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Magdalena Rădulescu (n. 1902, Râmnicu Vâlcea - d. 28 februarie 1983, Paris) a fost o pictoriță de origine română.

Biografie
S-a născut la Râmnicu Vâlcea dar a petrecut cea mai mare parte a copilăriei la Constanța.

După cum consemnează istoricul de artă Petre Oprea care a întâlnit-o prima oară cu prilejul vizitei sale în țară în anul 1957, perioada copilăriei a fost "extrem de fericită", după anii de Constanța, unde tatăl ei era inginer de cale ferată, acesta " a ajuns directorul unei societăți forestiere din Curtea de Argeș și s-a mutat cu familia în acest orășel cu multe biserici, decorate cu fresce de toată frumusețea. De aceea mai toată vara colinda cu șareta prin împrejurimi ca să admire interioare de lăcașuri și să asiste duminicile, ca și de sărbători, la hore și chiar să participe la nunți, privind cu nesaț la îmbrăcămintea albă cu broderii colorate a țăranilor și la jocurile lor".

Din 1916 începe abrupt o altă perioadă: "Anii primului război mondial au curmat aceste deplasări. Acum țăranii îmbrăcau haine cernite, iar horele nu mai aveau loc decât arareori și fără să mai emane atmosfera sărbătorească de odinioară. Totul era trist, cimitirele și jalea mamelor și a văduvelor o demoralizaseră. Devenise apatică și doar când desena, ceea ce se întâmpla rar, devenea iar fata optimistă și veselă de dinainte".

Părinții îngrijorați de această stare, hotărăsc să o lase să se dedice picturii și decid ca după finalizarea liceului să studieze nu la București, ci direct la München, "căci, acolo, socoteau părinții, puteau învăța fiica lor metodic și temeinic tainele artei". Însoțită de mama sa, a studiat pictura în mai multe școli particulare și în cele din urmă a intrat sub supravegherea pictorului peisagist Max Angerer (1877-1955). Acesta picta într-un stil impresionist peisaje din Tirolul natal. Nu este de mirare că pictorița în confesiunile sale către Petre Oprea a considerat perioada un calvar. "Iubea și era subjugată de pictură, dar nu spre care era îndrumată".

Apoi a plecat singură la Paris unde s-a înscris la Académie de la Grande Chaumière, aici studiind cu Bernard Boutet de Monvel (1881-1949) și René-Xavier Prinet (1861-1946), fondator, alături de Antoine Bourdelle, al Academiei în 1904.

Primul, pictor, sculptor și gravor, era și ilustrator de modă și de interioare, care în anii aceia folosea în pictură o culoare fermă, iar portretele, foarte stilate, fie că era vorba de parizieni din lumea bună sau de maharajahi și alte personalități exotice, erau reduse la esențial, redate frontal și fără expresie, cu monumentalitate folosind pentru această planitate și un unghi scurt. Datorită gustului său impecabil, Bernard Boutet de Monvel trecea drept unul dintre cei care dădeau tonul dandismului parizian. Ajuns în primul război mondial pe frontul din Maroc, pictează după demobilizarea din 1919 o serie de tablouri în care vine cu o viziune nouă asupra orientalismului, departe de clișeele de altă dată. Privind la picturile sale, atât portretele, cât și peisajele marocane, se poate constata că Magdalena Rădulescu a învățat de la acesta soluții plastice și de viziune pe care le va aplica în opera sa inspirată din cele văzute în țară.

Academia Grande Chaumière la care studia reprezenta "trecutul și prezentul cel mai pur al vieții artistice din Montparnasse...un loc de întâlnire pentru artiștii internaționali". În Montparnasse va sta zece ani - o spune chiar artista - profitând de efervescentul mediu artistic și, la Academie, îl întâlnește în 1925 și pe viitorul ei soț, pictorul italian Massimo Campigli (1895-1971) cu care va fi căsătorită între 1927-1939. Prin el îl cunoaște pe sculptorul Alberto Giacometti (1901-1966), și amândoi hotărăsc ca, la vizita pe care urmau să o facă în atelierul lui Constantin Brâncuși, să o ia și pe ea pentru că era româncă. Când Constantin Brâncuși a aflat că este chiar olteancă, atenția lui s-a îndreptat cu precădere spre vizitatoare, mai ales că era strălucitor de frumoasă. Va mai cunoaște multe alte personalități ale avangardei internaționale, literare și artistice din Parisul interbelic.

Activitate
Debutează la Salonul Oficial din țară în 1924, iar în Franța, din 1927, trei ani consecutiv, Magdalena Rădulescu participă cu câte două lucrări la Salon des Indépendants . În 1928 participă deja la Bienala de la Veneția, în 1933 la Salon des SuperIndépendants, Paris, în 1937 la Expoziția Universală de la Paris și în 1945 la Salonul Oficial de Grafică din țară.

În 1931-1932, cei doi soți fac o vizită în țară, inclusiv în zona Argeșului, după cum reiese din uleiul Figuri din Argeș de Massimo Campigli aflat în colecția Muzeului Krikor H. Zambaccian și din însemnările colecționarului: "Tot la Paris am făcut cunoștința pictorului italian Massimo Campigli. Fiind însurat cu românca Magdalena Rădulescu a fost la noi în țară prin 1931, când i-am pozat pentru un portret, de asemenea și soția mea. Cu prilejul expoziției sale am reținut o compoziție "Două femei din Argeș".

Colecționarul este entuziasmat de arta avangardistului italian, mergând până la subestimarea pictoriței: "Pentru mine, Campigli este cel mai valoros pictor italian contemporan, arta sa are un stil propriu, un specific ce ține de tradițiile etrusce de la care pornește pentru a le interpreta în sensul cel mai actual al cerințelor artei. Magdalena Rădulescu a fost influențată de arta soțului său. Ea a divorțat dar nu și de pictura lui, după cum glumeam eu pe atunci".

