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Q: CustomObjectTranslation person account record type I want to retrieve translations for person account record types from workbench.
I created a package.xml file which I uploaded to workbench via retrieve
<?xml version="1.0" encoding="UTF-8"?>
<Package xmlns="http://soap.sforce.com/2006/04/metadata">
    <types>
        <members>Account-de</members>
        <name>CustomObjectTranslation</name>
    </types>
    <types>
        <members>Account</members>
        <name>CustomObject</name>
    </types>
    <version>44.0</version>
</Package>

and I received record type translations, but only for standard accounts, not for person acconts.
<?xml version="1.0" encoding="UTF-8"?>
<CustomObjectTranslation xmlns="http://soap.sforce.com/2006/04/metadata">

 <recordTypes>
        <description><!-- Account record type for Austria --></description>
        <label>AT Organisation</label>
        <name>CORE_AT_Organization</name>
 </recordTypes>

Although person account record type is special type of account, it should be listed here. When I use SOQL in workbench
SELECT Name,IsPersonType,SobjectType FROM RecordType WHERE SobjectType = 'Account'

there is only one difference between standard account record type and person account record type in IsPersonType = True.
Thanks for any help

A: After a lot of trial and error, I have managed to retrieve the Person Account Record type translations through ANT. Please check this post for the package.xml sample.


No arrests were reported from Nov. 13-20.
11/15 at 12:26 p.m. Daniel Lewin, 29, of Portland, was issued a summons on Bowery Beach Road by Officer David Galvan on a charge of failure to produce insurance.
11/17 at 6:48 p.m. Christopher Rasco, 49, of Cape Elizabeth, was issued a summons on Route 77 by Officer Aaron Webster on a charge of improper passing.
11/17 at 10:45 p.m. William Goduti, 19, of Cape Elizabeth, was issued a summons on Route 77 by Officer Aaron Webster on a charge of failure to produce insurance.
10/13, no time reported. A Broad Cove resident reported that his mailbox and post had been stolen the previous night. Police said it appeared that a "physically, quite strong human had lifted it out of the ground," noting that no tire marks were left at the scene. Police searched the area, but found no evidence of the mailbox.
11/13 at 10:45 a.m. Fire alarm on Hunts Point Road.
11/13 at 5:45 p.m. Smoke investigation on Concord Place.
11/13 at 11:12 p.m. Fire alarm on Cape Woods Drive.
11/14 at 7:56 a.m. Fire alarm on Scott Dyer Road.
11/14 at 10:34 a.m. Carbon monoxide alarm on Fernwood Lane.
11/19 at 6:14 p.m. Smoke investigation on Mountain View Road.
Cape Elizabeth emergency services reported responding to 11 calls from Nov. 13-20.


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The CIA Has Brought Darkness to America by Fighting in the Shadows
After 9/11 the agency was given free rein to break the rules but when allowed to play dirty abroad, it's difficult to stop at home
March 14, 2014 Gary Younge The Guardian
The CIA Has Brought Darkness to America by Fighting in the Shadows Published March 14, 2014
The US flag flying at Guantánamo Bay. 'As covert operations were shielded from oversight, so human rights violations became not just inevitable but routine.' ,Bob Strong/Reuters
Little more than a week after 9/11, Cofer Black gave instructions to his CIA team before their mission. "I don't want Bin Laden and his thugs captured, I want them dead … I want to see photos of their heads on pikes. I want Bin Laden's head shipped back in a box filled with dry ice. I want to show Bin Laden's head to the president. I promised him I would do that."
A month later, at a meeting sponsored by Schwab Capital markets, CIA executive director "Buzzy" Krongard laid out for investors what such a war would entail. "[It] will be won in large measure by forces you do not know about, in actions you will not see and in ways you may not want to know about," he said.
Back then there wasn't a treaty that couldn't be violated, a principle waived or a definition parsed in the defence of American power and pursuit of popular revenge. To invoke the constitution, the Geneva convention or democratic oversight was evidence that you were out of your depth in the new reality. Laws were for the weak; for the powerful there was force. This was not just the mood of a moment; it has been policy for more than a decade.
Obama's arrival offered a shift in focus and style but not in direction or substance. "I don't want [people at the CIA] to suddenly feel like they've got to spend all their time looking over their shoulders," he said shortly before his first inauguration. It was never difficult to see what could go wrong with this approach. But it has, nonetheless, been shocking to see how wrong things have gone. As covert operations were shielded from oversight, so human rights violations became not just inevitable but routine.
In a 2004 report military intelligence officers told the International Committee for the Red Cross they believed between 70% and 80% of the detainees in Iraq were innocent. The nods and winks became permanent tics – so reflexive they embedded themselves in the institutional subconscious. "The most serious thing is the abuse of power that that allows you to do," Lawrence Wilkerson, former secretary of state, Colin Powell's chief of staff, told Jeremy Scahill in his book, Dirty Wars. "You find out the intelligence was bad and you killed a bunch of innocent people and you have a bunch of innocent people on your hands, so you stuff 'em in Guantánamo. No one ever knows anything about that. You don't have to prove to anyone that you did right. You did it all in secret, so you just go to the next operation. You say, 'Chalk that one up to experience'… And believe me that happened."
The logic driving this state of affairs is not only self-fulfilling, it's self-perpetuating. The more they act with impunity the more abuses are committed, the more they have to cover up and the more secrecy they need. So long as it happened abroad, the consequences for the American polity were limited. Abu Ghraib and drone attacks cost precious few votes or senior careers. But it was only a matter of time before these ramifications started making themselves felt at home. Foreign policy doesn't take place in a vacuum; it's co-ordinated by and incorporated into the same system that elaborates domestic policy. Once you have told operatives to take their gloves off and fight dirty on the road they don't just start playing by Queensbury rules at home.
Those openly called on to flout international law in the interests of a higher good do not then suddenly submit that goal to domestic law once they've gone through customs. Once the state has deliberately created space for power to be exercised without accountability those who occupy that space will protect it against enemies domestic and foreign. When your war is global and unending it inevitably comes home and keeps going. The monster the US has unleashed on the rest of the world is steadily devouring its own.
This is not new. The origins of the Watergate scandal, in which President Richard Nixon bugged his electoral opponents, lies in Nixon's secret bombing of Cambodia; McCarthyism had its roots in the cold war.
But during the war on terror the process has become particularly pronounced. In recent months, it has emerged that the CIA has been spying on investigators from the Senate intelligence committee – the very committee charged with overseeing the CIA. The investigators, who were authorised to examine CIA documents relating to interrogation methods, found a withering internal review which concluded with the finding that torture techniques, like waterboarding, used in "black site" prisons had been ineffective. This was particularly troublesome because the CIA director had argued the opposite before the committee, contradicting the agency's own findings. When the CIA discovered that the investigators had the review, it started going through their computer logs to find out how they had got hold of it.
In short the CIA spirited people away and tortured them, concluded this was useless, suppressed those conclusions, lied about them to elected officials and then spied on the people who had a democratic mandate to discover the truth precisely because they discovered the truth. Those black sites in far away lands have sister cities within the democratic process.
The defence for this duplicity is invariably national security. To be kept safe we must also be kept ignorant; to protect democracy it must be undermined. The unfettered phone surveillance of American citizens by the National Security Agency revealed the degree to which politicians collude in much of this – asking soft ball questions and apparently happier being fobbed off than taking on the democratic responsibilities.
"You can get caught up in that world. There's a certain glamour to it I think for a lot of elected officials," Senator Martin Heinrich, who is on the intelligence committee, told Politico. The price for that glamour is high and we all pay for it.
But nobody can claim we weren't warned: "We've got to spend time in the shadows in the intelligence world," former vice-president Dick Cheney said shortly after 9/11. "A lot of what needs to be done here will have to be done quietly, without any discussion … That's the world these folks operate in, and so it's going to be vital for us to use any means at our disposal … to achieve our objective."
Those shadows are long. They have concealed unspeakable horrors abroad. Increasingly they are casting darkness at home.
Twitter: @garyyounge
Global Left Midweek – December 28, 2022
The Coup in Chile: What Did Nixon Know and When Did He Know It?
The Historic Collapse of Journalism
How Democracies Spy on Their Citizens
How Creative Writing Programs De-Politicized Fiction

redpajama_set_name: RedPajamaCommonCrawl


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Frittatas are a nice change-up from scrambled eggs for breakfast. They can be made with pretty much any vegetable you have leftover in your fridge.
Preheat over to 450 degrees. Heat the olive oil in an oven proof skillet over medium heat.
Chop up the zucchini, bell pepper, and onion. Beat the eggs and stir in the cheese, cayenne pepper and a bit of salt and pepper.
Add the vegetables to the skillet and saute until they have softened a bit but are still firm. Pour the eggs into the pan and spread the vegetables evenly throughout.
Cook for a minute on the stove top before transferring to the over. Cook for another seven or eight minutes until it has fluffed up and the top has started to turn golden.
Remove from oven and top with some chopped cilantro.


