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Last Updated 28 June 2013
This document is designed to provide general guidelines about administration of substances to laboratory animals. All procedures must be approved by the University Committee on the Use and Care of Animals (UCUCA). The route of administration, intervals between substance administration, dose range, and volume to be administered should be listed in the approved protocol specific to each study. If you have questions or comments about this document, please contact the ULAM veterinary staff at mailto:firstname.lastname@example.com or 734-936-1696. The ULAM training core (mailto:firstname.lastname@example.com or 734-763-8039) can be contacted to provide training in these techniques.
- Investigative Personnel
- Veterinary Personnel
- Parenteral: Administration of substances outside of the gastrointestinal tract. Routes of parenteral administration are listed below.
- Intravenous (IV): Administration of substances into venous circulation.
- Intraperitoneal (IP): Administration of substances into the abdominal cavity.
- Topical (epicutaneous): The application of substances directly to the skin for topical effect.
- Transdermal (percutaneous): The application of substances directly to the skin for systemic effect.
- Subcutaneous (SC): Administration of substances into the subcutaneous space.
- Intradermal (ID): Administration of substances into the dermis.
- Intramuscular (IM): Administration of substances into the muscle
- Intranasal (IN): Administration of substances into the nose.
- Intratracheal (IT): Administration of substances within the trachea.
- Intracranial: Administration of substances into the brain.
- Epidural (ED): Administration of substances into the epidural space.
- Intrathecal (IT): Administration of substances into the subarachnoid space (in the spinal canal but not within the spinal cord).
- Enteral: Administration of substances into the gastrointestinal tract. Routes of enteral administration are listed below.
- Per os (PO): Administration of substances by mouth.
- Gavage: Administration of substances via a tube that is passed through the nose or mouth into the esophagus or stomach.
- Rectal: Administration of substances into the rectum.
- Bolus: Administration of a large volume of a substance by injection.
- Parenteral: Administration of substances outside of the gastrointestinal tract. Routes of parenteral administration are listed below.
Administration of substances
- When administering substances to laboratory animals care should be taken to select an appropriate route of administration, method of restraint, dosing interval, and dose volume.
- All personnel should be trained to safely perform the selected route of administration. Contact the ULAM training core or veterinary staff for assistance.
Parenteral Administration
- Substances administered parenterally should be:
- Isotonic (the same concentration of solute as the blood)
- Close to physiologic pH (6.8-7.2)
- If pH is outside of physiologic range, administer the substance through a central vessel (such as the jugular or femoral vein) or buffer the solution such that pH is appropriate.
- All substances given parenterally must be sterile and should be delivered aseptically.
- If the preparation is not a commercially manufactured solution, it must be mixed in a laminar flow hood or biosafety cabinet and filtered through a 0.2 micron filter.
- Substances administered parenterally should be:
Routes of Parenteral Administration
- Intravenous
- Substances can be administered as a bolus or as an infusion (given over > 5 minutes).
- The maximum bolus injection volume is 1 ml/kg. If larger quantities are administered, give as an infusion.
- Infusions are often administered with with specific equipment (precision pumps or microdrip infusion sets).
- Site selection for venous access is species-specific. Common sites are listed below:
- Rodents: Lateral tail vein, saphenous vein, or retro-orbital venous sinus
- Rabbits: Lateral ear, jugular, or cephalic vein
- Larger species: Jugular, cephalic, femoral, or saphenous vein
- Consult with veterinary staff for recommendations on refinements to improve animal comfort during repeated IV dosing.
- Substances can be administered as a bolus or as an infusion (given over > 5 minutes).
- Intraperitoneal
- Injections are administered into lower abdominal quadrants. Aspirate before injecting to avoid inadvertent administration into the bladder or gastrointestinal tract.
- Repeated daily intraperitoneal dosing for up to one month is well-tolerated in rodents. Doses should be administered to alternating sides of the abdomen.
- Administration of irritating substances may cause ileus (stasis of the gastrointestinal tract) and peritonitis (inflammation of the abdominal cavity).
- Administration to the skin or muscle (see Figure 1)
- Topical (epicutaneous)
- Avoid application of caustic or irritating substances.
- Apply substances to skin that is unbroken and free of hair.
- Avoid application of substances to sites available for grooming by the animal.
- Transdermal (percutaneous)
- Transdermal dosing is typically accomplished by application of a patch impregnated with the substance of interest.
- Apply the patch so as to avoid inadvertent ingestion or removal by the animal.
- Systemic absorption is not immediate. Patches should be applied prior to the time of anticipated need according to manufacturer's instructions.
- Do not cut patches to reduce dose size. If an appropriate dose of patch is not commercially available, consider an alternative route of administration.
- Intradermal
- Use a small, sharp needle (25-27G).
- Tent the skin. Holding the syringe parallel to the animal, direct the needle into the dermis. Aspirate and inject.
- Inadvertent subcutaneous administration is common. Consult ULAM veterinary or training core staff for assistance.
- Subcutaneous
- Tent the skin. Holding the syringe parallel to the animal, direct the needle into the subcutis. Aspirate and inject.
- The rate of absorption from the subcutis may be slower than with other parenteral routes.
- Subcutaneous infusions can be administered with the use of an oily depot or osmotic minipump. Consult veterinary staff for additional information.
- Intramuscular
- IM dosing is best used in larger species with greater muscle mass.
- In smaller animals, use the gluteal or quadriceps muscles.
- In larger animals, use the gluteal, quadriceps, biceps or epaxial muscles.
- Take care to avoid the sciatic nerve which runs along the caudal aspect of the femur. Inadvertent injection into nerves can result in paralysis and localized muscle necrosis.
- Intracranial
- Intracranial injections require anesthesia and stereotactic equipment. Injections can be administered through a surgically implanted cerebral cannula, direct injection, or an osmotic pump catheter.
- Animals must be heavily sedated or anesthetized for cannula or catheter placement and for direct injections
- Epidural or intrathecal (see Figure 2)
- Epidural or intrathecal administration of substances requires highly trained personnel. Consult with veterinary staff before attempting this technique.
- Animals must be heavily sedated or anesthetized.
- Inhalational administration
- Intranasal: Use the smallest possible volume to avoid suffocation. Systemic absorption is rapid.
- Intratracheal: This technique requires intubation or surgical access to the trachea. Consult veterinary staff before attempting this technique.
- Topical (epicutaneous)
- Intravenous
Enteral Administration
- Voluntary consumption
- Substances are typically mixed with the daily diet, flavored water, or other palatable items to encourage consumption. Care should be taken to maintain an appropriate daily caloric intake and to habituate animals to any novel food items before adding drug.
- Care should be taken to ensure animals consume all agent offered. Laboratory personnel are responsible for ensuring that food and water intake is adequate.
- Food or water containing additives should be clearly labeled and disposed of properly.
- Gavage
- Gavage is often used to administer an exact PO dose.
- Administration of gavage volumes greater than 5 ml/kg may cause distress in species that are unable to vomit such as mice.
