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Ten Meets Duran Lantink, the Amsterdam-based Designer Crafting Fashion Frankensteins
What's better than two designer jackets? Two customised designer jackets no one else has in their wardrobe. Taking the feeling of apathy towards clothes and crafting it into desirability is exactly what Duran Lantink does at his Amsterdam studio, a sort of mad scientist lab where he cuts and pastes discount-ready grand designer labels into covetable fashion Frankensteins. With Spice Girls' 2 Become 1 on blast, old season turns into new. This unique, anti-establishment circular process of design is what makes Duran Lantink's one of the most interesting emerging names in fashion right now.
The Dutch designer and stylist had his first breakout moment last year, when the video for Janelle Monae's single Pynk came out. No one was talking about the dancers or the stellar backdrop – the talk of the town were the pink-shaded vulvic trousers, straight off Lantink's sewing machine. Soon after, Somerset House got interested too, taking the designer as part of their biennial International Fashion Showcase programme providing residency space and mentorship to global fashion talent. At the end of the summer residency, Lantink was given a special mention for his collection during the London Fashion Week showcase. The room that was presenting his space was an idea of a brand mashup, a place where discounted luxury merges into brand new full-priced wonders. The set design mimicked the idea of his clothes, with visual merchandising and branding morphing into one another. It was a collage of actual elements of flagship stores – the flooring was a mix of Balenciaga and Gucci, while the frame imitated that of Saint Laurent. "It's a post Black Friday shop-in-shop," he explains as we sit at a loud, street-facing terrace, his infectious laughter topping the sound of the central London bustle.
The IFC presentation was actually the first time I encountered Lantink's work, which stood out from the other 15 designers thanks to its pure irreverence and unapologetic referencing of the industry. But it turns out it's worth being ballsy. Since then, Lantink was shortlisted for the 2019 LVMH prize, took part of the Fashion Revolution Week through a reconstruction of his original installation inside the 50M concept store, and is now in talks with big international retailers about refreshing their deadstock with his ideas. When explaining his creative process, he quotes Picasso on his statement that "Good artists copy, and great artists steal." Do we call it upcycling? "It's so hard. Somehow, like everything in terms of sustainability – upcycling, recycling… It all sounds so boring. But yeah, apparently people have labelled it and that is how it is now. Reworking, deconstructing, reconstructing – they are trying to get a cooler name for it."
Whatever the name is, it all started for him during Lantink's studies back in 2011. However, his colleagues and teachers weren't on board with the idea of taking something that already exists and giving it another life. "It looks nice but you need to make it in a new material," they would say. And so he did. But on the sly, he obsessively continued to collect high resolution product shots of high-end designer pieces from Farfetch. "They have this thing where it's always sale, which I find so weird. It's also such a pity because sometimes you buy something that you've really saved for and then two weeks later it's 70% off." His archive is now full of over 4000 designer pieces which he consistently uses in his work, all through to the art of Photoshop. A scroll through his Instagram shows those early ideas, for example a jacket that's a combination of Calvin Klein, Lanvin, Marni and McQueen, each of the brands credited in the caption. "It gives me so much more energy to see how you can combine things that really don't fit together than to just look at a pattern," Lantink explains.
His final MA collection at the Sandberg Academy was the first time he had the opportunity to create his designs out of existing high fashion, with the support of few local concept stores which donated some of their old stock towards his collection. The final outcome, part of which were the now iconic platform Miu Miu x Nike platform shoes that Solange has recently worn, continued into his project at the International Fashion Showcase and has now set the ethos for his work to come. Interestingly, none of his work carries a label with his name on it, but instead carries a collage of the labels of brands used in the piece. "In a way, I'm creating this new outfit, but it's also a race against the machine about branding, and about labelling. I'm trying to figure out other ways to make it recognisable, but then I guess it's already branding. What we now do is that we archive it – there's jacket number one, jacket number two, and so on."
During Fashion Revolution Week, Lantink offered his service to the general public, as they brought in their old pieces they wanted reworking into fashion Frankens. Our good friend Susie Lau aka Susie Bubble was one of those people, bringing two jackets which he is extremely excited ot be working on. This process of commissions is how Lantink looks at fashion in the future, working on the base of using the resources and fulfilling the desire without over-producing. "My ideology is that sale was never happening anymore, because the moment of the season is gone." Once the people are done with wearing his reworked pieces, he would take them back and rework again, combining them with other rejects. And so on, until infinity… Or at least until the next sale arrives.
Duran Lantink has had a great year, with the LVMH Prize shortlist being one of the definite highlights. Yet, it seems like quite a challenge to present these branded mash-ups to the people responsible for the garments. What makes it even more extreme is that the mixing of the big fashion groups was part of Lantink's idea from the very beginning. "You had the Diesel group, the Kering group and the LVMH group. For example, half a Céline with half a Marni jacket or half a Balenciaga trouser and half a Loewe trouser." While Jonathan Anderson and Umberto Leon of Kenzo were both super excited about what he presented, it wasn't all a love at first sight. "I had this big paper shopping bag which was half Louis Vuitton and half Gucci and then all of sudden, Bernard Arnault [the chairman and chief executive of the LVMH group] came walking towards the wall, with all these grey men in grey suits and they were like: 'Please explain.' I just said I was sorry as I was just getting so nervous. I just had to be honest. And then I told him about upcycling and he was ok with it. That's also weird because all of a sudden, when you say upcycling, it's not a problem anymore that you mix."
Sistaaz of the Castle
The conversation that Lantink is focusing on right now goes beyond just mixing labels. A project he is currently working on is a zine about SistaazHood, a publication about transgender sex workers group from Cape Town. With a funding campaign up and running, Lantink and his partner on this project, photographer Jan Hoek, are hoping to publish five years worth of work and finally give these women a globql voice. During the time, Hoek and Lantink travelled back and forth, establishing relationships with the Sistaaz of the Castle , getting to know their stories and allowing them to creatively express themselves. The zine is actually dedicated to a theme of "If you could be anyone, who would you be," and sees these women imagining themselves as their best alter-egos, with Lantink working with them on creating garments that fit the bill. One of the Sistaaz is Celine Dion and her dream is to be the Celine Dion. Cleopatra sees herself as the ruler of the African continent while Flavirinia wants to be a supermodel. Through their personal stories, the goal is to not just educate the rest of the world, but create a safe space for these women to showcase their ideas. What the final object of the goal is, Lantink tells me, is perhaps starting a fashion show there, a platform for the world to get to know the immense creativity of the SistaazHood.
You can support the SistaazHood project here.
@duranlantinkyo
Duran Lantink 2019
Ten Meets Bianca Saunders, the NEWGEN Designer Exploring The Layers of Black Masculinity
Ten Meets Gerrit Jacob, the CSM Graduate Exploring the Wonders of Bleak Suburbia
Ten Meets Sheryn Akiki, The Emerging Designer Creating Clothes for Women on The Go


2013: The Girlfriend Bracket is a social experiment I am doing where you get to decide who my next (fake) girlfriend will be by voting. It is set up like a March Madness style tournament and is a precursor to a YouTube reality dating show I want to do.
Click here to vote in today's match-ups: The Championship!
Meet The Girls – Find out about all 64 – yeah… 64 – girls in the tournament!
New Dating Game: Girlfriend Bracket – My original post explaining the game.
The Bracket – Track the results of the tournament.
Girlfriend Bracket : Choose My Next Girlfriend – Join the Facebook event!


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Walk On's Independence Bowl Announces All-Time Dream-Team
Walk-On's Independence Bowl
In celebration of the 150th anniversary of college football, the Walk-On's Independence Bowl have named the game's all-time team by position. The Walk On's Independence Bowl has been going on for 44 years, and the team is made up of player who have graced the Indy Bowl over the years.
• Eli Manning (Ole Miss, 2002)
• Kevin Faulk (LSU, 1995 & 1997)
• Deuce McAllister (Ole Miss, 1998 & 1999)
• Eddie Kennison (LSU, 1995)
• Isaiah Ford (Virginia Tech, 2015) Tight End
• Jaylen Samuels (NC State, 2016) Offensive Line
• Willie Roaf (Louisiana Tech, 1990)
• Flozell Adams (Michigan State, 1995)
• Alan Faneca (LSU, 1995 & 1997)
• Pork Chop Womack (Mississippi State, 2000)
• Ray Childress (Texas A&M, 1981)
• Bruce Smith (Virginia Tech, 1984)
• Gabe Northern (LSU, 1995)
• Von Miller (Texas A&M, 2009)
• Lovie Smith (Tulsa, 1976)
• Otis Wilson (Louisville, 1977)
• Takeo Spikes (Auburn, 1996)
• Leonard Smith (McNeese State, 1980)
• Scott Thomas (Air Force, 1983 & 1984)
• Antonio Banks (Virginia Tech, 1993)
• Roy Williams (Oklahoma, 1999)
• Weldon Brown (Louisiana Tech, 2008)
SPECIALISTS & COACHES
• David Hardy (Texas A&M, 1981)
• Terry McFarland (McNeese State, 1976)
Kick & Punt Returner
• David Cutcliffe (Ole Miss, 1998, 1999 & 2002 / Duke, 2018)
David Cutcliffe is the Independence Bowl's winning-est coach with a record of 4-0 in four appearances -three with Ole Miss and one with Duke. Some of the most prominent and recognizable names have coached in the Independence Bowl throughout the game's 43-year history. Other coaches receiving votes were Jack Doland (McNeese State, 1980), Frank Beamer (Virginia Tech, 1993 and 2015), Nick Saban (Michigan State, 1995/Alabama, 2007) and Steve Spurrier (South Carolina, 2005 and 2014).
Filed Under: independence bowl
Categories: Shreveport News, Sports

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Sarah Repucci
Vice President of Research & Analysis
Sarah Repucci leads Freedom House's research and analysis department. Repucci has more than ten years' experience in research and evaluation techniques in the areas of democracy, human rights, and good governance. Previously she worked for Transparency International and the Global Business Initiative on Human Rights, and as an independent consultant for a range of NGOs, bilateral and multilateral organizations, and private businesses. She holds a master's degree from New York University and a BA from Williams College.
sarahrepucci
By This Expert
The Coronavirus Takes Aim at Electoral Democracy
Democracy Is Good for Business
Poland Is Showing the World How Not to Run a Pandemic Election opens in new tab


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Le canton de Conches-en-Ouche est une circonscription électorale française située dans le département de l'Eure et la région Normandie.

