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13. AMINES â LONG ANSWER TYPE QUESTIONS
Q. 1. Explain the following:
(i) Aniline dissolves in aqueous HCl.
(ii) Amines are stronger bases than ammonia.
(iii) Aniline is a weak base than ethylamine.
(iv) The amino group in ethylamine is basic whereas that in acetamide is not basic.
(v) Cyclo hexylamine is a stronger base than aniline.
Ansâ (i) The solubility of C6H5NH2 in dil. HCl is due to the formation of water soluble salt.
C6H5NH2 + H3+ + Clâ â C6H5NH3+Clâ + H2O Anilinium chloride
(ii) Amines have electron repelling group which increase the electron density on nitrogen, while ammonia has no such group.
(iii) In aniline the electron pair of nitrogen atom is delocalised due to resonance and hence lesser available for protonation while ethylamine does not undergo resonance.
(iv) In amides the lone pair of electrons on nitrogen atom is delocalised and hence less available for protonation than in amines where no resonance is possible and thus
acetamide is a weaker base than ethylamine.
(v) Aniline is weaker base than cyclohexylamine because of resonance while there is no resonance in cyclohexylamine.
Q. 2. (i) Write str amines corresponding to t C4H11N.
(ii) Write IUPAC names of
(iii) What type of isomeri different pairs of amines?
Ansâ Eight isomeric amines are Possible
Q. 3. Arrange the following in increasing order of their basic strength:
(i) C2H5NH2, C6H5NH2, NH3, C6H5CH2NH2 and (C2H5)2NH
(ii) C2H5NH2, (C2H5)2NH, (C2H5)3N, C6H5-NH2
(iii) CH3NH2, (CH3)2 NH, (CH3)3N, C6H5NH2, C6H5 CH2NH2
Ansâ (i) (C2H5)2NH > C2H5NH2 > C6H5CH2NH2 > NH3 > C6H5NH2
(ii) (C2H3)2NH > (C2H5)3N > C2H5NH2 > C6H5NH2
(iii) (CH3)2NH > CH3NH2 > (CH3)3N > C6H5CH2NH2 > C6H5NH2
Q. 4. Write common name of the following compounds :
Ansâ (i) o-amine benzoic acid.
(ii) p-methoxy aniline (or p-anisidine).
(iv) Sec-butyl dimethy lamine.
Q. 5. Explain the following reactions by taking one suitable example in each case :
(i) Hoffmanâs bromamide reaction
(ii) Gattermannâs reaction
(iii) Carbylamine reaction
(v) Coupling reaction
(viii) Gabriel phthalimide synthesis
Ansâ (i) Hoffmanâs Bromamide Reaction : When an amide (aliphatic or aromatic) is treated with bromine in alkali solution, it is converted to a paimary amine that has one carbon atom less than the starting amide.
RCONH2 RNH2 + Na2CO3 + 2NaBr + 2H2O Aliphatic Amide
C6H5CONH2 C6H5NH2 + Na2CO3 + 2NaBr + 2H2O
Aromatic amide Aniline
This reaction is extremely useful for stepping down (or descending) homologous series.
(ii) Gattermannâs reaction: When benzene ring and diazonium salt is treated with Cu/HCl or Cu/HBr, chlorobenzene or bromobenzene is formed. The yield is about 40%.
(iii) carbylamine reaction : Both aliphatic and aromatic primary amines when warmed with chloroform and an alcoholic solution of KOH produce isocyanides or carylamines which have an unpleasant odour.
R-NH2 + CHCl3 + 3 KOH (alc.) R-N C
.1° amine +3KCl + 3 H2O
In contrast, secondary and tertiery amines (both aliphatic and aromatic) do not give this test.
(iv) Diazotisation : The reaction of converting aromatic primary amines into diazonium salts with a cold (273-278K) solution of nitrous acid is called diazotisation.
(v) Coupling Reaction : Arenediazonium salts react with highly reactive (i.e., electron-rich) aromatic compounds such as phenols and amines to form brightly coloured azo compounds.
Ar â N = N â Ar.
(vi) Ammonolysis : Reactions of an alkyl halide (R â X) with an alcoholic solution of ammonia giving a mixture of 1°, 2°, 3° amines and quaternary salt is called ammonolysis.
R â X + HNH2 R â NH2 + HX
If R â X is used in excess, a mixture of 1°, 2°, 3° amines along with some quarternary ammonium salts is obtained.
It is a typical nucleophilic substitution reaction.
(vii) Acetylation : The replacement of an active hydrogen of alcohols, phenols or amines with an acyl group (RCO) to form the corresponding esters or amides is called acetylation. Acetylation is carried out in the presence of a base like pyridine, dimethylaniline etc. by acetyl chloride or acetic anhydride.
CH3COCl + C2H5OH CH3COOC2H5+ HCl
Acetyl chloride ethanol Ethyl acetate
.(CH3CO)2O + C2H5NH2 â CH3CONHCH2CH3 + CH3COOH
Acetic Ethylamine N-Ãthylacetamide anhydride
(viii) Gabrielâs phthalmide synthesis : In this reaction phthalimide is converted into its potassium salt by treating it with alcoholic KOH. Then potassium phthalimide is heated with an alkyl halide to yield on N alkyl phthalimide which is hydrolysed to phthalic acid and a primary amine by heating with HCl or KOH solution. This synthesis is very useful for the preparation of pure aliphatic primary amines.
Q. 6. How is anilline prepared commercially ? Describe carbylamine test for primary amines.
Ansâ Aniline is prepared commercially by the reduction of nitrobenzene using iron and hydrochloric
Fe + 2HCl â FeCl2 + 2H] Ã 3
C6H5NO2 + 6H â C6H5NH2 + 2H2O
C6H5NO2 + 3Fe + 6HCl + C6H5NH2 + 3FeCl2 + 2H2O
Because of the presence of hydrochloric acid in the reaction mixture actually aniline hydrochloride (C6H5NH3 + Clâ) is obtained. This on treatment with aqueous soudium carbonate gives aniline.
Q. 7. Write IUPAC name of following and classify them into primary, secondary and tertiary amines :
(i) (CH3)2 CHNH2
(iv) (CH3)3 CNH2
Ansâ (i) (CH3)2 CHNH2 : 1-amino-1-methyl propane (primary)
(ii) CH3 (CH2)2 NH2
1-amino propane (primary)
methyl isopropyl amine (secondary)
(iv) (CH3)3 CNH2
N-Methyl benzenamine (secondary)
(vi) (CH3CH2)2 NCH3
Diethyl methyl amine (tertiary)
(vii) m-Br CGH NH2
3-isobromo aniline (primary)
Q. 8. How will you prepare :
(i) Benzylamine by Gabriel Pthalimide synthesis.
(ii) Benzylamine from benzene ?
Class 12th Chemistry Long Type Question
|S.N||CHEMISTRY LONG TYPE QUESTION 2022|
|6||GENERAL PRINCIPLES AND PROCESSES OF ISOLATION OF ELEMENTS|
|7||THE P-BLOCK ELEMENTS|
|8||THE D- AND f-BLOCK ELEMENTS|
|10||HALOALKANES AND HALOARENES|
|11||ALCOHOLS, PHENOLS AND ETHERS|
|12||ALDEHYDES, KETONES AND CARBOXYLIC ACIDS|
|16||CHEMISTRY IN EVERYDAY LIFE|
|17||DISTINGUISH BETWEEN PAIR| |
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This document has been prepared by the IASC Task Force (until 2003, known as the IASC Reference Group) on Humanitarian Action and Human Rights as a complement to Growing the Sheltering Tree, a collection of field practices in promoting and protecting rights by humanitarian actors issued by the Task Force in September 2002.