- The gavage tube size should be appropriate for the species being dosed. Contact veterinary staff for assistance.
- Rectal
- This technique is not frequently used in laboratory animals. Substances can be administered via an enema or a suppository.
- Voluntary consumption
Recommended Dose Volumes
- If a range is provided, the first dose is ideal. If a single value is listed, it is the maximum allowable dose.
- Investigators wishing to dose greater volumes than specified must consult the veterinary staff and provide justification in the UCUCA protocol.
- If the route or species you are considering is NOT on this list or if you have questions about your dosing material, please consult with veterinary staff.
Species PO (ml/kg) IV (bolus) (ml/kg) IV (ml/kg/hr) IP (ml/kg) SC (ml/kg) ID (ml/inj) IM (ml/kg/site) IN (ml/inj) Intratracheal (ul/inj) ED** (ml/kg) Intracranial (ul/inj) Mouse 5 1-5 2-4 1-10 1-40 0.05-0.1 0.05 0.03-0.05 50 0.15-0.2 1 Rat 5 1-5 2-4 1-10 1-5 0.05-0.1 0.05 0.03-0.05 – 0.15-0.2 – Guinea Pig 5 1-5 2-4 1-10 1-5 0.05-0.1 0.05 0.03-0.05 – 0.15-0.2 – Hamster 5 1-5 2-4 1-10 1-5 0.05-0.1 0.05 0.03-0.05 – 0.15-0.2 – Rabbit 5 1-5 2-4 1-10 1-5 0.05-0.1 0.05 0.2-0.5 – 0.15-0.2 – Dog 5-20 1-5 2-4 1-10 1-5 0.05-0.1 0.05 0.2-0.5 – 0.15-0.2 – Cat 5-20 1-5 2-4 1-10 1-5 0.05-0.1 0.05 0.2-0.5 – 0.15-0.2 – Macaque & Baboon 5-20 1-5 2-4 1-10 1-5 0.05-0.1 0.05 0.2-0.5 – 0.15-0.2 – Swine 5-20 1-5 2-4 1-10 1-5 0.05-0.1 0.05-0.1* 0.2-0.5 – 0.15-0.2 – Sheep 5-20 1-5 2-4 1-10 1-5 0.05-0.1 0.05-0.1* 0.2-0.5 – 0.15-0.2 –
*Maximum single IM dose per site is 5.0 ml for animals > 10.0 kg. If the volume exceeds 5 ml, give over multiple sites.
**For epidural, no more than 6 ml total volume for animals up to 35 kg.
- Figure 1: Administration of substances into the skin or muscle (Turner et al., 2011)
- Figure 2: A comparison of epidural and intrathecal injections (Turner et al., 2011)
Related Documents
- Guidelines on Diluting, Mixing and Compounding Sterile Pharmaceuticals
- Adjuvant Guidelines
- UCUCA Policy on Physical Restraint in Research Animals
- Diehl, K-H, et al. 2001. A good practice guide to the administration of substances and removal of blood including routes and volumes. J Appl. Toxicol. 21:15-23.
- Flecknell PA, Waynforth HB. 1992. . Second ed. Academic Press. San Diego, CA.
- Morton DB, et al. 2001. Refining procedures for the administration of substances. . 35: 1-41.
- Nebendahl, K. 2000. Routes of administration. In: Krinke GJ, ed. Academic Press. London. pp. 463-483.
- Turner PV, et al. 2011. Administration of substances to laboratory animals: Routes of administration and factors to consider. . 50(5): 600-613.
- Turner PV, et al. 2011. Administration of substances to laboratory animals: Equipment considerations, vehicle selection, and solute preparation. . 50(5): 614-627.


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The Lies of homosexuality
Discuss and talk about any general topic.
Moderators: jamesbond, fschmidt
Re: The Lie of homosexuality
I suspect a lot of it's environmental. Increased hypergamy --> increased homosexuality. A lot of guys just probably figure it's better to cornhole an in shape, young twink than settle for an unattractive woman.
Re: The Lie of homosexuality
You'd better watch out - youhaveautism will come after you!
: ).
"Above all else guard thy mind*(heart), from it all things in life spring forth from."
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|Stephen Lekapenos the second son of the Byzantine emperor Romanos I Lekapenos , and co-emperor from 924 to 945. Along with his younger brother Constantine he deposed Romanos I in December 944, only to be themselves overthrown and exiled by the legitimate emperor Constantine VII a few weeks later. Stephen lived out his life in exile on the island of Lesbos, where he died on Easter 963
|Gertrude of Süpplingenburg a Margravine consort of Austria and Tuscany and a Duchess consort of Saxony and Bavaria. She was a member of the Süpplingenburg dynasty
|Ippolita Maria Sforza a member of the powerful Italian condottieri Sforza family which ruled the Duchy of Milan from 1450 until 1535. She was the first wife of Alfonso, Duke of Calabria, who later reigned as King Alfonso II of Naples
|Lucrezia Borgia the daughter of Pope Alexander VI and Vannozza dei Cattanei. Her brothers included Cesare Borgia, Giovanni Borgia, and Gioffre Borgia
|Henry II of Navarre born at Sangüesa, was the King of Navarre from 1517, although his kingdom had been reduced to a small territory north of the Pyrenees by the Spanish conquest of 1512. Henry succeeded his mother, Queen Catherine, and her husband, King John III
|François de Coligny d'Andelot one of the leaders of French Protestantism during the French Wars of Religion. The son of Gaspard I de Coligny, he was the younger brother of Odet, cardinal de Châtillon and Gaspard de Coligny the admiral
|John Duke of Östergötland a Swedish royal dynast. He was titular Duke of Finland 1590–1606 and reigning Duke of Östergötland 1606–18
|Ahmed I the Sultan of the Ottoman Empire from 1603 until his death in 1617.
|Giacomo Carissimi an Italian composer. He is one of the most celebrated masters of the early Baroque or, more accurately, the Roman School of music
|Winston Churchill (1620–1688) an English soldier, historian, and politician. He was the father of John Churchill, 1st Duke of Marlborough, as well as an ancestor of his 20th-century namesake, Prime Minister Sir Winston Churchill
|Jean-Féry Rebel an innovative French Baroque composer and violinist.
|Charles Townshend 2nd Viscount Townshend a British Whig statesman. He served for a decade as Secretary of State, directing British foreign policy. He was often known as Turnip Townshend because of his strong interest in farming turnips and his role in the British agricultural revolution
|Jacques-Pierre de Taffanel de la Jonquière Marquis de la Jonquière a French admiral and Governor General of New France from March 1, 1749 until his death in 1752.
|Gaétan Vestris born in Florence and made his debut at the opera in 1749.
|Elsa Beata Bunge a Swedish, botanist, writer and noble.
|Sir Francis Baring 1st Baronet an English merchant banker, a member of the Baring family, later becoming the first of the Baring baronets.
|Thomas Thorild a Swedish poet, critic, feminist and philosopher.
