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Leonardo Da Vinci Most Famous Paintings
Who is Leonardo da Vinci?
Leonardo da Vinci was known as "The Renaissance Man" and widely admired for his painting of the Mona Lisa and The Last Supper. He assumed many roles, he was a painter, portraitist, architect, engineer, inventor, philosopher, and geologist. His genius, talents, and interests opened pathways for him to accomplish many great things.
The Renaissance era was a period of changing social and cultural values. New ideas and experimentation in the fields of art began.
Renaissance painters were moving from the flat space of medieval art and painted more realistic scenes such as landscapes, portraiture and figure compositions, using realism and naturalism in the portrayal of figures and perspective in landscape painting.
Here are 20 of Leonardo da Vinci's most famous paintings:
Mona Lisa by Leonardo da Vinci
The Annunciation by Leonardo da Vinci
Portrait of a Man in Red Chalk Drawing by Leonardo da Vinci
Madonna and Child with the Infant Saint John the Baptist by Leonardo da Vinci
The Virgin of the Rocks by Leonardo Da Vinci
Madonna Litta by Giovanni Antonio Boltraffio and Leonardo da Vinci
St John the Baptist by Leonardo da Vinci
Mary Magdalene by Leonardo da Vinci
Study for the head of Leda by Leonardo da Vinci
The Virgin and Child with Saint Anne by Leonardo da Vinci
Madonna of the Carnation by Leonardo da Vinci
Madonna of the Yarnwinder by Leonardo da Vinci
Salvator Mundi by Leonardo da Vinci
Bacchus by Leonardo da Vinci
Head of a Woman by Leonardo da Vinci
La Belle Ferronniere by Leonardo da Vinci
Lady with an Ermine by Leonardo da Vinci
La Bella Principessa by Leonardo da Vinci
Portrait of Ginevra de' Benci by Leonardo da Vinci
Leonardo da Vinci Artworks
Mona Lisa is prominent among Leonardo da Vinci's famous paintings. Francesco del Giocondo's wife, Mona Lisa, is also known as La Gioconda.
This picture is done in oil on canvas. The original painting, which measures 77 x 53 cm (30 x 20 7/8 in), is owned by the French government and hangs in the Louvre in Paris, France.
This figure of a woman, dressed in the Florentine manner of the day and seated in a dreamlike, mountainous scene, is a stunning example of Leonardo's sfumato modeling method, which involves soft, deeply shaded modeling.
The Mona Lisa's mysterious expression, which is both seductive and aloof, has earned the painting worldwide acclaim. The renowned smile of the Mona Lisa symbolizes the sitter in the same way that the juniper branches in Ginevra Benci's painting in Washington and the ermine in Cecilia Gallerani's portrait in Krakow do. It's a visual representation of the Italian word "gioconda," which means "happiness."
This idea of happiness became the major element of Leonardo's portrait, and it is this idea that makes the piece so ideal. The landscape's natural beauty also plays a part. Warm hues are used in the middle distance, which is on the same level as the sitter's chest.
This area is occupied by men; there is a twisting road and a bridge. This place illustrates the transition from the sitter's space to the far distant, when the landscape transforms into a wild and uninhabited realm of rocks and water that stretches to the horizon, which Leonardo has skilfully depicted at the sitter's eye level.
Michelangelo Most Famous Paintings
The Last Supper is Leonardo's depiction of an event that is mentioned in all four Gospels (books in the Christian New Testament).
Christ gathered his disciples to eat, inform them he knew what was coming, and wash their feet the evening before he was betrayed by one of his disciples (a gesture symbolizing that all were equal under the eyes of the Lord).
Christ gave the disciples precise instructions on how to eat and drink in the future in recollection of him while they ate and drank together. It was the first Eucharistic celebration, which is still practiced today.
The Last Supper illustrates the next few seconds in this story after Christ dropped the bombshell that one of his disciples will betray him before morning, and each of the twelve disciples has reacted to the news with varying degrees of terror, fury, and amazement.
Leonardo had never worked on such a big painting before, and he had no prior expertise with fresco, the traditional mural technique. The artwork was created using experimental paints straight on the dry plaster wall, and unlike frescos, where the pigments are combined with the wet plaster, it has not held up well over time.
There were issues with the paint flaking off the wall even before it was finished, which Leonardo had to fix. It has crumbled, been vandalized, bombed, and reconstructed over the years. We are probably only seeing a small portion of the original today.
Dante Gabriel Rossetti Most Famous Paintings
The Annunciation, the master's first piece at the age of twenty, isn't quite Leonardesque yet.
The angel is on the left, the Virgin is on the right, and a lectern is in the middle, all shown in an architectural setting that extends out onto a landscape, as per a centuries-old model. With his high brow, fancy wings, costly clothes, and lily, the kneeling angel is magnificently youthful.
Surprised while reading, the Virgin raises her hand in shock and exhibits a fine-featured countenance that some have described as chilly. Her posture, with her knees evenly parted and her body draped in broad and flexible drapery, lends her a powerful colossal presence.
The Annunciation was credited to Domenico Ghirlandaio, who, like Leonardo, was an apprentice in Andrea del Verrocchio's workshop when it arrived in the Uffizi in 1867 from the Olivetan convent of San Bartolomeo, near Florence.
It was recognized as a youthful work by Leonardo da Vinci by Karl Eduard von Liphart, the central character of the German expatriate art community in Florence, in 1869, one of the first attributions of a surviving piece to the youthful Leonardo. Since then, Leonardo has been credited with a preparatory drawing for the angel's sleeve.
Francois Boucher Most Famous Paintings
The portrait of a man in red chalk at the Royal Library of Turin is commonly acknowledged as a self-portrait of Leonardo da Vinci, albeit not unanimously. Leonardo da Vinci is supposed to have drawn this self-portrait when he was around 60 years old.
The painting has been widely replicated, and it has become a symbol of Leonardo's status as a polymath or "Renaissance Man." Despite this, historians and researchers debate over the sitter's genuine identity. Red chalk is used to sketch the portrait on paper. It shows a three-quarter perspective of an elderly man's head, with his face oriented towards the viewer.
His long hair and long wave beard, which run over his shoulders and chest, distinguish the subject. The length of the hair and beard is unusual in Renaissance portraiture and denotes a person of sagacity, much as it does now. Deep lines on the brow and pouches below the eyes distinguish the face, which features an aquiline nose.
The man looks to have lost his upper front teeth, which has caused the nose grooves to widen. The figure's eyes do not engage the observer, but instead look ahead, shrouded by the long brows. As was Leonardo's custom, the drawing was drawn in fine distinct lines, shaded by hatching, and finished with the left hand.
John Everett Millais Most Famous Paintings
The Virgin Mary is depicted with her arms spread and the infant Christ is cradling a lamb in the picture. A goldfinch, a symbol of the passion, is held by the newborn John the Baptist. The three individuals stand in front of a forested and rocky environment with distant architectural complexes.
Giorgione Most Famous Paintings
The Virgin of the Rocks (also known as The Madonna of the Rocks) is the name given to two paintings by Leonardo da Vinci, both of which depict the same subject and have a composition that is almost similar save for two minor details. The Louvre in Paris normally has one artwork and the National Gallery in London has the other.
Both paintings depict the Madonna and Christ Child, as well as the newborn John the Baptist and an angel, on a rocky background, as the paintings' names suggest. The angel's gaze and right hand have substantial compositional contrasts. Colors, lighting, flora, and the usage of sfumato are only a few of the small differences amongst the pieces.
Although the year of an accompanying commission is known, the whole histories of the two works are unclear, leading to discussion regarding which is older. Leonardo da Vinci's fundamental motivation in whatever he did was probably to get to the heart of nature and learn its secrets; and his interest in painting could nearly have been to create rivals to nature, combining all his knowledge of her into the construction of super-natural objects.
The laws of nature govern The Virgin of the Rocks, but Leonardo is responsible for the final creation. And he defies nature in several ways that challenge past aesthetic notions.
The end outcome is more organic than academic. Other painters imposed an intentional schema on nature, viewing it as a conscious mixture enriched by art, in which buildings were allied to scenery, tiny groups of humans enlivened background areas, and things were artistically re-arranged to reflect a cosmic order. This demonstrated the artist's creativity. In this picture, Leonardo creates a fantastic grotto that appears to be entirely human-made.
It appears to be the result of natural forces: the rocks ribbed and polished by the constant circulation of water, present in the meandering river but sensed in the subaqueous light and as providing moisture for the plants - each meticulously recorded - that grow thickly but are pale.
The Madonna lactans is a devotional topic that shows the Virgin Mary breastfeeding the Christ child.
The figures are positioned in a gloomy interior with two arched arches, similar to Leonardo's earlier Madonna of the Carnation, and beyond them can be seen a mountainous scene in aerial perspective.
Christ carries a goldfinch in his left hand, which represents his impending Passion. Scholars disagree over the painting's attribution, with some suggesting it was created by a Leonardo disciple such as Giovanni Antonio Boltraffio or Marco d'Oggiono; the Hermitage Museum, on the other hand, believes it is an autograph work by Leonardo.
The picture is named after the House of Litta, a Milanese noble family who had it for a long time in the nineteenth century.
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St. John the Baptist was painted by Leonardo da Vinci between 1513 and 1516, at the transition from the High Renaissance to Mannerism, and is thought to be his final work. This is a walnut wood oil painting. The sculpture was originally 69x57 cm in size.
It is now on display at the Louvre Museum in Paris, France. The importance of salvation through baptism, which John the Baptist represents, is symbolized by St. John's pointing motion toward the heavens. Later painters, particularly those of the late Renaissance and Mannerist schools, frequently reference the piece. Incorporating a gesture similar to John's would elevate the value of work with a religious bent.
Many people are skeptical of this painting, seeing it as a distressing portrayal of a character who is usually shown as gaunt and fiery, dwelling in the desert and subsisting on locusts and honey. St. John appears to be a hermaphrodite in Leonardo's artwork.
He has a womanish arm crossed across his breast, his finger lifted to heaven, and the same enigmatic smile seen on Mona Lisa's face, as well as in other Leonardo works such as St. Anne's. His face is almost faun-like, with a magnificent cascade of hair framing it. The finger pointing to heaven would occur frequently in Leonardo's work, indicating the arrival of Christ.
Vincent Van Gogh Most Famous Paintings
The painting depicts a half-clothed woman, with her breasts exposed on the upper side of her chest. This was once seen to be immoral and prostitute-like. A woman was expected to be morally upright, which included dressing appropriately.
Critics claim that the artwork of the Last Supper and Mary Magdalene are identical. Many believe Mary Magdalene is the woman depicted next to Jesus in Da Vinci's Last Supper picture. Leonardo had a talent for creating images that allowed the audience to interpret the message in their way.
A depiction of a woman's head rotated three quarters left and staring down. The hair is braided in intricate patterns and put in coils around the ears.
This is a study for Leda's head in the lost Leda and the Swan painting. Melzi's number is twelve. Leda, Queen of Sparta, was seduced by Jupiter in the form of a swan and carried two eggs, each of which birthed twins, according to Greek mythology.
Leonardo worked on two versions of a Leda and the Swan composition, one in which she kneels and the other in which she stands, eventually painting the standing version (destroyed around 1700). Here, Leonardo paid little heed to her demure downward gaze, instead focusing on the most difficult of hairstyles. The top of her head is covered with parallel plaits, with an interlacing pattern at the temples.
Saint Anne, her daughter the Virgin Mary, and the infant Jesus are shown in this painting. As the Virgin tries to stop Christ, he is portrayed wrestling with a sacrifice lamb signifying his Passion.
