text:
The Orthodox Church sees the celebration of the Eucharist as a continuation, rather than a reenactment, of the
Last Supper
, as Fr. John Matusiak (of the ) says: "The Liturgy is not so much a reenactment of the Mystical Supper or these events as it is a continuation of these events, which are beyond time and space. The Orthodox also see the Eucharistic Liturgy as a bloodless sacrifice, during which the bread and wine we offer to God become the Body and Blood of Jesus Christ through the descent and operation of the Holy Spirit, Who effects the change." This view is witnessed to by the prayers of the
Divine Liturgy
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, when the priest says: "Accept, O God, our supplications, make us to be worthy to offer unto thee supplications and prayers and bloodless sacrifices for all thy people," and "Remembering this saving commandment and all those things which came to pass for us: the cross, the grave, the resurrection on the third day, the ascension into heaven, the sitting down at the right hand, the second and glorious coming again, Thine own of Thine own we offer unto Thee on behalf of all and for all," and "… Thou didst become man and didst take the name of our High Priest, and deliver unto us the priestly rite of this liturgical and bloodless sacrifice…"
The Sanskrit
, modern Hindi pronunciation:
) is often translated as "sacrifice" (also "offering, oblation", or more generically as "worship").
It is especially used to describe the offering of (clarified butter), grains, spices, and wood into a fire along with the chanting of sacred
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. The fire represents , the divine messenger who carries offerings to the Devas . [15] The offerings can represent devotion, aspiration, and seeds of past karma. In Vedic times, yajna commonly included the sacrifice of milk, ghee, curd, grains, and the soma plant—animal offerings were less common. [16] In modern times, yajna is often performed at weddings and funerals, and in personal worship. Sacrifice in Hinduism can also refer to personal surrender through acts of inner and outer worship. liser Fine High Leather Shallow Mouth Thin Slipper Many Kinds Of Sale Online Best Sale Cheap Online Amazon For Sale Limited New Quality For Sale Free Shipping 3vjhyUipF
An animal sacrifice in Arabic is called
(ذَبِيْحَة) or
(قُرْبَان) . The term may have roots from the Jewish term
; in some places such as in Pakistan,
is always used for Islamic animal sacrifice. In the Islamic context, an animal sacrifice referred to as
(ذَبِيْحَة) meaning "sacrifice as a ritual" is offered only in
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. The sacrificial animal may be a sheep, a goat, a camel, or a cow. The animal must be healthy and conscious. ..."Therefore to the Lord turn in Prayer and Sacrifice. " (Surat Al-Kawthar) Quran, 108.2 Qurban is an Islamic prescription for the affluent to share their good fortune with the needy in the community.
The reviewers have discussed the reviews with one another and the Reviewing Editor has drafted this decision to help you prepare a revised submission.
We would caution using the current title, since the theory on which DFT is based is far from trivial, and just because they can model based on this "complex model" with very few parameters a few experimental observables (binding isotherms etc.), I would not be certain that this is the "minimalistic" model. Other computational models have also been able to capture certain experimental results (e.g. Popken et al., 2015).
The work is of high technical quality and it is interesting that the computational model, which in their previous work was used to describe AFM data on physiological NPCs, can capture experiments with different NTR-FG systems. Overall, the data in
Figure 1
and the supplementary figures associated with
Figure 1
are very interesting. They appear to provide definitive evidence against large-scale conformational changes that have been proposed to accompany NTR interactions with FG domains. Additionally, these data, which have been modeled in
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, appear to yield isotherms of similar shapes for different combinations of NTR and FG domains. The reviewers agree that your work is potentially of interest for eLife . However, there are several issues that remain unanswered that will have to be addressed to make the paper suitable for publication. The essential revisions required follow.
Essential revisions:
1) The Hill analysis yields Hill coefficients that are less than unity and this is thought to imply negative cooperativity. It is worth emphasizing that a Hill coefficient that is less than unity is necessary but not sufficient to invoke negative cooperativity. Further, the modeling does not seem to provide a rationalization for the proposed negative cooperativity.
2) As for the model itself, it is unclear if the beads are intended to represent FG motifs or collections of residues that incorporate multiple FG motifs. This is relevant because the question is if the energy scale for polymer-polymer interactions includes only FG motifs. If yes, then what is the basis for ignoring interactions that do not involve FG motifs?
3) The choice of the polymer model needs further rationalization. In particular, is it possible to obtain equivalent fits with a polymer model that belongs to a completely different universality class such as a self-avoiding random walk for example? A suitable set of reference models needs to be constructed, as should a suitable random prior to understand why one should put faith in the model.
4) The manuscript ends rather abruptly as far as pushing the model is concerned. Although the matching of experimental data is nice, the predictive insights that emerge from the model remain unclear. This is important because one would like to know specific predictions in order to design ways to test the merits of the model.
Athletic Director Lynn Hickey and Provost Scott Gordon embrace during the public announcement of EWU's new Strategic Plan. The plan was developed over almost a year of research and community input | Photo courtesy of EWU Marketing Communications
By Kaitlyn Engen , Reporter June 7, 2018 Filed under Carousel ,
EWU President Mary Cullinan officially announced the external launch of the university's Strategic Plan for 2018-2023 at the Montvale Event Center on May 24.
A project headed by Chris Robbins, EWU's director of strategic university planning, put a focus on expanding EWU's overall presence as a university, as well as creating a more diversified campus.
The plan's development was an intricate process taking over nine months to complete. Robbins interacted with over 800 students, faculty and community members to determine what needed to be addressed in the plan.
Robbins' team also used SWOT (Strengths, Weaknesses, Opportunities, Threats) analysis, a tool used by organizations for strategic planning to gain further perspective.
The plan's extensive list of objectives was narrowed to four categories: "IGNITE Change," "EMBRACE Equity and Social justice," "DRIVE Innovation" and "TRANSFORM the Region."
Robbins oversaw the formulation of the plan and helped it gain momentum, but much of the responsibility now lies in teams of faculty, students and community members to prioritize and initiate objectives.
"With teams that are represented all over the university and parts of the community, these teams are taking a lot of ownership in helping develop these ideas to help push forward university leadership which will help to the overall prioritization," Robbins said.
EWU students can expect to see improvement over the next five years. The plan is extending the university's outreach, not just to make it bigger, but to make it more diverse.
"[Diversity] brings a richness to Eastern that represents who we are," said Robbins. "The university looks around and sees itself wanting to serve all students […] really, it's the university in its mission is to reach out and to serve all types of students. It's part of the core of who we are at Eastern."
EWU seeks to create an enriched environment by targeting diversity from different angles.
By the numbers, EWU wants to see a 4 percent increase for entering underrepresented students, from 36.8 to 41 percent, as well as an 8 percent increase in their graduation rates, by 2023.
This will format an unnumbered ToC entry for "Preface" in the "subsection" style. You can use the same mechanism to add lines to the List of Figures or List of Tables by substituting
. If the hyperref package is used and the link does not point to the correct chapter, the command
in combination with
can be used (see also
Labels and Cross-referencing
To change the title of the ToC, you have to paste this command
<New table of contents title>
in your document preamble. The List of Figures (LoF) and List of Tables (LoT) names can be changed by replacing the
for LoF and
for LoT.
The default ToC will list headings of level 3 and above. To change how deep the table of contents displays automatically the following command can be used in the preamble:
This will make the table of contents include everything down to paragraphs. The levels are defined above on this page. Note that this solution does not permit changing the depth dynamically.
You can change the depth of specific section type, which could be useful for PDF bookmarks (if you are using the hyperref package):
In order to further tune the display or the numbering of the table of contents, for instance if the appendix should be less detailed, you can make use of the tocvsec2 package (, ).
The standard LaTeX book class follows the same layout described above with some additions. By default a book will be two-sided, i.e. left and right margins will change according to the page number parity. Furthermore current chapter and section will be printed in the header.
If you do not make use of chapters, it is barely useful to use the book class.
Additionally the class provides macros to change the formatting of some places of the document. We will give you some advice on how to use them properly.
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Only use the
macro once for all appendices.