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The Sports Talk Series is an annual ADS panelist event designed to expose the student body to an engaging discussion on polarizing issues in the sports world that arise each year. Its mission is to provide all the students that attend with a greater understanding and appreciation for the issues and the surrounding circumstances that cause them in the first place. The Sports Talk Series also strives to provide our contributing panelists with an invaluable experience at UMass Amherst speaking with a diverse group of industry experts on the issues they are most passionate about. ADS hopes to build the Sports Talk Series to a level where it is considered the top academic event on campus with its extraordinary relevancy, participation and attendance from the student body.


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A friend and I are new to WMA and played our first game the other night. He used Carthaginians and I used Britons. As such, we both has a mix of infantry, skirmishers and mounted skirmishers.
During the game our foot skirmishers met in the middle of the table and mine came off worse, taking enough damage to render them pretty ineffectual for the remainder of the game. What we noticed though was that my opponent's skirmishers were able to stall my infantry for the remainder of the game while his infantry wandered off in another direction. Every time I charged, he evaded, meaning I could only advance about 10cm a turn. I was also able to do the same against his heavy cavalry. He would charge my mounted skirmishers and I would evade, meaning he could only advance very short distances.
From what we could tell, we were playing the skirmisher update rules correctly, but they just seemed to prevent an actual battle from taking place, resulting in a pretty boring game. Does anyone have any thoughts on how we can do things differently?
In my games that has not happened so much as skirmishers usually are not a big part of the armies compared to core units. How many points and sk units you were playing?
What you describe can happen, causing trouble to advance non-sk units. Try to do two charges in the same turn so they can not evade, or use missile to disrupt them. Or directly advance through another part of the field, if possible.
Try to play more than one game between the armies, as some times the "sk vs sk battle" can lead to different game situations non boring.
Skirmishers should confront skirmishers, usually as a change of volleys or sk charges to clean each others during the main body of the army take positions in the firsts turns of the battle.
The idea of skirmishers is bother the movement of the enemy. They are not intended to harm the enemy.
The best way of hitting skirmisher is with skirmish cavalry. Or attacking with a skirmish, in the same turn as enemy is fixed fighting with your skirmish you can charge with a regular unit to destroy the skirmish.
Edmund ask and interesting question: How many points and sk units you were playing?
What I didn not try is fighting with/Agianst skirmishers armies.
It was possibly a rare situation where his skirmishers came off significantly better but he wasn't prepared to commit his infantry that led to our experience.
We were using the correct update and the role for skirmishers. The game was around 1250 points, we both had 6 units of skirmishers, I had 5 cav skirmishers and 2 chariots, he had 5 Numidians.
I'm glad it's not a problem others are experiencing as I'd like to keep playing these rules.
Let us know about your games and experience with sk, even some shots would be great for the pleasure of seeing your army!
You can make a brigade of three core units and one skirmish unit. Charge with the skirmishers first and lock the enemy in combat. Since skirmishers cannot evade skirmishers of the same troop type. Then massacre them.
Works well for Romans fighting against Celtiberians etc.


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Q: How to Implement live video streaming in node js? I want to develop an e-learning app (website) using node.js in which the teacher can stream a live video by webcam and his students can see the live video lecture.
the idea of this live video streaming is similar to the zoom app.
The service I want is a one-to-many live stream such as I mentioned.
if there is a way to do this with WebSockets it will be better.
I found some things like Wowza, Webrtc, etc...
I want to find the best way of achieving such an app regarding the best solution as I haven't tried that kind of apps before.
For any details please, leave a comment.
Thanks,

