In the immediate aftermath of the Occupation, France’s wounds ran deep. The country’s social, political, and economic bases had all just conspired to give legitimacy to an international fascist regime under the watchful eye of Maréchal Pétain, France’s war time leader. But in 1945, vengeance was in the air. Legal purges (l’épuration légale), advanced by the Provision Government, became the order of the day. However, it was the trial of Robert Brasillach, an infamous fascist intellectual, on 19th January 1945, that not only shook the French nation but paved the way for a reconfiguration of what it meant to be a French intellectual. Out of the embers of intellectual French fascism grew a new concept: la responsabilité de l’écrivain (writer’s responsibility). Chiefly advocated by Jean-Paul Sartre, it is both thanks to the historical context and the manner in which he advocated this new idea that we see the emergence of the post-war intellectuel engagé.
The UNESCO Speech and its Context
The 1945 trial of Robert Brasillach represents a rare moment of convergence between two starkly different strands of intellectual thought. On the one hand, Brasillach, the figurehead of French fascism, sat “seul, coupé de tous” (Beauvoir, 1946) whilst key figures of the Existentialist movement, such as Simone de Beauvoir and Maurice Merleau-Ponty, observed from the public gallery. It is hard to think of another event which attracted the almost universal attention of the French intellectual milieu. One of their own was on trial.
The emergence of a petition calling for Brasillach’s death sentence to be commuted demonstrates the extent to which the trial transgressed intellectual lines. If Albert Camus was prepared to join forces with eight former columnists of Brasillach’s fascist paper Je Suis Partout, the figure of the intellectual in France was clearly under threat. Any subsequent discussion about the extent to which a writer is responsible for his or her words must therefore be seen through the lens of the Brasillach trial.
Enter Jean-Paul Sartre. In a speech marking the creation of UNESCO given at the Sorbonne (Figure 1), Sartre vigorously defends the notion of la responsabilité de l’écrivain. The lecture was recorded and diffused via la Chaine Parisienne. Held in the prestigious Salle Louis Liard in front of an “audience bondée” (Beauvoir, 1963: pp.125), Sartre opens his lecture proclaiming “on n’écrit pas, on parle pas dans le désert” (we do not write, we do not speak in to a void). As such, he perceives the writer as responsible for fighting for “la liberté humaine”. Whilst no direct reference was made to Brasillach’s trial, he calls upon writers to “éviter que note responsabilité se transforme en culpabilité » (avoid allowing our responsibility to turn into guilt). For Sartre, words matter. Writers, by virtue of their occupation, owe a duty to society to actively fight for the core values of freedom and justice. As will become clear, Sartre believes failure to do so fuels oppression and merits judgement.
The Responsible Writer: Disrupting the Norm
The radio, which played an essential role in the Liberation of France via De Gaulle’s Appel du 18 Juin in 1939, introduced a new element to intellectual discourse: the voice. Sartre’s short, sharp, staccato voice pierces through the broadcast in a way that allows him to alter the emphasis he places on certain ideas. For example, Sartre’s distinction between “lutter pour les droits précis” (fighting for specific human rights), contributing towards “la liberté humaine”, and “écrire sur la liberté” (writing about freedom), which leads to oppression, takes the majority of its intellectual force from his vocal emphasis on the words “pour” and “sur”. Thus, the publicised speech at the Sorbonne allowed Sartre to conceptualise the idea of the responsible writer in a more personal fashion.
Indeed, according to François Noudelmann, a contemporary French philosopher and scholar, if “la conférence UNESCO prend place au moment où Sartre devient “la” figure intellectuelle de référence pour une trentaine d’années » (the UNESCO Conference takes place at the moment Sartre becomes the intellectual figure of note for the next thirty odd years) (Noudelmann, 2006: pp.46), it is in part thanks to radio’s ability to unite the meaning of words with the intellectual themselves. The intellectual is able to physically embody their work.
Moreover, unlike the written text, which Sartre was equally well-versed in, having frequently written for Le Figaro and later in his own publication Les Temps Modernes, broadcasted audio alters the classical conception of the writer and audience. For example, in Sartre’s UNESCO Conference speech, his audience is not only comprised of the 220 people inside Salle Louis Liard, but also an anonymous mass of listeners on la Chaîne Parisienne. The presence of a double audience facilitates the dual character of his lecture as both “un appel moral et un remords personnel” (a moral plea and a plea for personal remorse) (Noudelmann, 2006: pp.45). Whilst speaking directly in front of a mixture of intellectual figures and cultural forces within French life, his speech reflects a personal desire to absolve himself from his failure to appreciate the severity of the situation he experienced when in Berlin, in the 1930s. Meanwhile, directed at a wider audience of French men and women on the radio, he implores on them the moral imperative of the responsible writer. With a double audience comes a double meaning.
This is not to say, however, that at certain points within his discourse, the two intended audiences do not amalgamate. Whilst Sartre laments the “conspiration de silence parmi les écrivains” (conspiracy of silence amongst writers) and calls for the writer to “lever son doigt” (rise up) against injustice, he is interrupted by applause. At this point, the physical audience takes an active role in affirming Sartre’s discourse, whilst the radio audience can only passively and implicitly concur. The medium by which Sartre creates the ‘responsible writer’ is thus dialogic, allowing him to take inspiration from the societal context in which he finds himself. If “existentialism suited the atmosphere of crisis of the 1940s” (Brown, 1986: pp.599) it was only because the writer and the audience were closer than ever. Given that Sartre believed social context had as much to do with the writer’s degree of responsibility as the writer did himself, the immediacy of the receptor’s praise within the medium of public and radio discourse allowed Sartre to practice what he preached.
The Responsible Writer: A New Written Style?
Sartre’s efforts to construct a new identity for the post-war intellectual did not stop at a singular speech given at the Sorbonne in 1946. In 1945, he launched his literary review Les Temps Modernes, a publication that was to embody the values so passionately defended by Sartre in his speech. The contributors were not to be “sedentary figures” but “a band of hunters and gathers” publishing material “geared to immediate consumption” (Davies, 1987: pp.12).
If, according to the Sartrean conception, to be a responsible writer is to actively uphold the rights and liberties of every free man, nowhere is this more clearly demonstrated than in Beauvoir’s critical essay ‘Oeil pour Oeil’. Published in 1946, she denounces Brasillach for “degrader l’homme en chose” (degrading man into a thing) (Beauvoir, 1946) and violating one of the core tenets of Existentialist philosophy that existence precedes essence. Adopting an inclusive style of writing throughout the opening paragraphs of her essay, she refers to how “depuis 1945, nous avons appris la colère et la haine” (since 1945, we have learnt anger and hate) (Beauvoir, 1946). Whilst the written form prevented Beauvoir from calling upon the physicality of her voice to express her ideas, her inclusive and egalitarian written style, relying upon the first person plural pronoun, helps maintain a similar sense of proximity between the intellectual and the audience. She integrates herself within her readership. Actively defending the liberty of the most vulnerable members of society, as a responsible writer, merits doing nothing less.
In the context of the daily press in France being “progressively marginalised in the post-war period with the advent of radio and television” (Scriven, 1993: pp.26), the written style of Beauvoir’s essay goes some way to explaining how the review reached its peak daily readership of 10,000 in the years immediately following its inception (Davies, 1987: pp.217).
The trial of Robert Brasillach was a watershed moment for the French intellectual class. It demonstrated the extent to which intellectual thought could contribute to the erosion of public freedoms. Sartre’s speech at the UNESCO Conference proved a counterbalance to this threat. With Les Temps Modernes to hand and an increasingly varied audience listening through the medium of radio, the Existentialists birthed the ideal of the responsible writer in their own image. It was a concept born out of necessity which rapidly transformed itself into a concept of necessity.
Figure 1 : France Culture. (2016). Grandes conférences – Jean Paul Sartre : Conférence donnée à la Sorbonne pour marquer la création de l’UNESCO (1ère diffusion : 30/11/1946) [archived radio]. Available from: https://www.franceculture.fr/emissions/les-nuits-de-france-culture/grandes-conferences-jean-paul-sartre-conference-donnee-la [accessed 11/11/2020]
Figure 2 : Vermeren, P. (2003) La Philosophie saisie par L’UNESCO, Paris : UNESCO.
Beauvoir, S. (1946). Œil pour Œil. Les Temps Modernes, 5, pp.813-830
Beauvoir, S. de (1963) La force des choses. Paris: Éditions Gallimard (Collection Soleil, 137).
Brown, J. L. (1986) “Book Review: Sartre Et Les Temps Modernes: Une Entreprise Intellectuelle,” World Literature Today, 60(4), pp. 599–599.
Davies, H. (1987) Sartre and ‘Les Temps Modernes’. Cambridge: Cambridge University Press (Cambridge Studies in French)
Noudelmann, F. (2006). Que nous dissent aujourd’hui Jean-Paul Sartre et Simone de Beauvoir. Presses Univesitaires de France, 4(216), pp. 44-49.
Scriven, M. (1993) Sartre and the media. Hampshire: Macmillan Press.
Boschetti, A. (1985) Sartre et “les temps modernes” : une entreprise intellectuelle. Paris: Editions deMinuit (Le Sens commun).
Kaplan, A. Y. (2000) The collaborator: the trial & execution of Robert Brasillach. Chicago: University of Chicago Press.
Marso, L. J. (2012) “Simone De Beauvoir and Hannah Arendt: Judgments in Dark Times,” Political Theory, 40(2), pp. 165–193.
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INFLUENCE BODY MEASUREMENTS COWS UKRAINIAN BLACK-AND-WHITE DAIRY BREED AFTER THE FIRST CALVING ON THE FORMATION OF FURTHER MILK PRODUCTIVITI
The productivity cow dairy breed largely depends on the careful evaluation and selection of animals by milk production and the type of exterior. The estimation of animals by measuring of body plays an important role in plant-breeding work in the process of further improvement of the newly formed Ukrainian dairy breeds by the type. It’s because exterior is one of the main signs of breeding dairy cattle together with indicators of milk production, reproductive ability and productive longevity.
The aim of research was to investigate the formation of milk productivity of cows black and white dairy cattle based on their body measurements after the first calving.
The research was done on animals Ukrainian black-and-white dairy breed in the «Milk River» farm in the Sokal and Brody offices breeding reproducers «Breeder» Lviv region and plant-breeding «Yamnytsya» Ivano-Frankivsk region.
The body measurements of first calving cows (height at withers and depth of chest, breast width, chest girth, scythe body length, the width of the pelvic bones and metacarpus circumference cow) and milk productivity (the milk yield, fat content in milk and milk fat) cows first, second, third
and better lactation were studied by the materials zoo technical accounting. The force of influence on performance metrics was calculated by Single-factor disperse analysis method. The results of research were treated by variational statistics by G.F. Lakin.
Established that the milk yield of cows Ukrainian black-and-white dairy cattle depends on body measurements after the first calving. The cows Ukrainian black-and-white dairy breed in Western Ukraine that after the first calving had a height at the withers 134-136,9 cm, depth of chest – 76 cm or more, chest width – 47 cm or more, chest girth by shoulder blades – 196-203,9 cm, scythe body length – 160-164,9 cm, the width of the pelvic bones – 53 cm and metacarpus circumference cow –19-20,4 cm, are the most productive.
Animals with these measurements of the body most of the largest number of yield milk and milk fat had probable advantage over cows with other indicators of these measurements. By the fat
content in milk by the first, second, third and better lactation there was no significant difference between animals with different body measurements after the first calving in most cases.
Among the studied parameters milk productivity of cows and measurements of their bodies after first calving we found varying strength and direction of correlation. The correlation coefficients between body measurements firstborns and yield milk by the first, second, third and better lactation were positive and depended on measurements and lactation ranged from +0,297 to +0,478.
Between such measurements of firstborns, as the height at the withers, the depth of chest, width of chest, chest girth in blades, the width of the pelvic bones and with fat content in milk for the first, second, third and better lactation correlation coefficients were though low, but positive, and dependently on measurements and lactation were within +0,026 – +0,109. The correlation coefficients between the oblique body length after the first calving cows and fat content in milk were negative (-0,045 – -0,005) and between metacarpus circumference and fat ranged from negative to positive values (-0,038 – +0,017).
The correlation coefficients between measurements body in firstborn and milk fat yield in the first, second, third and better lactation were positive and dependently on measurements and lactation ranged from +0,288 to +0,473.
The likely positive correlation coefficient between soundings article body and yield milk and milk fat yield indicates that selection of cows by exterior will ensure the effectiveness of selection by milk productivity.
The impact of body measurements cows after first calving on the milk yield value dependently on lactation yield was 7,6-22,9 %, on the yield of milk fat – 7,1-22,9 %. The greatest influence on these indicators were height at the withers, the depth of the chest, chest girth shoulder blades and scythe body length, somewhat lower impact had breast width and the width of the pelvic bones and lowest – metacarpus circumference.
The impact of body measurements cows after first calving on the fat content in milk was negligible and, dependently on measurements and lactation ranged from 0,1 to 1,6 %.
2. Loboda, V. P. 2012. Osoblyvosti eksteryeru koriv-pervistok ukrayinskoyi chervono-ryaboyi molochnoyi porody – Exterior Features cows firstborn Ukrainian red-spotted dairy cattle. Visnyk Sumskoho natsionalnoho ahrarnoho universytetu. Seriya Tvarynnytstvo – Bulletin of Sumy National Agrarian University, series of Animal Husbandry. 12: 21–23 (in Ukrainian).
3. Stavetska, R. V., and N. I. Klopenko. 2013. Efektyvnist provedennya vidboru koriv ukrayinskoyi chorno-ryaboyi molochnoyi porody za eksteryerom – Effectiveness of selection cows Ukrainian black and white dairy cattle for exterior. Visnyk zhytomyrskoho natsionalnoho ahroekolohichnoho universytetu. – Journal of Zhytomyr National Agroecological University. 1 (2): 179–185 (in Ukrainian).
4. Salohub, A. M. 2011. Zvyazok statey eksteryeru koriv ukrayinskoyi chervono-ryaboyi molochnoyi porody z nadoyem – Exterior cows Ukrainian red-spotted milk breed. Naukovyy visnyk Natsional'noho universytetu bioresursiv i pryrodokorystuvannya Ukrayiny. – Herald of National University of Life and Environmental Sciences of Ukraine. 160 (2):223–226 (in Ukrainian).
5. Shevchenko, A. P., and L. M. Hmelnichiy. 2014. Liniyna otsinka buhayiv-plidnykiv holshtyns'koyi ta ukrayins'koyi chorno-ryaboyi molochnoyi porid za ekster"yernym typom yikh dochok – Linear estimation of stud bulls of Holstein and Ukrainian black and white milk breeds on the exterior type of their daughters. Visnyk Sumskoho natsionalnoho ahrarnoho universytetu. Seriya Tvarynnytstvo – Bulletin of Sumy National Agrarian University, series of Animal Husbandry. 2/2: 114–120 (in Ukrainian).
6. Lakin, G. F. 1990. Biometrija: uchebnoe posobie – Biometrics: Textbook. Moscow, Vysshaja shkola, 352 (in Russian).
This work is licensed under a Creative Commons Attribution 4.0 International License.