Adevărul era exact invers și acesta a fost unul dintre motivele despărțirii, după cum mărturisea artista istoricului de artă Petre Oprea. La început soțul se ocupa în principal de gazetărie, pictura rămânând pe planul al doilea, ea îndemnându-l să-i acorde mai multă importanță. Venind în țară în 1931-1932, el pictează aici și deschide o expoziție în luna martie a anului 1932 la Galeria Hasefer, unde expuneau avangardiștii. Eugen Ionescu, Nicolae Tonitza, Mac Constantinescu și alții au scris critici elogioase, deși el era influențat de ea și îi prelua "deseori subiectele și mai ales tehnica", iar în cronici se lăudau "calitățile novatoare ale picturii lui Campigli, pe care ea le considera ca descoperiri proprii".

Pictorița revine în țară în preajma celui de-al doilea război mondial, în 1938, urmând o perioadă de aproximativ zece ani în care lucrează cu ardoare, organizând câte o expoziție personală în fiecare an între 1939-1945. Își schimbă stilul și repertoriul cu scopul de a se delimita de ceea ce picta fostul ei soț: "El rămânând la redarea personajelor în poziții statice, ea a optat pentru personaje din ce în ce mai dinamice".

Este și perioada în care pictează subiecte cu țigani, "scene bizare și fastuoase cu țigani într-o stilizare expresionistă", reușind și în această direcție să depășească stereotipurile, așa cum o demonstrează pictura "Portret de țigan". La această tematică renunță în 1944, revenind la ea pentru a ilustra cartea prietenului Miron Radu Paraschivescu, Cântice țigănești, dar nu a mai lucrat după model, ci a făcut figuri sugestive într-un stil primitivist. Alături de scenele și portretele cu tătari, țiganii sunt a doua minoritate care i-a atras atenția artistei care știa să descopere particularitățile și de vestimentație ale celor portretizați, înnobilând, monumentalizând și uneori hieratizând. De asemenea, rupând figurile din orice fel de context, cu un fundal de culoare, le conferă un aspect atemporal - imagini-efigie a etniei.

Temele etnografice sunt multiple: Cină (1939), Horă (1940), Jelirea mortului (1941), La tors (1942), Horă la sat (1945), Călușarii (1945), Dansatoarele focului (1945), Cules de vie (1946), fiind, după cum observa Mircea Deac, "recognoscibile elementele extrase din lumea reală, dar personajele sunt detașate de realitatea lor strictă, trăind și plutind într-o lume de vis".

Dacă în această perioadă, cel mai adesea lucrează cu modele, după părăsirea țării, acest lucru nu a mai fost posibil și de aceea artista a pictat mulțimi cu figuri slab sau deloc individualizate. Amintirea Călușarilor sau Horelor, continuând tematica anterioară, devine obsesivă, temele fiind mereu și mereu reluate, cât timp a mai pictat, accentul căzând pe dinamica figurilor. Criticul de artă Jacques Lassaigne (1911-1983), mare cunoscător și prieten al artei românești, scria în 1947: "Toată opera sa este inspirată din folclorul românesc privit nu ca un element de cercetare istorică sau decorativă, ci ca un repertoriu de forme arhitecturale. Deci, în pânzele sale, nu există nici un element pitoresc sau anecdotic, ci doar un fel de reîntoarcere la minunatele armonii esențiale...ar putea cu ușurință să compună un surprinzător balet". În 1965, cu prilejul expoziției personale de la Nisa la Galeria Nombre d'or, Riou Rouvert scria că pictura ei se referă la "o lume populară, abandonându-se bucuriei dansurilor românești, vibrând de fantezia comunității, de integrare a individului în fericirea colectivă".

Pentru a ilustra modul în care Magdalena Rădulescu înțelegea să se inspire în toate sensurile din arhetipurile artei tradiționale, vom puncta și stilul vestimentar al artistei, marcat de arta țărănească românească sau a altor popoare din Balcani, ea adaptând stilului note urban note etnografice și fiind în acest sens o precursoare a ceea ce s-a numit tendința etno în moda vestimentară. Aceste combinații au atras atenția criticilor de artă, care nu nu puteau trece cu vederea că vestimentația ei era o altă formă de manifestare a opțiunilor ei artistice și culturale. Petru Comarnescu descrie o ținută vestimentară a artistei în 1946: "îmbrăcată fantezist, cu o căciulă ca a lui Mihai Viteazul sau a lui Peneș Curcanul, cu rochii simple, dar împodobite cu paftale și brățări balcanice, purtând uneori cizme, dar pășind ușor și discret, ca dusă de gânduri și vise". Aproape un sfert de secol mai târziu, stilul vestimentar pare să fi rămas același, chiar dacă pictorița trăia în Franța, așa cum reiese din descrierea din 1970 a lui Petre Oprea: "Purta un suman țărănesc larg și lung, din lână seină, strâns în talie de un brâu îngust, roșu, înfășurat de două ori cu un nod mare, pe umăr îi atârna o traistă cu cu dungi albe și negre, în picioare purta cizme negre, din piele de calitate, cert din garderoba unui ofițer de odinioară, iar pe cap o mare căciulă albă cu vârful foarte înclinat spre dreapta, având în față prinsă o mare broșă baghetă cu o piatră roșu strălucitor".

Încă de la bun început, de la prima ei expoziție personală, cea din 1936, de la Paris, a fost remarcată pasiunea pictoriței pentru tot ceea ce provenea din mediile populare, H. Frédéric Pollèche afirmând concis: "Pictura sa este în întregime națională. Ea este, prin aceasta, chiar excepțională, vor simți toți aceia care au văzut și au simțit România". Această constantă a operei sale picturale cu adânci rădăcini în primele două decenii de viață petrecute la Râmnicu Vâlcea, Constanța și Curtea de Argeș se va manifesta stilistic diferit pe parcursul vieții, întotdeauna cu mijloacele avangardei artistice și cu o egală vigoare.