The text seeks to respond to questions commonly asked by humanitarian workers on the legal framework that serves as a basis for assistance and protection activities in situations of armed conflict. It sets out the relevant international instruments and offers examples of their provisions and application by responding to the following questions:
What is the international legal framework applicable in armed conflicts?
What are the sources of international law?
What is âprotectionâ?
Does international law provide specific protection for women or children?
What is international humanitarian law?
What instruments make up international humanitarian law?
What is the difference between the Geneva Conventions and their Additional Protocols in terms of application?
What are the basic rules of international humanitarian law?
What kinds of acts are prohibited in armed conflicts?
What is international human rights law?
What is the Universal Declaration of Human Rights?
What are the major international human rights instruments?
Is human rights law also applicable in armed conflicts?
What kin ds of human rights are commonly violated in an armed conflict?
What is international refugee law?
What are the instruments of international refugee law?
Who is a " refugee " ?
How is refugee status determined when thousands of civilians are fleeing an armed conflict?
Are internally displaced persons protected by international law?
Do non-state actors have obligations under international humanitarian, human rights and refugee law?
What are the rules on humanitarian assistance in armed conflict?
What is the protection under international law of humanitarian and other personnel?
How do the three bodies of law apply in practice?
How are the three bodies of law implemented?...nationally? ...internationally? ...regionally?
What are " war crimes " and " crimes against humanity " ?
How do war crimes and crimes against humanity differ from " genocide " ?
How are individuals held accountable for crimes under international law? |
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Niobium is considered to be a critical and strategic commodity because of the metalâs specialized applications in defense, energy, high-tech industrial, and medical sectors. In addition, Niobium has no effective substitutes and the production of niobium is highly concentrated. In fact, current identified resources of niobium are located predominantly in Brazil (about 95 percent) and Canada (about 3.5 percent), with just three companies â Companhia Brasileira de Metalurgia e Mineracao (CBMM), Anglo American Niobio Brasil, and IAMGOLD Corp (of Canada) â together producing about 90% of the worldâs demand for niobium products.
The United States does not have a niobium mining industry because domestic resources are of low-grade, mineralogically complex, and mostly not commercially recoverable. The U.S., like many countries, is forced to import 100% of its niobium source materials for processing, except in the case where some small amounts of niobium are recovered from alloy scrap. In 2018, U.S. niobium consumption was up 27% over 2017, with increased demand linked to increased consumption of microalloyed steel, used in the manufacturing of cars, buildings, ships, cell phones, computers, superconducting magnets, high-tech devices, and refinery equipment.
The geographic concentration of niobium resources and production make their supply vulnerable to potential influence and disruption by civil unrest, environmental issues, market manipulation, natural disasters, and political changes. It cannot be disputed that trade wars and geopolitical tensions could limit the ability of the U.S. to secure necessary niobium resources in the future.
Beyond the basics above, what else should we know about niobium? Check out the 15 interesting facts below!
- In 1801, English chemist Charles Hatchett analysed a specimen of an unknown mineral from the collection of the British Museum in London and determined that this mineral contained a ânew earthâ. He named this element âcolumbiumâ.
- In 1809, British chemist William Hyde Wollaston analysed both columbium and tantalum mineral specimens and claimed that they were the same element. There was no dispute of this conclusion at that time.
- In 1844, Heinrich Rose was able to distinguish columbium from tantalum by observing differences in their valence states. He renamed columbium to âniobiumâ after Niobe, the daughter of Tantalus.
- The names âcolumbiumâ and âniobiumâ were both used to identify the element until 1949, when the International Union of Pure and Applied Chemistry (IUPAC) officially adopted âniobiumâ as the name.
- Significant U.S. niobium mine production has not been reported since 1959.
- From 2014 to 2017, U.S. niobium import sources were: Brazil, 72%; Canada, 18%; Russia, 3%; Germany, 2%; and other, 5%.
- In May 2018, the U.S. Department of the Interior, in coordination with other executive branch agencies, published a list of 35 critical minerals (83 FR 23295), including niobium. This list was developed to serve as an initial focus, pursuant to Executive Order 13817, ââA Federal Strategy to Ensure Secure and Reliable Supplies of Critical Mineralsâ (82 FR 60835).
- Brazil is the worldâs leading supplier of niobium (about 90 percent); its major deposits occur in Late Cretaceous carbonatite complexes. These complexes were emplaced along deep-seated faults located along the southwestern border of the ancient (Archean) São Francisco craton. The Araxá deposit is the largest operating deposit; it has more than 460 million metric tons of weathered ore with a mean grade of 2.48 percent Nb2 O5.
- The leading producer of niobium outside of Brazil is the Niobec Mine in Quebec, Canada. This mine is the only operating underground niobium mine in the world. The Niobec Mine is hosted by the Saint-Honoré carbonatite complex dated at 650 mega-annum (Ma), which is covered by Paleozoic limestone and glacial deposits.
- Niobium is a lustrous, gray, ductile metal with a high melting point, relatively low density, and superconductor properties.
- Niobium does not occur naturally as a pure metal â it is primarily derived from the complex oxide minerals of the pyrochlore group ((Na,Ca,Ce)2 (Nb,Ti,Ta)2 (O,OH,F)7 ) and has an average abundance in the Earthâs crust of 8.0 parts per million (ppm).
- An alloy of tantalum, niobium, hafnium, zirconium and titanium has been shown to conduct electricity with zero resistance, or superconduct, from ambient pressure up to pressures similar to those that exist near the centre of the Earth. The material is a member of a new family of metal alloys known as high-entropy alloys (HEAs), which are composed of random atomic-scale mixtures of elements from the block of âtransition metalsâ on the periodic table.
- Niobium is widely used for body piercing, and when put through an anodizing process results in varying colors of jewelry without the use of toxic inks or dyes.
- Niobium nickel-, cobalt-, and iron-based superalloys are critical for high-temperature applications in jet engines, gas turbines, rocket subassemblies, turbocharger systems, and combustion equipment and find high demand in the aerospace industry. Not only that, but niobium alloys are used in manufacturing superconducting magnets for medical hardware such as magnetic resonance imaging (MRI) and nuclear magnetic resonance (NMR) instruments. Niobium alloys are contained in the superconducting magnets used in particle accelerators such as the Large Hadron Collider in Europe.
- The steel industry uses nearly 80 percent of the worldâs produced niobium to manufacture high-strength steels. Niobium, a grain refiner and precipitation hardener, enhances the steelsâ mechanical strength, toughness, high-temperature strength, and corrosion resistance for use in pipelines, transportation, car and truck bodies, tool steels, ships hulls, railroad tracks, architectural and structural applications, and more. |
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In 1510 and the following years King Ferdinand ordered a number of Africans to be sent to that colony for the working of the mines.
In the outskirts is a village of Africans from the Sudan - a curious remnant of the forces collected by Ali Pasha.
In response to the imperial summons, five to six hundred bishops, all Eastern, except the Roman legates and two Africans, assembled in Chalcedon on the Sth of October 451.
We speak of the Saracen very much as we speak of the Norman; for of the Mussulman masters of Sicily very many must have been only artificial Arabs, Africans who had adopted the creed, language and manners of Arabia.