As a general rule you should avoid mixing the command order. Nonetheless all commands are optional, so you might consider using only a few.
Note that the special content like the table of contents is considered as an unnumbered chapter.
This is one traditional page order for books.
Comprehensive papers often feature special pages at the end, like indices, glossaries and bibliographies. Since this is quite a complex topic, we will give you details in the dedicated part Special Pages .
Phone: 281-255-8372 Fax: 281-255-0034 Hours: M-F 8-5:00pm
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phone: 202-225-2401 fax: 202-225-5955 hours: M-F 9-5:30pm


text:
"I've been using Lasergene for many years now and I love the simplicity of the program. It is easy to use and easy to teach students to use."Sang-Jin Suh, Auburn University
"DNASTAR's technical support is beyond anything I've ever seen in a software company. "Tom Parchman, University of Wyoming
"Lasergene is a fantastic software. It facilitates our researchers from the organization and analysis of samples, until the consolidation of results."William Ferreira, Alfredo da Matta's Foundation
"DNASTAR's technical support is excellent!"Jeeba A Kuriakose, University of Texas-Medical Branch
"I particularly like about QSeq the fact that we can import both HTS and prior array data on the same samples to compare differences between the two technologies."Jay Kolls, LSU Health Sciences Center
"SeqMan Pro is a great application for identifying gene mutations/ polymorphisms. It is very reliable and easy to use."Sevasti Koukouritaki, Medical College of Wisconsin
"The technical service and support we have received have been outstanding."Dr. Michael Carleton, Targeted Growth, Inc.
"I have used the Lasergene package for years, and it is by far the best in the field. I love using SeqBuilder to make my plasmids organized and to plan my new cloning."Mei Wu, University of Washington

subset: commoncrawl


text:
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text:
Emmy nominations arrive next week and, with them, the very real possibility that voters might dodge the same-old same-old and include some of the season's fantastic freshman class. Who might make the cut? And who should? We gathered The Envelope's Buzzmeter panelists — USA Today's Robert Bianco, TV Guide's Matt Roush, The A.V. Club's Todd VanDerWerff, the Los Angeles Times' Mary McNamara and Glenn Whipp and, when the focus is on predictions, Gold Derby's Tom O'Neil — to glean a little widsom.
With the drama series category filled to the brim with returning favorites, which first-year show most deserves a place at the table: "House of Cards," "The Americans" or "Rectify"?
Roush: All three are worthy, but "The Americans" came closest to having a truly complete, rounded first season. "Rectify," for all of its qualities, felt a bit incomplete, and "House of Cards" ended on a whimper, unlike the British original.
BUZZMETER: Emmy 2013 pundit's picks
Bianco: It's close, but I'd choose "The Americans" over "Rectify," if only because, at six episodes, "Rectify" seems closer to a miniseries than a series.
VanDerWerff: Of those, I'd pick "The Americans" and "Rectify" (and easily nominate either over the stodgy, staid "Downton Abbey"), but I'd also love to see either "Hannibal" or "Orphan Black" make a run on nominations. Any of those four is preferable to "House of Cards," which was largely mediocre.
McNamara: "Rectify" should; "House of Cards" will. With its hypnotic cadence and exquisite attention to detail, "Rectify" wasn't just a new show, it was a whole new kind of show, broadening the parameters of the genre in ways that will affect it in years to come. Despite its newfangled delivery system, "House of Cards" was a cable show, but it was a good cable show and put Netflix in the running.
Whipp: The hypnotic storytelling in "Rectify" makes it my favorite of the three, but "The Americans" deserves a place here too. Its spy games were every bit as absorbing as the action in "Homeland" this season.
On a scale of Emmy worthiness, with a 1 being "2 Broke Girls" and a 10 being "The Sopranos," where does the reboot of "Arrested Development" rank?
McNamara: 5. Over-hyped and underwhelming. The second might not have been so noticeable if the former had not been true.
Whipp: I'm going to err on the high side, say, an 8 because I suspect that with repeat viewings, I'll appreciate the intricacy of the season's construction even more than I did the first go-around. And, just for its sharp social satire, the show deserves to be in the conversation.
VanDerWerff: I'd place the reboot at about a 7. Very good, and if it's nominated, I won't be upset, but it wouldn't make my personal ballot.
Roush: I gave the disappointing Netflix season a 6 score in the magazine and, with time, am thinking it's more of a 5.
Bianco: Netflix seems to go out of its way to insist it's not "TV" and not bound by TV rules. Were I the TV academy, I would have taken the company at its word. But as the shows are eligible, give "Arrested" a 5.
"Homeland" won Emmys last year for series and lead actors Claire Danes and Damian Lewis. Of those three categories, how many will it win this year?
Roush: Chances are good we'll see a three-peat, but I'll go out on a limb and say two (show and Lewis), because of the next question.
O'Neil: One Emmy. I'm leaning toward "Homeland" to win best drama again, but it's no slam dunk. Lewis and Danes don't have such powerhouse episodes to submit to Emmy judges as they did last year, but they do have strong ones.
VIDEO: Emmys 2013 roundtable | Drama
Whipp: I can't see "Homeland" repeating for a season that prompted a fair amount of derision over perceived leaps of logic. Danes could well win again, though. Kevin Spacey or Bryan Cranston probably have the edge for lead actor.
VanDerWerff: I suspect Danes is a lock, and I wouldn't be surprised by Lewis winning again (particularly if he submits "Q&A"), but I think the show will fall this year, either to "Game of Thrones" or "Breaking Bad."
McNamara: None. Well, maybe Danes. The fields are so crowded this year and the second season had a lot more bumps in the road than the first.
Which series or actor would you most like to see win a nomination?
VanDerWerff: "Enlightened" needs to be nominated. It was the best show I watched on TV last season. And Tatiana Maslany of "Orphan Black" similarly needs to be nominated, because she gave the best performance I saw on TV last season.
EMMY 2013 COUNTDOWN: Live chats with awards contenders
McNamara: Vera Farmiga. "Bates Motel" could have (and probably should have) been terrible, and it's great. A lot of that is due to the smart writing, but Farmiga is the center of the maelstrom, reinventing motherhood and delivering a mesmerizing performance.
Bianco: FX's "Justified," a great drama and an entertaining TV show — two qualities that don't always go together.
Roush: Comedy: The grievously overlooked "The Middle," plus Patricia Heaton and Eden Sher. Drama: "Orphan Black's" Tatiana Maslany. If she breaks through into the nominations, she could win for that bravura performance.
Whipp: "Orphan Black's" Maslany gave the performance of the year. Fingers crossed that enough people saw it on BBC America.
Which series or performer do voters need to get over already?
Bianco: It's too harsh to say voters need to "get over" "Mad Men" — it's a wonderful show, and many of its actors deserve to be nominated. But the series itself doesn't, not for a stuttering, disappointing season. A few better episodes at the end are not enough to redeem the entire run, not when so many of its competitors had stronger seasons.
PHOTOS: Hollywood Backlot moments
Whipp: "Modern Family" has won the Emmy for its first three seasons. To put it in perspective, "The Mary Tyler Moore Show," "All in the Family," "The Dick Van Dyke Show," "Taxi" and "30 Rock" all won three straight Emmys but were denied a fourth. Few would argue that "Modern Family" is better than those shows.
VanDerWerff: In almost all cases (maybe not Ty Burrell), "Modern Family" is well past its peak, and this is coming from someone who thought Season 4 was an improvement over Season 3.
McNamara: Is it just me, or is "Modern Family" getting smug?
Most deserving swan song: "30 Rock" or "The Office"?
Roush: Neither.
VanDerWerff: "30 Rock" had one of the best seasons of a comedy last season. "The Office" ... did not, though it had some very nice episodes and moments (and nominations for its cast would be appropriate). So ... "30 Rock."
McNamara: "30 Rock."
Whipp: I loved "30 Rock's" final season and that final episode ranks as one of the great farewells in TV history. Just perfect.