Histoire
Le canton de Conches-en-Ouche a été créé en 1790.

Un nouveau découpage territorial du département de l'Eure entre en vigueur à l'occasion des élections départementales de mars 2015, défini par le décret du , en application des lois du  (loi organique 2013-402 et loi 2013-403). Les conseillers départementaux sont, à compter de ces élections, élus au scrutin majoritaire binominal mixte. Les électeurs de chaque canton élisent au Conseil départemental, nouvelle appellation du Conseil général, deux membres de sexe différent, qui se présentent en binôme de candidats. Les conseillers départementaux sont élus pour  au scrutin binominal majoritaire à deux tours, l'accès au second tour nécessitant 12,5 % des inscrits au . En outre la totalité des conseillers départementaux est renouvelée. Ce nouveau mode de scrutin nécessite un redécoupage des cantons dont le nombre est divisé par deux avec arrondi à l'unité impaire supérieure si ce nombre n'est pas entier impair, assorti de conditions de seuils minimaux. Dans l'Eure, le nombre de cantons passe ainsi de 43 à 23. Le nombre de communes du canton de Conches-en-Ouche passe de 25 à 31.

Le nouveau canton de Conches-en-Ouche est formé de communes des anciens cantons de Évreux-Ouest (), de Conches-en-Ouche (), de Évreux-Nord (), de Beaumont-le-Roger () et de Évreux-Sud (). Avec ce redécoupage administratif, le territoire du canton s'affranchit des limites d'arrondissements, avec  incluses dans l'arrondissement de Évreux et une dans celui de Bernay. Le bureau centralisateur est situé à Conches-en-Ouche.

Géographie
Ce canton est organisé autour de Conches-en-Ouche dans les arrondissements de Bernay et d'Évreux. Son altitude varie de 76 m (La Bonneville-sur-Iton) à 192 m (Beaubray) pour une altitude moyenne de 153 m.

Représentation

Conseillers d'arrondissement (de 1833 à 1940)

Conseillers généraux de 1833 à 2015

Conseillers départementaux depuis 2015

Résultats détaillés

Élections de mars 2015

À l'issue du  des élections départementales de 2015, deux binômes sont en ballottage : Laurence Cléret et Alfred Recours (Union de la Gauche, 43,39 %) et Emmanuel Camoin et Nadiejda Steffan (FN, 33,01 %). Le taux de participation est de 52,47 % ( sur ) contre 50,53 % au niveau départemental et 50,17 % au niveau national.

Au second tour, Laurence Cleret et Alfred Recours (Union de la Gauche) sont élus avec 60,3 % des suffrages exprimés et un taux de participation de 53,94 % ( pour  et ).

Alfred Recours a quitté le PS en 2017 et a rejoint LREM.

Élections de juin 2021

Le premier tour des élections départementales de 2021 est marqué par un très faible taux de participation (33,26 % au niveau national). Dans le canton de Conches-en-Ouche, ce taux de participation est de 34,32 % ( sur ) contre 33,02 % au niveau départemental. À l'issue de ce premier tour, deux binômes sont en ballottage : Claire Lacampagne-Crochet et Marcel Sapowicz (LREM, 42,05 %) et Bénédicte Bader et Emmanuel Camoin (RN, 30,61 %).

Le second tour des élections est marqué une nouvelle fois par une abstention massive équivalente au premier tour. Les taux de participation sont de 34,3 % au niveau national, 32,76 % dans le département et 35,38 % dans le canton de Conches-en-Ouche. Claire Lacampagne-Crochet et Marcel Sapowicz (LREM) sont élus avec 67,42 % des suffrages exprimés ( pour  et ).

Composition

Composition avant 2015
Le canton de Conches-en-Ouche regroupait vingt-cinq communes.

Composition à partir de 2015
Le nouveau canton de Conches-en-Ouche comprenait trente et une communes entières à sa création.

Démographie

Démographie avant 2015

Démographie depuis 2015

Bibliographie

Notes et références

Notes

Références

Voir aussi
 Eure
 Arrondissements de l'Eure
 Liste des cantons de l'Eure
 Liste des communes de l'Eure
 Liste des conseillers départementaux de l'Eure

