LeRoi Jones was a prominent African American figure throughout the various art forms and communities of New York City. He is difficult to place in any one particular place/location since he is mentioned in various neighborhoods depending upon what point in his life we examine (the Living Theater, Cherry Lane Theater, the New School, Gas Light Cafe, Eight Street Bookstore).
I found the following site while searching the web www.bridgesweb.com/baraka.html . I found this site of particular importance and significance since it conceptualizes Jones/Baraka in a timeline autobiography. It traces his days from a Beat to a Black Nationalist to a Third World Marxist.
At the end is a discussion of his play "Dutchman" which we viewed in class last week. It elaborates on Banes theory for motivations and themes within the play and how it correlated to his life and many African Americans of his time.
I had never heard of LeRoi Jones prior to this semester, but now that I have, his name has popped a couple of times outside of this class. So, I thought I would add a bit to what Lynette brought up about his involvement in the Black Nationalist movement.
For a history class I am taking this semester, we are reading a book entitled, The River of No Return. It is an autobiography of an African American militant, Cleveland Sellers, who was a member of the Student Non-Violent Coordinating Committee (SNCC) during the 1960's. He highlights LeRoi Jones and his significance to Cultural Nationalists, a group who felt that blacks had to get themselves together culturally before they could overtly attack the system. Part of this involved a focus on the "revolutionary function of black art." The leader of one of these groups, Ron Karenga, felt that, "Black art must expose the enemy, praise the people, and support the revolution. It must be like LeRoi Jones' poems." Karenga claimed that Jones' poems were, "assassins, poems that kill and shoot guns and ╬wrassle cops in alleys taking their weapons, leaving them dead with their tongues pulled out and sent to Ireland."
Based on this statement and those made by Sally Banes in Greenwich Village 1963, it seems that Jones very effectively used art as a form of resistance and rebellion. He was able to attack American culture and society through his plays, films and poems.
After the Civil Rights Movement and before Black Nationalism - LeRoi Jones was an active avant-garde artist in Greenwich Village. Jones's play Dutchman from 1964 is about interracial flirtation, which initially is a private act between two people, which explodes into a public outbreak.
Clay, a middle-class African American intellectual, sits nonchalantly on the Subway where he is suddenly greeted by Lula, a white woman. Lula arouses Clay's sexuality and then incites him with insults to racial anger. As Clay's calm demeanor changes to accept the rage of an entire people who predicts a black revolution, Lula stabs him. Banes explains the movies complexity as being multilevel. First, the movie is a sexual struggle between man and woman as we see in the inroduction scenes of the movie. The subway stops and outside stands this beautiful, blond hair sexy lady, who in the next scene appears on the train -- the ultimate flirtation scene.
The second level of struggle, according to Banes, is between individual self and the nation. Lula appears to be apart of Clay's innerconsciousness. Clay is labeled an "Uncle Tom" and told to break apart from the world he lives in. Yet Lula is more than just a part of his innercosciousness -- she is the part of him that is white and middle class. Here we see Lula taunting him and by the end of the movie Lula has the power to control his life, as she kills him and the blackness of his soul.
What dos this story line say about African Ameicans of this time period and even more so about Jones? Jones entered the world of Greenwich Village, a world where equality and freedom were its goals, and became a successful African American artist. But as time progressed, his race and the "aesthetics" of himself and Black art became a conflict, or a different perspective of life (a battle with the innerconsciousness and with the white world) as Jones breaks free from his current world and moves to Harlem to become a important theorist, militant poet, and producer of revolutionary black theater.
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Bhí LeRoi Jones ina fhigiúr mór le rá Afracach Meiriceánach ar fud na bhfoirmeacha ealaíne éagsúla agus pobail i gCathair Nua Eabhrac. Tá sé deacair é a chur in aon áit / suíomh ar leith toisc go luaitear é i gceantair éagsúla ag brath ar an bpointe ina shaol a scrúdaímid (an Theatr Cheoil, Theatr Cherry Lane, an Scoil Nua, Caifeán Solas Gáis, Leabharlann Eight Street).
Fuair mé an suíomh seo a leanas agus mé ag cuardach ar an ngréasán www.bridgesweb.com/baraka.html . Fuair mé an suíomh seo ar thábhacht agus ar thábhacht ar leith ós rud é go gcuimsíonn sé Jones / Baraka i gclár ama féinfhiosrúcháin. Déanann sé a laethanta a rianú ó Bhite go Náisiúnaí Dubh go Marxist an Tríú Domhain.
Ag an deireadh tá plé ar a chuid dráma "Dutchman" a chonaic muid sa rang an tseachtain seo caite. Déanann sé cur síos ar theoiric Banes le haghaidh spreagadh agus téamaí laistigh den dráma agus conas a bhí baint aige lena shaol agus le go leor Meiriceánaigh Afracacha ina chuid ama.
