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Branch, William B., ed., Black Thunder: An Anthology of Contemporary African American Drama, Mentor Books.
This collection of plays by contemporary African-American writers includes Amiri Baraka and August Wilson.
Sewell, Tony, Garvey's Children: The Legacy of Marcus Garvey, Africa World Press, 1990.
Sewell's text provides an historical survey of the influence of Marcus Garvey on civil rights leaders.
Shange, Ntozake, for colored girls who have considered suicide/when the rainbow is enuf: A Choreopoem, Macmillan, 1997.
Shange's experimental play focuses on the struggles of African-American women against racism and sexism.
Wilson, August, Ma Rainey's Black Bottom, New American Library, 1985.
Black Bottom is a critically acclaimed play by the leading African-American dramatist of the 1980s. Wilson's play concerns a female blues singer and the members of her band.
X, Malcolm, as told to Alex Haley, The Autobiography of Malcolm X, Random House, 1975.
This famous biography of the black nationalist...
This section contains 167 words
(approx. 1 page at 400 words per page)


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ST's ECMF™ series offers the industry's first silicon common-mode filters combined with high-efficiency ESD protection. Available in micro-QFN and CSP packages, this series offers ultra-compact form factors and covers high-speed serial interface standards including USB, MIPI, HDMI, DisplayPort™.
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Advanced Pest Control of Alabama can be found at Po Box 2 . The following is offered: Pest Control. The entry is present with us since Sep 9, 2010 and was last updated on Nov 14, 2013. In Albertville there are 9 other Pest Control. An overview can be found here.


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"Bolivia's welcoming of an Iranian official accused of planning and executing a terrorist attack against a neighboring country is outrageous," said B'nai B'rith International President Allan J. Jacobs said.
The Bolivian government apologized to the Argentine government and stated that the Defense Ministry was not aware of Vahidi's affiliation with the bombing. Vahidi was asked to leave the country on May 31.
"I find it hard to believe that no one in the Bolivian government or Defense Ministry knew of Vahidi's connection to this terrorist attack," said B'nai B'rith International Executive Vice President Daniel S. Mariaschin said. "Bolivia's close relationship with Iran, a regime that sponsors terror worldwide, is despicable."
B'nai B'rith, with its deep ties throughout Latin America, has long demanded that those responsible for this attack be brought to justice.


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Great Grafting Gathering
March 12, 2016 @ 10:00 am - 3:00 pm$20
Fruit tree pruning season is upon us! As you prune, remember to save scion wood for the Great Graft Gathering! Bring Apple, Pear, Plum scion wood varieties from your neighborhood. Share and graft on root stock to start new trees! We will demonstrate commonly used grafting techniques that you can try. Select scion wood and rootstock to graft a tree to take home! Semi Dwarf apple, pear and plum rootstock will be available for a nominal fee. Different scion wood varieties will be available from what people bring to share. so please bring labeled scions from any trees you may have access to.
Scion wood should be cut from a section of last year's vegetative growth, up to 12″ or so long and about a pencil-width diameter. Seal the ends with paraffin or tree-seal, or place in a zip lock bag, with a moist paper towel and refrigerate. The idea is to keep the wood dormant and moist until it is grafted. Labeling the variety is very important.
Please RSVP so we can have enough rootstock on hand. If you have a grafting knife or other supplies please bring them along.
Planting your grafted rootstock
Plant your grafted tree so that the graft is, if possible, only a couple of inches above the ground. This will help avoid the burr knots that sometimes form on the EMLA 26, EMLA 7, and MMlll rootstocks. If however, you need to graft higher on the rootstock to match the size of scion and rootstock this is also okay. It is often best to plant the grafted rootstock in a garden or easy to care for area, spaced about 18 inches apart for one or two years before planting the tree into your orchard. Use your fingers or pruners to keep any buds from growing below the graft union. Use a piece of scion wood with 2-4 buds to graft. However choose only one vigorous branch to tie up to start your new trunk and prune off any other branches that start to grow.


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Espavo, means "Thank you for taking your power back." The Espavo Project is a photographic and narrative project developed by FORGE and designed to increase personal healing and empowerment for transgender and non-binary and/or gender non-conforming individuals and loved ones who have experienced sexual violence.
FORGE is a national anti-violence transgender organization that focuses on improving the lives of transgender communities; building strong connections; providing resources; and empowering growth.


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When John Lyons was looking for a place to set up his optical business two years ago, transit access was a top priority. He chose his location in West Lakeview because the Lincoln Avenue bus stops near his business, which is about three blocks from the Paulina Brown Line stop.
"We have a very young patient base; they love public transportation," said Lyons, who runs Lyons Family Eye Care at 3250 N. Lincoln Ave. "I'm shocked that Lincoln Avenue, one of the most vibrant streets in Chicago, would be even considered for a stop of [CTA] service."


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Demi Lovato finds herself running away from love in the music video for her new single, "Heart Attack," released late Tuesday.
The video itself isn't really much of a spectacle — unless you count the whole black paint, inkblot thing she's trying on for size, which doesn't do much to distract from the anxiety trip this video turns out to be.
Really, the whole thing plays out like a cross between her "Skyscraper" video and "Please Don't Go" by KWS (which is a much better video, anyway).
Well, maybe Gwyneth still liked it.
Have a look for yourself in the video, above,then


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Mason Library Dean Irene Herold, shows off the new West Wing Collaborative Media-Enhanced Learning Space to Jamie Martin '13, Amy Derick '13, and Diana Schaller '13.
Thanks to a gift from the Parents Association, Mason Library recently dedicated a new space on the second floor that contains seating for 24 at four media:scape tables with dual flat-screen monitors, an interactive white board, and regular white boards. The tables provide wiring for up to six laptops that can connect and display without the need for additional software.
So, students are no longer limited to a laptop screen or two. Now they can work collaboratively in a larger group on a shared document on one screen while another screen displays further content for consideration. Also, at the touch of a button, multiple students can show and share their discoveries with up to six connected devices at one sitting. This enables students to further develop their team skills – something that will benefit them not only during their time at Keene State College but also later in the workplace.
The collaborative workspace, with its interactive equipment, was originally conceived for businesses as a means of meeting and sharing information. However, equipment like this has found a new home in colleges and universities because of its ease of use and functionality for research and study. The West Wing Collaborative Media-Enhanced Learning Space is the first of its kind to be installed in a library in New Hampshire.
Student learning in an engaging, enriched environment is a strategic priority for Keene State College. So when Patty Farmer, director of Alumni and Parent Relations, heard about a grant proposal the library was working on to create technologically enhanced learning spaces, she brought it to the attention of the Parent Association.
Its president, Richard Schleckser, immediately saw the potential. As a businessperson, he understood that this kind of collaborative workspace would offer Keene State College students what they need to successfully navigate the post-graduation world. It was a very quick three-and-a-half months from proposal to implementation, but Mason Library was determined to have the space in place to welcome the class of 2015. The Parent Association's desire to support projects that benefit all students dovetailed beautifully with the role the library plays on campus.
Students love using the space because it makes collaboration so much easier. A first-year student was overheard saying, "Wow! I hope that I have technology like this in my classroom when I'm a teacher." A geography senior seminar student stated that he liked being able to work together on a project and see the screen while the person typing is working. Another student talked about how helpful this setup would be for peer editing. A senior, who works in interlibrary loan, said he'll want to return to campus often to see what else Mason Library adds after he graduates.
Information Literacy Librarian Elizabeth Dolinger said, "Having the ability for students to share sources they are finding by projecting them onto the monitor screens during the session has changed my teaching and allowed for more collaboration, discussion, and peer-to-peer learning to occur." Not only is this space making a new way of collaborative learning available to our students, but also helping to make our information literacy instruction better.
The more we can engage our students with technologically enhanced collaborative learning spaces, the more successful they will be during their college careers and beyond.
Jointly funded by the Provost/Academic Affairs Office and the Mason Library, the media viewing room has been transformed from a dark, 12-carrel, individual viewing station into a bright, attractive, technologically enhanced space. Room 103 now has a media:scape table, with dual flat screens, that allows four laptops to be plugged in simultaneously. In addition, there's a U-shaped lounge with countertops where laptops can be connected to the back of the lounge pieces. The room seats up to eight on the lounge, includes six stools, and has space for two more chairs.
Seeing it is easier than explaining it, but first-year students on an orientation tour described it well: "The media viewing room looks like a spaceship" command module. "The Starship Enterprise has furniture in the media viewing room."
When asked what they learned about the library, student responses included "We can use the media viewing center to have movie nights," and "You can preview your PowerPoints on a big screen."
A student who came in recently to view a video thought the room was great. "Oh, I want to use that screen!" She had planned to use the TV screen, but instead chose the big screen, using her laptop as a DVD player.
Faculty from several departments have been exploring the space as well. A film studies member commented that the media viewing room, with its dual screens and laptop connections, would provide an excellent space for viewing and critiquing films – particularly with smaller groups. And an ITW faculty member has already used the room to view a film with her class.