Is Tamenaga Shunsui's (1790-1843) Shunshoku umegoyomi (1832-3) Japan's first modern novel? According to Donald Keene, the ninjōbon "came exceedingly close to earning that distinction.” Whether it is or not, of course, depends on how you define the term "modern novel." If we are to follow Tsubouchi Shōyō's definition given in Shōsetsu shinzui, his manifesto for a new Victorian sort of realism, then Shunshoku umegoyomi does not qualify. But if we define the "modern novel" broadly enough to allow for more "postmodern" (or in the Japanese case, pre- and early modern) elements such as involution, frequent narrative shifts, disregard for unity of plot and character development, and a distrust of "objectivity" and "realism," then the work, along with many other pre- and early-modern works, just might qualify.
There is much disagreement over what constitutes a "modern novel," so for sake of brevity let us assume here that Shōyō's definition in Shōsetsu shinzui is correct. (Note: The fact that Umegoyomi does not meet Shōyō’s criteria for the new novel is by no means an indictment of the work, but rather a simple statement of fact.)
Shōyō intended his essay to be an instructional manual for aspiring novelists. Shōyō proposes first that "realism" (as understood by the late Victorians) take the place of what Earl Miner calls Japan's traditional "affective expressive system," and, second, that a Kantian aestheticism take the place of the Confucian didacticism that he felt had corrupted the literature of the previous age. Shōyō also gives many pointers on how the writer should handle specific problems of his craft—from linguistic and stylistic concerns to the proper relation of writer to audience.
Umegoyomi is no "realist" novel. There is no Aristotelian plot, no structural unity, no development or "dignity of character." The work, a parody, is humorous and playful in tone, and lacks the moral seriousness and tonal sincerity found in "realist" works of Europe. The work also lacks the moral purpose that Shōyō cites as a secondary benefit to the realist novel. The only sermonizing in the work is farcical. Finally, the narrative flexibility displayed in the work is a feature of nonmimetic rather than mimetic or realist works.
Earl Miner argues in his essay "The Grounds of Mimetic and Nonmimetic Art" that Japanese traditional art and literature (by traditional he means Japanese literature prior to the influence from the West) is essentially nonmimetic. “Japanese aesthetic," he writes, "rests not on the imitation of discrete agencies but on relation.” In other words, the subject of the literary work is not the simulation of an external, observable reality, but rather a "re-presentation" of conventions with which the audience is already familiar. Tamenaga Shunsui's Umegoyomi is no exception, as it parodies the tales-of-a-famed-male-lover genre of classic literature, the two most notable examples being Ise monogatari and Genji monogatari. Because Umegoyomi is ultimately art-referential (i.e., a literary pastiche) rather than life-referential (i.e., mimetic), it is disqualified from Shōyō's "new novel" category. For a work to meet Shōyō’s standards, it must depend on verisimilitude to real-world characters and situations, rather than on the "unreal" world of classical legends and archetypes.
A work of pastiche, Umegoyomi is filled with self-referentiality and allusion to texts from both high and low culture—two types of referencing that Tsubouchi Shōyō warns against in Shōsetsu shinzui. Umegoyomi is also filled with product placements that never let us forget that the work exists, first and foremost, within the commercial realm of the Edo marketplace. Also, there is much self-promotion in the work, as Tamenaga Shunsui repeatedly reminds his readers to purchase his other books. Shunsui, or more accurately his author-persona, even interrupts the story at one point to defend such self-promotion. In another section, the author-persona again interrupts the story to promote a sequel, to defend his use of explicit scenes, and to provide commentary on the included illustrations. The literary fictional past, the "real" historical past, the commercial realm of present-day Edo, and the inhabited worlds of the author all simultaneously coexist in the work and interact with an ease never imagined by any "realist" novelist in Europe.
The work also displays a complex layering of narratives within the main story. An example of this can be seen in Chapter 14 when Yonehachi picks up the book of a drunken client who has fallen asleep. The story Yonehachi reads temporarily becomes the main story, within which another story emerges in the form of a song that is a harbinger of what is to come in the lives of Yonehachi and Tanjirō. The sudden transfer from one narrative to a narrative embedded within it is a device found frequently in Shunsui (and in Edo literature in general), and shows that the author-narrator is as capable of submerging his subjectivity as he is of boisterously intruding upon the work. Long, epistolary insertions, like that in Chapter 18, also attest to the author's ability to conceal his presence entirely. Reference to songs and poetry are found nearly everywhere in the work, reminding readers that they are inhabiting a middle-ground between fiction and real life. Such narrative methods are a far cry from what Shōyō is promoting, namely a novel whose purpose is "solely to provide a critique of life." Umegoyomi is certainly not a "discussion of life" in the sense that Shōyō and Morley advocate.
Shōyō holds that the primary function of the literary work is aesthetic rather than didactic. Yet even so, he still seems to believe in the ennobling powers of the novel, and warns against pandering to the "vulgar tastes" of the public. "Eroticism, too, is to be avoided," he writes. Yet even if we dismiss the more sermonic passages of Umegoyomi as satire or as a kind self-censorship to avoid being banned, Umegoyomi still little resembles the "aesthetic" literature Shōyō advocates—for, in the end, Umegoyomi's humor is bawdy, lewd, and surely not appropriate for the "discerning audiences" Shōyō had in mind. Although Shōyō admits pleasure as one of the sources for his aestheticism, he would surely disapprove of the pleasures depicted in Umegoyomi, namely, violence, rowdy sex, even gang-rape.
Regarding problems of style, Shōyō argues that the new novel should employ more "positive description" (yōshudan) and less "negative description" (inshudan). By "positive description," he means objective, scientific descriptions made by a detached, third-person narrator, and by "negative description," he means the "Oriental" way of describing indirectly— through, say, dialogue—and which is the preferred method in monogatari.
The author-narrator's direct involvement, too, should be minimal, Shōyō advises. As noted, Umegoyomi exhibits much authorial intervention and commentary, and, since the story is related through a single, semi-involved perspective, it is more akin to monogatari than to the "positive description" of Victorian realism. The actively engaged narrator-author of Umegoyomi is thus a far cry from the hidden, omniscient third-person narrator Shōyō holds as the ideal.
Besides the authorial interjections and poetic insertions, most of Umegoyomi is presented in dialogue, thus qualifying it as a work of "negative description."
Shōyō also claims that the new novel must have a "mixed style" that is an evenly distributed combination of the literary and colloquial styles, and which is employed in a manner appropriate to content. Umegoyomi, being mostly dialogue, has a disproportionate percentage written in colloquial, and therefore does not meet his standard in this regard either. Also, in the tradition of monogatari, the work is episodic and thus structurally closer to haikai than to Aristotelian conceptions regarding unity and plot. Though there is thematic and narrative continuity between chapters, there is neither the kind of character development nor plot resolution advocated by Shōyō. Moreover, Shōyō would most likely consider Shunsui's frequent narrative interruptions for the insertion of poetry to be pedantic hindrances to the development of story and character. Finally, Shōyō asserts that the hero must possess noble, admirable characteristics. Though the audience surely sympathizes with Umegoyomi's bumbling anti-hero Tanjirō, his disgraceful financial and emotional dependency on women certainly precludes him from being considered noble.
Keene must have felt that Umegoyomi was "exceeding close" to the "modern novel" because its characters were realistically portrayed with minimal exaggeration—especially when compared with other “flawed” Edo-period works. Shōyō, too, felt much of Edo literature to be marred with exaggeration, which he found to be incompatible with “true realism.” In this sense, Umegoyomi comes closer to Shōyō's definition of realism than, say, Bakin's Hakkenden, since the characters of Umegoyomi exist in realistic settings, encounter realistic scenarios, and respond emotionally.
Indeed, Tanjirō, Yonehachi, and the other characters in Umegoyomi are not the kind of "superficial, exaggerated personalities" that Shōyō despises. Yet despite all the connections to real Edo life, this parodic work is still essentially art-referential, and, as a literary genre, is fundamentally different from Shōyō's "new novel."
[For an English translation of Umegoyomi, see Romantic Edo fiction : a study of the ninjobon and complete translation of Shunshoku umegoyomi by Alan S. Woodhull. The original can be found in the 国民の文学 Series, V 18, 春色梅暦 / 為永春水 [著] ; 舟橋聖一 他訳 ]
Wednesday, November 14, 2012
This just in from Meredith Utrabui, first-year student at the University of Nebraska:


Broadens the understanding of both children's literature and the cultural backgrounds of modernism recovering the story: modernism and the world war one and the period after world war two it is widely recognized that the events of world war one were a major influence on the. Keywords: trauma theory, postcolonial studies, african literatures, modernism in africa, moral imagination [google scholar]) penned his apocalyptic lines in 1919 to describe the collapse of europe amidst the rubble of world war i: 'things fall apart the center cannot hold mere anarchy is loosed upon the world' (184. In 1914, modernism - an avant-garde claim to originality, autonomy and rupture - dominated debates about art, literature and music violent experiment was one radical desire that made the prospect of war seem thrilling, a fulfilment of the theory that to build a new world the old one had to be demolished. The passing of victorian ideals and the trauma of world war i challenged cultural notions of masculine identity, causing artists to question the romantic literary ideal of a the effect of this poetic collage is both a reinterpretation of canonical texts and a historical context for his examination of society and humanity. Although the us did not enter the war until 1917, world war i was a watershed in american culture of consciousness” as well as the new medium of film had a profound impact on american (and european) literature throughout the twentieth century, as modernism gradually shaded into postmodernism after world war ii.
Topics explored include the edwardian critique of imperial ideals of masculinity and englishness the avant-garde's attack on liberal democracy the traumatic effects of the first world war articulations between urban, national and global space modernist discourses of primitivism, 'instinct', and the. The psychological effects of war upon veterans from there, i shall writing at a considerable chronological distance from the modernists, also belongs in world these poems and novels provide retroactive context for the war poetry by examining the brutal effect of war on civilians and survivors, they emphasize the horror. Opted for a similar solution to heal their traumatic experience of modernity to answer these civilization and reason in the first world war, of the world changed and reinterpreted by marx, freud investigation of modernist poetry, a key to modern british poetry, traces the influences of various scientists as for instance.
The representation of shell-shock in fiction of and about the first world war is often used as a figurative metaphor it represents the lasting the poetry of wilfred owen, as an example, is taught as primary evidence of the effects of war in the critical and popular evaluation of wartime writing shell-shock. Adopting the term new death, which was used to describe the unprecedented and horrific scale of death caused by the first world war, pearl james uncovers several touchstones of american modernism that refer to and narrate traumatic death the sense of paradox was pervasive: death was both sanctified and denied. From this perspective, modernism encouraged the re-examination of every aspect of existence, from commerce to philosophy, with the specific reactions to the use of technology in the first world war, and anti-technological and nihilistic aspects of the works of who were major influences on existentialism all of these.
Architectural modernism had its first heave with the socialist urbanism of the late 1920s and 1930s and its second wind with the urban development after world war ii, whereas literary modernism peaked much earlier and, free of any strong ties to economic and political institutions, much more feebly hence, one should. Modernist style, identity politics, and trauma in hemingway's modernism • how can we see the influence of stein, pound, and others on hemingway in terms of trauma literature, which speaks to the modern world and modernity— namely a rapidly changing world that was reshaped by war such an examination.
English literature - the literature of world war i and the interwar period: the impact of world war i upon the anglo-american modernists has been noted 1926 and last post, 1928) ford madox ford, with an obvious debt to james and conrad, examined the demise of aristocratic england in the course of the war,. Cheatham, erin, “the world broke in two”: the gendered experience of trauma and fractured civilian identity in post-world war i literature (2016) dissertations here represent unique examples of the capabilities of modernist narrative techniques and language literary modernism called for an immediate overhaul. Rebecca west's 1918 novel the return of the soldier dissects the socioeconomic and psychological tensions wrought by the upheaval of the first world war in a nuanced reiteration of the typical trope of a soldier's return. A biographical analysis of virginia woolf: the impact of mental illness in woolf's life, marriage, and literature updated on january third, “the ultimate paradigm of the trauma survivor and hence modernist man [septimus] emerged in the aftermath of the first world war--the shell-shocked war veteran.
Suggest that a closer look at modernists' first world war literature invites the possibility of redefining the visual vision that influence current conversations about the visual in modernism, with particular attention to the body—questions that had significant implications for understanding war trauma as critics such as. Examination of the urban landscape is always already an attempt at delineating the characteristics of modernity as a at literary and filmic works that respond to the two world wars in the interwar and postwar usefully locates a penumbra of influence within which i place alain resnais, who does not.
The literature produced in great britain and ireland during and after the first world war spanned a wide range of genres and styles popular fiction and poetry were written and avidly read by combatants and non-combatants alike the modernists and the georgians interpreted the war in their unique ways,. Published articles in scholarly journals providing analysis and criticism of the literature books analyzing the literature formal biographies of writers from the era the psychologist researching trench warfare and post-traumatic stress disorder in world war i veterans might utilize: original research reports on. Contemporary american literature: authors and major works what is the contemporary period in american literature begins at the end of world war ii, and in order to understand this literature and how it developed, we need to look at where it came from the massive trauma of wwii influenced contemporary writers. The poets' response to war and revolution will be examined through the lens of modernism as it is a major modernist context because their poetry, due to the impact of world war i and the russian revolution slowly because of the necessity of recovering from the traumatic fighting in the capital and the aftermath of.