Conches-en-Ouche

redpajama_set_name: RedPajamaWikipedia


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text:
Category: Reade
Green Defines Numerous Figures
"After the lahmu, the text goes on to prescribe a type whose name is lost in the break but which is to be inscribed "Go out death, come in life!" Rittig has already pointed out, on the basis of figurines from Aššur, that this is the creature called in modern literature the "bull-man." (F.A.M. Wiggermann has suggested to me the possible Akkadian name kusarikku; … Reade, BaM 10 (1979), 40).
ND 4114. Sun-dried clay figurine of "bull-man" type discovered together with a "spearman" in a foundation box at the W. jamb of the S.E. doorway of court 18 of the Burnt Palace at Nimrud. Previously unpublished. Plate XIVa.
Plate XIVa shows a Burnt Palace example, with obvious taurine hindquarters, and Plate XIIId a rather different type from Fort Shalmaneser, broken but still with fairly clear bull's legs; the latter was probably inscribed in the same fashion as the Aššur examples and as ritually prescribed.
ND 9523 (IM 65138), British School of Archeology in Iraq, photograph by David A. Loggie. Plate XIIId.
Sun-dried clay figurine of "bull-man" type, discovered in a foundation box on the E. side of the N.E. courtyard, at the N. jamb of the doorway leading to room NE 21, Fort Shalmaneser, Nimrud. Previously unpublished. Cf. D. Oates, Iraq 23 (1961), 14.
The being is apparently unknown in extant Assyrian monumental sculpture, but can be seen at Pasargadae with the fish-apkallū (Plate XIVc, placed second from the bottom for reasons of formatting), perhaps copied from an Assyrian or Babylonian original; the discovery of the fish-cloaked figure and a "bull-man" together on reliefs at Nineveh is referred to in a letter of Rassam to Rawlinson (quoted by Barnett, SNPAN, 42).
A type superficially resembling the "bull-man" but with some important iconographic distinctions and a different inscription is the figure of Plate XIIIc.
ND 7901. Sun-dried clay figurine of a scorpion-tailed, bird-footed human creature, discovered with figures of other types in the fill of room SE 5 of Fort Shalmaneser, Nimrud. Plate XIIIc.
The legs end in bird talons, and on the reverse (Plate XIVb) a curving ridge, formed by pressing the wet clay between the thumb and forefinger, would appear to represent a twisting scorpion-tail.
ND 7901. Sun-dried clay figurine of a scorpion-tailed, bird-footed creature, discovered with figures of other types in the fill of room SE 5 of Fort Shalmaneser, Nimrud. Reverse of Plate XIIIc. This image is Plate XIVb.
The type would seem, therefore, to be analogous to a scorpion-tailed figure on an Assyrian relief who has the hindquarters and claws of a bird. This creature has been identified as the girtablīlu, "Scorpion-man;" but the inscription on the Nimrud figure may possibly correspond to that prescribed in the ritual for the type immediately after the bull-legged being, while for the girtablīlu no inscription is ordained. Unfortunately the Akkadian name is again lost.
After figures of snakes, whose identification is obvious enough, the ritual mentions figurines of the well-known mušhuššu, which is surely represented by the creature of Plate XIVd, regarded by the excavators as a dog.
ND 8194 (MMA 59.107.27). Sun-dried clay figurine of a mušhuššu, discovered in the same foundation box as the figure of Plate XIa. Previously published: D. Oates, Iraq 21 (1959), Mallowan, N&R II. Double-catalogued by Rittig. Plate XIVd.
The following prescriptions are for figures of the suhurmaššu, "Goat-fish" and kulīlu, "Fish-man," rare types which do not occur at Nimrud, and are illustrated here by examples probably from Aššur, Plate XV. Their identities are indicated by comparison of the prescribed legends with actual inscriptions.
Sowie Museum 9-1796, sun-dried clay figurine of a suhurmaššu, probably from Aššur. Previously published: H.F. Lutz, University of California Publications in Semitic Philology 9/7 (1930), Rittig, 97.
Sowie Museum 9-1795, sun-dried figurine of a kilīlu, allegedly from Aššur. Previously published: Lutz, op. cit., Rittig, 95f. Plate XV.
A little later in the ritual appears the urmahlīlu, "Lion-man," who has already been identified directly from the inscription on a bas-relief; it is the creature called in modern literature a "lion-centaur."
After the urmahlīlu, the ritual prescribes clay figures of dogs, an actual set of which, inscribed and colored in close conformity to the prescription, was discovered by Loftus in a rectangular niche at the base of a sculptured doorway slab in the North Palace at Nineveh.
Relief at Pasargadae, in situ. Palace S. photograph by Dr. M.R. Edwards, Plate XIVc.
Limestone relief at one jamb of a doorway of Palace S. at Pasargadae. Achaemenid period. Previously published: D. Stronach, Pasargadae (Oxford 1978), Pl. 59.
Such clay dogs appear not to occur among the Nimrud figures, although seven copper or bronze examples, of differing breeds, sitting and standing, were found in the North-West Palace (Plate XIVe). These metal models have also been considered apotropaic, although there is no absolute proof, and the Nimrud examples were found out of context at the bottom of a well.
ND 3209. Copper or bronze figurine of a dog, discovered with six others down a well at the S. end of room NN of the N.W. Palace at Nimrud. Left ear chipped, and tip of tail broken in antiquity. Previously unpublished: see J.E. Curtis, Dissertation, II; Cf. also Mallowan, ILN 1952; Iraq 15 (1953); N&R I, 103. Plate XIVe.
It does seem possible, therefore, to identify a number of the creatures of Assyrian religious art on the basis of these figurines and their rituals, and to this process the Nimrud figurines, while they do not show the same typological diversity as those from Aššur, are able to make a number of significant contributions."
Anthony Green, "Neo-Assyrian Apotropaic Figures," Iraq, Vol. 45, 1983, pp. 92-4.
Green Identifies the Lahmu and the Ugallu
"Returning to the apotropaic ritual, after the fish-apkallē the text prescribes various kinds of wooden figures which cannot be identified among actual figurines, although some types may, as Dr. Reade suggested, be represented in Assyrian sculpture.
BM 118918, courtesy of the British Museum, plate XId. Green determines in this article that the leonine-headed entity in the center is the ugallu, or "Great lion."
These wooden figures end, however, with those of the ugallu, "Great-lion," of which clay examples do exist. The human-leonine figure of Plate XId, centre, is commonly portrayed in glyptic art from the Akkadian period onwards and in seventh-century Assyrian sculpture.
He has been identified by Karl Frank and, with reservations, Ursula Calmeyer, as an utukku-demon (K. Frank, MAOG 14 (1941), idem, Babylonische Beschwörungsreliefs (Leipzig, 1908) … Notice already a figurine of the type used to illustrate the edition of Utukkū Lemnūtu of R.C. Thompson, The Devils and Evil Spirits of Babylonia and Assyria II (London, 1904)), but this view has been challenged by Dessa Rittig (Rittig, 108).
She is unable, however, to offer an alternative identification. Woolley once appears to interpret the creature as the ugallu, but elsewhere in the same paper as the urmahlīlu, "Lion-man," apparently incorrectly identifying the two. Dr. Reade has suggested alternative identifications as the ugallu or the lahmu.
An ugallu, or "Great lion," ND 8190, courtesy of the Musées Royaux d'Art et d'Histoire, Brussels, Plate XIa.
But the latter creature, as we shall see, appears to have a different identity, and the identification of this human-leonine figure as the ugallu is apparently confirmed by the Nimrud fictile examples (Plate XIa). The inscription (Plate XIb) corresponds well with that prescribed for figures of the ugallu in the ritual.
Inscription on the right side of ND 8181 (IM 61854), British School of Archeology in Iraq, photograph by David A. Loggie. Plate XIb. Green states that the "inscription corresponds well with that prescribed for figures of the ugallu in the ritual."
The type must probably be distinguished from the whip-carrying human figure wearing a lion's pelt, of which a single example occurs in the Nimrud series (Plate XIIa).
ND 9342, Metropolitan Museum of Art, Rogers Fund, 1957. Plate XIIa. Green states that this is a "whip-carrying human figure wearing a lion's pelt," from the Nimrud series.
The type, as R.S. Ellis has shown, is also distinguished on the palace reliefs (Plate XIIc).
BM 136773, British Museum, a clear representation of the ugallu or "Great lion." Plate XIIc.
Perhaps yet another distinctive type is the Janus-figure of Plate XIIb, having both human and leonine faces, but with no parallels known to me. The identification of both types is unclear.
ND 5296, Metropolitan Museum of Art, Rogers Fund, 1957. Green terms this figurine "Janus-faced," with both leonine and human faces. Plate XIIb.
The next passage of the ritual prescribes clay figures of the lahmu, inscribed and coated in gypsum, with "water painted on them in black wash." The type of figure to which this passage refers, though not the reading of the Akkadian name, has been well recognized, since plaques from Aššur, inscribed as in the ritual, depict the figure in close conformity to his representation on the monumental reliefs (Plate XId, left).
BM 118918, courtesy of the British Museum, plate XId. Green identifies the ugallu at the center, the "Great lion," and lahmu at left.
The Nimrud "heroes" are in the main heavily bearded and bewigged men without the distinctive six spiral tresses (Plate XIIIa), but they are nevertheless often inscribed, in the same fashion, and so quite likely represent the same personage.
Green states that these figurines are inscribed with statements that they represent lahmu.
ND 7847, Royal Ontario Museum. Plate XIIIa.
Most interesting, perhaps, is a Burnt Palace example on which much of the gypsum coating and painted water survive (Plate XIIIb), as on some similar figures from Ur.
ND 4111 (IM 59290), British School of Archeology in Iraq, photograph by David A. Loggie. Green, Plate XIIIb.
Figurines of a human deity with one arm raised in the air in similar fashion to the ugallu (Plate XIc) have not been found at Nimrud, but the identification of the ugallu from Nimrud figurines allows a possible identification of this personage also.
Oxford 1924.701, Ashmolean Museum. Plate XIc.
A common line-up at doorways in the North Palace at Nineveh involves a trio of this god, the ugallu and the lahmu (Plate XId). In the ritual text, moreover, the passages prescribing figurines of the ugallu and lahmu occur together, preceded by a prescription for figures of the "House god" who makes a gesture with his right hand and carries a weapon in his left.
BM 118918, courtesy of the British Museum, plate XId. Green identifies the ugallu at the center, the "Great lion," and lahmu at left. The lahmu can be distinguished by his idiosyncratic six curled tresses. He speculates that the "House god" appears at far right. Plate XId.
It is possible, therefore, although it cannot be proved, that the three figures of these doorway reliefs are enumerated in the same order in this ritual."
Wiggermann Defines the Lamassu
"The limited number of candidates available for identification with e'ru, libbi gišimmari and urigallu enables us to choose a denotation, even when the results of philology are not unequivocal in each case.
The sages and the lesser gods of NAss art share attributes and therefore functions: goat, sprig, greeting gesture, cone, bucket and mace. Both can occur with or without wings.
This umu-apkallū makes the iconic greeting gesture with his right hand while holding an e'ru stick in his left.
The tassels of his robe are clear around his ankles, as are bracelets just above his elbows.
Note the detail of the individually feathered wings. The rosette insignia on the e'ru and his wrist is not yet understood. The headdress is a horned tiara, indicative of divinity.
The apkallū of the rituals share properties with some of the gods of the rituals: the šūt kakkī (II.A.3.4) hold the e'ru-stick/mace, the il bīti (II.A.3.8) greets and holds the gamlu-curved staff (attributes also of apkallū in art), the undeciphered intruders of text II Rev. 9f., probably gods since they are made of tamarisk, hold an ara gišimmari (cf. also text IV/1 ii 6'f.; held by apkallū of art), and the šūt kappī, "the winged ones", of bīt mēseri (III.B.6) hold the e'ru and the libbi gišimmari.
The umu-apkallū at far left has his right hand raised in the iconic gesture of purification and exorcism, but no mullilu cone is present.
The next entity lacks wings, and so is probably not an umu-apkallū. The mace in the right hand could be an e'ru, as it is not yet clear precisely what e'ru means. I do not understand the object in his left hand.
The next entity holds a bowl and the curved staff, known as the gamlu-curved staff. While this entity wears a headdress, it is not horned, and wings are absent, suggesting that it is human rather than umu-apkallū.
The entity at far right wields a curved stick in his right hand, I am unsure how Wiggermann defines it, and I completely stumped by the object in his left hand, which appears to be a ladle. If I had to guess, I would surmise that the entity with the raised bowl is a king, and he is holding an offering which the figure at far right is blessing with the curved stick.
Like the (winged) gods and sages of art (Kolbe Reliefprogramme IIA, VII; above apkallū I and II) the gods of the rituals sometimes kneel (šūt kappī, III.B.6); kamsūtu, "kneeling figures", probably gods since they are made of tamarisk in ritual II Rev. 11f., occur as well (Ritual II Rev. 11f., Text VI Col. B:25, BiOr 30 178:18).
The designations of these purifying and exorcising gods of the rituals are not names, but descriptions of function or appearance: šūt kakkī, "weapon-men", it bīti, "god of the house", šūt kappī, "winged ones", kamsūtu, "kneeling ones".
This umu-apkallū holds a feather in his right hand, raised, and holds a small goat in his left hand.
The tassels on his robe are distinct, as are the bracelets on his upper arms, just above his elbows.
The headdress is unknown to me.
Wiggermann appears to favor the ür-term "lamassu" for all such apkallu figures.
Likewise the purifying and exorcising gods of art are not represented as individuals but as indistinguishable members of a group of lesser gods of similar function, holding more or less interchangeable attributes.
Although not an exorcist but an armed door keeper, the nameless god ša ištēt ammatu lān-šu, " One Cubit" (II.A.3.5), might belong here; the winged goddess holding a bracelet (Kolbe VIII) may be a female member of the same group.
Without definite proof we propose to indentify the nameless exorcising gods of the rituals with the indistinct winged gods of the reliefs.
The "names" distinguish the members of this group according to form or function, but we ought to expect a term identifying these gods as similar lesser gods. The only term available is lamassu (also proposed by Reade BaM 10 36).
In view of the many difficulties surrounding this term (provisionally Foxvog/Heimpel/Kilmer/Spycket RiA 6 446ff.) definite proof would require a separate study."
F.A.M. Wiggermann, Mesopotamian Protective Spirits: The Ritual Texts, STYX&PP Publications, Groningen, 1992, p. 79.
On the Fish-Apkallu
"Lamaštu amulets:
The fish-apkallū on Lamaštu amulet 2 (and 4?), exactly like the ūmu-apkallū on Lamaštu amulets 3 and 61, has his left hand on the bed of the sick man. The right hand is slightly damaged, but probably greeting.
Fish-Apkallu statuettes of the type that were buried in the foundations of buildings. It is difficult to tell whether they hold their hands in a prayerful position or hold something indistinct.
Wrong hand:
Occasionally apkallū are attested holding the bucket in their right hand: AfO 28 57f. 30 (above IIiI/6), Lamaštu amulet 5 (?), Calmeyer Reliefbronzen 66 H:8 (bird-apkallū).
Unidentified object:
One of the apkallū on CANES 773 holds in his right hand an unidentified feather-like object.
The identification of the fish-apkallū of ritual I/IiI with the "fish-garbed" man goes back to Smith JRAS 1926 709 (based on comparison with the Kleinplastik from Ur); identification of one of them with Oannes has been proposed since the early days of Assyriology (Kolbe Reliefprogramme 26, Zimmern KAT 535ff., ZA 35 151ff.) but was proved only after the names of the sages in Berossos' Babyloniaka were recognized in cuneiform (van Dijk UVB 18 46ff.).
Occasionally the apkallū is mistakenly identified with the fish-man / kulullû (see below, VII.C.9), a completely different figure. U4 – a n (Oannes) and Adapa, a human sage living approximately at the same time, are probably two different figures (Borger JNES 33186, Picchioni Adapa 97ff.).
A "fish-man" / kulullû is depicted at left, and a fish-apkallū at right.
Wiggermann distinguishes these two entities.
The texts clearly indicate that the fish-apkallū are not fish-garbed priests, but mythological figures, man and fish; they are bīnūt apsî, "creatures of apsû", in ritual I/IIi, purād tāmti … ša ina nāri ibbanú, "carp of the sea…who were grown in the river" in text IIiI.B.8 (cf. also Cagni Erra, I 162), and Berossos clearly describes them as a mixture of fish and man (cf. S. Mayer Burstein SANE I/5 13, 19).
Their names lack the determinative DINGIR, they are no gods, and the horns on the head of the fish (on palace reliefs, not on seals, cf. Kleinplastik 89, FuB 10 35) probably developed from its gills.
Berossos calls them "hemidaimones" (Jacoby FGrH 400).
Fish-Apkallū depicted on a cistern. The fish iconography is unmistakable, as are the banduddu buckets in their left hands. Objects in their right hands are indistinct, but the traditional gestures of warding or blessing seem clear. The objects in their right hands may be the "angular objects" mentioned in the table by Wiggermann at the top of the page.
In the third millennium a b g al is the name of a profession: see MSL 12 10:15, ZA 72 174 11 v 3, Bauer AWL 125 i 4 (NUN.ME.KA X ME/GANA2f, cf. also Barton MBI 2 iv 2), Ukg. 6 ii 30′, iii 4 (NUN.ME.KA X ME/GANA2f.) UET 8 33:15 and for the same profession in the divine world: TCL 15 10:98 (dA b g a l) cf. 85.
In OB sum. incantations a b g a l apparently refers to a mythological sage at the court of Enki: VAS 17 13:5 (together with Enkum, Ninkum, and the seven children of Apsû), 16:11, 32:21, HSAO 262:56, PBS I/2 123:9 IIIISET 1 217 Ni 4176:12, OrNS 44 68, cf. ASKT 12 Obv. 11ff.
The "seven apkallū of Eridu", at least in AnSt 30 78 (SB) identified with the seven antediluvian sages (Anenlilda is among them), are rooted in the third millenium (TCS 3 25:139, cf. Benito "Enki and Ninmah" and "Enki and the World Order" 91:105, and for later attestations JCS 21 11 25+a, Maqlû II 124, V 110 = AfO 21 77, VII 49, VIII 38).
The names of the seven antediluvian sages are certainly not as old as the names of the antediluvian kings: they seem to be derived partly from the titles of literary works (Hallo JAOS 83 175f.), and partly from the names of the antediluvian kings.
The element en-me-(e n) (and a m – m e, a m – i etc.) = e m e n (me —en) (cf. Finkelstein JCS 17 42, Wilcke Lugalbanda 41), "lord", in the names of the kings has been reinterpreted as "the lord (e n) who makes good (d u 10 – g a)/ perfects (g a l a m) / refines (b ùl u g -g á) the regulations (m e)".
Although the resulting names are good Sumerian (Lambert JCS 16 74), the consistent difference is telling. The Sumerian of the linguistically rather simple bilingual incantation to the fish-apkallū in bīt mēseri (III.B.8) could well be of MB date, and the Kassite seals with representations of the fish-apkallū prove that at this time the later views existed at least partially.
These undatable later views connect the named carp apkallū with canonized literature (Lambert JCS 16 59ff., Hallo JAOS 83 175f., van Dijk-Mayer BaMB 2 no 90) and have possibly been developed concomittantly.
Literature on the apkallū types :
Below text III.B.8, 9, 10, 11; Borger JNES 33 183ff., Foster OrNS 43 344ff., Komoróczy ActAntHung 21 135ff., 142ff., S. Mayer Burstein SANE 1/5 13ff., Kawami Iran 10 146ff., van Dijk UVB 18 43ff., all with many references to previous literature."
F.A.M. Wiggermann, Mesopotamian Protective Spirits: The Ritual Texts, STYX&PP Publications, Groningen, 1992, p. 76-7.
Bird Apkallu, Characterized as Griffin Demons
Bird-Apkallū statuettes in characteristic poses, right hands on their breasts, banduddu buckets in their left hands.
History: the griffin-demon does not stem from Babylonia; there he is attested first on the assyrianizing robe of Nabû-mukîn-apli (cf. Brinkman PHPKB 171, beginning of the 1st millennium) holding cone and bucket (King BBSt Pl. LXXIV); in Assyria, Syria, and the north he is attested much earlier (Parker Essays Wilkinson 33, Collon AOAT 27 222, on MAss seals: Klengel Brandt FuB 10 2438,39), cf. Madhloom Sumer 20 57ff.
Thus we are led to believe that a traditional northern hybrid with apotropaic functions was matched in Assyria with a traditional Babylonian literary figure with similar functions.
In Babylonia, from MB onwards, the apotropaic apkallū were viewed as partly man and partly carp; in the early first millennium Babylonia takes over the bird-apkallū (BBSt Pl. LXXIV), and Assyria the fish-apkallū (Rittig Kleinplastik 87).
The first millennium magical texts of Babylonian origin had to accommodate these foreign apotropaic beings.
Bird Apkallū and Fish Apkallū, side by side. Apkallū statuettes of this design were buried in appropriate places in the home of a Babylonian exorcist. They were believed to have prophylactic qualities, guarding the home from evil.
The bird-apkallū are accommodated in bit mēseri by a slight change of form and sequence of the names of the fish-apkallū (text III.B.10). In ritual I/II they are simply provided with the same incantation as the fish-apkallū.
Things that Apkallu Hold
" … we present a survey of the objects in the hands of apkallū on reliefs, seals, and in the Kleinplastik. The survey is not meant to be complete. It is based on the recent treatments of Rittig (Kleinplastik), Kolbe (Reliefprogramme), and Reade (BaM 10 17ff.).
Occasionally on Lamaštu amulets (2, 3, 5, 20 ?, 29′, 37 61) a figure wearing a shawl covering the legs, once clearly with headband (3, cf. the description RA 18 176), appears at the head or feet of the bed of the sick man, together with fish-apkallū (2, 5, 37) or alone (3, 61).
His right hands greets (2′, 3?, 5′, 61?) or holds an angular object, his left hand is placed on the bed (3, 61), on a censer (3, cf. Wiggermann apud Stol Zwangerschap en Geboorte 111) or holds a square object (37) or the bucket. He is never winged.
Frank LSS-III/3 who considered the fish-apkallū a dressed up priest, thought the second figure at the bed to be an assistant priest. Today we no longer view the fish-apkallū as priests, and accordingly the men at the bed are assistant apkallū rather than assistant priests. The "men" are clearly involved in activities similar to those of the fish-apkallū, and the texts prescribing the visual representations of beneficial supernatural powers do not offer another candidate for the identification of this apkallū-like figure than the ūmu–apkallū.
Bird Apkallu and Fish Apkallu, side by side. Apkallu statuettes of this design were buried in appropriate places in the home of a Babylonian exorcist. They were believed to have prophylactic qualities, guarding the home from evil.
Identification of ūmu-apkallū on reliefs:
The description and incantation of the ūmu-apkallū make it clear that they are anthropomorphic figures of human descent; the material they are made of also distinguishes them from the gods and the monsters and apkallū of non-human lineage.
That the horns of divinity are lacking in the description then is not a coincidence (as it is in the case of the il bīti). On amulets, in a context clearly defined by the bed of the sick man and the presence of fish-apkallū, only one figure is available for identification with the ûmu-apkallū (see above); this figure serves as a check on any identification of the ūmu-apkallū in the less clear context of the palace reliefs.
Umu-Apkallu, with right hand raised in greeting. The banduddu bucket is in the left hand. Later analysts focus on the rosette patterns on the headdress and bracelets of um-apkallu, and their earrings.
There is no reason why the ūmu-apkallū must appear on reliefs; the text quoted by Reade BaM 10 38i27 may have belonged to fish- or bird-apkallū (text I/7). However, the apparent bearing of our rituals on the apotropaic subject-matter of the reliefs, and more specifically the presence of the bird- and fish-apkallū, leads us to expect them.
Although ritual I/II prescribes specific attributes for each type of apkallū, the actual fish- and bird-apkallū of the Kleinplastik show that this specificity is a forced choice between a number of more or less equivalent attributes; we must not expect the ūmu-apkallū to have held only the object denoted by e'ru, whatever it is; the ūmu-apkallū of the Lamaštu amulets confirm this point.
This well-preserved bas relief retains incredible detail. The daggers carried in the Umu-Apkallu's waistband are clear, as is the rosette styling on his wristbands. The earrings are more distinct than most other examples, and the headdress appears to be of the horned-tiara type. The umu-apkallu appears to wear bracelets on his upper arms. Tassels are apparent on the fringes of his robe, as well as behind the neck.
The banduddû, identified with certainty with the bucket, thus isolates two groups with anthropomorphic members: the (winged) figures with headband and the (winged) figures with horned tiara (we will return to them below). The other attributes of the members of both groups can be made to match the attributes of the apkallū known from the texts; the horned figures, however, must be gods, and since the apkallū are no gods, the figures with the headband should be the apkallū (so Reade BaM 10 37; differently Kolbe Reliefprogramme 14ff., cf. 41f. 47, 50).
The banduddu buckets are discernible in the left hands of these bird-apkallu statuettes.
The ūmu-apkallū of the Lamaštu-amulets confirms this identification: decisive is the headband defining this type of supernatural beings (this band with daisy-like flowers differs from the diadem with two strips of cloth pendant behind, worn by the king or the crown-prince, cf. Reade Iraq 29 46, Iraq 34 92f.).
Unfortunately the headgear of the ūmu-apkallū is described only as agê ramāni-šunu, "crowns (cut out) of their own (wood)"; agû denotes a variety of functionally similar divine or royal headgears (CAD A/1 157a).
The different dress of the apkallū of the Lamaštu amulets cannot be adduced against identification with the apkallū of the reliefs; differences in dress are attested for the bird-apkallū as well, cf. Kolbe Reliefprogramme Pl. IV/1 and 2, Iraq 33 Pl. XiVe, Rittig Kleinplastik Fig. 20ff.; ūmu-apkallū with a shawl covering the legs appear on seals (VAR 675, probably CANES 705)."