Lucrări
Subiectele preferate de Magdalena Rădulescu au fost personajele de carnaval, scene din dansurile populare românești (călușarii), obiceiuri populare românești (nunți, obiceiuri străvechi), redate într-o manieră alertă, cu un colorit exuberant, cu influențe din Paul Gaugain sau Marc Chagall. A realizat și autoportrete, portrete și ilustrații de carte.

Desene:
 Danse magic, desen cu fetru semnat în dreapta jos, dim: 53 x 40 cm;
 Fecioara și copilul, pastel, semnat în dreapta jos, dim: 31,5 x 24 cm;
 Femeie cu cercel, pastel, semnat în dreapta jos, dim: 31,5 x 24 cm;
 Portret de bărbat, tuș și acuarela, semnat în stânga jos, dim: 36 x 27 cm;
 Extazul, tuș și laviu, semnat în dreapta jos, dim: 31 x 25 cm;
Câteva picturi de Magdalena Rădulescu inspirate din viața țărănească, din costumația țăranilor români sau altor minorități din România

 Portret de țăran din Argeș, ulei pe pânză, 55x46 cm, semnat și datat stg. jos spre mijloc în sgrafitto: M. Rădulescu, 1929. Colecția Ioana și Radu Moțiu.
 Nuntă tătărească, ulei pe lemn, 56x65 cm, semnat și datat dreapta jos, în gri: "Nunta este unul dintre subiectele preferate ale artistei. Compoziția lucrării, închisă lateral de un drapaj ca al unei cortine, este piramidală (cu una dintre laturi spre privitor) și se structurează pe cele șase personaje feminine, așezate pe scaune. Mireasa este plasată în primul plan, între alte două tinere împodobite foarte asemănător. Celelalte trei personaje sunt dispuse în planul secund, pe colțurile unui triunghi. Personajele, vag individualizate, cu figuri inexpresive, tratate în maniera picturii naive, cu capul ușor plecat, pleoapele lăsate - cu excepția miresei și a tinerei din dreapta lucrării - sunt înveșmântate în costume populare, cu ie, pieptar și catrință, având capul acoperit cu un voal. Formele sunt simplificate, ușor geometrizate.

Întreaga lucrare este realizată într-o pensulație rapidă, aparent neglijentă, cu atenție minimă acordată detaliilor. Cromatic domină albul (și cu valoare simbolică), alburile colorate, înveselite de intervențiile de roșu, brun, albastru și ocru din motivele decorative ale costumaților. Pete mai mari de culoare, roșu, brun, albastru, ocru auriu, gri albăstrui, nuanțate, intervin la catrințe și covorul din fața fetelor din primul plan". - Iulia Mesea, fișă de clasificare în Patrimoniul cultural-național.

3. Autoportret în costum oriental, [anii '40 ], ulei pe pânză, 61,5 x 46 cm, semnat stânga jos, cu brun,. Magdalena Rădulescu. Colecție particulară, vândut prin licitație la Artmark (6.500 euro).

4. Târgul de oale, ulei pe pânză, 73 x 92.5 cm, semnat și datat stânga jos, cu brun: Magdalena Rădulescu, 1944. Colecție particulară, vândut prin licitație la Artmark cu 3500 de euro.

Pictură:
 Clown dansant, tehnica mixta pe lemn, dim: 15 x 8 cm;
 Figures de cirque, ulei pe lemn, semnat în dreapta jos. dim: 40 x 50 cm;
 La dans, ulei pe pânză, semnat în dreapta jos, (1962), dim: 38 x 46 cm;
 Tamburul, ulei pe pânză semnat în dreapta jos, dim: 38 x 46 cm;
 Poveste colorată, ulei pe pânză, semnat în dreapta jos dim: 60 x 72 cm;
 Cavalcada, ulei pe pânză, semnat în dreapta jos, dim: 65 x 92 cm;
 Autoportret, ulei pe lemn, semnat în dreapta jos, dim: 60 x 45 cm;
 La dans, ulei pe pânză, semnat în dreapta jos, dim: 65 x 80 cm;
 Muzicienii, ulei pe pânză, semnat în dreapta jos, dim: 73 x 97 cm;
 Jongleur, ulei pe lemn, semnat în dreapta jos, (1960), dim: 64 x 49 cm;
 Cai în arena circului, acuarelă pe hârtie, semnat și datat dreapta jos, cu negru, (1969), dim: 32 × 47,5 cm;
 Cetățeni, ulei pe carton, semnat și datat dreapta jos, cu roșu, 1969, dim: 52,5 × 41 cm;
 Jocul cailor, acuarelă pe carton subțire, semnat, datat și localizat dreapta jos, cu negru, (1977), Paris, dim: 50 × 67,5 cm;
 Jocul călușarilor, ulei pe carton, semnat dreapta jos, cu negru, dim: 46,5 × 65 cm;
 Clown, ulei și pix pe hârtie, semnat dreapta jos, în pix, dim: 30,5 × 23,5 cm;
 Studii de nud, ulei pe pânză, semnat stânga jos, cu verde, dim:  45,5 × 44 cm;
 Călăreți albaștri, ulei pe pânză, semnat stânga jos, cu roșu, dim: 53 × 65 cm;
 Călușari, ulei pe pânză, semnat și datat dreapta jos, cu roșu, (1959), dim: 65 × 80,5 cm;
 Acrobați, ulei pe carton, semnat și datat dreapta jos, cu negru, (1969), dim: 50 × 63 cm;
 Debarcarea din Normandia, ulei pe placaj, semnat dreapta jos, cu brun, dim: 48 × 77 cm;
 Cavalcadă, ulei pe pânză, semnat dreapta jos, cu negru, dim: 40,5 × 59,5 cm;
 Dansul, ulei pe piatră, dim: 14 × 19 cm;
 Proiecte de evantai, decorate cu motive animaliere și cu personaje, semnat dreapta jos, în creion;
 Muzică, ulei și tempera pe hârtie lipită pe carton, semnat dreapta jos, cu negru, dim: 31 × 36 cm;
 Les cavaliers, ulei pe pânză, semnat și datat dreapta jos, cu brun, (1964), dim:  54 × 72,5 cm;
 Paradă, ulei pe pânză, semnat și datat stânga jos, cu negru, (1974), dim:  60,5 × 49,5 cm;
 Toreador;
 Actorii;
 Mireasa;
 Prințesa;
 Călăreți în asalt;
 Portret Cécile Lauru, (1941?);

Referințe critice
Cronici favorabile despre operele sale au scris Alexandru Busuioceanu (Gândirea, 1939), Ion Frunzettti (Vremea, 1942), Petru Comarnescu (Viața, 1943), pictorița Lucia Dem Bălcescu (Bis, 1943), Miron Radu Paraschivescu (Timpul, 1940, 1941, 1942, 1943; Evenimentul Zilei, 1941) și sculptorul Ion Vlasiu (Acțiunea, 1943).

