required to facilitate the journey can offer, he suggests, a well-needed breath of fresh air. Case in point, the present text, derived from his book Le Désordre AZERTY, "a primer arranged according to the layout of the French keyboard." Not only does this short, beautifully presented cahier, represent a "radical abridgement" of the original text, the sections selected necessarily reflect a new order—that determined by the Anglophone keyboard.
What follows then, are six short treatises inspired by words beginning with the first six letters of the keyboard with a little linguistic gymnastics, no doubt, to line up an English word with a word compatible with the exercise at hand. And, given the words, or rather themes that feature, one must wonder what other liberties were taken to extract six pieces from what one assumes was a selection of at least twenty-six offerings, not allowing for diacritics and accents. In this slender volume we are treated to Chevillard, or his fictional alter-ego, waxing lyrical and irritable on reaching the age of fifty ("Quinquagenarian"); the "Water Closet" (or more explicitly the product one deposits in such facilities); the nature of one's metaphorical "Enemy"; the "Return" to home or, more exactly, to routine and fresh promise in the fall; the photographer's art ("Technician of the Darkroom"); and finally, gross human anatomy—especially the foot—in the final installment that opens "You, Eyes!" (or, I would suspect "yeux" in the original).
The narrator is never afraid to examine a subject from a most unlikely angle, employing language that is colourful and inclined to hyperbole. This is evident from the opening offering, a meditation on the misery of attaining the ripe age of fifty, dished out with a healthy dose of melancholic satire:
'Half a century!' people say, all smiles, thumping me on my osteoporosis-ridden shoulder-blades.
A little respect would be welcome; a little consideration wouldn't hurt. Balzac writes somewhere of a 'fifty-year-old codger'. That's Balzac for you, who died of exhaustion one year after celebrating the same sinister birthday. I tell myself: Times have changed, today's fifty is the nineteenth century's thirty. Thirty year-olds back then were eighteen, and ten-year-old urchins weren't even born yet.
And more often than not, his starting point, or apparent subject, is rarely more than a launching pad that can potentially take him anywhere. R's entry which opens "Return Home?" begins with a description of the end of the summer holiday and the beginning of the school year, but his dissertation soon wanders into speculation about the flood of new books that arrive each year with the publishing houses' autumn offerings. Here our narrator's cynicism is barely held in check:
Where once there was the book, now there is the public figure of the author, duly dramatized, whose only real use turns out to be to provide a caption for the photo of the artiste who is the one really being featured. All the author can hope for is a meagre compensation in a currency that is already so outdated that it works only in public payphones and slot machines.
Each year sees a glut of new releases, so what of the game, the publishing lottery, into which eager authors enter?
The author of the present lines, given he contributes to full-bloodedly to the current literary over production, may not be ideally placed to complain. But nonetheless: six hundred novels published between September and October? It's a figure that must be far in excess of the thirst for reading displayed by our contemporaries; it's akin to pouring an ocean onto a piece of blotting paper, then peeing on it for good measure. Booksellers will soon have to surround themselves with ramparts and equip themselves with flame-throwers in order to repulse writers—those supernumerary writers. No matter! it will surely be educed that the phenomenon serves to demonstrate the surprising vitality of the literary landscape in France!
It would be fair to say that Chevillard's humour might not whet everyone's whistle. As a reader who found Author & Me, his book-length diatribe against cauliflower gratin which served as the pretext for a greater meta-fictional reflection, an endlessly hilarious exercise, I find his wit with even the most unlikely of subjects to be a treat. And this Cahier, lavishly illustrated by French artist Philippe Favier, is a perfect introduction to this energetic, imaginative writer. As ever, woven into his literary escapades are some very astute observations about life, the world, and our uneasy navigation of all the joys and obstacles we encounter every day.
QWERTY Invectives by Éric Chevillard is translated by Peter Behrman de Sinéty. It is the 31st title in the Cahier Series, a joint project of the Center for Writers & Translators at The American University of Paris and Sylph Editions.
Author roughghostsPosted on June 6, 2018 Categories Books, French, Review, TranslatedTags American University of Paris, Éric Chevillard, book review, books, Cahier Series, Center for Writers and Translators, French, literature, Peter Behrman de Sinéty, QWERTY Invectives, Sylph Editions, translation6 Comments on Waxing lyrical and irritable: QWERTY Invectives by Éric Chevillard
The restless traveler in an imaginary world: Invisible Countries by Sylvia Brownrigg
Each edition to the Cahier Series, the joint project of the Center for Writers and Translators at the American University of Paris and Sylph Editions, is a short meditation that, like the gatefold illustrations within, opens up to encompass a larger, wider world of ideas, words, and meaning. Running to less than forty pages apiece, half typically given to specially selected images, these small volumes invite the reader to slow down, take a little time, enjoy the journey. The reward is a story, fable, or essay that lingers in the imagination.
The latest Cahier, the thirtieth, is Invisible Countries by American novelist Sylvia Brownrigg, an author new to me. Evoking a mood reminiscent of Calvino's guide to fantastic metropolises, this contemporary fable traces a female traveler's visits to seven imaginary destinations. Each encounter is unsettling and unnerving in its own way; each locale hovers somewhere between the realistic and the impossible; and each country embodies a concern of our modern global existence. Samarkind, for example, is an island nation with boundaries that are shifting and threatened by rising ocean waters. It might seem counterintuitive, but the response to their shrinking land mass, has been to construct a tunnel under the waves to serve as a connection to the mainland, and that is how we see our traveler warily making her way to the island:
The train dips, a singsong announcement is made in a pair of languages – the distinctive Samarkind full of hiss-clicks and spirants spoken with native confidence; the other, romance-influenced but hesitant, uttered with deliberation, for profit – and then the visitor watches the world go dark. The moment gives an inkling of the planet's approaching apocalypse; she shudders. She is in a lit moving bullet that penetrates the ground. Down, gradually, down; then level. Above the visitor's head, though it hardly bears thinking about, is a tremendous body of water, alive with sea creatures, ocean vessels, corpses, aquatic plants, and debris – plastic bags, shipwrecks, messages in bottles that will never reach their intended shores.
We will learn that this far-seeing island state, once reticent about visitors, is planning to recreate themselves as a modern-day Atlantis in an inevitable underwater future.
Thanistan is, as its name implies, is a harsh, silent country that is likely more appealing to the dead (and philosophers seeking peaceful reflection), whereas Alluria, a land promoted with bright and inviting posters promising relaxation and fun in the sun, is but a façade, briefly enjoyed, of a dismal, impoverished world. The exact nature of the place is only hinted at. Lured there once, no one returns for a second visit. One can, of course, travel to a disadvantaged society and stay safely ensconced within the environment of an inclusive five-star resort. Isn't that what "getting away from it all" promises?
These encounters with foreign spaces, fraught as they are with anticipation and disillusion, anxious border crossings, and concern about understanding and being understood communicating in foreign tongues within cultures with different mindsets ("as she mentally formulates her response, the visitor becomes uncertain whether the agent indeed said to her, 'Don't worry,' or whether it might have been 'You would worry, you could worry,' or possibly even the command – 'Worry!'") are delivered with such a delicate touch that a strange, haunting beauty comes through. The allusions are offered and allowed to lie as they are, each trip only touches the surface of the visitor's experience, leaving the reader to wonder how each adventure unfolds and reflect upon what these strange, evolving, troubled landscapes have to say to us now, travelers as we are, together on a finite planet.
Accompanying Brownrigg's imaginary travelogue are a series of vivid chalk and charcoal illustrations by British artist Tacita Dean. Lush bright scenes alternate with grey, abstract, stormy images to reinforce a sense that this journey has taken us to places that, if nowhere, could be anywhere at all.
Author roughghostsPosted on January 31, 2018 June 19, 2018 Categories Books, ReviewTags book review, books, Cahier Series, Center for Writers and Translators, Invisible Countries, literature, Sylph Editions, Sylvia Brownrigg13 Comments on The restless traveler in an imaginary world: Invisible Countries by Sylvia Brownrigg
Of reality and imagination: To Begin at the Beginning by Javier Marías