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Home Emerging, Established Power Ties Afghan Reconciliation Sino, Indian Role In Afghanistan; Implications For Pakistan
Sino, Indian Role In Afghanistan; Implications For Pakistan
The new Chinese Premier Li Kegiang made his first official visit to India and Pakistan last week. The trip was watched closely around the globe for what it represented. Pakistan and China have a strategic relation going back decades, and many believe it has taken on an additional significance for the purpose of countering the growing clout of India.
The global politics, and even the weather patterns, are changing so quickly that the 'all weather' friendship cannot remain the same either. New factors are constantly causing the equation to evolve.
For one, Sino-Indian trade is growing steadily, and is projected to reach $100 billion in the next two to three years. On the other hand, Pakistan's trade with India is expected to reach $15 billion. Secondly, irrespective of the security situation of Afghanistan, both China and India are investing heavily in its mineral resources. The Chinese trade activities are taking place despite ongoing border tensions with India and NATO's presence in Afghanistan. India and China are also the integral members of BRICS, a body many believe is an emerging platform to counter western influence, especially economics, in different parts of the world.
China, Indian Investments in Afghanistan
Over the years, China has increased its economic interests in Afghanistan and has invested heavily in exploiting its mineral resources. According to the United States Geological Survey, Afghan mineral reserves are worth $1 trillion dollars. While Afghan sources present this estimate to be around $3 trillion. Metallurgical Corporation of China (MCC) and Jiangxi Copper Corporation (JCCL) won the tender in 2008 to develop the copper deposits located in Logar, and is putting in $4.4 billion for this purpose.
In contrast, India is investing up to $11 billion dollars in Afghanistan to mine the Hajigak iron ore. The project involves a consortium of 7 states and many private firms. Reports indicate the Hajigak deposits contain about 1.8 billion tons of ore, with an exceptionally high iron concentration ranging from 61 percent to 64 percent.
However, unlike China, India does not share a border with Afghanistan and the sea route can be expensive. This is why India has been exploring the Pakistani land route for transport of iron ore.
As compared to using the longer Iranian route via Chahbhar, India prefers Pakistan for transporting the ore out and for building a slurry pipeline. While Pakistan approved the trade and transit treaty that allows Afghanistan to send goods to India, it has remained concerned about losing influence in Afghanistan as Indian economic clout increases there.
Mining work is expected to begin in 2014 as the Afghan forces take over the security responsibility of the country. However, there are concerns whether Afghans will be able to provide the needed security.
American Posture
On the other hand, American officials have welcomed these investments in Afghanistan.
"We appreciate very much the significant role that India is playing in Afghanistan. In fact, we see India as kind of the economic linchpin for future," US Assistant Secretary of State Robert Blake informed lawmakers in February during a hearing of Asia and the Pacific Sub-committee of the House Foreign Affairs Committee.
"As our troops (and) their spending draws down, it's going to be much more important now to establish a private-sector basis for the Afghan economy and to make a trade-based economy and not an aid-based economy. India is such an important role to play in that," added Blake.
Meanwhile, US has wanted to keep Iran out of this regional trade, and has preferred the TAPI gas pipeline as oppose to the Iran-Pakistan.
Trade Not Aid and its Implications for Pakistan, Afghanistan
'Trade not Aid' has been one of the main demands of Pakistan from US, and now Nawaz Sharif also presented it to the new Chinese Premier. The challenge is while India and China are investing in Afghanistan, they both see Pakistan from a security perspective, and not necessarily as an economic opportunity. With Chinese economic interests growing in Afghanistan, like India, it would also want Pakistan to use its influence in ensuring the security and stability of Afghanistan. This is the same as US and NATO that are depending on Pakistan for withdrawal of its equipment from Afghanistan and to rein in the extremists. The growing dilemma for Pakistan is that while it is being expected to ensure regional security, it is coming at a huge economic cost to the nation.
At the same time, despite insistence from Afghanistan, India and China both have refrained from getting involved directly in the military affairs of the country.
As far as India is concerned, it is not clear if it would continue this posture. Surprisingly, President Hamid Karzai and Chinese Premier Li Keqiang ended up in India at about the same time. Majority of the media sources reported on them as separate visits and did not point to the significance of this coincidence. While Pakistan's ties have improved with India, but not to the extent to make it oblivious to the occurrence.
The visit of President Karzai to India was meant to solicit more defense equipment and military training from India. The training of Afghan army by India has been a cause of grave concern and a red line for Pakistan. Moreover, Karzai's trip has taken place in the aftermath of increased tensions on the border between Pakistan and Afghanistan.
By visiting India first, and while Karzai was there, China is conveying to Pakistan, India and Afghanistan, it gives more importance to the economic and trade relations as oppose to security concerns. The implied message will obviously have a positive influence on their ties with each other. At the same time, the Chinese message is likely to be only valid as long as India does not play a countering role in the American pivot to the Pacific, which ultimately will also determine the fate of BRICS, and the full membership of India and Afghanistan to SCO.
Previous articleChinese Message To Pakistan, India, And Afghanistan
Next articleThe Security, Economic Calculus Of Pakistan's New Government
Biden's Middle East Policy, China-Iran Ties, and CPEC
Promise And Premonition; Historical Context Of The US-Pakistan Relations And Emerging China Factor
Evolving QUAD And Australian Participation In The Malabar Exercise 2020