The work was commissioned as the high altarpiece for Florence's Santissima Annunziata Church, and Leonardo had been thinking about it for a long time. On closer inspection, Leonardo's picture is both pleasant and tranquil, but also perplexing.
The three figures are arranged in a compact composition, with the Virgin Mary engaging with the child Jesus. Mary is sitting on Saint Anne's lap, as may be seen by a closer inspection of their positions. It's unknown what this could represent or what message Leonardo was trying to send with that position.
There are no obvious parallels in other works of art, and women sitting on each other's lap are not a cultural or traditional reference to which the audience may relate. Furthermore, while neither the Mother Virgin nor Saint Anne's exact sizes are known, it is clear from the painting that Saint Anne is a much larger person than Mary.
Despite the apparent lack of visual indications indicating Saint Anne's older age that would otherwise identify her as the mother, Leonardo used this faint yet observable size distortion to emphasize the mother–daughter relationship between the two figures. A lamb is held by the child. Mary is also seen gazing into the eyes of her child, while Saint Anne is looking at Mary.
Leonardo may have been aiming to make a message about their relationship and personalities by having Mary sit on her lap and Saint Anne looking at her.
Top 10 Most Famous Paintings by John William Waterhouse
Jesus reaches clumsily for the flower held tenderly in Mary's hand in Madonna of the Carnation. He appears to be unable to control his motions, as all infants do, as he tries to grab the sign of the Passion.
It has a Venetian flavor and a projected date of circa 1469, showing strong similarities to Madonna with the Carnation. This is the same year as Verrocchio's visit to Venice, which was closely followed by Leonardo's.
This picture, also known as the Munich Madonna or the Madonna with the Vase because of the vase of flowers beside her, dates from 1478-1480 and is regarded one of Leonardo's earliest independent works.
Although many researchers disagree on this point, other factors support the theory. Some of the intricacies in the Virgin's face may be seen in one of his drawings, and the hair, Madonna's left hand, landscape, drapes, and the cushion on which the infant is seated are all typical of Leonardo, as is the use of chiaroscuro.
This tiny picture was completed by Leonardo, but the original is likely gone. There are several copies still in existence, and there is considerable conjecture that two of them are by Leonardo himself, although this is still up for question, and they might just as easily have come from gifted classmates. Because a letter from April of that year reveals Leonardo working on Madonna of the Yarnwinder, the original piece can be safely dated to 1501.
This picture has one of the most interesting and complete sketches Leonardo has created; a close examination reveals that the piece is based on geometric figures such as triangles and ellipses.
The Royal Collection at Windsor Castle also has an exquisite red chalk depiction of the Madonna's head and shoulders. The winder in this work, meant for Florimond Robertet, Secretary to the King of France, is designed like a cross, symbolizing Christ's Passion and impending death. Mary looks to be trying to take the Child away from the emblem of His future, but she is unable to stop the Crucifixion, which is a part of His fate.
The settings change drastically between the two pictures, with one depicting a severe mountain range beneath a vibrant blue sky and the other running down to the sea. Leonardo drew dozens of studies of small children in preparation for paintings that included the Christ child or the infant St. John the Baptist.
The majority of his children are between the ages of nine and eighteen months, all are presented naked, and all appear identical enough to make the observer wonder whether each painting was modeled by the same child. Unfortunately, Madonna with the Carnation has deteriorated considerably, and the surface has taken on a leathery appearance as a result of a faulty restoration; this is notably noticeable on the Madonna's face.
Kazimir Malevich Most Famous Paintings
King Louis XII of France and his consort, Anne of Brittany, may have commissioned Leonardo to create Salvator Mundi.
It was most likely commissioned soon after Milan and Genoa were conquered. The 26-inch oil-on-panel artwork features a half-length figure of Christ as Savior of the World facing forward and dressed in Renaissance-era attire.
Leonardo depicts Christ as he is described in John 4:14 of the Gospel of John: 'And we have seen and testify that the Father has sent his Son as the Saviour of the World.' Christ, softly bearded with auburn ringlets and holding a crystal sphere in his left hand while bestowing benediction with his right, stares fixedly at the viewer.
Salvator Mundi was said to have been destroyed at one point. The picture was lost from 1763 until 1900, when Sir Charles Robinson purchased it and identified it as a work by Bernardino Luini, a Leonardo admirer. In 1958, it was auctioned at a Sotheby's in England, where it sold for £45 (about $125 at the time). It then vanished until 2005, when it was purchased at a modest American auction house.
Top 10 Most Famous Paintings by Andy Warhol
It was painted in oil, umber, and white lead paints on a small poplar wood panel, and its attribution is still debated, with numerous scholars claiming it was done by a Leonardo student.
The picture has been praised for its alluring beauty, secretive demeanor, and sfumato expertise.
The theme, date, history, and purpose of the picture are all disputed. It depicts an unidentified woman looking down, her hair filling the frame behind her. Many theories have been presented about the painting, including that it is a sketch for an unfinished painting of Saint Anne.
Evelyn Dunbar Famous Paintings [British War Artist]
John the Baptist was initially featured in the picture. It was overpainted and renovated in the late 17th century, between 1683 and 1693, to serve as Bacchus.
The suavely beautiful, youthful, and slightly androgynous Giovannino was so at odds with artistic conventions in portraying the Baptist – neither the older ascetic prophet nor the Florentine baby Giovannino, but a type of Leonardo's invent – that Cassiano dal Pozzo remarked of the painting in its former state, which he saw at Fontainebleau in 1625, that it had neither devotion, decorum, nor similitude.
By transforming the long-handled cross-like staff of the Baptist to a Bacchic thyrsus and adding a vine wreath, the overpainting changed the figure of St. John into that of a pagan deity.
The fur robe is a John the Baptist heirloom, but it has been overpainted with leopard-spots, which, like the wreath, are associated with Bacchus, the Roman god of alcohol and intoxication.
Top 10 Most Famous Paintings by Felix Vallotton
Ludovico Sforza's first mistress, Cecilia Gallerani, was depicted by Leonardo as Lady with an Ermine.
The Duke would later have another mistress, Lucrezia Crivelli, and it is believed that she is the subject of this picture. Another possibility, albeit less widely recognized, is that this artwork depicts Isabella of Aragon. This could be Leonardo's work or it could not.
The woman's features are bigger and heavier than those found in Leonardo's portraits, and the attitude is stiff, which is unusual for him. "One would regret having to accept this as Leonardo's work," Bernard Berenson once observed of this image.
The knotted ribbons on her shoulders and the cords around her neck, which are similar to Leonardo's style, are cited by those who believe this is a real Leonardo. It's possible that this painting was done by an apprentice, or that Leonardo was forced to produce a traditional Milanese courtly portraiture at the whim of his patron; custom demanded an unnatural pose like the one shown in this painting.
As illustrated in this piece, it also placed a high value on extravagant clothing, jewelry, and other embellishments. Another possibility is that this was a collaborative piece involving multiple painters from the School of Leonardo and based on his design.
Leonardo da Vinci's painting Lady with an Ermine dates from approximately 1489-1490. The oil on the walnut board painting measures 40.3 cm wide by 54.8 cm high. Regrettably, the original backdrop was presumably covered in the 17th century. Cecilia Gallerani is the subject of the painting, which was most likely painted while she was the mistress of Lodovico Sforza, Duke of Milan, while Leonardo was in his service.
Lady with an Ermine has had a lot of paint applied to it. The entire background was darkened, her outfit behind the ermine was retouched, and the woman's transparent veil was repainted to match her hair color.
The final retouching has given the impression that her hair reaches down and beneath her chin. Another change was the inclusion of black shadows between her right hand's fingers; a close examination of the bottom two fingers reveals that they are far inferior to the others after being repainted by an unknown restorer. In the original background of this picture, an x-ray showed the presence of a door. Lady with an Ermine by Leonardo da Vinci is one of the most important works in Western art.
Only a few genuine panel paintings of his have survived. Leonardo, who was insatiably curious, frequently painted with experimental materials or abandoned projects after mastering the formal challenges they posed.
The Lady with an Ermine, a work of extreme rarity, is a stunning image of perfect beauty that demonstrates Leonardo da Vinci's exceptional artistic genius.
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La Bella Principessa (English: "The Beautiful Princess"), also known as Portrait of Bianca Sforza, Young Girl in Profile in Renaissance Dress, and Portrait of a Young Fiancée, is a vellum portrait in colored chalks and ink of a young lady dressed in fashionable costume and hairstyle of a Milanese of the 1490s.
It has been credited to Leonardo da Vinci by certain researchers, although the attribution, as well as the work's validity, have been questioned. Although radiocarbon dating studies suggest a considerably older age for the vellum, some who disagree with the attribution to Leonardo believe the portrait is by an early 19th-century German artist mimicking the manner of the Italian Renaissance. It's been called a forgery as well.
The white lead has a provenance of at least 225 years. In 1998, the art was auctioned for just under $22,000, and its present owner, Peter Silverman, purchased it in 2007. He has pushed for Leonardo's attribution, which is backed up by scholars Martin Kemp and Pascal Cotte's research.
Egon Schiele Most Famous Paintings
Leonardo da Vinci produced a portrait of Ginevra de' Benci circa 1474-1476. It measures 42 x 37 cm (16 1/2 x 14 1/2 in.) and is painted on wood.
The National Gallery of Art in Washington, DC today owns it, and it is the only Leonardo painting in the Americas. Ginevra de' Benci, a lady of the aristocracy in 15th-century Florence, was praised by Florentine contemporaries for her brilliance.
She is the subject of just about 17 Leonardo da Vinci paintings that have survived. This lady appears sulky, unforgiving, and arrogant, in contrast to Leonardo's other female portraits; this is highlighted by the slightly smaller cast of one eye, which makes her appear withdrawn.
Her left eye appears to be looking directly at us, while her right eye appears to be looking beyond some intangible point. Ginevra has shaved her brows, as had other Florentine ladies of the time (this is also obvious in the Mona Lisa). Perhaps her look hinted at her dissatisfaction with her impending marriage.
She would eventually go into self-imposed exile in order to recover from a severe illness, as well as be plagued by an ill-fated love affair. The flowing ringlets of her hair frame the marble aspect of her complexion, which Leonardo polished with his own hand.
This then contrasts brilliantly with the juniper bush's halo of spikes. Leonardo used layered oil glazes to create a thin veil of mist in the backdrop of this painting, known as sfumato. Despite the fact that Leonardo did not invent this effect, he became famous for his masterful application of it.
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Tags:20 of Leonardo Da Vinci Most Famous Paintings - Iconic Artworks!,Bacchus by Leonardo da Vinci,Head of a Woman by Leonardo da Vinci,La Bella Principessa by Leonardo da Vinci,La Belle Ferronniere by Leonardo da Vinci,Lady with an Ermine by Leonardo da Vinci,Leonardo Da Vinci Most Famous Paintings,Madonna and Child with the Infant Saint John the Baptist by Leonardo da Vinci,Madonna Litta by Giovanni Antonio Boltraffio and Leonardo da Vinci,Madonna of the Carnation by Leonardo da Vinci,Madonna of the Yarnwinder by Leonardo da Vinci,Mary Magdalene by Leonardo da Vinci,Mona Lisa by Leonardo da Vinci,Portrait of a Man in Red Chalk Drawing by Leonardo da Vinci,Portrait of Ginevra de' Benci by Leonardo da Vinci,Salvator Mundi by Leonardo da Vinci,St John the Baptist by Leonardo da Vinci,Study for the head of Leda by Leonardo da Vinci,The Annunciation by Leonardo da Vinci,The Last Supper by Leonardo da Vinci,The Virgin and Child with Saint Anne by Leonardo da Vinci,The Virgin of the Rocks by Leonardo Da Vinci