Note

Bibliografie
 Petru Comarnescu, Magdalena Rădulescu, Editura Forum, București, 1946
 Mircea Deac, Magdalena Rădulescu: monografie, Editura Meridiane, București, 1980

Nașteri în 1902
Decese în 1983
Pictori români

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Home Cloud What's Keeping Companies From Switching To Google Cloud? Some Say Cost, Maturity May Be A Factor
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What's Keeping Companies From Switching To Google Cloud? Some Say Cost, Maturity May Be A Factor
Erpinnews, May 9, 2019
Google Cloud Companies
Google Cloud Companies-When it comes to the cloud, Google wants to eat Amazon's lunch.
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Article Credit: Forbes
Tags : Google Cloud Companies
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Oracle Cloud Platform Powers Real-Time Marketing Intelligence for Surdell & Partners
Google will turn to partners rather than acquisitions to push its cloud, says exec
T-Systems embarks on enterprise-focused cloud push with colocation provider Virtus
Erpinnews, October 24, 2017
'Pay with Google' arrives to speed up checkout


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Patricia's path to the Patriots, like many on Belichick's staff, was unconventional. From serving as graduate assistant at RPI, in 1999, he took a low-paying, low-profile Division III defensive line gig at Amherst College to follow his true calling. After tough vetting, he got hired by Belichick to do some offensive work in New England […]
Falcons' Matt Ryan knows what it will take to beat Seahawks in playoffs
Matt Ryan and the Falcons earned a playoff berth with their NFC South title this season, but the quarterback's postseason record isn't exactly the best. In five playoff appearances, Ryan and the Falcons have won only once, so he is looking at his past mistakes to prepare for Atlanta's game Saturday against the Seattle Seahawks. […]
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Despite the slump, Grudzielanek, who played the middle infield positions for 15 seasons in the majors, believes in Moncada's talent and work ethic. 'Start with the offensive side; he's a switch hitter that can run,' Grudzielanek said. 'He's gonna get better each and every at bat. He learns, he absorbs, just time's going to tell […]
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'Sports Dude' consolidates Falcons, Indians, Warriors misery to help save animals
As the Patriots were making their improbable comeback to beat the Falcons in Super Bowl 51, tweets from a particularly sad fan began to circulate throughout social media. Tweets from the "Sports Dude" represented the misery felt Sunday night by Falcons fans, but also shared by Cleveland Indians fans and supporters of the Golden State […]
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Antonio Brown is still sincerely sorry for betraying his team's trust. The Steelers wide receiver is still dealing with the repercussions of broadcasting coach Mike Tomlin's expletive-laced speech from the locker room on Facebook Live after Pittsburgh beat the Kansas City Chiefs in the AFC wild-card round, an incident for which he was fined $10,000. […]
Myles Garrett asks Jerry Jones to trade Tony Romo so Cowboys can draft him
Myles Garrett really, really wants to play for the Cowboys as a rookie in 2017. ESPN posted a video of the consensus No. 1 prospect from A&M sending a direct message to Cowboys owner Jerry Jones, asking him to trade up so Dallas can select him with the top overall pick. Filing trademarks for phrases […]
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Start of the second half. Stephen Gostkowski's kickoff was returned 14 yards by Eric Weems to the Falcons' 19-yard line. Halftime … aka Lady Gaga time. Atlanta dominated the first half of the Super Bowl and punished Tom Brady in the process. Brady finished the first half 15 of 25 for 179 yards and one […]
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1. Lysander Lysander I pursue, I pursue invain Cruel Lysander Thus to fly me, thus to fly me Let this begin She must not, she must not obtain him She must not, she must not obtain Never, never, never, never must obtain Frigid beauty Who are you that you would deny me? Who will, who will still deny me? Deny me, deny me! Lysander I pursue, I pursue invain Cruel Lysander Thus to fly me, thus to fly..
1. Hechizo [Vlad Landeros] Sufrir hasta el fin de un cruel destino Huir de aqui y romper tu hechizo Desde el Cielo, un tormento En mi cuerpo, el veneno Mi Alma triste, va muriendo Ah, el silencio Ah, amargo tiempo Ah, fr? eterno Ah, poco a poco se marchita el alma m? 2. Cerrar Los Ojos [Vlad Landeros] Esas noChes en que tu no est? Enloquezco, me siento fatal A? me pierdo de la realidad Las huell..
2. Flame Still Burns And all the dreams I've ever felt Failing to reach or comprehend The essence of you ...And all the times I've feared for you I've shut the door and passed right through The flame burns for you The emptiness in me Was filled with you within All the hope you sowed in us I've crushed and turned to dust My Flame still burns Hurting you, I'm bleeding too With every breath I breat..


