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Posts Tagged 'Walter Benjamin'
On Storytelling: Susan Sontag
In: biographies/books | Book Review | Essays | social articles
What It Means to Be a Moral Human Being
Susan Sontag (January 16, 1933–December 28, 2004) spent a lifetime contemplating the role of writing in both the inner world of the writer and outer universe of readers, which we call culture
From her prolific essays and talks on the task of literature to her beautiful letter to Borges to her decades of reflections on writing recorded in her diaries.
But nowhere did she address the singular purpose of storytelling and the social responsibility of the writer with more piercing precision than in one of her last public appearances — a tremendous lecture on South African Nobel laureate Nadine Gordimer titled "At the Same Time: The Novelist and Moral Reasoning," which Sontag delivered shortly before her death in 2004.
The speech is included in and lends its title to the endlessly enriching posthumous anthology At the Same Time: Essays and Speeches (public library), which also gave us Sontag on beauty vs. interestingness, courage and resistance, and literature and freedom.
Maria Popova posted:
Sontag begins with the quintessential question asked of, and answered by, all prominent writers — to distill their most essential advice on the craft:
I'm often asked if there is something I think writers ought to do, and recently in an interview I heard myself say: "Several things. Love words, agonize over sentences. And pay attention to the world."
Needless to say, no sooner had these perky phrases fallen out of my mouth than I thought of some more recipes for writer's virtue.
For instance: "Be serious." By which I meant: Never be cynical. And which doesn't preclude being funny.
What might Sontag say of the exponentially more exacting struggle against the cultural momentum of cynicism a mere decade later?
With the disclaimer that "descriptions mean nothing without examples," Sontag points to Gordimer as the "living writer who exemplifies all that a writer can be" and considers what the South African author's "large, ravishingly eloquent, and extremely varied body of work" reveals about the key to all great writing:
A great writer of fiction both creates — through acts of imagination, through language that feels inevitable, through vivid forms — a new world, a world that is unique, individual; and responds to a world, the world the writer shares with other people but is unknown or mis-known by still more people, confined in their worlds: call that history, society, what you will.
She cautions that despite all the noble uses of literature, despite all the ways in which it can transcend the written word to achieve a larger spiritual purpose — William Faulkner's conviction that the writer's duty is "to help man endure by lifting his heart" comes to mind — storytelling is still literature's greatest duty:
The primary task of a writer is to write well. (And to go on writing well. Neither to burn out nor to sell out.) … Let the dedicated activist never overshadow the dedicated servant of literature — the matchless storyteller.
Echoing Walter Benjamin's ideas on how storytelling transmutes information into wisdom — Sontag was a great admirer and rereader of his work — she adds:
To write is to know something. What a pleasure to read a writer who knows a great deal. (Not a common experience these days…) Literature, I would argue, is knowledge — albeit, even at its greatest, imperfect knowledge. Like all knowledge.
Still, even now, even now, literature remains one of our principal modes of understanding.
Everybody in our debauched culture invites us to simplify reality, to despise wisdom. There is a great deal of wisdom in Nadine Gordimer's work. She has articulated an admirably complex view of the human heart and the contradictions inherent in living in literature and in history.
Nearly half a century after E.B. White proclaimed that the writer's duty is "to lift people up, not lower them down," Sontag considers "the idea of the responsibility of the writer to literature and to society" and clarifies the terms:
By literature, I mean literature in the normative sense, the sense in which literature incarnates and defends high standards.
By society, I mean society in the normative sense, too — which suggests that a great writer of fiction, by writing truthfully about the society in which she or he lives, cannot help but evoke (if only by their absence) the better standards of justice and of truthfulness that we have the right (some would say the duty) to militate for in the necessarily imperfect societies in which we live.
Obviously, I think of the writer of novels and stories and plays as a moral agent…
This doesn't entail moralizing in any direct or crude sense. Serious fiction writers think about moral problems practically. They tell stories. They narrate. They evoke our common humanity in narratives with which we can identify, even though the lives may be remote from our own.
They stimulate our imagination. The stories they tell enlarge and complicate — and, therefore, improve — our sympathies. They educate our capacity for moral judgment.
In a sentiment that calls to mind French polymath Henri Poincaré's assertion that creativity is the act of choosing the good ideas from among the bad ones, Sontag defines what a writer does and is:
Every writer of fiction wants to tell many stories, but we know that we can't tell all the stories — certainly not simultaneously. We know we must pick one story, well, one central story; we have to be selective.
The art of the writer is to find as much as one can in that story, in that sequence … in that time (the timeline of the story), in that space (the concrete geography of the story).
A novelist, then, is someone who takes you on a journey. Through space. Through time. A novelist leads the reader over a gap, makes something go where it was not.
Time exists in order that everything doesn't happen all at once … and space exists so that it doesn't all happen to you.
The work of the novelist is to enliven time, as it is to animate space.
Repeating her memorable assertion that criticism is "cultural cholesterol," penned in her diary decades earlier, Sontag considers the reactive indignation that passes for criticism:
Most notions about literature are reactive — in the hands of lesser talents, merely reactive.
The greatest offense now, in matters both of the arts and of culture generally, not to mention political life, is to seem to be upholding some better, more exigent standard, which is attacked, both from the left and the right, as either naïve or (a new banner for the philistines) "elitist."
Writing nearly a decade before the golden age of ebooks and some years before the epidemic of crowdsourced-everything had infected nearly every corner of creative culture, Sontag once again reveals her extraordinary prescience about the intersection of technology, society, and the arts.
(Some decades earlier, she had presaged the "aesthetic consumerism" of visual culture on the social web.) Turning a critical eye to the internet and its promise — rather, its threat — of crowdsourced storytelling, she writes:
Hypertext — or should I say the ideology of hypertext? — is ultrademocratic and so entirely in harmony with the demagogic appeals to cultural democracy that accompany (and distract one's attention from) the ever-tightening grip of plutocratic capitalism.
[But the] proposal that the novel of the future will have no story or, instead, a story of the reader's (rather, readers') devising is so plainly unappealing and, should it come to pass, would inevitably bring about not the much-heralded death of the author but the extinction of the reader — all future readers of what is labeled as "literature."
Returning to the writer's crucial task of selecting what story to tell from among all the stories that could be told, Sontag points to literature's essential allure — the comfort of appeasing our anxiety about life's infinite possibility, about all the roads not taken and all the immensities not imagined that could have led to a better destination than our present one.
A story, instead, offers the comforting finitude of both time and possibility:
Every fictional plot contains hints and traces of the stories it has excluded or resisted in order to assume its present shape. Alternatives to the plot ought to be felt up to the last moment. These alternatives constitute the potential for disorder (and therefore of suspense) in the story's unfolding.
Endings in a novel confer a kind of liberty that life stubbornly denies us: to come to a full stop that is not death and discover exactly where we are in relation to the events leading to a conclusion.
The pleasure of fiction is precisely that it moves to an ending. And an ending that satisfies is one that excludes. Whatever fails to connect with the story's closing pattern of illumination the writer assumes can be safely left out of the account.
A novel is a world with borders. For there to be completeness, unity, coherence, there must be borders. Everything is relevant in the journey we take within those borders.
One could describe the story's end as a point of magical convergence for the shifting preparatory views: a fixed position from which the reader sees how initially disparate things finally belong together.
Once again echoing Walter Benjamin's wise discrimination between storytelling and information, Sontag considers the two contrasting models "competing for our loyalty and attention":
There is an essential … distinction between stories, on the one hand, which have, as their goal, an end, completeness, closure, and, on the other hand, information, which is always, by definition, partial, incomplete, fragmentary.
For Sontag, these two modes of world-building are best exemplified by the dichotomy between literature and the commercial mass media.
Writing in 2004, she saw television as the dominant form of the latter, but it's striking to consider how true her observations hold today if we substitute "the internet" for every mention of "television."
One can only wonder what Sontag would make of our newsfeed-fetishism and our compulsive tendency to mistake the latest and most urgent for the most important. She writes:
Literature tells stories. Television gives information.
Literature involves. It is the re-creation of human solidarity. Television (with its illusion of immediacy) distances — immures us in our own indifference.
The so-called stories that we are told on television satisfy our appetite for anecdote and offer us mutually canceling models of understanding.
(This is reinforced by the practice of punctuating television narratives with advertising.) They implicitly affirm the idea that all information is potentially relevant (or "interesting"), that all stories are endless — or if they do stop, it is not because they have come to an end but, rather, because they have been upstaged by a fresher or more lurid or eccentric story.
By presenting us with a limitless number of nonstopped stories, the narratives that the media relate — the consumption of which has so dramatically cut into the time the educated public once devoted to reading — offer a lesson in amorality and detachment that is antithetical to the one embodied by the enterprise of the novel.
Indeed, this notion of moral obligation is what Sontag sees as the crucial differentiator between storytelling and information — something I too have tussled with, a decade later, in contemplating the challenge of cultivating wisdom in the age of information, particularly in a media landscape driven by commercial interest whose very business model is predicated on conditioning us to confuse information with meaning.
(Why think about what constitutes a great work of art — how it moves you, what it says to your soul — when you can skim the twenty most expensive paintings in history on a site like Buzzfeed
Sontag, who had admonished against reducing culture to "content" half a century before the term became the currency of said commercial media, writes:
In storytelling as practiced by the novelist, there is always … an ethical component. This ethical component is not the truth, as opposed to the falsity of the chronicle.
It is the model of completeness, of felt intensity, of enlightenment supplied by the story, and its resolution — which is the opposite of the model of obtuseness, of non-understanding, of passive dismay, and the consequent numbing of feeling, offered by our media-disseminated glut of unending stories.
Television gives us, in an extremely debased and untruthful form, a truth that the novelist is obliged to suppress in the interest of the ethical model of understanding peculiar to the enterprise of fiction: namely, that the characteristic feature of our universe is that many things are happening at the same time.
("Time exists in order that it doesn't happen all at once… space exists so that it doesn't all happen to you.")
And therein lies Sontag's greatest, most timeless, most urgently timely point — for writers, and for human beings:
To tell a story is to say: this is the important story. It is to reduce the spread and simultaneity of everything to something linear, a path.
To be a moral human being is to pay, be obliged to pay, certain kinds of attention.
When we make moral judgments, we are not just saying that this is better than that. Even more fundamentally, we are saying that this is more important than that. It is to order the overwhelming spread and simultaneity of everything, at the price of ignoring or turning our backs on most of what is happening in the world.
The nature of moral judgments depends on our capacity for paying attention — a capacity that, inevitably, has its limits but whose limits can be stretched.
But perhaps the beginning of wisdom, and humility, is to acknowledge, and bow one's head, before the thought, the devastating thought, of the simultaneity of everything, and the incapacity of our moral understanding — which is also the understanding of the novelist — to take this in.
At the Same Time is an indispensable read in its entirety — an eternally nourishing serving of wisdom from one of the most expansive and luminous minds humanity ever produced.
Complement it with Sontag on love, art, how polarities imprison us, why lists appeal to us, and the joy of rereading beloved books, then revisit this evolving archive of celebrated writers' advice on writing.
Tags: adonis49, aesthetic consumerism, ideology of hypertext, Maria Popova, Moral Reasoning, Nadine Gordimer, storytelling, Susan Sontag, Walter Benjamin, William Faulkner
"Escaping Beirut", the Elizabeth Taylor of cities, and An Unnecessary Woman
In: biographies/books | Book Review | cities/geography | humor | social articles | women
In a passage of the Lebanese writer Rabih Alameddine's first novel Koolaids (1998), one character says:
I fucking hate the Lebanese. I hate them. They are so fucked up. They think they are so great, and for what reason?
Has there been a single artist of note? A scientist, an athlete? They are so proud of [Lebanese novelist Khalil] Gibran. Probably the most overrated writer in history. I don't think any Lebanese has ever read him. If they had, they would keep their mouth fucking shut.…
The happiest day in my life was when I got my American citizenship and was able to tear up my Lebanese passport. That was great. Then I got to hate Americans.…
I tried so hard to rid myself of anything Lebanese. I hate everything Lebanese. But I never could. It seeps through my entire being. The harder I tried, the more it showed up in the unlikeliest of places. But I never gave up.
Robyn Creswell published in the NY Review of Books on March 25, 2014
Ferdinando Scianna/Magnum Photos
Beirut, 1972
Many of the funniest moments in Alameddine's work—and he is essentially a comic writer—revolve around the difficulties of trying to escape the past.
The heroes of his fiction are all misfits of one sort or another. They rebel against what they take to be the tyrannical conventions of Lebanese society—its patriarchy, its sexual norms, its sectarianism.
In most of Alameddine's novels this revolt takes the form of flight to America, what one character calls an escape "from the land of conformism to the land of individualism." (Alameddine is from a prominent Lebanese Druze family and has lived much of his life in San Francisco.)
Looming behind these singular stories is the larger history of dislocation caused by the civil war, when many Lebanese—the ones who could—left. In America, Alameddine's characters discover that the pleasures of individualism often turn out to be empty, and their host country's foreign policy, particularly its support for Israel, is a constant irritant. So their emigration is only ever partial; the old world haunts all their attempts at reinvention.
In Alameddine's new novel, An Unnecessary Woman, the narrator, Aaliya Saleh, is a septuagenarian literary translator who has stayed in Beirut—"the Elizabeth Taylor of cities," as she calls it, "insane, beautiful, tacky, falling apart."
But Aaliya does not feel at home in her native city. For most of the novel, she walks through her neighborhood in West Beirut, remembering how it used to be, before "the virulent cancer we call concrete spread throughout the capital, devouring every living surface." She recalls past lovers and favorite books, as well as the bitterness of her family life.
In Aaliya's case, estrangement from her relatives and from the city she lives in has led to an internal emigration. "I slipped into art to escape life," she tells us. "I sneaked off into literature."
When not wandering Beirut's streets, she remains in her apartment, communing with tutelary spirits—every New Year, she lights two candles for Walter Benjamin. In her old age she has become more and more devoted to her art and the pleasures of her own mind, a latter-day version of modernist mandarins from Valéry's Monsieur Teste to Canetti's Professor Kien. Aaliya's name, as she likes to remind us, means "above," or "the one on high."
Aaliya is a childless divorcee in a country where social life revolves around the family. But the deeper source of alienation is her "blind lust for the written word." Her day job is at an independent bookstore with no clientele.
And as a translator, Aaliya is not just a reader, but a reader in extremis. Her tastes run to what we now call "world literature": W.G. Sebald, José Saramago, Javier Marías, and Danilo Kiš (she works from the French or English versions). This is a lonely passion. "Literature in the Arab world, in and of itself, isn't sought after," she informs us. "Literature in translation? Translation of a translation? Why bother." Aaliya has translated 37 books into Arabic; none have been published. She's never bothered to try.
Aaliya is not a very convincing translator. With no hope of publishing her work, she claims to be driven only by her esteem for the great writers and the joy she takes in the activity itself. This is already a little sentimental, but her description of her work is simply implausible:
My translating is a Wagner opera. The narrative sets up, the tension builds, the music ebbs and flows, the strings, the horns, more tension, and suddenly a moment of pure pleasure. Gabriel blows his golden trumpet, ambrosial fragrance fills the air sublime, and gods descend from Olympus to dance—most heavenly this peak of ecstasy.
Whatever she's doing, it isn't translating. Not because the job is joyless, but because its satisfactions come from the experience of obstacles faced and overcome, or skillfully finessed.
In Aaliya's account, it is one moment of bliss after another. This is typical of her relation to literature in general. An Unnecessary Woman is a kind of commonplace book, stuffed with citations from Aaliya's favorite novels and poems. Everything that happens to her provokes a literary reminiscence: an unwelcome neighbor makes her think of Sartre ("Hell is other people"), which makes her think of Vallejo ("the torment of Hell is noise"); feeling lonely makes her think of Camus ("the weight of days is dreadful"); Beiruti garbage collectors are so many Sisyphuses.
We get it: this lady has read a lot of books. But in fact Aaliya is less a devotee of literature than a gourmand. She "salivates" over the "beautiful sentences" of Claudio Magris; Marguerite Yourcenar's versions of Cavafy are "like champagne." (Constance Garnett's translations of Dostoyevsky, on the other hand, are "milky tea.")
Reading a good book for the first time is "as sumptuous as the first sip of orange juice that breaks the fast in Ramadan." And it isn't just literature: "When I first heard Wagner, Messiaen, or Ligeti, the noise was unbearable, but like a child with her first sip of wine, I recognized something that I could love with practice."
Most of the time, however, Aaliya's devotion to literature is taken seriously. Her passion for translation is the prime source of the novel's claim on its readers' sympathies. The loneliness of this passion—and therefore the strength of our sympathies—is heightened by the idea, which Alameddine insists on, that Aaliya is pursuing her vocation in a cultural desert.
"I understood from the beginning that what I do isn't publishable. There's never been a market for it, and I doubt there ever will be." In the same spirit, when Aaliya steals some titles from the bookstore where she works, she is doing a public service:
Had I not ordered some of these books, they would never have landed on Lebanese soil. For crying out loud, do you think anyone else in Lebanon has a copy of Djuna Barnes's Nightwood? And I am picking just one book off the top of my head. Lampedusa's The Leopard? I don't think anyone else in this country has a book by Novalis.
In passages like this, Aaliya becomes a more problematic narrator than Alameddine seems to intend. She is soliciting our sympathies—the sympathies of non-Lebanese readers, who are clearly the novel's intended audience—by flattering our prejudices. For in reality, Beirut is no literary desert.
Beirut is the publishing hub of the Middle East and has been for a long time. Bookishness is central to Lebanon's self-conception, as the response to the recent burning of a bookstore in Tripoli attests. Nor is it hostile to literary translation. To the contrary. In the late Fifties and Sixties, when Aaliya would have been in her mid-twenties, Beirut was home to the best literary magazines in Arabic, which were full of translated fiction and verse.
Perhaps the most influential of these journals was Shi'r ((She3er, Poetry), a modernist quarterly modeled on Harriet Monroe's little magazine of the same name. Between 1957 and 1964, Shi'r published translations of Walt Whitman, T.S. Eliot, Ezra Pound, Paul Valéry, Saint-John Perse, Antonin Artaud, Henri Michaux, Yves Bonnefoy, Federico García Lorca, Octavio Paz, Salvatore Quasimodo, Rainer Maria Rilke, and many others. The magazine's chief critic was Khalida Said, wife of the Syrio-Lebanese poet Adonis.
Other journals during the same period translated leftist intellectuals such as Sartre, Nâzım Hikmet, Paul Éluard, Pablo Neruda, and Louis Aragon. Somebody may even have had a copy of Lampedusa.
Is it conceivable Aaliya would have no knowledge of this history? She tells us she started translating at the age of twenty-two, in 1959, just as the Beiruti rage for translation was in full swing. Most literary magazines were published in Hamra, Aaliya's own West Beirut neighborhood.
And they were published by her kind of people—cosmopolitan misfits, some of whom, like the poets and critics of Shi'r, argued for a version of artistic autonomy that mirrors Aaliya's own. Maybe it is conceivable she would know nothing of all this; maybe Aaliya is simply a recluse whose greatest pleasure happens to come from translating literary fiction. Maybe, but then her rhetorical question about Nightwood sounds less like a cry of anguish than ignorant snobbery. And the thirty-seven moldering manuscripts, whose fate turns out to be central to the plot, seem less like a rare and precious archive than a monumental quirk.
Alameddine's own relation to the Lebanese literary history is similarly fraught. He belongs, and yet he does not want to. Alameddine's recurring focus on the experience of emigration, the opportunities of self-creation offered by leaving home, his interest in questions of language and identity, and his mixing of Arab and European forms—all this places him squarely within the Levantine tradition of mahjar literature (mahjar is Arabic for "the place of emigration").
This is a tradition that begins in the late 19th century and includes contemporary writers such as the novelist Rawi Hage and the playwright Wajdi Mouawad. The best-known and by far the best-selling member of this group is Gibran, though in the United States he tends to be viewed as a New Age parabolist of indeterminate origin rather than as a specifically Arab writer.
Alameddine, of course, wants nothing to do with this inheritance—for him, Gibran is "the most overrated writer in history"—and his way of telling stories stages its own kind of revolt.
Each of Alameddine's first three novels upsets realist conventions in its own way.
Koolaids flits back and forth between wartime Beirut and San Francisco during the AIDS epidemic in the early 1980s; it is a montage of voices and stories, a form Alameddine credits to Jean Said Makdisi's memoir, Beirut Fragments (1990), though Elias Khoury's pioneering novel of the civil war, The Little Mountain (1977), is probably the ultimate source for this technique.
Alameddine's second novel, I, the Devine (2001), is narrated by a Beiruti Druze woman who struggles to maintain stable relationships after emigrating to the US; it is told in the form of first chapters—the narrator keeps trying and failing and trying again to write her memoir.
In The Hakawati, (2008), Alameddine borrows from the fabulist Arabic oral tradition to construct an interlocking series of tales framed by the story of a Lebanese man who returns from Los Angeles to keep vigil at his father's deathbed.
One motive for this style of storytelling may be the fractured state of Lebanon, whose social landscape often seems to lack any common ground. "What if I told you that life has no unity?" says a character in Koolaids. "It is a series of nonlinear vignettes leading nowhere." But it is also a way to resist, without entirely foregoing, the realist commonplaces of class, religion, and locality. Alameddine doesn't want his characters to be defined by their sectarian identities any more than they do. It is this tussle between the claims of home and the attractions of flight that run through his fiction.
This is nicely suggested in a vignette from Koolaids. One of the book's protagonists is a Lebanese abstract painter living in San Francisco (Alameddine was a successful painter before he turned to writing). A countryman is shown one of the canvases, which consists of irregular yellow rectangles, and becomes puzzled when a salesmen calls it abstract art. "But they are the sides of our houses," the Lebanese man says. "That's how the stones look back home. Exactly that yellow color." The painter wants to escape into the purity of form but his content remains stubbornly local. Likewise, in I, the Divine the expatriate narrator speaks for many characters when she complains to a friend,
Here I am, the black sheep of the family, yet I'm still part of it. I tried separating from the family all my life, only to find out it's not possible, not in my family. So I become the black sheep without any of the advantages of being one.
You can never go home, but you can't entirely leave it, either.
An Unnecessary Woman marks a departure from the style and themes of this earlier work.
The story is told from a single point of view and, aside from a few flashbacks, it proceeds in straightforward fashion. And yet Aaliya is no more at ease in in Beirut than the characters who actually leave. This may reflect a common feeling among Beirutis that the city rebuilt after the civil war is a bewilderingly different place from the pre-war version. But it also comes from Aaliya's sense that Lebanon is a deeply parochial country, which she can only escape by reading Sebald and Saramago. "Literature is my sandbox," Aaliya explains early in the novel. "In it I play, build my forts and castles, spend glorious time. It is the world outside that box that gives me trouble."
The most convincing passages in Alameddine's novels, however, are not his paeans to literature but those moments when he represents his characters at their worst.
Koolaids includes a playlet featuring two upper-class Lebanese women meeting in a café in Paris to gossip about their friends: "The Ballan girl is incredibly ugly. I can't imagine what [her husband] saw in her." "As ugly as the Bandoura girl?" "No, my dear, that one is really ugly. This one is close, though." "That one was so ugly. I couldn't believe she found a husband." "Money, dear, money. Daddy has money." This goes on for ten pages; the whole thing is wicked and pitch-perfect.
Another memorable episode occurs forty pages into An Unnecessary Woman. Aaliya tells the story of Ahmad, a bookish young Palestinian who once helped her at the store and sought her reading recommendations. As soon as the war starts, he joins a militia and quickly rises through the ranks. Rumors suggest he has become an expert torturer. Now Aaliya wants him to get her a gun. Her apartment was burgled—the city is slipping into anarchy—and she needs it for self-defense. She meets Ahmad at his well-appointed apartment and finds a very different man from the one who helped her stock the shelves:
"Slacks pressed and tailored, the white shirt fitted and expensive, the face smiling and clean-shaven." Aaliya, on the other hand, hasn't showered in many days—running water has become a luxury—and wears a pink tracksuit with sequined swirls. Ahmad says he will give her a gun (and a hot shower) in return for sex. She agrees.
During intercourse, on her hands and knees, Aaliya feels Ahmad's fingers squeezing spots on her lower back and suddenly realizes that he is removing her blackheads. He apologizes, "It had been unconscious. He couldn't see a blackhead on his own skin without removing it and didn't realize he was doing the same with me. I asked him not to stop." Here is moral capitulation, erotic pleasure, vanity, and surprising tenderness—fiction that matches the complexity of history. All the rest is literature.
Rabih Alameddine's An Unnecessary Woman is published by Grove Press.
Tags: Aaliya Saleh, adonis49, Alameddine, An Unnecessary Woman, beirut, blackhead, cosmopolitan misfits, cultural desert, Djuna Barnes, ELIAS KHOURY, Elizabeth Taylor, Elizabeth Taylor of citie, escape the past, Escaping Beirut, Ferdinando Scianna, Jean Said Makdisi, Koolaid, land of individualism, literature, Nightwood, Rabih Alameddine, Rawi Hage, Robyn Creswell, Shi'r ((She3er Poetry), The Hakawati, Wajdi Mouawad, Walter Benjamin, West Beirut
"Disobedience is man's original virtue…" and Non-cooperative movements of Gandhi…
In: biographies/books | Book Review | cities/geography | Essays | Events/Cultural/Educational/Arts | political Artical | social articles
"Disobedience is man's original virtue…"
In "The soul of man under socialism", Oscar Wild wrote:
"Disobedience, in the eyes of anyone who has read history, is man's original virtue. It is through disobedience that progress has been made, and through rebellion…"
In "On the concept of history", Walter Benjamin wrote:
"There is no document of civilization which is not at the same time a document of barbarism…"
James Fenton in "Blood and Lead"
"Listen to what they did.
Don't listen to what they said.
What was written in blood
Has been set up in lead"
In "The recollection of Alexis de Tocqueville 1896"
"In a revolution, as in a novel, the most difficult part to invent is the End"
W.H Auden in "Epitaph on a Tyrant"
"Perfection, of a kind, is what he was after,
And the poetry he invented was easy to understand
He knew human folly like the back of his hand,
And was greatly interested in armies and fleets.
When he laughed, respected senators burst with laughter,
And when he cried, the little children died in the streets."
In "Sonnets from China II", Auden wrote: "They wept and quarreled: Freedom was so wild"
Mustafa Abdel Jalil (Libya interim president) said in September 2011:
"I hope the revolution will not stumble by retribution, taking matters into your hands and oppression…"
Late Vaclav Havel (President of Austria) said:
"Decent people cannot sit back and watch systematic, state-directed massacres. Decent people cannot fail to come to the rescue when within their power…"
Joseph Joubert wrote: "Love and Fear. Everything the father of a family says must inspire one or the other"
Joseph Stalin (Absolute dictator of the Soviet Union) said:
"Death is the solution to all problems. No man, no problem"
Omar Mukhtar (Libya resistance fighter leader to Italian occupation during Mussolini) said:
"We win or we die." Finally, he surrendered and was taken to Rome in chains
Muammar Qadhafi wrote in his "Green Book":
"There are inevitable cycles of social history:
1. The Yellow Race's dominion of the world in Asia
2. The White Race's attempt at colonizing extensive areas in all continents
3. Now it is the turn of the Black race to prevail in the world…"
One of the first steps to disobedience is to wean yourself out of rituals and ceremonies. Start to question the rationale and historical meaning and purposes of the rituals you are submitting to.
Civil disobedience is not an easy resolution to get engaged in: Law and Order institutions have to be revisited and reflected upon their validity in the pursuit of happiness, freedom of expression, human rights, and availability of opportunities to all regardless of race, genders, religious belief, and financial status.
Gandhi has developed the guidelines for non-cooperative movements against governments that broke their oaths and pledges to serving the people and are exercising cruelty, exploitation and oppression.
The program of non-cooperation is of 4 steps, each step is meant to reach a higher level of disobedience to the authority.
The first responsibility is to exposing, precisely, the project to the population at large through meetings and focused communication.
The next step is to convince the public servants to voluntarily abandon their titled positions and charges with the government and encouraging the lawyers and judges to stop serving the government. No pressures should be exercised on the functionaries, especially if the movement is unable to provide for the bread winners. The private employees are excluded from the requirements of abandoning their services.
The third step would ask the army and security officers and soldiers to retreat from their duties.
The last step would amount to refusing paying taxes to the government.
In order to shorten the period of resistance with a successful outcome, the organization of the non-cooperative movement should cater to the weakest members in social status or economic needs. The members of the movement should:
1. stop taking loans from government funds;
2. conflicts among the members must be resolved through private arbitrage because lawyers should suspend the exercise of their official profession toward the government.
3. The members should start boycotting public schools; (in this request, I would include boycotting private schools so that no discrimination in economic status should be established).
4. The members should not attend any government reunions and meetings and ceremonies; they should refuse accepting any civil or military post.
5. In case of being under occupation, the members should rely solely on local and national products and manufactures "swadeshi" and thus,boycotting imported consumer's products from the colonial powers.
For more details on non-violent-resistance-guidelines: https://adonis49.wordpress.com/2008/10/03/gandhis-non-violent-resistance-guidelines/
Note 1: Quotes taken from "Sandstorm (El Ghibli): Libya in the time of revolution" by Lindsey Hitsum
Note 2: Listen to Matt Damon on "Civil obedience is the problem" Howard Zinn
You Think You Know Someone, and Then He Gets on a Stage and Blows Your Mind
represent.us
Tags: "Blood and Lead", "Epitaph on a Tyrant", adonis49, Alexis de Tocqueville, civil disobedience, Disobedience is man's original virtue, document of barbarism, Gandhi, James Fenton, Joseph Joubert, Joseph Stalin, Law and Order institutions, Libya, Lindsey Hitsum, Matt Damon, Muammar Qadhafi, Mustafa Abdel Jalil, non-cooperative movements, non-violent-resistance-guidelines, Omar Mukhtar, On concept of history Walter Benjamin, Oscar Wild, Sandstorm (El Ghibli): Libya in the time of revolution", The soul of man under socialism, Vaclav Havel, W.H Auden, Walter Benjamin