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Les Braves and Lady Braves d'Alcorn State sont un club omnisports universitaire de l'Université d'État Alcorn, situé près de Lorman dans l'État du Mississippi. Les équipes des Braves participent aux compétitions universitaires organisées par la National Collegiate Athletic Association au sein de la Division I (NCAA) Football Championship Subdivision. Ils sont affiliés à la Southwestern Athletic Conference et participent à 15 sports dont le football américain.

Football américain
Fondée en 1921, l'équipe de football américain a été intégrée à la Division I en 1977 et y joue dans la seconde subdivision depuis 1978. Ils sont affiliés à la Southwestern Athletic Conference depuis 1962, dans la Division Est.
L'équipe a remporté 15 titres de champion de conférence (en 1947, 1950, 1960, 1961, 1968, 1969, 1970, 1974, 1976, 1979, 1984, 1992, 1994, 2014 et 2015) et 2 de division (2014 et 2015).
Ils ont participé au playoffs à 2 reprises : en 1984 (atteignant les quarts de finale), 1992 et 1994 pour la dernière fois (éliminés au premier tour).
En tant qu'université historique noire, ils ont également remporté 6 titres nationaux de champion des universités afro-américaines (1968, 1969, 1974, 1984, 2014).
Une rivalité annuelle oppose les Braves d'Alcorn State aux Tigers de Jackson State. Pour la première fois en 2015, ils jouent un bowl, l'Air Force Reserve Celebration Bowl, qui inaugure la saison des bowls universitaires d'après-saison en opposant les champions respectifs de la SWAC et de la Mid-Eastern Athletic Conference.
Plus de  des Braves sont devenus professionnels en NFL.

Chant traditionnel
La fanfare d'Alcorn State,  joue la mélodie du « Chant de la guerre » (), tandis que les fans agitent un bras, un mouvement connu sous le nom de «  ». Ils terminent la mélodie avec un chant aigu coordonné.

Installations

Références

Liens externes

 Site officiel

Club sportif universitaire au Mississippi
Comté de Claiborne (Mississippi)

redpajama_set_name: RedPajamaWikipedia


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This post has been self-published on Youth Ki Awaaz by Gopi Shankar Madurai. Just like them, anyone can publish on Youth Ki Awaaz. Find out more
Arundhati Roy's New Book Can Undo Decades Of Work Done By Intersex Activists
By Gopi Shankar Madurai in Books, Culture-Vulture, LGBTQ, Society
More from Gopi Shankar Madurai
It was during my conversation with Dr Katrina Karkazis from Stanford University School of Medicine, best known for her book, "Fixing Sex: Intersex, Medical Authority, and Lived Experience", that the topic of the acclaimed author Arundhati Roy's latest book, "The Ministry of Utmost Happiness" came up. Like me, she too agreed that one of the book's protagonists, Anjum, is a complete misrepresentation of the intersex community.
Renowned intersex activist Hida Viloria, the president of OII, USA states that, "I noticed in an interview that she used "hermaphrodite" and then later used "trans" to describe the same characteristic. Very irresponsible of her as a writer to not research the character she is writing about enough to know what they are."
Initially, Anjum is described as an intersex person and later on, she is said to be a Hijra. I am an LGBTQIA+ activist myself and I'm not averse to the Hijra community. However, being identified and misrepresented as what you are not and do not prefer to be identified with is absolutely wrong.
Imagine that you are female and you identify as being one. However, if people identify you as male, wouldn't it upset you?
Sex is a seen as a 'biological identity' that is assigned at birth as 'male', 'female' or 'intersex'. Gender is a social role. There are innumerable gender identities and sexual orientations. Sexual orientation is what gender we are attracted to. But, in India, not many are aware of these differences.
Sangam literature uses the word 'Pedi' to refer to people born with the intersex condition, it also refers to antharlinga hijras and various Hijra. The Aravan cult in the Koovagam village of Tamil Nadu is a folk tradition of the trans women, where the members enact the legend during an annual three-day festival. This is completely different from the sakibeki cult of West Bengal, where trans women don't have to undergo sex change surgery or shave off their facial hair. They dress in feminine clothes, still retaining their 'masculine' features and sing in praise of Lord Krishna.
Image Credit: Vipin Kumar/Hindustan Times via Getty Images.
In conservative and heteronormative Tamil society, trans women completely change themselves to fit a more cisnormative idea of 'woman'. In the ancient times, even religion had its own way of accepting these fringe communities. The Nupi Manbis of northeastern India, the Bachura Devi worshipped in Gujarat and the Jogappa cult of Karnataka are other examples. There are even different kinds of dialects and languages that are spoken by these communities which differ from region to region. Like, 'Hijra Farsi' is the transgender community dialect, a mix of Urdu, Hindi and Persian spoken in the northern belt of India, Pakistan, and Afghanistan, and 'Kothi Baashai' is spoken by the transgender community in Karnataka, Andhra, Orissa, and parts of Tamil Nadu.
They even have sign languages and typical mannerisms to communicate. The peculiar clap is one such, but they were very clear about intersex people and referred to them as Mabedi Usili and gave a distinct identity to denote them. Students from across the globe come to Srishti Madurai to know, learn about these diverse indigenous gender minority communities. And, when you see such an acclaimed author, who has an enormous base of readers worldwide, portraying the community in a wrong light, we are pushed back about 10 years. All our work towards spreading awareness about ourselves and that we are different from the Hijra or transgender community, goes in vain, just because one author doesn't take into account the need to research her subject well.
Arundhati Roy cannot club these diverse communities into one and homogenise these varied communities.
Intersex people are known as Mabedi Usili, Antharlinga Hijra, Idailinga in native communities but Arundhati Roy simply misrepresented my community and sex identity. She needs a proper understanding of sex, gender and sexual orientation among native indigenous gender minority communities which has a huge diversity in Asia and its subcontinent.
Intersex people are not the same as trans people, but Roy failed to define and differentiate these differences.
She has all the right to frame a story, but, if one is writing about a certain community, they should research about it and get the facts right, at the least.
We have struggled so much, just to create visibility around the word 'intersex' and to establish our existence and identity. When progressive writers like Arundhati Roy misrepresent us, so many people will get a wrong understanding of our community.
I will give the basic differences between Hijra and Intersex so as to give our readers a better understanding of the terms.
Intersex is a sex identity whereas transgender is a gender identity. All Hijras come under the transgender umbrella but not all trans people are Hijras. Intersex people are born with ambiguous reproductive organs and/or may have several variations in sex characteristics, including chromosomes, gonads, sex hormones. The Hijra community is one of the oldest gender identities in India and has their own language, traditions, rituals, and code of conduct. A few intersex people choose to identify as trans but that's not the identity of our entire community.
Also, calling us 'hermaphrodite' is derogatory and we do not prefer people using this term for us. Why are you homogenizing our people?
The change or rectification the intersex community and activists seek from the author is that she can just add one extra page, address the differences between sex and gender identities, and clarify the differences between the intersex and the Hijra communities.
Tony Briffa, the world's first intersex politician, former Mayor of Hobson's Bay City, and member of OII, Australia states,"The conflation between intersex and trans is made by people who do not understand what intersex is. Intersex is about biology. Intersex is about being born with biological sex characteristics that are outside the medical norms for female and male. It is not about people who are born biologically one sex and have a gender identity that is not aligned with their biology.
The misrepresentation by someone who proclaims to be an expert is a great concern. Of greater concern is her refusal to correct the misrepresentation when she is informed by reliable sources that her comments are wrong, offensive and damaging to a community."
Kiya Sinewave
I think you are correct in challenging the conflation of trans and intersex. They are not the same. But, please, don't throw trans people under the bus by suggesting that one is "biological" and one isn't. Biological essentialism (the idea that there are two distinct sexes OR genders) is a big problem that hurts trans and intersex people.
Also, I think that trying to make a distinction between sex and gender is problematic. Sex as a biological construct just simply doesn't hold up. The biological configuration of an organism is a lot more complicated than A or B, as the existence of intersex people prove; to say that transgender is a gender identity also erases transexuals, which I would argue is a sex identity in the way you talk about it. Gender may appear as something expressed through clothes and outward appearance, but it is something far deeper than appearances or simply a "choice."
As a transexual woman who usually does give support to the trans umbrella by saying that I'm a "trans woman," I'm making a special effort to give support to intersex people. But please don't erase transexuals and mischaracterize transgender people in trying to right Arundati Roy's wrong.
Gopi Shankar Madurai
I am an LGBTQIA+ activist myself and I'm not averse to the Hijra community, Transgender people or people who identify with an expandable list of identities. However, being identified and misrepresented as what you are not and do not prefer to be identified with is absolutely wrong and Youth Ki Awaz removed this when they edited and It seems they are biased.
Don't talk bullshit and try to create politics out of nothing, I am not mischaracterizing transgender people and What Arundathi did is wrong, I have done so much for Transgender people and community please ask your YKA team why they edited my article in a highly biased manner before you point your fingers you should know the amount of service I rendered to this community without taking single penny from anyone.
By Mallika Khosla
Review: Spend A Night (Or Two) Under The Spell Of 'The Night Circus' By Erin Morgenstern
By niharika niharika
पुस्तक समीक्षा: 'वन डे यू विल रीच द टॉप' असफल प्रेम से कामयाबी तक की कहानी
By Md Sohel
'Waiting For The Mahatma': An Intriguing Read With Hints Of Comedy Amidst Tragedy