Demons, when they are regarded as spirits, may belong to either of the classes of spirits recognized by primitive animism; that is to say, they may be human, or non-human, separable souls, or discarnate spirits which have never inhabited a body; a sharp distinction is often drawn between these two classes, notably by the Melanesians, the West Africans and others; the Arab jinn, for example, are not reducible to modified human souls; at the same time these classes are frequently conceived as producing identical results, e.g. |
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Learn a little Ontario history as told through its plaques
The Cathedral of St. Peter-in-Chains
Photo by Alan L Brown - Posted December, 2010
Photo by contributor Wayne Adam - Posted December, 2010
Coordinates: N 44 18.320 W 78 19.647
The parish of St. Peter-in-Chains was established in 1826 to serve the large Irish Catholic population of the surrounding Robinson Settlement. This building, erected in 1837-1838 of stone from nearby Jackson's Creek, is one of the oldest remaining Catholic churches in Ontario. Reportedly designed by the Toronto architect James Chevette, it follows the modified Gothic Revival style popular in Upper Canada during the period. In 1882 when the Diocese of Peterborough was erected St. Peter's became a cathedral. Two years later it was extensively renovated and enlarged under its first Bishop, Jean Francois Jamot. Although altered on various occasions, most notably by the addition of a fifth bay to the nave in 1967, St. Peter-in-Chains has retained its original elegance and imposing form.
Related Ontario plaque
The Robinson Settlement 1825
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Yiddish Theater in the United States
During the Middle Ages and for most of the centuries since then, Ashkenazimâthe Yiddish-speaking Jews of central and Eastern Europeâproduced virtually no theater at all. Since ancient times, rabbinic Jewish tradition had disapproved of theater, for men and women alike. Moreover, it was specifically considered immodest for women to perform for men. Men were prohibited from hearing womenâs voices singing, and women were prohibited from dressing as men. Finally, unlike other Western cultures, in many of whose theaters men played womenâs roles up into early modern times, Jewish men were permitted to dress as women only as part of the topsy-turvy merrymaking of the Purim holiday. For that reason, it was only during Purim, in early spring, that lively amateur entertainments were produced, and even then women participated only as spectators. Professional Yiddish theater did not exist until 1876. Until then there were only groups of wandering acrobats, among whom, however, two womenâs names are recorded: Ruza and Feygele.
During the late-nineteenth-century Haskalah [Enlightenment] period, when Eastern European Ashkenazi culture was becoming more modern and cosmopolitan, some Yiddish plays were written to be read at home as sophisticated literary entertainment. The first recorded actual performance of one of these plays was organized in 1862 by Madame Slonimsky, wife of the new headmaster of the Zhitomer Academy for boys in Zhitomer, Poland. Her husbandâs students played all the roles. The play was Serkele, by Shlomo Etenger. The title role, a strong-willed female character, was played by a boy named Avrom [Abraham] Goldfaden, who grew up to establish the first professional Yiddish troupe.
Goldfadenâs troupe, formed in Jassy, Romania, in 1876, was one manifestation of a general loosening of governmental restrictions on Jewish culture from the outside, as well as a loosening of traditional rabbinic restrictions from inside. The first company consisted of Goldfaden plus one actor. He soon hired a second actor, Sakher Goldstein, to play womenâs roles as well as menâs. Goldfadenâs wife, Paulina, served the enterprise as the translator of French and German popular plays into Yiddish.
Probably the first woman to perform on the Yiddish stage was Sara Segal, a sixteen-year-old seamstress with dark eyes and a sweet soprano voice. However, her mother refused permission until Goldstein, being the only unmarried company member, married her and took her along on their wandering life. She changed her name to the European-sounding Sophie, becoming Sophie Goldstein. Later, in New York, she married another actor, making her name Sophie Goldstein-Karp, or Sophia Karp. Karp was the first woman whose profession was Yiddish theater, and she was typical of the many hundreds who followed. She was an actor, known for glamour and charm. She occasionally participated in a venture as producer or even director as well as star. (Karp is said to have died of a theatrical dispute. In an effort to prove her claim on a certain theater, she refused to leave the building, even sleeping on the unheated stage, until she caught pneumonia and died.) But this was minor, and in fact women in Yiddish theater were primarily performers.
The Golubok company was the first to arrive in the United States, in 1882, at the start of the great wave of Jewish immigration. Their prima donna was a Madame Sara Krantsfeld. Sophie Karp and many other actors came shortly afterward. For a decade and more, most American Yiddish actors were immigrants, as were their audiences, but Yiddish theater was so new that many who were born in Europe made their debuts in the new land. Others started careers in the Old Country and then immigrated; by 1900, talent scouts were aggressively importing actors whose reputations had arrived at Ellis Island along with other news from home.
Most of the qualities associated with Yiddish actors were already clear in the 1880s. Theatergoers favored fiery temperament and emotionalism in drama, and âquicksilverâ energy in comedy, for female and male actors alike. As the theater acquired serious playwrights and discriminating audiences, truthfulness and sensitivity became highly valued. Types, in the styles of the period, included queenly lovers, strong heroines, glamorous villainesses, saucy soubrettes, and devoted mammas. And since music was interpolated in most shows, even including serious straight dramas, a good singing voice was also important.
From the beginning, many female actors married men in the theater community, and their names were and have remained linked in pairs with their husbandsâ. Eventually there came to be many actorsâ daughters as well. Often families played in the same company. Companies generally formed for a season, or for a tour, and touring companies moved not only around the United States but also back and forth to Eastern Europe and Russia. It was also not unusual to visit Western Europe, South America, or South Africa. On tour many actors took along their children, who soon learned to perform. The American capital of Yiddish theater was New York City, where at times as many as fourteen theaters were filled simultaneously, not counting vaudeville and cabaret. But there were also professional theaters in other cities around the country, such as Philadelphia, Detroit, and Providence.
Because the Yiddish public was passionate about theater, they generally were aware of actorsâ private lives, including romances, which were matters of comment in theater columns and critiques in the press. Although respectable families were not pleased if their daughters went on the stage, actors committed to intellectual or political ideals were highly respected by the intelligentsia, and for the community at large the presence of actors lent dash and style to café life. Actors, like other performers, customarily contracted for one night a season to be played for their own benefit. In this practice, not unique to Yiddish theater, the performer picked and cast the play. On these benefit nights, the house might be filled with an actorâs enthusiastic fans, and the box office take came to a significant yearly bonus. She might also receive gifts in addition to money profits.
In this early period began the long career of Bina Abramovich, who fifty years later was still known affectionately as the âmotherâ of Yiddish theater, both because she had always been there and because the roles she was associated with were folksy Old Country mammas. Pretty, lively Dina Stettin played with her husband Jacob Adler in London en route to America, and finished her career there married to Seymour Feinman, after which she became known as Dina Feinman. Regina Prager was known for her operatic singing and dignified carriage.
Bessie Thomashefsky met her husband, Boris, when she was a girl in Baltimore and he came there to start a Yiddish theater. Through her long, successful career, she played many roles, both comic and deeply dramatic, light and intense. She even played mischievous little boys. Her many enthusiastic fans extolled her acting as ânatural,â a term of particularly high praise.
Starting in 1890, some actors were known not only for their work in popular theater but also in association with the playwright Jacob Gordin, whose literary repertory dominated the more intellectually ambitious Yiddish theater between roughly 1890 and 1905. Among Gordinâs political causes was womenâs rights, and among his dramatic talents was writing juicy roles, often with certain stars in mind. Gordin was the first, though certainly not the last, professional Yiddish dramatist to create thoughtful and intelligent female characters. Keni Liptzin, bertha kalich, and Sara Adler remained permanently associated with Gordin roles.