In the opening paragraph of her "Postface" to Javier Marías' recently released contribution to the Cahier Series, To Begin at the Beginning, famed translator Margaret Jull Costa confesses that every time she starts to work on a new Marías novel, she thinks: "I can't do this." His work, with its long, convoluted sentences, and its precise, but shifting, language lies ahead of her at the outset of each project, and until she gets back into the flow she feels a sense of anxiety. I must admit that similar sort of uncertainty faces me as a reader. I wonder, am I ready to commit to Marías again right now? Unfortunately, with a few efforts since I was first swept away by A Heart So White many years ago, the answer has been no, not now.
So imagine my delight with this short, reflective essay about the art of taking the stuff of life—the truths and myths that arise from one's own family history—and using, even re-using them, to tell stories, create literature. I found this Marías, talking about his family, and his approach to the art of writing, so wonderful to read that I've mentally added his trilogy to my list of books to read. And that is one of the absolute joys of the Cahier Series: the opportunity to meet, or meet again, a writer or translator, and spend a little time with them as they explore writing or translating, or the intersection of both, in unique and original ways.
Marías, the highly-respected Spanish novelist and translator, sets out in this piece to explain his desire to devote his energies to writing "inventions," and why, even when he borrows elements from real life, so to speak, he is inclined to break them up, and blend them into his fictional characters and creations rather than putting them in, unaltered.
He begins by trying to set himself apart from writers who make every effort to make their fictional offerings appear factual, and expresses his dismay whenever presented with the expression: Based on real events. His inevitable reaction? "I'm filled with a feeling of tedium and anticipatory boredom, of distrust and resistance, of suspicion and even scepticism," he says, going on to be more exacting:
'What is so strange and unbelievable, so extraordinarily random, arbitrary, and corny about this story that, even though it's already happened in real life, they still want to tell me about it, even warning me that I have to believe it whether I like it or not, because this is how it was, this is what actually happened?'
Of course, in the essay that follows, he goes on to share aspects of his own family history, reaching back to his Cuban great-grandfather, pulling out some of the stories that have made their way into one or more of his novels. This abbreviated family history is fascinating in its own right (inadvertently causing one to think that any story "true" or otherwise can be magic in the hands of the right storyteller), but his discussion of his process of re-imagining and working people and incidents from the past into his fictions—and the decisions he has faced when handling elements of the real within the world of invention—is equally compelling.
Marías reports that, when he writes, he applies the same principle of knowledge that is at play in life. He does not know if what he writes at page five of a novel will prove to be a good idea at page 200 any more than we can know if what we do at age twenty will seem to have been wise from the vantage point of forty, and so on. In writing, one has the advantage of editing, adjusting events back and forth between earlier and later portions of the work, giving meaning to the capricious and superfluous, as required, so that "what had no meaning at the beginning does have meaning at the end." Subject as it is to the unforeseeable variables that mould reality, he contends, life makes a very poor novelist. Imagination is a critical mediator—and one of the essential keys to literature— filtering the invented and the actual, rendering everything equal.
To Begin at the Beginning, the twenty-eighth addition to the Cahier Series, offers an opportunity to spend a little time in the company of a renowned novelist and his chief translator. Illustrated by the works of Cuban artist Wilfredo Lam, it will likely be appreciated by Marías' committed readers. For those who have little or no experience with his novels, it serves as an ideal introduction, or, as in my case, an inspiration to read more.
The Cahier Series is a joint publication from the Center for Writers and Translators of the American University of Paris and Sylph Editions.
Author roughghostsPosted on January 15, 2017 Categories Books, Review, Spanish, TranslatedTags American University of Paris, book review, books, Cahier Series, Javier Marías, literature, Margaret Jull Costa, Sylph Editions, To Begin at the Beginning, translation, writing15 Comments on Of reality and imagination: To Begin at the Beginning by Javier Marías
Words, the most vital gift: Translator's Blues by Franco Nasi (The Cahier Series, #26)
Charged with the task of bringing a piece of text to life in another language, for another culture, and possibly also for another moment in time perhaps centuries after it was originally conceived and recorded, the translator stands armed with words alone: "imperfect, approximate, or a tad reductive". But, employed with skill, sensitivity and creativity; words can facilitate a little literary magic.
Translator's Blues, the latest addition to the Cahier Series of the American University of Paris (#26) is an imaginative discourse on the dilemma of translation – a meditation on the interplay between language and culture, facilitated through words; an elegy for what is gained and what is lost in the process. Italian translator Franco Nasi adopts the voice of a naive alter-ego who is, like his creator, a translator who hails from the province of Regio-Emilia where he was born and expects he will die. His home – with its mountains, Parmesan cheese factories, and cemeteries laid out like miniature cities behind high walls – is a place which makes sense to him, a world that is idiosyncratic but familiar. He is grounded there.
When he chances to befriend an American architect who is visiting his fabled region of Italy, he is offered an invitation to travel to the States in return. After a brief visit to Vermont, our translator finds himself in Chicago where his host is presently employed. As our erstwhile hero makes his way through the linguistic landscape of America he finds himself exploring of the boundaries of language that are blurred when one endeavors to navigate the tricky waters that lie between one culture and another. Through an account of his adventures and encounters he orchestrates, with insight and and a measure of impish delight, an argument that translation is, at its best, an inexact art form. However, rather than seeing that as a limitation, he celebrates the challenges, possibilities and rewards of bringing a piece of literature to new audiences that would otherwise be denied access by the borders of both language and culture.
Our narrator's journey of discovery starts inauspiciously on a snowy Sunday morning in Chicago when he sets out to purchase non-alcoholic beer from a nearby shop. Bemused by his inability to procure alcohol of any description before 11:00 AM, he inquires of his host as to whether this is a daily reality or one confined only to the one day. He learns that it is, in fact, a law applying only to Sundays, to what are known as the "blue hours". Blue. This is a word that has a special impact for our translator. He had just finished reading William H. Gass' On Being Blue: A Philosophical Inquiry. He was given the book so that he could assess its suitability for translation. Thus it was with a translator's eye that he read it, and he found himself rather out of his range. He was inclined to wonder if attempting to translate a book like this, with its multi-layered references to the significance of the colour blue, would be at all possible. References in some instances, such as those with sexual or potentially pornographic overtones, would likely be rendered nonsensical to a culture that tended to associate the same arena with the colour red. It would, he feared, surely induce in him a state of melancholy:
"… a malady that takes hold of you whenever, after a thousand false starts, you find yourself being invested by an overwhelming sense of inadequacy and impotence. This blue-tinged malady makes the translator wish that Babel and the multiplication of languages were only a legend, and that all the various languages in the world did not exist and had never existed. With melancholy comes nostalgia for an ur-language, in which all colours and all their meanings were the same for everyone, in which plants were identical for all and sundry; in which flowers, and sounds, and ceremonies, every object and sensation, and belief was expressed in a single, universal, manner, in which a rose was a rose was a rose."
All the culturally and linguistically entrenched peculiarities of blue aside, Nasi allows the shade to colour, if you will, much of the exploration of the art of translation that follows. His translator is led, most immediately to a famous Chicago blues bar. As he soaks up the atmosphere and the music, he reflects on the translation of African traditional music to America, facilitated through the songs that black slaves brought with them. Typically based on a pentatonic scale, these songs are echoed in the adaptation of one musical "language" to instruments designed to the specifications and precision of the chromatic scale. As a consequence, notes tend to slip a little out of tune, to bend, and acquire the nostalgic, mournful tone, the blueness, that we associate with the blues. On his way home he contemplates the resonance between the music he has been enjoying and his craft:
"Could it be that any translation, if it seeks to be more than a cold and sterile transposition, must contain blue notes? A translation needs blue notes to hint at an elsewhere, at nostalgia, and with nostalgia the tension provoked by unappeased desire for whatever is distant and unreachable. As William Gass puts it, 'So it's true: Being without being is blue.'"