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Cluster of quirky lampshades: What a fun idea to highLIGHT your room. Whether it's a design piece or a DIY model: this pendant will make people talk!
Colourful gallery wall: I love the character of a gallery wall that exudes the personality of the home's owner. Arrange your favorite prints, posters, photos into a very personal gallery wall to make an arty interior design statement.
Cool & urban tray tables: This set of bright blue tray tables act as a flexible coffee table and the detachable trays have a double function.
So, now I am curious about your verdict? Love or loathe?
fun!! love the blue trays and of course that cluster of lamp shades is so whimsical and cheerful… totally put a smile on my face. thanks for sharing Igor!
This is for sure a very fresh and happy room. I love the mix of bright blue and red, and the gallery wall is very, very nice.
Yep like this very much Igor, especially the gallery wall and the tray tables….dont know about the white rug as from experience it never stays that colour so white painted floors simpler and more robust! The picture with the paint dripping is to die for.
What a fun space! I think I recognise this shade cluster from Danish shop Ilva, it's really fab!
Πραγματι το φωτιστικο και τα τραπεζακια ειναι πολυ ομορφα!
Simple clean lines, bright splashes of color and a bit of whimsy makes this room young and chic. I love it.
Thank you all for your views – love to read them here!!
I love all them items you have commented on! the lamp shade cluster is so cute and so colourful. the little metal trays on the side tables are also very very cool… where are they from?
I liked this room! Very entertaining. Really catching an attention!
I want to learn how to melt crayons like there in that wall. Such a nice design.