redpajama_set_name: RedPajamaStackExchange


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Tag Archives: Shakespearean Sentences
The Art of Rhyme and Meter
June 28, 2009 By upinvermont in About Free Verse & Traditional Poetry, About Rhyme, Criticism, Frost, Robert, Heroic Couplets, How to Write Iambic Pentameter, Iambic Pentameter, Iambic Tetrameter, Internal Rhyme, Keats, John, Meter, Shakespeare, William Tags: Alicia Stallings, Annie Finch, Calendars, David Rosen, formalist blog, Gorboduc, Grammatical Inversions, Homer, Homeric Epithet, How to write meter, How to write rhyme, John Porter Houston, Megan Grumbling, Meter, Odyssey, Plain English And the Rise of Modern Poetry, Rhyme, safari rhyme, safari rhymes, safari rhyming, Shakespearean Sentences, Timothy Steele, Why use Iambic Pentameter, Why use Meter, William Shakespeare	13 Comments
This is a follow-up to The Writing & Art of Iambic Pentameter.
The oral tradition of Poetry
Poetry began as an oral tradition. Homer's Odyssey is probably far older than Homer and Odysseus' sojourn, in one form or another, may have been handed down for centuries from one storyteller to the next.
Each storyteller probably added details and expanded the story until, by the time Homer learned it, the epic was a real feat of memorization. As every reader of Mother Goose knows, a ditty or poem that has a rhythm or rhyme is easier to remember than one that doesn't.
The Dactylic Hexameters of Homer's Odyssey, it's meter, was the rhythm that made the epic easier to remember. And a device used for the filling out of this meter was the Homeric Epithet. These colorful descriptions (or epithets) might have also served as cues – much like stage directions.
Before Homer, the tightly wound relationship between dance, music, rhythm and sound was demonstrated by recently discovered poems from ancient Egypt. In a book called The Ancient Egyptian Culture Revealed, Moustafa Gadalla writes:
The Egyptians perceived language and music as two sides of the same coin. Spoken, written, and musical composition follow the same exact patterns. Both poetry and singing followed similar rules for musical composition. Poetry is written not only with a rhyme scheme, but also with a recurring pattern of accented and unaccented syllables. Each syllable alternates between accented and unaccented, making a double/quadruple meter and several other varieties. Patterns of set rhythms or lengths of phrases of Ancient Egyptian poems, praises, hymns, and songs of all kinds, which are known to have been changed or performed with some musical accompaniment, were rhythmic with uniform meters and a structured rhyme. ¶ Ancient Egyptian texts show that Egyptians spoke and sang in musical patterns on all occasions and for all purposes–from the most sacred to the most mundane. [p. 155]
This oral tradition continued with the very first works of the Anglo Saxons, the alliteration of Beowulf, up until the start of the 20th Century, when poets like Frost, Cummings, and Yeats, continued to imbue their poetry with the sounds and rhythms of its oral, musical, lyrical and storytelling ancestry.In short, traditional poetry finds its roots in music.
Free Verse is a different Genre
This all ended with the 20th Century. The poetry of meter & rhyme, the techniques formed out of an oral past, had become dogmatic and stylized. A new genre replaced the poetry that had been written for thousands of years – free verse.
Though it may seem controversial to suggest that free verse is a new genre (only tangentially related to the poetry of the previous 200o years), the assertion isn't to the detriment of free verse. Free verse practitioners have themselves, to varying degrees, deliberately avoided the traditional rhythms of a regular meter; have eschewed rhyme; have avoided alliteration; and whole schools have rejected techniques like metaphor. All of these techniques gre w out of an oral tradition – frequently, or so scholars think, as mnemonic aids or for the purposes of musical accompaniment.
Free verse is the child of the 20th Century printing press (which isn't to say that free verse can't be read aloud and enjoyed as such). And it's not to say that free verse doesn't borrow techniques from the oral tradition, but free verse doesn't do so systemically. (Poets, like William Carlos Williams, studiously avoided anything short of what he considered plain speech or plain English and the avant-garde is premised on the avoidance of anything that smacks of traditional poetry.) It was the explosive availability of the printed word that made the visual cues of free verse possible. Aurally, there is frequently nothing that distinguishes free verse from prose. Cleave Poetry, for example, is defined by its visual appearance (rather than any aural cues).
In short, free verse didn't evolve from the poetry of the oral tradition, it replaced it.
So what does this all have to with meter and rhyme? Just this. The near total dominance of free verse in print media and on store shelves (stores that bother with a significant collection) has left its mark on what readers consider a modern style. It makes writing meter and rhyme much more challenging but also more rewarding if done well.
Unlike metrical poetry prior to the 20th Century, the best modern metrical poetry does not draw attention to itself. The best metrical and rhyming poems make the reader feel as though they are reading modern English (without also feeling like free verse). The demands weed the men from the boys, the girls from the women. Robert Frost was a master of this illusion and so was Yeats and Stevens.
Grammatical Inversions & Rhyming: Subject • Verb • Object
When novice poets try to write meter, they frequently use what are called grammatical inversions. They can be effective or they can sound contrived but I suspect that few poets really understand the origin of these techniques, how they've been used, and why.
The best book on the subject is by John Porter Houston. If you're a poet and you're interested in this tradition as practiced by our greatest poet, then this is the book to read. I had a hard time finding it at Amazon but when I finally did I scanned in my own book for their image and added a short review. Here's how Houston introduces the book.
The history of SOV word order (as, using a common abbreviation, I shall henceforth call the subject•direct object•verb pattern) vanishes into the Indo-European mists, which has encouraged linguists to formulate various theories of its original importance or even of its former dominance. Be that as it may, the word order shows up historically in Greek, Latain, and Germanic, being associated in the latter especially with subordinate clauses. However, it seems unlikely that, in its English poetic form, SOV is so much an atavistic harkening back to primeval roots as it is a consequence of the adaptation to English of the Romance system of Riming verse. Verbs in Old French and Italian make handy rimes, and they make even better ones in English because so many English verbs are monosyllabic. The verse line or couplet containing a subject near the beginning and a verb at the end is a natural development. [p. 2]
The English language, descended from the Germanic languages, prefers the following pattern:
Subject | Verb | Object (SVO)
Subject | Verb | Object
The girls | play | on the seesaw.
But poets, as Houston observed, found it convenient, for the sake of rhyme, to invert the grammar. They might write:
The girls on the seesaw play:
"Life goes up, life goes down
"You'll have good luck another day!"
The first line would be an SOV construction:
Subject | Object | Verb
The girls |on the seesaw |play
This is a construction one sees very often among amateur poets writing rhyme. The only purpose for the grammatical inversion is to make the rhyme. It's what free verse poets (more so than others I think) derisively call rhyme driven poetry. And it's precisely this sort of writing that was acceptable right up until the start of the 20th century.
With this in mind, a somewhat peculiar commentary on rhyme driven poetry can be found at the Poetry Foundation's blog Harriet. The post is by Alicia Stallings. The reason I say it's peculiar is because, though she expresses exasperation at the criticism, she never offers an alternative. She begins her post by writing:
As a poet who works in form, I weary of seeing in critiques–either in on-line workshops or in published reviews–the complaint that a poem or phrase or line is "rhyme driven". Of course rhyming poetry is rhyme driven. Rhyme is an engine of syntax.
But then Stallings immediately acknowledges what the criticism really means: that is, when it "is obvious [that] the whole purpose of the line is to arrive at some obvious predestined chime, like the set-up of a punch line." Stallings then offers some examples of why a poem might feel rhyme-driven, but she never offers a reason why the criticism shouldn't be made. However, she does write:
But it seems to have become an immediate and unthinking response to lines that rhyme that are in any way out of the ordinary–particularly anything that has the slightest whiff of "inversion"–that is, out of "natural" English word order–which is often interpreted as the blandest, strictest of simple declarative sentences.
And this is to say that such criticism can be carried too far; but then inasmuch as any criticism can be carried too far, this doesn't invalidate the original impulse. The bottom line is this: Stallings makes sure her rhymes don't arrive like some "obvious predestined chime". Rhyme might be the engine, but she makes sure (in her own poetry) that the engine isn't heard. She's an exceedingly skillful rhymer. So, the best advice, as regards Stallings, is to do as she does. Read her poetry. Make your rhymes feel accidental, as if they're an inevitable accident of subject matter.
Robert Frost, on these very grounds, was deservedly proud of his poem "Stopping by Woods".
Perhaps because of these efforts, and on at least one occasion – his last appearance in 1962 at the Ford Forum in Boston- he told his audience that the thing which had given him most pleasure in composing the poem was the effortless sound of that couplet about the horse and what it does when stopped by the woods: "He gives the harness bells a shake/ To ask if there is some mistake." [Pritchard, Robert Frost: A Literary Life Reconsidered p. 164]
If you want a model for how to rhyme, read Frost's Stopping by Woods or The Road not Taken again and again. No one would accuse these poems of feeling rhyme driven although, as Stallings would point out, that's precisely what they are – rhyme driven.
Again (and I don't think beginning poets appreciate this enough) it's not whether a poem is rhyme-driven, it's whether it feels and reads rhyme driven. Are the rhymes determining the line and the subject matter, or is the subject matter determining the rhymes? In Frost's poems, it's hard to imagine how they could have been written any other way. The rhymes feel entirely accidental. The rhymes feel driven by the subject matter; and this is the effect you are looking for.
For the record, I love the SOV construction – especially when done well. I don't think I've ever used the syntax in my own poetry but I might, just for the enjoyment.
Shakespeare's use of SOV wasn't for the sake of a rhyme. Shakespeare used the reversal of normal English (unusual even in Shakespeare's day) to add metrical emphasis and elegance; to make a line more memorable; to add meaning; or to reveal character.
Here, for instance, is how Shakespeare reverses the normal syntax of English to convey and build suspense. Horatio is describing having seen the ghost of Hamlet's father (I have included Houston's explanatory comment):
thrice he walk'd
By their oppresss'd and fear-surprised eyes
Within his truncheon's length, whilst they, distill'd
Stand dumb and speak not to him. This to me
In dreadful secrecy impart they did,
And I wish them the third night kept the watch,
Where, as they had deliver'd, both in time,
The apparition comes. (Hamlet I, ii, 202-11)
Having devised a sentence in more or less normal word order in which the verbs have radically different positions, Shakespeare then resorts to inversion, and the OVSV clause contains, moreover, a peculiar reversal of impart and did. The next sentence places two circumstantial expressions between subject and verb, so that the latter, with its short object, seems curiously postponed, even though the number of intervening syllables is not great. Finally, in the concluding subordinate clause, both subject and verb are held off until the end. [p. 83]
Notice how Shakespeare holds off the apparition comes until the end of the line. Throughout the passage the inverted grammar underpins the feeling of terror and suspense, the feeling of a character whose own thoughts are disrupted and disturbed. (I think it's worth commenting at this point, especially for readers new to Shakespeare, that this is poetry. Elizabethans did not talk like this. They spoke an English grammar more or less like ours. Shakespeare can be hard to read because he is a poet, not because he is Elizabethan.)
The tradition of altering grammar and syntax for the purposes of making language more memorable is a lovely one.
The tradition of altering grammar and syntax for the sake of rhyme is dubious.
Toward the end of the Houston's introduction, he makes an interesting point. Although the use of the SOV construction continued into the 19th century (even with a poet like Keats who was consciously trying to shed the feeling of antiquated and archaic conventions), the general trend was toward a more natural speech. Houston writes:
The importance of SOV word order in subsequent English blank verse is worth noting. Although it is scarcely unexpected that Milton, with his latinizing tendencies, liked the device,its persistence in the romantics can be a trifle surprising. Keats slight use of SOV in The Fall of Hyperion is odd, given that there he supposedly tried to eliminate the Miltonisms of Hyperion to some extent; Hyperion, in fact, contains no SOVs. An example of two in Prometheus Unbound does not seem incongruous with the rest of the language, but finding SOV word order in The Prelude runs somewhat counter to our expectations of Wordsworth's language.
but scarcely Spenser's self
Could have more tranquil visions in his youth,
Or could more bright appearances create
Of human forms (VI, 89-92)
Examples are to be found in The Idylls of the King and seem almost inevitable by the stylistic conventions of the work, but the use of SOV in the nineteenth century is essentially sporadic, if interesting to observe because of the strong hold of tradition in English poetry. [p. 3-4]
The usage was ebbing. The result is that its use in rhyming poetry stood out (and stands out) all the more. And now, when the conventional stylistic aesthetic is that of free verse, SVO inversions stands out like a sore thumb.
Anyway, this short passage can't possibly do justice to the rich tradition of grammatical inversion in English Poetry. Reading Houston's book, if you're interested, is a better start. The point of this post is to raise poets' awareness of why they might be tempted to write like this; and to make them aware of what they're hearing when they read poetry prior to the 20th century.
Other grammatical Inversions
There are other types of inversions besides Subject•Verb•Object . In a recent poem I examined by Sophie Jewett, you will find the following line:
I speak your name in alien ways, while yet
November smiles from under lashes wet.
The formulation lashes wet reverses the order of adjective and noun for the sake of rhyme. This sort of inversion is also common among inexperienced poets.
Avoid it at all costs.
Conveniently moving around parts of speech might have been acceptable in the Victorian era and before, but not now.
And here's another form of grammatical inversion by Thomas Hardy from The Moth-Signal:
"What are you still, still thinking,"
He asked in vague surmise,
That you stare at the wick unblinking
With those deep lost luminous eyes?"
Normally the present participal, unblinking, would follow the verb stare. This is the way grammar works in normal English sentences. However, for the sake of the rhyme, Hardy reversed the direct object, at the wick, with the past participal unblinking. The effect is curious. To what is unblinking referring? – one might ask. Is it the stare that is unblinking? – or the wick? Apologists meaning to rationalize this inversion might point out that the syntactic ambiguity is brilliantly deliberate. I don't buy it; but they could be right.
Again, my advice would be to tread lightly with this sort of inversion. It smacks of expediency.
As I find other examples I will post them.
Ultimately, one of the most telling attributes of an experienced rhymer is the parts of speech he or she chooses to rhyme. A novice may primarily rhyme verbs or nouns. The novice's rhymes will be end-stopped. In other words, the line and sentence will end with the rhyme. The rhymes of the more experienced poet will move like a snake through his verse. The rhymes will shift from verb, to noun, to adjective, to preposition, etc. They will fall unpredictably within the line's syntax and meaning – as if they were an accident of thought.