From this point on our hero chances to meet a well-known American poet who, it turns out, is seeking a tutor to help him improve his Italian. So the two begin to meet regularly. Over the course of their acquaintance the poet gives his new friend a volume of his poems. Seeing this as an opportunity to exercise his own English skills, with the added advantage of being able to check his success against the original author's perceptions, the protagonist asks if he might translate some of the poems. The poet seems pleased with the resulting translations, even if they might at times be less than exacting. So talk of publishing the Italian versions arises and a publisher is sought. Suddenly the poet's self-appointed "official" translator emerges and demands that a halt be put to the fledgling enterprise – after all, audiences are accustomed to one voice, to offer an alternative would certainly be disorienting.
Nasi's translator backs down. But at the same time he wonders about the "versions" of writers such as Homer, Sappho or Aristophanes that already exist. He envisions the silence of the library where the respective translations must sit shoulder to shoulder on the shelves, to be broken once the lights are turned off and the key turned in the lock:
"Of a night, there must be some turbulence in the library stacks, what with all those competing voices. And it's clear that the music does indeed change according to who is playing – and just as well too: what a bore it would be to hear over and over Beethoven's 'Eroica' Symphony in the way it was played in public the first time, on 7 April 1805 in the Theater an der Wien. To translate is to betray – tradurre è tradire – and only through betrayal is a writer's voice kept alive. To the liveliness of this voice in time will correspond the number of voices multiplying it, so permitting it to dialogue across the ages."
Nasi goes on to expand on this fundamental idea. Looking at translation close to the source – that is, within the author's lifetime – has a particular value, especially when the author is engaged in the translation process. However some authors, and Nasi points to a few of his fellow countrymen here, may run the risk of insisting on a degree of literal accuracy, as they perceive it, that could hinder an emotionally and culturally authentic transition to a foreign language. And to round out his argument he allows his alter-ego to experience the shock of receiving a copy of his own translated book, which is, in reality, the very book the reader happens to be reading. He fails to recognize it at first, his child released into the world now returning and standing at the doorstep – changed but somehow the same and possibly richer for the experience of immersion in another language and culture. Just as our Italian narrator returned from his own trip beyond the borders of Regio-Emilia informed and enlightened.
An essay within a most charming story, Translator's Blues offers an entertaining, thoughtful reflection on the relationship between translators and the works they attempt to realize in another language and culture. With humour and a gentle wisdom, Nasi explores what can be preserved, what is lost, and the responsibilities that, he would argue, have to be surrendered in the process of translation.
Franco Nasi is a writer and translator who has taught Italian language and literature in the United States, and has translated into Italian a number of writers and poets including S.T. Coleridge, William Wordsworth, J.S. Mill, Billy Collins and Roger McGough. Translated by Dan Gunn and paired with illustrations taken from a notebook kept by Italian artist Massimo Antonaci, Translator's Blues will be released in February, 2016.
Author roughghostsPosted on January 18, 2016 Categories Books, Italian, Review, TranslatedTags American University of Paris, book review, books, Cahier Series, Dan Gunn, Franco Nasi, literature, translation, Translator's Blues17 Comments on Words, the most vital gift: Translator's Blues by Franco Nasi (The Cahier Series, #26)
What can or should a story be? The Swan Whisperer by Marlene van Niekerk
The Swan Whisperer by Marlene van Niekerk is the literary equivalent of an impossible space – that is, this 40-page sewn paperback, lush with illustrations by fellow South African, famed artist William Kentridge, contains a tale much larger than its size would suggest. It begins modestly. Subtitled An Inaugural Lecture, van Niekerk opens with a series of questions for her imagined audience:
"What does one teach when one is a teacher of Creative Writing? The true? The good? The beautiful? Should one teach criticism, fantasy, or faith? What is the use of literature? What is its place on the greater canvas of human endeavours? And perhaps I should also ask: Can a story offer consolation?"
Voluminous texts have been penned to examine questions such as these, and yet within the 18 pages that lie ahead once the illustrations have been accounted for, is our esteemed professor at the lectern is planning to explore them all? No, she is going to tell a story, offer a fable within a fable, share an experience that she claims rendered these questions irrelevant for her.
What plays out in this inventive and thoughtful allegorical tale is an exploration of the relationship between language and meaning, meaning and truth, truth and the stories we tell which, in turn, leads back to language. Van Niekerk casts herself in the role of the skeptic. At the outset she is busy with the final revisions on a novel that is almost complete. Around her, the rest of her life and responsibilities have been suspended while she survives on frozen dinners and ignores her untended house and garden. The last thing she is prepared to welcome at this moment is a 67-page letter from a former student who, she discovers, is writing from a hospital bed in Amsterdam. She had recommended him for a student fellowship in the city with the thought that the change of place might finally help this pale, anxious young man finish off his MA and move on. But she is certain without reading beyond the first few paragraphs that there is little hope for him and most certainly nothing in his massive missive for her.
And so it goes. After reading a little further, she tucks his letter into a drawer and forgets about it until an unusual package arrives: a dummy of her new novel in which he has written notes and dates, along with 16 cassette tapes. Gradually she will be drawn into the story he wants – no, needs – to share. Cynically she reads about how her student, Kasper Olwagon, believes he has discovered, quite magically almost, an unusual homeless man who seems to have an uncanny ability to summon swans to himself. He watches the man for a while and ultimately takes this vagrant home. He longs to know how this apparent 'swan whisperer' calls to the magnificent birds, but for all of his efforts, Kasper is unable to encourage or help him to speak.
In his long letter, Kasper anticipates his professor's reaction, but he persists and over time, as she is drawn into the mystery and returns repeatedly to his letter for clues. She reads about his attempts to extract meaning from the murmurings he believes he heard, his desire to translate the language of swans. She hears in his efforts echoes of Afrikaans. Slowly she will begin to understand the meaning of the cryptic note that accompanied his parcel containing the book and tapes. The last words he wrote to her were: "Farewell to the worlds of will and representation!" As readers we are invited to follow the entwined journeys of student and teacher to that place where all of those questions posed at the beginning seem to be archaic, irrelevant. And once those rhetorical questions are left behind, one begins to appreciate the expanse of the impossible space contained in this small book.
The Swan Whisperer is the latest addition to the "Cahier Series", a joint project of the Center for Writers and Translators at the American University of Paris and Sylph Editions. Eminent writers and translators are invited to offer their reflections on writing, on translating, and on the intersection between the two activities. Each volume is accompanied by illustrations. Here, the striking black and white drawings by William Kentridge act almost as a visual soundtrack. His work has a tendency to explode off the page. The images complement the story by exploring the relationship between artists, animals and language. The text is translated from the Afrikaans by Marius Swart and the author.
I have to add that this particular volume held a special appeal for me. This spring I read, for the first time, Marlene van Niekerk's magnificent novel Agaat. Not only is this a complex, deeply moving story; but the way that language is evoked and brought into play presented a challenge well met by the translator, Michiel Heyns. Not long after this encounter I made my first visit to South Africa and I had the singular pleasure of experiencing William Kentridge's installation "The Refusal of Time" at the National Gallery in Cape Town. It was, I felt, like a command performance as no one else even ventured into the room beyond a quick glance at the door. Their loss and one of my fondest memories of my stay in the city.
And now I have both artists together in this enchanting and thought provoking book.
Author roughghostsPosted on November 11, 2015 December 17, 2018 Categories Afrikaans, Books, Review, South Africa, TranslatedTags American Univeristy of Paris, book review, books, Cahier Series, Center for Writers and Translators, illustration, literature, Marlene van Niekerk, South Africa, Sylph Editions, The Swan Whisperer, translation, William Kentridge6 Comments on What can or should a story be? The Swan Whisperer by Marlene van Niekerk