If we are the good guys, why do we feel so bad?
Pearl Berman has written widely on abused girls, provides a different perspective by describing how these angry girls sometimes abuse the staff who seek to help them. The article explores why maltreated girls sometimes act abusively to their staff and provides suggestions on strategies for avoiding burnout and maintaining a positive, therapeutic demeanor even in the face of challenging behavior.
It's an ordinary morning. You enter your office or classroom expecting to have a few minutes alone to get organized for the day. Instead, there is Jill. She is early, and she is using your desk scissors to rip the stuffing out of your chair. Questions streak through your mind such as, "Am I a failure? Is Jill untreatable?" Before you really consider these rhetorical questions, you deal with immediate reality. You get control of the scissors without causing injury to yourself or Jill, and you restrain your desire to plunge the scissors into Jill's body or your own. Now the time has come to congratulate yourself on a job well done and forgive yourself for the very nasty thoughts still coursing through your brain.
If, after taking a deep breath, you can go on to make this event and its consequences therapeutic, you don't need this article. For all individuals who have recurrent dark or helpless thoughts about students like Jill, or who are doubting whether they are the kind, empathetic, caring, and gifted helpers they thought they were, read on: Combat burnout, understand why maltreated girls may abuse you, remember who you are and don't be a loner, act like a bulldog, and be realistic.
Some abused and neglected girls walk in the door kicking and swearing. Some refuse to talk. Others make ceaseless demands for unending nurturance and protection — "If you loved me you could…If you really cared you would..." Others seem able to "yes, but" forever. Why are they so tough on you when you are working so hard for them?
These girls have received erratic, poor-quality, or abusive parenting. They may show profound deficits in developmental, physical, academic, and/or social skills. The repercussions? They truly may not know right from wrong. They may not know what to learn or how to learn from us. As nonabusive helpers, we ask girls and boys to trust us and follow our instructions. Why should they? They have good reasons not to. We may show few differences in our overt behaviors from those of their abusers. They may have asked for help before and not received it. In addition, they may have huge reservoirs of bad feelings stored up against those who have maltreated them. It was not safe for them to display these feelings before, but they are safe with us now. So, the geysers of anger, fear, pain, and distrust burst forth and drench us.
Besides having socialization deficits and great amounts of unresolved negative feelings, these girls are also developing people and will show all the cognitive limitations and irrational thinking of people their age. For example, they may believe that you could do anything they asked if you really wanted to. Over the course of treatment, they may show a developmental shift from assiduously copying you to desperately seeking independence from you.
Multimodal treatment is usually optimal for dealing with the complex problems presented by these little girls and teenagers. However, due to lack of family support for treatment, monetary resources, or treatment resources, or due to transportation difficulties, one form of treatment is often all that is available. When therapists are floundering, they frequently blame themselves or disengage from the girls instead of maintaining their focus on the realities of the situation.
You are a bright, caring, and committed individual. You are not all-knowing and all-powerful. Work within your strengths and the areas of your training; mobilize other resources to deal with anything else. For example, community mental health professionals specialize in working through deep-seated individual and family problems. School counselors and teachers specialize in academic problems, age-appropriate peer relationships, and the competencies young people need to build satisfying lives. Protective service workers investigate allegations of past and ongoing abuse or neglect. They can remove a child temporarily from the home if a dangerous situation exists. They can mandate treatment, provide transportation to treatment, and provide financial support for needed services. The district attorney's office and the court system can prosecute abusers and mandate them into treatment or remove them from the community. Religious leaders can help teach the values of honesty, retribution for transgression, forgiveness, and spiritual healing. Medical personnel can provide education and support recovery from physical trauma. Cooperation between professionals results in effective, multiple-impact treatment plans. Working closely with colleagues from other fields prevents the acting-out child from playing one professional against another. It also helps ward off burnout through shared responsibility and mutual support.
Why are they so hard on you when you are working so hard for them?
These girls will frustrate you. When that happens, expand your thinking through consulting with others, trying new techniques, reading new articles and books, or attending a conference.
It takes time to be really successful with severely abused or neglected girls. Early, quick progress may suddenly grind to a halt. You may have experienced a honeymoon period in which everything you said was received eagerly, and your student or client appeared to be working hard to please you. When this phase ended, you realized that major change really was not occurring as you had hoped. She is still doing badly in school, in foster placement, and in social relationships.
Remember, you may be doing exactly what you need to do, but you need to be a bulldog and not give up. You may need to do the same thing over and over and over again before you see the benefits. Progress may build gradually at a snail's pace, and then it may appear abruptly. You need to have faith that your nurturance and your modeling of honesty and integrity will ultimately conquer teenagers' distrust of adults and their attempts to be impervious to your influence.
Treatment can produce powerful changes, but do not expect smooth progress or complete success. Success with a child may need to be defined in terms of circumscribed goals such as "She is surviving in a mainstream classroom" rather than the more ambitious goal of "She is an honor student." Sometimes ambitious goals can be achieved, but often they cannot.
You have recognized your strengths and limitations and have developed an appropriate treatment plan. What next? Expect the going to get rough. Seek another opinion on your treatment plan and techniques; this eases your mind that you haven't forgotten something important, and it shares responsibility with others. For peer support, seek ongoing consultation with others as treatment progresses. Plan breaks in treatment intensity and don't try to force yourself to "do it all in I day." Long-term cases can lead to such intense involvement from you that you lose a degree of professional judgment about what is and is not realistic for the girl with whom you are working. Remember it is she who needs to be most actively involved in your treatment partnership, not you.
Remember that you are the bright, caring, and insightful person you always thought you were. What you need to be now is a bright, caring, insightful bulldog. Bulldogs do not give up. When they are on the right track, they hang in there until success is achieved. Because you are really just a person with the tenacity of a bulldog, don't hesitate to let loose and take time to consult with others when the going is tough or you are beginning to feel detached from the girl you are helping.
Altruists need and deserve support. Don't forget that if you are going to work with these tough, needy girls, you cannot work alone. The child or adolescent you are treating must participate actively with you in treatment, and families, professionals, other children and teens, and youth workers must also be involved. Expect to feel burned out sometimes. Then take action to fight it — consult with others, read articles, take a vacation. There will be some girls you cannot help. Give yourself permission to refer them to others, and then forgive yourself for not being the perfect helper for every girl who needs help.


