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Mast Named Vice Chairman of Water Resources & Environment Subcommittee
Mast Joins 3 Transportation & Infrastructure Subcommittees; Top Priority Will Be Cleaning Florida Waterways
WASHINGTON, D.C. – U.S. Congressman Brian Mast (FL-18) today was named Vice Chairman of the Transportation and Infrastructure Subcommittee on Water Resources and Environment. He was also named a member of the Subcommittee on Economic Development, Public Buildings and Emergency Management, as well as the Subcommittee on Coast Guard and Maritime Transportation.
"Ensuring our water is safe and clean for future generations is critically important to our community," Rep. Mast said. "Serving as vice chairman of this important subcommittee will help elevate the voices of the thousands of residents of the Treasure Coast whose lives and businesses are being hurt by Lake Okeechobee water discharges. Improving the water quality in our community will be my top priority as Vice Chairman of the Water Resources and Environment Subcommittee."
The jurisdiction of the Subcommittee on Water Resources and Environment consists of matters relating to water resources development, conservation and management, water pollution control, water infrastructure and hazardous waste cleanup. On these issues, the committee works closely with the U.S. Army Corps of Engineers, which is responsible for a number of projects important to water quality in Florida, and the Environmental Protection Agency.
Rep. Mast recently hosted Transportation and Infrastructure Committee Chairman Bill Shuster (PA-9) in the 18th Congressional District for an aerial tour of Florida waterway infrastructure projects.
"Brian is already establishing himself as a leader on water issues in Congress, and after seeing many of the local projects in his community firsthand, I'm confident he'll be a strong voice for his constituents and our country as Vice Chairman of the Water Resources and Environment Subcommittee," Chairman Shuster said.
Share This: https://mast.house.gov/2017/1/mast-named-vice-chairman-of-water-resources-environment-subcommittee

redpajama_set_name: RedPajamaCommonCrawl


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Gear up for awkward summer camp moments with 'Be Prepared'
Gear up for awkward summer camp moments with 'Be Prepared'
Expertly portrays the sweetness and cringeworthy moments of childhood without going too far in either direction.
Vera Brosgol, an Eisner, Cybils and Harvey award winner for her graphic novel, Anya's Ghost, has a new graphic novel out this week called Be Prepared. From the publisher:
All Vera wants to do is fit in―but that's not easy for a Russian girl in the suburbs. Her friends live in fancy houses and their parents can afford to send them to the best summer camps. Vera's single mother can't afford that sort of luxury, but there's one summer camp in her price range―Russian summer camp.Vera is sure she's found the one place she can fit in, but camp is far from what she imagined. And nothing could prepare her for all the "cool girl" drama, endless Russian history lessons, and outhouses straight out of nightmares!
For over 10 years, Vera Brosgol was a storyboard artist for animation studio LAIKA, where she worked on the animated features Coraline and Kubo and the Two Strings. If you've seen either of those films, I think you'll find the tone in Be Prepared quite familiar. Not as innocent as a Disney movie, but not crass enough that it would keep me from letting my own daughter read it. It was well suited for the character of Vera, who, as a 9 going-on-10 year old girl, is making her way through that awkward transition from being a kid.
Although some of the plot points deal with Vera being from Russia and various elements of the Russian Orthodox Church, which contribute to her feeling like an outsider, it didn't make the story any less relatable. The feelings Vera has of not fitting in and wanting to make friends, but not knowing how to, are universal I'd like to think, as everyone has to deal with those situations at some point in their life. Brosgol makes the the character of young Vera a believable protagonist by not making her a perfect victim of circumstance.
Her younger brother is reluctant to go to camp, but to Vera it seems he fits in much more easily than she does. Some of the things Vera does to try and make friends, particularly with the older girls she shares a tent with, involve actions she wouldn't normally be proud of. She carelessly makes a remark about the appearance of a boy camper, with the other kids overhearing and use it to tease him with the new moniker. The boy was having just as much trouble acclimating as Vera, but loneliness is a powerful motivator and she finds a brief moment of acceptance she's willing to take, even if it is at someone else's expense.
Brosgol also does the illustrations in the book. She has a charming style that fits the material, particularly in how it captures the expressions of Vera and the other characters. It's more cartoony than realistic — comparable to Bill Waterson's style in Calvin and Hobbes, but not so fantastical that you would be taken out of the emotional elements of the book. The whole book is inked by Alec Longstreth in hues of green that fit with the camping theme, but don't diminish the illustrations.
Be Prepared reminded me of a lot of my own experiences as a kid being dropped off at camps, school and sports with a bunch of my peers that I didn't know. It's funny that I'd forgotten that feeling, but Brosgol does an excellent job reminding us that some of the nostalgia we might have for our childhood is an incomplete memory. Be Prepared has portrays the sweetness and cringeworthy moments of childhood without going too far in either direction.
An honest, funny and sometimes painful reminder of what it was like, not just going to camp, but of how hard fitting in and getting older was as a kid.
Captures the awkwardness of childhood
The illustrations are detailed and fun to look at
A relatable and likable main character
This may not be everyone's cup of tea, as it certainly wouldn't appeal to someone looking for more mature content.
In this article:comic books, review
Round 1 of Infinity Warfare: Who is the mightiest Avenger of all?
BOOM! Studios is working with WWE to tell the untold story of The Undertaker


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1932 Rhoderick 2018
Rhoderick Jones Sr.
October 1, 1932 — February 8, 2018
Rhoderick Dwight Jones, was born in Monessen, Pennsylvania on October 1, 1932 to Vivian Yvonne Jones and Norman Calvin Anderson. His childhood was spent in Monessen and his adolescent years were spent in Uniontown, Pennsylvania, where he attended Uniontown High School.
Rhoderick joined the Army in 1950 and served for a total of 20.6 years before retiring in 1972. He served tours of duty in the Korean War as well as Vietnam. He was in the 101st Airborne. Two lifelong friends who also shared his military career, George Thompson and Joe Detrixhe, have kept in touch with him over the years and whose friendship he cherished.
Shortly before retiring in 1972, he met Nanci Hatton, on a blind date. The two continued dating and decided to head to Alaska, arriving August 1973. They were married October 6, 1973 at the Chapel on Eielson AFB, Alaska. From their union are two sons, Rio Hatton Jones and Rhoderick Jones Jr. Rhoderick Senior was so elated to be able to put the initials SR. after his name.
Rhoderick worked Civil Service Jobs on Eielson for over 25 years and retired once more. In his second retirement he was a school bus driver. He felt his single most important time in Alaska was spent united with the Corinthian Baptist Church of Fairbanks, Inc. He was instrumental, along with others, in playing a key role in the expansion and eventual mortgage burning of the church. He served as Treasurer and Trustee for over 25 years. Mr. Jones's initial intention was to only stay in Alaska about 2 to 5 years, but with his church family and the friends he made over the years, he stayed 38 years before leaving in April 2011. He was a member of the Prince Hall Masonic Order Arctic Lodge #7.
Headed to New Mexico in 2011, he moved to North Pole Loop in Rio Rancho, (after living in North, Pole Alaska for 38 years!) He found a new church family at the Shiloh Missionary Baptist Church of Albuquerque, New Mexico. He was a Trustee and could be found donating his time and/or money to help with capital improvement projects as well as participating in general church activities.
Rhoderick was kind and engaging but had a matter of fact exterior. He was one to spin a tale and make up funny sayings to go with his life's experiences. We will forever miss his humor. But mostly Mr. Jones was an impeccable dresser from head to toe. Once, after being rushed to the hospital in an ambulance he scolded me that his pajama top and bottom didn't match! Suits, hats, shirts, and shoes are in their original containers no matter what their age.
Mr. Jones has a step brother Dennis Anderson in San Francisco, California; a host of first cousins, Roman (Florence) King of Lynnwood, Washington, Barry Wayne, Detroit, Michigan; Leroy Brown, Uniontown, Pennsylvania; Gwendolyn Willis, and William (Shauna) Anderson of Uniontown Pennsylvania, Marsha Gundy, Cliffside Park, New Jersey; Nathan (Karen) Gundy, Englewood, New Jersey; Robert Anderson, Uniontown, Pennsylvania … each remembering the best times and the laughter.
Joy, peace, and comfort are the hallmarks of true friendship. Rhoderick held his Lifelong friends Maurice (Rella) Rice, Monessen, Pennsylvania and Calvin (Vivian) Lucas, Capron, Virginia, in high esteem. Special friends he treasured, Bill(Jo) Ryan, Healy, Alaska, Verna and John Jacobs, Albuquerque, New Mexico…friendships are like precious jewels.
Rhoderick leaves behind his wife, mate, and friend of 46 years, Nanci Jones, two sons, Rio (Denise) Hatton Jones, and Rhoderick Dwight Jones Jr; 9 beautiful grandchildren, Sean, Riane, Shelby, Deja, Anthony, Rio Jr, Jayla, Jayden, Kayla; 8 Great grand-children, Sorayah, Ja'Nylah, Marvis, Zaria, Auguste, Madison, Ricki, and Gabriel… continuing your legacy and honoring our family traditions.
A Church service will be held at Shiloh Missionary Baptist Church, 608 Avenida Cesar Chavez SE, Albuquerque, NM 87102, at 1:PM on Wednesday February 19, 2018.
In Lieu of flowers, a donation in honor of Rhoderick Jones Sr to the building fund at Shiloh Missionary Baptist Church; 608 Avenida Cesar Chavez SE; Albuquerque, NM – will be greatly appreciated. The website -www.shilohmbcalbq.com.
***For More Information Contact Rio Jones, 505-867-7685***
To order memorial trees or send flowers to the family in memory of Rhoderick Jones Sr., please visit our flower store.
Starts at 1:00pm (Mountain time)
608 Avenida Cesar Chavez SE, Albuquerque, NM 87102
501 N Guadalupe St
, Pojoaque, NM 87501


