Monthly Archives: January 2017

Tatarstan Open 2013

Das Tatarstan Open 2013 war ein Tennis-Hartplatzturnier für Frauen in Kasan. Es war Teil des ITF Women’s Circuit 2013 und fand vom 24. bis 31 plain socks wholesale. August 2013 statt.

Kasan • Mestre • Trabzon • Sanya • Trabzon • Telawi • Las Vegas • Joué-lès-Tours • Limoges • Bendigo • Saguenay • Nantes • Bendigo • Toronto • Taipeh • New Braunfels • Istanbul • Captiva Island • Ankara

begrenzt auf deutschsprachige Turniere oder eine deutschsprachige Spielerin hat das Turnier gewonnen
Muzaffarnagar • Jackson • La Marsa • Chiasso • Wiesbaden • Phuket • Grado • Brescia • Lenzerheide • Zlín • Stuttgart • Aschaffenburg • Darmstadt • Bad Saulgau • Hechingen • Sofia • Podgorica • Dobritsch • Loughborough

Daniel Hertz S.A.

Daniel Hertz S.A. is a high-performance audio company based in Switzerland ireland football shirt. The company makes high-efficiency loudspeakers, power amplifiers, pre-amplifiers, integrated amplifiers, and audio processing software. Daniel Hertz provides consulting services to major companies like LG Electronics of Korea and semiconductor firm Intersil (Milpitas, CA, USA) cheap fuzzy socks.

Daniel Hertz was founded in 2007 by audio industry legend Mark Levinson, a multi-instrumentalist, recording and mastering engineer, equipment designer and serial entrepreneur. Levinson previously founded Mark Levinson Audio Systems, Cello Ltd. and Red Rose Music. The company name combines the given name of Levinson’s father with his mother’s family name. His father Daniel Levinson was a professor of psychology at Yale University, his mother Maria is a grandniece of German physicist Heinrich Hertz, for whom the scientific unit for cycles-per-second is named. It can be said that Hertz demonstrations were the beginning of audio.

Loudspeakers from Daniel Hertz are noted for high sensitivity (the flagship bi-amplified M1 model is rated at 100&nbsp travel glass water bottle;dB/1W/1M), natural sound and elegant design, with the ability to reproduce the recording as fully and faithfully as possible. Daniel Hertz amplifiers are similarly designed for natural sound and dynamics, with special attention paid to the milliwatt region, the power range where most of the music occurs in typical playback situations with high-sensitivity loudspeakers.

Daniel Hertz “Master Class” audio processing software (for use with Apple computers) provides more analog sound and feeling from digital sources, and allows the user to match the recordings to the system by a six-band equalizer (the digital version on the legendary Cello Audio Palette). Daniel Hertz position is that the recording is the most important part of the system and for the best result it should be fine tuned to play on the given playback system.

Daniel Hertz launched production in 2010 with expensive flagship products including the M1 loudspeaker, M5 monoblock power amplifier, and M6 pre-amplifier with inboard digital-to-analog converter. The M2 speaker and M3 18” subwoofer are lifestyle products also for home theater applications cheap retro soccer jerseys. Recent additions to the line include updated M5L amp, M6L pre-amp, M7 speaker, M8 studio monitor speaker and more compact and affordable products like the M9 amplifier and M10 loudspeaker (May 2015)

Mark Levinson says, “Daniel Hertz is the alternative to high end audio, for people who love music and appreciate quality. Daniel Hertz is and will always be an engineering-driven company that puts his customer first.”

Vyckie Garrison

Vyckie Garrison is a former member of the Quiverfull movement. She published a “pro-life, pro-family” newspaper, The Nebraska Family Times, widely circulated in northeast Nebraska. The newspaper was fundamentalist and theocratic, but not necessarily aimed at families that adhered to Quiverfull philosophy. She wrote articles for various publications for Christian homeschoolers. After leaving the movement, she began a blog No Longer Quivering, an online resource for women leaving Quiverfull or similar movements.

Garrison was born in Yuba City, California on December 14, 1965. At 16, in the early 1980s, she married a high school boyfriend and moved to Carson City, Nevada subsisting on Job Corps positions. Garrison began listening to a Christian radio station and attending a Pentecostal church. Garrison’s marriage ended, and she became pregnant with her oldest daughter during a short-lived affair. She moved to Iowa to be near her mother and met Warren Bennett at a church picnic. She was married to Bennett for 18 years, and had six children with him. Garrison followed a new pastor’s counsel to homeschool her growing family, which eventually led her to the Quiverfull movement.

She and her husband wrote and published a newspaper for families that adhered to the Quiverfull philosophy, and wrote articles for various publications for Christian homeschoolers. Her husband, Warren, was blinded in a work accident and, she says, had trouble keeping a job. She says she founded their paper in part to create a sales position for him, to maintain the illusion of his heading their family. She includes an example of her writing for the Quiverfull movement in the blog entry “Vyckie’s Tour de Crap: Quiverfull and the Life of the Mother.”

The Bennetts were named Nebraska’s “family of the year” in 2003 by the Nebraska Family Council, a nonprofit that works “to uphold biblical principles in society.”