- "2 years a corporate slave"
When I left my cushy corporate job for comics, it seemed like a stupid decision. Looking back at it now, I am 100% sure it was. What a stupid decision. I cry myself to sleep every night.
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text:
Sign up now as Zippo member and enjoy member's only benefits
Spotlighting Hollywood's Supporting Star
How to differentiate a real and fake Zippo lighter.
WOODCHUCK USA Collection
Zippo and Case Knives Celebrate Silver Anniversary Of Joining Forces
Zippo Brings Stone Sour to Bradford for Free Zippo Sessions Event
IMDb explores the Zippo lighter's silver screen legacy through the lens of industry veteran, Russell Bobbitt and the release of Walk of Flame
June 3, 2018 – In a new video released today exclusively with IMDb, esteemed Hollywood Prop Master Russell Bobbitt lifts the curtain on the magic of moviemaking, illuminating the creative process of film production and documenting Zippo's celluloid legacy.
For over 30 years, Marvel Entertainment's Head Prop Master Russell Bobbitt has worked out of the spotlight alongside industry stalwarts. With a portfolio of over 50 films including box office hits such as The Good Shepherd and Planet of the Apes, Russell is responsible for acquiring, designing and manufacturing the objects that end up in the hands of Hollywood's best-known actors.
In the new Walk of Flame video, Bobbitt takes film fans behind-the-scenes to a leading LA prop house with over 1,000,000 props in inventory. As he tours the fascinating space, Russell explores the critical storytelling devices that drive plots forward, his most famous creations and reflects on how the humble Zippo lighter became a dependable prop with over 2,000 film appearances to its name.
Discussing his role in films, Bobbitt commented: "A prop is a way to create depth, and flesh out the character. Nothing is accidental – every item placed on set should enhance the audience's understanding of the story. My role requires a keen eye for detail – everything an actor touches in a film has been scrupulously planned out.
"When characters need a reliable prop, one of my mainstays is the Zippo windproof lighter – despite its size, it can have huge impact and immediately resonates with an audience. I've worked with the brand on customized designs to help build out a character's personality and the wider narrative."
Bobbitt himself has helped the iconic American brand set the box office alight, featuring the windproof lighter in the likes of Charlie's Angels (2000) and Hocus Pocus (1993) among other titles. Whether in a suspense-filled plot twist, a spark to trigger an explosion, a light to illuminate a treacherous path, or a means of escape from a sticky situation, you can often hear the unmistakable 'Zippo click' in some of Bobbitt's best-known films.
The new video is part of the wider Walk of Flame campaign that gives the trusty lighter its first chance to bask in the spotlight. To commemorate Zippo's role in film, the brand has launched a range of movie tribute lighters, inspired by some of the most famous designs that have featured on the silver screen. The six new designs are available to order now.
Lucas Johnson, Senior Brand Manager, Global Marketing at Zippo, said: "From every genre to every budget, the Zippo windproof lighter has proven itself an indispensable silver screen prop. We are proud of our rich cinema back catalogue including the likes of Casablanca, The Godfather and Die Hard. By working with Russell Bobbitt, we are able to explore the brand's role in some of Hollywood's biggest movies for the very first time. With an ever-changing catalogue of designs, we're proud to document the vast array of films and genres that the lighter has been featured in throughout the brand's 86-year history."
Zippo will release behind the scenes content and exclusive imagery across their social channels over the coming weeks. Follow the Walk of Flame celebration on Facebook (@Zippo), Instagram (@OriginalZippo) and Twitter (@Zippo).
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redpajama_set_name: RedPajamaCommonCrawl