|Jacques Widerkehr an Alsatian composer and cellist of the classical era. He was born in Strasbourg in 1759 and began his career as a freelance cellist in Paris in 1783. His oboe sonatas were composed around 1794
|Louis Milon a French ballet dancer, choreographer, and ballet master.
|Jean-Baptiste Debret a French painter, who produced many valuable lithographs depicting the people of Brazil.
|Karl Philipp Prince of Schwarzenberg an Austrian field marshal.
|David Ricardo a British political economist. He was one of the most influential of the classical economists, along with Thomas Malthus, Adam Smith, and James Mill. He began his professional life as a broker and financial market speculator. He amassed a considerable personal fortune, largely from financial market speculation and, having retired, bought a seat in the U.K. Parliament. He held his parliamentary seat for the last four years of his life. Perhaps his most important legacy is his theory of comparative advantage, which suggests that a nation should concentrate its resources solely in industries where it is most internationally competitive and trade with other countries to obtain products not produced nationally. In essence, Ricardo promoted the idea of extreme industry specialization by nations, to the point of dismantling internationally competitive and otherwise profitable industries. In this thinking Ricardo assumed the existence of a national industry policy aimed at promoting some industries to the detriment of others. For Ricardo some form of Central Economic Planning was a given. Ricardo's theory of comparative advantage has been challenged by, among others, Joan Robinson and Piero Sraffa, but remains the cornerstone of the argument in favour of international free trade as a means of increasing economic prosperity. The theory of comparative advantage was the forerunner of the push towards globalization via increased international trade, the guiding theme in economic policy currently promoted by the OECD and the World Trade Organization
|Giuseppina Grassini a noted Italian contralto, and a singing teacher. She was also a lover of both Napoleon and the Duke of Wellington
|Madhavrao II Peshwa of the Maratha Empire in India, from a young age. He was known as Sawai Madhav Rao or Madhav Rao Narayan. He was the posthumous son of Narayanrao Peshwa, murdered in 1773 on the orders of Raghunathrao Madhavrao was considered the legal heir, and was brought to power as peshwa by the treaty of Salbai in 1782
|Georg August Goldfuss a German palaeontologist, zoologist and botanist.
|Charles de Steuben a German-born French Romantic portrait painter and lithographer active during the Napoleonic Era.
|Antonio Rolla an Italian violin and viola virtuoso and composer.
|François Mathias René Leprieur a French pharmacist and naturalist. Throughout his career, he collected specimens in the fields of entomology, ichthyology and botany
|Anton Eleutherius Sauter an Austrian botanist.
|Marc Athanase Parfait Œillet des Murs a French amateur ornithologist and local politician and historian.
|Giuseppe De Notaris an Italian botanist generally known for his work with cryptogams native to Italy.
|Ludwig Schuberth (composer) a German composer.
|Lorenzo Lyons an early missionary to the Kingdom of Hawaii. He was a songwriter who composed "Hawaiʻi Aloha", which was inducted into the Hawaiian Music Hall of Fame in 1998. Lyons spent the last 28 years of his life as postmaster in the district surrounding Waimea, Hawaii County, Hawaii
|August Carl Eduard Baldamus a German ornithologist.
|Carl Ferdinand von Arlt an Austrian ophthalmologist born in Ober-Graupen, a village near Teplitz in Bohemia.
|Franz Ittenbach a German religious painter from Königswinter, at the foot of the Drachenfels.
|James McCune Smith an American physician, apothecary, abolitionist, and author. He is the first African American to hold a medical degree and graduated at the top in his class at the University of Glasgow, Scotland. He was the first African American to run a pharmacy in the United States
|László Szalay a Hungarian statesman and historian.
|Franz von Suppé an Austrian composer of light operas from the Kingdom of Dalmatia, Austro-Hungarian Empire. A composer and conductor of the Romantic period, he is notable for his four dozen operettas
|August Heinrich Petermann a German cartographer.
|Octave Gréard a noted French educator.
|Eduard von Martens a German zoologist.
|François Perrier a French soldier and geodesist.
|Paul-Émile Lecoq de Boisbaudran a French chemist known for his discoveries of the chemical elements gallium, samarium and dysprosium.
|Henry Kendall (poet) a nineteenth-century Australian author and bush poet, who was particularly known for his poems and tales set in a natural environment setting.
|Frantz Jehin-Prume a Canadian violinist, composer, and music educator of Belgian birth. He began his career as a highly successful concert violinist in Europe. From 1865 on he lived and worked mainly in Montreal, Canada; becoming one of the most important 19th century musical figures in Quebec. He became a naturalized Canadian citizen in 1868
|Antero de Quental a Portuguese poet, philosopher and writer, whose works became a milestone in the Portuguese language, alongside those of Camões or Bocage.
|Hermann Osthoff a German linguist. He was involved in Indo-European studies and the Neogrammarian school. He is known primarily for formulating Osthoff's law, but also published widely on Indo-European word-formation and morphology
|Vladimir Kokovtsov a Russian politician who served as the Prime Minister of Russia from 1911—1914, during the reign of Emperor Nicholas II.
|Clarence Darrow an American lawyer and leading member of the American Civil Liberties Union. He was best known for defending teenage thrill killers Leopold and Loeb in their trial for murdering 14-year-old Robert "Bobby" Franks. Some of his other big cases included defending Ossian Sweet, and John Scopes in the Scopes "Monkey" Trial , in which he opposed William Jennings Bryan. Called a "sophisticated country lawyer", he remains notable for his wit, which marked him as one of the most famous American lawyers and civil libertarians


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Last time we saved theory
Published: Last Edited:
This essay has been submitted by a student. This is not an example of the work written by our professional essay writers.
Introduction to Theory of Literature: Lecture 26 Transcript
Professor Paul Fry: Well, last time we saved theory from the clutches of Knapp and Michaels, and we did so by saying that there really is a difference between language and speech. That's a claim that I want to continue investigating in today's concluding lecture, but in the meantime when I say we saved theory, you may well be asking by this time, "Well, okay, so you saved it, but for what? Why?" We began to suggest last time that in a certain sense, especially in view of neo-pragmatists' claims about the agency of language and speech--understood to be one and the same thing--in view of claims of this kind, do we have to conclude that theory is impractical? That is, that it can't have anything to do with pragmatist objectives? That, too, is something I want to worry a little bit about today. Why do we bother to save literary theory? Well, it has something to do plainly with communication.
Speech, as we said last time, is unquestionably for--that is to say we have made it for--communication. So the old, frankly incredibly tired question, "How well do we communicate with each other?" is unfortunately, in a way, not irrelevant to what we're trying to get at here. I want to say a couple of things about what the French during the existentialist period called la manque de la communication. In a way, they're not really connected. First of all, I want to say that we actually communicate rather well. Congratulations to us, in other words! I think that many of the conventional ways in which people worry about whether or not we can understand each other--many of those ways of thinking about the problem are actually exaggerated. My own feeling is that perhaps a good deal of the time we understand each other all too well, and [laughs] that it might be better, in a way, if we didn't have quite such an acute sense of where each of us are coming from. It probably would improve human relations rather than otherwise, and this may have something to do with what I take to be a certain measure of bad faith in the ways in which we try to get together and raise each other's consciousness. Our supposition is that the whole problem is that we don't communicate well enough, and we don't understand each other's subject positions well enough.