redpajama_set_name: RedPajamaCommonCrawl


text:
Scrap the Backing Track – How I Create Live Improvisations Using an Ableton Push
May 22, 2017 by Guest Writers
+ Master the processes and techniques for programming professional-grade electronic drum beats in Ableton Live with Soundfly's acclaimed mentored online course.
By Dan Freeman
In 2013, I had the fortune of receiving one of the first ever Ableton Push sequencers before the model went to market. I was chosen to be the Certified Trainer who demoed the instrument for its launch in the US, and Ableton gave me all of three weeks to figure it out! I instantly fell in love with it, and I realized that one of the amazing things about the Push was that it enables you to craft well-rounded production ideas incredibly quickly.
The Push gave me the ability to create ideas and loops so quickly that I had this idea of doing a whole set of "live production." Live production meant essentially starting with an empty Ableton Live set with some sounds loaded in and, in real time through looping and playing live, building an entire song so quickly that it sounded like something playing back.
I had been using Ableton Live as a live performance tool since 2005, but I had always used it to play back whole songs or parts of songs. If you want to learn more about how I use Ableton Live to create fresh beats and danceable grooves, check out my Mainstage course for Soundfly, Beat Making in Ableton Live.
With live, performance-based production though, I could create music that was truly live, meaning that it was created in the moment for that time and place. And, like all live music, sometimes it would work and sometimes it wouldn't.
If you watch the video closely, you'll notice that we left the mistakes in. At minute two, I forgot to unmute the bass channel, for example. But that's what happens live. In this video, I start with a blank Ableton session with eight tracks. Live, I only use eight tracks — the Push can only show eight at one time, and also, I feel that it's really important in a live situation not to make your setup too complex. So I limit myself to eight.
I start by looping in the bass. I use the loop function on the Push, which is really fantastic, and ClyphX to set my loops up.
I then create a beat with the "Slice" function in Ableton's new Sampler. I have a classic old Pointer Sisters' R&B song chopped up, and it creates a vibe beat — something you can learn all about how to do in my course. I then loop a vocoder over it. Here's more on building a vocoder and recording vocals live into Ableton.
I then drop a bass line. I have a couple of bass sounds that I use live. This a clean sound. I also use a distorted guitar sound later in the song.
+ Learning to record and mix at home? Check out Soundfly's acclaimed online courses on mixing, production, and beat making — Subscribe for unlimited access.
I drop a heavier beat at 2:39. An important part of my live set involves what's called "generative music." Generative music means that I have an algorithm that allows the computer to spit out music — essentially improvising through randomness.
I have a beat chopped into a drum rack and a MIDI clip sending a sequence to the drum rack. But with random MIDI devices, I add random percentages to create fills in different parts — another thing you can learn more about in our course. If you listen to the heavy beat, you'll hear "fills" from time to time. These are randomly generated by the machine.
I use a simple Rhodes sound which Ableton's "Electric" instrument and some effects. I really like the Push's interface and I think there's something really natural and intuitive about it, especially as a bass player.
I use a Moog Minitaur for leads and to add some analog synthesis to the mix. I personally love mixing digital with analog and live instruments.
Finally, I have effects on the master channel including stutters, chopping effects, and filters. I control these with my left hand.
I see my live set up as a complete instrument, meaning that when I practice my live set, I always have every device in the exact same place so I can develop the muscle memory to move really quickly between all the controllers. Once you figure out your ideal performance setup, stick with it for a while in order to really internalize where everything is. Come gig time, you'll be glad not to have to do so much thinking on your toes!
Dan Freeman, also known as CØm1x, is an Ableton Certified Trainer, artist/producer/bassist, and music technologist based in Brooklyn, New York. One of the world's leading experts on the integration of live instruments with laptops using Ableton Live, he does live electronic acid house and electro funk sets that integrate live musicianship with improvised sound creation and visuals.
Dan is the instructor of Soundfly's Mainstage course Beat Making in Ableton Live.
Tags: ableton, ableton live, bass, beat maker, beat making, electronic, electronic drums, live performance, music production, performance, producer, production, push, sampling
Soundfly welcomes new voices each month to offer unique perspectives, shine a light on unexpected musical worlds, and help our readers find their sound.
5 Vocal Techniques Kimbra Uses That All Singers Can Learn From
Master the Fundamentals of Producing Music in Ableton Live With Our New Course
5 Steps for Achieving Your New Years Goals in 2021
Using Slate's Fresh Air Plugin to Add Brightness and Clarity to My Mix (Video)
Basic Vocal Processing in Hip-Hop Production


If it isn't adequate, you can still go through the remarks remaining by our consumers and notice the range of Essay Authorities issues encompass available 1%. Scholarship essay could be a piece of succeed written by an individual so you can get fiscal help from an academic institution for learning. Croping and editing is frequently perplexed with proofreading and vice versa, but believe it or not, these are generally two many different sections in the producing process.
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text:
La sottofamiglia Botiinae comprende alcune specie di pesci della famiglia Cobitidae.

Generi
La sottofamiglia comprende 7 generi:
Botia
Chromobotia
Leptobotia
Parabotia
Sinibotia
Syncrossus
Yasuhikotakia

Altri progetti

Cobitidae


text:
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN" "http://www.w3.org/TR/html4/loose.dtd">

<META http-equiv="Content-Type" content="text/html; charset=utf-8">
<TITLE>
接口 javax.security.auth.callback.CallbackHandler 的使用 (Java Platform SE 6)
</TITLE>

<META NAME="date" CONTENT="2007-03-19">

<LINK REL ="stylesheet" TYPE="text/css" HREF="../../../../../stylesheet.css" TITLE="Style">

      概述
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Standard Ed. 6

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接口 javax.security.auth.callback.CallbackHandler
的使用

使用 CallbackHandler 的软件包

java.security
为安全框架提供类和接口。

javax.security.auth.login
此包提供可插入的验证框架。

javax.security.auth.spi
此包提供用于实现可插入验证模块的接口。

javax.security.sasl
包含用于支持 SASL 的类和接口。

java.security 中 CallbackHandler 的使用

返回 CallbackHandler 的 java.security 中的方法

 CallbackHandler
KeyStore.CallbackHandlerProtection.getCallbackHandler()

          返回 CallbackHandler。

参数类型为 CallbackHandler 的 java.security 中的方法

abstract  void
AuthProvider.login(Subject subject,
      CallbackHandler handler)

          登录到此 provider 中。

abstract  void
AuthProvider.setCallbackHandler(CallbackHandler handler)

          设置 CallbackHandler。

参数类型为 CallbackHandler 的 java.security 中的构造方法

KeyStore.CallbackHandlerProtection(CallbackHandler handler)

          根据 CallbackHandler 构造新的 CallbackHandlerProtection。

javax.security.auth.login 中 CallbackHandler 的使用

参数类型为 CallbackHandler 的 javax.security.auth.login 中的构造方法

LoginContext(String name,
             CallbackHandler callbackHandler)

          使用 name 和 CallbackHandler 对象实例化一个新 LoginContext 对象。

LoginContext(String name,
             Subject subject,
             CallbackHandler callbackHandler)

          使用 name、要进行验证的 Subject 和 CallbackHandler 对象实例化一个新 LoginContext 对象。

LoginContext(String name,
             Subject subject,
             CallbackHandler callbackHandler,
             Configuration config)

          使用 name、要进行验证的 Subject、CallbackHandler 对象和登录 Configuration 来实例化一个新 LoginContext 对象。

javax.security.auth.spi 中 CallbackHandler 的使用

参数类型为 CallbackHandler 的 javax.security.auth.spi 中的方法

 void
LoginModule.initialize(Subject subject,
           CallbackHandler callbackHandler,
           Map<String,?> sharedState,
           Map<String,?> options)

          初始化此 LoginModule。

javax.security.sasl 中 CallbackHandler 的使用

参数类型为 CallbackHandler 的 javax.security.sasl 中的方法

static SaslClient
Sasl.createSaslClient(String[] mechanisms,
                 String authorizationId,
                 String protocol,
                 String serverName,
                 Map<String,?> props,
                 CallbackHandler cbh)

          使用提供的参数创建 <tt>SaslClient</tt>。

 SaslClient
SaslClientFactory.createSaslClient(String[] mechanisms,
                 String authorizationId,
                 String protocol,
                 String serverName,
                 Map<String,?> props,
                 CallbackHandler cbh)

          使用提供的参数创建 SaslClient。

static SaslServer
Sasl.createSaslServer(String mechanism,
                 String protocol,
                 String serverName,
                 Map<String,?> props,
                 CallbackHandler cbh)

          为指定机制创建一个 <tt>SaslServer</tt>。

 SaslServer
SaslServerFactory.createSaslServer(String mechanism,
                 String protocol,
                 String serverName,
                 Map<String,?> props,
                 CallbackHandler cbh)

          使用提供的参数创建 <tt>SaslServer</tt>。

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提交错误或意见
有关更多的 API 参考资料和开发人员文档,请参阅 Java SE 开发人员文档。该文档包含更详细的、面向开发人员的描述,以及总体概述、术语定义、使用技巧和工作代码示例。
版权所有 2007 Sun Microsystems, Inc. 保留所有权利。 请遵守许可证条款。另请参阅文档重新分发政策。

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Aliante FSED – Fast Track Panel Job!
North Las Vegas is looking forward to the opening of the latest free standing 24 emergency room – opening summer of 2018. Brian Harris and Rand Nelson are leading the charge on this new single story 11,000 sf building that will provide 24/7 services including 12 patient rooms, blood bank, pharmacy and X-ray room. The building's exterior is constructed with pre-fabricated framed panels and a complete EIFS system – providing an efficient and aesthetic structure in record time.