The automated failover of our main production database could be described as the root cause of both of these downtime events. In each situation in which that occurred, if any member of our operations team had been asked if the failover should have been performed, the answer would have been a resounding no. There are many situations in which automated failover is an excellent strategy for ensuring the availability of a service. After careful consideration, we've determined that ensuring the availability of our primary production database is not one of these situations.
Most automated failover tools receive a lot of engineering effort to answer questions like these: Is the system really dead, or just unreachable? Do I have a quorum, or is there a split brain? Is failover really the right thing to do?
The category I don't often see targeted as much is this question, which I consider far more important: Is the system in a situation that I [the system] know I am capable of resolving correctly? Is anything in a state that I haven't been programmed to understand and assess?
I haven't looked recently at the source code of the systems that Github identified as making wrong decisions, and I don't know Pacemaker. But I know I have spent a lot of time and effort trying to write a specification for a system that could detect whether automated failover would be safe to attempt, and it's hard. One thing that's not all that hard, though, is making sure that only one attempt is made to do a failover. One of the best ways to create a nightmare situation is to fail to a standby, then fail away from it. If I ever create an HA tool such as the ones I've designed-but-not-implemented, there will be a hard stop after one attempt. If the standby doesn't look healthy, someone should call a human, end of story.


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        'action' => ['index'],
        'method' => 'get',
    ]); ?>

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    <?= $form->field($model, 'address') ?>

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        <?= Html::resetButton(Yii::t('app', 'Reset'), ['class' => 'btn btn-default']) ?>

    <?php ActiveForm::end(); ?>

redpajama_set_name: RedPajamaGithub


How Should I Use Chase Ultimate Rewards for Hotel Stays?
Winter is coming, at least for those of us who live in colder climates like the Northeast. A nice getaway to the Caribbean may be the perfect way to escape a cold winter.
You can transfer to hotel partners like Hyatt, Ritz-Carlton, Marriott, and IHG.
You can use your points at 1.25 cents apiece to book through Chase Ultimate Rewards Travel. Sometimes you can even earn points for your hotel stays when you book through Chase this way, but generally you won't earn elite status.
Chase Ultimate Rewards points give you several good hotel options when planning a Caribbean vacation. Image courtesy of Shutterstock.
You should first decide whether it makes sense to transfer points (if there's award availability) or if you should simply book your stay through Chase travel. Often at lower-end properties (like the Holiday Inn Aruba, for example) you can get a room for $179 a night, but it will cost you 25,000 IHG Reward Points, so you're getting way less than one cent per point in redemption value. In those cases, you should use points to book through Chase Travel directly.
Typically I find that Hyatt is the most valuable Chase hotel transfer partner. I've heard many good things about the Hyatt Regency Aruba, where rooms can be had for just 25,000 Hyatt points per night. If the cash rate is above $350 per night (which it is in this case, since rooms there routinely go for over $500/night), then transferring points is the better option. Just make sure there's availability before you transfer points, because you can't transfer them back.
If you're going to use points for hotels (especially Ultimate Rewards), always do the math first and see which option gives you the most bang for your points.


Ten English language teachers from different schools from Moldova and 52 primary learners from 5 schools from Balti, Glodeni, Falestii Noi and Cainarii Vechi have successfully completed the the FELT Summer School "Teaching English to Primary Learners". The training programme was organised during the period of 11 – 17 June 2016 in Balti.
During one week EL teachers participated in a diversity of activities aimed to contribute the their professional development. They were encouraged to get involved in a personal exploration towards effective EL teaching. The training focused on theory and practice of teaching English, which includes ELT workshops, demo lessons, observation, self-analysis and feedback sessions, lesson planning, developing ELT resources and the ELT portfolio and obviously teambuilding activities.
To stimulate and nourish teachers' imagination and creativity, the ELT curriculum of the summer school was designed on the basis of Moldovan, Greek and Oxford coursebooks. The teaching stategies also included flashcard-based interactive activities which helped the pupils to develop metacognitive skills along with ELT skills.
The primary school teachers from the hosting institution organised a course on personal development which helped the children find meaning in the relationships they forge as partners and team members, united in the act of learning.
The summer school was organised in colaboration with the English and German Language Chair, Faculty of Philology, A. Russo Balti State University and was hosted by G. Cosbuc Lyceum from Balti.
Two honoured guests, Mrs. Angeliki Martinou, principal of the 11th State Primary School of Piraeus, Greece and Mrs. Aikaterini Kantourou, English language teacher at this school, joined our summer school in Balti, sharing good EL teaching practice and discussing the opportunity of organising an exchange visit to the primary school from Piraeus as a follow-up activity of the summer school.
Minimum four EL teachers and four children, summer school participants, will be able to visit the partner school from Pireus in september 2016, promote EL lessons and participate in field trip excursions targeted to develop community based learning resources which are mandatory as part of the module on developing ELT resources and their ELT portfolio.
We would like to thank the Foundation "Liechtenstein Development Service" for the kind financial support of the FELT School project.


News feeds, blogs, websites, and print media are like an army that mounts a daily assault on your mind. We are constantly bombarded with "stuff," much of which is poorly written and peppered with errors. With a few simple rules and the right tools, however, you can get control of the glut and increase the quality of what you read.
Annual phon-a-thon appeals have witnessed declining success rates for quite awhile now, but there are still some good reasons to continue doing them.
Board members bring their own unique skills and abilities to the table, but they may not necessarily understand the role institutional advancement plays in the organization. Providing them with a brief primer on the aims and functions of advancement can be an invaluable resource for fostering understanding and engagement.
With so many task management applications available, selecting and settling on one can be both time-consuming and expensive. Before giving an app serious consideration, I find it helpful to get clear about what I absolutely must have in an application.