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text:
It's Only Love è un album discografico di Rita Coolidge, pubblicato dalla casa discografica A&M Records nel novembre del 1975.

L'album si piazzò all'ottantacinquesimo posto nella classifica statunitense The Billboard 200

Tracce
Lato A

Lato B

Formazione
 Rita Coolidge - voce, cori
 Jerry McGee - chitarra
 Al Perkins Jr. - pedal steel guitar
 Dean Parks - chitarra
 Barbara Carroll - pianoforte (brani: Mean to Me e Am I Blue)
 Booker T. Jones - organo Hammond (brano: Star)
 Fred Tackett - chitarra
 Mike Utley - tastiera
 Leland Sklar - basso
 Sammy Creason - batteria
 Chuck Domanico - basso (brani: Mean to Me e Am I Blue)
 Bobbye Hall - percussioni
 Colin Bailey - batteria (brani: Mean to Me e Am I Blue)
 Venetta Fields, Clydie King, Shelie Matthews, Brooks Hunnicutt, Jennifer Warnes, Petsye Powell - cori
Note aggiuntive
 David Anderle - produttore
 Registrato e mixato al Sunset Sound Studios di Los Angeles, California
 John Heny e Kent Nebergall - ingegneri delle registrazioni
 Marty Lewis - ingegnere del remixaggio
 Masterizzato da Doug Sax al The Mastering Lab di Los Angeles
 Roland Young - art direction
 Junie Osaki - design album
 Bob Jenkins - fotografie

Note

Collegamenti esterni
  (LP - Titoli e durata brani - Musicisti - Produttore - Crediti vari)
  (LP - Titoli e durata brani - Crediti vari)


text:
Arts & Culture » Dance
Akram Khan and the English National Ballet bring Giselle into the 21st century
"In order to destroy something you have to create something."
by Irene Hsiao
Laurent Liotardo
Akram Khan's Giselle
Through 3/2: Thu-Fri 7:30 PM, Sat 2 and 7:30 PM, Harris Theater, 205 E. Randolph, 312-334-7777, harristheaterchicago.org, $35-$155.
Since its 1841 premiere, Giselle has been an exemplar of romanticism, with its depictions of frolicking country folk, feminine virtue, and ghosts. The innocent peasant girl Giselle dies of heartbreak when her lover, Albrecht, turns out to be an aristocrat in disguise with a well-to-do fiancee. Like other maidens who perish before their wedding day, Giselle joins the wilis, spirits dressed like brides who lurk in the woods, luring men into furious, fatal dances. Yet when Albrecht wanders into their ethereal sorority, doomed to die, Giselle forgives him and protects him from harm.
This week, the English National Ballet makes its first foray across the Atlantic in three decades to bring its wildly anticipated new Giselle for an exclusive North American engagement at the Harris. Commissioned in 2016 by artistic director Tamara Rojo, the ballet was choreographed by Akram Khan, who uses his background in contemporary dance and kathak, a form of Indian classical dance, to reenvision the classic to a new score by Vincenzo Lamagna.
The English-born son of immigrants from Bangladesh, Khan worked with dramaturg Ruth Little to develop an international context for the ballet that reflects current events. "At the time of creation, how Europe was treating the migrants was quite horrific," he says. Haunted by the tragedy of Rana Plaza in Bangladesh, in which 1,134 people died when a building housing several apparel factories collapsed, Khan and Little reimagined Giselle and her clan as migrant garment workers. "We're all in the end migrants," notes Khan.
Khan also revisited the character of Giselle as he created the ballet. "In the classical version, Giselle is portrayed from a man's perspective—coy, sweet, fragile," says Khan. "But the women in my life are not that. They are fierce, strongheaded, and leaders, like my mother, like my daughter, like my wife."
Yet he insists that Giselle's mercy towards the deceitful Albrecht is also the key to her power—and to the necessity of such narratives in our time. "To forgive is the hardest thing. It's not a sign of weakness. As human beings, we need empathy again. We are so used to the Western system of right and wrong, good and evil, black and white. It's so much more complex in the [Sanskrit epics] Mahābhārata and the Rāmāyana. Within the good there are elements of the bad; within the bad there are elements of the good. In order to create, you have to destroy first. In order to destroy something you have to create something. The human condition is complex. We haven't grieved for climate change or xenophobia yet as a species, because we're in such denial. We haven't learned from our past by forgiving—and the only way to forgive is to see." v
Dance Giselle, English National Ballet, Harris Theater, Tamara Rojo, Akram Khan, Vincenzo Lamagna, ballet, Ruth Little, Kathak, Rana Plaza, garment workers
Benjamin Wardell
No one is alone: the year in dance
The best moments in dance in 2019 focused on the power of community.
by Irene Hsiao | Dec 17, 2019
The ABT arrives at the Auditorium Theatre with the surreal Whipped Cream
Mark Ryden's set and costumes engage with childhood fears while delivering a steady stream of whimsy.
by Oliver Sava | Apr 10, 2019
Cheryl Mann
The Joffrey premieres a brand-new Anna Karenina
The ballet company built its Tolstoy adaptation from the ground up.
by Irene Hsiao | Feb 12, 2019
Sébastien Mathé
The Paris Opéra Ballet does la danse francaise big time
A legendary company comes to the Harris Theater
by Laura Molzahn | Jun 19, 2012
by Joseph Houseal | Apr 17, 1997