The Talos™ II mainboard is the first modern (post-2013), owner-controllable, workstation- and enterprise-class mainboard. Built around the brand-new IBM POWER9 processor, and leveraging Linux and OpenPOWER™ technology, Talos™ II allows you to secure your data without sacrificing performance. Designed with a fully owner-controlled CPU domain, you can audit and modify any portion of the open source firmware on the Talos™ II mainboard, all the way down to the CPU microcode. This is an unprecedented level of access for any modern workstation- or enterprise-class machine, and one that is increasingly needed to assure safety and compliance with new regulations, such as the EU's GDPR.
An owner-controlled, CPU-based secure boot mode also is available at any time. When secure boot is properly configured, and if the mainboard is located in a physically secure environment (e.g., a datacenter or locked workstation case), you can be assured that only your pre-approved and pre-audited firmware, kernel, and user space components are executing on a Talos™ II system.
To get you started as quickly as possible, the Talos™ II for IBM PowerAI™ Developer System comes pre-loaded with a Debian Buster ppc64el installation. Default login credentials are root/root and should be changed after receiving the machine. This default installation can be wiped and an OS of your choice installed if desired. Submissions to the Debian popularity contest are enabled by default in order to better determine packages that should receive maintainer attention; you can disable this by uninstalling the popularity-contest package. Submissions are anonymized, see https://popcon.debian.org/README for more information.
Order your Talos™ II for IBM PowerAI™ Developer System today!
NOTE: POWER HSF assemblies use a unique high-pressure locking mechanism to ensure proper CPU contact. The installed HSF assemblies will require a 5/32" hex driver, such as our TL2HD1, for attachment and removal.
NOTE: The proprietary NVIDIA® driver stack does not support OpenGL. There is no way to add OpenGL support to the proprietary driver stack. This system is designed for GPU compute, and while a minimal 2D framebuffer is supported 3D applications will fall back to non-accelerated LLVMPipe rendering. This may result in modern desktop environments, such as KDE and Gnome, failing to operate at an acceptable speed. While we ship these systems with an alternate desktop environment that does not require OpenGL, if you would prefer to use an environment that requires OpenGL we would recommend you purchase a Talos II Entry-Level Developer System, with an AMD GPU installed, alongside this system. The AMD GPU comes with an open driver stack that provides full access to acceleration capabilities including OpenGL on POWER platforms.
NOTE: Using the included NVIDIA® GeForce™ GPU will require the acceptance of an EULA from NVIDIA®. Functional open source drivers are not available, and cannot be made available by any technical means, due to NVIDIA® design decisions. Purchasing these systems indicates acceptance of the NVIDIA® EULA. The included NVIDIA® GeForce™ GPU may be limited in functionality by NVIDIA® software. The warranty period for the NVIDIA® hardware components of this system is limited to 30 days, and no warranty express or implied is provided for NVIDIA® firmware, software, or other machine code. Support questions related to the NVIDIA® hardware or software components will need to be directed to NVIDIA® technical support, we are unable to assist with technical support on NVIDIA® products due to the proprietary nature of the hardware, firmware, and software stack.
NOTE: Product images shown are representative of the product being sold, but may vary slightly from the product as shipped due to continuous improvement and related changes.


Europe is facing a double financial challenge: a significant need for long-term investments to spur economic growth and a growing pension gap. Unfortunately, at a time when low interest rates and tightened prudential standards strain the ability of life insurers and pension funds to offer guaranteed returns, Europe lacks both a framework ensuring the quality and accessibility of long-term investment solutions for small retail investors and defined contribution pension plans.
This report offers a potential solution to both problems. Based on the findings of a CEPS-ECMI Task Force on Long-Term Investing and Retirement Savings, the report looks at how to steer household wealth—accounting for over 60% of total financial wealth in Europe—toward long-term investing. This shift could achieve two goals at once: greater economic growth and higher pensions.
Mirzha de Manuel Aramendía, a lawyer and economist, is a researcher at the European Capital Markets Institute, an independent research institute run by CEPS in Brussels.


text:
Arizona › Chandler › Regus | San Tan Corporate Center II ›
Regus | San Tan Corporate Center II
3100 W Ray Rd, Chandler, AZ 85226 - Confirmed Open
The Chandler, Arizona business center is located within the San Tan corporate center, a pair of three-story, steel-structured buildings nestled in a campus setting. Striking architectural features include a glass-enclosed two-story central lobby with granite and limestone floor and cherry wood accents. There are floor-to-ceiling glass windows at first floor level as well as an outdoor garden walkway and exterior balconies and patios. Chandler is a high-tech industrial city with the fourth largest population in Arizona, following Phoenix, Tucson, and Mesa. An influx of young, educated and affluent citizens in the last 10 years has helped to make this an exciting place to live and work. The city prides itself on being a progressive, cutting-edge destination with a strong entrepreneurial spirit. Many high-tech and financial companies are based here. As well as being a world-class innovation hub, Chandler has the superior infrastructure required for future growth in the manufacturing sector.
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3100 W Ray Rd, Chandler, AZ 85226


text:
The Green Terror er en britisk stumfilm fra 1919 af W. P. Kellino.

Medvirkende
 Aurelio Sidney som Beale
 Heather Thatcher som Olive Crosswell
 W. T. Ellwanger som Dr. Harden
 Cecil du Gue som Punsunby
 Maud Yates som Hilda Glaum

Referencer

Eksterne henvisninger

Stumfilm fra Storbritannien
Britiske film fra 1919
Dramafilm fra Storbritannien


text:
House Speaker Nancy Pelosi departs in an elevator with aides following a House Democratic caucus meeting on Capitol Hill in Washington, D.C., on July 10, 2019. Photo: Andrew Harnik/APHouse Speaker Nancy Pelosi departs in an elevator with aides following a House Democratic caucus meeting on Capitol Hill in Washington, D.C., on July 10, 2019. Photo: Andrew Harnik/AP
As Border Crisis Deepens, Nancy Pelosi Asks for Prayer to Heal Democratic Rifts
In the House Democratic caucus meeting, the Speaker fired shots at Alexandria Ocasio-Cortez for her criticism of conservative members.
Aída Chávez Ryan Grim Akela Lacy
Aída Chávez, Ryan Grim, Akela Lacy
July 10 2019, 11:20 p.m.
House Speaker Nancy Pelosi continued her criticism of the progressives in her party at a private House Democratic caucus meeting on Wednesday. "Every time I'm attacked, I raise more money," Pelosi said, looking directly at Rep. Alexandria Ocasio-Cortez and drawing huge applause from the caucus.
Pelosi claimed that party infighting was putting the House majority at risk by jeopardizing seats flipped from red to blue in 2018. Ocasio-Cortez has been openly critical on Twitter of Blue Dogs and New Democrats, who represent conservatives in the caucus. "Think twice about it," Pelosi advised about staffers who tweet, according to a member in the room. "Actually, think only once about it and don't do it."
Pelosi has been engaged in a feud with the four freshman Democrats known as "the Squad," comprised of Ocasio-Cortez; Ayanna Pressley, D-Mass.; Rashida Tlaib, D-Mich.; and Ilhan Omar, D-Minn., over their lack of support for a bill to provide funding for President Donald Trump's border wall alongside humanitarian aid. Over the weekend, Pelosi ignited the infighting with comments to the New York Times's Maureen Dowd. "All these people have their public whatever and their Twitter world," she told the Times. "But they didn't have any following. They're four people and that's how many votes they got."
Some members in the room took the tongue-lashing in the caucus meeting to be largely directed at Ocasio-Cortez, who was present in the meeting. Ocasio-Cortez has been the most forceful in pushing back against Pelosi's comments, though the other members of the Squad haven't remained silent.
On Saturday, Ocasio-Cortez responded to Pelosi's comments by citing distrust of the administration not to divert aid away from overcrowded detention centers, where many migrants have now died, toward immigration enforcement. Most recently, NBC News reported that migrant children have alleged sexual assault at the hands of officers.
The chief concern of the meeting for Democratic leadership back in Washington, though, was not the decrepit conditions or the allegations of assault against the children, but the public criticism of how the bill was handled — linked to a concern about upcoming congressional elections and the fate of moderate Democrats.
Initial reporting of the caucus meeting suggested that Pelosi was referring to Rep. Mark Pocan, D-Wisc., calling him out for his dubbing of the Problem Solvers Caucus as the "Child Abuse Caucus" on Twitter after the group organized an effort to block a House bill that would have mandated better conditions for children in detention at the border.
But Pocan was not at the meeting, and Pelosi called him directly after he was named in an article to assure him that she wasn't referring to him, but talking about the staff tweets. "She didn't know about my tweet and it wasn't about me," Pocan said of the message Pelosi relayed to him. Multiple members of the Problem Solvers Caucus, however, had earlier complained to Pelosi about Pocan's tweet, a source with knowledge of their comments said.
Pelosi's deputy chief of staff, Drew Hammill, said on Twitter that Pelosi's comments were meant to unify, targeted not at specific members but at the caucus in general:
The Speaker was not scolding progressives. She was saying to all Members that we as a family should have our conversations together as a Caucus not on Twitter. This was a general comment not aimed at any particular Member or group. This was a unifying speech & well received. https://t.co/znZfRAvnJ4
— Drew Hammill (@Drew_Hammill) July 10, 2019
At the end of the meeting, Pelosi sought to heal the wounds she had freshly reopened, and asked a preacher to come forward and lead a prayer so that the rifts in the Democratic Party may be healed. No preacher came forward, as none were present, so Majority Whip James Clyburn, D-S.C., led the faithful. "His prayer was brief and powerful and incredibly well received," said Hakeem Jeffries, D-N.Y., the caucus chair. "He simply prayed for a spirit of discernment, the spirit of being able to do the right thing and to move forward collectively."
Original reporting. Fearless journalism. Delivered to you.
I'm in
As important as it is to move forward collectively, Ocasio-Cortez said, she also has a district of constituents to represent. Democrats in swing districts often justify their votes to colleagues by saying that they want to vote for the right thing, but their voters back home just aren't there for it. Ocasio-Cortez made her own version of that argument Wednesday afternoon.
"I think that it's unfortunate, you know, what gets interpreted as an attack, right?" Ocasio-Cortez told reporters. "When we approve $5 billion to agencies that are killing kids and I represent a district that is 50 percent immigrants, my families and communities feel attacked and I have a responsibility to stand up for them, and I think that it would be hypocritical for me to remain silent on injustices just because those injustices may come from our side of the aisle."
Aída Chávez[email protected]theintercept.com@aidachavez
Ryan Grim[email protected]theintercept.com@ryangrim
Akela Lacy[email protected]theintercept.com@akela_lacy