text:
// http://publib.boulder.ibm.com/infocenter/zvm/v5r4/index.jsp?topic=/com.ibm.zvm.v54.kiml0/athxmp.htm

///*
// * This an example of how "Hello, World" could be written using
// * The X Toolkit and the Athena widget set.
// *
// * November 14, 1989 - Chris D. Peterson
// */
//
///*
// * $XConsortium: xhw.c,v 1.7 89/12/11 15:31:33 kit Exp $
// *
// * Copyright 1989 Massachusetts Institute of Technology
// *
// * Permission to use, copy, modify, distribute, and sell this
// * software and its documentation for any purpose is hereby
// * granted without fee, provided that the above copyright notice
// * appear in all copies and that both that copyright notice and
// * this permission notice appear in supporting documentation, and
// * that the name of M.I.T. not be used in advertising or
// * publicity pertaining to distribution of the software
// * without specific, written prior permission.  M.I.T. makes no
// * representations about the suitability of this software
// * for any purpose.  It is provided "as is" without express or
// * implied warranty.
// *
// * M.I.T. DISCLAIMS ALL WARRANTIES WITH REGARD TO THIS SOFTWARE,
// * INCLUDING ALL IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS,
// * IN NO EVENT SHALL M.I.T. BE LIABLE FOR ANY SPECIAL, INDIRECT
// * OR CONSEQUENTIAL DAMAGES OR ANY DAMAGES WHATSOEVER RESULTING
// * FROM LOSS OF USE, DATA OR PROFITS, WHETHER IN AN ACTION
// * OF CONTRACT, NEGLIGENCE OR OTHER TORTIOUS ACTION, ARISING OUT
// * OF OR IN CONNECTION WITH THE USE OR PERFORMANCE OF THIS SOFTWARE.
// */