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A leading budget airline has thrown its weight behind Gatwick's campaign to become the approved airport for major expansion.
Norwegian has promised that lots more holidaymakers will be flying out of the West Sussex site if Gatwick is preferred over Heathrow.
The budget carrier is pledging an extra 150 planes at Gatwick, including 100 short-haul ones and 50 long-haul Boeing-made 787 Dreamliners.
But first Gatwick needs to win the Government nod for plans to double its number of runways to two.
Gatwick's Stewart Wingate believes this is a significant step in building its case. The chief executive says no other carrier has intervened so "positively" in the whole expansion discussion.
Wherever tourists depart from, they can get off to a flying start if they take out trusted travel insurance.
This reimburses unlucky travellers who suffer delayed or cancelled flights or lose their passports.
It can also cover them for a range of mishaps from lost documents to stolen sunglasses, from mislaid luggage to sickness or injury.
Norwegian has eight Dreamliner planes currently operating out of Gatwick. A variety of US flights are among the services offered. These include journeys to New York, Fort Lauderdale, Los Angeles and Boston. It also offers various short-haul flights.
Ministers were expected to make a decision last December. But this has been held over while more data is gathered regarding environmental issues.
Heathrow expansion would cost an estimated £18.6 billion.
The extra Gatwick runway would cost half of that figure at £9.3 billion.
The influential Davies Commission favours the former plan.