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Psilocybin: hallucinogen in 'magic mushrooms' could pave way for treatment of severe depression
Magic mushrooms or psilocybin mushrooms have come a long way when it comes to large ongoing trials for the treatment of major depression. Now, a new study published this week suggests magic mushroom approval is nearing, indicating that a single dose of psilocybin is already possible for a treatment-resistant episode of major depression.
Depression or major depressive disorder is known as a common but serious mental ailment, which negatively affects people's mood, emotion, thinking and even motivation in life. For years, scientists have been experimenting with "magic mushrooms" containing the hallucinogen psilocybin to mitigate or cure medical illness, as well as its more dangerous condition called severe depression.
Magic Mushroom Developments
(Photo: Photo by GUILLAUME SOUVANT/AFP via Getty Images)
With these attempts comes long-standing evidence that magic mushrooms can potentially serve as a treatment for depression. Clinical trials on the 'magic mushroom' have already started in recent years, which were also covered by Nature World News. During this period, promising results were shown by the progress of theoretical knowledge and practical applications of these hallucinogenic mushrooms.
The findings and update on the large ongoing trial of magic mushrooms for the treatment of severe depression were published in the journal. The New England Journal of Medicine on Thursday November. Lead author Dr. Guy Goodwin, medical director of Compass Pathways, stated that the trial is currently in Phase 3 in consultation with the Food and Drug Administration (FDA) for approval.
The current phase is examining psilocybin for use in treatment-resistant depression. The results showed that depression scores were reduced by more than 1 milligram dose for the participants over a period of more than three weeks. A total of 79 participants with treatment-resistant depression joined the study.
Also read: This Mushroom Could 'Magically' Cure Depression With No Side Effects
According to the American Psychiatric Association (APA)Symptoms of depression can range from mild to severe and may include the following emotional or physiological signs:
sad or depressed mood
loss of interest in activities
extreme weight gain or loss
sleeping too much or lack of sleep
thoughts of death or suicide
The APA states that symptoms of depression must last for at least two weeks and show a significant change from the previous level of functioning for a diagnosis of depression to occur. Also, medical conditions like thyroid problem, brain tumor, or vitamin deficiency can mimic or mimic the symptoms of depression.
In addition, there are also cases where bipolar disorder or bipolar illness causes a person to experience mood swings with emotional highs and lows (mania or hypomania) and emotional lows (depression). according to Mayo Clinic.
Antidepressant Mushroom Test
Several reports have interpreted recent advances in the study to prove that the mushroom drug psilocybin can treat depression; in which a single treatment of the synthetic magic mushroom contains the hallucinogen, which is a mind-altering ingredient.
Reports highlighted improvement in depression in people affected by a treatment-resistant form of the disease. Experts in the field have reportedly found the new research and its findings promising.
Scientists involved in the research found a dose effect and clinically significant improvement in just three weeks, according to Dr. Matthew Johnson, a professor at Johns Hopkins Medicine, who was not involved in the new study, as cited by CNN.
Related article: Magic Mushroom Compound May Be Future Treatment for Depression
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Every Song Ranked On Drake & 21 Savage's 'Her Loss' Album: Critics' Picks
Sault hospital sees 'uptik' in children with respiratory illnesses


text:
Page 9, 26 November 1965 — Judgment of Solomon The International Red Cross Committee, I am
26 NOVEMBER 1965, Page 9
Judgment of Solomon The International Red Cross Committee, I am
told, have found a startlingly simple way of apportioning the various national contributions towards dealing with the casualties in Vietnam,
and all , through the good offices of the National .
Liberation Front representative in Moscovi. One- third of contributions go direct from Geneva to the Red Cross in South Vietnam; two-thirds go to Moscow and are there divided equally to be passed on to the Red Cross in North Vietnam and a body known as the Red Cross Committee of the National Liberation Front.
About the Red Cross in South Vietnam there are no complaints whatsoever. It has been estab- lished for some time, any Red Cross observer is allowed in to see the administration of the fund, and there are no doubts that it reaches the victims of the war. About the Red Cross in the North people are less happy. The existence of the Committee is verified, though Hanoi has consistently refused to allow anyone in to ob- serve its administration. A further request for Hanoi to permit inspection at present lies rather pessimistically with the North Vietnam represen- tatives in Warsaw. About the NLF Red Cross however, there are not only doubts, there is a total lack of confirmation whether the organi- sation exists, ever has existed, or is ever likely to exist. No representative of the organisation has ever been seen. The NLF man in Moscow simply takes the money, promises that it will be sent on to Hanoi and from there passed down into the areas held by the Vietcong.
That all victims of war are equally deserving of treatment, one would hardly dispute, though one does wonder how many people know what happens to their contributions. One wonders equally if giving two-thirds to the North and the Vietcong and one to the South is a very fair distribution. Such discussion is academic. But that two-thirds of the contributions should go to two bodies, of which one refuses to allow inspection and the other is not even known to exist, seems to me to be straining the neutrality and evident good faith of even such an admirable body as the International Red Cross. Some people will always be fooled by front organisations: but what of something which bothers to display neither front nor organisation? This is a strange way of furthering international charity.


text:
Zhucheng (cinese tradizionale: 諸城; cinese semplificato: 诸城; pinyin: Zhūchéng) è una città-contea della Repubblica Popolare Cinese, situata nella provincia dello Shandong e sotto l'amministrazione della città-prefettura di Weifang.

Storia
Conosciuta in antichità con il nome di Langya (琅琊), fu dal porto di Zhucheng che il primo imperatore della Cina, Qin Shi Huang, mandò il generale Xu Fu alla scoperta del Giappone, nel 210 a.C., in cerca del leggendario elisir di lunga vita.

Il pittore Zhang Zeduan, vissuto durante la dinastia Song, nacque nella città di Zhucheng, che era all'epoca conosciuta con il nome di Dongwu. Tra i personaggi più importanti che hanno avuto i natali a Zhucheng vi è Jiang Qing, ultima moglie di Mao Zedong e leader della Banda dei Quattro. Oltre a lei, possono essere annoverati Zhao Shucong (赵树丛), vice-governatore della provincia dello Anhui e vari altri personaggi storici o illustri quali Zhao Tingzhi (趙挺之), Zhao Mingcheng (趙明誠) della dinastia Song, Wan Zhener (萬貞兒, conosciuta anche come 萬貴妃, concubina dell'imperatore Hongzhi) della dinastia Ming, Liu Tongxun (劉統勳), Liu Yong (劉墉) e Dou Guangnai (窦光鼐) della dinastia Qing.

Economia
Nel 2005, Zhucheng ha avuto un rendimento totale della produzione pari a 10.8 miliardi di RMB, pari ad una crescita annua media del 16% circa.

Zona di sviluppo economico
Il Parco Industriale di Zhucheng, facente parte delle Zone di Sviluppo Economico e Tecnologico della Cina, è stato approvato dal Governo Provinciale dello Shandong nel 1992. La sua area totale copre 25km². Da sud a nord vi scorre attraverso l'autostrada nazionale 206 e la città vi è collegata dalla stazione ferroviaria Jiaoxin, che la connette anche al grande centro di Qingdao (60km ad est), a Rizhao (60km a sud) ed a Weifang (80 km a nord). Sin dalla fine degli anni '90, le industrie principali della zona sono state quella conserviera, chimica, dei materiali da costruzione, tessile e dei prodotti elettromeccanici.

Trasporti
Zhucheng è collegata attraverso autostrade al maggior centro urbano dello Shandong, la città di Qingdao.

Amministrazione
Zhucheng divenne città-contea nel 1987 ed è amministrata come distretto di sviluppo economico a livello provinciale, con giurisdizione su più di 20 cittadine (镇 zhen):

Lübiao (吕标)
Zhigou (枳沟)
Wanjiazhuang (万家庄)
Qiankou (箭口)
Jiayue (贾悦)
Mengtuan (孟疃)
Mazhuang (马庄)
Shiqiaozi (石桥子)
Chenggezhuang (程戈庄)
Jiutai (九台)
Xiangzhou (相州)
Guojiatun (郭家屯)
Baichihe (百尺河)
Changcheng (昌城)
Xinxing (辛兴)
Zhujie (朱解)
Wadian (瓦店,已经并入林家村镇,现在为瓦店社区)
Linjiacun (林家村)
Huanghua (皇华)
Haogezhuang (郝戈庄)

Municipalità (乡 xiang)
Wujialou (吴家楼)
Taoyuan (桃园)
Shihetou (石河头)
Shimen (石门)
Taolin (桃林)
Shandongtou (山东头)

La città dei dinosauri
Zhucheng è stato un sito rilevante per gli scavi di fossili di dinosauri sin dagli anni '60. Prima delle effettive scoperte scientifiche, le comunità locali utilizzavano le ossa fossilizzate, ricche di calcio, come tradizionali rimedi popolari per i crampi muscolari ed altri dolori minori. Negli anni '80, è stato ritrovato a Zhucheng il più grande adrosauride del mondo, il cui scheletro ricostruito è in mostra presso il Museo Archeologico della città. Gli scienziati hanno portato alla luce più di  di fossili a partire dal 1960. A gennaio del 2008, l'Australia diede indietro alla Cina centinaia di chili di fossili di dinosauri, incluse delle uova fossilizzate. Tali fossili erano stati scoperti e portati via in precedenza, durante un'operazione sotto copertura volta al controllo di magazzini e container.

Scoperta del 2008
Il 31 dicembre 2008, i paleontologi dell'Istituto di Paleontologia e Paleoantropologia dei Vertebrati dell'Accademia Cinese delle Scienze annunciarono di aver dissotterrato, a partire dal precedente mese di marzo, 7.600 fossili di dinosauri attorno all'area di Zhucheng. Gli ultimi siti ad essere stati scoperti sono localizzati intorno alle cittadine di Longdu, Shunwang, Jiayue e Zhigou. I paleontologi credono di aver scoperto, a Zhucheng e nei dintorni, il più cospicuo raggruppamento di resti di dinosauri concentrati in un'enorme fossa di scavi. I fossili risalgono al periodo Cretaceo, appena prima l'estinzione di massa del Cretaceo-Paleocene. I ritrovamenti includono, tra gli altri, i resti di un adrosauride lungo 20 metri, una taglia considerata da record per questa specie di sauri. Insieme alle ossa appartenenti ad un anchilosauro dalla coda a forma di mazza, è stato trovato anche il fossile di un grande cranio di triceratopo.

Una così alta concentrazione di fossili in un'area ristretta ha dato adito alla creazione di diverse teorie sull'estinzione di questo gruppo di dinosauri in particolare. Gli scienziati credono che un'eruzione vulcanica possa aver causato la morte dei dinosauri, e che una successiva inondazione abbia portato i loro resti nell'area dentro e intorno Zhucheng, che un tempo doveva essere stata una palude coperta d'erba.