(American, b. 1976 Indianapolis, IN; resides in Chicago, IL)
A sociologist by training, David Schalliol’s work is concerned with issues of social stratification. His photographs depict diverse locations and topics, from the infrastructure of Las Vegas to the decline of metropolitan Detroit to isolated buildings in Chicago’s neighborhoods.
In his series Belfast: Northern Ireland (2010-present), Schalliol explores tensions between Belfast’s Protestant Loyalist population and neighboring Catholic Republicans, who have long been at odds with each other. At its core the centuries old conflict is a dispute over the issue of autonomous partisan rule. After various battles and invasions throughout the 16th century, the British occupation of Ireland was solidified by the mid 1600s. The predominantly Catholic Northern Irish population was opposed to the Protestant British occupation, causing political and religious tensions to arise. This conflict has continued to create pressure in Northern Ireland, and in Belfast in particular, where Protestants and Catholics live in close proximity in a dense city. Currently, the Republican Catholics want Northern Ireland to unite with the Republic of Ireland, while the Loyalist Protestants remain devoted to the United Kingdom. Not only is the population divided along political and religious lines, but also class and cultural lines, furthering the tension.
Schalliol’s series focuses on the controversial Protestant holidays of Eleventh Night and The Twelfth, celebrated on July 11th and 12th respectively, in Belfast. The origins of the holidays date back to the Glorious Revolution in the late 1600s in which Protestants won significant battles against Catholics. On this night of the 11th of July, bonfires lit in in the dark helped the Protestants navigate through waters in and around Belfast to seize victory. The holidays have been celebrated ever since with the Protestant Loyalists building large bonfires and parading through the streets, demonstrating their traditions and past victory in a city equally inhabited by Catholic Republicans. The Loyalists see the very public celebrations as family friendly cultural events. Yet, to Republicans, the events enforce both the Loyalists political power and their support of Northern Ireland’s membership in the United Kingdom. Schalliol’s images reveal the visual manifestation of a city divided along religious and political lines and the still complex tensions of July 11th and 12th.
David Schalliol completed his BA in Social and Political Economy from Kenyon College (1999) and his MA in Sociology from the University of Chicago (2004). Schalliol’s work has been exhibited nationally and internationally. Selected exhibitions include: Catherine Edelman’s Chicago Project, Chicago, IL (2009), Grohmann Museum, Milwaukee, WI. (2011); the Hyde Park Arts Center, Chicago, IL (2012, 2013); DePaul Art Museum, Chicago, IL (2013); Gallery TANTO TEMPO, Kobe, Japan (2014). His book, Isolated Building Studies, was published by Utakatado in 2014. He received a grant from the Graham Foundation in 2014 for his film “The Area.” Schalliol is currently perusing his Ph.D. in Sociology from the University of Chicago in addition to continuing his work as a photographer and filmmaker.
In many neighborhoods, particularly on [Chicago’s] South Side and near West Side, these most personal places are the bellwethers of dramatic economic development dynamics. As our homes go, so go our neighborhoods. —David Schalliol
David Schalliol’s series Isolated Building Studies: Revealing Meaning Through Recontextualization (2006-present) goes beyond the category of architectural photography to engage with questions of urban change and socioeconomic inequality and to draw out the relationships between buildings and their surrounding communities. Long interested in the abandonment, vacancy, and dereliction of residential structures, Schalliol questions what these absences in the urban environment mean. He started his investigation by sitting in a vacant lot on the South Side of Chicago every day for three months, during which time he got to know the people who spent time there. The resultant ongoing project is both photographic and sociological in nature. By creating a set of uniform compositions of isolated buildings, Schalliol hopes to reveal common patterns of the impact of political and economic forces upon different neighborhoods. Schalliol states, “Instead of seeing one peculiar building, we see the legacy and immediacy of urban transformation. Instead of asking “What happened to this house?,” we ask “What is causing this phenomenon?”
David Schalliol completed a bachelor’s degree in Social and Political Economy from Kenyon College (1999) and a master’s degree in sociology from the University of Chicago (2004). Currently he is a Ph.D. candidate in the Department of Sociology at the University of Chicago and the Visiting Assistant Professor of Social Sciences at the Illinois Institute of Technology. Schalliol’s work has been exhibited in the Midwest and is included in a new photography book by Donald McCrea, Migration: Lost and Found in America, released by MWP (Michael Wiese Productions) in 2010.


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(NECN: Britney Glaser) - Diabetes is the leading cause of blindness. It's something that can oftentimes be diagnosed during an eye exam as an eye doctor sees cholesterol build-ups and abnormal blood vessels inside the eye.
Rogelio Gonzalez never thought he had a problem with his vision or health until a routine eye exam nine years ago.
"When they came in and checked my eyes, they discovered that I had diabetes," Gonzalez confirmed.
When it came to his vision, some of the damage to his eyes had already been done, something ophthalmologist Alan Lacoste sees daily in diabetics.
"These are cholesterol deposits from the damaged blood vessels and we have hemorrhage here, these are abnormal blood vessels," Dr. Lacoste explained.
Untreated, that damage can lead to blindness. Doctor Lacoste says eye doctors get a unique look at how the body works overall through the eye.
Dilated eye exams are the first step for an eye doctor to check the extent of damage in the eyes, in addition to an angiogram, which is performed by injecting dye into the arm or hand. As the dye travels through the circulatory system and up to the eyes, it can give a more detailed look at what's going on inside the eye.
"Now as it progresses, it's beginning to show the damage and all of this is abnormal," said Dr. Lacoste.
Argon laser therapy cauterizes or burns the damaged area, stopping the progression. And it shifts oxygen from the retina to the main nerve in the eye.
"The laser is a very special, very focused light beam that goes into the eye. It cauterizes these areas where the damage is the worst," explained Dr. Lacoste.
The tiny laser can be used numerous times over several years.
Gonzalez has had the laser on both eyes and says he's grateful his diabetes was detected in time to save his vision.


Aphrodite was the Greek goddess of love, related to the Asian mother goddess Ishtar and Astarte. Homer wrote that Aprodite was the daughter of Zeus and Dione. Read more about Aphrodite with these books.
by Rachel Rosenzweig. University of Michigan Press. In this book, Rachel Rosenzweig explores Aphrodite's prominent role among the gods of classical Athens. This book examines Aphrodite scholarship for a better understanding.
by Doris Orgel, and Marilee Heyer. Dorling Kindersley Publishing. Here, the author re-tells the stories of three of the most famous goddesses: Athena, Aphrodite, and Hera. The book also includes 8 watercolor-and-pencil illustrations.
by Jennifer Reif. Spilled Candy Publication. From the publisher: "Author Jennifer Reif enriched this story with extensive research on Ancient Greece, Goddess worship, and temple life. Jennifer even research ancient Greek weddings at the J. Paul Getty Museum Library."
by Doris Gates, and Constantine CoConis (Illustrator). Penguin Group. Here, Doris Gates retells the stories of Aphrodite and Demeter, goddesses of beauty and agriculture.


CRS: The Iraq Marshes: Restoration Activities, June 15, 2004
Wikileaks release: February 2, 2009
Publisher: United States Congressional Research Service
Title: The Iraq Marshes: Restoration Activities
CRS report number: RL32433
Author(s): Kyna Powers, Resources, Science, and Industry Division
Date: June 15, 2004
- During the 1990s, Saddam Hussein drained approximately 90% of the Iraqi marshes. This action displaced 200,000 to 250,000 Ma'dan (Marsh Arabs) and severely harmed an important ecosystem. Efforts to rehabilitate the marshes have returned water to about 40% of the former marshland. However, re-flooding additional areas and providing for long-term marsh restoration requires actions to maintain the quantity and quality of water flowing through the marshes. To facilitate such efforts, nongovernmental organizations and U.S. contractors are working with Iraq's Ministry of Water Resources (MWR), Ministry of Environment, the newly established Center for Restoration of the Iraq Marshlands (CRIM), and local Iraqis to implement short-term action plans calling for ecological and socioeconomic studies. These draft studies and the associated monitoring and modeling activities will set the foundation for a long-term restoration management plan. Implementing the overall plan will include training and equipping Iraqi officials, managing water supplies, and negotiating international water agreements. Some of these efforts have already begun.