It is only a matter of time, and Opensource projects are already tied to this kind of platform. Most of this services are free for opensource projects and all volunteer contributors like me are very facilitated by these tools. All SaaS platforms are connected to GiHub via WebHooks, it's more or less 3 clicks for get ready to use them.
This benchmark is Python oriented, more, it is Django oriented with a needed database backend and optionnaly a cache backend. I won't focus on other languages aspect and features but Selenium tests are in the scope.
My primary test launcher is Tox, I use it for manage a matrix of tests with their dependencies and more, no need to make it with CI tool.
Continious deployment is one of the primary feature of these tools, I will only treat about the continious integration side with test launching.
Most of this SaaS applications seems to run on AWS infrastructure, if one of them don't I'll write it.
So let's test maximum of CI tools !
Matrix is a very useful tool as you could define a job for each version of Python with each version of Django with each database backend.
A bit like a sword strike into water, Travis supports build on OS X doesn't seem work with Python.
A well know CI tool with the same functionalities than Travis plus several options like debugging by SSH: You can connect to VM during and after build has succeed or failed.
All these steps are customizable by pre, overide and post hooks.
Parallelism is a bit more complicated than with Travis, there's no matrix system. Instead you allocate a number of containers availlable and must add a command for each of them. My tip for deal with this is explained here, I simply use as much tox's environment as I have containers.
With a tons of third services Circle has nothing to envy to Travis, a bit less but the most used are here.
There's no configuration file, all is helped by a great user experience. They has designed it for be easiest and more understandable as possible and a great tutorial helps to know quickly how to use it.
Snap-CI only deals with less than a dozen of SQL and NoSQL backends but it allows functionnal testing with browser or headless tools like Phantom-JS.
Semaphore CI's free plan allows only 2 parallel jobs which isn't enough for the kind of tests I want to make. My tests matrix is too big and I can only test 2 environments by build where Travis, for example, limits the number of active jobs but not the number of possible jobs.
Last thing, I think it is great to signal Semaphore-CI isn't hosted by AWS but by Hetzner Online GmbH, a German hosting service and datacenter operator.
Unfortunately, this SaaS doesn't give the ability to create jobs matrix, you can define only one configuration per project. A second disadvantage is the number of third services, only 5, MySQL, PostgreSQL, MongoDB, Redis and Memcached.
The most simple and understandable CI tool, it is very comparable to Semaphore less some features. You must only configure setup and test commands in textareas. Both will be launched and test fails if a command fails. Nothing more simple.
Parallelism is not free I just test the trial of 14 days, it is in continuity of their simplicity, you only add tabs at top of your test commands.
Where CodeShip become more complicated (but not too much) is at Docker integration, documentation is present, clear and simple but feature is only available for real customers with dollars.
And like a great CI tool AppVeyor allows simple jobs matrix simply with environmental variables groups.
Luckily there are already templates available on GitHub. Copy/paste and it becomes easy to install all Python versions and setuptools under PowerShell.
Real build matrix like make CircleCI and Travis is now only in beta and seems operationnal with Python. It allows to create jobs for each selected Python version.
When I wrote this article Solano didn't support (yet) tox, I made a request to their services and I think it will be implemented. For now I can't parallelize on Python or Django versions without hack.
This CI tool uses a shippable.yml file which is 100% compatible with a .travis.yml. It makes this service's behavior identical to Travis-CI but with notable technical differences.
You can also choose to run test from their container infrastructure by using a DockerFile. Their offer a way to create advanced workflow for continious integration and deployment with Docker. You can pull and push images from Docker Hub, Google Container Registry, Quay.io or any other private repository.
Shippable also has a formation feature: You can create a full environment with several nodes for simulate real usecase or production environment. I think it is the edge of their Docker management, very useful but untested because not free.
Many details which make me dislike this service but it has its advantages. With the wercker CLI tools and a Docker daemon you can launch localy your build and deploy step, this concept can speed up Docker developers workflow and ensure from dev to production environment is the same.
With a dozen of DB services and headless testing services it could be useful for project with simple and unique configuration. I think the best advantage of this CI tools is its free usage for all project, you only must have builds which not exceed 30 minutes.
A last thing to know, Magnum-CI is hosted by DigitalOcean.
Many SaaS CI purpose code coverage reports and Coveralls is entirely dedicated to this. It absolutely doesn't launch tests but gather coverage data about builds/jobs.
Coveralls usage is very simple if used on top of Travis. You must use coverage as usualy and use coveralls command in after_script section. It will use your .coverage and report to Coveralls API. This is the same for CircleCI and CodeShip.
If you don't use these service it's not hell, your must only add one environment variable COVERALLS_REPO_TOKEN findable in project's page.
Another code coverage CI tool. For Python developers, Codecov seems to have nothing more than Coveralls but besides their file explorer they purpose a Web browser extension for display coverage directly on GitHub. See an example of this extension here.
Unfortunately, Codecov doesn't support (yet) coverage threshold and GitHub's pull request integration.
Style: PEP8, PyFlakes and Co.
After analysis, all issues reported have weight and a letter grade from A to F is attributed to each files. Code Climate also has also a code coverage feature, like Coveralls it must be launched at end your CI build for send coverage data to Code Climate. I didn't use their code coverage because there's no Python tool for upload results.
Landscape also try to install all declared dependencies and create a small report about it. A .landscape.yml could be write for configure severity of the tool, in fact it only does prospector command configutation.
This SaaS is also hosted by Hetzner Online GmbH. I really like this SaaS because they publish their base tools under GPL2 license all in Python.
Codacy doesn't give a simple report, they have a great dashboard where all issues are explained well with a possible solution.
Sauce Labs is a PaaS for cross-browser testing. I don't test yet this platform and it will be the topic of an other entire article. It isn't bound directly to GitHub webhook but must be launched manually or by a CI tool.
I launch ly unit tests with Travis-CI because it's the most used, supports most version of Python including PyPy and PyPy3 and matrix is easy to create and free.
I connect it to Coveralls and enhanced code coverage with pull requests integration.
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text:
CardiffCommunity
28-year-old Coryton crash victim named
The victim of a fatal road traffic collision which happened on the Coryton roundabout, Cardiff in the early hours of Saturday 28th November has been named as Danielle Andrews, 28, from the Rhiwbina area of the city.
Danielle's family has paid tribute to her, saying:
"Danielle was a much loved granddaughter, daughter and niece who was tragically killed as a result of a road traffic collision.
"Danielle had links to the Valleys and Cardiff area and she will be missed by her many friends. She had a good sense of humour and would easily make friends.
"She has been taken far too early from our lives and we are totally devastated by her death and just hope that she has now found peace."
South Wales Police is continuing to investigate the collision and is appealing for anyone who has not yet come forward or form anyone who may have dash-cam footage to make contact via 101 or anonymously via Crimestoppers on 0800 555111 quoting reference 2000432790.
Rhiwbina
Mrs Buckét rounds off year with four new hires
The Autism Directory Launches First Community Hub in Caerphilly
More in Cardiff
Cardiff Bus to reduce service from this weekend
Sam Warburton is on a mission to raise £500,000 for Cardiff Dogs Home
Plans for hidden courtyard in Cardiff city centre revealed
Cardiff supplies thousands of additional digital devices to schools
View all Cardiff