Demografia e cultura

Essendo una città altamente industrializzata, Zhucheng fa parte delle poche dozzine di città cinesi in cui vivono più di un milione di abitanti. I maggiori gruppi etnici ivi inclusi sono cinesi Han (99,7%), Manciù (0,1%), Coreani (0,1%) e Hui (0,1%). Approssimativamente 19.000 abitanti (l'1,8% della popolazione totale) sono di religione cristiana. Secondo il censimento del 1990, la popolazione maschile ammontava a 523.425 abitanti, mentre quella femminile a 507.233, per un totale di 260.678 unità familiari. Zhucheng è gemellata con la città di Belleville, nella provincia dell'Ontario, in Canada.

Note

Altri progetti

Collegamenti esterni

Centri abitati dello Shandong
Suddivisioni dello Shandong
Città-contee


text:
Bruce Michael Alexander, 49, told police "the President of the United States says it's ok to grab women by their private parts," according to court documents.
Trump 'said it's ok to grab women's private parts'
by Natalie Musumeci
24th Oct 2018 11:08 AM
A FLORIDA man accused of groping a woman aboard a Southwest Airlines flight over the weekend has used a bizarre excuse to justify his lewd actions.
A criminal complaint states Alexander grabbed the right breast of a woman seated in front of him while aboard Flight 5421 from Houston, Texas, to Albuquerque, New Mexico, on Sunday.
Alexander was aboard Flight 5421 from Houston, Texas, to Albuquerque, New Mexico, on
The victim told police that she dozed off after boarding and within 20 minutes into the flight, she felt "a movement on the right side of her sweater," the complaint says, adding that the woman had initially assumed the touching was an accident.
Roughly 30 minutes later, the victim "felt fingers slowly grab the back of her arm, squeezing above the elbow, then slowly and 'attentively' grope her right side, again at and around her ribs and 'bra line'", according to the court document.
The hand, the woman said, "had thick fingers, were hairy and dirty fingernails."
After the second groping incident, the victim turned around "and told the passenger behind her that she didn't know why he thought it was ok (to touch her) and he needed to stop."
The woman then asked a Southwest Airlines crew member to reseat her, and she moved to the back of the plane.
When Alexander was later arrested on a federal charge of abusive sexual contact, he referenced President Trump's infamous "grab them by the p***y" quote in the back of a police car.
"Later, in the vehicle, Alexander stated that the President of the United States says it's ok to grab women by their private parts," the criminal complaint says.
Mr Trump was the star of The Apprentice TV show when he was caught on a hot microphone bragging to Billy Bush, then the host of "Access Hollywood," about how his fame enabled him to kiss and "do anything" to women.
"And when you're a star, they let you do it. You can do anything," Trump said. "Grab 'em by the p***y. You can do anything."
The tape emerged during the 2016 presidential election.
If convicted, Alexander faces a maximum penalty of two years in prison and a $250,000 fine.
This is an edited version of a story that originally appeared on the New York Post. It is republished with permission.
Trump lawyer wants porn star money back
Trump calls Stormy Daniels 'horseface'
Shock as top Team Trump member quits
Secret Trump recording released
Foreign powers 'bugging Trump's calls'
donald trump editors picks harassment sexual assault women
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text:
void reset_hid_reports(void);
void send_hid_reports(void);

redpajama_set_name: RedPajamaGithub


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text:
Weed Killing Products Increase the Risk of Lymphoma Cancer by 41 Percent – New Study
A new scientific study of the cancer-causing potential of glyphosate herbicides has found that people with high exposures to the popular pesticides have a 41 percent increased risk of developing a type of cancer called non-Hodgkin lymphoma.
These is the most widely used weed killing products in the world.
Weed Killer Linked to Lymphoma
The evidence in this new research shows that there's "a compelling link" between exposures to glyphosate-based herbicides and increased risk for non-Hodgkin lymphoma (NHL).
The authors concluded, though they said the specific numerical risk estimates should be interpreted with caution.
The findings by five United States scientists contradict the U.S. Environmental Protection Agency's (EPA) assurances of safety over the weed killer and come as regulators in several countries consider limiting the use of glyphosate-based products in farming.
Monsanto and its German owner Bayer AG face more than 9,000 lawsuits in the U.S. brought by people suffering from non-Hodgkin lymphoma. The plaintiffs blame Monsanto's glyphosate-based herbicides for their diseases.
The first plaintiff to go to trial won a unanimous jury verdict against Monsanto in August — though Monsanto is appealing the verdict. The next trial, involving a separate plaintiff, is set to begin on 25 February. More trials are set for this year and into 2020.
Monsanto Maintains Innocence
Monsanto maintains there is no legitimate scientific research showing a definitive association between glyphosate and non-Hodgkin lymphoma. Alternatively, for any other type of cancer, for that matter.
Company officials say the EPA's finding that glyphosate is "not likely" to cause cancer is backed by hundreds of studies finding no such connection.
The company claims the scientists with the International Agency for Research on Cancer (IARC) who classified glyphosate as a probable human carcinogen in 2015 engaged in improper conduct and failed to give adequate weight to several important studies.
This new study titled, "Exposure to Glyphosate-Based Herbicides and Risk for Non-Hodgkin Lymphoma: A Meta-Analysis and Supporting Evidence," is at Mutation Research/Reviews in Mutation Research.


Thinking of setting up a Facebook page for a business or organization? Here are 45 mistakes that businesses should avoid, though not in order. Do you know of any other mistakes that should be included in this list?
Not having a clear message of who you are and how you serve.
Poor grammar is not professional.
Poor punctuation makes a business look uniformed.
Poor spelling makes a business look sloppy.
Posting about things not related to their business.
Posting too often or not often enough.
Posting only about a product.
People or businesses that rely only on Facebook for business and put little effort efforts into other types of marketing. Facebook is a tool, but not the only means.
Not using a #hashtag in their posts.
Trying to save time by using a Twitter post, which doesn't always make sense on Facebook, even though Facebook now has #hashtags.
Post and Run; businesses that don't interact with the incoming comments.
Not applying the 80/20 rule.
Sharing complaints and negative comments.
Not thinking about your client. Good businesses are customer-focused and post what they think their customers want to read.
Not engaging with their audience.
Hard selling or spammy posts.
Not providing a wll-rounded, entertaining Facebook page.
Not understanding the dynamics of their fan base.
Running their Facebook page like a website.
Not taking advantage of the "power of the newsfeed".
Lack of fan interaction and engagement.
When a business is more worried about their numbers, instead of interacting with their fans. The more comments; the more fans that will see your post.
Spending too much time on Facebook, even though their customers never visit Facebook, because they think it's something teenagers do.
Using only Facebook in their social media marketing arsenal.
Unwillingness to invest in Facebook ads, even the simplest, promoted posts.
Keeping the CAPS LOCK ON.
Liking an inappropriate page (and forgetting that this will show up on your page for the whole world to see)!
Businesses should keep their Facebook page professional.
Contests are in direct violation of Facebook's terms.
Confusing Facebook page with a product catalogue.
Using a personal profile as a business or organization presence.
Thinking that you are not making any mistakes and taking things lightly.
No social media plan can lead to a lack on inconsistency.
Posting infrequently or only when they want to promote something.
Too much selling and not enough listening.
Discussing personal problems can damage a business' brand and credibility.
Stealing copy from someone's else's post or website.
Not responding to Fans as quickly as possible.
Long, run-on sentence. When writing for the Internet, remember the KISS principle: keep it short and sweet.
Do you know of any other Facebook mistakes that should be included in this list?