The sense of a limb amputated from its history, the phantom pain accompanying it, seems evident at every street corner, every field and forest, in this country so rich in history.
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Man charges N38,000 per day to single ladies who need a fake boyfriend to flaunt during holidays (Photos)
by Paul Adeleke November 26, 2020, 8:50 pm 0 Comments
A Nigerian man identified as Adekunle Silver has unveiled his services to single ladies who would want to flaunt a man during the holidays.
Taking to his Twitter handle, the man who listed his services, alongside his charges, said he is available to be rented by any single lady who needs a man for show off.
READ ALSO: Lady break up with her boyfriend over his refusal to do 'yahoo yahoo'
From his advertisement banner, his service comes in 2 packages. The first package lasts for 4 hours only with a lesser cost, while the second package lasts for a whole day with a higher cost.
READ ALSO: Nigerian woman praises her husband for buying Christmas chicken
He also revealed that he has 27 years of experience in the field and he is capable of pulling off the deal without being suspected by a family member.
READ ALSO: "Women are and will always remain second class creatures in the midst of men because that's the plan of God" - Nigerian man says
Lady break up with her boyfriend over his refusal to do 'yahoo yahoo'
'The mosquitoes are bad'- White woman dating a Nigerian man makes a video of her poor living condition in Nigeria and sends it to her family in America
"I have no plans of carrying a child" – Nigerian lady tells her future husband
"I want to be your 8th wife" – Lady pleads with billionaire, Ned Nwoko


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Saint Francis Hospital in Tulsa, Oklahoma, recently celebrated the opening of the Page-designed new Trauma Emergency Center (TEC) and Patient Tower, culminating a vision which has been twelve years in the making. The new addition is the largest expansion to the hospital since it opened in 1960 and will nearly double its emergency room capacity.
An article in TulsaPeople magazine, "City on a Hill," features the 500,000-square-foot addition and renovation, noting that it has the potential to completely transform and improve emergency and trauma care in the northeast Oklahoma region. With 85 treatment spaces and almost double the square footage of the previous emergency center, the new TEC and separate Pediatric Emergency Center are designed to accommodate more than 120,000 patient visits annually.
In the 150-bed patient care tower, the patient rooms have been designed to allow maximum patient visibility, expansive views and daylighting, with ultimate flexibility in patient environments. Every room has been designed to accommodate two patients, if necessary, during an emergency / mass disaster.
By creating the new main entry with a chapel that is immediately accessible and highly visible from the exterior, this expansion seeks to engage visitors, patients and staff, and truly embraces a patient-centric environment. The new lobby attaches directly to the new tower and to the west wing, formerly the tallest tower on the campus. Paying respect to the history of Saint Francis Hospital, portions of the west wing's Italian pink modular façade remain intact, while the new, spacious atrium lobby with its structural glass-curtain wall adds a modern appearance that is welcoming and spiritually uplifting, and reflects the high-quality care and technology that lies within the hospital. The chapel features a 563-square-foot stained glass window composed of over 4,000 pieces of glass from as far away as France and Poland.
Designed with energy conservation in mind, the TEC is targeting LEED Silver certification and reflects sustainability and patient-centered care throughout.
The article also presents the history of the Saint Francis Health System and its continuing commitment to the city of Tulsa. Also highlighted is the strategic planning process envisioned and initiated by Saint Francis President and CEO Jake Henry Jr. which has resulted in the significant growth of the healthcare system over the past decade.
Read the entire article, "City on a Hill," by James Pearson. TulsaPeople, September 2014.


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Q: Surveymokey create response with image/file We are using surveymonkey for quizes. I need to test our etl pipelines. So need to generate response. I use:
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redpajama_set_name: RedPajamaStackExchange


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This thoroughbred's connections have it running a high stakes race in expertly embroidered regal purple and green gear. Designed especially to fit Scotty's Futura X putter, this headcover was tough to catch once it broke from the starting gate. Released on August 5, 2014 for the PGA Championship.


Write in a jargon-free manner, and use teaching skills for non-academic audiences.
Check on the space limit (typically 600-800 words).
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text:
[DAIL EIREANN] Commemorative Poster of the First Dail Eireann, 1919. » De Búrca Rare Books
Home / Categories / Prints & Maps / [DAIL EIREANN] Commemorative Poster of the First Dail Eireann, 1919.
[DAIL EIREANN] Commemorative Poster of the First Dail Eireann, 1919.
[DAIL EIREANN] Commemorative Poster of the First Dail Eireann, 1919. quantity
Categories: Art & Music, Categories, History, Ireland 1916-22, Local History, Memorabilia, New Arrivals, Prints & Maps Tags: De Burca, De Burca Rare Books, Irish History, IRISH REPUBLICAN LEADERS 1916, Rare Books
[DAIL EIREANN] Commemorative Poster of the First Dail Eireann, 1919. In the centre an illustration of the members, in the Mansion House, surrounded by medallion portraits of them all, within a Celtic border. With the arms of the Four Provinces and the City of Dublin also depicted. Dublin, MacLiam Eartnaill, 1919. 50 x 63cms. Framed and glazed. Fine. Very rare.
The formal opening of the first Dáil Éireann took place in the Mansion House, Dublin, on 21st January
1919. Of the Dáil's 69 elected deputies, 27 attended the first meeting, while the remaining 42 were
absent, in most cases due to imprisonment. Cathal Brugha was declared acting President in the absence of
Éamon de Valera, President of Sinn Féin, who was in Lincoln Prison. Those present at the opening
session approved the Constitution, the Declaration of Independence, and the Democratic Programme.
The total attendance was in the region of 2,000, with a large proportion of the attendees being journalists.
Dáil Éireann was banned by the British government in September 1919, and from that point onward its
ministers and officials suffered increased harassment, with the resulting need to move premises on a
regular basis. As a consequence, there was very little legislative activity, although there were notable
successes in other areas, such as the collection of £370,000 through the Dáil Éireann National Loan.
The opening of Dáil Éireann took place against a background of increasing violence in Ireland between
nationalists and British forces. On the same day as the first meeting of the Dáil, 21st January 1919, nine
Volunteers from the 3rd Tipperary Brigade carried out an ambush at Soloheadbeg, Coounty Tipperary. In
retrospect, the ambush at Soloheadbeg would be seen as the first engagement of the War of
Independence.
MacEVILLY, Michael: A Splendid Resistance [Hardback]
O'BRIEN, Conor Cruise: States of Ireland
COMERFORD, Maire: The First Dail