The strips can be arranged to form the word MORSE in each of three directions. Strips can be oriented on each of 3 axes (0 degrees, 60 degrees, and 120 degrees) to make this word. The word fits in a large hexagon. Click here for a graphic of the answer from all three directions.
There are four strips left over when all three MORSEs have been constructed. Using the convention that 1 dark triangle is a dot, 2 dark triangles is a dash, 1 blank triangle is an inter-symbol space, and 2 blank triangles is an inter-letter space, the four strips correspond to
.--. P .. . - IET .... . HE .. -. IN(These strips were given in this order, top to bottom, in the initial file.)
The answer to the puzzle is "PIET HEIN", a Danish mathematician, author of many short poems called "groots" and, pursuant to this puzzle, inventor of the board game "Hex".


Evidence-Based Systematic Reading and Writing Instruction, authored by Professor Young-Suk Kim in 2017, has been recently recognized as one of the top 100 college textbooks in South Korea.
Reading and writing are foundational for learning. Unfortunately, however, many children unnecessarily struggle with reading and writing development. In this book, the author presents component skills of reading and writing, their developmental progressions, and evidence-based instructional approaches for students in prekindergarten to elementary grades, based on empirical research across languages. Contents include overarching principles in evidence-based instruction, emergent literacy skills, word reading and spelling, reading fluency, language and reading comprehension, the roles of executive function and higher order cognitions, written composition, dyslexia and dysgraphia. This book was written for teachers, parents, and college (undergraduate and graduate) students.
Kim, Y.–S. G. (2017). Evidence-based Systematic Reading and Writing Instruction. Seoul, South Korea: Hakjisa [in Korean].


New findings: Children are up to 6 times more likely to smoke if they see a lot of smoking on screen. ASH calls for ‘smoking’ films to get a 15 certificate.
Embargo: 00:01, Friday 14 December 2001
New Findings: Seeing smoking in films means children are more likely to smoke. ASH calls for ‘smoking’ films to be classed a “15”.
Children who have watched a lot of smoking in films are up to 6 times more likely to be smokers themselves than those who have seen less smoking, according to new research published today in the British Medical Journal . The study, of 4919 American school children aged 9-15, showed that the more smoking children see in films, the more likely they are to be smokers themselves. For instance, of those who had seen 50 or fewer instances of smoking in films, only 4.9% had tried smoking, compared with 31.5% of those who had seen more than 150 instances of smoking, even when other factors linked with adolescent smoking were taken into account.
This study adds to a growing body of evidence supporting the idea that what young people see on screen affects the likelihood of them smoking. In February this year, researchers showed that teenagers whose favourite movie stars smoked in their films were more likely to be smokers , and in January The Lancet published a report about the impact of product placement (when tobacco manufacturers pay to have their products featured or for actors to smoke in films).  In the light of this new evidence, ASH has renewed its calls for the British Board of Film Classification to take the amount and nature of smoking in films into account when deciding what certificate to award – giving a “15” Certificate to films which feature smoking by aspirational role models – such as megastar young actors.
John Connolly, Public Affairs Manager for ASH said:
“These young people may be copying their favourite stars’ smoking or they might be more likely to watch movies which make them feel comfortable about smoking, but either way it suggests that smoking on screen nurtures and sustains smoking among teenage movie fans – and everybody should be worried about that.
We don’t want to censor directors and actors by banning smoking in films by law, but we think they need to recognise the impact they have on their young fans and think about the harm they are doing. The best way of doing that is by letting them know that, by getting their stars to smoke, they might be limiting the audience for their films.
The British Board of Film Classification should now sit up and take notice of this growing body of evidence. Classifying films as a “15” if they have a lot of smoking in them by stars who are role models, adding nothing to the plot, would send a powerful message to writers and directors. It will tell them that if they want to use cigarettes as a prop in their films, there might be a price to pay”.
 Sargent J et al. Effect of Seeing tobacco use in films on trying smoking among adolescents: cross-sectional study. British Medical Journal Volume 323, pp 1394-7
 Tickle J. et al Favourite movie stars, their tobacco use in contemporary movies, and its association with adolescent smoking. Tobacco Control 2001; 10: 16-22
 See Product placement in films shows tobacco companies still up to their old marketing tricks, ASH press release – 05 January 2001


How We Do It: S’MORRES and Partner Augmented Input with Dr. Jill Senner & Matthew Baud
Mnemonics are such a great memory aid, so when Dr. Jill Senner and Matthew Baud offered to share the visual support that they use in their clinical work, I knew it would be of interest to many of you. Combine that with content on partner training, and we have a real treat for you: S’MORRES. Dr. Senner is the owner of Technology and Language Center where she specializes in providing AAC and AT services including assessment, consultation and training, and workshops/lectures. She has presented at numerous national AT conferences and has taught graduate courses in AAC and swallowing disorders. Matthew Baud is the Assistive Technology Coordinator at Niles Township District for Special Education, performing evaluations, trainings and coaching communication partners. Matthew also has his own AAC private practice, and is an adjunct professor at Saint Xavier University where he teaches a graduate course in AAC. In this post, they share S’MoRRES, a strategy for building partner interaction skills. You can download the visual support poster here or in the Downloads section of the AAC eToolbox
Partner Augmented Input also known as Aided language input is a powerful, evidence-based approach in which communication partners point to the symbols on the child’s communication board or device while simultaneously talking. One strategy we have used to help classroom staff remember the steps to successful modeling is Verbal Practice of Strategy Steps (Kent-Walsh & McNaughton, 2005). This involves naming and describing all required steps out loud.
Just as you may have used a mnemonic to help remember the planets or perhaps the cranial nerves, we use the S’MORRES (yes, with two r’s) mnemonic to help school staff remember the steps for providing partner augmented input. You can also download this handy poster to hang in the classroom that outlines the steps below:
S Slow Rate – Slow speech rate. Speak in slow, clearly articulated manner.
MO Model – Say words/phrases that are related to the contextual information available while pointing to pictures on the child’s board or device. Parallel talk (i.e., describing what the student is doing as he or she is doing it) and self talk (i.e., talking about what you’re doing as you’re doing it) are helpful tools for modeling. Think about modeling as providing the color commentary for ongoing classroom activities.
R Respect and Reflect – Provide the words to code the child’s wants, feelings, and intended messages. When the child communicates something through gesture or word approximation, model a word or phrase to communicate the same thought or feeling without making the child repeat him or herself. For example, if the child points to a water fountain, the adult might generate “DRINK. WANT DRINK.”
R Repeat – Frequently repeat utterances.
E Expand – Repeat and rephrase, building upon your own single word utterances by adding one to two words to provide a more complete phrase or sentence. You can build upon the child’s communication as well (i.e., if he/she use one word or symbol such as “BUBBLE” try expanding the comment to two words, for example, “Yes, that’s a BIG BUBBLE.”)
S Stop – Provide an expectant pause to allow the child time to respond.
We wholeheartedly embrace multimodal learning, so of course we suggest making s’mores to help complete the learning experience.
Kent-Walsh, J. & McNaughton, D. (2005). Communication partner instruction in AAC: Present practices and future directions. Augmentative and Alternative Communication, 21, 195-204.
Filed under: PrAACtical Thinking
This post was written by Carole Zangari


The Flu Vaccination – Fast facts for snotty sniffles
Dr. Harriet Etheredge
Posted on June 26, 2017
Got a sore throat? Bit of a headache? Aching joints? Have you been saying to your friends: “I’ve got flu!”? Do you know what it means when you say that?
Flu? Or just a common cold?
Last week I didn’t blog because I was suffering from snotty sniffles myself. My headache and sore throat got me thinking about how we communicate to others that we aren’t feeling well. Often, people who have a sore throat, headache and aching joints in winter will say to their friends: “I have flu”. But it’s likely that that’s not the case at all. Flu is the common contraction of the medical term influenza. Influenza is a specific virus, the strains of which alter every year. Influenza can be diagnosed by taking a swab from the back of the nose and throat. This is sent to a lab and a number of tests are done to see if you carry the influenza virus. However, testing isn’t always necessary because if you are generally a healthy person, your body will overcome influenza in time. If you have snotty sniffles, it’s more likely that you have a common cold – which has very similar symptoms to influenza. This might explain why we often think that they are one-in-the-same.
The flu vaccine
There’s also some confusion about the flu vaccine, and we don’t always talk about it accurately either. This morning at gym I overheard a woman in the change room say to her gym-buddy: “I have had such terrible flu, and I can’t believe it because this year I had a flu vaccination!” to which said gym-buddy replied: “Oh! I never have the flu injection, they basically inject you with flu and make you sick”. Both of the above statements are incorrect.
Even if you have a flu vaccination, you can still get a cold. Similarly, if you have a flu vaccination, you can still get influenza but, because you are vaccinated, it should be less severe most of the time. Now, on to the vaccine itself… The influenza vaccine usually used in healthy people over 8 years old is called an “inactivated” vaccine. Yes, it does involve injecting you with the relevant strains of seasonal influenza, but this is not a live virus. What happens is that your body builds up antibodies to the influenza, but it is not possible for you to get influenza from the inactivated vaccine.
Some people do firmly believe that the influenza vaccine has given them flu. It’s more likely that these people had their flu vaccine at the same time that they were developing a common cold and the symptoms of one are confused with the symptoms of the other. So, next time you have the snotty sniffles, you’d probably be more accurate if you told your friends you “have a cold” rather than telling them that you “have flu”.
When to do it
Last words, the flu vaccination offers about 7 months cover, so the best time to have it in South Africa is the end of March, and this should see you through an influenza free winter. Though you may still get a cold… Bless you!
The views published in this blog are entirely my own (informed) opinions. They are open to debate, discussion and disagreement.
Tagged: common cold, flu vaccine, inactive vaccine, influenza virus, South Africa, winter