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text:
Tokyo University of Agriculture
country rank 92
Founded in 1891, Tokyo University of Agriculture is a private higher-education institution located in the large metropolis of Tokyo (population range of over 5,000,000 inhabitants). This institution also has branch campuses in the following locations: Atsugi, Abashiri. Officially recognized by the Ministry of Education, Culture, Sports, Science and Technology of Japan, Tokyo University of Agriculture is a coeducational Japanese higher education institution. Tokyo University of Agriculture offers courses and programs leading to officially recognized higher education degrees such as bachelor degrees in several areas of study. See the uniRank degree levels and areas of study matrix below for further details. This 131 years old Japanese higher-education institution has a selective admission policy based on entrance examinations. The admission rate range is 30-40% making this Japanese higher education organization a very selective institution. International students are welcome to apply for enrollment. Tokyo University of Agriculture also provides several academic and non-academic facilities and services to students including a library, sports facilities, study abroad and exchange programs, as well as administrative services.
search the Tokyo University of Agriculture's website
東京農業大学
1-1-1 Sakuragaoka, Setagaya-ku
Atsugi, Abashiri
Tip: search for Tokyo University of Agriculture's courses and programs with the uniRank Search Engine
Important: please contact or visit the official website of Tokyo University of Agriculture for detailed information on areas of study and degree levels currently offered; the above uniRank Study Areas/Degree Levels Matrix™ is indicative only and may not be up-to-date or complete.
Tip: search for Tokyo University of Agriculture's tuition fees with the uniRank Search Engine
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Solidifying the Movement for Constitutionalism in Zimbabwe
0	May 20, 2021 9:04 AM
This week, on Saturday 22 May 2021, Zimbabwe's Constitution turns 8.
Source: Solidifying the Movement for Constitutionalism in Zimbabwe – The Zimbabwean
Many of you know that coming up with our current constitution was not an easy struggle. It was a journey that can easily be classified as Zimbabwe's second liberation struggle, as progressive forces fought to get rid of the remnants of colonialism in the Lancaster House Constitution. With fierce resistance from the ZANU PF government, civil society organisations came together and waged an unprecedented attack on the Lancaster House Constitution. Activists mobilised from Zambezi to Limpopo, taking on a ruthless regime that was determined to hold on to the vestiges of colonialism. That movement which started in the 90s, declared victory with the adoption of a new Constitution on 22 May 2013.
Today, eight years later, our country is faced with a major constitutional crisis that exposes all of us as citizens and social justice leaders. It reminds us of what we have failed to do in the past 8 years. As we celebrated the new Constitution, we relaxed and expected politicians to do the right thing. The past few days have been a rude awakening for us as politicians took major steps to decimate our Constitution. We sat in our homes and condemned them the moment they announced their intentions. But they did not stop. We praised the judges who tried to stop the nonsense but deep down we always know that they are not stopping until we stand up.
But we have to stand up not merely to condemn and criticise. Beyond the bold condemnations, we have to stand up and build a new culture of Constitutionalism. And we know, this is not something we can do in our silos. No matter how big we are as a grassroots movement, we have to build a movement beyond our own.
This is why this Saturday, on 22 May 2021, the 8th anniversary of our current constitution, we are inviting you to the launch of our new initiative – the Constitutional Law Centre (CLC). Together with committed activists, distinguished scholars, and experts, we are coming together under the CLC to do what we ought to have done 8 years ago – put our hands together not only to defend the Constitution but to invest our energy and resources in building a culture of Constitutionalism. Culture cuts across sectors, generations, and professions. And it takes generations to build.
While at the end of the day politicians may carry a large chunk of the blame, we as citizens must bear the responsibility. We must play our part in shaping a new culture. To learn more about our vision, please join us online on 22 May 2021 between 10 am and 12:30 as we start this important journey.
Our partners are the following organisations; WELEAD Trust, Justice for Children, Women's Institute for Leadership and Development, Centre for Applied Legal Research, Zimbabwe Human Rights NGO Forum, and distinguished scholar and one of the authors of the Zimbabwean Constitution, Dr. Alex Magaisa. These are partners who in their own right have a track record of defending the Constitution. Together, we are going to do way more
To learn more about this initiative, please visit our social media pages. To attend the event, use the link below.
https://us02web.zoom.us/j/85410852854?pwd=L2tuNitsbERtK1MzYjNjcW91Uk56dz09
Passcode: CLC2211
Follow the Livestream on www.facebook.com/zimrightslive
Looking forward to seeing you on Saturday.
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Zimbabwe: Pregnant women and girls face barriers accessing public health facilities and risk life changing injuries


Mahakosh Lekha Lipik Lekhpal Clerk DAT Admit Card 2019: Mahakosh Maharashtra Lekha Lipik, lekhpal/clerk recruitment examination is expected to be conducted in April/May 2019. The admit card or hall ticket for this examination will be issued to the registered candidates few days before the commencement of examinations.
Mahakosh Admit card 2019 will be published online and candidates can download it from the Mahapariksha DAT portal. The admit card dates will also be notified through this portal. Therefore, all the candidates should regularly visit the portal for all the new updates regarding this examination. Through this DAT recruitment drive, 932 vacant posts of Junior Accountants, JuniorAuditor, Account Clerk, Audit Clerk, etc, will be filled in the Directorate of Accounts and Treasury, Maharashtra.
2 How to download Lekha Lipik Lekhpal admit card 2019?
Mahakosh Lekha Lipik Lekhpal or clerk Recruitment examination is likely to be held in April/May 2019. It will be an online exam and exams for all the three posts is supposed to be help on different dates.
Mahakosh Hall ticket 2019 will be issued only to the registered candidates at least one or two weeks prior to the date of examination. It will be issued on the official website of the examination authority as this is the only medium to get admit card. No physical admit card will be dispatched to any candidate through post or any other medium. Candidates can take printout of the same using the valid login details.
If candidate face any difficulty in generating hall ticket, they are advised to contact the concerned department at least one week before the examination. Similarly, any discrepancy in the hall ticket should be brought to the notice of the examination authority on time.
Candidates are also advised to download and print the admit card on time. They should not wait for the last date to download the admit card as various issues may arise at the last time. They must take multiple printouts of the hall ticket, in case one gets damaged or miss due to any reason they can use others.
How to download Lekha Lipik Lekhpal admit card 2019?
Admit card for this recruitment examination is going to be issued through the online mode. Applicants who have successfully submitted the application will only be able to download the admit card from the official portal.
Visit the official Mahapariksha portal (www.mahapariksha.gov.in).
Enter username and password (created at the time of registration) in the login section.
Check the examination schedule, venue, and all the other details mentioned on it.
Lastly, download and take print out of the hall ticket.
Keep the admit card safe for future reference.
Roll number/ registration/ application No.
All the particulars mentioned in the admit card will be based on the information furnished by the candidates in the application form. However, candidates may contact the concerned officials in case of any discrepancy in admit card details.
All the examinees have to bring their hall tickets positively to the exam center.
Along with the hall ticket they also have to carry a valid photo ID proof.
Examinees have to carry any of the following valid photo ID proof to the examination hall in original plus photocopy- Voter's Card/ PAN Card/ Aadhaar card/ E-Aadhar Card with a photograph/ Bank Passbook with photograph / Passport/ Permanent Driving Licence / Photo identity proof issued from a competent authority.
Apart from admit card and id proof candidates should not carry any other article/ restricted item to the exam hall.
Candidates should note that their name mentioned on the admit card is exactly the same as mentioned on the photo identity proof.
Examinee found without valid admit card or id proof will not be permitted to enter the examination center.
If you have any query in regards to Mahakosh Clerk or Lekha Lipik Admit Card 2019, then you can ask us in the comment section below.


Tree Arborist Caulfield East VIC – Finding Certified tree surgeons on the cheap!
Getting an arborist Caulfield East or as they are more commonly known, tree lopper, to remove or prune your tree and NOT charge an arm and a leg can be a bit of a challenge.
What do arborists Caulfield East cost?
Stay smart, how to save money on Caulfield East arborists cost?
What do arborists near Caulfield East cost?
Hire an arborist Caulfield East at a fixed price for the entire job. This means that no matter how long it takes, you pay the same.
Go Tree Quotes is a FREE SERVICE that matches homeowners with the best priced Caulfield East arborist. We do this with a unique review system where users tell us who is cheapest and who they chose and why.
Every local council has what's called a Tree Preservation Order TPO, which outlines the rules and regulations for tree removal or pruning in your local region. In your case Glen Eira council.