In the spirit of put up or shut up, check out my poem All my Telling. Decide for yourself whether I practice what I preach. And here is Alicia Stallings what what is, perhaps, the most succinct advice on rhyme that I have ever read – her Presto Manifesto. The most important statement from her manifesto, to me, is the following:
There are no tired rhymes. There are no forbidden rhymes. Rhymes are not predictable unless lines are. Death and breath, womb and tomb, love and of, moon, June, spoon, all still have great poems ahead of them.
You will frequently hear poets and critics remark that a given rhyme is tired or worn. As a counterexample they will themselves offer poems with rhymes that, to my ear, sound concocted and contrived. I call this sort of thing safari-rhyming – as if the poets had gone safari hunting, shot the rare rhyme, and proudly mounted it. The truth of the matter is this: the English vocabulary is finite. There are only so many rhymes. It's not the rhymes themselves that are worn or trite, but the lines that are tired. Give an old rhyme a new context and magic happens. Robert Frost's rhymes in Stopping by Woods are nothing if not tired; but the poem's effortless progression of thought and idea means we don't notice them. They become a kind of music rather than a distraction.
And this is what rhymes are meant to do. Ideally, they're not meant to be noticed. This is why the novel rhyme can be as distracting as the line that is syntactically contorted for the sake of a rhyme. The best rhymes are like a subtle music. If, when reading a rhyming poem aloud, the listener doesn't immediately discern the rhymes, take that as a good sign.
One last thought on rhymes from Stallings:
Translators who translate poems that rhyme into poems that don't rhyme solely because they claim keeping the rhyme is impossible without doing violence to the poem have done violence to the poem. They are also lazy.
On Keeping the Meter
This is the most difficult portion of the post to write because so much of what I write will be construed as a matter of taste; and the distinctions between mediocre meter and meter written well can be subtle. Readers will have to decide for themselves. Way back when, I wrote a post called Megan Grumbling and the Modern Formalists. The point of the post was to demonstrate how the stylistic conventions of free verse had influenced, adversely, the meter and blank verse of modern formalists. (This would seem to go against my earlier statement that poets writing meter can't write the same way (as in the 19th century) since the advent of free verse. Not entirely. As with anything, there's a balance to be struck. The best meter doesn't draw attention to itself.) Feel free to read the whole post, but I'll extract the most relevant part because I think it has some bearing on this post.
In the January 2006 issue of POETRY magazine, we find some beautiful poems by Megan Grumbling. But remember, this is mirror mirror world. Just as Dryden's heroic couplets showed up, ghostlike, in his blank verse, free verse asserts itself, ghostlike, in modern formal verse.
"Their strident hold upon the back roads pulls
our morning drive, out to where Oak Woods Road
crosses the river that they call Great Woks.
The nearby fields so rich it's hard to breathe–
the hay treacly with auburn, grasses bronzed–
we stop before a red farmhouse, just shy
of where the river runs, where maple trees
have laid the front lawns ravished with their loss."
The enjambment of the first three lines has all the flavor of free-verse. There are no auditory clues (in the way of syntactical units) that might hint to a listener that these are lines of blank verse. One might as easily write the first sentence as follows:
Their strident hold upon the back roads pulls our morning drive, out to where Oak Woods Road crosses the river that they call Great Woks.
The average reader would never suspect that this was blank verse. The reader might, in a moment of preternatural attentiveness, notice that the line is entirely iambic. That said, there is no indication that this sentence is Iambic Pentameter. Given Grumbling's approach, one might as easily print her poem as follows:
Their stri|dent hold |upon |the back
roads pulls |our mor|ning drive, |out to
where Oak |Woods Road |crosses |the river
they call |Great Woks. |The near|by fields
so rich |it's hard |to breathe– |the hay
treacly |with au|burn, grass|es bronzed–
we stop |before |a red |farmhouse,
just shy |of where |the ri|ver runs,
where ma|ple trees |have laid |the front
lawns ra|vished with |their loss.
This is perfectly acceptable iambic tetrameter, but for the short last line. I only had to remove the purely metric "that". It might be argued that one could submit any iambic pentameter poem to the same exercise, but such an argument would only be partially true. One would find it exceedingly difficult to apply the same exercise to Shakespeare's passage from Antony and Cleopatra. Or, more fairly, consider Frost's An Encounter (more fairly because Grumbling's poetry is clearly inspired by Frost.)
Once on the kind of day called "weather breeder,"
When the heat slowly hazes and the sun
By its own power seems to be undone,
I was half boring through, half climbing through
A swamp of cedar. Choked with oil of cedar
And scurf of plants, and weary and over-heated,
And sorry I ever left the road I knew,
I paused and rested on a sort of hook
That had me by the coat as good as seated…
And now for the tetrameter version:
Once on |the kind |of day |called "weather
breeder," |When the |heat slow|ly hazes
and the |sun by |its own |power seems
to be |undone, |I was |half boring
through, half |climbing |through a swamp
of ce|dar. Choked |with oil |of cedar
And scurf |of plants, |and wear|y and
over-|heated, |And sor|ry I
ever |left the |road I |knew, I
paused and |rested |on a sort |of hook
That had |me by |the coat |as good
as seat|ed…
The latter isn't a very passable version of iambic tatrameter. The third line is entirely trochaic and can only be "rescued" if we elide power to read pow'r or read the line as follows:
and the |sun by |its own pow|er seems
Though this too is unsatisfactory. The fifth line fails altogether. I picked Frost's poem at random (lest the reader think I picked one poem especially antithetical to such treatment). What the poem illustrates is Frost's skillful wedding of sense (grammatical & otherwise) to blank verse – Iambic Pentameter.
The same commitment is not sensed in Grumbling's poem, skillful though it is. One might assert that Grumbling's poem is primarily iambic and only secondarily pentameter. The ghostly influence of free-verse pervades her poem, just as the ghost of heroic couplets pervaded Dryden's blank verse. One might say that she only grasps the surface of blank verse. But her choices might also be deliberate.
This is actually a good exercise.
If you can successfully convert your Iambic Pentameter to Iambic Tetrameter or even Iambic Trimeter, then you're probably doing something wrong. If nothing else, your meter may be too regular or the joining of line and thought may be too slack. There's an art to fitting thought, meaning and syntax to a metrical line. It's subtle and difficult to describe but, if done well, line and meter are like hand in glove.
Not to pick on Timothy Steele but… Steele illustrates the opposite dilemma. There's a stiffness to his meter that one can learn from. His poem, Sweet Peas, starts us off:
The season for sweet peas had long since passed,
And the white wall was bare where they'd been massed;
Yet when that night our neighbor phoned to say
That she had watched them from her bed that day,
I didn't contradict her…
In particular, compare the following:
Then one foggy Christmas Eve/ Santa came to say:
(The latter line is from the Christmas Carol Rudolph the Red Nosed Reindeer) The point of the comparison, cruel though it may be, is to demonstrate what they both have in common – a slavish devotion to an Iambic beat. In the case of the Christmas Carol, it's necessary. The lyrics, after all, have to coincide with the rhythm of the carol. (You can't have variant beats in Christmas Carols.) Steele doesn't have that excuse. His line is full of metrical expediencies.
Normally, the average English speaker would say:
"Yet our neighbor phoned that night saying she had watched them…"
But that's not Iambic Pentameter. Steele had to move things around. The first thing he does is to shift "that night". That's not ideal, but there's some justification for it. Maybe he wants to emphasize that night? Curiously though, he doesn't punctuate the clause – Yet when, that night, our neighbor phoned… One would think, if emphasis were the motive, he would want to add some punctuation. As it is, the odd placement has the feel of a metrical expediency. But the phrase phoned to say only makes it worse. The phrase is modern English but in this context it sounds entirely expedient, not just metrically but because it's clearly thrust to the line's end for the sake of a rhyme. (This is a rhyme driven line.)
The line is just too obviously metrical.
Three of the four lines are end-stopped, negatively emphasizing the rhyme and meter. The third line is marginally end-stopped. All this combined with the fact there's only two variant feet out of the first 20 makes for some very wooden meter.
Here's the rest of that opening verse from Steele's poem:
And the |white wall| was bare where they'd been massed;
I didn't contradict her: it was plain
She struggled with the tumor in her brain
And, though confused and dying, wished to own
How much she'd liked the flowers I had grown;
And when she said, in bidding me good night,
She thought their colors now were at their height–
Indeed, they ne|ver had |looked lovelier–
The only kind response was to concur.
These lines are an object lesson in how not to write meter and rhyme. There are only three variant feet out of 60. All but one of the lines are strongly end-stopped. Steele's use of contractions is a matter of expediency. For instance, in line 8, he contract's she'd but doesn't contract I had. It feels arbitrary. The effect is to highlight the obviousness of the metrical beat. The rhymes are mostly nominal or verbal and, because the lines are end-stopped, they land with hard thumps. A poet might be able to get away with any one of these features in isolation, but when thrown together, the poetry feels contrived. Just as an experiment, let's see if we can turn this poem into an Iambic Tetrameter.
The season for sweet peas had long
Since passed, and the white wall was bare
Where they'd been massed; yet when that night
Our neighbor phoned to say that she
Had watched them from her bed that day,
I didn't contradict her: it
Was plain she struggled with the tumor
In her brain and, though confused
And dying, wished to own how much
She'd liked the flowers I had grown;
And when she said, in bidding me
Good night, she thought their colors now
Were at their height– indeed, they never
Looked lovelier– the only kind
Response was to concur.
What do you think? I actually think it improves the poem. I only had to remove one word. The lines take on a certain sinuousness and flexibility that moderately makes up for their thumping iambics and subdues the cymbal crash of their end-stopped rhymes. They become internal rhymes – they are registered but no longer hit the reader over the head.
If you're having trouble writing meter that isn't end stopped (and if you're not rhyming), remove two words from your first line and shift the rest accordingly. (And you can try removing other metrically expedient words along the way to really shake things up.) I'll demonstrate. Rather than pick on any more modern poets, here's something from the first act of Gorboduc, the first English drama written in blank verse (and just as end-stopped and metrically conservative as some modern formalist poetry):
There resteth all, but if they fail thereof,
And if the end bring forth an evil success
On them and theirs the mischief shall befall,
And so I pray the Gods requite it them,
And so they will, for so is wont to be
When Lords and trusted Rulers under kings
To please the present fancy of the Prince,
With wrong transpose the course of governance
Murders, mischief, or civil sword at length,
Or mutual treason, or a just revenge,
When right succeeding Line returns again
By Jove's just Judgment and deserved wrath
Brings them to civil and reproachful death,
And roots their names and kindred's from the earth.
So, let's remove the word thereof, which is only there for the sake of meter (a metrical filler):
There resteth all, but if they fail, and if
The end bring forth an evil success on them
And theirs the mischief shall befall, and so
I pray the Gods requite it them, they will,
for so is wont to be when Lords and Rulers
Or mutual treason, or revenge, when right
Succeeding Line returns again by Jove's
Just Judgment and deservèd wrath brings them
To civil and reproachful death, and roots
Their names and kindred's from the earth.(…)
Voila! What do you think? The lines take on greater flexibility and there are fewer end-stopped lines. Even though the overall pattern is just as relentlessly iambic, the effect is somewhat mitigated by the shift between line and thought. You can practice the same with your own poetry, even if its rhymed. You could even try writing Iambic Hexameter, then shifting all the lines so that they're Iambic Pentameter.
Metrical Fillers
This, as it turns out, is the most contentious part.
I'm fairly hard-nosed about what are (in my view) egregious metrical fillers, but many formalist poets are equally pugnacious in protecting their turf.
The word at the top of my list is upon. While, no doubt, the words has its place, my irritation stems from its reflexive use as an all too convenient iambic substitute for on. Most formalist poets use it. They're not apologetic. And I'm not apologetic when I call it lazy. The problem, in many cases, is that poets (even free-verse poets) misuse the word. Upon is not universally interchangeable with on. Also, my sense is that, in terms of everyday speech, on has more or less replaced upon. Upon has become a primarily literary usage and feels fusty to me.
But that's only my opinion.
And it's easy to get hung up on the word. The point is to avoid metrical fillers – words that are unnecessary to the sense of a line's meaning (whose only purpose is to fill the meter). Here's a sample I discussed in my earlier post on Megan Grumbling:
we skim as much brimmed crimson as these few
stout bags will hold within, enough to lay
four inches of the fall upon this field.
The word upon expediently substitutes for on. The word "within" is metrical padding. How else does a bag hold anything but "within"?
Later in Grumbling's poem, more metrical padding appears with "out to where the Oak Woods Road…" Using modern English, we say: "out where the Oak Woods Road…" A.E. Stallings indulges in the same sort of metrical expediency.
Sing before the king and queen,
Make the grave to grieve,
Till Persophone weeps kerosene
And wipes it on her sleeve. [Song for the Women Poets]
The added and unnecessary preposition (to) before (grieve) is nothing more than metrical filling. Here is another example from Stallings' The Dollhouse:
And later where my sister and I made
The towering grown-up hours to smile and pass:
Again, the effect is antiquated. The preposition (to) before (smile) is unnecessary – another metrical filler.
However, some of the most abused metrical fillers are adjectives, especially among poets first tackling meter. My advice to poets just starting out is to write meter without adjectives or write with a strict limit (maybe one for every ten lines). Whether writing meter or free verse, nothing can weaken a line like an adjective. Use them sparingly.
After so many examples of what not to do, I thought I'd close with a fine example of beautifully modulated meter and rhyme by Annie Finch (whose book I will be reviewing soon):
Do you | hear me, |Lycius? |Do you hear |these dreams
moving |like words |out of |the air, it seems?
You think you saw me thin into a ghost,
impaled |by his |old eyes, with |their shuddering boast
of pride |that kills |truth with | philosophy.
But you hear |this voice. It is a serpent's, or
is it |a wom|an's, this rich |emblazoned core
reaching |out loud for you, as I once reached
for you with clinging hands, and held you, and beseeched. (…)
These are the opening lines to Lamia to Lycius, from Annie Finch's new book Calendars. The poem is written in open heroic couplets, like Steele's, but the difference is night and day. The thing to notice is that there are only two end-stopped lines in these first nine. The syntax and thought of the lines moves sinuously through the line ends, subduing the rhymes. The effect is to make the rhymes feel more organic, more like an outgrowth of the poem's subject matter. Notice also the rich use of variant feet balanced against more regular iambic feet and lines. (I've marked phyrric feet in grey.) Notice also the absence of metrical fillers. Finch isn't determined to keep a strict count like other poets – Timothy Steele or Dana Gioia (the link is to my review of his poetry). The result is a far more varied and rich voice.
If this post has been helpful, let me know.
Whether it be rhyme, meter or both,