Living in the West, Muslims face different challenges in their attempt to hold on to their Islamic identity. They live in an environment where the hostility towards Islam and Muslims is an everyday battle. Where noble Islamic symbols are attacked and in some cases even banned. For instance the banning of the Niqab in Belgium or the forbidding of the hijab for schoolgirls in Belgium and France.
The overall feeling amongst Muslims in the West is that they need to be in a constant defensive mode and that it is only a matter of time before the next Islamic value, symbol or figure is attacked in some way or another.
Even though it is a reality completely alien to Muslims, becoming the underdog of society is certainly a danger that lies ahead if we don't step up in our ways and change from being a reactive Ummah into a confident, controlled Ummah. An Ummah who practices and carries Islam in the same confident manner.
To be able to change from being solely a reactive Ummah in the onslaughts, we need to understand what lies behind these attacks, so that we are able to effectively combat the attacks and unite as an Ummah when doing so. This unity amongst Muslims is crucial and to be able to achieve this harmony we need to set out to find matters we are all able to agree upon.
One reality we as Muslims can all agree upon, is the fact that from the very beginning of Islam there has always been a struggle between al-Haqq (truth) and al-Batil (falsehood). From the Seerah of the Prophet Muhammed we learn of his ﷺ constant struggle against Batil and how he ﷺ stood firm in conversing the Islamic message whatever the counter attack. The intent of the Prophet throughout his whole life was to make the Haqq (Islam) supreme over all other ideas. What Muslims in the West need to unite on, is the idea that Batil takes on many forms and that the secular liberal view of life is one of the newer forms.
The struggle between the "secular liberal way of life" and Islam doesn't differ much with the struggle between the Muslims and the Mushiriqeen (idolaters) in the past or the struggle between Islam and the different religious tribes. Thinking that there could be some kind of mixture between the view that the idolaters had on life and the message of Islam would have been complete absurd notions. The same is also for the comparison between the secular way of life and the Islamic view on life. Even though the secular way of life might allow the belief in a God, this belief, may not interfere in the decision making of society.
Here the confusions starts! So yes, Muslims have the freedom to pray their five daily prayers at home and Yes, Muslim may fast the month of Ramadan and proclaim their religion and also build mosques to pray in.
To some Muslims this might seem like they have a lot of freedom to hold on to their Islamic identity and that the problems lies in the different political parties. Some who are openly anti-Islamic and speak negatively about the Muslims and some who are sweeter in their words. Maybe even giving some Muslims the illusion that there are good and bad political parties. But we mustn't be fooled. All parties work from the same secular framework. They are all bound by the same creed, one where God plays no role in the decision-making.
And so No! your prayer becomes a problem when wanting to uphold it at work or school. And No! you may not discuss every subject in your mosques, so no mention of the unlawful wars in the Islamic world these same governments are participating in. And No! you may not have the freedom to dress as you wish. And No! you must not take offence when we insult the Prophet. And No! you may not speak about a greater Ummah.
So the goal behind the insults toward the Muslims and Islam is to scaremonger Muslims into submission, so they are able to change the way we see Islam and practise Islam. The goal is to secularize Islam and create a new European Islam. An Islam which will smoothly integrate in the secular way of life, creating little apposition in the decision-making. Islam as we know cannot be diluted or changed. Islam is a complete package with rulings for all matters. Only when Muslims remind each other of the completeness of the Deen and they understand the conspiracies against Islam and they work together to resume this Islamic way of life, will we be able to hold on to our Islamic identity successfully.