Ní raibh mé riamh chuala faoi LeRoi Jones roimh an seimeastar seo, ach anois go bhfuil mé, tá a ainm popped cúpla uair lasmuigh den rang seo. Mar sin, shíl mé go gcuirfidh mé beagán leis an méid a thug Lynette suas faoi a rannpháirtíocht sa ghluaiseacht Náisiúnaigh Dubh.
I gcás rang staire a bhfuil mé ag glacadh an séimeastar seo, táimid ag léamh leabhar dar teideal, The River of No Return. Is é seo an t-ailtireacht ar fhéileamh Afracach Meiriceánach, Cleveland Sellers, a bhí ina bhall den Choiste Comhordaithe Neamh-Droch-Droch na Mac Léinn (SNCC) sna 1960idí. Cuireann sé béim ar LeRoi Jones agus ar a thábhacht do Náisiúnaigh Chultúrtha, grúpa a bhraith go raibh ar na blacks iad féin a chur le chéile go cultúrtha sula bhféadfaidís ionsaí a dhéanamh go hoscailte ar an gcóras. Baineann cuid de seo le díriú ar "fheidhm réabhlóideach ealaíne dubh". Bhí an ceannasaí ar cheann de na grúpaí seo, Ron Karenga, den tuairim go gcaithfidh "ealaín dubh an namhaid a nochtadh, an pobal a mholadh, agus tacú leis an réabhlóid. Ní mór go mbeadh sé cosúil le dánta LeRoi Jones '. " Dúirt Karenga gur "sasanna, dánta a mharaíonn agus a lámhaíonn gunnaí agus a fhrásaíonn póilíní i gcosáin ag glacadh a gcuid airm, ag fágáil iad marbh lena dteangaí a tharraingt amach agus a sheoladh go hÉirinn".
Bunaithe ar an ráiteas seo agus na ráitis a rinne Sally Banes i Greenwich Village 1963, is cosúil gur bhain Jones úsáid as ealaín go han-éifeachtach mar fhoirm friotaíochta agus ceannairce. Bhí sé in ann ionsaí a dhéanamh ar chultúr agus ar shochaí Mheiriceá trína drámaí, a scannáin agus a chuid filíochta.
Tar éis an Ghluaiseachta um Chearta Sibhialta agus roimh Náisiúntachta Dubh - bhí LeRoi Jones ina ealaíontóir avant-garde gníomhach i Greenwich Village. Tá an dráma Dutchman de chuid Jones ó 1964 faoi flirtáil idirchineálach, atá ar dtús ina ghníomh príobháideach idir beirt daoine, a thiteann ina ráig phoiblí.
Clay, intleachtúil Meiriceánach Afracach de mheánrang, suíonn sé go neamhchlaonta ar an Subway áit a dtugann Lula, bean bhána, fáilte dó go tobann. Spreagann Lula gnéasacht Clay agus ansin spreagann sé é le mí-insultes chun fearg ciníoch. De réir mar a athraíonn iompar socair Clay chun glacadh le fearg daoine iomlána a thuar réabhlóid dubh, cuireann Lula stailc air. Míníonn Banes an castacht scannáin mar a bheith illeibhéil. Ar dtús, is streachailt ghnéasach é an scannán idir fear agus bean mar a fheicimid i radharcanna tosaigh an scannáin. Stopann an fhrithbhealach agus taobh amuigh tá an bhean álainn, gruaig ghorm, sexy, a thagann sa chéad radharc eile ar an traein - an radharc flirting deiridh.
Is é an dara leibhéal streachailt, de réir Banes, idir an duine aonair féin agus an náisiún. Is cosúil go bhfuil Lula mar chuid de intinn intinne Clay. Glactar le Clay mar "Uncle Tom" agus deirtear leis gur chóir dó briseadh amach ón domhan ina bhfuil sé ina chónaí. Ach tá Lula níos mó ná ach cuid dá intinn - is í an chuid de a bhfuil bán agus an tsraith lárnach. Anseo feicimid Lula ag magadh air agus faoi dheireadh an scannáin tá cumhacht ag Lula a shaol a rialú, agus í ag marú dó agus dorchadas a anam.
Cad a deir an líne scéalta seo faoi Mheiriceánaigh Afracacha na tréimhse ama seo agus níos mó fós faoi Jones? Chuaigh Jones isteach i saol Greenwich Village, domhan ina raibh comhionannas agus saoirse mar a spriocanna, agus tháinig sé ina ealaíontóir rathúil Mheiriceánach Afracach. Ach de réir mar a chuaigh an t-am ar aghaidh, tháinig a rás agus an "eisteolaíocht" dó féin agus ealaín Dubh ina choimhlint, nó ina pheirspictíocht éagsúla ar shaol (cath leis an intinn intíre agus leis an domhan bán) agus Jones ag briseadh saor óna shaol reatha agus ag bogadh go Harlem chun a bheith ina teoiriste tábhachtach, ina fhile miondíoltach, agus ina léiritheoir ar an amharclann dubh réabhlóideach.