Keni or Kenia Liptzin ran away from home to join one of Goldfadenâs earliest troupes and played in many companies in Eastern Europe and London before she settled in New York and encountered Gordin. Tiny and elegant, she was known for her uncompromising high standards for Yiddish literary repertoire. She was able to play only those plays she respected because she was married to a successful publisher, making her perhaps the only Yiddish theater producer ever who could be financially independent of whether or not her vehicles sold tickets. The role she was best known for was Gordinâs Mirele Efros; or, The Jewish Queen Lear. This tells the story of a woman who loses everything to a scheming daughter-in-law and to her own pride. When the Polish Yiddish star Esther Rachel Kaminska toured in New York in that same role, the Yiddish press called it a duel of rival champions.
Bertha Kalich began as a chorus lovely in Lemberg, Poland, and though she also played on the non-Yiddish Polish stage, talent scouts soon brought her to America. She was known for her grace and femininity. Gordin is supposed to have written his popular play of thwarted love, The Kreutzer Sonata, because once, as he sat in her dressing room, she flirted with him, brushing her long dark hair and coaxing, âWrite a play for my hair.â She subsequently played the role in English translation on Broadway. She also created the female lead in his Sappho, a photographer who dares to bear a child out of wedlock because the father turns out to be unworthy, and in God, Man, and Devil, an unhappy wife. She played for many years in Yiddish and English even after she became totally blind.
For Sara Adler, Gordin wrote Without a Home. Adler, who began her career as Sara Heine-Haimovitch, rose to fame while married to Jacob Adler. Her fiery temperament delighted her many fans, onstage and off, and she remained a starâpossibly the most successful of her generationâfor many years. Her daughters Frances, Julia, and Stella Adler all became actors; Stella soon transferred to the English-language stage, where she was an influential performer and teacher.
Yiddish theater participated in the art theater movement in the United States, as well as in Western Europe and Russia. In 1917, New York acquired the Yiddish Art Theater, organized by Maurice Schwartz, and the following year the Jewish Art Theater organized by Jacob Ben-Ami. There were others in the New York area and elsewhere. Several actors were associated with this movement, which emphasized text, direction, and ensemble work as opposed to the star system. Celia Adler, raised in traditional Yiddish theater and known for her delicacy and vulnerability, was an enthusiastic reformer, later recalling the period as a âgolden era.â So was the glamorous Berta Gersten.
The popular theater in the first half of the twentieth century had many skilled and energetic female performers in a variety of styles. The following are some of the best known. Nellie Casman sang and recorded songs, some of which (like âYoslâ) she wrote herself. Jennie Goldstein starred in tearjerkers and later turned to comedies. Henrietta Jacobson and Yetta Zwerling were popular comediennes. Anna Appel and Malvina Lobel were known in dramas. Vera Rosanka billed herself as the Jewish Gypsy. Clara Young was a frilly coquette. Molly Picon, whose mother sewed costumes backstage, began in English-language vaudeville. Her husband, Jacob Kalich, groomed her for stardomâeven tutoring her in Yiddishâand helped make her the darling of Yiddish musical theater, cabaret, and films. She was especially popular in gamin roles, even boy roles such as Yankl, the mischievous yeshiva student. Picon ended her career back on the English-language stage, playing in American musical comedies.
By mid-century, new names drew audiences to the theaters. Mina Bern played kleynkunst, charming musical revues that included art songs and scenes of literary value, with her husband, Ben Bonus. Clever Reizl Bozyk, who was actually born onstage on her motherâs benefit night, performed with her husband, Max, and alone, and in old age was highly praised for her role in the Hollywood film Crossing Delancey written by Susan Sandler. Dina Halpern acted and also gave solo literary performances known as âword concerts.â Betty and Jacob Jacobs were a perennial song-and-dance duo. Miriam Kressyn played Yiddish dramas and musicals and in films. Shifra Lerer, trained in Argentinean theater, acted with her husband, Ben Zion Vitler, and appeared in Yiddish films. Lillian Lux, with her husband, Pesach Burstein, and son, Mike Burstyn, had her biggest international success in The Megile of Itsik Manger.
A number of these actors also appeared in one or more of the Yiddish films made in the United States, though film acting was generally less respected than stage productions. Some are better remembered for their film work than from stage appearances: Helen Beverly, Judith Abarbanel, Gertrude Bullman, Lucy Gehrman, Lila Lee, Lucy Levine, Miriam Riselle, Mae Simon, and Florence Weiss. Yiddish radio programs were widespread and popular; Esther Field was a prominent personality. With her husband, Seymour Rechzeit, Miriam Kressyn presented a long-running series of radio shows evoking the history of the Yiddish theater.
There was another venue for Yiddish performance: the resorts of the Catskills. The most famous was Grossingerâs, run by the hotel keeper Jennie Grossinger. Here Yiddish performers did their routines in a mixture of Yiddish and English for increasingly assimilated audiences. There were also opportunities to perform at summer camps like Nit Gedayget.
By the 1970s and 1980s there were a number of new women on the professional Yiddish stage in America. Ida Kaminska, the intelligent and dignified daughter of Esther Rachel Kaminska, spent some years heading her own company here between the time she left Poland and settled permanently in Israel. Just as she performed alongside her famous mother, so her daughter Ruth Kaminska in turn performed alongside her.
Mary Soreanu, born in Romania and based in Israel, spent a number of seasons in New York starring in light musical vehicles designed to show off her strong voice, easy good humor, and good looks. Rita Karen Karpinovitch, trained in the Moscow Art Theater, gave âword concerts.â Vivacious American-born Eleanor Reissa understudied Soreanu early in her career but went on to star in Yiddish, English, and bilingual shows, and to choreograph them as well. Besides her stage appearances here, dark-voiced Raquel Yossiffon has taught university courses about Yiddish theater in Israel. Other young performers of the 1980s and 1990s included Joanne Borts, Adrienne Cooper, Shira Flam, Rosalie Gerut, Ibi Kaufman, and Suzanne Toren.
Amateur theater groups have always been active in Yiddish cultural communities, encouraging new dramatists and providing social cohesiveness. Many were associated with political or social positions, and many provided a congenial venue for artistically ambitious Yiddish dramas. Chayele Ash and Dina Halpern were professional actors who organized and sustained such groups. But there were many unknown heroic women who gave enormous time and energy to organize and sustain these theaters. At the moment, the major established Yiddish theater company in the United States is the Folksbiene, in New York City. The oldest continuously performing Yiddish theater company in the world, the Folksbiene was amateur through most of its years, though it now employs professional artists as well, among whom was Zypora Spaisman (1916â2002), who for fifty years produced and acted in forty-three consecutive productions at the theater.
Women in professional Yiddish theater have been almost exclusively performers. In the early period, when male stars often headed their own companies, it was rare for women to do so. Keni Liptzin was a major exception, but she was subsidized by her husband; Bessie Thomashefsky, Sara Adler, and Jennie Goldstein were also intermittently company heads, as was Ida Kaminska. Playwrights and songwriters created vehicles for the well-known female performers, but although Molly Picon wrote songs, women rarely wrote their own material; there were no professional women writers or directors. Rose Pivar worked in the Hebrew Actors Union administrative office, and other women were active in the Hebrew Actors Guild. More recently, Renee Solomon served as musical director and piano accompanist for many productions, and Ruth Vool handled theater business as well as performing. Bessie White translated several volumes of Yiddish short plays. Celia Adler and Bessie Thomashefsky wrote their memoirs.