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Home » Blogging » Pros & Cons of Press Release
Pros & Cons of Press Release
Send your launch by email, and use formatting sparingly. Big kind and a number of colours don't enhance your information, they distract from it. Put the release within the body of the e-mail, not as an attachment. In case you should use an attachment, make it a plain text or Rich Textual content Format file. Phrase paperwork are acceptable at most retailers, but in case you are using the newest version (.docx), save down a model (.doc). Newspapers especially, are on tight budgets now, and many haven't upgraded. Use PDF information solely if you're sending a full media equipment with lots of graphics. And don't kind a release on letterhead, then scan it, and then email a jpeg of the scan–that's a waste of your time and the editor's. Just type the release straight into the email message.
Include the corporate identify within the headline, any subhead, and within the body of the first paragraph for higher visibility through search engines like google and yahoo and for information professionals and different readers. When you're mailing a tough copy, you might put it on firm letterhead.
A follow-up call can assist develop a press launch into a full story.
The timing of the press release is very important. It have to be relevant and recent information, not too outdated and not too distant.
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Embrace a "name to action" in your release. This is information on what you need the public to do with the information that you are releasing. For example, do you want readers to buy a product? If so, include info on where the product is available. Would you like readers to go to your web site to enter a contest or be taught more about your group? If so, include the web site address or a cellphone number.
Don't waste time writing the headline until the discharge is done. Copy editors write the true headlines in newspapers and magazines, but it's good to come up with a catchy title or "headline" for the release. This headline may be your solely chance. Hold it concise and factual. But when you attempt to write it earlier than you write the discharge, you waste time. You don't know but exactly what you–or these you interview, will say. When you have finished a draft of the discharge, you may resolve to revise your lead-or not. Then, and only then, think about the headline.
Use your headline as the topic line of the email. Should you've written an excellent "grabber" headline, this can assist your message stand out in the editor's electronic mail inbox.
Research precise press releases on the web to get the texture of the tone, the language, the construction and the format of a press release.
Avoid using jargon or specialised technical terms. If accuracy requires the use of an business-particular term, define it.
If the press launch is for rapid release, it's possible you'll write "IMMEDIATE RELEASE" in all capitals on the left margin, immediately above the headline. If the discharge is embargoed, put "EMBARGOED UNTIL…" with the date you want the story released. A release with no launch date is presumed to be for quick release.
When emailing a press launch, don't make the subject line of your e-mail "press release." You'll solely mix into the crowd. Get the editor's consideration by making the topic line your "grabber" headline, for example, "Brand Co. wins $30 billion authorities contract."
Articles ought to be as up-beat and constructive as possible. Keep away from phrases like "following the resignation of the previous chairman" or "after a period of inactivity". A journalist could decide to investigate those matters as an alternative of reporting what is in the press launch and–even when the circumstances have been completely innocuous, for example if the chairman had resigned due to in poor health well being–the resulting copy might not be to your liking.
Don't embrace different individuals's contact details without getting their agreement. As well as, they must be available in any respect affordable hours in the days following the release.
At all times remember that many editors are overworked and understaffed. If you can also make life easier for them, you are extra more likely to get coverage. For those who write a press launch that's close to the way the editor will really publish it, it may see publication with minimal editing. But in the event you fill it with fluffy advertising copy, don't use correct AP model, etc., the editor will surely delete this kind of fluff. All people says they're the leader. Do not waste the editor's time. The place to place an outline is in the firm info section of the release. But keep it correct and factual.
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All the time embody a quote–ideally from the lead individual concerned in the subject matter of the release. The text need not be an actual quote nevertheless it must be plausible. Either way, it's essential to test that the person being quoted is happy with it. A quote permits a busy journalist to arrange a complete article without doing a comply with-up interview.
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It pervades contemporary societies throughout the world, and the sheer mention of the word stimulates trepidation and fear.
Will my view of terrorism be the same as yours?
And these differences in perception of what terrorism is have been proven to have major implications for the national policies of governments the world over. And that's precisely what I am going to discuss here.
However, before I delve into explaining this in more depth, it's worth taking a quick look at how perceptions of terrorism have changed throughout the course of history.
Terrorism by no means evolved in a vacuum. Many people in the Western world first became acutely aware of it following the 1993 World Trade Center and the 1995 bombing of the federal building in Oklahoma City.
However, the roots of the word terrorism can be traced back to the late 18th century when it was used to describe the French government's actions against its citizens. In this era, terrorism wasn't attributed to the freedom fighters, but the actions of the government (White, 2016).
Later, it was used to describe the fight against capitalism and, later still, the actions of the Russian revolutionaries and, eventually, the Soviet government. It wasn't until the twentieth and twenty-first centuries that the word terrorism was commonly employed to describe the actions of radical, nationalistic, revolutionary, or nihilist groups.
When one examines how perceptions of terrorism have changed over history, what becomes crystal clear is that the definition of terrorism that is in use changes with the political tide.
Today, terrorism remains very difficult to precisely define because it is a relatively subjective entity that cannot be measured and evaluated in tangible terms.
It a largely a social construct, which entails that the way in which it is defined will vary according to people's perceptions and their social, political, and economic standpoints.
In light of the imprecise and idiosyncratic nature of perceptions of terrorism, it comes as no surprise that people throughout the world continue to engage in heated debates as to what does, and does not, represent an act of terrorism.
A Simple Definition of the Word Terrorism?
Terrorism involves the use, or threatened use, of force against innocent victims for political purposes (Laqueur, 1987).
On the most basic level, some scholars describe terrorism as threats or actions that are designed to instill terror in the lives of innocent people with the objective of achieving a political agenda.
However, contemporary views of terrorism are not limited to acts of violence against a state. Some people argue that governments themselves can engage in acts of terrorism by repressing the people. As such, even under this simple definition, perceptions of terrorism still differ according to one's political agenda.
As such, we cannot escape the fact that the definition of terrorism that is applied within a given context will have fundamental political consequences.
In the contemporary world, government agencies use the term to classify and dehumanize their adversary's political views. In addition, by labeling people or groups as terrorists, governments bestow special powers upon their security agencies, which include enhanced investigation powers, ability to detain suspects for longer, and, in some cases, the ability to torture, or even kill the accused without any form of legal trial.
In the majority of nations, terrorists do not benefit from the same human rights protection or civil liberties as those afforded to other lawbreakers or state enemies. This is particularly the case when terrorists wage war from an overseas location.
When it comes to suspected terrorists, the vast majority of the general public seems to support government activities that violate human rights laws on the basis that people who commit acts of terrorism are perceived to be subhuman. One very dangerous implication of this in the absence of an agreed definition of terrorism is that governments also have the ability to dictate what acts represent terrorism from a legal perspective and, subsequently, can use these powers to exert greater social control… all in the name of protecting people against terrorism.
A further reason why it is important to clearly delineate what does, and does not, represent terrorism is because conceptions of terrorism have policy implications.
According to Haviland Smith, who once worked as a counterterrorism specialist within the CIA, one major reason as to why the United States' efforts to counteract terrorism have been largely unsuccessful can be attributed to the fact that interpretations of terrorism are convoluted. Smith argued that, although the terms terrorism and insurgency tend to be used interchangeably, terrorism relates to intelligence management and law enforcement, while insurgencies are fundamentally military concerns (Smith, 2008).
According to Ayla Schbley, an expert on religious terrorism, there is a need to extend debate surrounding terrorism beyond the political realm and to take into consideration the criminal nature of terrorism (Schbley, 2003).
When viewing terrorism strictly within a political context, conceptions of what constitutes terrorism will vary according to perspective. Schbley argues that this is ineffective on the basis that there is no legal basis on which to reprimand actions that harm symbolic victims. However, terrorism is very much an illegal act; as such, Schbley believes it should be defined as an act of violence that targets symbolic civilians in any way, shape or form.
Boaz Ganor, an Israeli terrorism expert, tells us that the key point of differentiation between terrorists and those who are legitimately seeking revolution involves the targeting of civilians. He also contended that as a long as the debates surrounding the definition of terrorism remain grounded in theory, they will never transcend this theory to have practical application in the real world (Ganor, 2002).
To ensure issues related to terrorism are adequately taken into consideration in national policies that are internationally compatible, the world community needs to develop a unilateral definition of terrorism that is clear and unambiguous. Until this is achieved, terrorists will have the ability to continue to engage in acts of terrorism under the pretense that such actions are legitimate.
Ganor also argued that much of the confusion that surrounds what acts constitute terrorism can be attributed to the fact that many Western policymakers frequently employ inappropriate terms, such as "guerilla warfare" and "insurgence" when referring to terrorism, and this leads them to a semantic web that prevents any solid progress in terms of the development of international policy that can adequately deter and address terrorism.
Ganor argues that it is possible to delineate between different types of violence by differentiating between conventional and unconventional wars. Although innocent citizens are often killed during wars, the main target of these activities are military targets, and any loss of civilians is largely unintended. On the contrary, war criminals purposely cause harm to target members of the general population and prisoners of war.
Guerillas do not specifically target citizens. Their main point of focus is the government, military, and security personnel. What stands terrorists firmly apart from guerillas and conventional soldiers is that they purposely try to cause harm to civilians as a means of instilling terror and furthering their religious or political agenda.
According to Ganor, to develop policies that can adequately fight against terrorism, governments need to start by developing a shared definition of terrorism according upon which national cooperative agreements can be agreed. It is only then that the legislation outlined within them can be consistently enforced. The development of a shared definition would also lead to the identification of nations that support terrorism and the development of plans by which these groups can be diplomatically managed.
Eric Reitan, a Professor of Philosophy, approached the problem from a different perspective to that of Ganor. He argued that attacks on security personnel and members of the military should also be treated as acts of terrorism. However, he agreed that an acceptable definition of terrorism was lacking and that such a definition is required before governments can adequately distinguish between terrorism and alternative forms of violence (Reitan, 2010).
Reitan highlighted how traditional definitions of terrorism fail to differentiate between the criminal acts of violence and war-based activities. He echoed Ganor's view that it is important that policies clearly identify a target; however, he believed that it isn't just civilians who are the objects of terrorism. Rather, government representatives, civilians, and security personnel form a collective group target. If this group is attacked by an external force for a political purpose, this represents an act of terrorism.
Reitan cited the example of the case of Timothy McVeigh, a political activist who parked a truck loaded with explosive fertilizer by the Murrah Federal Building on April 19, 1995, killing 168 people, including innocent children who had been attending daycare. His attack was motivated by his hatred for America. McVeigh considered anybody who was associated with United States' government to be an enemy. As such, within this act of terrorism, the Murrah building represented a group target; the people were targeted on the sole basis that they belonged to a group McVeigh hated.
The definition presented in the Stanford Encyclopedia of Philosophy adds further fuel to the fire. According to this perspective, there may be situations in which a given act appears to represent an act of terrorism; however, it is not if the people perpetrating the action are able to prove that their behavior will prevent a worse evil (Stanford Encyclopedia of Philosophy, 2015).
In these situations, the perpetrators of acts that appear to represent terrorism may not be terrorists on the basis that their actions prevent a second group from committing worse atrocities. Some scholars agree with this view on the proviso that there is no alternative action that can prevent the atrocity from taking place and that the targets are purely governmental or military personnel. No citizens or property should be harmed.
So, Where Does This Leave Us?
If there is anything that the debate described above has proven, it's that definitions of terrorism vary significantly.
When these differences in the perception of terrorism are examined on a nation by nation level, it becomes apparent that the way in which governments define terrorism directly impacts their approach to national security and the way in which they fight against terrorist activities.
Nowhere is this more apparent than in the way in which the American defense and law enforcement policies have recently changed in response to a broader change in the definition of terrorism.
Ganor, B. (2002). Defining Terrorism: Is One Man's Terrorist another Man's Freedom Fighter? Police Practice and Research, 287-304.
Laqueur, W. (1987). The Age of Terrorism. Little Brown and Company.
Reitan, E. (2010). Defining Terrorism for Public Policy Purposes: The Group-Target Definition. Journal of Moral Philosophy, 253 – 278.
Schbley, A. (2003). Defining Religious Terrorism: A Causal and Anthological Profile. Studies in Conflict & Terrorism, 105-134.
Smith, H. (2008). Defining Terrorism: It Shouldn't Be Confused with Insurgency.
Stanford Encyclopedia of Philosophy. (2015). Terrorism.
White, J. R. (2016). Terrorism and Homeland Security.