A councillor in Paris recently demonstrated the potential power of public petitions.
His campaign against supermarket food waste amassed more than 200,000 signatures by the time national legislation was approved in France. The move has now encouraged other countries on the continent to follow suit.
Petitions can be a powerful tool for campaigns and campaigners; there's no question that they can help to achieve campaign results on things such as parliamentary legislation and the prevention or inclusion of something. However, the ease with which they can be created has led to an abundance of petitions, which can ultimately reduce the power or impact of each one.
There are more than 85 million users of the petition website Change.org in 196 countries, with a perhaps unmeasurable number of petitions on the go at any one time. Similarly, the campaigning group 38 Degrees has 2.5 million members in the UK; MoveOn is a community of more than eight million Americans; and GetUp is an independent movement of more than 800,000 people in Australia. Avaaz, meanwhile, operates worldwide and has more than 40 million members who have made more than 240 million campaigning actions since 2007.
According to Change.org, "it's now possible for anyone to start a campaign and immediately mobilise hundreds of others locally or hundreds of thousands around the world, making governments and companies more responsive and accountable". This is true, and it is a good thing that opens up access to so many; but it is also the case that a large number of signatures on a petition does not guarantee that you'll achieve your aim. More than a million people, for example, have signed a petition urging the BBC to reinstate the disgraced presenter Jeremy Clarkson. Despite so many signatories, the BBC has no obligation to respond to it; indeed, it has taken quite clear action with regard to Clarkson. Conversely, the Welsh Assembly is now considering a bill on safe staffing levels for nurses as a result of a petition created by a former nurse; the petition was signed by only 1,500 people.
So it's true that petitioning, like campaigning more generally, is not an exact science. As Neil Kingsnorth, head of activism at Friends of the Earth, asks: "How many clicks are the equivalent of how many signatures? How many signatures are equivalent to a hand-written letter to an MP? There's no scientific answer."
Many campaigners will instinctively rush to create a petition in order to demonstrate the support behind them, but it's beneficial to do some groundwork first. Look at your campaign target and the range of tactics that might influence it, both online and offline. Think about how a petition would fit into your overall plans and their purpose – is it to raise awareness? To count numbers? To test out the level of support for something?
Petitions, like any other campaign tactic, are just one piece of the puzzle. David Babbs of 38 Degrees has said that many good campaigns start with a petition, but it's also true that not many great campaigns end with one.
Linda Butcher is chief executive of the Sheila McKechnie Foundation


Native to (or naturalized in) Oregon:
- Broadleaf evergreen shrub, slow growing, 1-5 ft (0.3-1.5 m) tall, stiff, erect, wide spreading. Leaves alternate, simple, leathery, glabrous, oblong to elliptic, 1-6 cm long, 0.5-2.5 cm wide, rounded at base, apex shortly acute or obtuse, margin sparsely and evenly toothed, glossy green above, petiole 3-6 mm. Flowers urn-shaped, 6-8 mm, white, fragrant, in erect terminal clusters (racemes), 5-15 cm long; blooms in May. Fruit globose, 6 mm wide, thin-walled.
- Part shade, best in moist, acidic soil; tolerates full sun if soil is moist.
- Poisonous plant: contains diterpenoid compounds (grayanotoxins). Leaves are most frequently eaten; as little as 1 oz. of leaves may be lethal to a sheep. All livestock are known to be susceptible. Toxic to humans (Field Guide to Plants Poisonous to Livestock - Western U.S., Shirley A. Weathers, 1998).
- Hardy to USDA Zone 5 Native to the High Sierra Nevada and Warner Mountains of California and the Klamath Ranges of southwestern Oregon and northwestern California; found in bogs and wet areas.
- davisiae: after Miss N. J. Davis
- Dallas, Oregon: Delbert Hunter Arboretum.


On the eastern shore of Staten Island lies a tribute to a one of the earliest American women photographers, Alice Austen (1866-1952). Challenging strict Victorian gender boundaries and capturing documentary images of everyday life in Staten Island and Manhattan, Austen’s largest influence was likely her home, known during her lifetime as Clear Comfort. Here, she photographed her family, friends, and surroundings, and developed the glass plates in a darkroom on the second floor. The oldest part of the house was built in 1690, and was expanded in the Carpenter Gothic style along with the carefully landscaped grounds under the Austen family’s ownership from 1884 until financial problems forced Austen and her partner of more than 50 years, Gertrude Tate, to leave in 1945. The house and its approximately one-acre site were rehabilitated by Beyer Blinder Belle in the 1980s based on Austen’s extensive photography of the site. A founding member of the Staten Island Garden Club, her garden included shrubs such as weeping mulberry, flowering quince, and Japanese wisteria, which shaded the piazza. The front porch offers views of the Narrows and the Verrazano-Narrows Bridge, and a gravel path leads to Buono Beach. To the south is a large meadow surrounded by canopy trees. Since Austen’s era, the beach has eroded significantly, and the crib walls have been destroyed. Many mature trees have been lost, and the original entrance drive has been altered. The house and associated parkland are operated by the Friends of Alice Austen House, Inc. and the New York City Department of Parks and Recreation, with continuing preservation efforts underway. The site was listed on the National Register of Historic Places in 1970, and designated a National Historic Landmark in 1993.


Bats Follow Musical Rules When Writing Love Songs
Making a mix of love songs for your special someone? Looking for something lively to slip in between Sonny and Cher's "I Got You Babe" and The Temptations' "My Girl"? I highly recommend a little number called "Chirp-Buzz-Buzz" by...a group of Brazilian free-tailed bats.
Turns out that bats are quite the romantic crooners, using "love song" vocalizations to attract females (and in some cases, to scare away intruding males). According to a new study*, their love songs are more complex than previously thought and have a number of musical rules. The researchers—from the Department of Biology at Texas A&M University, the Section of Neurobiology at theÂ University of Texas at Austin and Bat World, a bat sanctuary and rehabilitation center in Mineral Wells, Texas—spent close to four years recording and analyzing the songs of two populations of Brazilian free-tailed bats (also known as Mexican free-tailed, scientific name Tadarida brasiliensis). The first group was a captive colony of about 60 bats in Austin, maintained by one of the study's authors. The second group was a wild colony of approximately 100,000 to 250,000 bats within Texas A&M's athletic complex in College Station.
After examining a total of 412 songs from 33 bats and comparing song variation within and across individuals and between the two different colonies, the researchers determined the male bats use several types of syllables withÂ individual sounds to create three easily recognizable phrases:
Chirps are complex phrases composed of "A" and "B" syllables**.
Trills are composed of short (mean = 3.4 ms) downward FM syllables that can be connected or are separated by short silent intervals.
Buzzes are composed of short (3 ms) downward FM syllables that are never connected.
These phrases, in turn, are used in different combinations to produce songs. The researchers found that particular phrase sequences kept coming up and identified several rules governing phrase order:
1) Songs begin almost exclusively with chirps.
2) Trills do not follow buzzes, but instead always follow chirps or another trill.
3) The majority of buzzes (90%) are followed by another buzz or occur at the end of the song (songs containing a buzz ended in a buzz 84 % of the time).
This may not seem like very impressive music theory, but complex songs and specific structural "language rules" are rare among mammals; previous mammalian research hasn't gone much further than determining that song elements are used in a non-random order. These bats' songs and the rules that govern them, though, may be "more analogous to those of some birds than to other mammals," say they researchers. Birds and their songs have long been the basis for understanding vocal production and the evolution of vocal complexity as well as the physiology of vocal production. With this new study, there's a foundation for future research into mammalian vocals, "a model not only to study communication similarities in other animals, but also human speech," says lead author Kirsten M. Bohn.
Here's a video featuring the vocal stylings of Sid the bat, with commentary by researcher Dr. George Pollak:
* Bohn KM, Schmidt-French B, Schwartz C, Smotherman M, Pollak GD. (2009). Versatility and Stereotypy of Free-Tailed Bat Songs. PLoS ONE 4(8):e6746. doi:10.1371/journal.pone.0006746
** "A" syllables are short (5 ms) downward frequency modulated (FM) sweep syllables. "B" syllables are longer (17ms) and more complex, often beginning with an upward FM followed by a longer downward FM and sometimes ending with another upward FM.