Her third child was born by caesarean section. Her doctor at the time advised her that her life would be endangered by future pregnancies, so her husband had a vasectomy. Shortly after the vasectomy, she was introduced, via her Christian homeschooling friends, to Mary Pride’s “The Way Home: Beyond Feminism and Back to Reality” and “God’s Plans for Families” by Nancy Campbell. She shared the anti-birth control, pro-natalist views she’d gleaned from those books with Warren, who subsequently underwent a vasectomy reversal.

Her seventh child, Wesley, was born by emergency caesarean section, at the Faith Regional Hospital. She had planned to give birth at home, without attendance by a medical professional, but her uterus partially ruptured during labour, almost killing her. Her doctor advised her that her life would be in danger if she continued to conceive, but her friends in the Quiverfull movement said otherwise: “I was told that a woman shouldn’t shrink back from supposed dangers and that we should honour God with our bodies,” she says. “Jesus died for us, we should be willing to die for him.” She became pregnant twice more, suffering two miscarriages.

Garrison asserts that her then-husband beat and emotionally bullied their children. “I started seeing my kids completely break down. I recognised how abusive my husband had become as a result of this patriarchal teaching, which gave sanction to some of his worst tendencies. I had to step in and protect my kids because I didn’t want to see them getting hurt.” She says that one of her children attempted suicide. Garrison began corresponding with an intellectual atheist uncle whose gentle questions helped her acknowledge her mounting crisis of faith. When, during a brief separation, Garrison’s husband sent her a list of the ways in which she had been disobedient, she filed for divorce and won custody of all seven children spain football shirt.

She now calls herself an atheist. In 2015 American Atheists named her the 2014 Atheist of the Year slipper socks wholesale.

She co-founded the blog No Longer Quivering, an online resource for women leaving Quiverfull or similar movements, in 2009. In her first blog, on March 12, 2009 buy football tops, she writes “to those godly, dedicated Christians” who know her from her many articles and testimonies that appeared in various Christian homeschool publications, to explain why she has left the movement.

On Easter Sunday, 2014, and again in April 2015 she addressed the American Atheists conference about her experiences.

Bo’ness

Bo’ness, o più propriamente Borrowstounness (Ceann Fhàil in gaelico scozzese), è una città scozzese della contea del Falkirk, situata sulla costa orientale dello stato. Prima del 1975 la città era compresa nella contea del West Lothian, il che spiega perché l’indirizzo postale è ancora Bo’ness, West Lothian 12 hour thermos. Pur essendo centro di industria pesante e città portuale, Bo’ness è prima di tutto una città di pendolari.

Le prime tracce dell’esistenza di Bo’ness risalgono Età del Bronzo, provati dal ritrovamento di antichi tumuli tra il 1896 e il 1923, nella parte nord della città, nelle zone oggi chiamate Bridgeness e Cowdenhill. Nelle tombe sono stati ritrovati scheletri con delle riserve di cibo risalenti circa al 3000 a.C., che dal 2009 sono conservate nel National Museums of Scotland.

Bo’ness conserva anche tracce del periodo Romano . Iscrizioni romane sono state rinvenute nella parte est della città. Da esse si è dedotto che il primo nucleo urbano era chiamato Veluniate. Altri reperti romani sono stati trovati nelle zone di Muirhouses (nota qui come “The Murrays”) e Kinglass nella zona sud-est della città. Kinneil, nella parte est di Bo’ness, è stata menzionata da Beda, che scriveva che era chiamata Pennfahel (“Fine del vallo”), poi evolutosi in Pictish e Penneltun nell’inglese antico. È attraversata dal Vallo di Antonino Pio, antica frontiera dell’impero romano, dichiarata Patrimonio dell’Umanità dall’UNESCO nel Luglio 2007. Un antico campo romano può essere visitato nella zona di Kinneil .

Il porto della città è nato nel XVI secolo; è stato legalmente riconosciuto con un atto del Parlamento del 1707. Il porto, espansosi nel XIX secolo, ha assunto il suo aspetto definitivo nel 1881 (su progetto di Thomas e Patrick Meik). Il porto commerciale (specializzato nel trasporto del carbone) è stato chiuso nel 1959, a causa della progressiva riconversione delle industrie scozzesi del carbone. Esistono progetti per riaprirlo.[senza fonte]

Bo’ness è stata un centro minerario per il carbone sin dal Medioevo lint brush fabric. In misura minore, si cavava anche argilla. Altra risorsa è il sale, che si raccoglie a causa dell’evaporazione dell’acqua marina. Da ultima, vi è anche una fiorente industria siderurgica, e la Bo’ness Iron Company è molto diffusa.

A Bo’ness ha sede la squadra di calcio del Bo’ness United, vincitore della Scottish First Division 1926/1927. Per il rugby è di una certa importanza la Bo’ness Academy. Nella stagione 2008/2009 ha fatto una joint-venture con il Grangemouth rugby club, pertanto è ammissibile a coppe e competizioni.