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Temecula Terror Announces 2021 Mazes and Attractions
This is day 31 of our 61-day Hauntathon counting down to Halloween. Today is Friday, October 1st, and one of Temecula Terror's Producers, Alexandra Baroo, talks about the Inland Empire's newest haunted attraction.
What is Temecula Terror
Alex: Hi, I'm Alexandra Baroo. I am one of the producers at Temecula Terror. This is our inaugural event.
We decided, because there's a lot of haunters out here in the Inland Empire with not as many haunts as in some of the urban areas, like LA, OC, San Diego, we decided that we would bring one here. I live, like down the street, the brothers live down the street. So, we all just came together and decided that we needed a haunt that was local, and that was indie.
At the event we have Family Fright Hours, which is from 5:00 PM to 7:00 PM on Fridays and Saturdays. Temecula has a lot of families here, so we want to make sure all the little monsters in town can also enjoy the spooky season with us. What that has is, a spooky pumpkin patch, a carnival ride, some vendors, some nice food trucks, DJ, that kind of stuff, craft hour.
Then we also, at 7:00 PM, we sweep and make it really scary. Once the gates open that's when the real monsters come out. You can go through all three of our mazes, you can visit our VIP bar, we have a secret speakeasy, if you can find it. We've also got multiple GA bars, multiple food vendors, and each night there'll be live entertainment in the form of specialty entertainers, stilt walkers, all of those kinds of things. Then our VIP experience is exclusive access to our VIP bar, and like I said, a speakeasy that is hidden, but has handcrafted cocktails that you can only get at that location.
Image Credit: Temecula Terror
Alex Explains More About the Mazes at Temecula Terror
Alex: So, the first maze is 301 Hyde street. Now this is terrifying, because basically, you're entering the home of Otis Hatcher and he's the social pariah of Temecula Terror. He's the town outcast. A carnival came to town hosted by Mayor Butterfield, and everyone in town is enthralled with the Halloween carnival. So, Otis, being upset about this because Halloween, of course, it's his favorite holiday because he's extremely demented. He lures all trick-or-treaters into his house, and instead of handing out candy, he's mostly handing out tricks, and in the form of like torture.
Something really interesting about that maze is that it features a lot of vintage ephemera that belong directly to Jeremy and Zach Ball, the producers, bloodshed brothers. You can go through there, and if you keep an eye out, keep your eyes peeled, can see a lot of their vintage pieces from their personal collection. Even walking through the maze with them is really fun, because they will point out things and be like, "that was the first prop that I ever bought with my own money when I was 15 at Party City." That kind of stuff is what, I think, sets us apart, that level of detail. The guys, their parents helped us with build, and helped us with concepting, their mom makes all the costumes, it's a family affair. So, I think that really comes through in the level of detail of the mazes.
The second maze is The Crypt, that's a brand new maze it's never been done this way before. Originally The Crypt was just a blackout maze, it was a feel-your-way-through, very creepy that way, but it really grew from there as the brothers evolved the creative. They started adding some light elements, some laser elements, some fog elements, and then it became this venture through the forgotten catacombs, and it's really been elevated into what it is now.
The third maze is Butterfield Asylum, and this is the one that really brings to life the Temecula history, or I should say a parallel, maybe darker imagined history. So, the Butterfield stage route is it a historical route of stagecoaches that came through this valley. So, it came directly through Temecula. But, they had a male stop that was located in Temecula, and a lot of the stops were actually built by prison workers. The brothers imagined this horrifying history, like a darker side in the sense that, if you've ever spent time in Temecula, outside of the month of January, that the sun here is insanely intense. So, we imagined that, these prison workers building these structures probably suffered from heat exhaustion and lost their minds. Imagine what kind of happened to those prison workers and those social outcasts, and so we've imagined the Butterfield Asylum is now their home. a walk through there is, creepy as an understatement.
What Is Temecula Terror's Biggest Challenge?
The biggest challenge for us this year is really getting this off the ground in this community. Sometimes people are a little bit apprehensive to come out. So, I think it's really just building trust in our community, letting them know that we've taken a lot of precautions to disinfect surfaces, and make sure that we are following COVID protocols given by the county. But I think it's really just going to be getting the word out there that people know about this haunt and know that it's indie style, it's different than what you're going to get at one of the bigger haunts in an urban area, it's a very different feel.
Guest Feedback About Temecula Terror
Philip: Independent haunts, and especially a first-year independent haunts, definitely have their own feeling. I usually try and get guests at the experience to describe that feeling in their own words. And this time I chatted with Chloe Noelle, from Chloe IRL. Here's what she had to say about the experience
Chloe: I love Hyde Street.
I am a huge sucker for vintage Halloween. I love the guts and gore, don't get me wrong, but it just, it feels like a Halloween maze. I love all the vintage blow molds, I think that is so fun. The dolls and the little witch animatronic room, I think that was so fun. We always have one of those little witch puppets, and it scared me so bad when I was little. So, seeing that was like seeing an old friend from my childhood, it was so fun.
I think it's really its own thing. Being in the middle of nowhere, kind of Temecula, you're going down these dirt roads, it definitely adds to the environment of like, "okay, we're kind of in the middle of nowhere." It adds to the spookiness. I think that you can't go in with the expectation of like, "oh, this is going to be like Scary Farm. Oh, this is going to be like Horror Nights." Because it's not. Obviously, they have a way bigger budget, and they also have a lot of other rules that they have to follow that these pro haunts or home haunts don't really have, but they have different guidelines. So, you can't go in with the same expectations that you would have for a Horror nights or Scary Farm. You have to go and know that it's going to be something different, but you're still going to have a lot of fun.
Final Thoughts From Alex
Alex: This, in particular, was a field that they had never used as a special event space, but that they wanted to. So, it's crazy to be standing here after it's been transformed into this space, and to really be in the creepy carnival scare zone that I thought about 16 months ago, and that I talked to the brothers about 10 months ago, and it's so surreal. It's beautiful, in a way, to see the carnival lights and to see the scare actors getting screams. I feel excited, and I just feel like I really hope that we get the opportunity to do this again next year.


The program is offered for 0.5 ASHA CEUs (Intermediate level; Professional area).
Financial disclosure – Richard Cash is receiving an honorarium for his presentation and also has a financial relationship with Free Spirit Publishing. Non-financial disclosure – Richard Cash has no non-financial relationships to disclose.


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Wily Renard bids to outfox others again at Nations Cup
Morocco's French head coach Herve Renard speaks during a press conference at the Sheikh Tahnoun Bin Mohammed Stadium in Al Ain on January 5, 2017, during their preparations ahead of the African Cup of Nations. / AFP / NEZAR BALOUT
A version of this article appeared in the print edition of The Daily Star on January 09, 2017, on page 14.
Herve Renard
Claude Le Roy
Morocco coach Herve Renard will chase a unique achievement at the African Nations Cup Finals as he seeks to win the continental championship for a third time with three different countries.
Africa, and the Nations Cup in particular, has proved a happy hunting ground for Renard, whose playing career was spent in the lower leagues in France.
After serving his apprenticeship as an assistant under Claude Le Roy, the godfather of coaching in Africa, Renard branched out on his own and won the 2012 Nations Cup with unheralded Zambia and then again in 2015 with the Ivory Coast.
Yaya Toure, who captained the Ivory Coast to the title two years ago, believes Renard has the right ingredients to pull off the feat again with Morocco.
Renard's Morocco side have strong credentials for 2017 success, but Renard has sought to play down his chances of securing a trio of titles.