How do you get the education you should have gotten in high school and college?
I'm just now coming out of a 20-year depression in which I typically ignored most of the world and did the least amount possible to fulfill various obligations, including education. I shortchanged myself in a lot of ways, don't have the education my degrees represent, and want to correct that somehow. I don't know where or how to start.
I have a number of questions related to wanting to get the education I should already have.
Is there a list somewhere of U.S. states' educational requirements for a high school degree? Most stringent? Least stringent? Most common (the things every high school graduate should know, regardless of field)? What is the most efficient and least costly way to go about learning all of that--I imagine the library will play a part here, but which books would give the most bang for the buck, so to speak? Low-cost or free programs to serve as a refresher course? Most of what I learned in high school is long forgotten, sometimes as soon as the test was turned in.
What are the things that every college graduate should know? Is there a list somewhere, maybe resulting from a study, or some general overview from one commission or another addressing minimum expectations and best-case scenarios?
And again, short of returning to college, what would be the most efficient way to gain this knowledge? I've thought of test preps, but those typically cover English, math, and sometimes logic. Those would be a good start, but what other resources are available, and which are the best investment for time spent?
Any suggestions or guidance would be greatly appreciated.
Most of what I learned in high school is long forgotten, sometimes as soon as the test was turned in.
Don't worry, everyone else did the exact same thing. Other than some basic geometrical formulas that I still use almost every day (areas of shapes, mostly), I can't actually think of anything I actually retained from high school. If you learned enough at the time to get yourself into college, that is good enough.
In terms of regaining what you "should" have learned in college, I'd suggest picking one of the versions of the "canon" (aka the great books) and selectively reading your way through it. Make sure it is a list that includes the greats of scientific thinking, not just literature, because you are coming into this with broad interests. What that canon should and should not include is the subject of hot debate, and it has come up a few times on AskMe -- I honestly think that it doesn't really matter which exact list (or combinations of lists) you work through, as long as you are doing it. Googling "great books canon" turns up a bunch; here is the wikipedia page on the Western Canon. I want to emphasize that I am suggesting a selective reading -- picking the authors and texts whose writings speak to you, or whose writings are foundational to the things you find interesting.
That will get you the deep foundations of an education, but as many liberal arts graduates have discovered it doesn't exactly translate into immediate real-world applicability. For that you will want to specialize, and although you can do so on your own if you have a good library, the normal way to do that is "graduate school." Autodidacts can be really impressive people, but there are a lot of efficiencies and social reasons for engaging in education as a collective enterprise.
For a refresher, try picking up a copy of a GED (high school equivalence test) preparation book. My partner got one, and I looked through it, it seemed like a good general overview of what was covered in high school.
Of course, this is in Ontario, Canada. I'm not sure what's offered in the US or in various states within.
Pick up the book "An Incomplete Education." Read it.
If a subject strikes your fancy, get more books on it.
While I think it's admirable that you are concerned about filling in this gap, I don't think you need to worry that much about recapitulating the formal-educational experience. But if you really want to, you could probably find a university's course catalog, find the reading lists for some 101-level classes on American and world history, lit, biology, etc, and get those books.
I inherited a load of old (60s and 70s) textbooks from an uncle. I invariably find that their maths are substantially clearer and more concise than their modern equivalents. For someone who took the courses and simply needs a refresher (how the heck do you convert a repeating decimal to a fraction) the textbook-as-reference is a far better resource than the modern textbook-as-teacher approach.
Following up on adamrice- if you find a particular topic interesting, you might find this thread relevant.
Here's a list of all 177 Berkeley Video Courses, if you want to basically take some free college courses.
And here is lifehacker's list of links for places to get free classes online - everything from languages to CPR to literature to math, etc.
Of course you'll still have to decide which subjects are important to you, but hopefully these will help you learn once you decide WHAT to learn.
I found the Norton Anthology of Literature (one of the many) an easy way to ease into relearning literature after spending three years stuck in legal textbooks for law school. The short stories and the poetry eased me into it, and expanded my frame of reference quite nicely. Later, short stories turn into plays and longer works. It is a nice way to read through a collection of things and pick up a whole bunch of notches on your educational belt - especially if your concentration was originally in English, but you feel like you glossed over some of the basics while just skating through.
2nding Forktine. It's really hard to put my finger on what I really learned in high school or college. But I know that being in high school and college definitely exposed me to things I wouldn't have been exposed to, and got me in the habit of writing and thinking more clearly.
I think you could have the same experience just by reading lots of books (anything of substance, really... fiction or non-fiction) and writing regularly. A blog, perhaps? Maybe start a blog where you write about things that you're learning.
And I would emphasize two subjects that I think are really important for understanding the world: statistics and logic.
I should say... probability and logic.
"3.6 Analyze the way in which authors through the centuries have used archetypes drawn from myth and tradition in literature, film, political speeches, and religious writings (e.g., how the archetypes of banishment from an ideal world may be used to interpret Shakespeare's tragedy Macbeth)."
9. Analyze the similarities and differences between the ideologies of Social Darwinism and Social Gospel (e.g., using biographies of William Graham Sumner, Billy Sunday, Dwight L. Moody).
A good search term here might be "cultural literacy." Forktine makes some good points about some of the "liberal arts" skills that are tricker to pick up on your own, especially how to argue--not combatively, but productively--about various matters in speech and writing.
If you've got a bit of spare time and cash, you might try taking a survey course or two at a community or 4-year college on subjects that interest you; however if that's not possible, there are many subject primers available nowadays (such as the Oxford Very Short Introduction series). Personally, I do love little primers of this sort, but I also appreciate those who undertake to provide "big picture" syntheses of history, etc. I've been planning for the last couple weeks to pick up from the library and watch Kenneth Clark's Civilisation, for example. I often find it interesting to read or watch historical accounts that are a bit older, to see how I or my contemporaries might disagree with these.
Anyway, since it's also always cool to combine the systematic study of "the canon" with more happenstance and less systemazied reading, I'd also recommend finding the best used bookstore in the region and browsing around for knowledge that might fall somewhat of the beaten path. Remember too to have fun (and to look with at least some suspicion on certain kinds of claims to educated cultural authority).
Second language courses are often available through a variety of organizations. Even a smattering of a second language puts you head and shoulders above most native-born U.S. citizens.
Any good "Critical Edition" of a work of literature can run you through the full gambit of skills you need, from word to word metering of poems to the sweeping critical approaches of higher theory. Some things you'll get your head around, some things will be a brick wall (for me, it was Derrida and other linguistic theories). Wikipedia and other topic-specific websites will offer the most succinct explanations to hop over that brick wall. Those brick walls are the things that professors would have helped with, so looking up class notes and different approaches to learning those topics will be critical to absorption.
I've had it in mind to ask this very question- thank you for doing so!
If you don't mind a piggyback (but related) question, I'm also curious as to what the hive mind feels to be the most important lessons learned in highschool/college, but NOT from classes or textbooks. Ie were you exposed to anything you couldn't have learned just "out in the world"?
Wow, it's great to come back and see all these suggestions: canon lists, additional search terms, free courses online, recommended overviews, education requirements, and some reminders to do this for the right reasons and to have fun.
It's hard to know what to mark best answer, especially the day after posting the question, but I think there are some very good ideas here on how to start working on the problem. Thanks, everyone.
Seconding The Teaching Company once you figure out where your gaps are. Some of those lecturers are huge in their field, and really really good. I've had good luck with inter-library loan, since the cost is sort of prohibitive.
And I hear, though of course I wouldn't know personally and am not recommending it, that if you search a certain Swedish site for "TTC" you'll find plenty to download, especially in the philosophy and history lines.
Are you still in Gainesville? What about dear old Fanta Fe? Maybe they'll let you dabble--take a course or two at night . Don't worry too much about being "over traditional age" among a bunch of 13th graders--there are a lot of different sorts at the school. The satellite campuses have smaller class sizes and a fascinating mix of people. See, I'm just thinking that Shakespeare is much more better with a live group of people.
Actually, you know what, to hell with this little stuff: what you should probably do is damn the torpedoes, take the GED, ace it and then go to a good graduate school. I wasted my life in college and high school, too, but grad school was a good time.
I mean the GRE, not the GED. And write a stunningly great "statement of purpose." Then masters somewhere and no more feeling shortchanged.


La Maison Jolie: Luxe Walls by Julia Hill - Where Style Meets Function!
Luxe Walls by Julia Hill - Where Style Meets Function!
In a world of constantly changing style trends and instant gratification, designer Julia Hill is certainly putting her own stamp on bespoke interior design. After a successful career in publishing and with a strong background in the fashion industry, Julia has recently turned her sense of impeccable style, design and passion to interiors.
Julia is the founder of new and bespoke Australian wallpaper brand Luxe Walls. It is a versatile self-adhesive wallpaper that can be printed to your design specifications. The wallpapers are fully removable making it easy to apply and use in a number of ways to cover endless design needs. Whether you are looking to transform the mood of a room, reinvent your home, camouflage a wall or simply add some visual interest, Luxe Walls can help you create an imaginative and unique space!
I had the opportunity to chat with the gorgeous Julia Hill and was inspired by her zesty outlook and her keen sense of style and business.
Ever since I can remember I took a keen interest in fashion, enjoying how I dressed and accessorised. After many years working in the publishing industry, I took the plunge and created my own accessories and clothing range, Mimi & Me and Julia Hill.
With a love for form, balance and style, I was inspired by minimalist and Asian influences, with each piece offering an understated, classic elegance. During that time, I took a great deal of direction and inspiration from the homemaker magazines as I could see the style connections and trends that were in sync with the fashion we wear.
I am so excited to turn my passion for design to interiors, with a specific dream that allows you to inject personal taste and style into any space and best-of-all - on a budget!
What has been the inspiration behind Luxe walls and your bespoke designs?
Whilst renovating my own home, I wanted to dress feature walls and couldn't find the right thing. I wanted something that was not permanent but would look amazing. After speaking to my friend Andrew who is in the Grand Format Printing business, I learnt about removable wallpaper and my problem was solved.
Following my renovation, I had so many comments about the walls, that I realised other people are also looking for interesting wall coverings that deliver a personal stamp. The result is a new partnership with my lifelong friend and Mesh Direct's founder, Andrew Doenicke, to launch Luxe Walls.
Luxe Walls offers a platform to promote up and coming artists and gives them exposure to a new audience and a new medium. I love that Luxe Walls can do this, as it gives artists of differing talents and styles another marketing opportunity.
Living in Tokyo when I was first married, gave me a strong taste for Japanese design, art and style. I also love geometrics, vintage, contemporary, textured finishes and of course our featured artists - Robin Appasamy for her relaxed textural art and Cara Jane Diffey for her street designs.
I'm constantly on the look-out for new style ideas - it could come out of a conversation with a colleague or even be picked up from a local cafe. There are ideas everywhere!
I am always looking at Pinterest and Instagram to see what people are doing in their homes, the clothes they are wearing and the way they live their daily lives. It gives me an insider's view of what appeals to people in both their homes and workplaces. This is in constant change of course, so keeping ahead of the trends is crucial to success in design.
There are definite links between fashion, home and lifestyle and I get a buzz out of finding new designs that our customers can fall in love with.
Perfecting our customers' online experience with Luxe Walls.
Staying on top of the trends and ensuring we have the best designs to fill our customers' needs.
Wallpaper of course! With our new self-adhesive/removable wallpaper you can DIY your wallpaper with no mess. Due to the advancements in digital printing, we can replicate any image you can imagine - feature walls/metallic/murals and faux finishes or an image from your personal photo album.
Pantone has spoken and greenery is the colour for 2017. With this in mind I expect to see lots of green - especially used as an accent colour.
I think the neutral palette with greys will remain strong - our damask prints from the traditional range are very popular and work well with the casual chic look.
Texture is a huge trend at the moment - be it in wallpaper/ rugs/ and throws. Raffia and Rattan are also having a strong presence.
Terracotta - expect to see pots everywhere!
Darker tones in furniture are making a comeback, and work beautifully with green.
If you are truly creative and passionate about interior design, you will succeed. Follow your instincts and be true to your own individual style. There is always room for something new and trends are transient so persistence and a genuine eye for trends is essential.
I am a shoe-aholic! When I travel my suitcase has more shoes than clothes!
I am addicted to change.
My favourite way to spend an unplanned afternoon is to wander around an art gallery.
I love all my home! I especially love my new open plan kitchen/living/dining area that looks out to our entertaining deck. The Luxe Walls Lotus wallpaper we hung in this space looks stunning and ties the exposed sandstone of the original 1870's part of the house in perfectly with our new kitchen and living spaces. I also love my wardrobe - I can see all my shoes!
Where do you see Luxe Walls in five years time?
Encouraging and inspiring amateur interior decorators - everyone can be one!
With a strong belief in 'form meets function' design principle, Julia's new venture Luxe Walls promises to deliver on both! Her motto "Luxe Walls is for anyone who cares to create!".
Wallpapers are a fantastic way to decorate or renovate your home. And if it is removable... even better! Pick one that speaks to you or why not design your own? Check out their new website for tons of design inspiration.
As a special introductory launch offer Luxe Walls are offering a 10% discount to all new customers. Just enter the code LUXELAUNCH. How great is that!
Till next time... add a touch of luxe to your walls!