Altri progetti

(Tutti in inglese)

Hede

En hede er et stykke menneskeskabt natur. Den opstod på steder, hvor udpining, afbrænding, skrælning af tørv og afgræsning standsede successionen tilbage mod blandet løvskov. Heder hører til blandt de lysåbne landskaber, der er stærkt truede på grund af opdyrkning og ammoniumholdig nedbør, og fordi de “springer i skov”, hvis man ikke forhindrer det.

Hede var i fortiden uopdyrkede områder uden skov. Næsten alle fortidens heder er opdyrket på nær nogle få på særlig dårlig jord.

De fleste danske heder er dannet ved menneskers virke i løbet af Bondestenalder, Bronzealder, Jernalder og Middelalder. Heden bredte sig særlig hurtigt fra omkring år 1600 frem til år 1800. Først omkring år 1830 begyndte heden at gå tilbage i stor hast.

Hede opstår, når en række betingelser er opfyldt:

Når disse forhold opstår, vil der ske en indvandring af dværgbuske, specielt hedelyng (Calluna vulgaris), men også en hel række af følgeplanter, som næsten altid ses sammen med den. Tidligere opfattede man hederne som ren natur, og det var baggrunden for, at man mente, at det var nok at frede områderne. Tiden har vist, at fredning øjeblikkeligt sætter gang i successionen hen mod skov. Hede kan måske netop beskrives som et kunstigt fastholdt successionstrin på vej fra nøgen, udpint jord til løvskov.

Heden som vegetation er med andre ord stærkt afhængig af, at vilkårene i jordbund og lysmængde bliver fastholdt. Man formoder, at vegetationstypen er udviklet som svar på de økologiske nicher, der opstår, når den hvide klit er blevet stabil, og den grå klit opstår. Hedevegetationen er let at finde i den grå klit, hvor den optræder i mosaik mellem andre vegetationstyper.

Hederne opstod i et rullende forløb. Det skete først på den lette sandjord, senere på den lette lerjord og senest på den tunge lerjord. I begyndelsen af 1800-tallet var der heder overalt i Danmark, og selv om de var mest udbredt i Vestjylland, så fandtes de også både i Østjylland og på Øerne. Når udviklingen gik sådan, så skyldes det to forhold: dels at heden fulgte i hælene på en langsom udpining af jordene, og dels at man gik over til at dyrke hederne som hede, når de først var opstået.

De første heder ser ud til at være dannet samtidigt med landbruget, og det tog rigtig fart i begyndelsen af Jernalderen, dvs. de sidste århundreder inden vor tidsregnings begyndelse. Udviklingen blev nemlig hjulpet på vej af en klimaændring fra næsten kontinentale til meget udpræget atlantiske vejrforhold. Den øgede mængde regn bidrog til udvaskningen og forhindrede en fuldstændig omsætning af det organiske stof, med det resultat at neutral muld blev til sur morr, hvad der satte yderligere gang i udvaskningen.

Da først hederne var opstået real jerseys for cheap, valgte befolkningen at udnytte dem på bedste måde, og det lykkedes at skabe en levevej ved at være hedebonde. Man ophørte med at dyrke korn og satsede i stedet på kvægavl, især studeopdræt, da det ikke blev beskattet så hårdt som kornavlen. Dels solgte man udsæd, da de små velgødede marker var nemmere at holde rene for tidsler. Desuden lavede man en kompost ved at blande møget fra staldene med hedetørven, og ved dens hjælp kunne de små arealer omkring gårdene alligevel dyrkes med korn. For at holde dyrene med frisk græsning, blev hederne brændt af med jævne mellemrum, og for at skaffe vinterfoder blev lyngen høstet og tørret.

På den måde blev hederne fastholdt på det succesionsstrin, de var nået til. Virkningen af vejret og tidligere tiders udpining blev fastholdt ved afbrænding, slåning, skrælning af tørv og kondensering af mineraler i møget på gårdenes nærmeste jorde. Sådan gik der flere tusind år, men så kom kongerne på, at heden måtte kunne “opdyrkes”, dvs wooden meat tenderizer. laves til almindeligt landbrug.

Først blev der indforskrevet tyske bønder, som fik det nedsættende tilnavn “kartoffeltyskere”, fordi de valgte at dyrke kartofler i stedet for korn. Da det ikke gav den ønskede fremdrift, satte man driftige entreprenører og ingeniører i spidsen for en bevægelse (“Hvad udad tabes, skal indad vindes”). I 1866 dannedes Det danske Hedeselskab med Enrico Dalgas som leder. På den måde lykkedes det at standse udnyttelsen af heden som hede, og i stedet forvandle den til agerland. Det gav Dalgas tilnavnet “Hedens opdyrker”.

William Breitbart

William S. Breitbart, FAPM, is an American psychiatrist who is an international leader in the fields of Psychosomatic Medicine, Psycho-oncology, and Palliative Care. Breitbart, a renowned clinician, researcher, and educator, is the chairman and incumbent of the Jimmie C Holland Chair in Psychiatric Oncology, as well as Chief of the Psychiatry Service, Department of Psychiatry and Behavioral Sciences, Memorial Sloan-Kettering Cancer Center (New York, NY), He is a Professor of Clinical Psychiatry at Weill Medical College of Cornell University. He is a past president of the Academy of Psychosomatic Medicine, and the Editor-in-Chief of Palliative and Supportive Care.