The Gold Standard: It's time for Emmy to surprise us
The Gold Standard: A wide field for drama series Emmy
Tina Fey gets to let loose on the 'fun stuff' in '30 Rock's' farewell season
Notebook: Tribute snubs not personal, just business
Review: Even super-host Harris can't save mostly lifeless show
Photos: Top winners and nominees
Video: Stars on the red carpet
Photos: Best and worst of the 2013 Emmys


text:
Because of the number of viruses involved, people do not develop immunity to colds as they do to many other viral diseases.
Like all illnesses, psychological stress must be considered when talking about the common cold. In a study written up in the New England Journal of Medicine, 394 healthy subjects were given nasal drops containing any one of five respiratory viruses and an additional 26 individuals who were given saline nasal drops. Prior to this, the patients filled out questionnaires regarding psychological stress. It was found that the rate of respiratory infections and clinical colds increased in direct proportion to the increase in the degree of psychological stress. Infection rates ranged between 74-90% according to levels of psychological stress.(2)
An interesting study which examined this common protocol was done on a group of 96 children ages 6 months to 5 years. Each child was given either Dimetapp, an antihistamine/decongestant, a placebo, or no treatment at all. Two days after the initial assessment, there was no statistical advantage in any of the three groups.
Fortunately, there is an entire arsenal in the form of natural medicine to help treat the common cold.


text:
Back in July, we brought you the news (and video footage) of Houston gas station attendant/MMA fighter Mayura Dissanayake thwarting a robbery via a hellstorm of soccer kicks. The video was cathartic, uplifting, and kewl, and soon garnered more Youtube views than "Bully Beatdown Jason 'Mayhem' Miller vs Bully Andrew", which is an impressive accomplishment by *any* standard.
On Saturday night, Dissanayake stepped out from behind the counter and back into the ring at Savarese Promotion's hybrid MMA and muay Thai card in Houston, taking on Jaime Garcia in an amatuer contest. Once again, Dissanayake delivered a lightning fast, supremely violent finish, peppering Garcia with a few leg kicks before clipping him with a left hand as he was charging forward in typically amateurish fashion.
A few follow up punches and it was good night Garcia, who at the very least, should find some comfort in the fact that he didn't wake up from his beating in a jail cell. #thelittlethings
After the jump: The original video of Dissanayake's act of gas station heroism, because why the f*ck not.


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text:
Jerker Johansson, a former head of UBS AG's investment bank, said his unawareness of rigging of global interest rates at the biggest Swiss bank was a failure and negligent.
"I would describe it as a failure," Johansson, who headed the unit from March 2008 until April 2009, told the U.K.'s parliamentary commission on banking standards in London today. He agreed with the description from Andrew Tyrie, the commission's chairman, that it was also negligent.
Huw Jenkins, who headed the unit before Johansson, and former chief executive officer Marcel Rohner told the hearing that they were "shocked" to hear about the misconduct, for which UBS was fined $1.5 billion by regulators in the U.S., the U.K. and Switzerland in December. Johansson, Jenkins, Rohner and Alexander Wilmot-Sitwell, who co-headed the investment bank for 1 1/2 years until November 2010, all said they learned of the rigging only recently from press reports.
The UBS settlement is the second in the investigation of global interest rates after Barclays Plc in June agreed to pay 290 million pounds ($466 million). Regulators have sought information from more than a dozen banks that set rates in the U.S., Europe and Japan to make their finances appear healthier. More than $300 trillion of loans, mortgages, financial products and contracts are linked to Libor.
'Deeply Sorry'
"I'm deeply sorry that we didn't spot this," said Jenkins, CEO of the investment bank until October 2007. "It's clearly a failing in our systems and controls and in our culture that it wasn't highlighted through whistle-blowing or other checks and balances in the system."
Andrea Orcel, CEO of the investment bank, told the commission yesterday that UBS is in the process of rooting out "negative elements" of its corporate culture. About 18 people have lost their jobs and the bank has "taken action" against 40 people in connection to the Libor probe, Andrew Williams, global head of compliance at UBS, said yesterday.
Johansson, who was in charge when UBS conducted an internal investigation into Libor setting, said he wasn't aware of that probe at the time. He also said he was unaware of press reports highlighting problems.
"With hindsight, I wish I would have looked into it and I accept that," he said. "But I honestly don't know how at the time that could have been seen to be one of the most critical issues for the head of the investment bank, not knowing of the irregularities that were taking place in that setting mechanism."
Copyright 2014 Bloomberg. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
Copyright 2014 Bloomberg. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.


text:
|2012-07-09, 18:08
|Link #42
Senior Member
Join Date: Sep 2009
If I were to meet him I would slap him countless times, that girl is really brave trying to love a man like that. But with what he said you can relate to him (that doesn't mean one can forgive his actions like the snake mess)
And why did Suwabe Junichi's character die now? I was so pleased to discover that he was in this episode.
|2012-07-09, 19:31
|Link #43
Osana-Najimi Shipper
Join Date: Dec 2005
Location: Mt. Ordeals
Ahh... can't believe they'd put the "boy who teases girl because he has a crush on her" storyline in uta koi. Colour me surprised; I had the impression that the Heian era to be too uptight for that sort of thing.
Oddly enough, they story didn't touch me because the couple is osananajimi (though I would be lying if I said it didn't have any part), but because this shows the epitome of how an arrianged marriage would result in. That love doesn't necessarily is present at the start, but would naturally come along the way over time.
(Wait a minute, that actually sounds like the premise of childhood friend love. Perhaps that might be why I have an odd fondness for arrainged marriage stories... XD)
And yes, I was crying in the end. In fact, I feel myself tearing up every time I read the poem. T_T
|2012-07-10, 00:04
|Link #44
Seishu's Ace
Join Date: Dec 2005
Location: Kobe, Japan
I'd been assuming that the theory that Sadaakira was Narihara's son was bogus, but now I'm not so sure.
Youzei has not been well-regarded in the history books - this interpretation was rather kind to him - but even here he was quite a handful, sort of an "anti-Chagum". But I like this interpretation - that there's good in everyone, and that in writing this lovely poem Youzei confounded historians who would love nothing more than to be able to dismiss him utterly. It's also yet another type of love being explored - a love borne out of patience and gratitude.
|2012-07-10, 07:59
|Link #45
Join Date: Nov 2006
Location: Virginia, USA
Age: 56
|2012-07-10, 08:28
|Link #46
Osana-Najimi Shipper
Join Date: Dec 2005
Location: Mt. Ordeals
Not to put words on his mouth, but holy crap, Narihara graduated from master playboy of last episode to one helluva surrogate father this episode. Makes you wonder if the reason why is because he is the real father.
I personally doubt it, if only because I'm a romanticist and want to think that Narihara mentored Yozei the way he did DESPITE not being his biological father. Makes his character that much better.
|2012-07-10, 11:14
|Link #47
Seishu's Ace
Join Date: Dec 2005
Location: Kobe, Japan
|2012-07-10, 18:45
|Link #48
Senior Member
Join Date: Aug 2007
This was probably my favorite story of the 3 so far. The fact that it was one whole story instead of 2 gave it extra depth.
The main character wasn't the nicest kid/person but he was still able to feel love even if he didn't realize. There are still many more episodes to go but this one made me cry at the end.
I am not really sure why the historians are confused. I don't think a tyrant necessarily is incapable of love. As the episode showed a person can have many sides to them.
|2012-07-10, 20:41
|Link #49
reads too much
Join Date: Oct 2008
Location: you know that's a great question.....
Hmm, looking at the OP I believe I counted 13 pairings in there, although I think some of the characters appeared in multiple pairings, so I wonder if the show will have more one story or two story episodes in the future in order to get to all of them.
|2012-07-16, 15:30
|Link #51
Yuuki Aoi
Join Date: Jul 2004
Ep3. This is the first episode to really fulfill the promise of the series for me. Tears came to my eyes when I realized at the end who she was. Credit to the wonderful voices of Endou Aya (who is a goddess) and Uchida Yuya.
I've been rereading the Tale of Genji recently, so maybe I'm keyed in to the lives and feelings of people in the Heian world. The Waley translation is outstanding prose.