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Monday, October 31, 2011
The Resident Playwright in the Offseason
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- ~Shelbie said...
Go, Josh!!!
- November 2, 2011 at 6:53 AM
- Aaron said...
This is just. So. Great. Strong work, brother.
- November 2, 2011 at 8:31 AM
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Search By Standards
This Launchpad looks at the tragic events on 9/11 and all of the heroes who helped Americans recover from that day. It asks students to think, "What makes a hero?"
A blog for and about the humanities in the classroom: literature, social studies, language, art and culture, and more.Take Me There!
Get updates on new lesson plans and other resources.
EDSITEment! is a project of the National Endowment for the Humanities


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Some people cook outdoors year-round, rain or shine. Others wait till the end of May — Memorial Day weekend, often referred to as the unofficial start of summer — to dust off their grills.
Grilling season gets me thinking about robust red wines that pair well with a smoky hunk of meat, or even grilled chicken or vegetables. It's really not difficult to come up with an appropriate bottle — just about any good medium- to full-bodied red will do. But when we fire up the grill, I often open the zinfandel.
That hasn't always been the case in recent years. A lot of zinfandel became so exaggerated that I found the wines exhausting to drink. They were heavy, pruney, sometimes noticeably sweet and too high in alcohol, with some wines approaching 17 percent. Those high-octane wines still are out there, but I've been tasting a lot more zins that are lively and well-balanced. I gravitate toward zins that have plenty of brambly berry fruit, as well as some peppery, spicy notes and perhaps a hint of tobacco.
While a lot of the bruisers can be pretty expensive, those made in a more restrained style often are reasonably priced — a bonus if you're planning a big gathering.
Zin specialist Ravenswood makes some very good, but pricey, single-vineyard wines, but the winery also produces the inexpensive, widely available 2010 "Vintners Blend" Old Vine Zinfandel ($10), which is a medium-weight, easy-to-drink wine. The 2010 Buena Vista Sonoma Zinfandel ($15) is another good buy, with ripe berry, a hint of tobacco and medium weight and tannins, as is the bright and spicy 2011 Kendall-Jackson Vintner's Reserve Zinfandel ($17), made from Mendocino County grapes.
Rancho Zabaco and Dry Creek Vineyard, both in Sonoma County, produce several good zins, including nicely priced county blends. The 2011 Rancho Zabaco Sonoma Heritage Vines Zinfandel ($18) and the 2010 Dry Creek Heritage Zinfandel ($19) are both bright and spicy, with medium tannins.
Ridge Vineyards is known for its zinfandels from Sonoma County and elsewhere, including Paso Robles. Its 2011 East Bench Zinfandel ($28) from Dry Creek Valley is ripe, plump and lively, with fine tannins.
Ridge also excels with zin-based blends. The 2011 Ridge Geyserville ($38), which is about three-quarters zinfandel, is elegant, spicy and brambly, while the less expensive 2011 Ridge Three Valleys ($26) is a little more exuberantly fruity.
Although zinfandel is thought to have originated in Croatia, the group Zinfandel Advocates and Producers, or ZAP, refers to it as "America's Heritage wine." That's because the grape has achieved probably its finest expression here. Historians have documented its existence in the United States as far back as the 1820s, but its popularity really soared during California's Gold Rush, when sturdy wines made from zinfandel grapes sustained countless miners.
Pick of the week
Eos Estate 2009 Zinfandel ($18)
For a local choice to accompany your holiday grilling, consider this medium-weight zin from Eos Estate Winery in Paso Robles. It offers lively berry fruit, notes of tobacco and spice and a somewhat drying finish.


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Collaborators and Funding
The math.epi.lab maintains active collaborations with a variety of infectious disease modeling groups across Canada as well as scientists in provincial and national public health organizations and industry.
- David Fisman (University of Toronto)
- Ashleigh Tuite (Harvard T.H. Chan School of Public Health)
- York University Centre for Disease Modeling
- Jianhong Wu (York University)
- Seyed Moghadas (York University)
- Beate Sander (University of Toronto and Public Health Ontario)
- Ping Yan (Public Health Agency of Canada)
- Tom Wong (Public Health Agency of Canada, University of Toronto & University of Ottawa)
The math.epi.lab currently receives or has received research funding from the Canada Research Chairs program, Natural Sciences and Engineering Research Council (NSERC), Canadian Institutes of Health Research (CIHR), Equine Guelph, Ontario Ministry of Research and Innovation, Ontario Ministry of Agriculture, Food, and Rural Affairs (OMAFRA), and the Public Health Agency of Canada.


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For optimal performance and viewing, the Case Anywhere team recommends the following browsers: Internet Explorer 6+ (PCs), Firefox 1.0.7+ (PCs), or Safari 2.0.3+ (Macs). Installation of Macromedia Flash Player is also recommended for viewing the website, but is not necessary to utilize the full capabilities of the software.
Download Adobe Reader, Internet Explorer, and Macromedia Flash Player for free by clicking on the icons below and following the instructions on the linked pages.


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Daykeeper Journal
by Lorna Bevan on November 1, 2015
During this equinox-solstice period, we enter into larger, deeper awareness than ever before.
by Lorna Bevan on October 1, 2015
We are living in and through an age of deep transformation. What's next?
by Lorna Bevan on September 1, 2015
Supermoons, eclipses—are you ready to walk on the wild side?
by Lorna Bevan on August 1, 2015
Goddesses, it's time for a Sphinx Journey into and out of the depths of our souls.
by Lorna Bevan on February 1, 2015
February—Aquarian gestalt amid the stress of Uranus-Pluto.
by Lorna Bevan on January 1, 2015
The planetary landscape and weather forecast for 2015.
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August—redo, review, renew—and release your true genius!
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Maritime Security Training & Anti Piracy
Maritime Security Training & Anti Piracy consulting for Yacht Captains, Yacht Staff and Personalized Yacht Security Training Courses & Other Maritime Security Staff Training.
This course is intended to provide a broad theoretical foundation of maritime security techniques and anti-piracy awareness while also providing sound tactical training for those that are likely to be providing security services as a secondary function within environments under the threat of piracy or attack. While promoting effective procedures and tactics for a vessel's defense, this course emphasizes proactive awareness combined with ethical and effective escalation of force procedures as your best defense.
Piracy is nothing new but acts of piracy and attacks on American vessels are undeniably on the rise. There were 1.2 acts of piracy committed per day in the year 2011. Now is not the time to be complacent.
We provide Anti-Piracy and Maritime Security Training designed to ensure your staff will have the skills to maintain security through awareness and proactive action in high-threat environments. All courses are taught by highly experienced staff with a background in multi-national training as well as international maritime security experience.
Each student in our Maritime Security & Anti-Piracy Course will be evaluated and required to demonstrate a capability on each exercise which exceeds the minimum requirements we have established for maritime operational security.
The certificates you will receive will indicate that you have met these standards and will serve as a testament to your capabilities as a protection professional in maritime operations.
As recommended by the Maritime Transportation Security Act (MTSA) and the Maritime Coastguard Agency (MCA), we provide the following course topics within our training course.*
- Piracy and Terrorism acts at Sea
- Principals of Maritime Security
- Introduction to the ISPS and SOLAS
- Security at Sea and Port Facilities
- Ship Risk Assessments
- Hostile Environment/Anti-Piracy Awareness
- Piracy Ambush Tactics, Techniques & Procedures
- Responsibilities of the MSDF
- Defensive Plans & Ambush Counter Measures
- Escalation of Force Procedures
- Security Equipment on the Ship
- Personal Defense
- Use of Improvised Weapons & Tactics
- Techniques to Restrict/Control Attacks
- Contingency planning
- Documenting an Attack
- Conduct After Capture (K&R Discussion)
- Firearms Familiarization and EoF procedures
- First Aid/CPR/AED
- Drills on board
*Some topics are considered "As Required". We tailor our course per student base to focus on their needs as well as best practices considering their crew's organization.
If you have any questions about our Maritime Security Training
Please use the form below to submit your request for a Custom Training Program
Custom Training Program Survey
Contact us now – 888-831-0809 or email us at firstname.lastname@example.com
For more information on our Maritime Security Professionals, contact us at: 888 831-0809 or via e-mail at: firstname.lastname@example.com so we can discuss your specific yacht security and security systems or yacht crew weapons and security training needs or concerns. We also provide Maritime Security Consulting, Safe Rooms and Maritime Perimeter Security Systems.
You can call us at 888-831-0809 or email us at firstname.lastname@example.com
*In order to maintain compliance with ITAR&§120.9 registrants may be subject to an identity and legal status verification. Prior to the first day of class, you will be required to provide proof of citizenship or legal status. Additionally, although our courses are open to the general public, if you have a felony conviction on your record, you may face licensing and permit restrictions in most states – this is for your awareness only – Registration fees are non-refundable.*


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13:39 Central Park Tue 12 June 2018
- 265m
- 1st £110, Others £40 Race Total £310
Final Result
Race Details
- Winning TrainerG Andreas
- Winning Time16.45s
- Runners6 ran
- Distances½, 3 ¼, 1, 3 ½, 1 ¼
- Off Time12:39:22
- Forecast£17.11
- Tricast£54.54
Racing Tips
Sunday's racing preview
Anita Chambers is backing Foxtrot Lady to return to winning ways at Pontefract - she has a selection for every Sunday race.
Sporting Life: Daily Nap
David Ord heads to Pontefract on Sunday for the best bet of the afternoon with a Hugo Palmer raider fancied to prevail.
Friday's racing preview
Nick Robson is backing Archie Watson to claim Listed success with Shumookhi at Newbury - he has a tip for every Friday race.
Football Tips
Saturday's Premier League tips
George Pitts brings you the best bets, Super 6 predictions and top stats for each of Saturday's four 3pm Premier League encounters.
Sky Bet EFL betting preview
After five winning tips from six last week, including a 6/1 headline, Tom Carnduff looks at the latest round of EFL games.
Going for Goals Accas!
We've selected accumulators for three popular goals coupons ahead of Saturday's football action in the Premier League and Sky Bet EFL.