As I say, I'm not completely convinced of that, so there's a certain sense in which I say, "Hey, speech is great. It's doing just fine. Don't worry. We're communicating perfectly well, possibly too well." So why on earth should theory come along and say, "Well, there's sort of a problem with communication"? The problem is this nagging entity called language which keeps poking up through the communication process, getting in its way, impeding communication, as the Russian formalists suggested--all for the better, as they saw it--that language does. Why should it matter? What's at stake? As Knapp and Michaels might say, what's at stake in calling attention to the way in which language does impede communication? In other words, we communicate fine, but what we really mean in saying that is, we communicate fine for everyday purposes. Speech has a rough and ready efficacy, and anybody who denies that, as I say, is simply exaggerating problems that may exist on grounds other than difficulty of communication. So speech is really fine up to a point.
Part of the function of theory is precisely to interrogate the degree to which speech in an unimpeded way communicates and the level of accuracy and detail at which speech can ever be expected to communicate. These are the sorts of questions that we might expect theory to ask, and if you say, "Well, I'm still not very convinced that that's an important aspect of one's intellectual life," I don't blame you. I hope to have convinced you over the next forty-five minutes or so that it's pretty important in a variety of ways and that it's worth keeping in mind.
In the meantime, just to start on this issue tentatively, we can understand theory--and of course, we began the semester by defining it, by trying to distinguish between theory and philosophy; theory and methodology; perhaps even those sorts of approaches to literature that Knapp and Michaels call "poetics"; maybe even to distinguish between theory and hermeneutics, because after all, the whole drive and function of hermeneutics is to discover meaning. There is a certain sense, as we have come sadly to realize, in which theory is more interested in the way in which meaning is impeded, so it may be--as we suggested, as I say, at the beginning of the course--that as to theory, if we're to get comfortable with it at all, we have to keep in mind that it's not philosophy.
That is to say, even though you're good at theory and you understand the purpose of theory, you can still be a system builder. That is to say, you can still have a sense of explaining the totality of things that philosophy needs if it's going to function as philosophy or as philosophy properly should. You can still, as Knapp and Michaels say, engage empirically with questions of literary data summarized in such a way as to amount to what we call "poetics." You can do all these things, and you don't really have to feel as though theory is somehow or another standing on the sidelines sort of shaking its fist at you and wagging its finger. Theory doesn't have to be understood as a watchdog. At least in my opinion, and not everyone agrees with me, theory really lets us go our own way and simply reminds us that there are certain limits or reservations that need to be kept in mind, that one is perhaps wisest to keep in mind, as we think through problems of interpretation and meaning.
So theory I would define as--and I've used this word "negation" a lot--I would define theory as a negative movement of thought mapping the ways in which it is legitimate--as opposed to the ways in which I have suggested it's perhaps not legitimate--but mapping the ways in which it is legitimate to be suspicious of communication. Theory is an antithetical counterforce to that which is commonly supposed to be true, posited as true, and--here of course one comes to the point--spoken as true: enounced, articulated, spoken as true. So if that's the case, why the fuss about language? Why do we so quickly narrow the issue down to language?
What I said last time about language and the relationship between language and speech may have seemed unconvincing to you because it was so narrow. I want to broaden today, considerably broaden, the sense of what I mean by "language." It seems to me that theory encourages a measure of suspicion about the efficacy of speech, that which is spoken as true, in three ways.
Last time I mentioned one, but now let me emphasize three. The first and the one I did mention last time is the way in which language obtrudes itself as sound. In other words, if we think of the efficiency or functionality of speech as a medium of communication, we're forced to ask ourselves, even as we engage in speech, how and why it is that speech is so much burdened in ways that are of no use whatsoever to us for the most part. Sometimes they are of use. One of the pre-freshmen asked me last time, "Well, isn't sound a reinforcement of meaning?" I told you when we did the New Criticism that all of you had done the New Criticism in high school. That's the way you learned literary interpretation. Well, this was a perfect embodiment of a bright person coming out of high school saying, "Interpretation just is the New Criticism and I've been taught that sound reinforces sense. That's what it says in Perrine's handbook about understanding poetry. Sound reinforces sense." Well, it often does, of course, and on those occasions we can revel in the complexity of an intentional meaning or intentional structure that is augmented by the way in which sound patterns are used.
At the same time, as the Russian formalists discovered, working through materials that weren't perhaps so much materials like John Donne's "The Canonization" or texts of the kind that lent themselves, to a degree, readily to the New Criticism; but rather alliterative verse, folklore and folk verse in the Russian tradition, verse embodying proverbs--what they noticed in studying these materials is that there is simply no way of grasping a semantic purpose, a purpose having to do with meaning, in the sound elements that are involved. I think that as we recognize the way in which there is a strange pull in our spontaneous speaking toward repetitiousness of sound, it's not just that we all speak iambic pentameter without knowing it--which, by the way, is by and large and true. It's not just that. It's that there is an extraordinary amount of alliteration and rhythmic determination in what we say.
Jakobson has an interesting point in "Linguistics and Poetics" about that moment when we're nearby and an accident takes place or something like that. He says in effect, "You could call a person in a situation like that anything, but we call that person an innocent bystander, and the reason we do so is metric." A person is an innocent bystander not because that expression has any particular meaning or semantic valence as over against other expressions but because it's catchy, because it sort of sticks in our mind, perhaps for mnemotechnical reasons, as catchy. Eisenhower won the election against Stevenson because "I like Ike" is a more efficient sort of way of engaging with the repetition of sound than "Madly for Adlai." Jakobson doesn't go into that, but I think an interesting political analysis could be made of, as I say, the greater efficacy of "I like Ike." All of these functions of sound or, I should say, appearances of sound in speech are what an economist might call irrational. They're there, they're doing a job, but it's not really a job of anything that we could call communication. The job they're doing is sort of free spirited on the part of language. It's just there in an arbitrary relation with the semantic pattern of speech.
So much then for sound, but it's not only that. If it were only that, if literary theory were only about the first two or three years' worth of research performed by the Russian formalists, we probably wouldn't be having an introductory survey course in the subject. Speech is impeded by language in two other ways. First of all-- second of all, I should say, I suppose--speech is disturbed by the way in which language produces in what's being said an uncontrollable semantic drift. That's what I want to call it. In other words, the language of an utterance is crafted to say some particular thing. Actually, it was Saussure, in a work of his that's less known than the Course in General Linguistics, who published a monograph on the way in which you can find acronyms of various kinds buried or embedded in Latin verse. In other words, there is meaning within meaning which can't possibly have been planted there and yet, miraculously enough, you can find there. You can recite a well-known poem--the one that we took up last time because it was the example given in Knapp and Michaels' "Against Theory"--you can recite a poem while reading this: [referring to what is written on the chalkboard:
Ah slum per dead, um, I spear'd seal,
Eye add, know Hume, 'n fierce!