KriArj Entertainment and Pooja Films celebrate the success of Anushka Sharma's PARI !
The success of the horror love story PARI: Not a Fairytale, headlined by Anushka Sharma, has gone on to add more merit to KriArj Entertainment's successful run at the box office. Distributed by Pooja Entertainment and Films, Pari managed to break even with the makers registering a sizeable profit within its very first week. The movie which received great critical acclaim, as earned its commercial profit in just seven days after its release, giving producers their first overflow cheque and much reason to smile.
Producer Prernaa Arora of KriArj Entertainment says, " It's always such a pleasure collaborating with Vashu Bhagnani and Pooja Films. It's been a great journey as we've explored a new genre together and it turned out to be a success. We are very grateful to the audience".


text:
Q: Rails and Gmail - Reply-To function not working as hoped In my rails app I have a contact form that lets users send an email to my gmail account.
Problem 1
I'm using the same gmail account to send the emails as I'm using to receive them, and thus when I click the 'reply' button, gmail sets-up a new email to myself....
My mailer looks like this:
class Notification < ActionMailer::Base

  default :to => ENV['GMAIL_USER']

  def hello(contact)
   mail(
    :from => contact[:email],
    :return_path => contact[:email],
    :subject => "[My Website] << #{contact[:subject]}",
    :body => contact[:body] )
  end
end

I was under the impression that setting :return_path => contact[:email] would ensure that gmail would know who to send the reply to....  Obviously I'm wrong there.  Anyone know how to fix this?
Problem 2
Most action_mailer tutorials out there would have me set up my mail method using :from => contact.email as opposed to :from => contact[:email] like so:
  def hello(contact)
      @contact = contact
      mail(
           :from => contact.email,
           :return_path => contact.email,
           :subject => "[My Website] << #{contact.subject}",
           :body => contact.body
           )
  end