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Reguilon 'very much aware' of Tottenham trophy drought and keen to help end it
PA Sport
Published: 12:59 PM December 23, 2020
Tottenham Hotspur's Son Heung-min (left) celebrates scoring his side's first goal of the game with team-mate Sergio Reguilon during the Premier League match at Tottenham Hotspur Stadium, London. - Credit: PA
Tottenham Hotspur defender Sergio Reguilon is aware of how long the club have had to wait to win a trophy and is determined to end the drought this season.
The Spanish left-back, who joined from Real Madrid this summer, was 11 when Spurs last lifted silverware - the 2008 League Cup when Jonathan Woodgate's extra-time header earned a 2-1 win over Chelsea.
The same competition represents Spurs' best chance of claiming glory this term as they need to win just three more games, starting with a quarter-final at Stoke on Wednesday.
Boss Jose Mourinho was brought to north London to deliver trophies and Reguilon insists the players are just as desperate to end the wait.
"I am very much aware of it," he said. "You are aware of stuff on social media and how the fans are really keen to win a trophy.
"But believe me, if the fans are keen to win a trophy, we have even more desire as players and as a squad."
The visit to the bet365 Stadium may be something of a culture shock for Reguilon, who had only played in Spain until his move to England.
The defender is still aware of the 'cold and windy night in Stoke' phenomenon, but is not phased by it.
Tottenham Hotspur's Sergio Reguilon (left) and Crystal Palace's Jeffrey Schlupp battle for the ball during the Premier League match at Selhurst Park, London. - Credit: PA
He said: "From watching the Premier League, I am aware of their reputation and know what it is supposed to be like to play there from watching their games. That and playing against them on FIFA!
"I am the sort of player who is ready for every game I am selected for. I am a very competitive guy and I am a very competitive player as well.
"If the manager decides that he wants to use me in this particular match I will be ready just like every other game.
"I will jump for every aerial challenge and run to make every tackle and fight for every ball. Yes, I will be ready if selected.
"But the main thing about football is that if the pitch is fine, it does not matter if you are in top-notch luxury dressing rooms, or average ones. What happens out on the field is what matters.
"The state of the dressing room will be put to one side once we cross that white line."
Stoke are not the proposition they once were, but have found some form in the Championship this season and have conceded just three goals across their last seven games.
But Reguilon believes his side have the quality to prevail.
"We are a strong outfit both physically and mentally as well," he said. "The thing about English football is that every game you play is a tough encounter.
"Obviously some teams are stronger than others, some line-ups. But it is all about Tottenham going into it with the right attitude and concentrating for the whole 90 minutes.
"If we do that with our quality of players - and that tough mental attitude that we have - we have got a good chance of getting through in those matches."