Shah seam (duh!) thin; the tic wood-knot fee ill:
Thud! A shover the lee ears.
No mo'! Shun hash e'en now, no fours,
Shhh! Knee th'rears, Norse ease,
Role drown, an' hurts, die, urn: all corpse,
Whither oxen?--ssst!-onus entries.]
A slumber did my spirit seal;
I had no human fears:
She seem'd a thing that could not feel
The touch of earthly years.
No motion has she now, no force;
She neither hears nor sees;
Roll'd 'round in earth's diurnal course
With rocks, and stones, and trees.
Now you can see that to write the poem in this way is to perform an exercise which is essentially what Joyce is doing in Finnegan's Wake. As a matter of fact, as I transcribed the poem out of my notes [gestures to board]--as you can see, I transcribed it--I kept saying to myself, "You know what? This could be in Finnegan's Wake." I was actually quite pleased with myself, as you can imagine. [laughter] [laughs] Notice that I have used all words. There's nothing in these eight lines which is not a word. I have certainly engaged in a certain amount of anachronism, but I have also used punctuation, and I have worked out ways in which this discourse makes sense. I could have just left it at nonsense--like Lewis Carroll's "'Twas brillig, and the slithy toves / did gyre and gimble in the wabe..."--which is another way in which language is affected by uncontrollable semantic drift. The point of Lewis Carroll's famous nonsense verse is that we all think we know what it means: "'Twas blusterous and the slimy toads did leap and frolic in the waves." We think that it means something like that, but semantic drift--which is what Lewis Carroll deliberately introduces to it--prevents us from in any secure way drawing any conclusions about that.
I, of course, am making no claims for this transcription of Wordsworth's "A Slumber Did My Spirit Seal" at all, but maybe this can show us the ways in which there is semantic drift. Let's say that you were a person not really, as Stanley Fish would put it, in the interpretive community to which all the rest of us belong, and you don't really know what a poem is. Somebody recites in your presence what I just recited to you. Well, if you were quick at writing and you transcribed the thing, you might very well produce something like that [points to board]. In other words, it wouldn't just spontaneously occur to you that what Wordsworth wrote was what you were hearing, and that's because the kind of semantic drift that I'm talking about really is inescapably present in any utterance that we make.
The utterance is not often mistaken because we're really actually good at understanding context. That's one of the reasons why the so-called problem of communication isn't as great as people sometimes claim it is. We're really good at understanding context. Hence, we're not likely to go badly wrong, but certainly there are occasions on which we go badly wrong. As we all know, that's the irritating thing about spell check. You put on spell check, you write your term paper, you don't bother to edit it, and you turn it in. It's full of howlers because, of course, the language is full of homonyms, and spell check always gives the wrong word. You're in the soup, frankly because, of course, your teacher is just kind of slapping his knee and guffawing while reading it. [laughs] [laughter] In short, don't use spell check, but spell check is [laughter] a phenomenon that shows you the way in which semantic drift permeates language.
But it's not just that either. There's a third way in which language impedes speech. Saussure never says this in so many words, but this is definitely what he means by langue. Remember I said that language, langue, is a virtual entity because we could never actually encounter it written down in any codified form. Yes, it is: the dictionary, the lexicon, right? But that's only part of it. So far, notice that we've only been talking about the lexicon when we talk about semantic drift, but in addition to the lexicon, language, langue, is a set of rules--rules of grammar and syntax, rules by means of which, and only by means of which, speech can make sense. In other words, language has this sort of bearing on the choices that we can make while producing speech.
Unfortunately those rules can be a little bit slippery. When we talked about the innocuous expression "It is raining" as an illustration of Jakobson's six sets of the message, just as an example, we were brought up short by the meta-lingual function of "It is raining." We suddenly asked ourselves, "What on earth is 'it'?" In other words, there is a kind of grammatical and syntactical permissibility, obviously, in the expression "It is raining," but at the same time we really have no idea. It can lead us in strange directions, this "it": Jupiter Pluvius, God, the cosmos, the clouds. Some of it is plausible but none of it is definite. We realize that "it" is a kind of placeholder in the sentence that is not doing its job and, believe me, it's not just in English. As I said before, it's a phenomenon that you can find in any language, even in the expression "It is raining"-- il pleut, es regnet, and so on. In all of those expressions, "it" is not doing its job, so that's another way in which, if we lean on a speech, we have to realize that we're in the presence of what the economists again would call irrationality.
That has to do with the way in which predication works in language. As I said before, an assertion, a statement of truth--an assertion of any kind is the utterance of a metaphor, because the deep structure of any assertion is that A is B. That is an assertion by definition; but--"A is B," and of course when that construction is grammatical--in other words, when it makes what the grammarians call a copula--when the construction is grammatical, well, that's fine because we understand that the relationship between A and B is not a relationship that's insistently one of identity; that a connection is being made--a connection which de Man, for example, would call metonymic--in predication. The problem is that any sentence which declares that A is B metonymically--that is to say, as a grammatical proposition--is at the same time, if we simply look at the sentence for what it is, which is a metaphor, an insistence that A is B in the sense that A is A--is a metaphor, in other words which doesn't stand on all fours. No metaphor does. It has an element of what's called catachresis in it, and therefore in a certain sense, as we read the sentence, necessarily undermines the sentence's grammatical structure.
This is the point that de Man is making in "Semiology and Rhetoric," that there is a perpetual tension in any utterance between grammar and rhetoric. There is no utterance that's not grammatical, there's no utterance that's not rhetorical, but unfortunately grammar and rhetoric are always rather openly or subtly at odds with each other, just in the way that metaphor and predication really have to be at odds with each other. In other words, there isn't a sentence in which the rules of grammar and syntax are not subtly interfering with what you might call the rules of rhetoric--the ways in which tropes, in other words, deploy themselves, ways which can be distilled in an understanding of what we call metaphor.
So every sentence, as I say, is shadowed not just by the vagaries of sound, not just by semantic drift, but by the incompatibility of grammar and rhetoric, and all of that is implicit in what Saussure and his tradition call language. Those are the ways, in other words, in which language, if I can put it this way, speaks through speech, the ways in which anything that we say on any occasion is shadowed by another voice. We've understood this in social terms as Bakhtinian polyglossia. We have understood this in psychoanalytic terms as the discourse of the otherness of the unconscious. We have understood this in purely linguistic terms as language, but we can, I think, metaphorically speaking, understand it now as well as a kind of speech. Language is an unintentional speech. Language is just that speech which, we recognize--having gone through the sort of analysis that I've been attempting--is not governed by intention.