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Purnita explores the delicate equation between the two female leads, Nyra Banerjee and Sunny Leone, of the forthcoming film, One Night Stand, releasing on April 29. A Different Truths exclusive.
Nyra is a very beautiful name! The response to the name is unique in its repetitiveness. Meaning 'the beauty of goddess Saraswati,' Nyra also represents the liquid appeal of flowing, limpid water; the innocent, yet tumultuous, deluge of the sea, akin to the surge of utter emotions that rules life.
It is said that the meaning of your name crystallises into your personality, seeping into your very being, so much so that you begin personifying it, explained the new Bong beauty, talking exclusively to Different Truths' correspondent.
Sunny Leone, the globally known adult movies' star and now a Bollywood actress, needs no introduction. But her refreshing warmth and sunny disposition (pun intended) could be something not really spoken about or documented or perhaps even noticed at times.
Unknown to each other and far removed from each other's lives, Nyra Banerjee, a law graduate, born and brought up in Mumbai, and the soft-spoken Sunny Leone met on the sets of their upcoming woman-oriented movie One Night Stand, releasing on April 22, this year. They are the two female leads of the film, representing the two necessary aspects of the subject that has essentially remained a taboo in mainstream Hindi cinema.
Any good film needs conflict and the more dangerously pitted the leads are against each other, more the tension. However, the intensely private nature of the theme of this movie succeeded in creating an intangible thread between the two heroines, an unspoken shared space of feminine bonding, understanding, co-operation, also of mirth and laughter.
Though distinct in their roles, acting methods, backgrounds, upbringing, age, stage of life, etc., – inspite of the healthy competition that goads every player in the field – the genuine goodwill and pleasantly surprising gestures that went beyond the movie, beyond the façade of temporary makeup coats, touched the heart and made moments special. The unique effervescence of those instants etched some beautiful memories that will be cherished long after. And all in the midst of shooting intensely sensitive, emotive scenes.
One such incident, according to Nyra, "During the shooting of an intense action scene, I had sprained my neck muscles. Being highly professional, I was obsessing about how I could save the time of the film unit. As it was becoming obvious that I had to rest awhile and refresh myself, Sunny came to my rescue. She offered to rehearse my scenes so as to demonstrate and help me understand the body movements I would have to do, while I rested my neck."
The quiet absence of ego hassles, or airs as they call them, between two actresses in the same movie, was commendably exhibited during the shooting of One Night Stand.
For a girl living a sheltered life with her parents and sibling; dusting, shopping, and fixing the leaks and fuses at home, when not acting, Nyra's stepping into the bold, thematic movie One Night Stand, directed by a female director, was through an audition in which she qualified, not knowing that she would have to contend with the unnerving aura of Sunny Leone.
Needless to say, for an earnest actress, the inexperience of the acts portrayed on celluloid in her real life would not matter. And it didn't.
Pix and Text by Author
Purnita Banerjee is a Mumbai-based writer. She is almost Bollywood insider. She writes on films and is a foodie.


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This is a flash fiction piece that I wrote and submitted not too long ago. Thanks, Neil. This thing is open for debate- speak your mind.
But, he didn't have the answer. And, somehow, she thought, if I stare at him hard enough, I'll find the answer. Her stare took him apart layer by filthy layer. First, she took his skin and shook it out and beat it like you do a dirty hallway runner. Then she laid it out and, using a critical eye, looked for clues. Like the time he lost the keys to his office an d blamed her for it and they got into that big fight, she found that in there. Then she found the time he lost $386 gambling at the casino and tried to blame it on her and her mismanagement of the checkbook (she was an accountant for chrissakes) and they got into that other big fight. She found other stuff in there too, like the time he sped through that school zone and almost hit a kid, but didn't tell anyone, a lot of stuff like that. But she didn't find what she was looking for. For that she would have to dig deeper. The answer was there, somewhere deep in his bones then, she could feel it in hers. She found that time his father took him fishing and then his father passed out drunk and they floated in the middle of the lake until night, after the mosquitoes had eaten him and his father finally woke up. She found the time his father took the dog out back and beat it with a bat for stealing steaks from fridge. But it wasn't what was she was looking for. She ran her fingers through his entrails, through his veins and squishy brain. She found the time that he was born and his mom and dad were fighting over how much he cost them; they couldn't pay the mortgage, the hospital bill, for the damned diapers. Let's just give him away, damnit! That's not it, she thought. Finally, after enough digging, she found herself floating in the space between his molecules and after enough effort caught an atom between her teeth. She chewed and chewed until she broke it down and found herself floating within its space. And it was beautiful there, that immense nothing. It was peaceful in there, infinite. There it was, so deep inside. She stayed for as long as she could, long enough to appreciate him for his potential. There, deep inside, his peace was forever and there were no more memories, there were no more times. There was only him, and from far away she could feel his heartbeat and wishing she could bring this back with her to show him that it would be ok. She tried putting some this in her pockets, down her shirt, in her shoes, but it leak back out. She had found him deep, deep in there but he wouldn't believe her. And, so they would have another one of those big fights, and she would tell him he was made of better stuff, his potential was beautiful she'd seen it. But he would just stare at her like she was crazy.
Tuesday, March 10, 2009
Layer by Layer
This is a flash fiction piece that I wrote and submitted not too long ago. Thanks, Neil. This thing is open for debate- speak your mind.
Posted by Jesus Moya at 12:18 AM 16 comments


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Know more about this business than we do? Cool! Please submit any corrections or missing details you may have.Help us make it right
Be the first MLive.com user to add photos or videos of Styling by Anita
Styling by Anita is located at 3814 Vista Park, Traverse City, MI. This business specializes in Beauty Salons.


text: I searched and could not find an answer...maybe someone here can help me? I have an R4DS and was wanting to play some NES games. I remember before they were 'squished' and not very playable, but I heard that with the 3 in 1 solution it would correct it. Can anyone point me in the direction of some answers? Thanks!