There are women connected with professional Yiddish theater in creative capacities other than performing. Miriam Hoffman has created several plays. The best known are Songs of Paradise, with cowriter Rena Berkowicz Borow and composer Rosalie Gerut, and A Rendezvous with God, about the poet Itsik Manger. Hoffman is the executive director of the Joseph Papp Jewish Theater and teaches Yiddish language at Columbia University. Miriam Kressyn adapted a number of classics for contemporary productions and wrote lyrics for them. Bryna Wasserman Turetsky adapted Mirele Efros for productions at the Folksbiene and the Saidye Bronfman Centre in Montreal. Rina Elisha and Bryna Wasserman Turetsky directed Folksbiene productions. Eleanor Reissa won a Tony for choreographing the bilingual Those Were the Days. Joan Micklin Silver produced the Hollywood feature films Crossing Delancey and Hester Street; the latter, based on the Yiddish story Yekl, incorporated a great deal of Yiddish dialogue. Tova Ronni, of the Folksbieneâs board, organized the installation of devices for simultaneous translationâan innovation that has helped the Folksbiene continue to draw audiences. The United States has also seen numerous tours by the Yiddish Theatre of the Saidye Bronfman Centre of Montreal, founded and directed by Dora Wasserman, who when she suffered a stroke was succeeded by her daughter Bryna Turetsky.
Women have also been active historians of the Yiddish theater. Diane Cypkin, besides performing in Yiddish theater, was curator of the Yiddish theater collection of the Museum of the City of New York. Sharon Pucker Rivo is executive director of the National Center for Jewish Film, which has rescued, preserved, and made available to viewers more Yiddish films than any other institution. Faina Burko has written a major study of the Moscow Yiddish Art Theater, and Edna Nahshon has chronicled the left-wing avant-garde theater ARTEF. Nahma Sandrow translates Yiddish plays, and created several original shows out of Yiddish theater material. Lulla Rosenfeld wrote a biography of her grandfather, Jacob Adler. Evelyn Torton Beck wrote about the influence of Yiddish theater on Franz Kafkaâs work. The scholar Ruth Wisse taught a course in Yiddish theater at Harvard University.
Women have always been important as Yiddish theater audiences. In the early sweatshop days, working girls spent hard-earned pennies for tickets. Girls went to the theater in friendly groups or on dates. It was the custom for fraternal organizations to buy out a performance and sell tickets to raise money, and women often went to such performances in order to meet people from back home in the Old Country. Mothers could bring along their children, with picnic lunches to keep them fed during long matinees. Dramas of life in America provided them with ways to learn about the new country and try out, vicariously, new ways to cope. Translations of world classics or of Broadway hits were glimpses of the outside world. Escapist operettas and comedies offered relief from the hardships of immigration and poverty. And womenâs tastes influenced the theater world. Actors whom women found handsome played leading roles; there are many tales of women swooning in the aisles and running after Adler or Thomashefsky. Actors whom women admired, whose styles they copied, became stars and remained stars long past their youth. Now, as Yiddish theater is attenuated, the loyalties and memories of women are important for its survival.
For a detailed overview of Yiddish theater see Vagabond Stars: A World History of Yiddish Theater, by Nahma Sandrow (1977). The volume includes an extensive bibliography of sources in both Yiddish and English. |
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The United Kingdom is rolling out its seventh and eighth Covid shots as it continues to grapple with the endemic coronavirus strains circulating in the population.
But unlike the United States, which continues to push Covid shots for the entire population like an annual flu vaccine, the U.K. is not recommending them for healthy under-50s.
The Joint Committee on Vaccination and Immunisation (JCVI), recently warned that an emergency vaccine response may be required if a new variant with âclinically significant biological differencesâ emerges in the future. However, none of the predominant strains, namely, the Kraken and Orthrus, warrant such an emergency rollout at this time, the committee has concluded.
The JCVI said that the autumn 2023 Covid booster campaign, the seventh in the series of Covid shots thus far, should be expressly offered to those âat higher risk of severe Covid.â The winter boosters would represent the eighth shot in the series.
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During the U.K.âs last autumn booster campaign, the Covid shots were offered to over-50s, residents and staff at nursing homes, and frontline health workers.
The booster shots were also offered to five to 49-year-olds who are in a clinical risk group, such as being immunosuppressed or who live with an immunosuppressed person (despite the jabs failing to prevent infection and transmission).
The first booster campaign will be closed to people under 50 years old, beginning on February 12th.
The JCVIâs recommendations come âas the transition continues away from a pandemic emergency response towards pandemic recovery.â
The Food and Drug Administration, however, is seeking to normalize Covid shots for the U.S. population as an annual routine, even for healthy children and young adults.
In a briefing document published Monday, the FDA said the vaccines will probably need an annual update as the virus evolves. The FDA would select the Covid strain for the vaccine in the spring and then roll out âboostersâ for a fall vaccination campaign.
While most people would receive one shot to purportedly restore protection against the virus, older adults and immunocompromised may need two doses, according to the proposed vaccination schedule. Young children who have received only one shot previously would also get two doses, despite being at slim statistical risk from Covid and regardless of natural immunity antibodies.
Big Tech âBloodlettingâ Continues: Microsoftâs Worst Earnings In Years Leads to Mass Layoffs
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- Education and Science»
- Psychology & Psychiatry
Figuring Out Someone's Personality
People and Their Personality
People and Their Personality
There is a human natural need to figure out someoneâs personality. It is natural for us to observe the actions, interactions, and reactions of people. In doing so, we make certain predictions about that personâs behavior and personality.
We all have a personality, which makes us unique and similar. Through the things we know about ourselves and the world around us, we make assumptions about people. It is advantageous to realize how a person may behave in various circumstances. It is part of our primitive survival mechanism. Knowing how a person may react also protects us from a way they may act that could be harmful to us and frees us up to do other things. Our instinct automatically picks up attributes we see. Sometimes, and often times, our assumptions may be incorrect. Why is that?
What is Personality?
Our guesses come from our own limited knowledge. Our own theories are rooted in our personal experiences, our beliefs, and our own personalities.
Scientists, researchers, psychologists, philosophers, and most everyone tries to gain a greater understanding about human beings through the study of personality. Personality theory is fairly recent to the field of psychology and is a very in depth topic.
Personality in current terms can be defined as the characteristics and traits that play a role in the way a person thinks, behaves, and what motivates them in various situations, uniquely defines who they are and typifies each of us. Our personality is dynamic and changing, yet some aspects are fixed from birth, leading to the idea that these characteristics are a mixture of our biology and our environment.
The word personality comes from the Latin word persona, for mask.
Theorists and the Study of Personality
From the ancient times of Hippocrates to modern times, science has tried to understand observable personality.
One of the first notable milestones in personality theory came from Sir Francis Galton.
Sir Francis Galton became known for his Lexical Hypothesis in 1884. He used words to describe characteristics people displayed. Many theories,and models of personality structure, and personality tests are the basis of Galtonâs theory.
Gordon Allport, an American psychologist followed up Galtonâs theory, nearly a half a century later. He realized traits were the best way to describe a personâs personality. Allport and his associate H.S.Odbert came up with 4,500 words to describe to describe personality in ordinary terms and help define the uniqueness of a personâs personality.
Uniqueness of Personality
Allport continued his study of personality and described two main ways to understand the characteristic behaviors of people, known as personality dispositions.
the Nomothetic Approach - compares similar traits within a larger group where the combination makes people stand out in a particular way.
the Ideographic Approach - specific personality traits within individuals that make a person unique.
Nomothetic traits are general words that can be used to characterize a large group of people in a general way. Words such as ambitious, lazy, kind.
Allport believed the ideographic traits were a better way to define an individualâs personality. He thought that people were best described by about five to ten central traits, not one single characteristic that is displayed by their behavior.
Allport understood that personality traits are not necessarily consistent or predictable and came up with secondary traits that could be applied to certain circumstances. The combination and pattern of a personâs disposition is what gives them their individuality.
Nomothetic traits are one of the biggest parts of most personality research.