package main

import (
	"fmt"
	"github.com/varialus/xt"
)

//
//
//#include <stdio.h>
//#include <X11/Intrinsic.h>      /* Include standard Toolkit Header file.
//                                   We do not need "StringDefs.h" */
//#ifdef IBMCPP
//#include <X11/Xaw/ALabel.h>       /* Include the Label widget's header file. */
//#else
//#include <X11/Xaw/Label.h>        /* Include the Label widget's header file. */
//#endif
//#include <X11/Xaw/Cardinals.h>  /* Definition of ZERO. */
//
///*
// * These resources will be loaded only if there is no app-defaults
// * file for this application.  Since this is such a simple application
// * I am just loading the resources here.  For more complex applications
// * It is best to install an app-defaults file.
// */
//
//String fallback_resources[] = { "*Label.Label:    Hello, World", NULL };
var fallback_resources []xt.String = []xt.String{"*Label.Label:    Hello, World",}
//
//main(argc, argv)
//int argc;
//char **argv;
//{
func main() {
//    XtAppContext app_con;
	var app_con xt.XtAppContext
	fmt.Println("app_con ==", app_con)
//    Widget toplevel;
// TODO: uncomment
//	var toplevel xt.Widget
// TODO: uncomment
//	fmt.Println("toplevel ==", toplevel)
//
//    /*
//     * Initialize the Toolkit, set the fallback resources, and get
//     * the application context associated with this application.
//     */
//
//    toplevel = XtAppInitialize(&app_con, "Xhw", NULL, ZERO, &argc, argv,
//                               fallback_resources, NULL, ZERO);
// TODO: uncomment
//	toplevel = xt.XtAppInitialize(&app_con, "Xhw", nil, xaw.ZERO, len(os.Args), os.Args, fallback_resources, nil, xaw.ZERO);
// TODO: uncomment
//	fmt.Println("toplevel ==", toplevel)
//
//    /*
//     * Create a Widget to display the string.  The label is picked up
//     * from the resource database.
//     */
//
//    (void) XtCreateManagedWidget("label", labelWidgetClass, toplevel,
//                                 NULL, ZERO);
//
//    /*
//     * Create the windows, and set their attributes according
//     * to the Widget data.
//     */
//
//    XtRealizeWidget(toplevel);
//    /*
//     * Now process the events.
//     */
//
//    XtAppMainLoop(app_con);
//}
}

redpajama_set_name: RedPajamaGithub


Description Several rows of wooden benches fill a room in this 5" x 3.5" black and white photograph. At the front of the room is a stage with curtains pulled back on both sides. A flag stands at each end of the stage, and framed pictures hang on the wall on either side of the stage.
Historical Notes Camp Atlanta was a prisoner of war camp near Holdrege, Nebraska, used during World War II. This is an interior view of the theater used alternately by U.S. military personnel and prisoners of war.


Nidec Motor Corporation (NMC) has created this online resource to assist suppliers in the 2014 Conflict Minerals Campaign.
In creating this page, we hope to prove a valuable resource in helping our Suppliers to understand this important topic. If you have any immediate questions, please contact us via email @ supplierportal@nidec-motor.com.


text:
Q: How to run a .bat file from a C# forms application? I am trying to run a batch file that, in turn, runs a .exe (before you ask, this is necessary). I have tried the answer to this question but the code doesn't work for me. I had been using System.Diagnostics.Process.Start("bat/directory/batname.bat");
but it didn't work; it seemed to open the file but exited it before it could run the .exe
Please help!
EDIT
The codes that I have tried are as follows:
1 - "System.Diagnostics.Process.Start("G:/Software/Games/Files/Minecraft/minecraft.bat/");"
2 -
proc.StartInfo.FileName = target;
proc.StartInfo.RedirectStandardError    = true;
proc.StartInfo.RedirectStandardOutput   = true;
proc.StartInfo.UseShellExecute          = false;
'proc.Start();'
proc.WaitForExit
(
(timeout <= 0)
? int.MaxValue : timeout * NO_MILLISECONDS_IN_A_SECOND *
NO_SECONDS_IN_A_MINUTE
);
errorMessage = proc.StandardError.ReadToEnd();
proc.WaitForExit();
outputMessage = proc.StandardOutput.ReadToEnd();
proc.WaitForExit();
I know that it is opening because the cmd appears and I see the appropriate code in it.

A: Things to consider. (keep it simple at first :))

*

*Make sure the *.bat file path is accurate. just to be sure you can check it by:
if(File.Exists(yourBatchFilePath))

*You can test a simple batch file to see if your code is running.
echo "What ever!" >> whatever.txt save the file as c:\myTest.bat
if your code is correct, a whatever.txt file should exist in c: containing "What ever!" text.

redpajama_set_name: RedPajamaStackExchange


text:
William Lee Davidson (1746–1781) was an officer in the North Carolina militia and Continental Army during the American Revolutionary War. He was born in Pennsylvania and moved with his family to Rowan County, North Carolina in 1750.   He was killed at the Battle of Cowan's Ford.

Origins and education
William Lee Davidson was born in 1746 in Lancaster County, Pennsylvania. His father George Davidson moved with his family to Rowan County, North Carolina, in 1750. William, the youngest son, was educated at Queen's Museum (later Liberty Hall) in Charlotte.

Military service
Service record:
Adjutant/Captain in the 1st Rowan County regiment of militia (1775-1776)
Major in the 1st Rowan County Regiment of militia (1776)
Major in the 4th North Carolina Regiment (North Carolina Continental Line) (1776-1777)
Lt. Colonel in the 5th North Carolina Regiment (North Carolina Continental Line) (1777)
Lt. Colonel in the 7th North Carolina Regiment (North Carolina Continental Line) (1777-1778)
Lt. Colonel in the 3rd North Carolina Regiment (North Carolina Continental Line) (1778)
Lt. Colonel over the 1st North Carolina Regiment (North Carolina Continental Line) (1779-1780)
Brigadier General (Pro Tempore) over the Salisbury District Brigade of the North Carolina militia (September 1780 to February 1781)

Active in the war from its inception as adjutant to Colonel (later Brigadier General) Griffith Rutherford's Rowan County Regiment during the Snow Campaign in December 1775, he was promoted to major of the Fourth Regiment of the North Carolina line in 1776. He marched with the North Carolina line to the north and was at the Battle of Germantown, after which he was promoted to Lt. Colonel of the Fifth Regiment of the North Carolina line. At Valley Forge with Washington, "Light Horse Harry" Lee, Daniel Morgan and others, he became friends with most of the influential military commanders in the Continental Line.

Left without a command, he had been ordered out for the purpose of preventing the British from crossing the Catawba. Griffith Rutherford appointed Davidson his second in command. Severely wounded at the Battle of Colson's Mill on July 21, 1780, he did not participate in the Battle of Camden at which Rutherford was captured. Davidson was promoted to brigadier general and given command of Rutherford's Salisbury District Brigade of militia. He participated in resisting the entry of Lord Cornwallis into Charlotte in late September 1780.