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Fuller's earth
|This article needs attention from an expert in Rocks and minerals. (August 2010)
Fuller's earth is any clay material that has the capability to decolorize oil or other liquids without chemical treatment.[1] Fuller's earth typically consists of palygorskite (attapulgite) or bentonite.[1]
Modern uses of fuller's earth include absorbents for oil, grease, and animal waste and as a carrier for pesticides and fertilizers. Minor uses include filtering, clarifying, and decolorizing; and as filler in paint, plaster, adhesives, and pharmaceuticals.[1]
The name reflects the historic use of the material for cleaning or "fulling" wool by textile workers called "fullers".[1] In past centuries, fullers kneaded fuller's earth and water into woollen cloth to absorb lanolin, oils, and other greasy impurities as part of the cloth finishing process.
Fuller's earth is also sometimes referred to as 'bleaching clay',[2] probably because fulling whitened the cloth.
Occurrence and composition
Fuller's earth consists primarily of hydrous aluminum silicates (clay minerals) of varying composition.[1] Common components are montmorillonite, kaolinite and attapulgite. Small amounts of other minerals may be present in fuller's earth deposits, including calcite, dolomite, and quartz. In some localities fuller's earth refers to calcium bentonite, which is altered volcanic ash composed mostly of montmorillonite.[3]
In 2005, the United States was the largest producer of fuller's earth with an almost 70% world share followed at a distance by Japan and Mexico. In the United States fuller's earth is typically derived from deposits of volcanic ash of Cretaceous age and younger (glacial clays do not form fuller's earth).[1][2] Fuller's earth deposits have been mined in 24 states.[1]
In the United Kingdom, fuller's earth occurs mainly in England. It has been mined in the Lower Greensand Group and the Vale of White Horse, Oxfordshire. The Combe Hay Mine was a fuller's earth mine operating to the south of Bath, Somerset until 1979.[4] Other sites south of Bath included Frome, Lonsdale, Englishcombe, Tucking Mill and Duncorn Hill.[5] Although these sites had been used since Roman times, William Smith developed new methods for the identification of deposits of fuller's earth to the south of Bath.[6] Other English sources include a mine near Redhill, Surrey (worked until 2000), and Woburn, Bedfordshire, where production ceased in 2004.
Hills, cliffs, and slopes that contain fuller's earth can be unstable, since this material can be thixotropic when saturated by heavy rainfall.
In addition to its original use in the fulling of raw fibers, fuller's earth is now utilized in a number of industries.[1][2] Most important applications make use of the minerals' natural absorbent properties in products sold as absorbents or filters.
- Decontamination: Fuller's earth is used by military and civil emergency service personnel to decontaminate the clothing and equipment of servicemen and CBRN (Chemical Biological Radiological Nuclear) responders who have been contaminated with chemical agents.[7]
- Cleaning agent: In the Indian subcontinent, it has been used for centuries to clean marble. As a good absorbent, it removes the surface of dust, dirt, impurities and stains and replenishes the shine of the marble. It has been used numerous times to clean the Taj Mahal, India with positive results.[8]
- Litter box: Since the late 1940s, fuller's earth has been used in commercial cat litter.
- Motion picture Industry: Fuller's earth has also been used extensively for many years in the motion picture industry for a variety of applications. In the area of special effects, it is used in pyrotechnics explosions and dust clouds because it spreads farther and higher than most natural dirt soils resulting in a blast that looks larger. It is also safer than naturally-occurring dirt, should the blast spray hit actors. Fuller's earth is also widely used by the make-up, props, wardrobe, and set dresser departments because it is considered a "clean" dirt, safer to use around people, and it cleans up easily. However, health concerns in this regard have been debated recently.[9] Fuller's earth is available in small quantities by make-up suppliers for use in making the face and body appear dirty. It is used by props technicians to make furniture look dusty. Wardrobe dressers use a small, loose-mesh cloth bag filled with fuller's earth to dust down clothing to make it look more worn or dusty. Set dressers use fuller's earth to change paved streets into dirt roads, to create dust trailing from a moving vehicle over a dirt road, or to indicate a vehicle trail over untraveled ground.
See also
- ↑ 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 Hosterman, John W.; Sam H. Patterson (1992). "Bentonite and Fuller's Earth Resources of the United States". U.S. Geological Survey Professional Paper 1522. U.S. Government Printing Office.
- ↑ 2.0 2.1 2.2 Nutting, P. G. (1933). The Bleaching Clays. Washington: U.S. Geological Survey.
- ↑ Klein, Cornelis. "Mineral Science" John Wiley & Sons, Inc. 2002
- ↑ A. B. Hawkins, M. S. Lawrence and K. D. Privett (September 1986). "Clay Mineralogy and Plasticity of the Fuller's Earth Formation Bath, UK" (PDF). Clay Minerals. The Mineralogical Society. 21 (3): 293–310. doi:10.1180/claymin.1986.021.3.04. Retrieved 2009-09-05.
- ↑ Mineral statistics of the United Kingdom of Great Britain and Ireland, 1855
- ↑ Macmillen, Neil (2009). A history of the Fuller's Earth mining industry around Bath. Lydney: Lightmoor Press. p. 9. ISBN 978-1-899889-32-7.
- ↑ Survive to Fight, British Army CBRN Publication, 2008
- ↑ "Taj Mahal to undergo mud pack therapy". Times of India. May 11, 2015. Retrieved May 11, 2015.
- ↑ http://www.livestrong.com/article/188651-fullers-earth-health-effects/
- "Mineral Fact Sheet: Fuller's Earth". British Geological Survey. Retrieved 7 August 2009.
- Lotha, Gloria (13 Sep 2007). "Fuller's earth". Encyclopædia Britannica. Encyclopædia Britannica Online. Retrieved 7 July 2015.
- Oxford English Dictionary (2nd ed.). Oxford: Oxford U P. 1989.
Further reading
- Brady, G.S., Clauser, H.R., & Vaccari, J.A. (2002). Materials handbook. (15th ed.) New York: McGraw-Hill.
- Hosterman, J.W. and S.H. Patterson. (1992). Bentonite and Fuller's earth resources of the United States [U.S. Geological Survey Professional Paper 1522]. Washington, D.C.: United States Government Printing Office.


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Call or e-mail to make an appointment.
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Counseling and education services provided in Suite 103.
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The beer company is taking the move to help its subsidiary increase its presence in the highly competitive canned coffee market in Japan, according to company officials.
The canned coffee product, "Fire", will hit the market on Aug. 24. It will be backed by an advertising campaign by Dentsu. Adswill feature soul star Stevie Wonder and two Japanese singers. No advertising budget was disclosed.
Kirin Brewery will help distribute and push sales of the canned coffee to about 60,000 to 100,000 liquor shops with which Kirin Beverage already has ties, while Kirin Beverage will seek to expand sales to 260,000 shops, according to reports in the financial daily Nihon Keizai Shimbun.
The companies have no plans for further marketing cooperation but did not rule out the possibility of another jointly marketed product.
Japanese breweries such as Kirin, Asahi, Sapporo and Suntoryhave affiliated beverage companies and typically do not have joint marketing campaigns for a product from their subsidiaries. 'EuroBusiness' magazine breaks pan-Euro TV campaign
Copyright July 1999, Crain Communications Inc.


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Beyoncé Heard Your 'Crazy' Surrogate Conspiracy
"It wasn't hurtful, it was just crazy."
"That was crazy. It wasn't hurtful, it was just crazy," the new World's Most Beautiful Person tells People. Added her mom, Tina Knowles*: "I thought it was very unfair and very cruel that someone would think that someone would be that diabolical to keep up a charade like that for nine months." Oh, and: "... I even had people ask me, which was so ridiculous."
* An earlier version of this post attributed the second and third quotes to Beyoncé, instead of her mother. She only made the first comment.


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Mr. Lindell has more than 25 years of experience in the high-technology capital equipment sector of the electronics assembly and industrial marketplace. The last 15 years have been focused on imaging and rework technologies that serve process monitoring/control and quality assurance applications within the electronic assembly market sector.
Mr. Lindell has a multi-disciplined background gained from various positions held at companies such as Teradyne Inc., GenRad, Nicolet Imaging Systems (a Thermo Electron subsidiary), Nicolet Instrument Corp., Gould Inc., and Tonka Corp. With a dynamic background in high-tech operations, he has held the positions of Divisional President, Global Sales Manager, International Sales Manager, Vice President of Manufacturing, Vice President of Finance and Corporate Controller.
In addition to his global sales, operational, and full profit and loss experience, Mr. Lindell has been involved with start-up and turnaround situations. He is a graduate of the University of Minnesota and has taken numerous post-graduate courses and seminars in strategic and operational planning, sales management, manufacturing management, and total quality management. He currently resides in La Quinta, CA and splits his time between VJ Electronix�s headquarters in Littleton, MA and traveling to VJE�s global customer base.
About VJ Electronix Inc. focuses primarily on solutions for the electronics industry. The company has an entire line of standard X-Ray inspection and Rework systems for the SMT and semiconductor industry. VJ Electronix also is capable of developing custom solutions from the ground up.