In addition to his position as an attending psychiatrist in the Department of Psychiatry & Behavioral Sciences, Breitbart is an Attending Psychiatrist in the Palliative Care Service, Department of Medicine at Memorial Sloan-Kettering Cancer Center and an Attending Psychiatrist at New York Presbyterian Hospital.

Breitbart is a founding member of both the American Psycho-Oncology Society (APOS) and the International Psycho-Oncology Society (IPOS), where he served on the executive board and is a former president, respectively.

William Breitbart was born in 1951 and raised on the Lower East Side of Manhattan with his younger brother, Sheldon. He attended Yeshiva at the Rabbi Jacob Joseph School on Henry Street before attending Stuyvesant High School.

Breitbart graduated from the Albert Einstein College of Medicine of Yeshiva University (New York, NY), and completed residencies in Internal Medicine and General Psychiatry at the Bronx Municipal Hospital Center – Jacobi Hospital. He continued his fellowship training in Psychosomatic Medicine and Psycho-oncology at Memorial Sloan-Kettering Cancer Center, receiving both a Clinical Fellowship Award (1985–1986) and a Career Development Award (1986–1989) from the American Cancer Society. Breitbart is Board Certified in Internal Medicine, Psychiatry, and Psychosomatic Medicine.

Breitbart has been the chief of psychiatry at MSKCC since 1996, and was the director of the ACGME Accredited Fellowship Training Program in Psychosomatic Medicine there. He has been vice-chairman of the Department of Psychiatry & Behavioral Sciences at MSKCC since 2009, and was named interim chairman in June 2012. In October 2014 Breitbart was appointed chairman of the Department of Psychiatry & Behavioral Sciences, and holds the Jimmie C Holland Chair in Psychiatric Oncology at MSKCC.

Breitbart’s clinical role as the Consulting Psychiatrist for the Pain and Palliative Care Service at Memorial Sloan-Kettering Cancer Center led him to focus his research efforts on the psychiatric aspects of end-of-life care. He has received continuous funding for investigator initiated research since 1989, including eight National Institute of Health funded projects, four National Institute of Mental Health funded projects, four National Cancer Institute funded projects, and seven privately funded research projects.

Much of his early research focused on the neuropsychiatric problems of HIV-infected patients, including pain, fatigue, delirium and other symptoms that impact quality of life. As Breitbart’s clinical experiences brought more attention to the terminally ill patients’ desire for hastened death, he began to study the psychological and psychosocial factors associated with this desire for death among the terminally ill population. Breitbart and his colleagues began to reframe the concept of despair at the end of life, expanding the concerns of palliative and supportive care beyond symptom management. In addition to constructs such as depression and anxiety, they found that factors such as hopelessness, loss of meaning, and decreased spiritual well-being contributed greatly to the dying patients’ sense of suffering. Breitbart also participates in a multi-centered research trial dealing with dignity-conserving care in palliative care settings.

Breitbart’s most recent research efforts involve the development of novel psychotherapeutic interventions, which he has named “Meaning-Centered Psychotherapy”, aimed at sustaining meaning and improving spiritual well-being in the terminally ill. In an interview for the international journal Innovations in End-of-Life Care, Breitbart refers to the works of existential theorists/philosophers, particularly Viktor Frankl. Frankl’s meaning-based model of logotherapy and his book Man’s Search for Meaning had a significant influence on Breitbart and directed the goals of his work towards the concept of helping dying patients to maintain meaning at the end of life through “Meaning-Centered Psychotherapy”.

Breitbart and colleagues have developed both an individual and group model of “Meaning-Centered Psychotherapy”, inspired by Frankl’s work. These novel interventions are aimed at helping patients sustain and enhance a sense of purpose and meaning in life through various psycho-education tasks, and in turn improve their overall quality of life as they encounter their mortality.

Breitbart was a Soros Faculty Scholar of the Open Society Institute, Project on Death in America.

He has served as a member of the board of directors of the American Pain Society and was a panel member for the American Psychiatric Association Guidelines for the Management of Delirium. He is an active member of the International Association for the Study of Pain and a panel member of the NIH Behavioral Medicine Study Section.

Breitbart has served as the president of the Academy of Psychosomatic Medicine (2007-8), as well as president of the International Psycho-oncology Society(2008–10).

Breitbart has been honored as a Plenary Lecturer at various international conferences, including the 8th World Congress on Pain, the 16th Annual American Pain Society Scientific Meeting, and the 5th World Congress of Psycho-Oncology. He is the recipient of the 2003 Research Award of the Academy of Psychosomatic Medicine, the 2006 Donald Oken Award from the American Psychosomatic Society, the 2009 Arthur Sutherland Award for lifetime achievement from the International Psycho-oncology Society, and the 2011 Eleanor & Thomas Hackett Award for Lifetime Achievement from the Academy of Psychosomatic Medicine.