But when I do it this way, I get the following error message:
undefined method `email' for #<ActiveSupport::HashWithIndifferentAccess:0xdde82f0>

Anyone know what the recommended approach isn't working for me.
Appendage
FWIW, in-case it helps, my contact model extends a tabless active_record model as I don't want to use the database but do want to have valiations so it looks like this:
#contact.rb
class Contact < Tabless
  column :name,          :string
  column :email,         :string
  column :body,          :text
  column :subject,       :string
  # validations go here
end

# tabless.rb
class Tabless < ActiveRecord::Base

  # create an array of columns
  def self.columns()
    @columns ||= [];
  end

  # add new column to columns array
  def self.column(name, sql_type = nil, default = nil, null = true)
    columns << ActiveRecord::ConnectionAdapters::Column.new(name.to_s,
    default,
    sql_type.to_s,
    null)
  end

  # override the save method to prevent exceptions
  def save(validate = true)
    validate ? valid? : true
  end
end

A: Maybe I'm missing something but can't you just use :reply_to?
mail(
 :from => contact[:email],
 :reply_to => contact[:email],
 :subject => "[My Website] << #{contact[:subject]}",
 :body => contact[:body] )

And any way you can get the email as a string should be fine. .email isn't a valid method for a Hash so it won't work in your example. The other examples you've seen are probably assuming you're working with a contact model. If contact[:email] gets you an email address then it shouldn't be a problem.

A: I've managed to fix this by creating another gmail account and using that one to send the emails. Now when I hit the reply button, it sets-up an email to the actual sender
This link explains helped me understand it

A: The symbol for the e-mail Reply-To header is :'reply-to'.  To the original question, this should work:
mail(
:from => contact[:email],
:'reply-to'=> contact[:email],
:subject => "[My Website] << #{contact[:subject]}",
:body => contact[:body] )

I ran into this situation recently myself with Gmail rewriting the email's From header.  I blogged about the solution today at http://blog.rietta.com/2012/01/rails-gmail-reply-to-on-contact-form.html.
For me it is easy to respond to an e-mail either with Apple Mail or Google Apps itself.  So the reply-header seems to be transmitted correctly by Google's SMTP server.
I hope this helps someone avoid this little catch :-)


text:
Aging – Scientific literature explained
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Home Transhumanism, Longevity lifespan news Naked mole-rat: longevity champion!
Naked mole-rat: longevity champion!
Julie Cavallasca
Naked mole rat: longevity champion!
Science likes "weird" animal models and the naked mole-rat is no exception. This small rodent from sub-Saharan Africa has fascinated researchers for many years with its surprising longevity and resistance to age-related diseases. Don't be fooled by its skinless, wrinkled appearance, because this animal is actually a model of youth[1].
The naked mole-rat and its exemplary health
With a maximum lifespan of over 30 years in captivity, it is the longest-living rodent [2] (against 3 years of life expectancy for grey mice and brown rats). Although nothing in this small animal seems to suggest such longevity, it does not seem to fall victim to the effect of time. No cardiac, bone or metabolism issues, these small animals are even very resistant to cancer (only a few rare cases have been described in the scientific literature), a peculiarity which allowed them to be named "Vertebrate of the year 2013" by Science Magazine[3].
The naked mole-rat defies the laws of aging
Fifteen years after the first description of their incredible longevity [4], a study of data from more than 3000 naked mole-rats published in January 2018 in eLife [2] reported that the mortality rate of the small animal does not increase with age (1/10,000 chance of dying per day). This mortality rate remains very stable throughout their lives. This finding means that the rodent is the only mammal to challenge Gompertz's mathematical law, postulating that the risk of dying exponentially increases with age.
This revelation leads some researchers to believe that aging processes do not affect these rodents, but this idea is not unanimously accepted. Other scientists prefer to say that it is still too early to say [1]. In this sense, it is rather considered that the age-related physiological decline would be delayed or mitigated. Thus, phenotypic signs of aging appear only late in life and naked mole-rats would live 85% of their existence without showing physiological decline [4]. We can note, however, certain age-related physical changes, such as the skin which appears lighter, less elastic and thinner than those of younger naked mole-rats [3].
Photo by: Bob Owen
The longevity of these rodents is all the more surprising because they are a small species (about 40 grams), and such a physical appearance does not predestine them to live for that long. When compared with mice of the same size, the naked mole-rat has a 9-fold increase in life expectancy. The same is true for the "age of sexual maturity" factor, since their life expectancy is three times longer than expected. Finally, the breeding females of these eusocial mammals (social distribution of individuals from the same colony between breeding and non-breeding animals) do not undergo menopause and continue to reproduce until a very advanced age [2,4].
The longevity of the naked mole-rat favoured by their environment?
It is also said that their incredible longevity would be favoured by their living conditions. These subterranean animals are protected from predators and the arid climate of the sub-Saharan region where they live. However, their environment also leads to certain deficiencies due to a low-oxygen atmosphere and limited nutrient resources. These environmental particularities lead rats to develop specific characteristics: they can survive for up to 18 minutes without oxygen [4,5].
The life span of the naked mole-rat: an internal affair
The study of certain molecular mechanisms in the naked mole-rat revealed physiological characteristics that would explain its resistance to age-related diseases. The rat-taupe has a low mutation rate in its genome, which can be explained by the low density of CpG dinucleotide on which the mutations of a single base (Single Nucleotide Polymorphism) occur. There is also a strong expression of DNA repair genes, giving the naked mole-rat a high level of genomic stability [6].
At the same time, it has a high degree of accuracy in the translation of proteins, which could be explained by the unique structure of their ribosomal RNA. In parallel, their proteasomes, the dumpsters of our cells, are boosted and autophagy is also activated, preventing defective proteins from increasing together [7,8].
Finally, a better maintenance of telomeres' length was observed, thanks to a strong regulation of telomerase expression and its subunit TERT (Telomerase Reverse Transcriptase) which would not decrease with age, unlike in humans.
These mechanisms are described as responsible for the longevity of the naked mole-rat, but they are also responsible for the resistance of these rodents to cancer [4,5]. The intrinsic characteristics of this small mammal leading to its extreme longevity make it a model of choice for the study of the mechanisms that could prevent aging.
[1] Kai Kupferschmidt. Forever young? Naked mole rats may know the secret, Science 359 (6375), 506-507.
[2] J Graham Ruby, Megan Smith, Rochelle Buffenstein. Naked mole-rat mortality rates defy Gompertzian laws by not increasing with age, Ruby et al. eLife 2018;7:e31157. DOI: https://doi.org/10.7554/eLife.31157
[3] https://www.livescience.com/42245-naked-mole-rat-vertebrate-of-year.html
[4] Rochelle Buffenstein, and Jennifer U. M. Jarvis. The Naked Mole Rat – A New Record for the Oldest Living Rodent, Sci. Aging Knowl. Environ., 29 May 2002.
[5] Francisco Alejandro Lagunas-Rangela, Venice Chávez-Valencia. Learning of nature: The curious case of the naked mole rat, Mechanisms of Ageing and Development 164 (2017) 76-81.
[6] I. O. Petruseva, A. N. Evdokimov, O. I. Lavrik. Genome Stability Maintenance in Naked Mole-Rat, Acta Naturae Vol. 9 No 4 (35) 2017, 31-41.
[7] Philip Dammann. Slow aging in mammals – Lessons from African mole-rats and bats, Seminars in Cell & Developmental Biology 70 (2017) 154-163.
[8] Jorge Azpurua, Zhonghe Ke, Iris X. Chen, Quanwei Zhang, Dmitri N. Ermolenko, Zhengdong D. Zhang, Vera Gorbunova and Andrei Seluanov. Naked mole-rat has increased translational fidelity compared with the mouse, as well as a unique 28S ribosomal RNA cleavage, PNAS (October 22, 2013), vol. 110, no. 43, 17350–17355.
Anne Fischer
Anne is studying medicine science at the Institute of Pharmaceutical and Biological Science in Lyon and she has graduated with a Bachelor's degree in molecular and cellular biology at the University of Strasbourg.
More about the Long Long Life team
Anne étudie les sciences du médicament à l'Institut des Sciences Pharmaceutiques et Biologiques de Lyon. Elle est titulaire d'une licence en biologie moléculaire et cellulaire de l'Université de Strasbourg.
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Communication & content manager, video producer/director for Long Long Life
Specialized scientific and technical translator for Elvesys and Long Long Life. She graduated with an EMT M.A. in Language Industry and Specialized Translation from Paris 7 University.
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One p53 polymorphism favors longevity
Coffee drinkers could live longer and healthier lives