Last edited by Kaoru Chujo; 2012-07-16 at 15:52.
|2012-07-16, 17:09
|Link #53
Join Date: Dec 2007
Location: Ontario, Canada
Age: 38
One thing I was wondering; were each of the hundred poems in this collection written in Japanese, or were any written in Chinese?
I've been reading a collection of essays about the "centres and peripheries" of the Heian era, and the topic has come up regarding how prominent the use of written Chinese was at the time, relative to how it has been percieved to be in subsequent eras. Essentially, the argument is that the later prominence of works written in Japanese has perhaps obscured the importance of written Chinese by the people living at the time; that it was used for more than just "official" documents, and had at least some role to play in the more artistic side of things (which has been presented as being covered only by the energence of writing in Japanese in that era). Though, it has also been argued that this reflected more of a "China within Japan" appropriation, rather than being tied explicitly to what was concurrently happening in literary circles within China itself.
|2012-07-16, 17:33
|Link #54
Yuuki Aoi
Join Date: Jul 2004
Murasaki Shikibu, who wrote the Tale of Genji, was lucky that her father thought it was okay for a woman to learn Chinese. Most people thought it would make a woman too intellectual. Her father was well known for his Chinese scholarship, apparently.
Poems in Japanese could be hymns or long poems, but were mainly short poems (31 syllables), and were often used as or in letters. One good book about Heian court poetry is called "Brocade by Night." It gets pretty detailed and intricate, but it covers the Chinese-language poetry to some extent, in outlining how Japanese poetry developed.
I don't know anything about Japanese literature in Chinese, other than poems. There's a book by Burton Watson called "Japanese Literature in Chinese," but I haven't read it. The book you're reading sounds interesting. I'll look for it in a university library.
Japanese high culture, including writing, came from China via Korea; just as English high culture came from Italy via France. But both Japan and England made big contributions of their own, from those beginnings.
|2012-07-16, 17:49
|Link #55
Join Date: Dec 2007
Location: Ontario, Canada
Age: 38
This is the one. (I have it on loan from the Japan Foundation library in Toronto.)
Actually, one of the topics addressed is the supposed divide between the "male" and "female" literary voice at the time; it's been suggested that there was far less strict a gender role in each at the time, with men option to write in "female" voice and vice versa. (Indeed, rather than the women at court being unable to read or write Chinese, it seems more that they were obliged to feign ignorance, at least once women were formally barred from the imperial line of succession.)
Although, I suppose, there was likely a political aspect of this take on things; for a court looking to distance itself from the percieved influence of China proper. (You can see this in the referring to earlier sovereigns as "Emperors" rather than "(Great) Kings", despite them not thinking of themselves as such at the time; part of the whole reason for the later introduction of the term Tenno was to try and put the Japanese sovereign on a par with the emperors of China... a comparison which the latter were unwilling to accept.)
|2012-07-16, 17:54
|Link #56
Osana-Najimi Shipper
Join Date: Dec 2005
Location: Mt. Ordeals
I SWEAR I've seen or heard about this story before (or a variation of it), but I just can't place it.
It wasn't (fake?) brother/sister relationship, but after hearing it was about 100 night visits, I KNEW he would fail in the end. Nice to see her having a 'relatively' good end in this story though, as if my memory hasn't failed me, the version I know of has her shunned BECAUSE she 'caused' mr. suitor's death. THAT didn't sit well in the social circles of the time, so despite her unparalleled legendary beauty, even no rank men want to do nothing with her because of her mean attitude.
But yeah, couldn't they have 'rewritten' history just this once by having Komachi end up with the suitor? Stupid Mr. Suitor, should've just allowed her to work in the palace as well....
|2012-07-16, 22:39
|Link #57
Senior Member
Join Date: Aug 2007
I liked this story too. For some reason it reminded me a lot of Saiunkoku: Shuurei wanting to advance her career and that is why she couldn't accept the King's love.
In this story the sister loved her brother but she wanted more out of her life than being a wife. I especially loved their different perspectives on what it meant to be a woman.
In my mind it wasn't his coming to her 100 times that proved his love but letting her go and be independent that did.
edit: According to wikipedia legend is the suitor did die. I like this version more.
Last edited by Kirarakim; 2012-07-16 at 23:04.
|2012-07-17, 04:57
|Link #58
Senior Member
Join Date: Oct 2011
Age: 24
I really liked this episode. While the first two were more carefree, this one was more serious... I liked all 3 of them, but this story somehow really touched me. The same problems 1000 years ago and today, huh... While today's society is much more tolerant and, well, smart (wise?), there are still issues. Stupid stereotypes....
Aaaanyway, I was so sure they would end up together, so, when they didn't, it really surprised me. But though it was a bit sad, I liked the part where he let her go... it showed that he truly loved her. And, like others, I also like this version better than the reality of the suitor dying.
As I thought, Uta Koi is proving to be one of the most enjoyable shows of the season, I just hope it keeps doing what it's doing And I really really love the OP.
|2012-07-17, 05:11
|Link #59
Junior Member
Join Date: Jul 2012
Location: Australia
I'm really glad I checked this show out, not only do you get to learn about the poems from Chihayafuru, but you get these lovely little stories as well. They really make it easy to understand the poem, and appreciate what they are saying. The characters are also full of life, and it's been a joy watching them so far. Big thumbs up from me.
|2012-07-17, 05:57
|Link #60
Join Date: Sep 2009
Location: Australia
First Hiro Shimono, now Tsubasa Yonaga is in Fujiwara no Teika's corner. I can't help but think the casting director is purposely getting Yuki Kaji's pals to play Teika's friends/acquaintances. It'd be pretty funny if Abe Atsushi shows up next.
I think this week's story is my favourite so far. The conflict between ambition and love was a good theme. I found Yoshiko's resolve to accept whatever the result her efforts may bring very admirable.
|historical, josei, romance
|Thread Tools


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ARM Cortex-A8 Processor to be Combined with Broadcom's Leading VideoCore® Architecture to Deliver the Most Advance Mobile Multimedia Devices
CAMBRIDGE, UK – May 22, 2007 – ARM [(LSE: ARM); (Nasdaq: ARMHY)] today announced that Broadcom Corporation has licensed the ARM® Cortex™-A8 high-performance processor, along with supporting ARM IP products for integration into a range of mobile and consumer products. The Cortex-A8 processor has been chosen by Broadcom to deliver the performance that will be required in the next generation of mobile computing products. Advanced mobile and consumer applications require intensive, efficient computation power for networking, media, and accessing the latest Web 2.0 services. This high performance is required while maintaining low power consumption and meeting the cost points which consumers demand.
Broadcom will combine the Cortex-A8 with its industry leading VideoCore multimedia technology. VideoCore is a flexible multi-media acceleration technology used for high performance and very low power 2D/3D graphics, imaging, video and audio processing. The flexible nature of VideoCore enables rapid porting and support for ever changing Internet codecs and multimedia technologies.
"The needs of today's mobile and consumer devices are expanding rapidly and will be required to provide an astonishing user experience that spans Web2.0, gaming, picture taking and long play audio/video" said Mark Casey, Vice President and General Manager of Broadcom's Mobile Multimedia Business Unit. "The powerful combination of Broadcom's industry leading VideoCore multimedia performance and Cortex-A8 industry leading power/performance will deliver outstanding advantages in our next generation devices."
"We see a strong tendency among Partners such as Broadcom, to develop high-performance ARM technology-based platforms that can be used in leadership mobile platforms," said Graham Budd, executive vice president and general manager, Processors, ARM. "The Cortex-A8 processor provides the cutting-edge performance to enable dynamic, secure, consumer-centric features, unlocking the potential of devices including high-end smartphones. The ARM ecosystem includes broad support of Open Operating Systems and third party applications, enabling an advanced mobile internet experience."
The Cortex-A8 processor is capable of providing over 2000 DMIPS of processing power and equipped with ARM TrustZone® security technology and also incorporates Jazelle®-RCT technology for efficient execution of Java and other execution environments such as Microsoft .NET. The processor is also fault-tolerant, a key requirement in the networking arena.