What is the point of aid?
How can aid have any meaningful short or long term effects in the following environment.
Country's like Zimbabwe formally Rhodesia use to be called the food basket of Africa. Look at it now the people who use to run the farms were driven off by Mugabe and the land lies idle.
Giving people minimal food, who have no means of supporting themselves otherwise, but have the ability of children, is just snowballing the problem.
Not all aid is equal some is effective, some is not, some comes in the form of sustenance and some in the forms of helping the suffering improve their circumstances like education.
Some will undoubtedly work, but it will be a minority as the main aim is to alleviate symptoms, not cure the problem.
Aid is not good for a countries pride, that they are seen as unable to cope themselves gives a sense of hopelessness.
Some criticisms of aid, are that is:
Who causes these catastrophes, do countries bring it on themselves?
Unless one country directly caused another countries problems, they are not responsible for their problems and therefore have no obligation to give to the other country.
If country A has no control over the activities of country B, Country A is not responsible for what happens in country B.
A question to ask in terms of responsibility, if a parent cannot support child why do they have them? Both in developed and non-developed countries. It is a form of child abuse.
Private individuals can give aid, it is not governments responsibility to do so.
Aid is completely moral and just if it is given voluntarily, however, large portions of it are given by governments that confiscate the money off its citizens.
Also not all aid is equal
If that is the case the U.K should charge Italy, Norway, Spain and France for any damage done to the UK by the Romans, the Vikings, the Spanish Armada and William the Conqueror.
Some say that U.K must give aid to atone for its history of colonialism
Trade not aid
More people have been raised out of poverty in the last 20 years through opening up trade than aid has ever done.
There are a multitude of examples, from China to Brazil and Vietnam to name just a few.
Is the population too high to sustain?
Is there a possibility of voluntary population control like birth control?
China has tackled too high population growth successfully.
One of the primary reasons for growth in prosperity in Europe and the far East has been family sizes shrinking to more appropriate sizes.
Can technology like GM crops help?
Why don't countries co-ordinate aid?
Aid with conditions.
There is a simple criteria we can apply to overseas aid. If the balance of trade is in the developing countries favour, then we are, through trade, supporting that country.
Aid is something personal and should not be the governments duty, instead all aid money should be given to NGO's (non-government) OR to the poor directly.
Nations, as with people in general, should learn to stand on their own two feet.
Agencies who give to the poor don't get taxed on their earnings, but the poor that recive this money get taxed on their income. that seems a little inconsistent.
"I am against foreign aid for everyone, Foreign aid is taking money from poor people in a rich country and giving it rich people in poor countries."
-- Ron Paul
"We wouldn't like people to prop up a dictator in our country, so why do we do it to other countries"
-- Ron Paul
“Africa is addicted to aid,” she says. “Like any addict, it needs and depends on its regular fix, finding it hard, if not impossible, to contemplate existence in an aid-less world.”
-- Author Dambisa Moyo (Dead Aid)


10+ Essay Writing Examples & Samples – PDF, DOC How to Write an Essay. Research on the subject matter if you find it necessary. Once you have gathered ideas on the topic, you need to properly put your thoughts into words. After which, it will be easier for you to get started. An essay must be composed of an introduction, a body, and a conclusion. Essay Tips: 7 Tips on Writing an Effective Essay | Fastweb Learning how to write an essay is crucial to admissions and scholarship decisions. Essay Tips: 7 Tips on Writing an Effective Essay | Fastweb Follow these steps when writing an essay, whether you're writing a college application essay, a scholarship application essay or a class essay. How to Write an Essay - grammar.yourdictionary.com For example, to write an essay, you should generally: Decide what kind of essay to write. Brainstorm your topic. Do research. Develop a thesis. Outline your essay. Write your essay. Edit your writing to check spelling and grammar.
Argumentative Essays // Purdue Writing Lab
Some colleges ask for a supplemental essay, or several, as a way of getting to know an applicant better. Read on to discover tips on how to tackle these writing supplements and see a sample essay ... How to Write an Article Critique - writemyessayrapid.com The difference of how to write a critique and other types of essays comes in the body section and the article format. Unlike other forms of writing, during the learning process of how to write a critique, you will find that the body of a critique usually has a detailed evaluation of the work, as well as a summary of the article in question. PDF Preparing Effective Essay Questions
You can check a book review essay example provided below for better understanding on how it is supposed to be done. Nobody expects you to be more experienced about the book than the author is, but your careful observations can provide you with the ground for reasonable judgments on how to write a book review essay. Tweet
How to Write an Example Essay. Write a thesis statement for each topic. A thesis statement is a single sentence that you will argue in your paper. For example, if you were to write on the topic of dog training, you could have a thesis statement such as "Dogs listen better to trainers who use positive rewards instead of scolding and hitting.".
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How to write a good essay - YouTube How to write an essay- brief essays and use the principles to expand to longer essays/ even a thesis you might also wish to check the video on Interview technique (now on this channel too!) How to Write a Strong Conclusion for Your Essay
How to write an Essay Plan - ukessays.com


The field of human resources analysis, which can be understood as an approach to human resources management focused on data and analytical thinking, is quickly becoming an indispensable part of organizational configurations. In this article, I will introduce you to a data science project on Human Resource Analysis with Python.
What is Human Resource Analysis?
In a competitive market scenario, the potential of an employee must be better exploited to ensure the success of the organization. In such an environment, human resources remain one of the main distinguishing factors of an organization which can be used for competitive growth to create the necessary organizational value.
The optimal use of the human resource capital that an organization possesses is an ongoing process; constant efforts in this direction will ensure that the human resources of an organization remain an asset and not a liability.
Human resource management should be undertaken taking into account the needs of the organization as a whole; it can be understood as an area of study focused on the exploration of these practices and approaches, which can be implemented in the context of employees to achieve organizational goals.
Human resource analysis is a relatively new intervention in the broader field of HRM, and it refers to the use of statistical tools, measures and procedures, which can be used to employ and mask the most important decisions. It is often called people analysis or talent analysis or workforce analysis.
Human Resource Analysis with Python
In this section, I will take you through a Data Science project on Human Resource Analysis with Python. Here you will learn how to analyze the data of the employees working in the organization. I will start this task of Human Resource analysis by importing the necessary python libraries and the dataset:
Before analyzing the data let’s have a quick look at some insights and check if we are having duplicated values or not:
Data columns (total 14 columns): # Column Non-Null Count Dtype --- ------ -------------- ----- 0 enrollee_id 19158 non-null int64 1 city 19158 non-null object 2 city_development_index 19158 non-null float64 3 gender 14650 non-null object 4 relevent_experience 19158 non-null object 5 enrolled_university 18772 non-null object 6 education_level 18698 non-null object 7 major_discipline 16345 non-null object 8 experience 19093 non-null object 9 company_size 13220 non-null object 10 company_type 13018 non-null object 11 last_new_job 18735 non-null object 12 training_hours 19158 non-null int64 13 target 19158 non-null float64 dtypes: float64(2), int64(2), object(10) memory usage: 2.0+ MB
sim = train.duplicated() sim.sum()
Now let’s visualize the missing values to warm up ourselves for using the Plotly library in Python. Here I will use the Plotly library as it gives more detailed stats as compared to matplotlib:
Some of the independent variables are zero for the type of company and the size of the company has more than 30% missing values. In this scenario, either we can do a mode imputation or we can (MICE) Multivariate imputation by chained equations. This we will do later. Now let’s move further with Human Resource Analysis with Python.
As City Development Index is one of the most important features in the data, let’s start by analyzing it:
plot_city = train['city'].value_counts()[0:50].reset_index() plot_city.columns = ['City','Count'] px.bar(plot_city,x='City',y='Count',template='gridon',title='City',color='Count')
The CDI crosses over the different clusters identified within the framework of urban indicators as it is based on five sub-indices namely, infrastructure, waste, health, education and city products.
plot_cdi =train['city_development_index'].value_counts().reset_index()[0:50] plot_cdi.columns = ['cdi','Count'] plot_cdi['cdi'] = plot_cdi['cdi'].astype('str') px.bar(plot_cdi,y="Count", x="cdi",color='Count',title='City development index')
Now let’s have a look at how many employees are coming for universities, full-time courses or part-time courses:
plot_gender = train['enrolled_university'].value_counts().reset_index() plot_gender.columns = ['enrolled_university','count'] px.pie(plot_gender,values='count',names='enrolled_university',template='simple_white',title='enrolled_university')
The above plot shows that more than 70 per cent of employees are coming without any course. Now let’s have a quick look at the distribution of education levels of the employees:
plot_gender = train['education_level'].value_counts().reset_index() plot_gender.columns = ['education_level','count'] px.pie(plot_gender,values='count',names='education_level',template='ggplot2',title='education_level')
Now the next task is to have a look at the major discipline of education of all the employees:
plot_gender = train['major_discipline'].value_counts().reset_index() plot_gender.columns = ['major_discipline','count'] px.pie(plot_gender,values='count',names='major_discipline',template='plotly',title='Major discipline')
At the end let’s analyze the distribution of the size of the company which is determined by the number of employees working in the company:
plot_gender = train['company_size'].value_counts().reset_index() plot_gender.columns = ['company_size','count'] px.pie(plot_gender,values='count',names='company_size',template='plotly_white',title='company_size is determined by no. of people employees')
I hope you liked this article on a data science project on Human Resource Analysis with Python. Feel free to ask your valuable questions in the comments section below.