text:
Classics > Collectors Library
An Area of Darkness (Macmillan Collector's Library) by V.s. Naipaul
Category: Collectors Library | Series: Macmillan Collector's Library
A classic of modern travel writing, An Area of Darkness is Nobel laureate V.S. Naipaul's profound reckoning with his ancestral homeland.Part of the Macmillan Collector's Library; a series of stunning, clothbound, pocket sized classics with gold foiled edges and ribbon markers. These beautiful books make perfect gifts or a treat for any book lover. This edition is introduced by internationally acclaimed author Paul Theroux.Traveling from the bureaucratic morass of Bombay to the ethereal beauty of Kashmir, from a sacred ice cave in the Himalayas to an abandoned temple near Madras, Naipaul encounters a dizzying cross-section of humanity: browbeaten government workers and imperious servants, a suavely self-serving holy man and a deluded American religious seeker. An Area of Darkness also abounds with Naipaul's strikingly original responses to India's paralyzing caste system, its acceptance of poverty and squalor, and the conflict between its desire for self-determination and its nostalgia for the British raj. This may be the most elegant and passionate book ever written about the subcontinent. ...Show more
The Trial (Macmillan Collector's Library) by Franz Kafka
Through tight dialogue and absurd settings Franz Kafka creates a maze-like prose to mimic the bureaucracy of early twentieth-century Germany, trapping his protagonist in an unlawful conviction that alters the path of his life. Part of the Macmillan Collector's Library, a series of stunning, clothbound, pocket-sized classics with gold-foiled edges and ribbon markers. These beautiful books make perfect gifts or a treat for any book lover. This edition is translated from German by Douglas Scott and Chris Waller, and features an afterword by David Stuart Davies. On the morning of his thirtieth birthday, a young bank official named Joseph K is arrested although he has done nothing wrong and is never told what he's been charged with. The Trial is the chronicle of his fight to prove his innocence, of his struggles and encounters with the invisible Law and the untouchable Court where he must make regular visits. It is an account, ultimately, of state-induced self-destruction presenting in a nightmarish scenario the persecution of the outsider and the incomprehensible machinations of the state. Using the power of simple, straightforward language Kafka draws the reader into this bleak and frightening world so that we too experience the fears, uncertainties and tragedy of Joseph K. ...Show more
Siddhartha (Macmillan Collector's Library) by Hermann Hesse; Hilda Rosner (Translator); John Peacock (Introduction by)
What is the purpose of life? Is religion the answer? How, in a world beset with misery and conflict, can we help to find inner peace? Siddhartha helped inspire the legions of counter-cultural 'hippies' and other refuseniks who challenged the Western capitalist order in the 1960s and 1970s. Brought to yo u here in a new translation by William Aaltonen, Siddhatha is as relevant now as it was on publication. The tale follows a wealthy son of a Brahmin, Siddhatha, as he explores the extremes of human existence: first through religion, then via harsh self-denial, then by plunging headlong into the hedonism of sensual love, wealth, gambling and power. At the very last, he finds a way to temper the pain of human existence, to transcend the self and reach spiritual resolution. Herman Hesse's profound and absorbing novella will help you find serenity and spiritual meaning in a difficult world. ...Show more
Passing (Macmillan Collector's Library) by Nella Larsen
Restless Classics presents the ninetieth anniversary edition of an undersung gem of the Harlem Renaissance: Nella Larsen's Passing, a captivating and prescient exploration of identity, sexuality, self-invention, class, and race set amidst the pealing boisterousness of the Jazz Age. When childhood frien ds Irene Redfield and Clare Kendry cross paths at a whites-only restaurant, it's been decades since they last met. Married to a bigoted white man who has no idea that she is African American, Clare has fully embraced her ability to "pass" as a white woman. Irene, also light-skinned and living in Harlem, is shocked by Clare's rejection of her heritage, though she too passes when it suits her needs. This encounter sparks an intense relationship between the two women who, as acclaimed critic and novelist Darryl Pinckney writes in his insightful introduction, reflect Larsen's own experience of being "between black and white, and culturally at home nowhere." In a culture intent on setting boundaries, Clare and Irene refuse to adhere to expectations of gender, race, or class, culminating in a tragic clash of identities, as their relationship swings between emotional hostility and intense attraction. ...Show more
The Wonderful Adventures of Mrs Seacole in Many Lands (Macmillan Collector's Library) by Mary Seacole
Wonderful Adventures of Mrs Seacole in Many Lands is a wonderfully entertaining autobiography by Mary Seacole - nurse, entrepreneur and intrepid traveller. Soon to be a major motion picture starring GuGu Mbatha-Raw.Part of the Macmillan Collector's Library; a series of stunning, clothbound, pocket sized classics with gold foiled edges and ribbon markers. These beautiful books make perfect gifts or a treat for any book lover.Mary Seacole left her native Jamaica to travel through the Caribbean, The Bahamas, Central America and to England. Keen to offer her services to English troops in the Crimea War, she was at first refused official support. Undaunted she went anyway and set up her famous hotel catering for British soldiers. She supplied food, drink and welcome respite from the front line. She also tended to wounded soldiers and dispensed medicine in the teeth of battle. Despite her invaluable contribution, she returned to England penniless and in ill health. Thankfully her astonishing achievements were acknowledged and she became the toast of London society. ...Show more
Three Men in a Boat (Macmillan Collector's Library) by Jerome Jerome
Three Men in a Boat remains one of the best-loved and most entertaining comic novels ever penned. Part of the Macmillan Collector's Library; a series of stunning, clothbound, pocket sized classics with gold foiled edges and ribbon markers. These beautiful books make perfect gifts or a treat for any book lover. This edition features illustrations by A. Frederics and an afterword by David Stuart Davies.Join our young heroes J., George and Harris (not forgetting Montmorency, the mischievous, irascible fox terrier) as they take a boating holiday along the Thames. Their aim is to escape the weary workaday world and improve their health, but they are ill prepared for the various escapades, difficulties and vicissitudes that they encounter along the watery way. The adventures of these incompetent innocents abroad are magnified to epic proportions by the storyteller, J. His narration gives the book not only a wonderful endearing freshness but also a series of hilarious moments of timeless comedy. ...Show more
Lark Rise to Candleford (Macmillan Collector's Library) by Flora Thompson
"Flora Thompson's great memoir of her Oxfordshire girlhood. The richness of the language, the lingering over detail and incident creates a haunting classic."--The New York Times The quintessential distillation of English country life at the turn of the twentieth century, this is the story of three clos ely-related Oxfordshire communities - a hamlet, a village, and a town - and the memorable cast of characters who people them. Based on her own experiences as a child and young woman, it is a story keenly observed and beautifully told across the three books of Lark Rise to Candleford trilogy: Lark Rise (1939), Over to Candleford (1941), and Candleford Green (1943). These three books are published together in this one elegant volume, complete with charming wood engravings. ...Show more
Anne of Avonlea (Macmillan Collector's Library) by Lucy Maud Montgomery
There are lots of new characters to get to know as well as many much loved ones to meet again in Anne of Avonlea, Lucy Maud Montgomery's sequel to Anne of Green Gables. Part of the Macmillan Collector's Library; a series of stunning, clothbound, pocket sized classics with gold foiled edges and ribbon m arkers. These beautiful books make perfect gifts or a treat for any book lover. Anne Montgomery is now sixteen and preparing to take up her new role as a teacher in the local school. She has her best friend Diana Barry by her side and Gilbert Blythe, her childhood enemy, who is now a trusty ally and a fellow teacher. As impulsive as ever, Anne launches into her new career with characteristic vigour. ...Show more
Uncle Tom's Cabin by Harriet Beecher Stowe
Category: Collectors Library
Uncle Tom's CabinBy Harriet Beecher Stowe
Selected Poems of William Wordsworth by William Wordsworth
A gorgeous gift edition of William Wordsworth's greatest poems, with an introduction by Peter Harness.A pioneer of the Romantic movement, William Wordsworth wrote about the natural world and human emotion with a clarity of language which revolutionised poetry.Selected Poems brings together some of Words worth's most acclaimed and influential works, including an extract from his magnus opus, The Prelude, alongside shorter poems such as: "I Wandered Lonely as a Cloud"; "To a Skylark"; and "Tintern Abbey." Wordsworth's poems, often written at his home in Grasmere in the beautiful English Lake District, are lyrical evocations of nature and of spirituality. They have a force and clarity of language akin to everyday speech which was truly groundbreaking.Part of the Macmillan Collector's Library, a series of stunning, clothbound, pocket-sized classics with gold-foiled edges and ribbon markers. These beautiful books make perfect gifts or a treat for any book lover. ...Show more
Songs of Innocence and of Experience (Macmillan Collector's Library HB) by William Blake; William Blake (Illustrator); Peter Harness (Introduction by)
William Blake's Songs of Innocence and of Experience includes some of the visionary poet's finest and best-loved poems such as 'The Lamb', 'The Chimney-Sweeper' and 'The Tiger'. Part of the Macmillan Collector's Library, a series of stunning, clothbound, pocket-sized classics with gold-foiled edges and ribbon markers. These beautiful books make perfect gifts or a treat for any book lover. This edition has a foreword by Peter Harness. Blake's work is instantly recognizable by its flamboyance and inventiveness. This gorgeous edition contains stunning reproductions of the fifty-four plates of the poems and illustrations together, which Blake etched himself and coloured by hand. Each has the poem printed on the facing page. Whilst Songs of Innocence captures the innocence of childhood, Songs of Experience is its contrary sequel. ...Show more
The Prince and the Pauper (Macmillan Collector's Library) by Mark Twain
Tom Canty, youngest son of a poor family living in Offal Court, London, has always aspired to a better life, encouraged by the local priest. Loitering around the palace gates one day, he sees a prince (the Prince of Wales - Edward VI). Coming too close in his intense excitement, Tom is nearly caught and beaten by the Royal Guards; however, Edward stops them and invites Tom into his palace chamber. There the two boys get to know one another, fascinated by each other's life and their uncanny resemblance; they were born on the same day. They decide to switch clothes "temporarily". The Prince momentarily goes outside, quickly hiding an article of national importance (which the reader later learns is the Great Seal of England), but dressed as he is in Tom's rags, he is not recognized by the guards, who drive him from the palace, and he eventually finds his way through the streets to the Canty home. ...Show more
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1998-10-08 | Chopper-Crash-Memorial
Search and rescue personnel from across the country travelled to CFB Greenwood, Nova Scotia in early October to mourn six of their comrades who were killed on Oct. 2 when a Labrador helicopter crashed in Quebec's Gaspe region. The deaths hit the community hard, but Sergeant Ronald O'Reilly of Comox, BC said it wouldn't stop those who flew the Labrador from doing their job.
Placeline: CFB Greenwood, NS, Canada
Transcript Prediction: << pretty well every one of us is ready to get back on those helicopters and do our job because we know there's people out there that need our service and, if we don't do it who will >>