In addition to its robust processing power, the Cortex-A8 processor is fully supported by the ARM RealView® Development Suite enabling OEMs to deliver rich content to Linux-based devices that fully exploit the high-performance Cortex-A8 processor with significantly reduced memory footprint. The ability to seamlessly build Linux application libraries with the compilation tools in the RealView Development Suite enables developers to maximize the performance of key elements of their code base, ultimately providing end customers with highly responsive Linux devices that have an exceptionally long battery life.
About ARM
ARM designs the technology that lies at the heart of advanced digital products, from wireless, networking and consumer entertainment solutions to imaging, automotive, security and storage devices. ARM's comprehensive product offering includes 16/32-bit RISC microprocessors, data engines, graphics processors, digital libraries, embedded memories, peripherals, software and development tools, as well as analog functions and high-speed connectivity products. Combined with the company's broad Partner community, they provide a total system solution that offers a fast, reliable path to market for leading electronics companies. More information on ARM is available at http://www.arm.com.
ARM, RealView, Jazelle, TrustZone and AMBA are registered trademarks of ARM Limited. ARM7, ARM9, ARM11, Cortex, CoreSight, ARM1176JF-S, Advantage, NEON, IEM and AXI are trademarks of ARM Limited. Artisan and Artisan Components are registered trademarks of ARM Limited. All other brands or product names are the property of their respective holders. "ARM" is used to represent ARM Holdings plc; its operating company ARM Limited; and the regional subsidiaries ARM INC.; ARM KK; ARM Korea Ltd.; ARM Taiwan; ARM France SAS; ARM Consulting (Shanghai) Co. Ltd.; ARM Belgium N.V.; AXYS Design Automation Inc.; AXYS GmbH; ARM Embedded Solutions Pvt. Ltd.; and ARM Physical IP, Inc. Broadcom® and VideoCore® are among the trademarks of Broadcom Corporation and/or its affiliates in the United States, certain other countries and/or the EU.
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Equal parts gourmet and culture connected by the Inaho line.
Get outside of Tokyo for a weekend and discover the best that Japan has to offer.
With maple or ginkgo trees changing color, this season is one of the best times to be in Japan.
From historic temples to scenic landscapes and fine cuisine, Nara has it all.
What's there to do in Tokyo at night besides clubbing? JapanTravel shows you the way.
A full immersion into Japanese culture and traditions: 27-28th Sep & 11-12th Oct 2014
I you have never experienced a July/August full of Japanese festivals, then see what you're missing!
50 years ago, Japan proved to the world that when it comes to transport, it is number one.
© 2018 Japan Travel K.K.
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What Cook came to see
MOST Australians probably don't realise the significance to Australian history of Venus moving between the sun and the earth.
In 1769, then Lieutenant James Cook was in Tahiti, ostensibly to observe the transit of Venus across the sun from the southern hemisphere in the European race to measure more accurate astronomical data.
With that job done, Cook opened a sealed envelope with secret orders from King George III.
Cook was instructed to sail west and attempt a discovery of the fabled Terra Australis Incognita, preferably before the French or Dutch could do so.
He subsequently sailed via New Zealand and up our east coast in 1770, setting anchor in and naming Byron Bay, sighting Wollumbin (and naming it Mt Warning), after making landfall at Botany Bay.
It was this discovery of Australia's bountiful east coast that led to British colonial settlement of the country, so the timing of the 1769 transit of Venus has a special place in Australian history.
The transit is one of the rarest astronomical events, occurring twice in quick succession every century or so: since 1769 there have been only three transits, a pair in 1874 and 1882, and the most recent in 2004.
After the upcoming transit on June 5-6 it won't occur again until 2117.
These days, the transit remains of vital importance to astronomers, particularly in their attempts to discover "exoplanets" or planets outside the solar system.
Astronomers use the same "transit method" for observing Venus moving across the sun to observe planets in other systems light years away moving across their respective suns.
Since 1995, 700 planets have been discovered, contributing to scientists' hopes that there may in fact be earth-like planets out there.
Leading astronomer Dave Reneke of Australasian Science Magazine said northern NSW had some of the best skies in the world for viewing such phenomena, given the frequent clarity of our autumn and winter skies.
The transit begins at 8.15am and ends about six hours later, so there's plenty of time to get a view.
But Mr Reneke issues a warning - never look directly at the sun - the transit can only be viewed using special equipment such as solar glasses.
Fact sheets on the transit and how to best view it can be downloaded from Mr Reneke's website at http://www.davidreneke.com.
Chairman of the North Coast Institution of Surveyors Neil Kennedy has also invited schools wishing to arrange a viewing of the transit to apply for a special telescope for the event.
After purchasing 20 scopes they have about nine left and are happy to present the scopes along with tuition from a qualified surveyor in time for the transit.
For information, call Mr Kennedy on 02 6687 4700.


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The Beatles, Princesses & More
Kids know how to party! Check out these festive celebrations from the Apartment Therapy Family channel, which posts kids' parties every day. We'll be bringing you a roundup of these inspiring parties every week.
• Adella's Princess Party
• Callum's Magical Mystery Tour
• Beckett's Sasquatch Explorer Party
• Bird's Big Top Circus Party
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By Lisa Baertlein and P.J. Huffstutter
(Reuters) - Missouri Governor Jay Nixon vetoed two bills on Tuesday that would have cleared the way for foreign ownership of farmland and potentially eliminated obstacles to the planned $4.7 billion purchase of Smithfield Foods Inc by a Chinese company.
Missouri and at least seven other U.S. states including Iowa, Nebraska, Minnesota, North Dakota, Oklahoma, South Dakota and Wisconsin, have often-overlooked laws that prohibit foreign ownership of agricultural land.
Nixon vetoed state Senate Bill 9, which contained a provision that would have struck down the existing ban on foreign ownership of agricultural land in the state. The provision would have allowed non-U.S. businesses to own up to a total of 1 percent of the state's agricultural lands - or about 300,000 acres of farmland, an area the size of New York City.
The provision had been inserted as an amendment to the larger omnibus agriculture bill after it had already been rejected by a legislative committee and was opposed by leading agricultural groups, Nixon's office said in a statement.
"Not only was this provision inserted into the bill without a public hearing, it was done so after the provision was rejected by at least one legislative committee on agriculture, as well as publicly opposed by leading Missouri agricultural groups," Nixon said.
The governor also vetoed Senate Bill 342, which also would have allowed foreign ownership of farmland.
The decades-old statutes are virtually untested and some foreign farmland owners work around them by shifting their property into majority-U.S. owned subsidiaries.
The laws are potential complications to the proposed acquisition of Smithfield, the world's largest pork processor, by Shuanghui International Holdings, China's leading pork producer. The deal, valued at $7.1 billion including debt, would be the biggest takeover of a U.S. company by a Chinese company.
"Smithfield Foods and Shuanghui International identified this issue during their discussions and it presents no obstacles to closing the proposed combination," Smithfield said in a statement.
"We intend to consult and work closely with appropriate state officials on this matter as needed after the closing," Smithfield said.
Shuanghui declined to comment.
Missouri lawmakers have the option of undoing Nixon's action when they meet in September for an annual veto override session, an assembly librarian said.
Reuters reported in June that Missouri Senate Bills 9 and 342 were passed by the legislature on the last day of its session, less than two weeks before the Smithfield deal was announced on May 29.
Smithfield does not disclose specifics of its property holdings, but Missouri court filings showed that it owns some agricultural land through subsidiary Murphy-Brown of Missouri.
That unit, previously called Premium Standard Farms, is the largest hog producer in Missouri.
Smithfield Foods shares on Tuesday were down 2 cents, or 0.06 percent, at $32.75 in after hours trading.
(Reporting by Lisa Baertlein in Los Angeles; Editing by Toni Reinhold and Bob Burgdorfer)


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The Benchmade 550SHG Griptilian Partially Serrated Folding Knife boasts a 154CM stainless steel, blade (58-61HRC) with a Valox® handle with 420J stainless steel liners and a reversible steel pocket clip.
The sheepsfoot blade of the Benchmade 550SHG Griptilian Partially Serrated Folding Knife has a blade shape that has no point on the tip, very littleto no belly and the spine of the blade curves down to meet the edge. It is used in applications where slicing is the main requirement, and a point is either not needed or would actively get in the way. Emergency rescue blades are usually of this design. The lack of a point prevents the rescuer from inadvertently injuring a victim who is being cut free from something restrictive.