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When fire ravages a home, or destroys your property, it’s often an unfortunate accident. If someone is hurt, or killed, then an accident becomes a tragedy. However, not every fire is a result of an out-of-control cigarette butt, or an accident in the kitchen. Sometimes fires are set deliberately, and when that happens the resulting crime is referred to as arson.
Arson is a serious crime, and it’s one that seems quite specific at a glance. The common law definition of arson (the one that our modern definitions are built on) was the malicious burning or exploding of the dwelling house of another, or the burning of a building within the curtilage, the immediate surrounding space, of the dwelling of another. Over the years, though, that definition has expanded to include the burning of any structure or commercial property, regardless of owner, as long as the property is insured in some way. Homes, sheds, cars, or even a block of apartment buildings all fall under the categories of things you can’t burn.
It seems pretty simple. If you don’t want to commit arson, then don’t set fire to anything on purpose, and with a malicious intent. However, arson is often more complicated than it looks from a glance at the surface.
Varying Degrees of Arson
Arson, like many crimes in our modern criminal justice system, can be committed by degrees. The more serious the circumstances of the arson, the more serious the punishment the arsonist will receive if convicted. For example, a minor degree of arson would be if someone scorched a building, but did very little, or no, permanent damage to it. A major degree of arson would be if someone burned down an occupied home, with the intent of committing insurance fraud on top of murder.
So what determines the degree of arson someone has committed? That will depend on the state, and on the circumstances surrounding the crime. For example, arson will often be considered more serious when it affects more valuable property. It is a more serious crime if people were injured, and more serious still if someone died as a result of the arson. Arson committed in furtherance of other crimes, such as to murder a resident of the structure, or to cover up evidence of crimes that had already been committed, is also a more serious offense.
Arson committed by itself is bad enough. Arson that’s connected to other offenses means that, not only will the degree of arson you’re charged with be worsened, but that you’ll still be charged with the additional crimes as well.
Building Your Defense Against Arson Charges
If you find yourself accused of arson, the first thing you need to do is hire an attorney to protect you, and your rights during the proceedings. Once you have a representative on your side, the next thing to do is to figure out the specific elements of arson, and the different degrees it can be committed within your jurisdiction. Once you have that information, you need to disprove as many elements of the crime in your circumstance as possible.
For example, if you didn’t set a fire maliciously or recklessly, then the resulting blaze was likely an accident instead of a crime. Those are the kinds of facts you will need to bring up in your defense, and prove, in order for arson to be disproved, and for you to walk away from the charges brought against you.
Arson is a serious crime. If you find yourself mixed up in an arson investigation, then contact us for expert legal representation. We will protect you, and your rights, while ensuring you have the best defense the law allows.

Nuair a bhíonn tine ag cur báis ar theach, nó ag scrios do mhaoin, is minic gur timpiste míshásta é. Má dhéantar duine a ghortú, nó a mharú, ansin bíonn timpiste ina tragóid. Mar sin féin, ní mar thoradh ar chúl tobac neamhrialta, nó ar thimpiste sa chistin, a bhíonn gach tine. Uaireanta déantar tinte a chur ar an tine go beacht, agus nuair a tharlaíonn sé sin, tugtar an coir a thagann as sin mar theip ar dhó.
Is coir thromchúiseach é an t-údarú dóiteáin, agus is coir é a bhfuil an-spéisiúil air ar an gcéad amharc. Ba é an sainmhíniú ar an dlí coiteann ar an dúnmharú (an ceann ar a bhfuil ár sainmhínithe nua-aimseartha tógtha) dóiteán nó pléascadh drochbhéasach teach cónaithe duine eile, nó dóiteán foirgneamh laistigh den chirtlíne, an spás timpeall láithreach, de chónaí duine eile. Le blianta anuas, áfach, tá an sainmhíniú sin leathnaithe go gcuimsíonn sé dóiteán aon fhoirgneamh nó maoin tráchtála, is cuma cé a úinéir é, chomh fada agus a bhíonn an mhaoin árachtaithe ar bhealach éigin. Tá tithe, seíduirí, gluaisteáin, nó fiú bloc foirgnimh árasán, go léir faoi na catagóirí rudaí nach féidir leat a dhó.