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liceoartisticolisippo-ta » Entertainment » The Art of Star Wars: The Clone Wars
The Art of Star Wars: The Clone Wars ebook
by Gary Scheppke,Dave Filoni,George Lucas,Frank Parisi
Gary Scheppke Dave Filoni George Lucas Frank Parisi Movies English
Condition: Used: Good.
David Filoni (born June 7, 1974) is an American animation director, voice actor, television writer, television producer, and animator
David Filoni (born June 7, 1974) is an American animation director, voice actor, television writer, television producer, and animator. He is most known for his work on Avatar: The Last Airbender and on the Star Wars: The Clone Wars theatrical film and television series. He was also the creator and an executive producer on Star Wars Rebels for all four seasons, and served as its supervising director for the first two and fourth and final seasons
From The Filoni Files: Dave Filoni, supervising director of STAR WARS: THE CLONE WARS . to us in this archive interview about his day-to-day work on Star Wars: The Clone Wars and what it's like working with George Lucas.
From The Filoni Files: Dave Filoni, supervising director of STAR WARS: THE CLONE WARS, talked to us in this archive interview about his day-to-day work on Star Wars: The Clone Wars and what it's like working with George Lucas. Become a member of the RFR Patreon Community to hear full episodes of THE FILONI FILES.
Gary Scheppke, Frank Parisi. Great for anybody who appreciates the art work that goes into Star Wars. I got this book because I love all the artistic and computer generated efforts that go into animated movies and stories. As a Star Wars enthusiast I really like this book. As a working illustrator, I wish there was more raw sketches and doodles to see/understand the thought process. If you are an aspiring illustrator this is a great book for reference. Especially if you find "clone wars animation style" something of your taste.
Frank Parisi (Foreword), Dave Filoni (Introduction). Shelves: art, star-wars, science-fiction. George Lucas (Foreword). The book covers the development art from the Clone Wars movie and the first season of the TV show. When I first found out about The Clone Wars series, I wasn't too excited about it. The art style didn't really appeal to me, and after Attack of the Clones I didn't find that whole time period to be interesting. I gave it a try, and to my surprise it started to grow on me.
Город: San FranciscoПодписчиков: 138 ты. себе: Executive Producer of Star Wars Rebels. Former Supervising Director of Star Wars: The Clone Wars.
Frank Parisi, Gary Scheppke, Professor Emeritus George Lucas
Frank Parisi, Gary Scheppke, Professor Emeritus George Lucas. The imaginations and passions of a whole new generation of Star Wars fans have been ignited by The Clone Warsthe new animated TV series from Lucasfilm; over 8 million viewers tuned in to watch the series' debut on Cartoon Network. This richly illustrated book is the only publication about the art and making of the popular series, giving fans a behind-the-scenes look at the immensely talented Lucasfilm Animation team and its groundbreaking work.
this clone wars decide your destiny book where your padawan avatar can't stop praising ahsoka and gets called out . Star Wars Episode III: Revenge of the Sith. 1) Duel on Cloud City. Luke goes to Bespin to save his friends but there he will find something far more freightening.
this clone wars decide your destiny book where your padawan avatar can't stop praising ahsoka and gets called out on being gay for ahsoka deserved a pulitzer. im the decider of destiny here and i say this padawan is gay star wars the clone wars is pro-gay propaganda and I Support It ahsoka tano tcw silly kid's books.
Dave Filoni realized a lifelong dream with the opportunity to work as supervising director on Lucasfilm Animation's Star Wars: The Clone Wars. Bibliographic Details. 1. The Art of Star Wars: The Clone Wars. ISBN 10: 0811871029 ISBN 13: 9780811871020.
George Walton Lucas Jr. (born May 14, 1944) is an American filmmaker, philanthropist and entrepreneur. He served as chairman of Lucasfilm before selling it to The Walt Disney Company in 2012. After graduating from the University of Southern California in 1967, Lucas co-founded American Zoetrope with filmmaker Francis Ford Coppola.
The imaginations and passions of a whole new generation of Star Wars fans have been ignited by The Clone Wars the new animated TV series from Lucasfilm; over 8 million viewers tuned in to watch the series' debut on Cartoon Network. This richly illustrated book is the only publication about the art and making of the popular series, giving fans a behind-the-scenes look at the immensely talented Lucasfilm Animation team and its groundbreaking work.
Jairani
I've had mixed experience with "Art of" books. Some of "Art of" books just contain a few movie stills. Others, especially for animated movies, contain far too much about the process of digitally animating the film. While the process of digital animation can be fascinating, I personally don't find the digital "skeletons" for animated characters to be visually appealing.
Fortunately, The Art of Star Wars: The Clone Wars contains a copious amount of genuine art. The book has a lot of concept designs, light concepts, and maquettes of characters and scenes from the film and every episode of the first season of the TV show. By far the most common form of art is the lighting concept, which the artists use when adjusting lighting in the final show. However, these are not simply stills from the show - they have their own unique texture.
One added bonus is that the book contains many of Dave Filoni's own drawings. Filoni has a very unique style, almost blurred. I sense that these are speed sketches to nail down character concepts. However, they have their own unique energy and are wonderful to look at. It's also fascinating to see how the supervising director visualizes Star Wars artistically.
The book does contain some commentary about the making of the show. There are some fascinating insights. I found it particularly interesting to see which characters/planets/story arcs George Lucas personally approved or pushed for. Unfortunately, this is an "Art book" and the short commentaries will probably leave many hungry for more. I'm sure Lucasbooks will publish a "Making of Clone Wars" when the series is over. However, I do hope they stick to the format of this book, focusing a few pages on each episode - each episode deserves at least some attention.
Definitely recommended for fans of the TV show.
Wohald
The Art of Star Wars: The Clone Wars is a coffee table book that looks excellent and is packed with renderings from the theatrical release and Season I of the TV series. The book also includes a quick peek at Season II. The emphasis is on concept art and you can get a real feel for the development of characters and places. My suggestion would be to take your time going through the book. Study the pictures and absorb the artwork.
Each picture in the book has a caption explaining specifically what you are looking at and what the artist's name is. Many of the pictures also come with much longer explanations giving excellent background information, e.g., a particularly interesting write-up on the influence of Ralph McQuarrie. We hear from Director Dave Filoni a good deal as he explains the initial concepts of The Clone Wars and takes us through some of the changes that took place as the project came to fruition.
If you are a fan of The Clone Wars and enjoy the visual presentation, then this book is for you
digytal soul
Another awesome Star Wars artbook.
I am amazed at the level of detail they achieve in the Clone Wars series and the level of attention to detail.
The art in this book, as usual for most of Star Wars creative books, is amazing and "impressive".
Rageseeker
This book offers a unique view of the production of a large scale animation. It goes through many different stages from Maquette and lighting studies to animation concepts and environment design.
Its a good source of information for artists who like a more visual absorption style book rather than one with alot of text. It does offer some insightful comments on each page relating to the development but manages to walk a good line and remain balanced.
Good book, you don't always get to see some of the stages of character design, but that is really my only gripe.
Ť.ħ.ê_Ĉ.õ.о.Ł
This book is excellent, not only because I think the art of The Clne Wars is one of the best of recent years, is also because I work in animation and desogn and I found all the pipeline that is explained here very useful and interesting for me. very recommended.
Sinredeemer
This book is excellent for any Clone Wars fan. My daughter is a huge fan and is an artist as well. She loves this book. the illustrations are great.
It is a large book filled with lots of drawings.
This is a fantastic artbook with lots of great sketches and other behinds the scenes imagery. Definitely a good buy for any star wars fan or artist looking for some good star wars references.
Fans of the TV show will love it. Big and colorful, fun to flip through.
Related to The Art of Star Wars: The Clone Wars:
Star Wars: Clone Wars Gambit - Siege
Star Wars: The Clone Wars : Book to Color With Lightsaber Pen
Anakin in Action! (Star Wars: The Clone Wars)
Star Wars Troopers Sticker Play Book to Color (Star Wars: the Clone Wars)
Star Wars: The Clone Wars: Hero of the Confederacy 3: Destiny of Heroes
Star Wars, Republic Commando: Hard ContactTriple Zero
Medstar II: Jedi Healer (Star Wars: Clone Wars Novel)
R2-D2's Adventure (Star Wars: The Clone Wars)
Star Wars: La Guerra De Los Clones: La Defensa de Kamino (Star Wars: Clone Wars Defense of Kamino) (Star Wars Republic Sp) (Spanish Edition)
Star Wars: The Magic of Myth
Gary Scheppke,Dave Filoni,George Lucas,Frank Parisi
Chronicle Books; 1st Printing edition (July 15, 2009)
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NU Stage returns to the theatre with 'Into the Woods'
Photo Courtesy Doga Tasdemir
The cast of "Into the Woods" performed the classic Sondheim musical in Blackman Auditorium Nov. 19 and 20.
Karissa Korman, news correspondent
On Friday, Nov. 19, and Saturday, Nov. 20, eager theatregoers filed into Blackman Auditorium for NU Stage Musical Theater Company's rendition of "Into the Woods."
NU Stage is Northeastern University's premier student-run musical theatre group. Traditionally, the company produces two major musical shows, two concerts and two revues each year. However, since early 2020, the NU Stage cast and crew have navigated semesters that have been anything but traditional.
When the outbreak of the pandemic first sent students home, the actors, musicians and artists, who usually devoted their time outside of class and co-op to rounds of late-night rehearsals, moved their typical slew of productions online by translating cabarets into Zoom calls for the better part of almost two years.
"We did our very best to make them an enjoyable experience, but of course there's always something missing," said pit director Jerry Snow, a fifth-year mathematics major. "It was very much an emphasis on individual work because you would basically just record yourself doing whatever song or scene and then people would edit everything together."
As the university planned for a more regular, in-person school year, students were eager to get back to the classroom, and those with a penchant for performance were eager to return to the auditorium stage for "Into the Woods."
Stephen Sondheim's "Into the Woods" intertwines several iconic fairy tales into a musical story that follows Little Red Riding Hood, Jack and the Beanstalk, Rapunzel, Cinderella and a childless baker and his wife who journey into the woods to lift a witch's curse. The storybook ensemble explores the consequences of characters' wishes and adventures as their paths collide in the woods.
Scores of student actors, musicians and artists convened with NU Stage to bring this troupe of iconic characters to life. After days of auditions and callbacks in September, rehearsals for "Into the Woods" began just in time for the academic workload to pile on throughout October and November.
"At times it was very stressful, but theatre has always been an escape for me because I have a very demanding major. It's been really nice to get away from the numbers and the science," said Anna Schneider, who played Jack.
Schneider, a first-year chemical engineering major, took a midterm the day before she donned the cap and tunic costume of her character for the first showing of "Into the Woods."
"It's very much everyone supporting each other all the time, and people always understand if you have a really long day or if you have a test and have to go home early," Schneider said. "Everyone understands because they're going through the same thing you are."
With a music-heavy show ahead of them and only seven weeks to learn every piece, pit director Snow added extra rehearsals into the orchestra's rehearsal schedule. The rest of the NU Stage performers fit vocal rehearsals, blocking rehearsals and technical practice into their hectic array of mismatched schedules, often practicing late into the night.
The race to the show's Friday debut took a village of students beyond the visible pit musicians and the cast on stage. Set designers, costume designers, tech crew members, prop managers and promotional creators put in their time, work and talent alongside the live performers to create the show.
"It's crazy how many people it takes," said Erica Cordischi, a fourth-year nursing major who played Little Red Riding Hood. "You don't even realize it until you see them all at the cast party."
With so many students milling around the auditorium in the weeks leading up to its premiere, NU Stage adopted several pandemic safety precautions — none of its members eager to halt in-person gatherings with the promise of packed audiences ahead.
Face masks and weekly testing in tow, per university requirements, the performers wore special masks suited to singing and playing woodwind and brass instruments.
"I think a lot of acting is in facial expressions. When more than half of your face is covered, you have to learn how to act physically with your body and using just your voice to convey emotion," Cordischi said.
If working around masks and instrument covers was a learning curve, the performers showed no sign of it as each show ended with enthusiastic ovation.
As NU Stage's first theatrical show back from the pandemic's social lockdown, theatregoers matched the company's hunger to return to the auditorium.
The potent anticipation in the air before the lights in Blackman dimmed and the uproar of applause as the cast took their bows was a testament to the role that theatre, a uniquely live and communal experience, plays in artists' and audiences' lives as both parties hope to finally emerge from the long months of isolation.
"You never actually got to play or sing with one another," Snow said, reflecting upon NU Stage's past online shows. "I think that is the absolute biggest difference coming back and something we missed so much, the feeling of being in an ensemble or collaborating with one another and hearing that come together."
For many Northeastern students, NU Stage offers creativity in community, self-expression and self-discovery. As the fairy tale characters of "Into the Woods" came together on stage to lift the curse and resolve their misadventures, the cast and crew of the show below the stage lights and behind the scenes watched as months of trial came to a happy ending.
"You never realize how much pretending that you're somebody else on stage can make you feel like yourself," Cordischi said. "I feel like myself so much more this semester than I have in a year and a half."
Whether they were raised in the theatre or joined on a whim in college, students have found their voices on stage and behind the scenes, and this fall's "Into the Woods" finally brought these artists back into the live spotlight where their hard work, talents and passions shine brightest.