Brigadier General William Lee Davidson was in Charlotte, North Carolina by December 3, 1780, the day after General Nathanael Greene arrived in Charlottetown as it was then called. After the defeat of the American Forces at the Battle of Camden or as called by most veterans in their pension records the Battle of Gum Swamp; so it was then that the Continental Congress finally agreed to permit General George Washington to replace General Gates with his best officer.

General Washington immediately selected General Nathanael Greene. General Greene arrived later in the day on December 2, 1780, in Charlottetown after a long journey from Philadelphia, Pennsylvania, and rested. Officially the Change of Command Ceremony took place between General Gates and General Greene on December 3, 1780; and as quickly as he could General Nathanael Greene got to the business at hand to meet his new officers in the field. General William Lee Davidson and General Nathanael Greene had previously met.  They were both in the Battle of Brandywine opposing British General Lord Cornwallis in Pennsylvania.

Greene recognized that Davidson was very respected and in favor with the local militia in the western half of North Carolina, called the Salisbury Military District over which General Davidson had complete jurisdiction. Greene wanted to capitalize on the opportunity to create a "Flying Army" that was approved by General Washington.  Davidson was going to be the leading Patriot Commander in the field to raise the local militia up as this "Flying Army." Having previously served in battle and camped at Valley Forge together, they already had a bond of trust.

Death
Davidson was killed at the Battle of Cowan's Ford in Mecklenburg County, North Carolina on February 1, 1781, while opposing the re-entry of Cornwallis into North Carolina. General Davidson was trying to rally his men as the lead British and German elements arrived on the near bank. He was killed within minutes as the engagement unfolded. Davidson's body was recovered by fellow officers later that evening after the battle; and was buried at Hopewell Presbyterian Church located on Beatties Ford Road, North of Charlotte.

Namesakes
Davidson County, North Carolina and Davidson County, Tennessee.
The town of Davidson, North Carolina.
Davidson College in North Carolina. His sword once hung in one of its halls.
Congress voted $500 for a monument to him, but it has never been erected.

References

External links

Battle of Cowan's Ford
Death of General Davidson
SCAR
Hopewell Presbyterian Church: General Davidson's Wallet
Davidson College: Alumnus Reclaims College Namesake's Revolutionary War "Wallet" for USA

1746 births
1781 deaths
American slave owners
Continental Army officers from North Carolina
North Carolina militiamen in the American Revolution
United States military personnel killed in the American Revolutionary War
People from Lancaster County, Pennsylvania
People from Rowan County, North Carolina
Militia generals in the American Revolution
People of colonial Pennsylvania
Military personnel from Pennsylvania

redpajama_set_name: RedPajamaWikipedia


text:
Fimmerstads församling var en församling  i Skara stift i nuvarande Töreboda kommun. Församlingen uppgick efter 1571 i Fägre församling.

Administrativ historik
Församlingen har medeltida ursprung och uppgick efter 1571 i Fägre församling efter att tidigare ha ingått i pastorat med denna församling.

Referenser

Indelningar i Töreboda kommun
Historiska församlingar i Skara stift


text:
Justin J. McCarthy papers
Justin J. McCarthy was a priest and then auxiliary bishop of the Archdiocese of Newark and Bishop of Camden. The Justin J. McCarthy papers primarily consist of the lecture notes and sermons of Bishop Justin J. McCarthy.
Found in: The Monsignor Field Archives & Special Collection Center / Justin J. McCarthy papers
George A. Clyde papers
George A. Clyde was a priest of the Archdiocese of Newark who served in several parishes. The George A. Clyde papers include homilies, sermons, and other writings of George Clyde from his time as a parish priest.
Found in: The Monsignor Field Archives & Special Collection Center / George A. Clyde papers
John Koenig papers
John H. Koenig was born 24 December 1916. He graduated from Seton Hall college in 1938, was ordained into the priesthood on 30 May 1942 at St. Patrick's Cathedral in Newark, N.J., and served as director of the Archdiocesan Ecumenical Commission. Msgr. Koenig died on 15 August 2004. The John Koenig papers contain the professional papers of Rev. John Koenig from his work in the Archdiocese of Newark and as a parish pastor.
Found in: The Monsignor Field Archives & Special Collection Center / John Koenig papers
John M. Oesterreicher papers
Abstract John M. Oesterreicher was born February 2, 1904 in Stadt-Liebau, Moravia, then a part of the Austro-Hungarian Empire, into a Jewish family. He studied theology at the Universities of Graz and Vienna, was ordained to the priesthood in 1927, and in 1953 he founded the Institute for Judaeo-Christian Studies at Seton Hall University in South Orange, NJ. The John M. Oesterreicher papers include manuscripts, correspondence and sermons centering on his work in Judaeo-Christian Studies and...
Found in: The Monsignor Field Archives & Special Collection Center / John M. Oesterreicher papers
Papers of John Morley
Scope and Contents The Papers of John Morley include writings, lectures, research notes, correspondence, and miscellaneous documents and ephemera related to activities and events attended by Father Morley. The collection primarily centers on his work in Judeao-Christian Studies, anti-semitism, and the Vatican's role in the Holocaust. The latter is the basis of his published book, "Vatican Diplomacy and the Jews during the Holocaust, 1939-1943." The writings span from 1975 (when he was a student at NYU) to...
Found in: The Monsignor Field Archives & Special Collection Center / Papers of John Morley
Subject: Catholic Church -- Sermons. X
Judaism -- Europe -- History -- 20th century. 2
Vatican Council (2nd: 1962-1965: Basilica di San Pietro in Vaticano) 2
Catholic Church -- History -- 20th century. 1
Christianity and antisemitism 1
Councils and synods, Ecumenical. 1
Councils and synods, Episcopal (Catholic) -- New Jersey. 1
Theology—Study and teaching—Catholic Church. 1