In addition, Breitbart has been recognized as one of New York Magazine’s “Best Doctors” every year since 2002, and is the recipient of the 2009 Willet F. Whitmore Award for Clinical Excellence from Memorial-Sloan Kettering Cancer Center.

Breitbart has published extensively on psychiatric aspects of cancer, AIDS, and end-of-life care. He has edited/co-edited five textbooks including Psycho-Oncology, Psychiatric Aspects of Symptom Management in the Cancer Patient, Handbook of Psychiatry in Palliative Medicine, and Psychosocial Aspects of Pain: A Handbook for Health Care Providers. Breitbart is Editor-in Chief of Cambridge University Press’ international palliative care journal, Palliative & Supportive Care, which focuses on the psychiatric, psychosocial, and spiritual aspects of palliative medicine. Breitbart also helped found the publication arm of the International Psycho-Oncology Society, the IPOS Press. Breitbart had published over 160 peer reviewed publications and 200 chapters and review papers. He serves on the Editorial/Review Boards for various international peer reviewed journals and books, including:

Breitbart was a child of Holocaust survivors, “Moishe” and Rose.

Breitbart currently resides on the Upper East Side of Manhattan with his wife, Rachel, and son, Samuel.

1. Breitbart W glass with water, Chochinov H, guest editors. Journal of Psychosomatic Research Special Issue Psycho-oncology Research: 45:3, 1998.

2. Palliative and Supportive Care, William Breitbart, M.D., Editor-in-Chief, Cambridge University Press, 2003 to Present

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. This is the first international palliative care journal (quarterly) that focuses on psychiatric, psycho-social, existential aspects of palliative medicine.

1. Psychiatric Aspects of Symptom Management in Cancer Patients. Edited by Breitbart W, Holland JC, American Psychiatric Press, Washington DC, 1993.

2. Jacox A, Carr DB, Payne R, Berde C, Breitbart W, Cain JM, Chapman CR, Cleeland CS, Ferrell BR, Finley RS, Hester NO, Stratton Hill Jr. C. Leak DW. Lipman AG, Logan CL, McGarvey CL, Miaskowski CA, Mulder CS, Paice JA, Shapiro BS, Silberstein EB, Smith RS, Stover J, Park S, Tsou CV, Veccheriarelli L, Weissman DE. Management of Cancer Pain: Clinical Practice guideline No. 9. AHCPR Pub. No. 94-0592. Rockville water bottle waist holder, MD: Agency for Health Care Policy and Research, U.S. Department of Health and Human Resources, Public Health Service, March, 1994.

3. Holland J (ed.), Breitbart W, Jacobsen P, Lederberg M, Loscalzo M, Massie MJ, McCorkle R (co-eds.). Textbook of Psycho-oncology. Oxford University Press, New York antique football jersey, 1998.

4. Handbook of Psychiatry in Palliative Medicine. Chochinov H and Breitbart W (eds.). Oxford University Press. New York, 2000.

5. Psychosocial Aspects of Pain: A Handbook for Health Care Providers. Progress in Pain Research and Management, Volume 27. Dworkin R and Breitbart W (eds.). IASP Press, Seattle, 2003.

6. Handbook of Psychiatry in Palliative Medicine 2nd Edition. Chochinov H and Breitbart W (eds.). Oxford University Press. New York, 2009.

7. Psycho-oncology 2nd Edition. Holland J, Breitbart W, Jacobsen P, Lederberg M, Loscalzo M, McCorkle R (eds.). Oxford University Press, New York, 2010.

Lectican

Lecticans, also known as hyalectans, are a family of proteoglycans (a type protein that is attached to chains of negatively charged polysaccharides) that are components of the extracellular matrix. There are four members of the lectican family: aggrecan, brevican, neurocan evercare fabric shaver small, and versican. Lecticans interact with hyaluronic acid and tenascin-R to form a ternary complex.

Aggrecan is a major component of extracellular matrix in cartilage whereas versican is widely expressed in a number of connective tissues including those in vascular smooth muscle, skin epithelial cells, and the cells of central and peripheral nervous system. The expression of neurocan and brevican is largely restricted to neural tissues soccer football shirt.

All four lecticans contain an N-terminal globular domain (G1 domain) that in turn contains an immunoglobulin V-set domain and a Link domain that binds hyaluronic acid seattle football jersey; a long extended central domain (CS) that is modified with covalently attached sulfated glycosaminoglycan chains, and a C-terminal globular domain (G3 domain) containing of one or more EGF repeats, a C-type lectin domain and a CRP-like domain. Aggrecan has in addition a globular domain (G2 domain) that is situated between the G1 and CS domains football uniforms youth.

Statue of James II, Trafalgar Square

The statue of James II is an outdoor bronze sculpture located in the front garden of the National Gallery at Trafalgar Square in London, United Kingdom. Probably inspired by French statues of the same period, it depicts James II of England as a Roman emperor, wearing Roman armour and a laurel wreath (traditionally awarded to a victorious Roman commander). It originally also depicted him holding a baton. It was produced by the workshop of Grinling Gibbons, though probably not by Gibbons himself. The statue has been relocated several times since it was first erected in the grounds of the old Palace of Whitehall in 1686, only two years before James II was deposed.