Here it is, my first project: a pincushion. I used Heather Bailey's Square Deal pincushion pattern. I had a little trouble lining up the side piece with the squares, but all in all, I think it turned out great! I used a yellow button on the top and a turquoise one for the bottom. The yellow ribbon was hard to get through the stuffing (I broke 2 crappy needles last night trying). But with proper needles (which I bought today on my trip to the marketplace on Ottawa St.) it was easy. I used these fabrics, which I bought from orientalfabrics, an Etsy shop that sells really cute Japanese fabric.
I have 2 ideas for my next projects. One will be some simple covers for the wooden seat of the chairs around my craft table. I hate how my legs stick to the chair when it's hot out and I'm wearing shorts. I also want to try to make a skirt ~ I bought some pretty white and light blue linen for that.
I think I'll practice a bit more before I try making a skirt.


We want to communicate the destruction of 13 telephone booths of the Telmex company. Telmex is a company that builds federal prisons in Mexico. Carlos Slim, its owner, is a businessman who also owns other companies involved in the construction of the "Mexico–Toluca high-speed train" that is destroying forests and aquifers. These acts of sabotage were carried out during the night of June 17th in Ciudad Nezahualcóyotl, Mexico.
This sabotage is in solidarity with the prisoners who've rioted in Barrientos prison. It is in support of the compas that "yes" are on the run in Mexico: Chivo, Tripa and "Cobi"; for compa Gustavo R. and for the destruction of prisons.


text:
Cabala (din , însemnând "paralel/corespunzător" sau "tradiție primită") este o metodă, disciplină și școală de gândire ezoterică, care își are originea în iudaism. În iudaism, un cabalist tradițional se numește Mekubbal (în ).

Gershom Scholem, cercetător al Cabalei din secolul al XX-lea, a susținut că "nașterea cabalei s-a produs în sudul Franței, în momentul în care acolo apăreau catarii". De fapt, limba ebraică, considerată una din limbile sacre, a fost  dezvoltată în mod special de către și pentru cabaliști, pentru a-i ajuta să comunice despre chestiuni spirituale. Accesul larg la esoterismul Cabalei este realizat de abia la sfârșitul secolului XII, prin Cartea lui Zohar. În viziunea cabalistului Baal HaSulam, însemnătatea vieții este "revelarea Dumnezeirii Sale către creaturile sale în această lume". Deci, mai mult decât în orice tradiție, în Cabala, care este mult mai abstractă și mai cifrată, revelarea Sinelui este o chestiune de dăruire din partea Divinității către om, atunci când acesta s-a corectat, iar omul e cel care primește, datorită trezirii ființei prin studierea înțelepciunii Cabalei.

Sinele în Cabala este chiar Dumnezeu manifestat în om, și are un corespondent în inima spirituală. Trezirea punctului din inimă și apoi împlinirea completă a acestui punct până la desăvârșire, este scopul pe calea spirituală a Cabalei.