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Directed by Declan Donnellan, this Russian version of The Tempest expands the unique imagination embedded in Shakespeare's original words. The ensemble is not only a sincere display of the complicated humanity, but also fun and daring, challenging the audience's usual perception of theatre and their quotidian experience. Premiered on January 26, 2011 at Théâtre Les Gemeaux in Paris, it was coproduced by Chekhov International Theatre Festival and Cheek By Jowl with the support from Théâtre Les Gemeaux. Since then, it has been touring the world and is well received by the international audience. It finally came to Asia as a key program in Taiwan International Festival of Arts in Taipei in February 2012, with an extra performance in Kaohsiung on February 25, which is the one I attended.
What should be expected when a group of Russian actors perform in Russian a Shakespeare's play directed by an English director for the Taiwanese audience (with only few foreign audiences as I observed)? Interestingly, the local audience welcomed it and responded with a deafening applause, and their immediate reaction to the acting meant they had a good understanding of the action on the stage, even though Russian is in fact alien to them. Supertitle certainly helps resolve the language barrier between Russian and Chinese, but it simultaneously obstructs the aesthetic experience of the audience. Thus how were they captivated by this performance? Did they identify with the representation of the play? If so, what magic trick did the director do to achieve that? How did he cross the language and cultural boundary to charm and challenge his international audience?
A welcoming response from the audience indicates an effective adaptation of the original play. The adaptation entails multiple theatrical elements combined together into a creative ensemble, and its representation is all about the contemporaneity. The acting, particularly the displayed emotions through bodies rather than speech, together with the manipulation of the space and media projections construct an ambience that attracts, shocks, and directly communicates with the audience. Although the actors talk, the story is enacted through the visual representation rather than the spoken language. Indeed, this way of dealing with representation is nothing new now, but it accounts for the good reception of the Taiwanese audience who are most likely neither familiar with the Russian culture and its political reality nor the original play.
|Prospero and his male fairies
© Cheek by Jowl
on the website of Bureau of Cultural Affairs Kaohsiung City Government
Juxtaposing images of contemporary quotidian experience reduces the gap between the literary text, the performance, and the audience. It affords the theatrical space sociocultural implications that further inspire the audience to talk to themselves. This feature corresponds to Shakespeare's unique quality argued by Harold Bloom in The Western Canon. Although this approach is already a cliché in terms of the artistic practice in the theatre nowadays, his being true to tell stories about human beings inserts a strong emotional expression that makes the audience think. He remarks in the interview with Paul Heritage that producing theatre is to show "common humanity" through "the real presence of life," and it happens that old great plays usually reveal something connecting with "apparently modern subjects."[1] Stemming from this ideal, a modern Russian lifestyle of which he and his Russian team conceived during the lengthy rehearsal is represented. This image of modern life is made true through his unique theatre vocabulary combining multiple concepts on theatrical representation developed since modernism: Stanislavskian methods are combined with the Meyerholdian ideal to enhance a clean and precise acting, charged with both psychological and corporeal power; a hybridization of media projection, folk dance, music, and the distinctive social behavior connects Brechtian alienation with Artaudian ideal to directly confront the audience with a question of what human beings are in the twenty-first century. Considering further in terms of Fredric Jameson's view on postmodernism in Postmodernism, or, the Cultural Logic of Late Capitalism, juxtaposition, fragmentation, and hybridization mark this performance as postmodernist, but instead of becoming total nostalgia and pastiche, the ensemble is still quite thematized, and thus innovative and challenging.
His interest in talking about humanity accounts for the emergence of thematization, and it cannot be brought into being without his absorption and modification of new artistic practice. It is this artistic intention and maneuver that revitalizes Shakespeare's aged play to mirror the cold, distant, and confused human relations, criticizing the loss of humanity in the now late capitalist culture. The mature acting mould a real presence of life on the stage, saving this production from becoming a "deadly theatre" as criticized by Peter Brook in The Empty Space. In fact, in response to Aleks Sierz's question of turning something dead into alive, he elaborates that performers are responsible for "death" because their "self-deception" forces the audience to put up with "the inauthentic" rather than experience "the chase for the living moment," and therefore, rehearsal is crucial for him to "minimize the effects of death."[2] But what is authentic in this chase for the living moment? How does he represent that? Exploring these questions means to look deeper into both the structure and content in which certain sociocultural values must be detailed for the audience have acknowledged them in their warm embrace.
In Donnellan's hands, Miranda is the only female character whose personality has been drastically changed. She is now a wild child who knows nothing about the human society; however, she is never innocent. Her interaction with the horrendous Caliban indicates an abnormal relationship, and her sympathy for Caliban has become a bizarre affection. It can be understood since she grows up with him on that isolated island without having seen any other men other than her father and Caliban. Where there are no other men for comparison, her adolescent sexual drive naturally targets on Caliban, who more obviously shows his. Her crazy behavior reveals a lack of upbringing, and this arrangement is more logical comparing with that formal, restricted, and lady-like image in the original play.
Her frenzy is a twisted humanity nourished by her father's indignation against Antonio and Caliban's hatred and self-pity. When frenzy becomes normality due to the total lack of social norms, her addiction to the newly found things (man in this case) only reinforces her crazy behavior, while the frustration from not having the handsome Ferdinand (due to her father's inference) further brings about her schizophrenia. Her adolescent sexual drive has taken over her, becoming an insatiate desire and addiction. Such addiction and schizophrenia are no different from the dilemma modern men face today, though the frustration of the latter, as Anthony Giddens observes in The Transformation of Intimacy, comes from an overwhelming social change forcing one to reconcile based on self-identity to decision-making on lifestyles. This corresponds to Jameson's comment on consumer society in which a free choice is never really free. With the double effects from the market and consumption, the suffering of delusion and paranoia from insatiate desire accounts for that now obvious schizophrenic lifestyle. This new image of Miranda reveals the suppressed human animality, ironically making her more human because it is an exposure of that suppressed modern schizophrenic mental state. Under the surface of modern life exists the crazy craving that disguises itself as a cold mask, but the experienced inner contradiction from decision-making only produces paranoia and delusion. At least she is bold enough to show herself. Her actions become a subtle criticism of modern lifestyle, and her frenzy mocks at those true schizophrenics hiding in the dark in the auditorium.
This enactment of schizophrenic syndrome corresponds to Artaud's second manifesto for the theatre of cruelty in The Theatre and Its Double. He sees theatre as a place of physical expressions where the audience must be forced to experience the true reality and humanity so as to achieve a kind of moral purification. This ideal is embedded in the scene right before the celebration of the unity of Miranda and Ferdinand. She strips to her waist and he completely naked. This naked scene, which shocks the audience no more, implies their transformation to a new identity: she is no longer a wild kid but a lady with the joy of the coming marriage; for him, a transformation from a dandy womanizer to a loyal and loving husband. When lines are only spoken by characters, the story still belongs to the realm of the text, which is rejected by Artaud due to its result of a false reality that only leads the audience to complacency. This identification of the socio-political function of theatre's visual representation aims at the active participation of the audience, and it can only be achieved through a sincerely display of real bodies and objects. It is further realized in the scene where Antonio plotted with Alonso against Prospero. The original play follows the neoclassical structure, and the three unities forbid the actual performance of incidents outside of the structured time and place. This rule is broken here by an actual performance of this vile event, forcing the audience to experience the dark side of humanity. Although Donnellan's arrangement of this sub-plot and Miranda's frenzy does not reach the level of shocking or frightening as desired by Artaud, the performance highlights the unique personalities of characters to enrich the theatrical representation, making the production more easily received by the audience who are unfamiliar with this play and the Russian language.
Nakedness exhibits the beauty of human bodies and generates pleasure, but this is broken by Ferdinand's walking off the stage to the auditorium due to his sudden anger at Prospero's demand for his complete moderation. The more interesting here is the coming out of the stage crew to check what has happened. The whole scene lasts shortly, and when Ferdinand is irritated by Prospero's nagging, he actually leaves his character and becomes himself. This attitude change is swift, and the appearance of the stage crew in fact interrupts the illusion of the audience. Obviously Donnellan follows the Brechtian Verfremdungseffekt, but its use here reveals the "pastiche" feature of postmodernist art, which according to Jameson is an imitation of style without an ulterior motive. The reason for giving this scene is obscure: could it be intended simply to break the pleasurable illusion, or is it used to call for an explanation of Prospero's nagging? None of the characters, including that stage crew, engages in a direct addressing to the audience even though they have temporarily broken off imitation. As a principle of Brecht's epic theatre recorded in Brecht on Theatre, this distancing aims to inspire the audience to criticize constructively from a social point of view. Without an ulterior motive, the style is only an empty form, and this scene becomes what Jameson calls a "play of random stylistic allusion" that reflects the addiction in postmodern culture for "spectacles" or "simulacrum."[3] Brecht becomes a code here signifying the heterogeneous, depthless, and fragmented nature of postmodernist arts.
Although this obvious flaw jeopardizes the representation, the manipulation of the theatrical space and the directorial arrangement save the performance from becoming completely depthless. The performing space is delimited to a comparatively small and almost empty rectangular platform in the middle of the stage. Main events happen within this space, in which Nick Ormerod designs three doors at the back as the entrance/exit for human characters (spirits travel freely without using doors). Also showed here are creative actions, such as hanging Ferdinand upside down behind the central door to signify his floating in the sea after the shipwreck. When the spirits play music, they walk along the edge of this space, obviously showing the boundary between imagination and reality. Hence the reproduced social relations in this delimited performing space are emphasized, and the performing bodies continuously remind the audience that everything is imaginary. This fosters a mental recognition of the difference, which shift the attention of the audience from the storyline to the power relationship between characters. In The Production of Space, Henri Lefebvre asserts that difference and proximity turn the abstract space, or the theatre space, into one that is in the mode of production, and this mental exercise repositions the spatial practice of the audience from a passive observer to an active one who in fact redefines symbolically the meaning of this performing space.
This spatial practice is Brechtian, though without truly following Brecht's principle. It is reinforced in the use of a raised hidden platform behind the top of the background where Prospero oversees actions and showing his domination of the island, also an intersection of knowledge and power. But what is more interesting is Ariel's (as a man in this production) use of this spot. As a dominated role with very limited knowledge of the human world, his presence there shows his longing for freedom, his curiosity about human, and his status as a detached observer of humanity. His gradual understanding of social relations by means of his alienation from the main scene slowly makes him more sensible than those who are submerged in the reproduced vileness, greed, and rage. Therefore, his attitude and action to other characters, such as his despising Caliban, Trinculo, and Stephano, as well as his teasing of Antonio, Sebastian, and Alonso, are no longer about the execution of Prospero's orders, but his own criticism of their twisted humanity. Obviously Artaud, Brecht, and Donnellan all share the concept of making theatre a means to stimulate and inspire by preventing complacency resulting from false theatrical illusions. Artaud shocks them, while Brecht distances and then talks to them directly. Donnellan modifies and combines both: Artaudian actions are integrated into a Brechtian space where the audience are made a part of the formulation of the uneasy social truth. This practice not only permits messages concerning contemporary lifestyles to be planted in harmony with a fantasy world of magic, but also encourages the audience to talk to themselves in their participation in an imagination of renewing existing social relations.
Ariel as the role of the audience is seen again in the scene when Ferdinand is busy moving wood logs while talking to Miranda. Ariel replaces Prospero to be the hidden observer of the lovers, and he is the actual wood log carried by Ferdinand. Not only does he overhear the conversation, he also communicates directly with the audience through his facial expression. Though not a confrontation, a wink tells this scene from pastiche because his function to supervise and his intention to mock afford the form with content. This double representation – both a character and an object, and both a character and an audience – endows the scene of lovers' courting with a light and funny ambience, strengthening the comic nature of this play. Ariel's stiff body is an imitation of the wood log, and this body is full of force coming from the tense but well-controlled muscles. The flexible use of the body as well as the emotional expression are a result of a serious acting training that illuminates the Russian acting tradition set up by Stanislavsky and Meyerhold. The physical force of the male body represents the firm, heavy, and coarse texture of woods, and this use of the male body echoes with Meyerhold's ideal actor who has perfected his biomechanics, which requires performers to present the fine texture of the performed object or character through precise postures and rhythmic movements. But the very subtle display of emotions on the actor's face clearly points to the Method of Stanislavsky, whose performers execute correct physical actions that immediately generate the required emotional conditions. Donnellan's harmonious combination of the two related approaches allows this double representation to take control of the theatricality, eschewing a dull representation of courting.
|Ferdinand carrying Ariel, the woodlog
© Johan Persson
on the website of 2012 Taiwan International Festival of Arts