Keep in mind: nobody--no theorist, nobody in his right mind--would ever try to resist the claim that speech is intentional, that we intend what we say. That's the way in which Knapp and Michaels are right and give us a bracing reminder about things where our skepticism is misplaced. The idea that speech is somehow not intended--what could that mean? Speech just is intention, but I've been trying to argue that there is a speech, the "speech of language," which is unintentional, which is just there. It can't be factored out. It can be bracketed, but it can't be set aside as though it were not there. It will always come back. It will always confront us at some point if we take the arts of interpretation seriously enough--if, in other words, we really do bring some pressure to bear on the things that people say: not just a pragmatic pressure, which I think works just fine for most of us, but a pressure that goes beyond the pragmatic and notices what's really in a sentence, what's really in anybody's utterance.
Language speaks through speech partly as its origin. In other words, the way language gets into something that you or I might say is a reminder to us that what we say comes from someplace. It has an origin and its origin is precisely language. Language keeps saying, "Oh, oh, here I am," your origin, right? The birth of what you're doing, in other words, way back before you discovered that language was useful for something. Remember what we said about that last time: you have to discover that fire is useful for cooking. Fire is not "for" cooking. A cave is not for dwelling. A prehensile thumb is not for grasping. You have to discover the ways in which this is the case. Language is there in what we say to remind us that it wasn't always the case, to remind us that it's just the origin of a history of conscious expression during the course of which we began the never-ending process of trying to master language. That's, of course, what it is to be a writer. You try to wrestle language into submission. That's the ambition of all of us, whether we're writing the great American novel or revising a term paper. We're wrestling language into submission, and we all know it's not easy. I'm just trying to explain some of the reasons why it's not easy.
So language speaks through us as the origin of speech, but it also speaks as the death of speech. It speaks, in other words, as the moment in which the purposeful agency of speech is finally called into question, in a certain sense undermined. I think it's appropriate, I think it's fair, to call language--again metaphorically--the epitaph of speech, the way in which in any given speech the end of its own agency is inscribed even as that agency is going forward.
Now I want to test this example and also show you a little bit more about the way semantic drift--but even more than that about the way the perilous relationship between grammar and syntax and rhetoric works. I want to actually try out on you a couple of epitaphs. If language is the epitaph of speech, why not talk for a little bit about epitaphs?
Now my favorite epitaph by far: probably--well, we won't speculate about where such an epitaph might be found, but if and when you come across it walking through a cemetery, it'll probably elicit a chuckle. On the gravestone it says, "I told you I was sick." [laughter] Now this is a very interesting expression for a number of reasons. For one thing, and one should pause over this, one can infer speakers speaking efficaciously, not just one but many. There's plenty of precedent for this in Emily Dickinson and in other writers. The most obvious speaker is the dead person speaking from the grave: "there I was, sitting in the corner all those years telling you I had a headache. You never listened to me" and so on.
That is the most obvious identification of a speaker, but of course the speaker could be somebody else, and I'm not introducing a measure of skepticism in saying this. When we posit an intention, we just decide which of these speakers it is. The speaker could be an apologetic relative, someone acknowledging that they hadn't listened, but with a sense of humor, and so putting in the voice of the dead person the complaint, "I told you I was sick" as a form of apology: "Yes, I know you did, and unfortunately I had to go to the grocery store." [laughter] That, too, can be the speaker.
Well, on the other hand, it could be someone simply moralizing over the grave, which is a frequent habit of the eighteenth century--one of my periods, so I'm familiar with it. It could be a philosopher--right?--saying, "Well, this is the human condition, [laughs] as I kept telling you. I published thirteen books, the whole purport of which was 'I am sick.' I'm Dostoevsky's Underground Man. I am a sick man. I am a very sick man. Well, let it get worse." It could be in this mode that a philosopher is moralizing over the grave, or again it could be a cultural critic. It could be someone in a kind of an allegorical mood inscribing on the gravestone the death of culture. Civilization has been in a bad way for a long time and here finally it lies. The way to communicate this would then be, "I told you I was sick: civilization has ways of letting us know that all is not well with it: we didn't pay any attention, and here is the result."
I would say that all of those ways of reading the epitaph are consistent with hermeneutics. They are consistent with the way in which we can try to come to terms with the intention of a speaker; but suppose we say that "language" must be obtruding itself in this utterance like any other. What would that be? You see, that isn't just a question of sound. It isn't even a question of semantic drift, in this case. It's a question of our suddenly coming to understand the sentence in a way that perhaps no individual speaker would want to give it. It's an allegory, precisely, cleverly introduced by language, about the inefficacy of speech. That's just the problem with speech, isn't it? "Again and again and again I tell you something and you don't listen"--that's the problem with being a lecturer, [laughs] that sort of "I told you I was sick and you--" "Oh, well. He's just joking."
So it is--according to the allegory introduced by language at the expense of speech--with speech in general. It's an allegory about the limits of communication because that's, after all, what the speaker--insofar as there is a speaker inscribing this expression on the gravestone--is concerned about. This person sitting in the corner, complaining bitterly about nobody ever listening to her or to him, is actually an allegorist telling us that that's the way speech is. Speech, in other words, has its limits. In a sense then, when I say language is the epitaph of speech, we realize that if we understand this utterance as an allegory, it is precisely speech that's lying here--the end, as I suggested, of speech's powers of communication as announced or declared by language.
Well, let's try another one: "Here lies John Doe," probably the Ur-epitaph. Supply your own name: "Here lies John Doe." Well, let's not even pause over the speaker there. Let's get immediately to the problems posed by language. In the first place, John Doe obviously does not lie precisely "here," right? In fact, if you think about it, it's altogether possible that John Doe could be absolutely anywhere except precisely "here," because where the sentence is we know John Doe not to be. He could be anyplace else, as I say. So any epitaph is therefore a self-declared cenotaph, an inscription on a place where the body isn't, which of course tells us a lot, too, about the arbitrary nature of language. Language does not hook on to the real world. It doesn't hook on to the body. The one place where language is not is on the body. The one place where language is not is on things. Speech is on things. Speech can be inscribed on a piece of rock.
So "Here lies John Doe," except not here, anyplace but here--which is why, of course, the interest of the word "lies" is so interesting. [laughs] The utterance is a lie, but it's not John Doe who lies. Poor John Doe is just lying someplace. John Doe is not lying, right? It's language [laughs] that's making speech lie, and it's doing it on any number of levels, as we've seen. It's a funny thing about epitaphs, and this has been noted by certain authors writing in the tradition of what we loosely call "deconstruction": the epitaph is a particularly fruitful locus for the study of the ways in which language challenges, undermines, and displaces speech, and as I say, these two examples show more or less the way that works.
So speech lies everywhere except here--I don't mean here!--speech lies because it can never stop being language, and therefore we can never really possibly mean exactly what we say. We can mean what we say, but we can't mean exactly what we say. That's probably the most commonsensical way of putting the matter. When Stanley Cavell poses the question in the title of one of his books, Must We Mean What We Say? [laughter] he is actually offering us the possibility that maybe that's not the be all and end all of speaking, [laughs] that the speech-act situation is more complicated than that. Sure, we all have it at heart as an objective to mean what we say, but at the same time in speaking we are performing, we're acting, as the neo-pragmatist would suggest, and we're doing all kinds of things besides meaning. That really needs to be taken into account, even in understanding what speech can do, let alone in understanding what speech can't do. So it's plausible to say that yes, we can mean what we say; but it's a question--indeed, it's a very insistent question--whether we can mean exactly what we say.