Raymond Cattell came up with a statistical method in 1957 of categorizing traits called factor analysis. Factor analysis uses nomothetic traits to describe clusters or groups of traits that describe personality types. He narrowed the 4,500 words from Allport and Odbert down to 171 main characteristics and put them into 35 main groups plus 10 additional he came up with to describe traits. He then narrowed them down to 16 main traits. Cattell is famous for his 16PF personality test. This personality test scores people on a dimension so that their personality can be described in general terms that hold true for certain behavioral principles.
Personality is relatively stable and doesnât change from week to week. This is what makes personality somewhat predictable and allows us to anticipate how the people we know will behave.
Theodore Millon is a psychologist who heads a well known center called The Institute for Advanced Studies in Personology and Psychopathology (IASPP) International Center in Port Jervis, NY. Here for personality and clinical psychology, where they do scholarly research on mental health issues. Roger. D. Davis and Theodore Millon studied disorders of personality and believe that it is best to start with nomothetic traits to look for personality disorders and then switch to idiographic traits to understand the individuality and uniqueness of a person that sets them apart from other people.
The Many Theories of Personalities
Finding the Real Personality
Nomothetic traits are a way of generalizing characteristics of people. Ideographic traits take more in depth knowledge of a person to understand better how that person functions, behaves, thinks and feels. Allport did not believe that nomothetic traits could be universally applied to everyone and that it is the individual differences, ideographic traits that more accurately depict personality.
Our feelings have a lot to do with why we behave differently in different situations. A person might be warm and kind to her co-workers, but behaves in a more critical way with her family, or vice-a-versa. This difference in behavior has a lot to do with how people interpret their environment, what their expectations, values and personal experiences are, how they apply self control to self regulate themselves. Some personality traits are situational characteristics as a way of behaving to particular stimuli and in certain circumstances.
A professor might be distant and formal in front of his class,but when the student talks with them one on one, the professor has a more friendly demeanor. An actor may appear friendly and warm on stage, but when you meet them they are actually shy and aloof and display very little animation in their personality. Their real personality does not match their on stage presence.
Does Personality Change Over The Years
Do you believe a person's personality can change over time?
Dominant Personality Traits
We try to understand people and the world around us by tapping into our internal model of what we know to fit the descriptors we see in that person. We observe peopleâs behavior and attempt to match it to a pattern that conform to the to these definitions we believe we know about.
When the situations change, people may expect that person to act the same way they have always seen them, but if they donât really know them well, different situations may bring out different personality traits. When we describe a personâs personality, we are looking for consistency.
We watch a personâs behavior in a situation and make conclusions about that person based on what we see. We believe that person will behave in that particular way in every situation. What we are really seeing is a snapshot of a personâs experience and without further information there may be any number of reasons they behaved that way. One reason could be their personality, but there may be situational factors that are influencing their actions.
Personality is part of our complex nature that makes a person behave, think and feel in a certain way. The more we see the same pattern in a person, the more we can rely on the idea that their actions are a truer part of their personality. The idea of whether a trait is the same in a group of people is complicated by our own view of that particular trait. While people may have the same traits, some of these traits are more dominant than others. It really is best to understand that each of us has a unique psychological makeup and it is relatively impossible to compare one person to another.
Quick Personality Test
For more information about personalities go to www.aboutpersonalities.com |
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The challenging rescue operation launched after a Russian ship became trapped in Antarctic pack ice last month shows the inherent risks facing the frozen continentâs burgeoning tourist industry, experts say.
Antarctica represents one of the last frontiers for adventurous travelers, an icy wonderland of glaciers, emperor penguins and seemingly endless white expanses.
However, as those aboard the Akademik Shokalskiy found out, blizzards, icebergs and treacherous seas are also a fact of life at one of the most remote locations on Earth, where help is often thousands of kilometers away.
âIt does indeed serve as a reminder that itâs an extreme environment that weâre dealing with, whether itâs scientific expeditions going down there, or tourism cruises,â said Daniela Liggett, a specialist in Antarctic tourism regulation at New Zealandâs Canterbury University.
Tourist numbers in Antarctica have grown from less than 5,000 in 1990, to about 35,000 a year, according to industry figures.
Most visitors reach the worldâs southernmost continent by sea, with some paying in excess of US$20,000 for a luxury cabin during the peak period from November to March.
There is also a healthy market for sightseeing flights, despite an incident in 1979 in which an Air New Zealand DC-10 crashed into Mount Erebus, killing all 257 passengers on board.
The first recorded tourist ship to the region was an Argentine vessel, Les Eclaireurs, which made the voyage with 100 paying passengers in 1958.
Since then, there have been concerns about touristsâ potential impact on the untamed wilderness and the difficulty rescuers would face reaching a ship if it hit serious trouble in the freezing waters.
âWhatâs unique to the Antarctic is that itâs very remote and if something happens to a bigger ship, then it will be almost impossible to rescue all the passengers in a timely fashion,â Liggett said.
With conventional rescue services so far away, the task of helping stricken vessels often falls to the scientific missions, disrupting their carefully planned research programs.
French Polar Institute director Yves Frenot was furious last week that French, Chinese and Australian ships in Antarctica were diverted from scientific work for the Shokalskiy rescue.
âThereâs no reason to place Antarctica off-limits and to keep it just for scientists, but this tourism has to be monitored and regulated so that operators can be sure of getting help if need be,â he told reporters.
The headaches posed by Antarctic rescue operations were demonstrated when, after the Shokalskiy became mired in the ice on Dec. 24 last year, Chinese icebreaker Xue Long (éªéŸ, Snow Dragon) became trapped itself while trying to help.
The two ships only managed to free themselves on Tuesday, by which time yet another vessel, the US Coast Guardâs Polar Star, was steaming to their aid from Sydney, Australia.
Half of the 52 people rescued from the Shokalskiy were paying passengers and Frenot labeled the voyage a âpseudo-scientific expeditionâ â a charge denied by its Australian organizers.
The organizers said that their mission was to examine environmental changes by replicating measurements taken in the area a century ago by explorer Douglas Mawson.
Ligget said that the Shokalskiy had traveled into an area not normally frequented by tourist or scientific ships, which contributed to it becoming trapped and complicated its rescue. |
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This iKnow Unit 12: Agape National Park Elementary
This is 13-week teaching unit published by KidzMatter.
This fall you'll be visiting Agape National Park, where all the trails will lead your kids into God's Word. Each lesson begins with a visit from Parker Woods, who offers a tip about life in the wilderness, along with a connection to the Bible account the kids will be learning about. And then, you'll all look forward to weekly appearances by our puppet friends, the Park Ranger and his trusty Trainee. Join the crickets to sing praises to God at Agape National Park!
So, cozy up to the campfire, roast a marshmallow or two, 'cause there's so much S'more we want to share with you.
And lots more!
Click here for a sample lesson.
This iKnow Elementary is for 1st-6th graders. You can also find the preschool version of this unit here at KidzMatter.
This resource includes a downloadable zip folder with all of the files you need for this teaching unit. |
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Today we practised expressing the meaning and nuance of words through songs. As we sang we paid close attention to the difference in the sound of consonants, such as âkâ which is soft and âhâ which is clear and bold. |
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Keep an active compost pile in a cold climate by following the advice of our experts. Learning how to make compost in a cold climate starts with a different way of composting. A layered pile might work better than a hot compost pile.
Irrigating with gray water can be a great option for watering the garden, but keep in mind a few of these safety concerns.
An expert in small farm design provides advice on suitable types of orchard grass to a fruit grower who also keeps a flock of geese.