The information contained in this website is for general information purposes only. The information is provided and kept up-to-date and correct by CHI St. Alexius Health, we make no representations or warranties of any kind, express or implied, about the completeness, accuracy, reliability, suitability or availability with respect to the website or the information, products, services, or related graphics contained on the website for any purpose. Any reliance you place on such information is therefore strictly at your own risk.
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text:
Surrey Knights
Discover Surrey
Surrey Police Officer of the Year
'Four By Four': Pleasing Baby Boomers, their babies and maybe even their baby's babies
Vegas-born singer touts touring show that brings hits of the '60s and '70s to Surrey's Bell theatre
Tom Zillich
Nov. 3, 2016 5:00 p.m.
The four guys of "Four By Four" sing the music of The Beatles
SURREY — Direct from Vegas comes a show featuring four guys singing pop songs made popular several decades ago.
If it sounds familiar, "Four By Four" has it covered.
The music of the Beach Boys, Beatles, Bee Gees, Motown – it's all performed in the touring show, currently crossing Canada prior to stopping at Surrey's Bell Performing Arts Centre on Friday, Nov. 11.
The hit-filled production is very much rooted in Sin City, a place that cast member Taylor Campbell has called home since birth.
The Now caught up with the singer/actor/dancer during a phone call last week, in a bid to learn more about "Four By Four" and the art of singing such golden-oldie songs.
"We were put together here by a production company called Chapquist Entertainment, the same one that does 'Oh What A Night!,' the successful Frankie Valli tribute show," Campbell explained.
He's very familiar with 'Oh What a Night!' because he's in that production, too, and performed it at Surrey's Bell in November of 2013.
"(Chapquist) decided to keep a similar blueprint and expand it a bit to include other music of the '60s and '70s, with more variety," Campbell continued.
"I was lucky to be asked to be in the original cast of 'Four By Four,' which has been going since May of last year. I know they're really trying to get it on cruise ships like they did with 'Oh What a Night!', which will very likely happen soon, but the first big exposure for 'Four By Four' was last year when we did a huge six-week, coast-to-coast tour of Canada, and it was really well received, and that's why we're back this year."
(Story continues below show promo video)
The show's current tour, presented by Rocksland Entertainment, began in New Brunswick on Oct. 27 and rolls through a number of B.C. cities over the coming week.
With such a Baby Boomer-pleasing show, it can be difficult to rise above the many competitors out on the road.
"I think what's fun about our show is not just the variety and how we hit on each of these groups who were so wildly successful and have so many great hits, it's that we're not necessarily trying to imitate them, not trying to be them," Campbell said. "You know, we use our own names on stage, we play ourselves, but it's still a scripted show. We tell jokes, we tell stories about how some of these songs came to be, so I think all of that makes it kind of personal.
"The other thing is," he added, "I'm lucky enough to work with three really, really talented actors and singers and dancers, and we all genuinely like each other and get along offstage and onstage and try to make a unique connection with the audience each and every night. Because we use our own names and honestly really love the music we're performing, it makes a personal connection with our audiences."
Campbell caught the song-and-dance bug before he enrolled in the Las Vegas Academy of Performing Arts, where he learned the craft well enough to make a career of it.
"I was born and raised here, but my parents were both transplants – mom was from Kansas and dad from Utah. They were both from small towns and wanted to come to a new place and start over, and that's what brought them here," Campbell related.
"I did have the luxury of having parents who appreciated the arts and I did have the chance to go to some amazing shows on the Strip, but I don't know if that's exactly why I got into performing arts. It definitely helped, and I got into doing community theatre here when I was eight or nine years old, and it went from a fun hobby and exercise into something I wanted to do as a career."
With "Four By Four," costume changes are required for the show's four sections.
"The challenging part," he said, "is vocally going from one section to the other, because each of the groups is so different, stylistically and in terms of range, so going from the mellow sound of the Beatles into the high falsettos of the Bee Gees and onto the beautiful complex harmonies of the Beach Boys, that can be difficult, especially when you're performing almost every night."
For Campbell, a show highlight is when he has the spotlight for "Yesterday."
"I grew up a huge Beatles fan and I love Paul McCartney," he said. "That's one of the first songs we come out of the gate with, and it's just such an introspective, soft song, and I enjoy connecting with the audience on that one.
"We like to stress too that it's a family-friendly show," Campbell added. "Obviously it's going to appeal the most to people who grew up with this music, but these songs are everywhere in pop culture now, on the radio and TV, so even the youngest audience members know and enjoy the songs."
Tickets for "Four By Four" are $60 each via the venue website, Bellperformingartscentre.com, or call 604-507-6355. Show time on Nov. 11 is 7 p.m.
tom.zillich@thenownewspaper.com
MINTY: Ah, I love the value of vaudeville and help for young performers
'Latinos in Action' party to raise funds in Fleetwood
'Stevedore Stomp' concert planned at Surrey farm has been cancelled
Event organizers say refunds will be given
Family fun abounds in Langley this summer … and it's all FREE!
#LCLive! Celebrate with Langley City all summer long
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In the second agreement announced between the two companies this week, GE Renewable Energy has been selected to provide cyber security for Invenergy's fleet of wind turbines.
On Thursday, it was announced that GE Renewable Energy had been chosen to provide 300 megawatts (MW) worth of wind turbines to an Invenergy wind project being developed in Reagan County, Texas. A second announcement was also made, however, which will see GE Renewable Energy provide cyber security for Invenergy's nearly-10 gigawatt (GW) fleet of wind turbines.
The cybersecurity agreement will see Wurldtech, a GE Company, provide cyber security for all of Invenergy's 9,829 MW wind turbine fleet. The agreement also includes a framework to add future wind farms to the security network. All in all, the agreement is said to be worth more than $13 million over ten years and is apparently one of the largest cybersecurity deals in the history of the Industrial Internet.
Wurldtech will upgrade Invenergy's legacy controls, upgrading and protecting the wind turbine network's security with the company's Opshield — "a cutting-edge purpose-built security solution for industrial and process control environments" — and GE and Wurldtech will also provide Invenergy's fleet with software maintenance, updates, and patches.


H.O.P.E. Foundation Executive Director, Kathy DiCocco, and Director of Operations & Research Development, Nicholas D'Addabbo, were featured as guests on Connecticut local CBS affiliate station, WFSB's Better Connecticut with Scot Haney and Kara Sundlun, on November 10th, 2014. They spoke about the R.E.A.L. Man program and how the Foundation is Helping Other People Excel through its initiatives.


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Please join us Monday Aug 12th 2019
For our meeting Monday Aug 12th 2019 we welcome Brian Klauk and Ladd Gibson from Carolina Crossroads.
Brian Klauk, PE, CPM, ENV SP
Project Manager for Carolina Crossroads
South Carolina Department of Transportation
Brian Klauk currently serves as the Project Manager for the Carolina Crossroads I-20/26/126 Corridor Improvement Project within the Mega Projects Division at SCDOT.
During his 20-plus-year career, he has been part of teams to deliver the design and construction of horizontal and vertical infrastructure projects while working for SCDOT, the South Carolina Department of Parks, Recreation & Tourism, and several consulting firms. He is also privileged to serve as a volunteer design engineer on international development projects, including children's homes, a hospital, a senior care facility, and innovative disaster relief shelters that help children and families step out of poverty and into hope.
Brian is a registered Professional Engineer in South Carolina, a Certified Public Manager, and an Envision® Sustainability Professional. He lives in Chapin, SC with his wife and five children.
Ladd Gibson, P.E., Assoc. DBIA
Program Director for Mega Projects
Ladd Gibson is a 1991 graduate of Clemson University with a Bachelor of Science degree in Civil Engineering and is registered as a Professional Engineer in the State of South Carolina and certified as an Associate Design-Build Professional with the Design-Build Institute of America.
Ladd began his career as a Nuclear Engineer with Norfolk Naval Shipyard, served as a construction manager with the North Carolina Department of Transportation, and worked in both design and construction management roles in the private sector with Calyx Engineers.
Since joining the South Carolina Department of Transportation in 2006, he has served as Program Manager, Design-Build Engineer, Director of Preconstruction, and is currently serving as the Program Director for Mega Projects.


Fumble recovery is a necessary skill for every football player on the field because you never know when a football is going to be bouncing loose on the football field. This fumble recovery drill is from the Southeastern Line Camp, but it's not just for linemen, EVERY football player should go through this drill until the process of recovering a fumble is second nature, because no matter how simple the process is, the pressure of a big game makes anything your football player does more difficult.
When you're coaching football and it comes to fumbles, You DON'T want them to happen....unless of course you're coaching defense and your athletes know how to recover that football. These fumble recovery drills will help your football players come out from the pile with in posession of the football! Coach teaches players how to scoop the football on the way to the end zone and how to cradle the ball when running isn't an option.


Back To Th3 Futur3 Limited (10812906) is an active private limited company incorporated on June 12, 2017 with two officers. The business operates in three market sectors, namely child day-care activities, physical well-being activities, and other service activities n.e.c.. The company's registered office address is 3 Tolchard Close, Leicester, LE5 4EZ, United Kingdom.


Charrett, D., and Holland, C. (2015). Published in Australian Construction Law Bulletin, September 2013.
A previous paper1 outlined the significant changes in work health and safety (WHS) legislation in Australia since 2011. That paper discussed the general terms that one of he most significant developments in the new harmonised Work Health and Safety Act (the Act) and Work health and Safety Regulations (Regulations) is the formalisation of higher WHS obligations on organisations that design, manufacture, import or supply products. However, as noted un the previous paper, the new harmonised legislation has not yet been implemented in all Australian states and territories.
This paper looks in more detail at the specific new WHS obligations that have now been imposed on a design organisation by the harmonised legislation.
1 Holland, C., and Charrett, D. (2013) "WHS in Australia - the current state of play." Published in Australian Construction Law Bulletin, edn 46.


V-Discs are a 12in., double-sided, 78 Record that contained popular songs of the day. They were distributed for free/played to soldiers serving in World War II. The sides of the record were labeled as an A-side and a B-side. Each side contained one song that was about 6 minutes. The extra two inches (as compared to 10in. for a regular 78) allow for more grooves to be cut in the record, thus increasing playing time.