The statue is executed in bronze and depicts James II as a Roman emperor. He is shown standing in a contrapposto pose and pointing downwards in “great ease of attitude and a certain serenity of air”, as Allan Cunningham described it. It formerly held a baton in its right hand, though this is now missing. The face is said to be an excellent depiction of the king. Unusually for the time, Gibbons sought a degree of fidelity to original classical styles; James is depicted wearing a laurel wreath on top of short hair, whereas other imperial-style statues of both Charles II and James II depicted the two kings with an anachronistic combination of Roman armour and a 17th-century periwig. The statue was probably inspired by similar imperial portrayals of Louis XIV of France. One in particular, a colossal statue by Martin Desjardins of Louis XIV wearing Roman armour with a laurel wreath and baton, is so similar in type to the figures of Charles II and James II that it may have been their direct inspiration.

The plinth is inscribed with the legend JACOBUS SECUNDUS/ DEI GRATIA/ ANGLIÆ SCOTIÆ/ FRANCIÆ ET/ HIBERNIÆ/ REX/ FIDEI DEFENSOR/ ANNO M.D.C.LXXXVI, which translates to: “James II, by the grace of God, King of England, Scotland, France and Ireland. Defender of the Faith. 1686.”

The statue of James II is one of three of the Stuart monarchs commissioned by the royal servant Tobias Rustat from Grinling Gibbons’s workshop in the 1670s and ’80s best shaver, the others being of James’s brother and predecessor Charles II: an equestrian statue in Windsor Castle and a standing figure at the Royal Hospital in Chelsea. The statue of James II was commissioned for the Palace of Whitehall, apparently at the same time as the standing Charles II, and the two works might have been intended as pendent pieces. It was produced in the workshop of Grinling Gibbons at a reported cost of £300 (equivalent to about £42,000 at 2014 prices). Although long attributed to Gibbons himself, large-scale sculptures were not his forté and it is probable that the statue’s principal originator was the Dutch sculptor Artus Quellinus III (also known as Arnold Quellan), who was working at Gibbons’ workshop at the time.

The James II was erected at the Palace of Whitehall on 24 March 1686, as recorded by a contemporary fluff ball remover, Sir John Bramston the Younger. George Vertue, who found an agreement and a receipt of payment for the work, wrote that it was “modelled & made by Lawrence [Vandermeulen] (of Brussels) … & Devoot [i shop jerseys.e. Peter Van Dievoet] (of Mechlin) who was imployed by … Gibbons”, and that Thomas Benniere was involved in the casting. A series of five drawings in the British Museum, which might be for either the standing Charles II or the James II, is attributed variously to Gibbons or to Peter Van Dievoet. Its artistic qualities were praised by J.P. Malcolm in his 1803 history, London Redivivum, in which he wrote:

There is but one fault in the figure, and that is the attitude. The King seems to point with a baton at the earth, to which his eyes are directed; but why? Surely this is an egregious error. However, perhaps the artist may have been commanded to model the statue thus; and if not, his mistake is more than counter-balanced by the beautiful turns of the muscles, the excellence of the features, and the true folds of the drapery.

James II’s statue has stood in several locations since it was first erected. It originally stood in the Palace of Whitehall’s Pebble Court, where it was installed on New Year’s Day, 1686. It was situated behind the Banqueting House and faced the river, a position which attracted much satirical comment after James’ flight from London during the Glorious Revolution of 1688; it was said that the statue’s location indicated his method of escape.

It was taken down after the Glorious Revolution but was replaced by order of William III. In 1898 it was moved to a location in the garden of Gwydyr House but was taken down four years later to make room for the stands for the coronation of Edward VII. It lay on its back amid grass and weeds in a state of total neglect until it was re-erected in 1903 outside the New Admiralty building, but was displaced again when the Admiralty Citadel was built in 1940. During the Second World War it was put into storage at Aldwych tube station. It was relocated to its present site in 1947. The statue is listed by Historic England as a Grade I listed building, a status which it was granted in 1970.

Coordinates:

Téra (département)

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Téra est un département de 15&nbsp football shirt frame;794 km² de la région de Tillabéri.
Son chef-lieu est la ville de Téra.

Avant la réforme territoriale de 2002, le département de Téra comptait deux postes administratifs, 5 cantons sédentaires (Gorouol, Kokoro, Téra, Dargol, et Diagorou), 3 groupements nomades (Peuls, Daoufarafareq, et Tinquerequedeche), et 161 villages.

Son territoire se décompose maintenant en  :

Le département de Téra est entouré par :

La population est estimée à 579 658 habitants en 2011 .

Trois ethnies principales occupent le département de Téra. Les Songhaïs repartis dans toute la région comprise entre la frontière du Mali et une ligne parallèle au Felko. Les peuls de Diagorou au sud et les Gaobes a l’ouest sur la frontière du Burkina Faso. Les tribus Touaregs sont reparties dans l’ensemble du département. Il existe également des petits noyaux Gourmantchés et Mossis.