A homesteader moving to Montana gets some expert advice on good cold weather crops to grow in a cold climate. Originally published as "Cold Climate Crops" in the January/February 1983 issue of MOTHER EARTH NEWS.
The MOTHER EARTH NEWS survey of seed companies reveals that more gardeners want to start with organically grown seeds. Find out what seed companies and customers think about the importance of going organic, and learn about the difficulty companies face in getting organic certification. Finally, check out our listing of seed companies with strong organic offerings and our resources for those that may want to grow and sell organic seed.
Decrease your CSA food share fee by volunteering on the farm. A Country Lore tip from the February/March 2011 issue.
Have fun with fungi facts! Discover how mushrooms can build soil fertility and sustainability while giving you nutritious and delicious treats. Originally published as "All About Mushrooms" in the August/September 2010 issue of MOTHER EARTH NEWS.
A grandson inherits his familyâs passion for gardening and love of growing good food. |
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Just the Correctly Sized Pinch of Salt
A recent study conducted by researchers from the University of Heidelberg, Germany, found that too little or too much salt intake during pregnancy can affect kidney development.
The study, which was published in the online version of the American Journal of Physiology â Renal Physiology, tested rat subjects and monitored the sodium intake during pregnancy and their newborn babyâs sodium intake. The researchers gave low sodium diets to some women and high to others during pregnancy and after for a couple weeks as well.
They discovered that if the sodium intake was moderate to high during pregnancy, it altered the development of glomeruli, which is the main structural unit in a kidney. This was also the same for the rat subjects that received low sodium, which concluded that either extreme left the unborn baby at a disadvantage. |
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Friday, April 10, 2009
Easter Holiday Time-line~
The Time-line of the Easter Holiday~
Easter ( the name ) comes from Eastre, an ancient Anglo-Saxon goddess.
In pagan times an annual spring festival was held in her honor.
Some Easter customs have come from this and other pre-Christian spring festivals. Others come from the Passover feast of the Jews, observed in memory of their deliverance from Egypt.
The resurrection of Jesus took place during the Passover. In the early days of Christianity Easter and the Passover were closely associated.
Prior to A.D. 325, Easter was celebrated on different days of the week, including Friday, Saturday, and Sunday. In that year, the Council of Nicaea was convened by emperor Constantine. They issued the Easter Rule which places Easter on the first Sunday after the first full moon on or after the vernal equinox (first day of Spring). Therefore, Easter must be celebrated on a Sunday between the dates of March 22 and April 25.
Lent, preceding Easter Sunday is the 40-day penitential season of Lent, beginning on Ash Wednesday and concluding at midnight on Holy Saturday. Lent is a season of prayer, abstinence, and fasting. This is observed in memory of the 40 days' fast of Christ in the desert.
Lent is observed for six weeks and four days by the Western Christian churches that include Saturday and Sunday into the total.
In Eastern Orthodox churches Lent is 50 days since they do not count Saturdays or Sundays.
Shrove Tuesday, the day before the beginning of Lent, was designed as a way to "get it all out" before the sacrifices of Lent began. Known the world over as Mardi Gras (Fat Tuesday) or Carnival. It is celebrated in many cities, the most famous American city being New Orleans, LA.
Ash Wednesday, the first day of Lent, gets its name from the practice, mainly in the Roman Catholic church, of putting ashes on the foreheads of the faithful to remind them that man is but dust.
Holy Week-Palm Sunday: This is held on the Sunday before Easter Sunday. It recalls Jesus' triumphant entry into Jerusalem one week before his execution.
Holy Monday: commemorates Jesus' cleansing of the temple, when he assaulted money changers and overturned their tables. Some believe that this triggered his arrest and crucifixion.
Holy Tuesday: recalls Jesus' description to his disciples on the Mount of Olives of the destruction of Jerusalem.
Holy Wednesday: (once called Spy Wednesday) recalls Judas' decision to betray Jesus in exchange for 30 pieces of silver.
Maundy Thursday: commemorates the Last Supper, Jesus' agony in the garden and his arrest.
Good Friday: recalls Jesus' death on the cross. The origin of the word "good" has been lost. Some claim that it is a corruption of "God" and that the early Christians called this day "God's Friday." Others claim that "good" refers to the blessings of humanity that Christians believe arose as a result of Jesus' execution.
Holy Saturday: (a.k.a. Easter Eve) is the final day of Holy Week and of Lent.
Easter Sunday: commemorates Jesus' resurrection. In the early church, converts were baptized into church membership on this day after a lengthy period of instruction. This tradition continues today in some churches.
Many Easter symbols and customs come from the Old World.
The Cross is the symbol of the Crucifixion, as opposed to the Resurrection. However, at the Council of Nicaea, in A.D. 325, Constantine decreed that the Cross was the official symbol of Christianity. The Cross is not only a symbol of Easter, but it is more widely used, especially by the Catholic Church, as a year-round symbol of their faith.
The white lily symbolizes the Resurrection. Yet, lillies have long been revered by pagans of various lands as a holy symbol associated with reproduction. It was considered a phallic symbol!
The Easter Bunny
The Easter Bunny also originated with the pagan festival of Eastre. The goddess, Eastre, was worshipped by the Anglo-Saxons through her earthly symbol, the rabbit.
The Germans brought the symbol of the Easter rabbit to America. It was widely ignored by other Christians until shortly after the Civil War. Easter itself was not widely celebrated in America until after that time.
The Easter Egg
The exchange of eggs in the springtime is a custom that was centuries old when Easter was first celebrated by Christians. The egg was a symbol of rebirth in most cultures. Eggs were often wrapped in gold leaf or, if you were a peasant, colored brightly by boiling them with the leaves or petals of certain flowers.
In today's line-up of holiday celebrations, Easter is, as always , something a little different to many of us.
Our teachings and our commitment to those teachings makes the celebration meaningful and something to pass forward into the new generations.
Happy Easter to you all.
Our day will include early sunrise church services then on to a day with the children/grand-children, traditional foods of the holiday, the Easter Egg hunt with grand prizes for the unscrambled message on the eggs.
And of course a little history lesson about the day.
Have much fun whatever you plans are.
To April Awareness~ |
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- åºç瀟/ã¡ãŒã«ãŒ: ãã³ã¿ãã¯ã¹ |
Both Catholic papers brought to the attention of the readers the Simdo Textile Factory (1967-68) incident which inaugurated the Church's entrance on the side of the workers in their struggle for justice.
Diocesan Labor Sunday, commemorated the day with a symposium recalling the forming of a labor union at the Simdo Textile Factory, and
the struggles required. Workers at the factory considered
themselves dust rags, exploited and oppressed and decided to form a
labor union. Members of the JOC (Young Christian Workers) were leaders in the formation of
the labor union, angering the company, all fired and spied
Fr. Michael Bransfield, a Maryknoller, was
pastor of the Catholic Church on Kangwha Island who gave them space
and indirectly supported the workers, which angered the company. They
warned him for breaking the law against helping
Communists, and threatened him with arrest.
The bishop of Masan, who later became the
ordinary of Seoul, Cardinal Kim, was the president of the JOC at that
time, representing the Church, he came to the island to speak with the
workers.The bishops responded with a statement that supported the
workers in their efforts. They were successful and all the fired workers were reinstated.
During the symposium the
first topic of discussion was recalling the Simdo Textile incident, and
its meaning; second topic was the situation of laborers and the
future, third was the direction the Church is to walk with the
On May 10th many of those who were involved
in the forming of the textile labor union went to the grounds of the old
textile factory, and put up a monument on the grounds of the factory to
remember the incident that opened the eyes of many to the problems of workers in society, and the first step in the Church's involvement in society,speaking in support of the workers. |
Ecologist guide to green skills and education
2nd February, 2010
Weaning ourselves off carbon will mean a profound change in every aspect of daily life, every sector of society and every job. For that to happen we need a new mindset and a new set of tools...