text:
Monday Roundup!!
Big Smoke | September 28, 2015 | Submissions Opportunties, Uncategorized | No Comments
Autumn has officially started, the schools are back and the evenings are getting darker! The perfect time of the year to enter some competitions!
Flash Fiction Competitions
Short Story Competitions
Poetry Competitions
Playwriting Competitions
Novel Writing Competitions
Novella Submissions and Competitions
As always, contact us with anything you feel should be included!
Litro Magazine
Deadlines: Whodunit (October 2015), Space (November 2015), Going Home (December 2015), Love (February 2016), Britishness (March 2016)
Notes: Accept short fiction, flash/micro fiction, nonfiction (memoir, literary journalism, travel narratives, etc), and original artwork (photographs, illustrations, paintings, etc) based on the designated monthly theme.
Skylight 47
Deadline: 1 Oct 2015
Notes: poems and original artwork from Ireland and abroad, Please send up to four poems, along with a short biographical note (max 60 words), unpublished, poems to be no longer than 40 lines, Contributors will receive one copy of the magazine and an invitation to read at the launch
ABRIDGED 0 – 43: LETHE: Submission Call
Notes: Abridged is exploring memory and oblivion in its 0 – 43: Lethe issue, poetry (up to three poems) and art (up to A4 size and 300dpi or above)
Hunger Mountain
Deadline: October 1
Notes: Poetry, fiction, creative nonfiction, and children's literature, entry fee is $3.
The Looking Glass
Deadline: Friday 16th October 2015.
Notes: Children's Literature or Young Adult Fiction, accepting short stories and novel extracts (2500 words) poetry, plays (six pages) illustrations and comic strips.
The Stockholm Review of Literature
Deadline: October 31st
Notes: Looking for short stories, poetry, essays
Long Story, Short
Deadline:31 October
Notes: Over 4000 words long, although a few hundred words less is welcome. There is no upper word limit, so long as the author considers the work a short story,
Dublin Inquirer
Deadline: 14 November
Notes: Between 3,000 and 5,000 words, Dublin superheroes that we can publish in the Christmas fiction issue,
Feel free to interpret the theme as loosely as you'd like.
Deadline: 9 December 2015
Notes: 1-2 short stories of up to 2,200 words and 1-4 poems of up to 40 lines
Notes: Poetry and Prose, short stories upper word limit of 7500 words, small collection of up to five pieces,
Notes: Modern Love are interested in receiving deeply personal essays about contemporary relationships, marriage, dating, parenthood…any subject that might reasonably fit under the heading "Modern Love." 1500-1700 words
Unbuild Walls
Notes: Speculative literary fiction up to 5,000 words.
Sixteen magazine
On the 16th of every month leading up to the 16 months before April 2016, they will publish an issue of their magazine online.
Deadline: Different prompts with different closing dates
Looking for: Submissions that relate to their prompts.
Hamburgers n' Heroin
Looking for: If interested in submitting a story or writing for them encouraged to get in touch, get back to you within 24hrs
The Flexible Persona
Notes: Open to all genres, Simultaneous Submissions between 1200 – 6500 words accepted.
Looking for: social-political elements of imaginary, futuristic, fantastic, horrifying, surreal or otherwise speculative universes. We are particularly interested in feminist, queer, postcolonial and ecological themes, writing by under-represented voices, and stories from outside the Anglophone world.
Headstuff
Looking for: PoetryStuff including literature and poetry (see submission guidelines)
Looking for: For poetry submissions, we ask that you send a cover letter with a brief bio, with no more than five poems, For fiction, commentary & narrative non-fiction no more than five pieces per submission (as an attachment) and include a cover letter, and a short bio, 2,000-3,000 words per piece.
Poetry Ireland Review
Looking for:Send a maximum of six poems, Keep a hard copy / digital copy of each submission, Poems should be original, and previously unpublished, Editor, currently Vona Groarke, Poetry Ireland Review, Poetry Ireland,
32 Kildare Street, Dublin 2, Ireland.
Bath Flash Fiction Award
Deadline: Each award ends at 1000 entries
Prizes: £1000 prize for the winner, £300 second and £100 third. Two commendations.
Notes: 300 word limit, Entry £4.00 for members, or £6.00 as part of a group entry, or £9.00 standard.
MASH competition
Deadline: 15th October 2015
Prizes: $100 for the winning story
Notes: Every three months, three random objects are selected from a randomly gathered list. Max. 500 words, excluding the title, no submission fee
The 2015 Ernest Hemingway Flash Fiction Prize
Deadline: 1st of December 2015.
Notes: The winner will receive $200 and publication in the magazine, Fiction Southeast. The runners-up will also be published in Fiction Southeast. Submit flash fiction, up to 1,500 words. Entry fee is $10.
The "Aestas" Short Story Contest 2015
Deadline: Sep 30, 2015
Prizes: First Prize is US$150 and 2 copies of the anthology, second prize is US$100 and 2 copies of the anthology, third prize is US$100
Notes: US$10 entry fee, not less than 2000 words and no more than 7,000 words.
Alfie Dog Fiction International Short Story Competition
Deadline: 30th September 2015
Prizes: 1st Prize: £200 AND Publication of a short story collection of 35,000 – 40,000 words with editorial support for completion, 2nd Prize: full critique of stories to a total maximum word count of 10,000 words
Notes: Entry fee is the download of 5 paid short stories by different authors, between 1000 and 2000 words excluding title
Deadline:Sep 30, 2015
Notes: US$10 entry fee, not less than 2000 words and no more than 7,000 words
Glimmer Family Matters
Deadline: September 30th
Prizes: 1st place wins $1,500, publication in Glimmer Train Stories, and 20 copies of that issue, 2nd place wins $500 (or, if accepted for publication, $700 and 10 copies), 3rd place wins $300 (or, if accepted for publication, $700 and 10 copies).
Notes: Stories about families of all configurations. It's fine to draw heavily on real life experiences, but the work must read like fiction. Most entries run from 1,500 – 6,000 words, but any lengths up to 12,000 words are welcome.
Caterpillar Short Story Prize
Deadline: 30 SEPTEMBER 2015
Prizes: The winning story will feature in the winter 2015 issue of The Caterpillar
Notes: Open to anyone, as long as the work is original and previously unpublished,entry fee is €12 per story, 2,000 words written by an adult for children (aged 7–11)
Carried in Waves
Prizes: 1ST PRIZE €300, 2ND prize €200, 3RD prize €100
Notes: English language of 3,000 words or less. Entries can be sent to carriedinwaves@ucc.ie
The themes explored may be of any nature but the shortlist of forty stories will be recorded for broadcast, entry fee is €10
Cross Pens Writing.ie 'Make Your Mark' Short Story Competition
Deadline: 1st October 2015
Prize: Cross Pen up to the value of €250 from their extensive collection, but they will get a chance to talk publishing with both Simon Trewin and Vanessa Fox O'Loughlin over lunch in Dublin on Saturday 17th October
Notes: 1000 words maximum, no minimum, the title is not included in the word count, the theme of the competition is 'Make Your Mark', this does not have to be your title, but your story should reflect the theme.
Nineteeth Annual Zoetrope: All-story Short Fiction Contest
Deadline: October 1, 2015
Prizes: First is $1,000, second is $500, third is $250
Notes: Strictly 5,000 words or fewer; and accompanied by an entry fee of $20 per story
Prolitzer Prize for prose writing 2015
Deadline: October 1st 2015
Prizes: £200, Publication in Prole 18 in December 2015, Publication on the Prole website, 2 x runner up prizes of £50, possible publication in Prole 18, Publication on the Prole website
Notes: £4.00 for first entry, £3.00 for any subsequent entries, Word limit 2500, Winners will be announced in issue 18 of Prole in December 2015 and on website by December 15th 2015.
Prizes: $100 for the winning story! All shortlisted stories are published on our website, and narrated by professional voice actors and broadcast in MASH podcast.
Notes: Every three months, three random objects are selected from a randomly gathered list. Writers are invited to incorporate them into a short, sensible and convincing story. Max. 500 words, excluding the title
The KISHBOO Magazine short story competition
Deadline: 20th of October 2015
Prizes: First- £50. Runner-up – £25.
Notes: Entry fee is £3 per story, no longer than 2,000 words.
Reading Room Cafe Publishing Short Story Competition
Deadline: October 20th, 1pm UK time.
Prizes: Top prize of £50, publication and 5 copies of the book, Top 10 stories will be published,  Runners-up receive 5 copies each of the published book
Notes: Unpublished stories up to 2,000 words, £3 per entry or £10 for 4.
The SWC Annual Short Story Competition
Deadline: 31st of October 2015
Prizes: £150, £80, £30
Notes: Submit stories of up to 2,000 words on any theme, entry fee is £3 to enter or £10 for 4.
2016 WOW! Awards
Deadline: October 31st 2015
Prize: €750 1st Prize plus publication in the 2016 WOW! Anthology, €150 2nd Prize plus publication in the 2016 WOW! Anthology.
The 10 short-listed entrants (5 fiction and 5 poetry) will be published in the 2016 WOW! Anthology and receive a publication fee of €30.
Notes: No more than 3000 words, entry fee is €15 Story, Subsequent stories €12.
The London Magazine Short Story Competition 2015
Deadline: 31st October 2015
Prizes: 1st Prize: £500, 2nd Prize: £300, 3rd Prize: £200. The winners will also be announced at a champagne reception
Notes: Entry fee is £10 per short story, entries must be 4,000 words or under and there is no limit to the number of stories you can submit.
Swansea and District Writers' Circle Short Story Competition 2015
Deadline: 31 October 2015
Prizes: First Prize £100, 2 x runners up prizes of £25 each. All winners have the chance of publication in a forthcoming e-Anthology and one-year's free membership of Swansea and District Writers' Circle (SDWC).
Notes: Entry fees is £5 for a single entry or £7.50 for two stories (maximum), length is 1,500 to 2,500 words
The Fiction Desk Newcomer Prize for Short Stories
Deadline: 6th November 2015, midnight.
Prizes: £500, £250.
Notes: The entry fee is £8.
The Galley Beggar Press Short Story Prize 2015
Deadline: 15th of November 2015
Prize: The winner will be invited to choose from a cash prize of £500 or year-long editorial support from the directors of Galley Beggar Press. The stories of the long-listed, short-listed and winning authors will also be anthologised in an ebook. They will also be invited to read their work at an event on the 10th of March at Waterstones Piccadilly in London.
Notes: No longer than 6,000 words, entry fee is £10 per short story, Judges are Sam Jordison and Eloise Millar (the directors of Galley Beggar Press) and authors Paul Ewen and Benjamin Myers.
1000 word challenge
Deadline:30th of November 2015
Prizes: £100, £50, £25. The winning stories will also be published on their website.
Notes:The current theme is: Fresh, submit short stories of up to 1000 words, entry fee is £5.
The Fish Short Story Competition
Deadline: 30th November 2015
Prizes: 1st prize is 3,000 euros, 1,000 of which is for travel expenses to the anthology launch. Second prize is a week at the Anam Cara Writers & Artists' Retreat in Cork with 300 euros travel expenses. Third prize is 300 euros. Ten stories will be published in the 2016 Fish Anthology and the authors will receive five free copies and an invitation to read at the launch during the West Cork Literary Festival in July.
Notes: Short stories of up to 5,000 words on any subject, Judge: Kevin Barry, entry fee is 20 euro for the first entry, 10 euro for each subsequent entry.
The Aeon Award
Deadline: November 30th
Prizes: Grand Prize: €1000, Second Prize: €200, Third Prize: €100
Notes: If your story is science fiction, fantasy or horror, is less than 10,000 words in length and has not been previously published, €7.50 entry fee.
Celtic Mythology Short Story competition
Deadline: 10 December 2015
Prizes: First Prize is $500 and story published in Irish Imbas Celtic Mythology Collection, second prize is
$250 and story published in Irish Imbas Celtic Mythology Collection, third prize is $100 and story published in Irish Imbas Celtic Mythology Collection
Notes: Any kind of fiction short story will be considered (action, romance, drama, humour etc.) as long as they meet the following criteria: 1. Celtic mythology or folklore forms a fundamental element of the story (i.e. the characters can be characters from Celtic mythology, the action can take place in a mythological location, mythological concepts can be used etc.). 2. Any Celtic folklore or mythological reference used should be as authentic as you can make it (for example; no dedicated pantheon of Irish Gods, no werewolves or vampires etc.)
3. A compelling story/theme, engaging characters. You're a writer – you know what we mean.
The Cro Magnon Short Story
Deadline: 30th September
Prizes: £100 and have your short story published by The Cro Magnon
Notes:No more than 3000 words
Unpublished stories only, theme is Primitive Humanity
The Boulevard Short Fiction Contest for Emerging Writers
Deadline: December 31st, 2015
Prizes: $1,500 and publication in Boulevard for the winning story.
Notes: Entry fee is $15 for each story and includes a one-year subscription, eligibility: a writer who has not yet published a book of fiction, poetry, or creative non-fiction with a nationally distributed press, submit stories up to 8,000 words.
The Travel & Water Writing Competition
Deadline: 31st of December 2015.
Prize: £100
Notes: Submit articles (max 750 words), theme is Travel and Water, it can be fact or fiction, anyone 16 years old and above is invited to submit an entry.