L’économie du territoire est principalement basée sur l’agriculture et l’élevage. Cependant, le commerce est très pratiqué à travers de petits marchés.

La Société des mines du Liptako (SML), coentreprise entre la SEMAFO et l’état Nigérien, exploite la Mine d’Or de Samira Hill, dans ce département, près de la frontière du Burkina Faso à environ 100 km à l’ouest de Niamey.

La production est estimée à environ 1 320 kilogrammes d’or en 2011 .

Le territoire de Téra était à l’origine occupé par les Silankés et les Gourmantchés, d’ailleurs Téra signifie grenouille en langue Gourmantché. La ville a été fondée au XVIe siècle par un Chérif (Sirfi en Songhaï),un fier-chevalier solitaire et invincible venu de Gao à la chute de l’Empire songhaï. Celui-ci donna son nom au premier village de la principauté Sirfi-Koyré (le village de Sirfi qui était à l’époque une île stratégique pour se prémunir d’éventuelles attaques ) qu’il fonda et qui est le plus vieux quartier de la ville. Les Songhais, après avoir tenté de se fixer en plusieurs endroits à leur départ de Gao, s’installèrent à la même époque sur les terres actuelles de Kokoro, de Gorouol, de Téra et de Dargol. Les tribus Touaregs sont venues au milieu du XVIIe siècle padded football socks. Les peuls sont venus du Liptako 20 ans avant l’arrivée des colonnes françaises. La ville fut brûlée en 1916 par une coalition de touareg et d’autres songhais.

Mango Yellow

Mango Yellow (Portuguese: Amarelo Manga) is a 2002 Brazilian drama film directed by Cláudio Assis. It stars Matheus Nachtergaele, Jonas Bloch, Dira Paes, Chico Díaz, and Leona Cavalli as working-class people who engage in amorous and social encounters, with most of the action taking place in a hotel and a bar. The directorial debut of Assis, the film was partially inspired by his previous short film Texas Hotel. It was filmed on a low budget in the suburbs of Pernambuco.

Mango Yellow received several awards at various film festivals, both in Brazil and abroad, including Festival de Brasília and the Berlin Film Festival. The film was generally praised by domestic reviewers for its characters, soundtrack, cinematography, and depictions of Brazil, while English-speaking critics were more mixed in their response.

The film opens with Lígia, a barmaid who is fed up with her grueling routine and who is forced to routinely turn down the sexual propositions of the bar’s customers. One of the men who hits on Lígia is Isaac, a necrophiliac who enjoys sodomizing corpses and drinking their blood. He lives at the Texas Hotel, where Dunga, a gay man, works as a handyman. Dunga is attracted to Wellington, a butcher who delivers meat to the hotel. Wellington, however, is married to Kika, a woman who is proud to be an evangelical Christian. However, Wellington cheats on his wife with a woman named Dayse. Dayse tires of being Wellington’s mistress and tells Dunga about the relationship.

Dunga anonymously reveals to Kika that her husband is cheating on her, thinking that if he can destroy their marriage, then he and Wellington can become lovers. Kika finds Wellington and Dayse together, attacks them, and then leaves for good. Wellington goes to the Texas Hotel to seek solace. Dunga wants to take Wellington up to his room, but Wellington is put off by the funeral of the recently deceased owner of the hotel. Meanwhile, Isaac is thrown out of the bar after trying to forcibly grab Lígia. He is then seen driving his car and when he meets Kika, he takes her to his apartment and they have sex. As the film concludes, Lígia is shown again complaining about her routine. This is followed by a montage of everyday city life, ending with Kika deciding to dye her hair the same shade that made Isaac so attracted to Lígia.

Writing for The New York Times, Stephen Holden interpreted the film’s message as follows: “This is how the lower half lives in Brazil, and by extension, humanity at its most basic, getting along without the rose-colored protections that affluence affords.” As it deals with these kinds of themes, the film was labeled as “violent”. In response, Assis said that he “films life as it is”. Jose Solis of PopMatters declared that “despite its sorrowful appearance, the film is a celebration of life”. Assis tried to contrast the violence depicted by the Hollywood action films with the “small violences” which people face everyday, making it “poetic and violent at the same time”. Bloch’s character shooting corpses represents “a harmless, symbolic addiction” in the same way other aspects of the film “come from it, this violence within us”.

Writing in The New Yorker, Michael Sragow said that “The human content . water in bottle.. is the stuff of art-house exploitation.” IstoÉ Gentes Domingas Person wrote that the phrase “the human being is stomach and sex”, which is said by the priest in the film, is an apt summary of the film’s “spirit”. Writing in Diário de Pernambuco, Luciana Veras declared that the film “talk[s] about the excluded [people] who also crave the same as the characters in the [tele]novela[s], from Hollywood films or French novels: love and happiness”. Assis criticized the fact that several directors like to “glamorize poverty,” and as such, he characterized his characters to show the people’s vice. José Geraldo Couto of Folha de S. Paulo wrote that the film shows that “the miserable are not dear waiting for the mercy of others, but are full of life, willing to kill or die to fulfill their desires and instincts”. Deborah Young of Variety opined that the mango yellow color represents both “the jaundiced shade of their broken dreams” and their sense “of nonconformity and feeling alive.”