As the Federal Communications Commission prepares to vote on Chairman Ajit Pai's proposal to begin undoing the agency's 2015 net neutrality rules on May 18, reactions will continue to pour in through formal filings with the commission and pressure from outside advocacy groups.
In Senate Judiciary Committee testimony Wednesday, Comey pushed for reauthorization of a surveillance provision the intelligence community views as a vital counterterrorism tool — despite a recent signal from a key House member suggesting reform will be necessary before the provision is extended past its expiration date at the end of the year.
Apple Inc. CEO Tim Cook said his company will provide $1 billion to promote advanced manufacturing jobs in the United States. The first investment will be announced later this month.
The Center on Privacy & Technology at Georgetown Law Center sued the New York Police Department in an effort to release documents regarding the department's use of controversial facial recognition technology.
House Judiciary Committee Chairman Bob Goodlatte on Tuesday talked up efforts to overhaul a surveillance program that's been an enduring source of controversy in the post-9/11 era.
President Donald Trump signed an executive order establishing the American Technology Council, which intends to unite leading government officials with Silicon Valley's top minds to "transform and modernize" the federal government's approach to information. Trump plans to meet with top tech executives in early June.
A federal appeals court on Monday denied a request from an industry group representing telecommunications companies like AT&T Inc. and Verizon Communications Inc. for a full court review of a June decision that upheld the Federal Communications Commission's 2015 net neutrality rules.
The U.S. government warns that an international cyber-espionage campaign led by a group allegedly connected to the Chinese government is hitting a growing number of companies worldwide.


text:
UBS sets major reshuffle atop wealth management unit
August 29, 2019, 10:18 a.m. EDT
UBS Group Chief Executive Officer Sergio Ermotti moved to quell concerns surrounding the bank's long-term succession plan with a radical overhaul of the top ranks, hiring a star banker from a rival and ousting some of its most senior executives.
After a year marred by huge legal fines, questions about succession planning and a deepening slump in share prices, Ermotti unveiled a revitalized board, replacing wealth management co-head Martin Blessing with former Credit Suisse Group AG banker Iqbal Khan. Blessing, a former Commerzbank CEO, and Ulrich Koerner, president of asset management and Europe, Middle East and Africa, will both leave the bank as part of the changes.
Other appointments — including the elevation of Suni Harford as asset management head and Sabine Keller-Busse as EMEA president — are an attempt by the bank to replenish a management board weakened by top level departures in recent years. The revamp also positions Khan, 43, as a future CEO candidate after Chairman Axel Weber said earlier this year that the bank was in the early stages of succession planning as he and Ermotti enter their eighth year in charge of the world's largest wealth manager.
The two women could also become contenders to take over the top job when Ermotti eventually steps down or seeks to become chairman. Keller-Busse is currently chief operating officer and a former partner at McKinsey. Her ascent has been steady since she joined UBS almost a decade ago, having previously led human resources and Credit Suisse's private clients region for Zurich. She is said to be well-liked by Weber. Harford joined UBS just two years ago after nearly a quarter century with Citigroup.
Khan, who will co-lead the wealth unit with Tom Naratil, will be tasked with boosting UBS's $2.5 trillion wealth management franchise, a key business that has been whiplashed by volatile results in recent years. At Credit Suisse, profit surged during his time as head of international wealth management.
This is the second major reorganization at UBS's wealth division since Blessing replaced Juerg Zeltner in January 2018, when the firm merged its international and American units into a single business. Managing money for wealthy people has come under pressure worldwide amid muted client activity and wild market gyrations. Yet, wealth management can potentially be one rare bright spot for European banks as investing banking revenues decline and a prolonged period of low interest rates hurts profits.
"Iqbal Khan clearly has a strong track record, boosting Credit Suisse's international wealth management's adjusted pre-tax profit by almost 80% in three years," Vontobel analysts said in a note to clients on Thursday, adding that the addition of Khan and Harford mark a "rejuvenation" of UBS's board.
Khan has built a reputation as a charismatic leader, able to motivate teams and popular with the bank's relationship managers. He's known for his attention to clients, such as the occasion he brought chocolates from Zurich's famed confectioner Sprungli to a convalescing client. That kind of approach is a contrast to the more matter-of-fact style of predecessor Blessing, a former consultant who made a name for himself restructuring Commerzbank following its rescue by German taxpayers during the global financial crisis.
His departure had been widely expected after the global wealth management unit posted erratic results since the two former wealth businesses were combined into a single unit last year. Clients pulled $1.7 billion from the unit in the second quarter, where earnings were lower than expected. He'd earlier been seen as a contender to succeed Ermotti when he was appointed after about eight years in charge at Germany's No. 2 bank, after shrinking the bank's pile of bad loans and restoring the dividend.
As part of the changes at UBS, Koerner — president of asset management and Europe, Middle East and Africa — will step down. His responsibilities will be divided between Suni Harford, who takes over asset management and Sabine Keller-Busse, who becomes president of EMEA.
The hiring of Khan — whose rift with Credit Suisse CEO Tidjane Thiam led to his departure from the Swiss firm this year — is a coup for Ermotti, breaking a bad run for the executive since the beginning of the year when he gave a de facto profit warning at a conference and the bank received a huge $5 billion fine in France.
Khan's ascent at Credit Suisse was rapid. He joined in his late 30s after rising through the ranks of Ernst & Young's Zurich-based assurance division, where he audited UBS. He joined Credit Suisse in 2013 and was named head of the bank's international wealth-management unit when it was created. The bank may now be concerned he'll seek to hire former colleagues.
When Thiam joined Credit Suisse and revamped his executive team, Khan was already one of the most influential people there, and his career accelerated after Thiam promoted him to lead international wealth management. Khan helped fold worldwide asset management and private-banking activities into a single unit and also helped to build up capital markets and a lending platform for billionaire clients.
Khan's relationship with Thiam had soured in recent months, according to people with knowledge of the matter. When a corporate reorganization came in February, Khan's brief stayed the same, even as two colleagues were elevated to the executive committee. Tensions mounted as Khan's name surfaced in media reports as a candidate to replace Bernhard Hodler as head of Julius Baer. That job eventually went to Philipp Rickenbacher, a little-known internal candidate.
--With assistance from Jan-Henrik Förster.
C-suiteUBSUBS Wealth ManagementWealth managementCareer movesSergio Ermotti


text:
Q: Extract and convert blob field in image. MySQL - Java I am writing a java program for fingerprint recognition, and I insert the fingerprint image in the MySQL database( in a field blob), but now is the problem.
How do I go back to the image of the fingerprint? where I have to print it?( I presume in a canvas). help me please is very important, thanks to all.