The Benchmade 550SHG Griptilian Partially Serrated Folding Knife features the AXIS® locking mechanism which is a 100-percent ambidextrous design, AXIS gets its function from a small, hardened steel bar which rides forward and back in a slot machined into both steel liners. The bar extends to both sides of the knife, spanning the liners and positioned over the rear of the blade. It engages a ramped, tang portion of the knife blade when it is opened. Two omega style springs, one on each liner, give the locking bar it's inertia to engage the knife tang, and as a result the tang is wedged solidly between a sizable stop pin and the AXIS bar itself.
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KAPALUA, Hawaii (AP) – The PGA Tour season finally got under way on Monday, and Dustin Johnson wasted no time taking control in the Tournament of Champions.
Johnson had not played the Plantation Course at Kapalua since Thursday. Once he got started, he hardly missed a shot. Johnson had seven putts at eagle over 36 holes, four on the back nine alone in the second round. He missed only three greens in regulation. And when his marathon day ended, he had rounds of 69-66 for a three-shot lead over defending champion Steve Stricker.
(Related Photos: Players battle windy Kapalua)
Three days behind schedule because of high wind, the season started on the day the tournament was supposed to finish. Rickie Fowler made PGA Tour history by hitting the opening shot of the season three times – the first two "opening rounds'' had to be scrapped by 40 mph gusts roaring down the hills.
Johnson returned some degree of normalcy under warm sunshine and strong wind. He simply overpowered Kapalua, twice driving the green on par 4s, one of them into the wind. He was at 11-under 135, and that lead looms even larger with only one round to play.
Stricker started the long day wondering if he could even finish. About a month ago, he began feeling a shooting pain down his left side when he shifted his weight in that direction, and he was limping badly coming down the hill on the 18th in the middle of his second round. But from 67 yards away, his pitch rode the slope and the wind to perfection and dropped for eagle, and his spirits lifted.
Stricker added a pair of birdies on the front nine and had a 67 to reach 138.
(Related Photos: Pros' custom gear in Hawaii)
The opening week has been so strange that Monday at times felt like the start of the tournament, and also moving day to get into position. Even after just 36 holes, there was some clear separation.
Bubba Watson, playing with Johnson and frustrated by the wind and slow greens, birdied his last hole for a 69 and was four shots out of the lead. Keegan Bradley (69) and Brandt Snedeker (70) were another shot behind. They were the only players within five shots of Johnson.
Even though Johnson had not played the golf course since the pro-am Thursday, there was no lack of familiarity. He arrived a week early, and had six practice rounds on the Plantation Course before the wind arrived. He has a new driver and irons and wanted to make sure he made the adjustment. That doesn't seem to be a problem.
"I'm pretty pleased with my equipment. I'm pretty pleased with my game right now,'' Johnson said.
His only blunder in the afternoon was hitting the ball too well. He ran off three straight birdies late in the second round to pull away, and they were spectacular. He drove the green into the wind on the 292-yard 14th hole for a two-putt birdie, and then smashed a 3-wood 259 yards into the wind and onto the green for another two-putt birdie on the par-5 15th. That was followed by a knockdown shot from 90 yards that the wind blew back to the hole within 4 feet for birdie.
His caddie, Bobby Brown, wanted Johnson to hit 3-wood with the wind at his back on the 17th, but Johnson tried to hit a soft driver. He crushed it, as usual, and it ran through the fairway and into the hazard for his only bogey. He answered with a 5-iron from 243 yards on the downhill 18th for a 6-foot eagle to take command.
It's tough enough for Stricker to match Johnson's length on a course like this. Tougher still is doing it when he can barely walk, especially downhill. Stricker isn't sure what's wrong with his lower back, or what's causing the pain. He took a small consolation from the fact it didn't get worse.
"It felt as crappy on the first hole as the last hole,'' he said.
Stricker said at the start of the tournament that he was going into semi-retirement this year, playing only about 10 events. He won't return to the PGA Tour after this week until the end of February at the Match Play Championship. And he's not going to roll over for Johnson, regarded as the best American player under 30.
"You've just got to go out and play and play your hardest and see what happens,'' Stricker said. "I've been in that position where he's at now. It's a tough spot. It's tough to win in front. We've got really nothing to lose tomorrow and it makes it a little bit easier for us, but tougher on him.''
Johnson will gladly take his position. He will be trying to win in his sixth straight season since leaving college, the longest streak of any player since Tiger Woods. And he won the last two 54-hole events on the PGA Tour, at the hurricane-shortened Barclays in 2011 and rain-delayed Pebble Beach National Pro-Am in 2009.


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129 players from 13 countries attended this year's London open at the Highbury Roundhouse. Over a third of these were from overseas - A, B, DK, F, D, I, IRE, JAP, KOR, NL, SLO, USA. The tournament was very successful thanks to the hard work of organiser Harold Lee and the generous sponsorship from Hitachi. The Managing Director of Hitachi Leasing Europe Ltd, Dr. Motoki Shirasuka, was pleased to be able to present the prizes including one to his son who is a very keen go player.
The main battles were to see whether anyone could beat the two strong Chinese lady players: Guo Juan from the Netherlands and Zhao Pei from Germany. In the end nobody could and Guo beat Zhao to win the tournament with a perfect score.
The top places are as follows:
1 Guo Juan (7 dan, NL) 8/8 2 Pei Zhao (5 dan, D) 7/8 3 Matthew Macfadyen (6 dan, GB) 6/8 4= Mark Boon (5 dan, NL) 5/8 4= Matthew Cocke (4 dan, GB) 5/8Also on 5/8 at the top were F. Van Arnim, J. Clare, J. Rickard and W. Connolley.
Prize winners for 6/8 were: O. Dodinval (1 dan, B), B. Kraft (1 kyu, D), V. Morrish (2 kyu, GB), P. Liboriussen (4 kyu, DK), R. Upton (4 kyu, GB), O. Azem (10 kyu, D) and for 5/7 Tom Blockley (13 kyu, GB). P. Liboriussen from Denmark was the lucky player who got 5 or more wins and got his name drawn to win a Hitachi Camcorder.
In a youth tournament on the last day six players aged under 16 battled against each other for the right to play top youth player David King (15, 2 kyu, Brakenhale) in a final.
Three players scored four wins: Anna Griffiths (15, 12 kyu, Furze Platt), Thomas Blockley (10, 13 kyu, Worcester), and Wang-zi Guo (7, 15 kyu, Amsterdam). On tie break the lowest graded player was selected for the final but failed to beat David King despite coaching before the game by his 7 dan mother.
So the large Hitachi colour TV goes to Brakenhale School.
In the Lightning (Fast Play) Tournament 48 players battled away to decided who could play best whilst playing fast. In the final Eric Warkentin (2 kyu, France) lost to Miss Pei Zhao (5 dan, Germany).
In a hastily organised Rengo (Team) Tournament prizes were awarded to winners of the losers section, runners up and the overall winners: D. Moutarde (9 kyu, F), G. Klein (2 kyu, A), A. Pogacnik (2 dan, SLO); A. Grzeschniok (3 dan, D), P. Reiss (4 kyu, D), D. King (2 kyu, GB); P. Landskron (1 dan, D), P. Wirth (1 kyu, D) and R. Upton (4 kyu, GB).
Paul Margetts (1 kyu Epsom Downs) beat London's Geoff Kaniuk (also 1 kyu), in the final of the Handicap Tournament held at the school in Bramley. George Haig (19 kyu) and Simon Brooks (14 kyu) both from Swindon won 4/4. 18 pupils and 4 teachers attended the Teach-in at Burpham the previous day. Subjects covered were memorising games, openings, ladders, frameworks, tesuji.