Glimmer Fiction open
Prizes: 1st place wins $2,500, publication in Glimmer Train Stories, and 20 copies of that issue, 2nd place wins $1,000 (and 10 copies, if accepted for publication),3rd place wins $600 (or, if accepted for publication, $700 and 10 copies).
Notes: Open to all subjects, all themes, and all writers.Most entries run from 2,000 to 8,000 words, but stories from 2,000 to 20,000 words are fine.
Fish Publishing International Short Memoir Contest
Deadline: 31st January 2016
Prizes: First – €1,000, Second – Fish online writing course, the ten published authors will each receive five copies of the Anthology and will be invited to read at the launch during the West Cork Literary Festival in July.
Notes: There is no restriction on theme or style, Maximum number of words is 4,000. Entry fee for online- 16, subsequent 10 and postal 18, subsequent 12
The Writers' & Artists' Yearbook 2016 Short Story Competition
Deadline: 15th February 2016
Prizes: £500, a place on an Arvon residential writing course of your choice and publication of your story on the Writers' & Artists' website.
Notes: Submit a short story for adults, max. 2,000 words. Theme: ageing. One entry per person. There is no fee, but you must be registered on www.writersandartists.co.uk before you enter.
The Cultured Vultures competition
Deadline: Midnight every Saturday.
Prize: The winning poem will be published every Monday on their website, along with the second and third place winners.
Notes: Free to enter poetry competition, submit three poems of your choice (should be previously unpublished, apart from social media or your personal blog) and a small bio.
3rd Ó Bhéal Five Words Poetry Competition
Deadline: The competition runs for 41 weeks, until the last week of January 2016.
Prizes: The winner will receive 500 euros and an invitation to read at Ó Bhéal's ninth anniversary event in April, 2016. The shortlisted poems and winning entry will also be published in their next annual anthology of five word poems.
Notes: They will post five words every Tuesday at noon (GMT). Entrants then have one week to submit poems (not exceeding 50 lines) that include all five words given for that week. It's open to writers around the world and costs 5 euro to enter.
The Crewe & District Writers' Circle Poetry Competition
Deadline:30th of September 2015
Prizes: £100, £50, £25. The winning entries will also be published on their website.
Notes: Submit poems of up to 40 lines. Poet and novelist Mary Williams will judge the competition entries, entry fee is £4 each or £10 for three.
The Salopian Poetry Society Open Poetry Competition
Deadline: September 30th, 2015.
Prizes: £150, £100, £50. 10 runner-up prizes of £20 each. The winning entries will also be published in the magazine Salopeot.
Notes: Submit poems of up to 42 lines, Judge: Alison Chisholm, entry fee is £3 , or £10 for four.
The Bard of Armagh Humorous Verse Competition
Prizes: Over £3000 in prizes will be awarded.
Notes: The poem should be no more than 650 words and should not exceed 9 minutes performance time. Finals will take place in the Armagh City Hotel on Friday 20 November 2015, entry fee is £2.00 for each poem.
Maine Review's Annual Poetry Contest
Deadline: October 10th, 2015
Prize: Grand Prize of $100 for the best poem, a Second Prize of $50, and a Third Prize of $25. Honorable Mention winners will each receive a free one-year electronic subscription to the Review.
Notes: 90 lines per poem, $10 per entry
Troubadour International Poetry Prize
Deadline: 19 Oct 2015
prizes: First is £5,000, second is £1,000, third is £500
Notes: Entry fees of £5/€6/$8 per poem
Reading Room Cafe Publishing Poetry Competition
Deadline: October 20th, 1pm UK time
Prize: Top prize of £50, publication and 2 copies of the book. Runners-up receive 2 copies each of the published book.
Notes: Unpublished poems up to 30 lines, £2 per entry or £10 for 5-8.
Prize: €750 1st Prize plus publication in the 2016 WOW! Anthology, €150 2nd Prize plus publication in the 2016 WOW! Anthology. The 10 short-listed entrants (5 fiction and 5 poetry) will be published in the 2016 WOW! Anthology and receive a publication fee of €30.
Notes: Poems may be up to 100 lines, entry fee is €10 a poem, Subsequent poems €8
The Poetry Society's annual National Poetry Competition
Prizes:£5,000 for the overall winner, £2,000 for the second, £1,000 for the third, with seven commendations of £200. The top three winners are also published in the Poetry Society's leading international journal, The Poetry Review, as well as having the possibility of reading at some of the UK's top literature festivals.
Notes: All poems must have a title and must not exceed 40 lines in length (excluding title). Entries can be on any subject, The first poem submitted costs £6.50. Subsequent entries in the same submission cost £3.50 per poem
The Poetry Society: The National Poetry Competition 2015
Prizes: 1st Prize: £5,000, 2nd Prize: £2,000, 3rd Prize: £1,000, Seven commendations of £200
Notes: The judges this year are David Wheatley, Esther Morgan and Sarah Howe, all poems must have a title and must not exceed 40 lines in length (excluding title).The first poem submitted costs £6.50. Subsequent entries in the same submission cost £3.50 per poem.
The Resurgence Poetry Prize
Deadline:1st November 2015
Prizes: £5,000 for the best single poem embracing ecological themes. Second prize is £2,000 and third prize is £1,000.
Notes: 'Ecopoetry' award. Entry fee is £7 for the first poem. Each additional poem after that: £3
The Plough Prize 2015
Deadline: November 30th 2015
Prize: 1st Prize: £1,000, 2nd Prize: £500, 3rd Prize: £250
Notes: Entry fee is £5 per poem, Forty lines or under, no theme, Long and short lists published, Online and postal entry available
IHS International Haiku Competition 2015
Deadline: November 30th, 2015.
Prizes: €150, €50 and €30
Notes: Submit unpublished haiku/senryu of 17 syllables or fewer, entry fees are €3 each or €20 with each seven haiku.Judge: Anatoly Kudryavitsky, editor of Shamrock Haiku Journal and the current President of the Irish Haiku Society.
The Earlyworks Press Poetry Competition
Prizes : £100 for first prize, £25 for the runner-up, £5 for any published on their website. The best entries will also have the option of publication in their next anthology.
Notes: poems of up to 40 lines, entry fee is £3 each, or £15 for six.
The Enfield Poets: International Poetry Competition 2015
Deadline: 1 Dec 2015
Prizes: 1st – £500, 2nd – £200, 3rd – £100. Prizewinners and commended poets will be invited to read their poems at a special prize reading, featuring our Judge, Anne-Marie Fyfe, at the Dugdale Theatre in Enfield Town on 6th February 2016.
Notes: Open to anyone aged 17 or over at the time of entering. Entries from outside the U.K. are welcome, but must be written in English. There is no limit to the number of entires. All poems must have a title and must not exceed 50 lines in length (excluding the title). Entries can be on any subject. The entry fee is £4 per poem, or £10 for 3 poems.
The Magma Poetry Competition
Deadline: 18th of January 2016
Prizes: Magma Judge's Prize – Prizes: £1,000, £300, £150. Magma Editors' Prize- First prize is £1,000, second is £300, plus 10 Special Mentions (£15 each). The winners will also be invited to read at Magma's prize-giving event in Spring 2016 and five prize winning entries will be published in the magazine.
Notes:Magma Judge's Prize (poems of 11-50 lines, Magma Editors' Prize (Submit poems of up to 10 lines), entry fee is £5 for the first poem, £4 for the second and £3.50 for the third and each subsequent poem.
The Caterpillar Poetry Prize
Deadline: 30 March 2016
Prizes: First Prize is €1,000 plus publication in the summer 2016 issue of The Caterpillar.
Notes: Entry fee is €12, single unpublished poem written for children aged 7-11 years.
The Brave New Ending Writing Challenge
Prizes: All submissions will be published online and the ten top submissions will be invited to a playwriting workshop with Nigel Planer.
Notes: Open to writers of all ages, write a final scene for your own imagined version of Brave New World, judges are Dawn King and Jenny King.
The Bath Children's novel award
Deadline: midnight GMT on October 11th 2015
Prize: £1,000 plus Minerva trophy
Notes: Novels can be in any genre for children who are able to read for themselves or young adult readers
There are no minimum or maximum word count restrictions, however as a guide, they recommend 6-10,000 for a chapter book, 40-60,000 for middle grade and 50-70,000 words for YA, entrants should not have had a novel, for any age group, accepted for publication by a traditional publishing house, independently published novelists are eligible.
Irish Writers Centre Novel Fair
Prizes: Twelve shortlisted entrants will be anonymously selected by a judged to take part in the Irish Writers Centre Novel Fair on 20 February, 2016. Each writer will have a stand at the Fair where they will present the synopsis of their novel, the finished novel itself and biographical material. Top Irish publishers and agents will be invited to the Irish Writers Centre to meet these writers in person. The winners also receive a place on a seminar on 'How to Pitch Your Novel', two weeks in advance of the Fair (6 February, 2016). This year we are extending the prize to those who make the longlist. Applicants who are longlisted and who do not proceed to make the shortlist of twelve will have their work evaluated and critiqued by the judging panel.
Notes: Open to previously unpublished aspiring novelists only, entry fee is €4, you will need to send a synopsis and up to 10,000 words of a novel.
Reading Room Cafe Publishing Novel Competition
Prizes: 25 copies of your work, publication and £100.
Notes: Unpublished novel 30,000-60,000 words, £10 per entry., First 2,000 words, 400 word synopsis, Shortlisted entrants will be asked to submit whole novel.
Fish Publishing Young-Adult Novel Prize
Prize: The winning novel will be published by Fish Publishing and the launch of the novel will be held as part of a literary festival.They hope to launch the novel during the West Cork literary Festival (July 2016).
Notes: The first chapter OR 5,000 words. (Shortlisted authors will be requested to submit their entire novel for final selection.), Online entry €20, postal entry €22, Judge Louise O'Neill.
The Search for a Star Writing Competition
Prize: publication
Notes: Submit completed romantic fiction (60,000-100,000 words), debut author or a published author with less than 15 reviews on Amazon, note that they hold options on the next work of romantic fiction, so please do not enter if this is not for you.
The Virginia Prize 2015
Deadline:31st of October 2015
Prizes: The winner will receive £1,000 and a conditional offer of publication by Aurora Metro Press.
Notes: The prize is open to any woman, including non-UK residents, over 18 years of age, writing in English, only manuscripts in the form of a completed novel can be accepted, entry fee is £10 per manuscript
The Caledonia Novel Award
Deadline: 1st November, 2015
Prizes: The winner will receive £1,000 and a trophy
Notes: entry fee is £20. Novels can be any genre for adults or Y/A, but must be original and at least 50,000 words long. Entrants must not have had a novel published, including self-published, or have entered into a contract for future publication of their novel.
The St. Martin's Minotaur/Mystery Writers of America First Crime Novel Competition
Deadline: 14th of December 2015
Prize: Publication by Minotaur Books, with a $10,000 advance.
Notes: Submit a crime story of not less than 200 pages (approx. 60,000 words). You should be previously unpublished, it's free to enter and limited to one entry per person.
Times/Chicken House Children's Fiction Competition
Deadline: Friday 18th December 2015
Prizes: Worldwide publishing deal with Chicken House, with an advance of £10,000 (subject to contract).
All longlisted entrants will receive a reader's report of their work.
Notes: Full-length novel suitable for children aged somewhere between 7 and 18 years; minimum of 30,000 words and ask that manuscripts entered do not exceed 80,000 words in length. Entry fee is £15.00 (incl. VAT)
Penny Dreadful Novella Prize
Deadline: 30th of September.
Prize: €2,000 for the winning author and publication of their novella by The Dreadful Press.
Notes: between 15,000 and 35,000 words, entry fee is €10 per manuscript at a maximum of two manuscripts per entry. Entries are open to residents of Ireland and the UK only
L. Ron Hubbard's Writers of the Future Contest
Deadline: September 30, 2015
Prizes: Every three months: $1,000, $750, $500, Annual Grand Prize: $5,000 additional!
Notes: L. Ron Hubbard's Writers of the Future Contest is an opportunity for new and amateur writers of new short stories or novelettes of science fiction or fantasy. No entry fee is required. Entrants retain all publication rights. All awards are adjudicated by professional writers only. entries must be works of prose, up to 17,000 words in length
The Miami University Novella Prize
Deadline: Thursday, October 15, 2015.
Prizes: The winner receives $750 against royalties, a standard contract, publication and 10 copies of the book.
Notes: 18,000–40,000 words, Entry fee is $25
Novella-T
Notes: Pay contributors half of what we make in subscriptions, publishes novellas through a serialized format. Each week we send out a 2,000-5,000 word section of the story to subscribers, 13,000 and 40,000 words
New Writer Scholarship 2015
Deadline: Nov 29, 2015
Prize: The scholarship award is $4,000
Notes: Anyone at least 16 years of age, your submitted work (Short story/Poem/Blog post/Any written material you are proud of) cannot be published and your submission has not been submitted to any other printed material that may publish this same work, work must be in English but your country of residence can be anywhere.