The Government has vowed to reduce emissions 80 per cent by 2050, but as documented by a spate of reports last year (Environmental Industries Commission, Aldersgate Group, Institute for Public Policy Research and manufacturersâ organisation EEF) â the barrier to making this a reality is a 'green skills gap'.
Even taking into account its narrow definition of green skills â generally those applied within the green service sector, on technologies such as clean energy â the shortfall is expected to delay the promised transition by many years.
The Aldersgate Groupâs report indicates overseas workers will be required to help out in the short term, and warns there must be more investment in developing technical and existing skills, with more encouragement for young people to study all-important STEM subjects (science, technology, engineering and maths). The Environment Agency has also called for more investment in building a low-carbon skills base in UK industry, with a focus on providing more scientists and engineers. Many may wonder how it has come to this â after all, it took the Government no time at all to create a National Skills Academy for Power to furnish the nuclear, oil and gas industries with more qualified workers.
More offshore wind turbines will be needed, as will better home insulation and sustainable building materials, but green skills are not exclusive to green-collar workers â they both underpin and go beyond the manufacturing, engineering, installing and repairing of, say, solar panels. Nor are they merely spades weâll use once, to dig ourselves out of this mess then put back into the shed to gather cobwebs â adapting to the challenges and mitigating the effects of a changing environment will be a part of everyoneâs working life from now on.
Education, education, education
Green skills rely on education, both to win the argument for a low-carbon economy and furnish workers with the abilities to provide it. A large proportion of the UK workforce still doesnât understand the importance of cutting emissions, including the senior managers expected to manage the transition to a low-carbon economy. Consultants in the workplace will be needed to address this knowledge gap; teachers and lecturers, using targeted school and university syllabuses â it needs to filter through the whole system. The practical skills will be taught by experienced professionals, but they donât grow on trees. Perhaps the most important green skills will be those involved in encouraging and inspiring young people to want to become the experienced professionals of tomorrow.
The Government has committed to making all new homes carbon neutral by 2016, but this means more than retraining builders to work with and source sustainable materials. The construction industry needs project managers who understand new technologies, architects able to design to stringent environmental standards, accountants who understand whole-life costing and life-cycle analysis.
A focus on local food to cut down on food miles will require small farmers and artisans to grow and make; restaurants, shops and markets to stock and sell; as well as town planners and sustainability advisors to address the supermarket monopolies destroying so many communities.
The way we feed ourselves must change, with more support and investment in domestic agriculture, meaning more farmers and land workers. Scientists and agricultural researchers can advise on improved tillage techniques to sequester more carbon and suggest ways of improving soil content without recourse to chemicals. Industrial livestock production will be rethought; improving fencing and building dry stone walls may be considered green skills in this context. More efficient machinery will be needed; greener vehicles; low-carbon roads designed by a new generation of eco-civil engineers. Mechanics, labourers, fitters, auditors, caterers, drivers... The list goes on.
Skilling up for a low-growth economy
The drive towards carbon reduction should result in a blossoming of green skills, as peak oil and climate change dictate the world cannot continue with business as usual. Unchecked economic growth is unsustainable; indeed, surviving in a warming, post-oil world may make a contracting economy not only important and necessary but also unavoidable. The work of Canadian economist Peter Victor, cited in Prosperity Without Growth, a groundbreaking report from the Sustainable Development Commission, suggests an economy not predicated on growth can be sustainable if total and average working hours are reduced. As the report says, 'it is possible to avoid the damaging unemployment that follows from recession by sharing work more equally amongst the population'. Less working hours will mean less pay, but developing a set of more general green skills â DIY, horticulture, cooking, keeping animals, and a whole host of others to exchange with those of our neighbours, through timebanks or Local Exchange Trading schemes (LETs) â will balance out our budgets, and even help us save.
As carbon-intensive employment such as heavy industry and car manufacturing declines, and the social and moral imperative to become more environmentally conscious grows, teaching and learning green skills will become ever more vital. In the workplace and outside it, green skills offer a two-birds solution: salaried employment that decarbonises society; savings at home that rejuvenate communities. The costs of funding green jobs, training courses and education will be offset by carbon and energy savings, and less quantifiable but no less important factors such as work fulfilment, health and happiness.
Eifion Rees is a freelance journalist
Using this website means you agree to us using simple cookies. |
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Hello! My name is Angelica Bell and I am a dance educator/teaching artist. I am the Artistic Director of a non-profit dance studio in Southeast Ohio called Factory Street Studio, and an Art Possible Ohio teacher at the Carleton School! I want to âpull back the curtainâ and share the ways I have adapted my teaching since the COVID-19 crisis began and give you some short dance videos.
We are going to make short dances using the Language of Dance Approach (LOD) created by Ann Hutchinson Guest and Tina Curran! Click here to check out their book, Your Move.
Materials Needed: Get your markers, colored pencils, or plain old pencils out and some scrap paper! Use the info in this blog post to make your dance âº
The LOD approach to making dances utilizes a symbol system. Each of these symbols indicates options for movement. Here are the options we can choose from for this activity:
Definitions in a Dance Context:
Stillness- suspension of motion/frozen. Basic stillness might look like simply standing or sitting still.
Contraction- getting smaller, closing in, narrowing in the body (imagine crouching into a tiny ball)
Extension- lengthening, reaching out, enlarging, opening up
Rotation- spinning, turning
Traveling- moving from one place to another
Support- transferring weight from one foot to another, imagine a leap.
Spring- jumping, hopping, leaving the ground and returning to it
Balance- achieving equilibrium, balancing on one leg or balancing in a challenging position on two legs.
Falling- allowing oneâs body to lose its center momentarily to fall forward into movement; this does not necessarily mean falling to the ground. One can catch themselves and recover during a fall.
Still shapeâ Movement leads to a shape made with the body. In a still shape, one holds the movement, freezes the shape as if frozen in time. Example of a shape: I might pretend to hug a giant ball with my whole body, this movement creates a circular shape with my arms and torso, or a contraction forward.
Now, finally! We make our dances:
Step 1: Pick 5 of your favorite symbols/actions from the options listed above
Example: I will pick: spring, rotation, contraction, extension, and still shape.
Step 2: Letâs make our Movement Maps. Draw your 5 symbols on a piece of paper, using the format below. The dances read vertically from bottom to top. So, your first movement would be drawn at the bottom, and your final move will be at the top.
Here is my Movement Map (I added color to mine, and I suggest you do the same!):
This is my dance in symbols! Spring, Rotation, Contraction, Extension, and Still Shape
Step 3: Choreograph your dance! Practice movements for each of your 5 symbols. Notice that there are many ways to spring (jump), rotate (turn), contract (get smaller), and extend (stretch out). You can also modify these actions to fit your needs and your capacities for movement. A jump could also be a quick motion, up and down, with the arms. Or a jump could also be safely rocking back in a chair and letting the legs of the chair fall back down to the ground. Experiment and make a movement that works for each symbol and feels good on your body. Put your movements in order (according to your Movement Map), and voila! You have a dance ⺠CHALLENGE: Memorize your dance without having to look at the map!
Step 4: Give your map to a friend or family member and ask them to make movements for each symbol. Youâll be surprised to see how different everyoneâs interpretations of the symbols are! Two people could follow the same Movement Map but have two very different dances! Thatâs the fun of this approach to dance making âº
I hope you enjoyed this dance making exercise! You can make and endless number of new dances using this approach. |
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