Metode de revelare a Sinelui
Ceea ce trebuie să facă aspirantul la revelarea Sinelui pe această cale este să merite revelarea. Pentru aceasta, el trebuie să studieze texte autentice cabalistice (un bărbat trebuie să studieze cel puțin trei ore pe zi obligatoriu, dar femeia nu neapărat, pentru că se presupune că natura feminină este înclinată spre evoluție spirituală) și să muncească mult în interiorul său, prin conștientizare și iubire. Acestea, studiul și munca, vor conduce pe aspirant la corectare, ceea ce înseamnă refacerea drumului înapoi prin cele cinci lumi subtile ,superioare acestei lumi, către Creator și Lumina acestuia Veșnică. Munca interioară trebuie să vină cu împrejurări potrivite: profesori, cărți (și Biblia este considerată carte cabalistică) și grupul spiritual. Se caută astfel unirea cu Creatorul, care în ebraică se numește Boreh și care provine de la alți doi termeni ebraici: bo care înseamnă "vino" și re'reh care înseamnă "vazi". Deci, cuvântul Creator este o invitație personală de a experimenta lumea spirituală. Creatorul în această tradiție este una cu Natura, cu legea dragostei.
Cărțile de Cabala autentice, fără explicații, sunt la fel de cifrate ca și textele alchimice. Un neinițiat nu ar înțelege nimic, decât ar citi o poveste frumoasă, însemnătatea spirituală rămânându-i ocultată. De exemplu, în știința Cabala, Egipt înseamnă ego, Israel vine de la cuvintele ebraice Ishhar-lael, care înseamnă direct către Dumnezeu, cel care are dorință să ajungă la Boreh, muntele Sinai este egoismul nostru pe care trebuie să îl surmontăm etc.
De menționat faptul că această tradiție este una religioasă, cum și Yoga este, și nu este o știință ci o metodă care ne ajută să ne schimbăm natura de a dori și de a primi în natura de a dărui.

Etape pe calea revelării Sinelui în tradiția Cabala
Prima etapă pe calea spirituală cabalistică este conștientizarea punctului din inimă (se referă la dorința unică spirituală). De aici începe căutarea și găsirea tradiției potrivite ființei respective, care să îi reveleze Adevărul. Noi suntem considerați dorințe de a primi pentru a primi. Prin evoluție, se ajunge să se depășească egoismul și să se transforme dorința din inimă de a primi pentru a primii în dorință de a dărui necondiționat și în cele din urma a ajunge în starea finală numită Ahava ("iubire") a primi pentru A dărui (a dărui Creatorului) stare numită si Gmar haTikun - Corectarea Finală.

Există o altă etapă pe calea aceasta: conștientizarea deplină a egoismului din noi. Nu se neagă și nu se luptă împotriva tendințelor așa-zise inferioare ca în alte tradiții, ci se urmărește conștientizarea deplină a tuturor tendințelor egoiste, până când, în punctul culminant, apare dorința de a fi ajutați de Creator pentru a depăși egoismul.

Sinele este calitatea pe care ar trebui să o capete creatura, de a fi asemenea naturii, altruist. Punctul în inimă este caracteristic fiecărei ființe umane și reprezintă însăși dorința de spiritualitate. Trebuie ca ființa umană să-și dezvolte acel punct în inimă către o dorință reală de a primi pentru a dărui. Dar nu orice punct din inimă e trezit dintr-odată din cauza dorințelor de mâncare, sex, bani sau cunoaștere. Etapa următoare este așadar dezvoltarea punctului din inimă, iar atunci când în inimă nu mai există decât dorința spirituală, atunci adeptul este deplin înclinat corectării egoismului, ceea ce corespunde revelării Sinelui.

Dar, se spune că în timpurile noastre nu se poate ajunge la desăvârșire decât prin comuniune cu ceilalți, prin conștientizarea deplinei interconectări între toți și a sufletului comun. Există patru etape de la trezirea punctului în inimă până la deplina lui dezvoltare:
 Dubla ascundere;
 Ascunderea;
 Revelația;
 Dubla revelație.
După ascundere urmează încă 125 de trepte până la revelare și dubla revelare.

Viziunea asupra realității prin prisma Sinelui revelat
În primul rând, dispare iluzia, manifestare a conștiinței caracteristică tuturor tradițiilor spirituale comentate în această lucrare. Și se percepe interconectarea și faptul că tot ceea ce există în viața exterioară oglindește de fapt interiorul. Înțelepciunea Cabala nu este interesată într-atât de aspectele percepțiilor paranormale, ci de trăirea iubirii universale și a fraternității încă din etapele anterioare revelării Sinelui

Etape ulterioare revelării Sinelui
Se presupune că Sinele individual nu se poate revela decât prin lucru în grup și în mod deplin atunci când toți oamenii vor atinge acest nivel spiritual. Există profesori de Cabala eliberați de egoism, se spune, însă în 230 de ani se spune că întreaga umanitate va trăi și în lumea aceasta și în cea spirituală, va trece MACHSOM-ul, adică va depăși bariera, ecranul care se interpune între lumea noastră și cea spirituală.

Trebuie însă parcursă scara spirituală, adică prin libera alegere să ne întoarcem către Lumina Supremă a Creatorului, la stadiul în care am fost creați dintru început și să lucrăm la trezirea conștiinței celorlalți, pentru că planul Creației nu poate fi terminat decât atunci când fiecare persoană de pe acest Pământ va atinge cel mai înalt nivel spiritual și astfel toată umanitatea să se unească într-un singur suflet corectat independent, care este numit în cărțile sacre ale Cabalei Adam ha Rishon.

Note

Bibliografie
 Bodoff, Lippman; Jewish Mysticism: Medieval Roots, Contemporary Dangers and Prospective Challenges; Jurnalul Edah 2003 3.1
 Dan, Joseph; The Early Jewish Mysticism, Tel Aviv: MOD Books, 1993.
 Dan, Joseph; The Heart and the Fountain: An Anthology of Jewish Mystical Experiences, New York: Presa de la Oxford University, 2002.
 Dan, Joseph; Samael, Lilith, and the Concept of Evil in Early Kabbalah, AJS Review, vol. 5, 1980.
 Dan, Joseph; The 'Unique Cherub' Circle, Tübingen: J.C.B. Mohr, 1999.
 Dan, J. and Kiener, R.; The Early Kabbalah, Mahwah, N.J.: Paulist Press, 1986.
 Dennis, G.; The Encyclopedia of Jewish Myth, Magic, and Mysticism, St. Paul: Llewellyn Wordwide, 2007.
 Fine, Lawrence, ed. Essential Papers in Kabbalah, New York: Presa NYU, 1995.
 Fine, Lawrence; Physician of the Soul, Healer of the Cosmos: Isaac Luria and his Kabbalistic Fellowship, Stanford: Presa Stanford University, 2003.
 Fine, Lawrence; Safed Spirituality, Mahwah, N.J.: Presa Paulist, 1989.
 Fine, Lawrence, ed., Judaism in Practice, Princeton N.J.: Princeton University Presa, 2001.
 Green, Arthur; EHYEH: A Kabbalah for Tomorrow. Woodstock: Publicația Jewish Lights, 2003.
 Hecker, Joel; Mystical Bodies, Mystical Meals: Eating and Embodiment in Medieval Kabbalah.  Detroit: Presa Wayne State University, 2005.
 Idel, Moshe; Kabbalah: New Perspectives.  New Haven and London: Presa de la Yale University, 1988.
 Idel, Moshe; The Golem: Jewish Magical and Mystical Traditions on the Artificial Anthropoid, New York: Presa SUNY, 1990.
 Idel, Moshe; Hasidism: Between Ecstasy and Magic, New York: Presa SUNY, 1995.
 Idel, Moshe; Kabbalistic Prayer and Color, Approaches to Judaism in Medieval Times, D. Blumenthal, ed., Chicago: Presa Școlarului, 1985.
 Idel, Moshe; The Mystica Experience in Abraham Abulafia, New York, Presa SUNY, 1988.
 Idel, Moshe; Kabbalah: New Perspectives, New Haven, Presa Yale, 1988.
 Idel, Moshe; Magic and Kabbalah in the 'Book of the Responding Entity'; Lecturile VI ale lui Solomon Goldman, Chicago: Presa Spertus College of Judaica, 1993.
 Idel, Moshe; The Story of Rabbi Joseph della Reina; Behayahu, Studii și texte despre istoria Comunității iudaice din Safed.
 Idel, Moshe; Cabala. Noi perspective. Nemira. București, 2000.
 Idel, Moshe; Ascensiuni la cer în mistica evreiască. Stâlpi, linii, scări. Polirom. București, 2008.
 Idel, Moshe; Mesianism și mistică.  București, 1996.
 Aryeh Kaplan|Kaplan, Aryeh; Inner Space: Introduction to Kabbalah, Meditation and Prophecy. Moznaim Publishing Corp 1990.
 John W. McGinley; The Written' as the Vocation of Conceiving Jewishly; ISBN 0-595-40488-X
 Petrisor, Raul; Kabbala - Teorie si practica, Bucuresti: Editura Coresi, 2010; ISBN 978-973-137-071-2
 Scholem, Gershom; Kabbalah, Jewish Publication Society.
 Scholem, Gershom; Major Trends in Jewish Mysticism, 1941.
 Scholem, Gershom; Cabala si simbolistica ei, Humanitas. București, 1996.
 Wineberg, Yosef; Lessons in Tanya: The Tanya of R. Shneur Zalman of Liadi (5 volume). Merkos L'Inyonei Chinuch, 1998. ISBN 0-8266-0546-X
 Wolfson, Elliot; Through a Speculum That Shines: Vision and Imagination in Medieval Jewish Mysticism, Princeton: Presa Princeton University, 1994.
 Wolfson, Elliot; Language, Eros Being: Kabbalistic Hermeneutics and Poetic Imagination, New York: Presa Fordham University, 2005.
 Wolfson, Elliot; Venturing Beyond: Law and Morality in Kabbalistic Mysticism, Oxford: Oxford * Presa University, 2006.
 Wolfson, Elliot; Alef, Mem, Tau: Kabbalistic Musings on Time, Truth, and Death, Berkeley: Presa University of California, 2006.
 Wolfson, Elliot; Luminal Darkness: Imaginal Gleanings From Zoharic Literature, London: Publicații Onworld, 2007.
 The Wisdom of The Zohar: An Anthology of Texts, 3 volume, Ed. Isaiah Tishby, traduse din ebraică de David Goldstein, The Littman Library.
 Zimler, Richard; Ultimul cabalist din Lisabona, București: Humanitas, 2007
 Petrisor, Raul; Kabbala - Teorie si practica, București: Editura Coresi, 2010