text:
Als Myotubuläre Myopathie oder  zentronukleäre Myopathie wird eine Familie seltener Muskelerkrankungen aus der Gruppe der angeborenen Myopathien bezeichnet, die 1966 erstmals beschrieben wurde.

Klinik
Klinisch lassen sich drei Verlaufsformen abgrenzen, die sich auch durch einen unterschiedlichen Erbgang unterscheiden:

 Die X-chromosomal-rezessive Form hat den schwersten Verlauf. Bei den betroffenen Jungen besteht bei der Geburt eine generalisierte Hypotonie der Muskulatur ("floppy infant"); die motorische Entwicklung ist deutlich verzögert. Insbesondere durch die Schwäche der Atemmuskulatur entstehende Probleme führen zum Tod in den ersten Lebensmonaten. Die für den Gendefekt heterozygoten Mütter können als Konduktorin eine milde Schwäche der Gesichtsmuskulatur oder eine geringe Myotonie aufweisen.
 Die autosomal-dominante Form ist durch eine langsam fortschreitende Muskelschwäche charakterisiert, die während der Kindheit oder im jungen Erwachsenenalter auftritt. Typisch ist ein proximales Verteilungsmuster, wobei überwiegend die Muskulatur von  Hals, Schultergürtel und Körperstamm betroffen sind. Häufig ist eine Beteiligung der Augenmuskulatur mit Ptose und externer Ophthalmoplegie.
 Die seltene autosomal-rezessive Form hat einen heterogenen Verlauf. Der Erkrankungsbeginn liegt zwischen den beiden anderen Formen.

Histologie
In der Muskelbiopsie sind bei allen Formen unreife Muskelfasern mit einer hohen Zahl zentraler Kerne auffällig, deren histologisches Bild an das fetale myotubuläre Entwicklungsstadium der Skelettmuskulatur erinnert.

Genetik
Bei der  X-chromosomal-rezessiven Form sind in der Mehrzahl der Familien Mutationen des für das die  Phosphatase Myotubularin codierenden MTM1-Gens beschrieben worden. Während bei der autosomal-dominanten Form in einzelnen Familien Mutationen des für die GTPase Dynamin-2 codierenden DNM2-Gens nachgewiesen worden sind, wurden bei der autosomal-rezessiven Form Mutationen des BIN1-Gens gefunden. Interessanterweise scheint dieses Gen eine Schlüsselrolle bei der normalen Entwicklung der Skelettmuskulatur zu spielen.

Einzelnachweise

Literatur
 H. Jungbluth, C. Wallgren-Pettersson, J. Laporte: Centronuclear (myotubular) myopathy. In: Orphanet J Rare Dis. 2008 Sep 25;3, S. 26. PMID 18817572,

Weblinks
 ZNM - Zusammen Stark! e. V.: Dieser 2015 gegründete Verein vertritt Betroffene von myotubulärer und anderen zentronukleären Myopathien sowie deren Angehörige. Er organisiert jährliche Treffen in Deutschland für die betroffenen Familien und die an einer Heilung forschenden Wissenschaftler.
 mtmx.de: Diese 2008 gegründete ehrenamtliche Anlaufstelle und Selbsthilfegruppe für Familien von Kindern mit myotubulärer Myopathie veröffentlicht Informationen und organisiert seit 2009 jährliche Treffen für die Familien.
 Unterseite bei orpha-selbsthilfe.de (Selbsthilfegruppe für Menschen mit seltenen Erkrankungen)
 Eintrag im Orphanet

Erbkrankheit
Muskelerkrankung