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May 29, 2014 Connecting Communities
Connecting Communities – Five Years On – Introduction
On 15th June 2009, the Association of Train Operating Companies (ATOC) published the Connecting Communities: Expanding Access to the Rail Network report. It identified potential opportunities to expand the rail network in England through the restoration of railway lines and stations.
The report identified 14 schemes across England where lines and stations would need to be restored. A fifteenth project connecting Portishead was identified as a further scheme for consideration because of specific factors that were expected to increase the BCR above the threshold. A further seven railway stations that could be opened on existing railway lines as Park and Ride stations were also highlighted as commercially viable. Finally, sixteen link lines were also identified as potential options to develop the railway network and provide new journey opportunities. The report focused on low cost schemes where projects could be delivered within the next six years and encouraged relevant authorities to take them forward.
The report focused on England because rail development was looked after by Transport Scotland and the Welsh Assembly in Scotland and Wales respectively.
This blog will focus on the Connecting Communities report during June where it will look into the projects that the report promoted and how they have progressed. Some of the proposals are now under construction and others are serious contenders for reopening over the next few years.
East West Rail could link Heathrow
Cottam Parkway in Preston Local Plan


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PT | EN Contacts
Observatories and Laboratories
CIES-IUL Editions
Scientific Culture Promotion
CIES-IUL on Media
A B C D E F G H I J L M N O P R S T V
Integrated PHD Researchers
PhD Grantholders
Maria Asensio
Department of Political Science and Public Policy
Maria.Asensio@iscte-iul.pt
Ciência-IUL profile
Maria Asensio is currently guest associate professor at ISCTE-IUL-University Institute of Lisbon and integrated research fellow at the Centre for Research and Studies in Sociology (CIES-IUL). She holds a degree in Sociology from the Complutense University of Madrid (1992) and a Master's degree in Social Sciences from the Center for Advanced Studies in Social Sciences (CEACS) of the Juan March Institute (1994). She also holds a PhD in Political Science and Sociology from the Universidad Autónoma de Madrid. She is a PhD. Member of the Juan March Institute of Studies and Research (Madrid), Member of the Spanish Network of Social Policy and of the Portuguese Political Science Association. Between 1997 and 2012 she was researcher at the National Institute of Administration (INA). She has taught at the University of Coimbra (2001-2008), at the University of Évora (2008-2011) and at the University of Lisbon (2011-2018). Since 2012, she is Principal Researcher of the Directorate General for Administration and Public Employment (DGAEP) at the ... [ver mais]
Licenciate in Ciências Politicas e Sociologia, Universidade Complutense , in 1992
M.Sc. in Mestrado em Ciências Sociais, Instituto Juan March de Estudios e Investigaciones, in 1994
Licenciate in Atribuída equivalência em Sociologia, ISCTE-IUL, in 1998
PhD in Ciências Políticas, Universidade Autónoma de Madrid, in 2001
PhD in Obteve reconhecimento do Grau de Doutor, ISCTE-IUL, in 2002
Public Administration - Public Policies - Public Health - Welfare policies. My research interest addresses two main areas of public policies. One concerns the effect of public institutions and ideas on public policy making. Another dimension looks at attitudes toward public policies, in particular how attitudes are shaped by analyzing public policies and attitudes in Southern European countries.
Politics and Citizenship
Trajectories of Refuge: gender, intersectionality and public policies in Portugal
The Welfare State and the evolution of public employment policies in Portugal - the last 20 years
The Paradox of Health Care Futures
Scientific journal paper
Asensio, M. & Popic, T. (2019). Portuguese healthcare reforms in the context of crisis: external pressure or domestic choice?. Social Policy and Administration. 53 (7), 1003-1017
Popic, T., Schneider, S. & Asensio, M. (2019). Public opinion towards healthcare in the context of economic crisis: evidence from Portugal. Journal of Social Policy. 48 (4), 741-764
Asensio, M. (2017). Os limites entre o controlo político e a profissionalização da Administração Pública. Revista de Administração e Emprego Público. 3, 81-109
Madureira, C. & Asensio, M. (2019). O desafio de mobilizar e requalificar a Administração Pública . In Ricardo Paes Mamede e Pedro Adão e Silva (Ed.), O Estado da Nação e as Políticas Públicas 2019 – Menos reformas, melhores políticas.
Madureira, C. & Asensio, M. (2013). Handbook de Administração Pública. INA Editora.
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Asensio, M. & Oliveira, Bruno M. (2019). Governance Opportunities and Challenges to Meet the Health Sustainable Development Goals in Angola, Cape Verde, Guinea-Bissau and São Tomé and Príncipe. Governance Opportunities and Challenges to Meet the Health Sustainable Development Goals in Angola, Cape Verde, Guinea-Bissau and São Tomé and Príncipe.
Asensio, M. & Padilla, B. (2018). Immigration, Integration and Citizenship in Portugal: The Case of Health Policy. Globalization,Territories and Integration, IASIA-LAGPA Conference, Lima (Peru), 23-26 July 2018.
Popic, T., Devitt, C. & Asensio, M. (2018). Health Reforms in Portugal and Ireland in the Context of Crisis. NORFACE Welfare State Futures. Final Conference. European University Institute, Florence (Italy), 24-25 May 2018.
Asensio, M. & Padilla, B. (2018). Imigração, Integração e Cidadania em Portugal. O Caso da Política de Saúde em Portugal. I Congresso Internacional sobre Gestão Pública e Saúde. Universidade de Brasília (Brasil), 20-21 Março 2018.
Tamara , Simone Schneider & Asensio, M. (2017). "Portugal's Public Opinion in the Context of Austerity: The Curious Case of Healthcare". 24th International Conference of Europeanists.
Data from Ciência-IUL
Organic Stucture
Research Forum CIES
Science and Technology Week
Science in the Holidays for Young People
Summer and Winter Courses
European Researcher's Night


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Are you a drive to destination? Will hungry customers pass three similar restaurants to come to yours? This means defend your turf, work the 3- mile radius around your location, build customer loyalty, and incentivize people to try your place. We can get them to your restaurant, but only you can make them return. Your mailer should use data capture, coupon codes, mapping, trigger data, food pictures and a map and mapping used twice. Mix it all in and you got a recipe for a successful direct mail campaign.


Canton South Eyecare offers comprehensive eye care services and in-demand lenses and frames to Canton and the surrounding communities. Click or call to connect, and access the quality of vision care you deserve.
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Our experienced eye doctors offer comprehensive vision examinations at our Canton optometry office and specialize in the diagnosis and treatment of a wide array of eye diseases, conditions, and problems. We use advanced diagnostic technology and vision correction products and are committed to improving the quality of life of persons in the Canton community through enhanced vision. Give yourself the gift of clear vision – schedule an appointment with Dr. Nathaniel Leggett today.
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