A large entry was expected for the second Three Peaks and so the
venue was changed from the Marton Arms to the Ingleton Community
Centre. However only 25 attended of who Toby Manning (2 dan
Leamington) proved the victor. With four wins were Alistair Wall
(4 dan Wanstead), Paul Barnard (1 kyu Swindon), Garry Quinn (4 kyu
Birmingham 13/11/94
A very laid back one day tournament was held at the education
centre in Harbourne. 55 players attended. Winner was Simon Shiu (3
dan Teesside). Other prizes to Alistair Thompson (2 dan Monmouth),
Gerry Mills (1 dan Monmouth), France Ellul (4 kyu Brakenhale),
Elinor Brooks (10 kyu Swindon), Graham Brooks (16 kyu Swindon).
Swindon Tournament 06/11/94
The second Swindon was held this time in a community hall. 68
players from 4 dan to 35 kyu attended. Winner was T.Mark Hall (4
dan Bristol). Prize winners: Simon Goss (1 dan Bracknell), Jo
Hampton (1 dan West Wales), David King (3 kyu Brakenhale), Eric
Hall (5 kyu Swindon), Tom Widdicombe (7 kyu Devon), David Byrne (9
kyu NW London), Anna Griffiths (13 kyu Furze Platt), Emma Marchant
(21 kyu Brakenhale), Chris Downey (28 kyu Brakenhale).
Wessex Tournament 23/10/94
Over 100 players attended the 25th Wessex Tournament. The winner,
who beat T.Mark Hall in the last round, was Cambridge's John
Rickard (4 dan).
Shrewsbury 03/10/94
The Go Ban prize normally held by Macfadyen stayed with Leamington
Go Club as Des Cann beat Francis Roads by half a point to win the
Milton Keynes 24/09/94
A one day tournament held at the Open University. Winner was
Edmund Shaw (5 dan) from Reading.
Northern Tournament 03/09/94-04/09/94
This was the British entry for the European Grand Prix 1994-5. However the Obayashi Cup was arranged to clash in Amsterdam. No mainland Europeans played - lots of GP points for the British! Joint winners on 5.5/6 were Matthew Cocke and Des Cann (both 4 dan).
[1] http://www.britgo.org/news/enews1a95
[2] http://www.britgo.org/news/enews1a


text:
16 U.S. Code § 831e - Officers and employees; nonpolitical appointment; removal for violation
In the appointment of officials and the selection of employees for said Corporation, and in the promotion of any such employees or officials, no political test or qualification shall be permitted or given consideration, but all such appointments and promotions shall be given and made on the basis of merit and efficiency. Any member of said Board who is found by the President of the United States to be guilty of a violation of this section shall be removed from office by the President of the United States, and any appointee of said Board who is found by the Board to be guilty of a violation of this section shall be removed from office by said Board.
2004—Pub. L. 108–447 substituted "Board" for "board" wherever appearing.
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BAGHDAD (AP) — Iran sees no need to send fighters to help the Iraqi government battle the Islamic State group, even as Sunni militants inch closer to the Iraq-Iran border, its top diplomat said Sunday.
Speaking at a press conference in Baghdad, Mohammed Javad Zarif said the Sunni militant group is committing "horrendous genocide and crimes against humanity," and that Tehran is cooperating with both the Iraqi governments in Baghdad and the semi-autonomous Kurdish region to repel the threat.
"Our Iraqi brothers, Kurdish and Arab, are quite capable of defending their territory, defending their dignity and fighting terrorism," Zarif said, standing alongside his Iraqi counterpart, Hoshyar Zebari.
"We do not believe that we need to be present inside Iraq to help our Iraqi brothers. They are very capable of doing that themselves," he added.
An offensive by the Islamic State group across northern and western Iraq has plunged the country into its biggest crisis since the U.S. military pulled out in 2011. This month, the Sunni militant group pushed eastward, taking control of the town of Jalula in Iraq's Diyala province, located some 30 kilometers from the Iranian border.
At least 64 people were also killed in an attack on a Sunni mosque in Diyala on Friday, with officials releasing conflicting reports that the perpetrators were either Sunni militants or Shiite militiamen.
When the group overran the cities of Mosul and Tikrit in June, Iraqi security forces virtually collapsed. In most cases, police and soldiers simply ran, abandoning arsenals of heavy weapons. The U.S. military launched airstrikes in Iraq on Aug. 8 to help Iraqi and Kurdish forces combat the militant threat.
At the press conference Sunday, Zebari told journalists Iraq has "no shortage of fighters."
"This confrontation needs help from everyone — all the forces against terrorism, against extremism, and we have, overall, appreciated the role of the international community," Zebari added.
Meanwhile in northwestern Baghdad Sunday, a car bomb tore through the crowded Shiite district of Shula, killing 8 people and wounding 17, police officials said. Hospital officials confirmed the casualty figures. Both spoke on the condition of anonymity because they are not authorized to brief the media.
Associated Press reporter Murtada Faraj in Baghdad contributed to this report.


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Whether singing on stage in an evening gown or fighting Batman on TV in a leather catsuit, Eartha Kitt had a way of infusing sensuality into everything she did. Kitt died in 2008 at 81, after having kept up her performing career well into her 70s — and that's when an aspiring jazz singer named René Marie got to see her on stage for the first time.
Marie recently turned that passion for Kitt into a tribute album called I Wanna Be Evil: With Love to Eartha Kitt. In a wide-ranging conversation with NPR's Eric Westervelt, Marie describes how Kitt's elision of singing and sex spoke to a grander truth about power and vulnerability — and they discuss Marie's own unique music career, which began when she was on the far side of 40, upending her marriage and religious life in the process. Hear the radio version at the audio link, and read more of their conversation below.
You're known for doing a lot of your own original material. You once said you'd you swore you'd never do a tribute album. What was it about Eartha Kitt that made you change your mind?
Oh boy. Well, I fought tooth and nail to prevent it from being called even a tribute; I just was so afraid people would compare me with the incomparable Eartha Kitt. But a tribute to her music is exactly what it's turned out to be.
It was just knowing that there was this delivery that Eartha Kitt gave to a song. She completely was herself and didn't pull any punches, so to speak — just delivered it the way she only could deliver it. I wanted to celebrate that, and I realized as we started talking about it that I was already doing several songs that she sang herself without even knowing it. So it just seemed like a logical thing. I kind of surrendered to the idea.
It always seemed that she took on a bit of a character when she performed her music: She was the playful bad girl, the temptress. Did you get into character a little to record these songs?
(Laughs) No. I gotta tell you the truth, it's not a matter of getting into character for me. What it is is simply a disrobing of what's already there, uncovering what typically stays covered up, and being vulnerable enough to go to those places that the songs just were dying for me to go to.
Anytime you sing a song like "Oh John! (Please Don't Kiss Me)" or "C'mon a' My House," you have to surrender to what the lyrics are. I think that was what was going on with Eartha, too. I don't think that she was putting on. I think that she was, rather, uncovering and delivering those songs as only she could.
She's also the perfect person to deliver the lyrics of Cole Porter tunes, because Cole Porter wrote so many tongue-in-cheek lyrics and double entendres. I think there's a place for that, even though I've gotten some criticism for some of the songs that we've done. But it's cool.
You've gotten criticisms for doing ... ?
"Oh John!"
Why's that?
Because the lyric is, "Oh John! Please don't kiss me / Oh John! Please don't kiss / Oh John! Please don't / Oh John! Please, oh ... " And there's a second verse: "Don't touch me, go home." Basically, John is doing whatever he wants to do, seducing this woman, and some people have taken it to mean that it's OK for someone to continue forcing themselves on someone else, in spite of being told no.
I've had women approach me afterwards and say, "Why did you sing that song?" But as I said, I think there is a place and a time for that type of song, and no apologies on this end. I did have to pull my husband aside and say, "About that 'Oh John!' song. You do understand that in my mind, you are John?" And he's like, "OK ..."
How'd he take it?
He took it like a man. Took it like a natural-born man (laughs). Also on this CD is a song that I wrote called "Weekend." Oh boy, I got raked over the coals for doing that at a venue just last week, because it sets up the scenario of a woman, um ... well, it's left up to the listener to decide what actually happens.
That's a complex and dark song. I took it as coming from an abuse victim who maybe starts to embrace an intruder.