According to Donnellan in his elaboration of the Stankslavskian acting system in The Actor and the Target, acting training is an exploration of the character rather than becoming the character. In the above-mentioned scene, the male actor is neither Ariel nor the wood log, but one equipped with features of both, also one travelling across the boundary between the self, the character, and the position of the audience. In Fifty Key Theatre Directors, Maria Shevtsova observes that this target training guides his performers to look at the outside world instead of searching from their own memories or experiences, through which they find a target – something concrete they have observed or found in their exploration of the character – that helps them raise a question about and make a decision on portraying the true personality of the character. Miranda's frenzy and schizophrenic behavior exemplifies this training. It also affords his performers the ability to travel freely between the character and the self, as seen in Ferdinand and Ariel. In other words, Donnellan's target training helps performers exhibit true humanity, more complicated and self-contradictory, and this exhibition of humanity corresponds to Shakespeare's original intention.
Another example of this use of target method in building up a scene is the actual performance of the conspiracy between Antonio and Alonso to usurp the dukedom of Prospero. The conspiracy is treated as a target by Prospero and Miranda whose emotional expressions not only highlight the vicious nature of this incident but also legitimize Prospero's vengeance. Through Prospero's magic, this scene becomes a play within a play. The vicious mind and the cunning behavior are not directly shown through Antonio and Alonso. Their interaction on the stage tells what had happened rather than perform the stereotyped features of bad guys. It is Prospero's rage and disappointment that reveals their cunning, and also the intimidated response of Miranda that bestows the viciousness on them. With mature and powerful acting, the representation of this terrible memory once again corresponds to Artaudian and Brechtian ideal, and its form further resembles the technique of Montage in films. The overlap and juxtaposition of scenic spaces details the reason of Prospero's revenge, which in return helps the audience perceive better the goodness in humanity in the end when Prospero relinquishes his hatred.
Originally, this scene is planned to quickly tell the background, but Donnellan expands it to become a play within a play, highlighting the notion of magical fantasy and the emotional intensity. Juxtaposition in Jameson's criticism is a distinct feature of the postmodernist artistic practice. It rejects the dominant position of masterpiece and the inevitable thematization, which generates a totality of meaning intrinsically in opposition to the nature of postmodernist reproduction in which meanings should be liberated rather than transmitted linearly in the sociocultural context of communication. Its aesthetic value resides in creation as a process of reproduction that allows the audience to take up the position as the author and afford the work multitudinous meanings. Roland Barthes remarks in Roland Barthes par Roland Barthes that it is the presence of the body that makes theatre attractive, not the representation constructed through words. Hence in this scene the juxtaposition of bodies in different layers of representation not only exhibits the negative feature of humanity that is both archaic and modern, but also exemplifies the postmodernist aesthetics. Rather than directly tell the audience that this is a conspiracy, performers vividly show what lies behind this conspiracy: rage, disappointment, sadness, jealousy, deception, cunning, greed, intimidation, and fear. The simultaneous presence of bodies and emotions forms a strong theatricality that speaks for the postmodernist textualization as well as the authorship of the audience.
Juxtaposing multifarious presence is more clearly revealed against the large and oppressive projections, which turn a scene into an ambiguous battlefield in which interrelated sociocultural messages co-exist. When the drunken Stephano and the jester Trinculo are both charmed by Ariel, the projection of a high-fashion boutique cooperates with a garment rack full of trendy clothes and the credit card terminal to represent our modern consumer society. Following Artaudian and Brechtian concept, it should force the audience to confront with their own material desire and the schizophrenic behavior to seek and own the latest fashion. However, the comic acting complicates this representation and affords it with another contradictory meaning. Although the exaggerated greed and delusion pinpoint a schizophrenic mental state that at the same time mirrors the modern consumers, their hallucinated bodies in fact confirm the pleasure of consumption. With this comic acting, they become delusional but content and powerful but frightened. The criticism on modern lifestyle is suddenly bereft of its seriousness and replaced with a lighthearted ambiance to celebrate the late capitalist consumption. This ambiguity indicates the demanded open meaning in the postmodernist aesthetics, and the scene only displays a condition that has never been concluded. Hence the representation, when viewed in terms of the concept of totality, becomes a simulacrum and also a fragment in the process of reproduction.
This ambiguity has been criticized as the problem of the postmodernist representation in which nothing except a depthless image is provided. Certainly theatre should be more than a shallow image, and Donnellan's incorporation of thematization into the postmodernist contextualization marks his awareness of this problem. A sincere exhibition of humanity is his antidote, and among all characters, Trinculo's effeminate personality and stereotyped camp gestures are particularly striking for this character implies the sociocultural view of homosexuality. A sensitive audience would have sensed a homosexual stance when seeing an all-male cast, although using males to present spirits without altering their names may intend to tell that they are originally asexual. In her analysis of this arrangement of an all-male cast in As You Like It (1991), Shevtsova believes that it is neither a Shakespearean convention nor gay pride, but "a celebration of sex and gender ambiguities and of love."[4] But in this performance the reference to homosexuality cannot be easily ignored or replaced with a general concept of love. Giddens remarks that the representation of sex and sexual orientation is always an expression of power relations, and Jameson also states that homosexuality is one of the key concerns and always a political issue thematized abstractly and artistically for re-examination in postmodernist art. In Donnellan's hands, camp is transformed into an "aesthetic sense," and as analyzed by Susan Sontag, this aesthetic sense "neutralizes moral indignation," "sponsors playfulness," and the more important is that it makes possible the integration of homosexuality into society.[5]
|Camp Trinculo (left) and drunken Stephano (right)
© Johan Persson
on the website of 2012 Taiwan International Festival of Arts
When considered in terms of comic effects, Trinculo's exaggerated camp gestures certainly contribute to the absurd expression of this character. Gay, with its historical background of being repressed, has now been unavoidable in contemporary culture. Although there are counter-voices, primarily based on the biased religious moral condemnation, pop culture is inseparable from gay culture. Since Trinculo's being gay is too obvious, the projection of homosexuality between other characters becomes highly possible. These possible homosexual relationships are not explicitly expressed, but the interaction between performers signifies a relationship that is beyond friendship. Implying homosexual relationships is also a mediator to balance Trinculo's overly stereotyped gay image, preventing the portrayed gay feature from becoming a naïve mockery of gay culture. While Trinculo is flamboyant and feminine (a twink), Stephano is a rugged man with dominant and violent demeanor (a bear). By paring them up as a couple-like duo, not only is this homosexual relationship implied, popular fantasized sadomasochism (master/slave) in the gay sub-culture is also hinted. Although no physical intimacy is shown, Trinculo's interaction with Stephano turns him into a hysterical and intimidated lover who in fact enjoys his inferior position.
This dominant-dominated relationship is hinted again and linked with the Electra complex between Prospero and Ariel. When Ariel asks Prospero whether or not he is loved, his deep affection for Prospero – which is unique since he is a spirit without sex and humanity – highlights his vulnerable position against Prospero's dominant father-like figure. This affection obscures his total obedience to Prospero's cruelty. Redefining the relationship between characters becomes a technique for Donnellan to modernize this play. Antonio is still vicious and cunning, but when he confronts Sebastian with the intended murder of Alonso, his sudden tenderness reveals his caring for Sebastian. Both are young, handsome, manly, and single, but Sebastian submits willingly to Antonio. The interaction between the two not only indicates their intimacy but further brings about that dominant-dominated relationship. Antonio's physical threatening at the end seems to produce a violent kiss on the stage. It may be a visual illusion due to the angle from my seat, but their physical contact is charged with a distinct sexual tension.
Camp gestures, the implied homosexuality, and the tension from power relations are clearly thematized, but thematization contrasts with the postmodernist aesthetics as observed by Jameson. In Donnellan's hands, this contradiction becomes a unique aesthetic hybridization. Considering in terms of the postmodernist intertextuality and contextualization, this thematization in fact pinpoints the postmodernist feature since it is positioned at the same level as other artistic means, styles, and media in the production of representation. It is this use of thematization that minimizes the problem of fragmentation and the consequent depthless or meaningless display of simulacrum. However, fragmentation is inevitable when thematization is no longer considered the only purpose and end result for art, and it complicates meanings in the representation when the applied media are essentially equipped with a strong historical allusion and cultural significance. As seen in the end when the union of Miranda and Ferdinand is celebrated, the festive ambience of the celebration is incompatible with the projections that are essentially political and nostalgic.
This celebration is a kaleidoscopic visual spectacle. The used projections include a documentary of a ceremonial military parade before the disintegration of the Russian Communist regime and a clip from the communist propaganda film showing the festive mood in a good harvest on the field. Obviously both projections deliver the message of joy and celebration, and the harvest corresponds with the presence of the goddesses of marriage and fertility (all males). However, the nature of both projections is political, and their political stance is intertwined with the nostalgic ambience, which is in contrast with the representation of a contemporary lifestyle that is constructed by a schizophrenic and complicated human relation. That nostalgic ambience indicates that life is better in the old days, and this concern has been introduced earlier when one character uses his socks – one with a hole, while the other is intact – to imply the economic inequality in modern Russia. But the actual performance of this celebration speaks for the triumph of modern Russia in which one is free from political suppression and is capable of pursuing happiness through money and free will. These two messages are parallel and contradictory. One celebrates contemporaneity, while the other looks back at the communist society, but none of which is subordinated to the other since both are simply displayed without any historical allusions being clearly uttered.
Right after the projections comes a traditional Russian folk dance. This folk dance complicates the already ambiguous scene and clearly shows the problem of postmodernist representation. It is intended to strengthen the festive mood and tell the audience that this is Russian (traditional clothes and dance movements), but the disco tempo and lighting and the psychedelic projection at the background cancel the reference to traditional Russian culture, generating a happy, lively but overwhelmingly strange ambience. Although the dance is executed perfectly, the sudden appearance of this ambience isolates it from the projection and the acting. The dance becomes a decoration that alters the appearance of traditional Russian culture. The whole scene is a hybridity that shows a glossy but specious image of Russia in which nothing is confirmed except confusion and uncertainty. This new image breaks the totality of the scene, and meanings depend on how the audience will it. According to Jerrold Levinson, there is a thin line between artistic hybridization and arbitrary melange. He clarifies that the former is a creative play of symbols for "an image of richness and complexity" and for "the one" to be seen in the many, while the latter produces "a kind of cognitive overload," resulting in a failure of representation.[6] Because of fragmentation, the representation is only a simulacrum, which in Jameson's view is "an allusion to a present out of real history" and also "a past removed from real history."[7] This problem can be accounted for in terms of the preference for spectacle (to show a glamorous modern lifestyle) and the rejection of totality (to confirm meaning as essentially boundless). Although Donnellan has been using thematization to pinpoint his perspective on humanity and human relations, when it comes to the scene for celebration, he falls into the trap of the postmodernist practice. The whole scene is thus decentered due to "a radically different practice of signs,"[8] which defamiliarizes the aesthetic experience of the audience, forming a structural distraction that sees the representation as a sheer depthless image.
Suddenly lighting up the stage and the auditorium stops this visual spectacle and breaks the confusion or illusion, and it further cancels any possible representation. Not surprisingly, this postmodernist artistic practice owes its debt to Brecht. The sudden interruption forces the audience to acknowledge that they are witnessing an actual cultural production. However, the multiple messages embedded in this scene create a problem for interpretation. Neither Artaud nor Brecht proposes a theatre without a theme. Their theatre is highly political with an ideal to make changes to both artistic practice and the reality. It is absent here, and the postmodernist ideology obviously overpowers the modernist one. It cannot be denied that the postmodernist artistic practice gives a new look to this old play, but it also confirms the criticism made by Jameson. Does not this fragmentary representation together with the co-existing messages resemble the contemporary schizophrenic lifestyle? Interestingly, thematization still exists in other parts of this performance, and it maintains an effective representation, conveying certain sociocultural messages that need to be looked at. It results from Donnellan's intention to talk about humanity, and this approach in fact fixes the problem of the postmodernist representation. It would have been more challenging if this thematization was carried through in the display of the mental conflict in that visual spectacle combining the image of traditional, communist, and modern Russia. This thematization is the reason why Donnellan's postmodernist production can still be true to Shakespeare, and thus somewhat unfit for Jameson's paradigm of postmodernist arts.
[1] Declan Donnellan, Nick Ormerod, and Paul Heritage, "Declan Donnellan and Nick Ormerod," in In Contact with the Gods?: Directors Talk Theatre, eds. Maria M. Delgado and Paul Heritage, 79-92 (Manchester: Manchester University Press,1996), 84-5.
[2] Declan Donnellan and Aleks Sierz, "Declan Donnellan and Cheek by Jowl: to Protect the Acting," in Contemporary European Theatre Directors, eds. Maria M. Delgado and Dab Rabellato ,145-164 (Abingdon, Oxon: Routledge, 2010), 158.
[3] Fredric Jameson, Postmodernism, or, The Cultural Logic of Late Capitalism (Durham: Duke University Press, 1991), 18.
[4] Maria Shevtsova, "Declan Donnellan," in Fifty Key Theatre Directors, eds. Shomit Mitter and Maria Shevtsova, 231-236 (Abingdon, Oxon: Routledge, 2005), 233.
[5] Susan Sontag, "Notes on Camp," in Against Interpretation, 275-292 (London: Vintage, 2001), 290.
[6] Jerrold Levinson, "Hybrid Art Forms," Journal of Aesthetic Education 18, no. 4 (winter 1984): 11-3.
[7] Jameson, Postmodernism, 118.
[8] Ibid., 123.