Prior to Mango Yellow, Cláudio Assis worked as a production director on the 1996 film Perfumed Ball and as director on three short films. One of them, Texas Hotel, served as an inspiration to Mango Yellow; Alessandro Giannini of O Estado de S bottled water bottles. Paulo said Texas Hotel is “a kind of ‘privileged test’ of Mango Yellow“, while TV Guides Ken Fox described Mango Yellow as an “expanded version” of Hotel Texas. Couto wrote that the “gratuitous series of aberrations” presented in Texas Hotel was turned into an “articulate narrative and full of meaning”.

The production cost was R$450,000. Assis was happy with this, noting that Brazilian films cost an average of R$3 million at the time Pendant Necklace. The filming took place in the suburbs of the cities of Recife and Olinda, both in the state of Pernambuco. It was shot with 35 mm cameras brought from São Paulo and Rio de Janeiro, and filming took place in five weeks between September and October 2001.

One of the first ideas Assis had for the film was to show the mons pubis of a waitress he knew. Though he was unsure how to include this element, the yellow-colored pubic hair matched the book Tempo Amarelo (“Yellow Time”), by sociologist Renato Carneiro Campos. The title of the film was borrowed from the book, in which the author describes the “rotten teeth of children, the color of poverty in the country”. Assis wanted to create a film to show “the face of the Brazilian people. We are from the Third World and we need to look at ourselves”.

Mango Yellows premiere was held at the Festival do Rio on October 4, 2002, while it was released on domestic theaters on August 15, 2003. Despite receiving praise by film critics, it was moderately received by Brazilian audiences. Mango Yellow grossed R$769,750, with a viewership of 129,021 people in the sixteen Brazilian theaters in which it was shown, representing the twelfth largest audience for a domestic film in 2003.

At the 35th Festival de Brasília, Mango Yellow was selected as Best Film by the official jury, the popular jury, and critics alike; it also received the awards for Best Cinematography, Best Editing, Best Cast, and Best Actor (Díaz). Assis won the award for Best Debut Film at the 25th Havana Film Festival, where the film also won the award for Best Cinematography. It also won for Best Cinematography at the Seventh Brazilian Film Festival of Miami. Mango Yellow won in every feature film category at the 13th Cine Ceará—Best Film, Best Director, Best Cinematography, Best Screenplay, Best Art Direction, Best Original Score, Best Actor (for Nachtergaele), and Best Actress (for Paes)—and also received a special prize for its costume design. Although nominated in 13 categories at the 2004 Grande Prêmio do Cinema Brasileiro, it only won for Best Cinematography. At the 53rd Berlin International Film Festival, it won the award for Best Film in the Forum section, and received the Grand Prix at the 15th Toulouse Latin America Film Festival. It was also nominated for the Ariel Award for Best Ibero-American Film.

The film received generally positive reviews in Brazil. The characters, the actor performances, and the soundtrack were praised by Person and Veras, with Veras noting that the film’s characterizations avoided stereotypes. The film’s cinematography was praised by Person and Veras as well as by Marcelo Hessel from Omelete and Alcino Leite Netto from Folha de S. Paulo, with Netto appreciating that the imagery was neither “decorative” nor “spare”, but a part of the film. The film’s depiction of real life in Brazil was praised by Hessel and Veras, with both of them commenting that City of God is “cosmeticized” if compared to Mango Yellow, and the Hessel stating that Mango Yellow is “a testimony of documentary and sociological value”. Cinepop critic Andrea Don declared it a film that viewers would either love or hate, concluding that “you will not leave the cinema’s room the same as you entered”.

Mango Yellow received mixed reviews from English-speaking reviewers. On review aggregation website Rotten Tomatoes, the film has a 60% rating based on five reviews, with an average score of 5.6/10. On Metacritic, which assigns a normalised rating out of 100 based on reviews from critics, the film has a score of 40 (indicating “mixed or average reviews”) based on five reviews. A The Village Voice reviewer described the characters as “babbling caricatures” and the film as a “shallow Brazilian trifle”. Young called Nachtergaele a “standout” as “He embodies the film’s savage over-the-topness without flattening out as some of the other characters do.” Although praising its cinematography, Keith Phipps of The A.V. Club said it is “a film that has nothing to say”. Sragow football game socks, Young, and Fox also praised Carvalho’s work; Fox said it is “[t]awdry stuff … but it’s glorious to look at”. In Sragow’s opinion, the penultimate scene—the montage—”boasts an eloquence that eclipses everything else in the movie”. Holden found the characters to be “robust, full-dimensional people” and praised the film’s “surreal flavor”. Solis praised it, saying “the real pleasure” in the film is that Assis “doesn’t recur to exploitation to make these people memorable”.

The film was released on DVD in Brazil by Califórnia Filmes in 2004, while in the United States it was released by First Run Features in partnership with Global Film Initiative on the “Global Lens 2004/2003” series in 2005, and on the “The Best of Global Lens: Brazil” in 2011.