Now you ask--you must ask, because after all it's been our constant guide--you ask, "Does language speak in Tony the Tow Truck?" I know this has been on your mind, and so of course we have to address it. I think there are a few interesting things to be said about that. I spoke earlier in the semester about the parade on the vertical axis, of that vertical axis, called "I." As you read the text, there it is, [laughs] sort of out of Lacan, out of Lacanian feminism, however you look: the phallogocenter right there, I. But now I is never the first word spoken by an infant. That's another lesson of Lacan. I is what you have to learn how to be--maybe to put it in Judith Butler's terms--so that I, insofar as it is this incredible upright pillar starting one sentence after another in Tony the Tow Truck, is a promise of, precisely, agency: the promise of the kind of identity which stands upright, which is a successful simulacrum of what is seen in the mirror, and which then develops into what Freud called, referring to the way in which infants begin to get their way in the world, "his majesty the ego."
So the I has that function, but as I've said, it's a story about friendship, and the I disappears. This, too, I think, can be communicated as relevant to the infant in ways that at the functional level of language can't really be called speech. For example, the friendship exists between Bumpy [pron. BUM-py] and Tony [pron.TO-ny], uh-oh: long before the baby says "I," it says "uh-oh," and that "uh-oh" resonates in the friendship of Bumpy and Tony. Why "uh-oh?" Because Tony is stuck and Tony's natural response to being stuck would be, "Uh-oh." Along comes Bumpy and--"uh-oh"--not only recognizes the problem but takes care of the problem.
Now on the other hand, the problem of self, the problem that's caught up in this vertical I, comes into focus for the infant as the awareness of otherness or that which is alien. That which is irreducible to the self begins to come into focus, and a way of expressing this is to say, "e-e-e-e," which is perhaps in some way or another a mask or a simulacrum of "he-he-he-he." I think it's for that reason that the two antagonists of the story, the unassimilable others who do not help, are called Speedy [pron. SPEE-dee] and Neato [pron. NEE-to]. In other words, that sense of otherness--of that which is intractable, that which cannot be reduced effectively to self--is I think articulated in "e-e-e." In other words, what the infant speaks is not speech, is it? It's language. If you want to hear language in speech, just listen to a baby. That's why nonsense verse has such appeal to young children. They're still hearing language. It's a way of putting Wordsworth's "Intimations Ode." They're still hearing the mighty waters rolling evermore. They're hearing "ohm" where we're all hearing speech.
As I say, ontogeny recapitulates phylogeny. The history of the human species is a history of coming to terms with speech, mastering speech--or, I should say, perhaps, mastering language. Well, so it is in the individual. The individual who is hard wired--isn't he?--for language must somehow or another wrestle that hard wiring in to what we call speech. So the first thing we hear in an infant, and maybe what is most predominant in stories for toddlers and in nonsense verse, is language, which you don't reduce semantically, you don't parse it semantically. Sure, I've just interpreted it into a kind of meaning, but it's a meaning which comes simply from the observation of feelings and noticing what children actually say on actual occasions, which can't really be called speech but is rather a kind of experimentation with language dragging itself toward speech. It's not anything that one would ever really confuse with speech, yet partly an imitation of what is heard in the adult world. That's where you get "uh-oh." But when the adult occasionally says, "Uh-oh," there's nothing like the investment in it that there is in the child for whom it is very often the first articulate sound. It is the encounter with otherness and the attempt to master otherness, as in Freud's story of fort/da, that this "uh-oh" seems to be expressing.
All right. So much for Tony. I'd just like to confuse--I'd like to conclude with three theses. Well, you have to speak very carefully or language obtrudes. I had to say very carefully "three theses," right? And of course I made a mistake just before. I didn't want to say "confuse," did I? [laughter] Notice that "confuse" was not just anything getting in the way of communication. It was precisely what I did not want to say [laughter]--precisely. I could have said anything else, but I said "confuse." That is the Freudian slip that I've been talking about.
Well, anyway, [laughter] three theses about language. First, it never makes sense. Language does not make sense. It's arbitrary. It is a system of arbitrary signs that are not natural signs. You make sense, not language. You make sense by invoking an intention--that is to say, by having an intention--and wrestling language into speech: that is, commandeering language for your purposes. Language doesn't make sense; you make sense.
Language in itself, secondly, says nothing about reality just because it is a system, a code, a system of arbitrary signs. I want to put it two different ways to show you what's going on. You come to terms, as we say, with reality. That is to say, you find the words for reality as you grasp it. Another way to put it is you figure it out. In other words, you come to understand what language is, "I figured it out," but of course in rhetorical theory, "figure" is precisely a figure of speech. You bring to bear figures just as you come to terms. You bring to bear figures on reality. You figure it out.
Finally, to adapt an expression with which you're probably familiar, I'll conclude simply by saying that the road to reality is paved with your intentions, be they good or bad. Thank you very much.


text:
Australians are increasingly managing their own hard earned retirement funds by establishing a self managed superannuation fund (SMSF). With changes to the Superannuation Industry Supervision Act, your SMSF can now borrow to purchase property. All you need to do is set up a SMSF and Bank of Sydney's SuperLend facility can help you do the rest.
*subject to location of the security property


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Late Night Grooves (Las Salinas Mix)
Features of This Trackambient-house soundscapes
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Are you fed up you get a Christmas present every year that you did not want anyway? If so, maybe you have something with the following tips.
You got last Christmas a food processor and a toaster year before your husband a gift and did you prefer something else under the tree found? Then you can of course just your husband say it was meant to love, but this time, you would prefer a different kind of Christmas present. But if that's not your style, you can also try to get the gift of your choice via the following four ways.
Between casually
leave during conversations that go both if not the holidays, in a careless manner shine through what you'd like to find under the Christmas tree this year.
If you go shopping together, then just try to lead him through the one window in which the Christmas gift that you want is located. Stop for a moment and gesture to them how beautiful you find the product.
Do you have any hints dropped by your man, make sure that someone else does? For example, you can tell your mother or girlfriend that you'd like to have this Christmas and let their channeling to your partner.
The most direct way to get the right Christmas gift by making a wish. Address your letter to your dear Santa and make sure you leave it in a place where your husband needs to find it.
Can your husband good catch hint for a Christmas gift, but you still have no idea what you have to ask this year? See the 10 Christmas gifts for women. Because who knows, maybe there is, however, the perfect gift between.
10 Christmas gifts for women
In about two weeks, it's already Christmas. Therefore, now is the perfect time to unveil ten lovely Christmas gifts for women.
"What to get my wife for christmas 2016?" Your husband gave you with a Christmas gift that you did not every year? Make sure it below 10 Christmas gifts for women will face. Because succeeds him up with the following ideas or to find the perfect Christmas gift for you.