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On the subject of nutrition, I think we should have a curry night in December so I must check with Leon when he`s back from France
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The Sneaky Hand
• A secret society that you're already a part of if you enact mischief on a system AND empower up your neighbor. Performing with Mad Anthony.
7 p.m. • The Honest Pint, 35 Patten Pkwy., (423) 468-4192, thehonestpint.com
6 String Suga Daddy
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8 p.m. • The Acoustic Cafe, 61 RBC Dr., Ringgold, GA., (706) 965-2065, ringgoldacoustic.com
• soCro (a.k.a. Southern Croat) takes electronic elements of the European club scene and blends them with Southern hip hop. An innovative musical experience that has to be heard to be believed.
10 p.m. • JJ's Bohemia, 231 E. MLK Blvd., (423) 266-1400, jjsbohemia.com


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On the Water: Enjoying the first cool front of the season
November 3, 2016 Our first real cool front that brought a couple days of strong north winds arrived over the weekend. Fishing ahead of the front was good despite breezy days. more »»
Fort Myers High School girls basketball team holds car wash to fund upcoming tournament
October 26, 2016 The Fort Myers High School girls basketball team has picked up some bragging rights. The team was invited to compete at the elusive Nike Tournament of Champions in Arizona Dec. 18. more »»
On the Water: Fishing during and after the storm
October 19, 2016 As Hurricane Matthew ripped up the east coast of Florida, we were lucky on our side of the state. With the exception of a couple breezy days, we were pretty much unaffected. more »»
CROW Classic Golf Tournament hole-in-one offers chance to win motorcycle
October 12, 2016 This year's annual CROW Classic Golf Tournament is featuring the opportunity to win a Harley-Davidson 2016 Dyna Street Bob black den if a "hog-in-one" is made on The Sanctuary Golf Club course. more »»
Tennis tournament to benefit Ronald McDonald House
October 12, 2016 "Playing to Keep Families Close," a round robin tennis tournament, will be held at Beachview Tennis Club to benefit the Ronald McDonald House next month. The tournament, scheduled Saturday, No. more »»
On the Water: October is a great month for fishing
October 12, 2016 This is a refreshing time for anglers around South-west Florida. After a long hot summer, we will finally see some relief with cooler days and a drop in humidit. more »»
On the Water: Goodbye summer — fall fishing begins
September 28, 2016 With waters cooling down ever so slightly, fish are becoming more active throughout the day. more »»
On the Water: Mixed results on the water this week
September 21, 2016 Overall it was a good week on the water with plenty of sunshine and a light to moderate breeze on most days. more »»
On the Water: Hermine disrupts the local fishing
September 14, 2016 Thanks to Hurricane Hermine, fishing around our waters came to a standstill for the better part of the week. more »»
On the Water: Snook season to reopen in September
September 7, 2016 Snook is a Southwest Florida game fish that is known for its unparalleled fighting ability, tenacity and great table fare. more »»
Sundial Resort holds first USTA sanctioned tournament
August 31, 2016 Sundial Resort on Sanibel is gearing up to hold its first USTA sanctioned tournament for the Southwest Florida Clay Court Championships Sept. 23-25. more »»
On the Water: Full moon sparks some good fishing
August 31, 2016 A full moon brought strong tides over many days that helped offset the summer heat as anglers reported overall good fishing. more »»
On the Water: Rainy days spark some better fishing
August 24, 2016 Over the week we experienced some days with typical summer heat, but also a good amount of rain, including a day or two with rain and no sunshine most of the day. more »»
On the Water: Unsettled weather brings mixed results
August 17, 2016 Unstable weather brought rain and thunderstorms throughout the past week often making unsafe and difficult fishing conditions. Anglers that fished ahead or around the storms reported decent fishing. more »»
On the Water: Fishing during the dog days of August
August 10, 2016 August in Southwest Florida means hot sticky days, plenty of rain and often thunderstorms. If you don't mind working around the weather, the fishing is often pretty good and competition is scarce. more »»
Captiva Island Yacht Club Junior Sailing Camp helps kids learn the ropes of sailing
August 3, 2016 The Captiva Island Yacht Club established its junior sailing program seven years ago. The two-week program, which runs July 25 to Aug. more »»
On the Water: Shallow water snapper — fun to catch, great to eat
August 3, 2016 When we think summer inshore fishing around Southwest Florida, we generally think tarpon, snook, redfish, but seldom mangrove snapper. more »»
On the Water: Slightly cooler days heat up fishing
July 27, 2016 A slight breeze in the mornings and afternoon thunderstorms gave us a little relief from the scorching heat the previous week. more »»
On the Water: Hot days on the water make fishing a challenge
July 20, 2016 Extreme heat kept many anglers off the water over the past week. The few that did venture out found fishing wasn't too bad at times. more »»
On the Water: Beat the heat to catch the most fish
July 14, 2016 Summertime weather with calm seas and blue skies gave anglers a host of fishing opportunities over the week. Inshore fishing was hit or miss as many anglers reported over the week. more »»