A: The blob is a array of bytes, so is the Image.
So
img -> read bytes -> store as blob

vs
blob -> read bytes -> store as img


text:
BAE Systems Receives $325M for M-Code GPS Modules
BAE Systems, Inc. has received a $325.5 million contract from the Defense Logistics Agency for advanced Military Code (M-Code) Global Positioning System (GPS) modules that will provide reliable and secure positioning, navigation, and timing data with anti-jamming and anti-spoofing capabilities. The modules will help warfighters conduct operations in contested electronic warfare environments.
Our state-of-the-art GPS technology works with the advanced military M-Code signal to provide reliable information to the warfighters who depend on it. This contract will ensure the availability of M-Code module inventory to build advanced, next-generation GPS receivers.
Greg Wild, director of Navigation and Sensor Systems at BAE Systems
Under the multi-year contract, BAE Systems will deliver Modernized GPS User Equipment (MGUE) Increment 1 Common GPS Modules (CGMs) compatible with the advanced M-Code signal to support the U.S. Department of Defense and international allies through 2030. BAE Systems will manufacture the modules, manage their inventory on behalf of the Defense Logistics Agency, and use them to build military-grade GPS receivers for ground and precision-guided munitions.
BAE Systems' portfolio of M-Code GPS receivers provides flexible, efficient, and reliable navigation and guidance solutions for airborne systems, precision munitions, handheld receivers, and embedded applications. The company's Miniature Precision Lightweight GPS Receiver Engine – M-Code (MPETM-M) – the smallest M-Code solution on the market – and the NavStrikeTM-M GPS receiver for precision-guided munitions are both available today. Additional receivers from the company's military GPS family are in development for transition to M-Code.
UK orders production of MBDA's SPEAR mini-cruise missile
Source: BAE Systems news release
BAEBAE SystemsGPSM-codenavigation
AFRL selects BAE Systems to develop advanced seeker
MBDA and BAE Systems Hägglunds demonstrate AKERON and CV90 firepower
Sweden, Germany, United Kingdom jointly acquire 436 BAE Systems BvS10 all-terrain vehicles
U.S. Navy Awards $13.5 Million Agreement for BAE Systems' Smart D2™ Technology
BAE Systems Receives Orders for Its Advanced 3P Ammunition From Sweden and Finland
U.S. Navy Awards BAE Systems $294 Million Contract for USS Kearsarge Modernization
Slovakia Signs $1.37 Billion Deal for 152 BAE Systems CV90s under Government-to-Government Agreement
Previous AM General and Mandus Group's Soft Recoil Technology to Be Tested with the United States Army
Next Department of Defense has contracted with XTEND for a new small Unmanned Aircraft System (sUAS)
Team Wendy® Makes Waves with New Maritime Helmet Liner


set newURL to "http://" & theIP & "/"
-- display alert "\"" & (the clipboard) & "\" was copied to the clipboard"
display dialog "If you are using a custom localhost domain (via VirtualHostX or similar), please enter the domain now:" default answer "localhost"
do shell script "ifconfig en0|grep \"inet \"|cut -d ' ' -f 2"
do shell script "ipconfig getifaddr en0"
This method sometimes produces an error in AppleScript. To avoid the error, add ";exit 0"
"ipconfig getifaddr en0; exit 0"
set theIP to do shell script "ipconfig getifaddr en0; exit 0"
set theIP to do shell script "ipconfig getifaddr en1; exit 0"
display dialog "Sorry, your IP address couldn't be determined."
display dialog selectedURL & " has been copied to your clipboard"


So, daughter and I finally got to visit Ballarat Bird World where, of course, there were lots of gorgeous birds!
This beautiful boy came over to check us out the moment we entered the aviary. He's a King parrot.
But before going into the big flight aviary where he was, we had to check out the small ones.
This little chap is a Bourke's parrot. I've not seen them blue like this; they're usually just pink.
Beautiful female Red Tailed Black Cockatoo. I love these birds - they look like they've been sprinkled with stars!
We found out as we were leaving that these ones were in fact hand-reared and, if the right staff member had been there while we were, we would have been able to go in with the birds! Spewing we missed that!
Pair of Gang-Gangs. We have had wild ones of these in our yard, and they are incredibly CUTE. The one with the red head is the male, and his top-knot bobs when he moves. XD There was one in another cage that came right up to us and was saying "Hello" in the cutest, surprisingly deep voice!
Here's what daughter REALLY was hoping to see - a male eclectus. We've seen a couple of the beautiful red and blue females in our travels, but hadn't yet seen a male outside of youtube. We saw 3 males here, so daughter was completely squeeeful. This is her dream bird.
Cockatiels!! This is the closest I've come to seeing them in the wild.


Provide Special Periodic Survey, Technical and Project Management Services for Arkitcheskaya Jack-Up.
Project Management and Supervision Services for Project B370 Keppel FELS N Plus Class Self-Elevating Drilling Unit.
Project Management Services for 2 units JU2000E New Build Jack-Up.
Project Planning Services for the Repair and Upgrade of 2 Jack- Ups (AT‐1 & AT‐2) in Mexico.
On Site Management and Inspection Services for Barge Repair Project.
Rig Inspection Services for New Build Jack-Ups at various locations.
Rig Inspection Services for Island Innovator Semi-Sub at anchorage.
Rig Inspection and Equipment Maintenance and Tagging Verification Services.


text:
JPs By State » About New Hampshire JPs
Looking for a New Hampshire wedding officiant?
Visit findaJP.com to learn more about NH wedding laws and to search for a New Hampshire Justice of the Peace.
Are you a New Hampshire JP?
Learn more about the benefits of a JPus membership here.
The New Hampshire Justice of the Peace Manual
Ready to become a NH Justice of the Peace? Complete this application to become a NH JP
New Hampshire Justices of the Peace
JPs in New Hampshire are appointment by the Governor and Executive Council for a five year term. The application fee is $75.
In addition to performing marriage ceremonies, Justices of the Peace have other authority. They can take acknowledgements, oaths and affirmations, Jurats, depositions, copy certifications, witness or attest signatures and protests. Furthermore, a JP must comply with requirements. For instance, when signing an acknowledgment or jurat, certain information must be noted on the document or instrument. Specifically, they shall type, print, or stamp their name and state, the expiration date of his or her commission. JPus sells customized stamps for officiants here.
Non-residents entitled to perform marriages in their own states may apply to do so in New Hampshire.
JPus Advocacy Efforts in New Hampshire
JPus is a voice to end child marriages in New Hampshire and elsewhere
Read about our efforts to block special (amateur) marriage officiants in the state
Learn more about the benefits of a JPus membership.
Learn how the Justice of the Peace Association supports civil marriage officiants
Professional development and training for justices of the peace
Go back to the history of JPs (and notaries) by State
Are you a couple looking to get married? See our About Notaries and JP page
<< Go Back To JP by State History