 Legături externe

 Saiturile originale de Cabala ale Asociatiei Bnei Baruch Israel:
 http://www.kabbalah.info lb.engleza
 http://www.kabbalah.info/romkab/index.htm lb romana
 Cabala in vizunea Gnostica
 www.scoalamisterelor.com  - site in limba Română
 scoalamisterelor.blogspot.com -  blog in limba Română
 Cabala, 19 iulie 2012, Radu Alexandru, CrestinOrtodox.ro Kabbalah - Rosicrucian Digest, Vol. 90, Nr. 2, 2012, în limba englezăReportaje''' Cabala, grupul înțelepților care nu primește șomeri, 7 iunie 2011, Evenimentul zilei''

redpajama_set_name: RedPajamaWikipedia


text:
About/CV
EAP Materials
Projects/collaborations
Natalia Dolgova (formerly Jacobsen), PhD
Applied linguist and EAP/ESP professional
This is just a picture of a gorgeous sunset in St. John, USVI
I am currently Teaching Assistant Professor of English for Academic Purposes (EAP) at the George Washington University (GWU) in Washington DC. I received my PhD in Applied Linguistics from Georgetown University; my dissertation was dedicated to exploring uses of cognitive linguistic theory (specifically, that pertaining to English conditionals) and task-based language teaching for EAP instruction. At GWU I teach courses in academic writing and research to newly matriculated graduate students.
The research projects I have been engaged in at GWU concern the analysis of specific needs of international graduate students and creating locally valid and authentic diagnostic assessments for course placement.
My research interests focus on adapting and converting tenets and tools from cognitive and corpus linguistics into successful L2 writing instruction, particularly within the advanced learners' context. My long-term research goal lies with designing highly effective pedagogical interventions that would be grounded in usage-based L2 theories/practices (such as but not limited to cognitive and corpus linguistics).
Beginning from 2016, I transitioned to using Dolgova as my last name instead of (Dolgova) Jacobsen.
The most recent (July 2017) version of my CV is available here
EAP and ESP Courses taught at George Washington University
Academic Writing & Research I for Graduate Students
Academic Writing & Research II for Graduate Students
Academic Writing & Research for International Graduate Students of Finance and Business
Special Topics in EAP: Writing & Communication for Data Science
Academic Writing & Research for International Graduate Students of Statistics and Data Science
Language and linguistics courses (co-)taught at Georgetown University
Introduction to Language and Linguistics
How To Teach Second/Foreign Languages
Advanced ESL Writing (Georgetown University Law Center)
Courses/subjects taught in other contexts
Introduction to Academic Writing, University Without Borders
Beginning Russian, George Washington University
Intermediate Russian, George Washington University
English to Speakers of Other Languages (ESOL), Prince William County Public Schools
For a full list of publications, please see CV
Articles in refereed journals
Dolgova Jacobsen, N. (2016). The best of both worlds: Combining cognitive linguistics and pedagogic tasks to teach English conditionals. Applied Linguistics. doi: 10.1093/applin/amw030
Mueller, C. M., & Jacobsen, N. Dolgova (2016). A comparison of the effectiveness of EFL students' use of dictionaries and an online corpus for the enhancement of revision skills. ReCALL, 28(1), 3-21. doi:10.1017/S0958344015000142.
Articles in edited volumes
Siczek, M., & Dolgova, N. (In progress, expected publication in 2018). The value of usage-based approaches to diagnostic placement assessment in graduate EAP. In Ruecker, T. & Crusan, D. (Eds.) International political contexts of second language writing assessment. New York: Routledge
Dolgova Jacobsen, N. (In press, expected 2017). The use of hedging devices in L2 legal writing: a cognitive functional perspective. In Pickering, L., & Evans, V. (Eds.) Language learning discourse and cognition: Studies in the tradition of Andrea Tyler. Amsterdam: John Benjamins.
Dolgova Jacobsen, N. (In press, expected 2017). Using blending to teach English conditionals. In Tyler, A., & Moder, C. (Eds.) What is applied cognitive linguistics? Answers from current SLA research. Berlin: Mouton de Gruyter
Jacobsen, N. (2015). A cognitive linguistic analysis of English conditionals in English for Academic Purposes (EAP) instruction: Implications from Sociocultural Theory. In Masuda, K., Arnett, C., & Labarca, A. (Eds.), Cognitive linguistics and sociocultural theory: Applications for second and foreign language teaching (pp. 103-125), Berlin: Mouton de Gruyter link to chapter
Recent (select) conference presentations
Dolgova, N. (2017). Local Assessment in EAP Context. Paper presentation, invited panel 'From IEP to degree: Strategies for successful transitions.' Teaching English to Speakers of Other Languages (TESOL) annual meeting, March 21-24, Seattle, WA
Dolgova, N., & Siczek, M. (2017). Contextualizing Assessment: Developing a Usage-Based Diagnostic Placement Procedure for Graduate EAP. Paper presentation, American Association for Applied Linguistics (AAAL) meeting, March 18-21, Portland, OR
Dolgova Jacobsen, N. (2016). How Useful Are Corpus Linguistic Tools for Error Correction? Insights from Learner Data. Paper presentation, Second Language Research Forum (SLRF) conference, September 22-25, New York, NY
Dolgova Jacobsen, N. (2016). Transitions to Academic Thinking: Common Problems of L2 Writers Tackling American Academic Discourse. Paper presentation, invited panel 'Post-secondary writing: Reflecting future writing expectations'. Teaching English to Speakers of Other Languages (TESOL) annual meeting, April 5-8, Baltimore, MD.
Coon, D., & Dolgova Jacobsen, N. (2016). Effective Practices in Writing Instruction for Community College English Learners. Research-oriented presentation, Teaching English to Speakers of Other Languages (TESOL) annual meeting, April 5-8, Baltimore, MD.
Dolgova Jacobsen, N., & Siczek, M. (2016). Promoting Target Language Use Through a Usage-Based Diagnostic Assessment Procedure in a Graduate EAP Program. Paper presentation, Georgetown University Round Table on Linguistics (GURT), March 11-13, Washington DC.
Jacobsen, N. D. (2015). Using Linguistic Needs Analysis to Inform Academic Preparation Practices for International Graduate Students in Statistics. Paper presentation, Task-Based Language Teaching (TBLT) conference, September 16-18, Leuven, Belgium
Jacobsen, N. D. (2015). Expression of Point of View in English Conditional Constructions and its Applications to L2 context. Paper presentation, Thinking, Doing, Learning in L2 (TDL2) conference, June 3-5, Groningen, Netherlands
Detailed descriptions coming soon.
I have served as consultant/invited speaker for various projects related to second language teaching, second language acquisition, language assessment, cognitive linguistics, and English for Academic Purposes at the following organizations:
Center for Applied Linguistics
Center for Advanced Study of Language
If you are interested in collaborating with me, please feel free to get in touch.
Please feel free to contact me filling out the form below.
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Pictured above are Karen Burks, Owner/Broker and her team of Foreclosure Specialists. From left to right Gary Hays, Leola Linde, Linda Robison, and Fran Bean.
We are a team of specialists, trained in all facets of Foreclosure Sales. It is important to note that we do not list foreclosure properties, but we represent you in the purchase of foreclosed properties. We are buyers agents with combined Realtor® experience of over 60 years. Almost all realtor related transactions include broker commissions for the listing and buyer side of the transaction. If they don't we will let you know up front. So, our services to you are at no cost to you. This includes bank related foreclosures as well as HUD foreclosures. We can even represent you in most auction transactions.
So, contact us and let us do the searching and paper work for you. We are able to search in the locations best suited for you and we will provide you with comps of all recent sales so that you are assured of getting the best possible deal on your purchase.