The initial idea of this was to look at how Social Security and Unemployment Insurance work and explain that. The initial hypothesis was that government insurance programs work as a result of the United States Government forcing citizens to pay into these systems threw taxation. To do start this project I began by reading in the text book used in Macroeconomics at Virginia Statue University and the text book used in all Richard Bland College’s Economics courses.
The Initial Hypothesis was based off experience in working and paying into Social Security and speaking with employers on what they pay into these programs on there employees ...view middle of the document...
The idea of depending on Government rather than the private sector is the goal of Socialism not of free markets. This is either a good or bad thing based on an individual’s point of view. In the opinion of the writer an individual’s productivity is an extremely important determination in his or her self worth. Whether one works in the home taking care of children or working in the corporate world is not consequential but receiving something for nothing is detrimental for one’s self worth.
Literary Review The Road to Serfdom
The book that was the most influential in explaining Communism, Socialism and Fascism was The Road to Serfdom by F.A. Hayek. The book was an interesting read while it was first published in 1944 its message reads the same today. The main pretense of The Road to Serfdom is that the more a government promises its citizens it will do for its citizens the more it must take from its citizens and in turn the more involved the Government will become in one’s life.
The primary examples used in The Road to Serfdom are the tyrannical nations of World War Two. Hayek draws the unmistakable parallels between Communism, Socialism and Fascism. Something that is commonly confused he also explains what each is. Fascism is a system of government in which businesses retain control of their assets but the stat has control over the items produced and in what volume, also fascist nations are designed to glorify the state primarily through the nation’s military and conquest and or subjugation of less powerful nations. A socialist nation is similar in that business are allowed to be owned by some people but they are highly regulated and taxed the state demonstrates is power threw providing for its citizenry. True communism has never been attempted it is a system in which there is no government instead everything is run by labor unions and there is no conflict between nations and no true nation.
Hayek draws the parallel how each time a nation has attempted any form of government in which it provides for its citizenry it becomes hungry for more power. With the hunger for power the state becomes increasingly intrusive in the lives of its citizenry and in turn tyrannical. He uses the historical examples to argue that any time a government attempts to do more good for its citizens by its nature it will have unintended consequences and those consequences are truly dangerous to the freedom of the citizens.
Literary Review Macroeconomics
The text book Macroeconomics by N. Gregory Mankiw was primarily used to find figures of unemployment rates and some data on Social Security. The chapter on Unemployment was used most extensively. It laid out some general point on what unemployment is, it causes and the different types of unemployment.
According to Mankiw unemployment is a wasted resource and is in turn is an indicator of inefficiency in the market. Mankiw does acknowledge that some unemployment is unavoidable because of job separations and...


The Boy Who Harnessed the Wind is the immensely engaging and inspiring true account of an enterprising African teenager who constructed a windmill from scraps to create electricity for his entire community. William Kamkwamba shares the remarkable story of his youth in Malawi, Africa—a nation crippled by intense poverty, famine, and the AIDS plague—and how, with tenacity and imagination, he built a better life for himself, his family, and his village. The poignant and uplifting story of Kamkwamba’s inspiration and personal triumph, co-written with Bryan Mealer, The Boy Who Harnessed the Wind has already won ringing praise from former Vice President and Nobel Laureate Al Gore as well as Paolo Coelho, internationally bestselling author of The Alchemist.
In The Boy Who Harnessed the Wind: Creating Currents of Electricity and Hope (2009), Malawian inventor William Kamkwamba and journalist Bryan Mealer explain how Kamkwamba, using little more than determination and a few library books, built a windmill capable of generating electricity near his family’s home. Born in 1987, Kamkwamba grew up in a village called Masitala, which is located in the Wimbe district near the city of Kasungu… Purchase this in-depth summary to learn more.
William Kamkwamba was born in Malawi, a land withered by drought and hunger, a place where hope and opportunity were hard to find. But William had read about windmills and dreamed of building one that would bring his family electricity and running water, luxuries that only two percent of Malawians could afford. He used scrap metal, tractor parts, and bicycle halves to forge a crude machine that eventually powered four lights, complete with homemade switches and a circuit breaker made from nails and wire. A second windmill turned a water pump that could battle the drought and famine looming with every season. The Boy Who Harnessed the Wind will inspire anyone who doubts the power of one individual's ability to change his community and better the lives of those on an entire continent.
Teaching students to make connections across related texts promotes engagement and improves reading comprehension and content learning. This practical guide explains how to select and teach a wide range of picture books as paired text--two books related by topic, theme, or genre--in grades K-8. The author provides mini-lessons across the content areas, along with hundreds of recommendations for paired text, each linked to specific Common Core standards for reading literature and informational texts. In a large-size format for easy photocopying, the book includes 22 reproducible graphic organizers and other useful tools. Purchasers also get access to a Web page where they can download and print the reproducible materials.
This book is an overall memoir about the life of Dr. Richard Kimball. It mainly covers his ten years in Africa from 1961 to 2011 but also includes the time in his life from 1939 to the present. Dr. Kimball has traveled all over the world to 103 countries and has worked in many of them.
Scientists are exploring all types of sustainable resources, including power from wind. Readers to get a glimpse into the exciting development of harnessing energy using massive wind turbines. Full-color photographs support the text and aid comprehension.
Energy is all around us. Food and sleep are the fuels our bodies use to create the energy we need to move, talk, and think. But scientists tell us some of the fuels that keep our homes and businesses running, power our transportation, and keep us safe are hurting Earth. Learn why energy companies are working to come up with cleaner ways to supply oil and gas, how fuels in the future will be safer for Earth, and what you can do now to use energy wisely. Book features: Table of Contents; Glossary; For More Information including books and web sites; Index; photos and captions; charts and graphs; source notes.
Proven, Practical Ways to Engage Students in Civic Responsibility, Academic Curriculum, & Social Action
Author: Cathryn Berger Kaye
Publisher: Free Spirit Publishing
This project-based guide is a blueprint for service learning—from getting started to assessing the experience—and integrates the K–12 Service-Learning Standards for Quality Practice. It provides ideas for incorporating literacy into service learning and suggestions for creating a culture of service. An award-winning treasury of activities, ideas, annotated book recommendations, author interviews, and expert essays—all presented within a curricular context and organized by theme. Digital Content contains all of the planning and tracking forms from the book plus bonus service learning plans, and more.
God, Oil, and One Family's Search for the American Dream
Author: Bryan Mealer
Publisher: Flatiron Books
Category: Biography & Autobiography
"Think of it as a Texas version of Hillbilly Elegy." — Bryan Burrough, New York Times bestselling author of THE BIG RICH and BARBARIANS AT THE GATE "Bryan Mealer has given us a brilliant, and brilliantly entertaining, portrayal of family, and a bursting-at-the-seams chunk of America in the bargain.” — Ben Fountain, bestselling author of Billy Lynn's Long Halftime Walk A saga of family, fortune, faith in Texas, where blood is bond and oil is king... In 1892, Bryan Mealer’s great-grandfather leaves the Georgia mountains and heads west into Texas, looking for wealth and adventure in the raw and open country. But his luck soon runs out. Beset by drought, the family loses their farm just as the dead pastures around them give way to one of the biggest oil booms in American history. They eventually settle in the small town of Big Spring, where fast fortunes are being made from its own reserves of oil. For the next two generations, the Mealers live on the margins of poverty, laboring in the cotton fields and on the drilling rigs that sprout along the flatland, weathering dust and wind, booms and busts, and tragedies that scatter them like tumbleweed. After embracing Pentecostalism during the Great Depression, they rely heavily on their faith to steel them against hardship and despair. But for young Bobby Mealer, the author’s father, religion is only an agent for rebellion. In the winter of 1981, when the author is seven years old, Bobby receives a call from an old friend with a simple question, “How'd you like to be a millionaire?” Twenty-six, and with a wife and three kids, Bobby had left his hometown to seek a life removed from the blowing dust and oil fields, and to find spiritual peace. But now Big Spring’s streets are flooded again with roughnecks, money, and sin. Boom chasers pour in from the busted factory towns in the north. Drilling rigs rise like timber along the pastures, and poor men become millionaires overnight. Grady Cunningham, Bobby's friend, is one of the newly-minted kings of Big Spring. Loud and flamboyant, with a penchant for floor-length fur coats, Grady pulls Bobby and his young wife into his glamorous orbit. While drilling wells for Grady's oil company, they fly around on private jets and embrace the honky-tonk high life of Texas oilmen. But beneath the Rolexes and Rolls Royce cars is a reality as dark as the crude itself. As Bobby soon discovers, his return to Big Spring is a backslider’s journey into a spiritual wilderness, and one that could cost him his life. A masterwork of memoir and narrative history, The Kings of Big Spring is an indelible portrait of fortune and ruin as big as Texas itself. And in telling the story of four generations of his family, Mealer also tells the story of America came to be.
Recommended Reading for Travelers, Vagabonds, and Dreamers
Author: Nancy Pearl
Publisher: Sasquatch Books
Adventure is just a book away as best-selling author Nancy Pearl returns with recommended reading for more than 120 destinations around the globe. Book Lust To Go connects the best fiction and nonfiction to particular destinations, whether your bags are packed or your armchair is calling. With stops from Texas to Timbuktu, Nancy Pearl's reading recommendations will send you on your way.