Is cosúil go bhfuil sé simplí go leor. Mura dteastaíonn uait dóiteán a dhéanamh, ná cuir tine ar aon rud de mhian, agus gan intinn olc. Mar sin féin, is minic go bhfuil an t-ardú níos casta ná mar a fheiceann sé ó amharc ar an dromchla.
Céimeanna éagsúla d'Ionsamhlú
Is féidir le dóiteán, cosúil le go leor coireanna inár gcóras ceartais choiriúil nua-aimseartha, a bheith déanta de réir céimeanna. An níos tromchúisí na cúinsí an arson, an níos tromchúisí an pionós an arsonist a fháil má ciontaithe. Mar shampla, bheadh céim bheag d'ardú maoine más rud é go ndearna duine éigin foirgnimh a dhó, ach nach ndearna sé mórán damáiste buan dó, nó nach ndearna. Bheadh ardleibhéal arson más rud é duine éigin dóite síos teach áitiú, leis an rún a dhéanamh calaois árachais ar bharr an mhurt.
Mar sin, cad a chinneann cé chomh mór is atá an dóiteán a rinne duine? Braitheann sé sin ar an stát, agus ar na cúinsí a bhaineann leis an gcion. Mar shampla, is minic a mheastar go bhfuil an dóiteán níos tromchúisí nuair a théann sé i bhfeidhm ar mhaoin níos luachmhara. Is coir níos tromchúisí é má dhéantar daoine a ghortú, agus is tromchúiseach fós má fhaigheann duine bás mar thoradh ar an dóiteán. Is cion níos tromchúisí é an t-ardú a rinneadh chun coireanna eile a chur chun cinn, mar shampla cónaitheoir an struchtúir a mharú, nó fianaise a cheilt ar choireanna a rinneadh cheana féin.
Tá dóiteán a rinneadh leis féin dona go leor. Ciallaíonn dóiteán atá nasctha le cionta eile, ní hamháin go mbeidh an leibhéal dóiteáin a bhfuil tú cúisithe leis ag dul in olcas, ach go mbeidh tú fós ag cúisithe leis na coireanna breise freisin.
Ag Coscáil Do Chosaint i gcoinne Cásanna Dóiteáin
Má fhaigheann tú féin cúisithe le dóiteán, an chéad rud is gá duit a dhéanamh is é a fhostú dlíodóir chun tú a chosaint, agus do chearta le linn na n-imeachtaí. Nuair a bheidh ionadaí agat ar do thaobh, is é an chéad rud eile le déanamh ná na heilimintí sonracha a bhaineann le dóiteán a fháil amach, agus na céimeanna éagsúla a d'fhéadfadh sé a bheith déanta laistigh de do dhlínse. Nuair a bheidh an fhaisnéis sin agat, ní mór duit a oiread gnéithe den choir a dhíbhe i do chás agus is féidir.
Mar shampla, mura ndearna tú tine a chur go meallta nó go heaspaimneach, is dócha gur timpiste a bhí sa tine mar thoradh air seachas coir. Sin an cineál fíricí a bheidh ort a thabhairt suas i do chosaint, agus a chruthú, d'fhonn arson a bheith disproved, agus le haghaidh tú chun siúl ar shiúl ó na cúisí a tugadh i do choinne.
Is coir thromchúiseach é an t-údarú. Má fhaigheann tú féin i measc i imscrúdú ar arson, ansin teagmháil a dhéanamh linn le haghaidh ionadaíocht dlí saineolaí. Déanaimid tú a chosaint, agus do chearta, agus a chinntiú go bhfuil tú an cosaint is fearr a cheadaíonn an dlí.


NCI Dictionary of Cancer Terms
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- DEXA scan
- listen (… skan)
- An imaging test that measures bone density (the amount of bone mineral contained in a certain volume of bone) by passing x-rays with two different energy levels through the bone. It is used to diagnose osteoporosis (decrease in bone mass and density). Also called BMD scan, bone mineral density scan, DEXA, dual energy x-ray absorptiometric scan, dual x-ray absorptiometry, and DXA.

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Tá 8,186 téarmaí a bhaineann le hailse agus le míochaine sa The NCI Dictionary of Cancer Terms.
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- Scan DEXA
- éisteacht (... skan)
- Tástáil íomháithe a dhéanann dlús cnámh a thomhas (cion na mianraí cnámh atá i méid áirithe cnámh) trí r-ghathanna a rith le dhá leibhéal fuinnimh éagsúla tríd an gcnámh. Úsáidtear é chun osteoporosis a dhiagnóisiú (meath ar mhais cnámh agus dlús cnámh). Tugtar scanadh BMD, scanadh dlús mianraí cnámh, DEXA, scanadh ionsúite leictreach X-ghaoithe dúbailte, ionsúite leictreach X-ghaoithe dúbailte, agus DXA air freisin.