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It is made to fit Premature babies, Reborn, My First Baby Annabell + most dolls in this size that are between 8¾"-12½" wide around the chest.
Length 5½" (14cm) from shoulder to bottom edge.


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Another pleasant surprise - a National Archives blog on the case of German spy, Josef Jakobs. The blog post was written by Dr. Richard Dunley at the National Archives and is well researched. Given that the National Archives has the voluminous declassified MI5 files on Josef as well as the court martial documents, the author has done an admirable job of distilling the story down to a single blog post. At the end of the article, the author notes that Josef's guilty verdict seems to have been a foregone conclusion, a statement with which I would agree.


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statsmodels.discrete.discrete_model.MultinomialResults.wald_test_terms¶

MultinomialResults.wald_test_terms(skip_single=False, extra_constraints=None, combine_terms=None)¶

Compute a sequence of Wald tests for terms over multiple columns

This computes joined Wald tests for the hypothesis that all
coefficients corresponding to a term are zero.

Terms are defined by the underlying formula or by string matching.

<col class="field-name" />
<col class="field-body" />

Parameters:

skip_single (boolean) – If true, then terms that consist only of a single column and,
therefore, refers only to a single parameter is skipped.
If false, then all terms are included.

extra_constraints (ndarray) – not tested yet

combine_terms (None or list of strings) – Each string in this list is matched to the name of the terms or
the name of the exogenous variables. All columns whose name
includes that string are combined in one joint test.

Returns:
test_result – The result instance contains table which is a pandas DataFrame
with the test results: test statistic, degrees of freedom and
pvalues.

Return type:
result instance

Examples

>>> res_ols = ols("np.log(Days+1) ~ C(Duration, Sum)*C(Weight, Sum)", data).fit()
>>> res_ols.wald_test_terms()
<class 'statsmodels.stats.contrast.WaldTestResults'>
                                          F                P>F  df constraint  df denom
Intercept                        279.754525  2.37985521351e-22              1        51
C(Duration, Sum)                   5.367071    0.0245738436636              1        51
C(Weight, Sum)                    12.432445  3.99943118767e-05              2        51
C(Duration, Sum):C(Weight, Sum)    0.176002      0.83912310946              2        51

>>> res_poi = Poisson.from_formula("Days ~ C(Weight) * C(Duration)",                                            data).fit(cov_type='HC0')
>>> wt = res_poi.wald_test_terms(skip_single=False,                                          combine_terms=['Duration', 'Weight'])
>>> print(wt)
                            chi2             P>chi2  df constraint
Intercept              15.695625  7.43960374424e-05              1
C(Weight)              16.132616  0.000313940174705              2
C(Duration)             1.009147     0.315107378931              1
C(Weight):C(Duration)   0.216694     0.897315972824              2
Duration               11.187849     0.010752286833              3
Weight                 30.263368  4.32586407145e-06              4

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Bogdana Karadoczewa (; ur. 19 lipca 1949 w Sofii) – bułgarska piosenkarka.

Życiorys
Bogdana Karadoczewa jest aktywna na scenie muzycznej od 14. roku życia. Matka chciała, by została śpiewaczką operową, ale wybrała karierę estradową. W 1969 zdobyła nagrodę Złotego Orfeusza na festiwalu w Słonecznym Brzegu. W 1998 otrzymała nagrodę dla najbardziej bułgarskiej artystki przyznaną przez Stowarzyszenie Bułgarskiej Duchowości. Jej mężem jest kompozytor Stefan Dimitrow.

Przypisy

Urodzeni w 1949
Bułgarskie wokalistki
Bułgarscy muzycy popowi
Ludzie urodzeni w Sofii


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Using the Nurse Lift – NO physical contact required between Nurse and Patient.
Hospitals use Nurse Lift and Gimme a Lift as a progressive tool to help patients recover sooner.
Kaiser Permanente and many medical organizations use Nurse Lift and Gimme a Lift to help nurses with safe patient handling.
Now, you can have Nurse Lift or Gimme a Lift to use at home to assist with your post surgery rehab, or for other mobility issues.
Nurse Lift and Gimme a Lift are unique, proven medical device's. They each work in both assisted or unassisted methods of operation. Use our Lifts to sit-up, lay-back, stand-up, transfer to a walker or wheelchair, and as a walking aid.
Unassisted – by yourself to sit-up, stand-up, and walk.
Nurses use our Nurse Lifts in hospitals and nursing homes to sit up, stand up, and transfer post-op patients to walkers and wheelchairs. However, patient independence is the goal, and the patient is encouraged to use the Lift by themselves as soon as possible. The Lift also reduces pain to the patient's surgical site when lifting and lowering and helps the patient to walk sooner rather than later. Nurse Lift and Gimme a Lift addresse the "Handle with Care" policy endorsed by the ANA – American Nurses Association.
Certified Lab Tests were done using the new Nurse Lift to lift a 200 lb. person with a nurse using only 20 lbs. of lifting effort on an IMADA Force Gauge. This test represents an 10:1 lifting advantage ratio or 90% less weight to lift by simply using the mechanical advantage of leverage. Keep in mind the 200 lb person is only an example, Nurse Lift can lift as much as 400 lbs. If two Lifts are used, you can exceed the 400 lb limit. In hospitals, our Patient Lifts are readily available to the nurses by being clipped to the wall, with one in each room, and are proven to withstand repeated use on a daily basis. Just as IV stands are in each room, so are Nurse Lift's in each room, which makes it easy for the nurses to grab one when a patient needs mobility assistance. Recently, one of the hospitals that has Nurse Lifts in each room was inspected by the Joint Commission on Accreditation of Health Organizations JCAHO. The physician surveyor and his team used the Lift and were all impressed by how easy it was to use and by its accessibility for the staff. Nurse Lift is truly an affordable proactive approach to address the problems related to lift injuries incurred by hospital and home healthcare nurses and caregivers when lifting, lowering, and transferring patients.
Copyright 2000-2021 Nurse Lift and Gimme a Lift®, All Rights Reserved. U.S.A. and Canadian Patents, and other Patents Pending.
Nurse Lift & Gimme a Lift® have been awarded U.S. Patents and a Canadian Patent for being unique and useful.


This week for the Georgetown Time Machine, GM visits this photo of a relatively young Whitehurst Freeway. Come check out what interesting scenes it contains.
The first question is of dating. The DDOT website does not list a date, so it will take a little sleuthing. First of all, the Whitehurst wasn't built until 1949, so that's the earliest point. In the distance, as discussed more below, the old Huerich Brewery still stands. That was demolished in 1961 to make way for the Roosevelt Bridge. Also, that large white building that's in front of the Washington Monument is what is now the Saudi embassy. It was built in 1959. So this photo is from between 1959 and 1961.
The main reason it was smashed up is that it wasn't in operation anymore. It stopped providing power for the streetcar system in 1933, and was decommissioned in 1944. It nonetheless sat an empty shell until it was demolished in 1968.
What you'll also notice is that you can actually see this building from Georgetown, which you can't do anymore. That's because the Watergate isn't in the way yet. That wasn't built until 1964.
As also mentioned above, it was sadly demolished in 1961, which must have been just a couple years after the photo was taken.