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Published: 2006/12/23
by Randy Ray
- Jamband Cinema The Year in DVD Review
_Hes a wonderful guy, but his instincts are to flatten everything, be well liked. _ – Julia Phillips, Youll Never Eat Lunch in This Town Again
_I dont know. Im making it up as I go along. _ – Indiana Jones, Raiders of the Lost Ark
Contrary to my remarks in my opening DVD editorial salvo in November, there will not be a writers roundtable of Best of 2006 lists. Instead, Ill save that discussion amongst peers for later in 2007 and in a different format. This month, Ill offer my own thoughts for the year in review and leave the onslaught of old and new writers for next month.
Initially, my overview of the DVD releases for 2006 is not good. Too many bandsfrom heady upstarts to jamband giantsuse the format as an opportunity to release a live show without much concern for art, longevity or anything else but a handy home movie to show folks what theyve been missing. Have a little fun with the film; throw in some animation, nutty backstage and bus footage; if in doubt, check out Umphrey McGees excellent Wrapped Around Chicago DVD from 2005 as it represents an excellent example of how to extrapolate beyond the stage for fun and insight. Having said that, because of the ubiquity of the format, there were a few that used their allotted cinematic time wisely in 2006. Here is a brief sampling for your viewing pleasure based upon their eccentric albeit proper usage of film i.e. ITS SUPPOSED TO BE ART, STUPID!
FIVE 2006 Music DVDs to Seek Out (in random order)
Tea Leaf Green Rock n Roll Band the pure artlessness of their appearance and onstage persona serves to enhance the on-and-off stage material, portraying a band that understands the subtle necessity of a quality studio album and a kick ass live show.
Phish Live in Brooklyn one of the few exceptions to the rule: some bands CAN just film their gig and get away with itthe opening tune, A Song I Heard the Ocean Sing is reason enough to ask for a reunion. Plus, Trey teases Fluffhead in an easter egg.
Coachella there isnt a shred of jam implicit in this festival but damned if they dont get it right on film by portraying an event that is both improvisatory and mindbending. The kids dig it, too which used to be important in the sway of musics immortal pendulum.
The JamCam Chronicles every release has been superb. SUPPORT these cats.
Traffic The Last Great Traffic Jam a veritable hodgepodge of latter period material is edited in a wonderfully schizophrenic motif that enhances the 60s vibe that was so important to their timeless presentation. Captain Trips also makes a low-key appearance.
_- Randy Ray stores his work at www.rmrcompany.blogspot.com. _


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Voteview allows users to view every congressional roll call vote in American
history on a map of the United States and on a liberal-conservative
ideological map including information about the ideological positions of
voting Senators and Representatives. The original Voteview of DOS was
developed by Keith T. Poole and Howard Rosenthal at Carnegie-Mellon
University between 1989 and 1992. Poole and Rosenthal developed Voteview for Windows in 1993 at Princeton University and that work was continued by Boris Shor. The legacy version of the website is available at legacy.voteview.com.
The new voteview.com combines the visualizations provided by the now obsolete Voteview desktop system, data and NOMINATE estimates provided by the old voteview.com web site, and up-to-date voting data from the current Congress with new search, download and visualization functionality.
Ideological positions are calculated using the DW-NOMINATE (Dynamic Weighted NOMINAl Three-step Estimation). This procedure was developed by Poole and Rosenthal in the 1980s and is a "scaling procedure", representing legislators on a spatial map. In this sense, a spatial map is much like a road map--the closeness of two legislators on the map shows how similar their voting records are. Using this measure of distance, DW-NOMINATE is able to recover the "dimensions" that inform congressional voting behavior.
The primary dimension through most of American history has been "liberal" vs. "conservative" (also referred to as "left" vs. "right"). A second dimension picks up differences within the major political parties over slavery, currency, nativism, civil rights, and lifestyle issues during periods of American history.
The technical details of the DW-NOMINATE model can be found in Poole's Spatial Models of Parliamentary Voting. Poole and Rosenthal's Ideology and Congress explores the nature of voting in Congress and the political history of the United States through the lens of the ideological dimensions recovered by DW-NOMINATE and is a useful companion to this site.
UCLA's Department of Political Science and Social Science Computing host and maintain NOMINATE score data and voteview. We welcome feedback, questions, and media enquiries concerning this project.
Jeffrey B. Lewis
Professor, University of California Los Angeles
Keith T. Poole
Philip H. Alston, Jr. Distinguished Professor, University of Georgia
Professor Emeritus, University of California San Diego
Howard Rosenthal
Professor of Politics, New York University
Roger Williams Straus Professor of Social Sciences, Emeritus, Princeton University.


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OMICS International organises 3000+ Global Conferenceseries Events every year across USA, Europe & Asia with support from 1000 more scientific societies and Publishes 700+ Open Access Journals which contains over 50000 eminent personalities, reputed scientists as editorial board members.
Foodborne disease is a pervasive problem caused by consumption of contaminated food and drink. More than 200 pathogens are associated with the disease. An estimated 76 million cases occur annually, resulting in 300,000 hospitalizations and 5,000 deaths.
Foodborne disease can be caused by bacteria, parasites, toxins, and viruses. Cultural and demographic factors, as well as increased mobility, have resulted in major epidemiologic shifts in foodborne disease during recent decades.
Most foodborne disease is self-limited and requires only supportive care. The very young, older adults, immune compromised patients, and pregnant women may benefit from antibiotic treatment for certain bacterial or parasitic infections. Drug-resistant pathogens require knowledge of regional, national, and international patterns of resistance to allow appropriate empirical selection of therapy.
It is estimated that each year in the Italy,around a million people suffer a foodborne illness around 20,000 people receive hospital treatment due to foodborne illness there are around 500 deaths caused by foodborne illness it costs us nearly ?1.5 billion


text: Hi i'm from germany and I started selling stuff trough the internet, now i'm making a decent amount of money and paypal asked for my tax informations. I was wondering if anyone here also started an internet company in germany and have an advice for the best company type. Thanks


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This three card set was issued in a sealed cello pack to dealers and hobby media several weeks prior to the products release. The cards have a "P" prefix so they can be differentiated from the regular cards.


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M Com- PGDM
The Department of M Com - PGDM offers a regular Master of Commerce programme coupled with Post Graduate Diploma in Management. Post Graduate Diploma in Management (PGDM) is offered as a value addition to the regular M.Com programme. MCom-PGDM is a unique two year full time PG Programme with dual specialisation in Finance & Management. It is specially designed to equip the students with necessary managerial and entrepreneurial skills required for handling the business, particularly in managerial field by adding more inputs with case study concepts, soft skills and methodologies from a global set of standards with strong industrial interface. It also improves professional effectiveness among the participants which helps them to respond positively to the economic, social and organizational challenges arising from the technology advancement and impact of globalization.
Marian College Kuttikkanam (Autonomous) is accredited by the Institute of Chartered Accountants of India (ICAI) for conducting oral coaching classes for Professional Competency Course (PCC). The Department of M Com - PGDM is coordinating the training programme.
- Last Five Years: 1. University rank
- Grade (2013 onwards): Two A Grade
- Intensive Coaching in UGC-NET and Bank Test
- Every year National Conferences on Relevant Topics
- Every year Research Methodology and SPSS Workshops
- Daily Current Affair Analysis & Weekly Review, enhancing the competency of the students
- C-Mart - An Entrepreneurship Venture started by the department to promote entrepreneurial talents of Students
- 100% Placement to the students
- Pass Percentage in last four Years: 2011-100%; 2012-100%; 2013-94%; 2014-87.5%
- Regular industrial visit and social outreach programs
- Passed UGC-NET Exam in last five years: 9 students
- Last Five Years: 1. University rank
- Grade (2013 onwards): Two A Grade
- Passed SET Exam in the last five years: 7 students
- Live project at Idukki district on Topic "Empowering the villages by Financial Inclusion" and presented it in the National Conference
- Academic Qualifications
- Ph. D holders : 2
- M Phil: 1
- Two are Research Guides of MG University and produced 13 Ph.D and 13 in progresses.
- Major Research Project : 3
- Minor Research Project : 2


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A slander lawsuit must meet certain conditions to be considered valid by a court, according to Nolo. The slander must be false, injurious, unprivileged and published, which can mean merely that it was heard or seen by another person.Continue Reading
Slander is one of two types of defamation, and it refers to defamation that is committed orally. Libel is written defamation, and it is considered more serious because it is more pervasive, explains Nolo. Legally, for slander to be published does not mean it has to be printed. Published, when referring to slander, means that the defamation had to occur in a public venue where a third party heard it. This can include defamation made through speeches or loud conversation. A statement also needs to be proven false to be considered slander. Opinions in general cannot be considered slander because they are subjective and cannot be proven to be false.
Because the main point of defamation law is to protect the person in question from injury, a statement needs to be proven to have caused harm for it to be considered slander, notes Nolo. Examples of such harm include the loss of a job, alienation from the community, or other types of harassment caused by the slander. The statement must also have been made by an unprivileged source. Legally, certain types of speech are considered privileged, such as a witness testifying in a trial, and cannot be considered slander under any conditions.Learn more about Law