But also applies to men: Do not you know what you need with Christmas gift giving the special woman in your life this year? With one of the Christmas gifts is always good.
Beauty Product
Women love to be pampered and therefore beauty products a perfect Christmas gift. For the holidays are familiar brands with a limited edition perfume, new makeup item or a single body product.
Small leather accessories may not be too big in stature, but no less special. For example, choose a cute purse, a chic make-up pouch or an exclusive keychain.
Many women find a good book pure indulgence. This gift also promises a few hours of fun during the cold winter days.
Accessories make a cute outfit perfect. Therefore, may be missing a good bag in any wardrobe. Chanel, Dior, and Louis Vuitton bags are a dream for most women. If this is too much of a good thing, you can choose a beautiful leather copy of a less exclusive brand.
Women like it to have photos of a beautiful memory. A camera is a useful Christmas gift that they can capture all the precious moments.
Marilyn Monroe once sang "Diamonds are a girl's best friend" and these words today are still as real as ever. Many women now hold once glittering stones. But also a jewelry without diamonds is always right under the tree.
Interior accessory
For many women, a charming and cozy home is important. Therefore fall beautiful accessory for the interior also often good taste. Think of candles, candle holders, picture frames, a bowl or a glass carafe.
A scarf is one of the most worn accessories and always comes in handy during the winter months. So you can choose a beautiful warm cashmere scarf or a pretty silk shawl.
Beauty Treatment
After all holidays many women can have some time for themselves to use. A beauty treatment is also a good choice to come, after all, the hustle and bustle of the holiday season, to rest.
Weekend trip
Do you want this Christmas will be unforgettable? Think of a romantic weekend in Venice, shopping in Paris or walking on the Ramblas in Barcelona. Try to figure out what your wife likes romantic weekend and give her this gift.


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Cyprus Internet Directory Search
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"Annual Report on ...
"Annual Report on Executive Branch Actions and Inactions Regarding Greece, Cyprus and Turkey"
Washington, DC — The following Op-Ed appeared in the National Herald, 1-12-08 page 11 and the Greek News, 1-14-08, page 44. Annual Report on Executive Branch Actions and Inactions Regarding Greece, Cyprus and Turkey By Gene Rossides January 8, 2008 This is the first Annual Report on Executive Branch actions and inactions regarding Greece, Cyprus and Turkey. For too long we have been given lip service on our issues. We need concrete actions by the Executive Branch based solely on what is in ...
Cyprus Articles [ Bar review ]
Bar review
Live indie venue delights Napa crowds
The Live Lounge, Ayia Napa
You don't really have to be into indie, mod, new wave or punk to enjoy Ayia Napa's newest music bar.
The Live Lounge prides itself on presenting live, independent music played by musicians with a strong track record both on the live and recording circuit.
And even though it's only been open a few weeks, the bar is proving a hit with punters and marks another first on the Ayia Napa nightlife scene.
You'll find a very mixed crowd here in a lot of respects, ranging from 17 to 45, and they all look like they are having a fantastic time.
In a few ways it's a bit like the old Cavern Club in Liverpool, there are rows of German-style standing tables facing the stage, which is set up with a drum kit, guitars and a row of microphones.
Stepping into the bright blue and yellow lights, The Loud Hailers band last Saturday kicked off their high-energy, indie pop rock set and had the crowd in the palm of their hands within a couple of songs.
The group has just returned from a successful tour of Europe playing to packed houses on a 120-date tour and will be regulars in Ayia Napa all season.
Be warned though, when the gig gets going it's very loud and customers push up to the front of the stage, beer bottles in hand and sing along. Most of the songs were indie, but the performers showed their range by slowing their set down and playing a couple of slower numbers, which gave some balance.
But the atmosphere is fantastic and as the night went on the music got better and better, leading to a top-notch performance.
During the evening you'll hear popular covers from the likes of Kings of Leon, Arctic Monkeys, U2, The Killers, Oasis and even classic tracks from bands such as A-Ha.
The owners promise a full line-up of special guests and events throughout the summer and even publish a gig guide on their website.
Sunday evenings are slightly mellower with special 'unplugged' sessions, while there are weekly appearances by local band The Spokes.
It's also worth mentioning the bar has a fantastic view above Ayia Napa and from the panoramic windows you can see the whole town and the ancient monastery.
The Live Lounge is on Ayia Napa's bar street and really starts to rock at around 10pm every night of the week while the music runs through until the early hours.
The venue also serves bar food, platters and burgers from 7pm.
The Live Lounge
24 Katalympta Street, Ayia Napa
24 726894
(Source: Cyprus Mail)
Copyright © Cyprus Mail 2008 Please contact Cyprus Mail for the copyright terms of this article.
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Kcskyinc necessitava di un nuovo design di logo e ha lanciato un contest su 99designs.
È stato scelto un vincitore tra 149 design presentati da 22 designer.
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Male, 41 years old
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41-year-old Robert N Lester lives in Hurley, VA, but has also spent time in Richlands, VA and Pounding Mill, VA. Hot Rod is his all-time favorite movie. On the web, Robert goes by the alias ipickgrass.


text:
To one of RTF's true characters that makes this place what it is:
Happy Birthday (70th) John Fallon!
To one of RTF's true characters that makes this place what it is:
Happy Birthday (70th) John Fallon!
"A smile relieves a heart that grieves"
- Mick Jagger/Keith Richards
Happy 70th!
lesa c
Ramblin Maxx Retrievers
Happy Birthday Mr. Fallon!!!
"So what is big is not always the Trout nor the Deer but the chance, the being there. And what is full is not necessarily the creel nor the freezer, but the memory." ~ Aldo Leopold
"The Greatest Obstacle to Discovery is not Ignorance -- It is the Illusion of Knowledge" ~ Daniel Boorstin
Happy birthday John!
Last edited by crackerd; 05-03-2013 at 02:59 AM.
a significant milestone......happy birthday!
john mccallie
Happy Birthday!
Happy Birthday Mr. Fallon!
Happy Birthday Mr. Fallon!! Hope it's a great one for you!
Happy Birthday John. I'm close behind!
"Prepare your dog in such a manner that the work he is normally called upon to do under-whelms him, not overwhelms him." ~ Evan Graham
People who say it cannot be done should not interrupt those who are doing it.
― George Bernard Shaw
The Smartwork System for Retriever Training (link)
Happy happy birthday John! Many many more.
FC Tribute to Justice, JH "Honor"
FC AFC Contempt of Court "Ruckus"
Medal Of Honor, QAA "Valor"
HRCH Kirby's High Sierra, SH, QAA "Kirby" Feb. 19, 2002 - Aug. 14, 2014
HRCH Niki Snowbird, SH, QAA "Niki" July 22, 2001 - May 11, 2015
Southland Order In the Court, QAA "Gavel" July 17, 2002- March 24, 2013
Southland Rusty Nail - derby points, qual placements "Rusty"
Disoderly Conduct "Chaos" -qual placements