Well, it was written from the perspective of a question I had: What constitutes abuse, and what constitutes force, and what constitutes restraint? Because in an abusive relationship — we'll talk about men and women — women are often restrained, by words or out of fear, from leaving. They will tolerate abuse up to and including being put to death.
And it's kind of condoned in our society: There are things that an abusive mate could get away with with their partner that they could not with a stranger. My question is, why is that? And which is worse — for it to happen at the hands of someone that you supposedly love, who supposedly loves you, or from the hand of a stranger? And where does the line draw?
I don't have the answers to it, but I did have the questions, and I think it's OK to compose songs and sing them about questions that we don't have answers to yet.
What do you say to fans who criticize you for doing that song? Do you say, "Back off, it's my art"?
No. I say, "I understand. I understand what you mean." And they do have a point, but I think I have a point, too. I would never, ever dare tell an artist, "How could you do that?" I would just not support the art. I would not try to get them to change, ever. So, it's OK. It's not for everybody. I'm not going to try to fool myself into thinking that.
I love your take on "Let's Do It." You really walk this beautiful line: You make the song your own, but you pay homage to the core, the essence of the tune. Did you wrestle at all with how much to stay true to Eartha's takes?
Never. I tried to get as far away from her versions as possible because, again, I don't want anybody to think I'm trying to sound like Eartha — who could do that? But it's so much fun when we do it live. I introduce the song: "Everybody knows the tune 'Let's Do It,' right?" And I say, "How does it go?" And the audience starts singing, "Birds do it ... ," really cute and light. And then I'm like, "Yeah, well, we don't do it like that at all. Here's how we gonna do it. We're gonna put some blues up in there." And away we go.
You saw Eartha Kitt perform live pretty late in her career. I think it was the late '90s, correct?
Early 2000s, actually, and she was in her 70s. Yeah, wow.
What was that like for you?
My mouth was hanging open, like everybody else's. I was drooling. She was scandalous! I just enjoyed every single moment. And even though these tunes that she sings show the strength and power that she obviously has as a woman, at that particular gig, there was one very excited fan sitting in the very front row — a big guy. And at one point while she was talking, he got up and got on the stage with her, and she shrank back in fear.
You could see how she felt vulnerable, just reverted to a little girl. And I totally identified with that, because it's definitely that way when you are on stage and the audience is very close to you. You just never know what's gonna happen. So I felt this twinge of connection with her, probably just singer-to-singer.
She had such confidence and sensuality. But you're talking about a vulnerability there, as well.
And I think the two go hand in hand. I think vulnerability and sensuality, they're sides of the same coin. I don't see how a person can be sensuous — unless they're just, you know, following some kind of script — without being vulnerable. I often compare singing to lovemaking because there's so many similarities. You eventually get to the point where you have to say, "This is me. You know, all my flaws and all of my ... yeah (laughs). This is just me. I hope you like it."
Let it hang out.
There's a certain place you want to get to, and in order to do that, you have to be vulnerable. You have to be willing to look a certain way, and hold your body a certain way, until you get to where you want to go — I'm talking about musically, now. So I've never been the type of singer that can sing in heels and the gown and all this stuff, because I can't get to where I want to go while I'm in that getup.
Kitt was one of the first black women to become a real TV star. She played Catwoman on the Batman series, and she had that intense sensuality. Do you remember seeing her on TV when you were a kid?
Are you kidding? Yes, of course. Let me just tell you, OK: The first 10 years of my life, I lived under Jim Crow laws in Warrenton, Va. So seeing this black woman on TV with all white people, telling them what to do and just being mean and evil and reveling in it?
It was almost frightening to see this woman of color acting this way. Inside, it was like, "Uh-oh, something bad is gonna happen to her," because this just didn't happen. So it was a huge eye-opener for me. And I didn't make the connection that that woman on the Batman series was the same as the Eartha Kitt singer until I saw her live and heard her speak, and I thought, "Oh, that's the same woman?" It took me 30 years to put it together.
So yes, it was very powerful seeing her. And I'm sure I'm not the only black woman or little black girl who thought that at the time.
You took a unique path to professional jazz. You didn't start singing professionally until the late 1990s. You didn't quit your day job, as I understand it, at a bank, until a few years after that. You left your religion — Jehovah's Witness. You divorced your husband. So there you were in your early 40s, and you took this huge leap and followed your passion. Tell me about that decision to do that.
It wasn't planned. My whole plan was, "Hey, maybe I can sing locally and earn a couple of bucks." But my ex-husband has been one of my best teachers, and I believe that the areas of our life and the people in our lives that present the most problems to us — they really are our best teachers. They're teaching us lessons that we have to learn anyway, and if we don't accept the lesson from them, there will just be another teacher to step in and take their place.
Of course, I didn't have all this viewpoint at the time; I just knew that I had to sing. Once I started singing, I realized it was a language I'd forgotten I could speak. To be up on stage and interacting with musicians, that was a huge epiphany for me. And so when my husband gives me this ultimatum, "You either stop singing, or you move out," then it became very clear that what I needed to do — not just because I wanted to sing, but because I didn't want to live with anybody who issued ultimatums to me like that — would be to move out.
If he had been kind and said, "Oh, sweetheart, I'll miss you when you're gone," or, "This boys are in college now, this is our time to do fun things," I would have gone right along with it. Instead, he presented this opposition, which just made me say, "No, I am not going to do that." It's the best thing that could have happened, in the very best way. It wasn't really a plan. I just kind of tried to stay true to myself.
Where did the love of jazz come from? I assume it didn't come from going door to door with the Witnesses, with all due respect.
I just love music. I love all kinds of music, and I was exposed to it, me and my siblings, from the time we were in utero. We grew up listening to all types of music except jazz, but once I was introduced to it, when I went to see Lady Sings the Blues with Diana Ross playing the role of Billie Holiday, that was when I was introduced to jazz and thought, "Wow. This stuff is great."
Billie Holiday helped set you free. Sounds like Eartha Kitt helped as well.
They all do. I think that's the role of an artist, right? To touch someone and make us stretch out just a little bit more.
Kitt said in her memoir, "The price we pay of being true to ourselves is worth it." Sounds like you're still learning, still exploring, still asking questions in your art.
Hopefully. When I stop asking questions, something's wrong.
If you've just tuned in, you're listening to ALL THINGS CONSIDERED from NPR West. I'm Eric Westervelt.
EARTHA KITT: (Singing) While tearing off a game of golf, I may make a play for the caddy. But when I do, I don't follow through, 'cause my heart belongs to Daddy.
WESTERVELT: Singer and actress Eartha Kitt embraced the term sex kitten that was often assigned to her for her naughty, come hither stage persona. Kitt died in 2008. She continued to perform well into her 70s. That's when an inspiring jazz singer named Rene Marie got to see her on stage for the first time.
RENE MARIE: My mouth was hanging open like everybody else's. I was drooling. Ah, she was scandalous.
WESTERVELT: Rene Marie recently turned that passion for Eartha Kitt into a tribute album. It's called "I Wanna Be Evil: With Love to Eartha Kitt."
MARIE: (Singing) So I want to warn you ladies, though I think you're perfectly sweet, that my heart belongs to Daddy, because my Daddy, he treats it so well.
WESTERVELT: Rene Marie took a remarkable path to jazz. In her early 40s, she left her husband and her religion, Jehovah's Witness. She quit her job at a bank and followed her passion for jazz. As a child, Rene Marie watched Eartha Kitt play Cat Woman on the old Batman TV show. She says that became an early memory of empowerment.
MARIE: The first 10 years of my life, I lived under Jim Crow laws in Warrenton, Virginia. And so, seeing this black woman on TV with all white people, telling them what to do and just being mean and evil and reveling in it, it was almost frightening. Uh-oh, something bad is going to happen to her, because this just didn't happen. So it was a huge eye opener for me.
She's like the perfect person to deliver the lyrics of the Cole Porter tunes, because as we know, Cole Porter wrote so many tongue-and-cheek lyrics and double entendres and suggestive lyrics, and who better to do that except Eartha Kitt.
MARIE: (Singing) That's why birds do it, bees do it, even educated fleas do it. Let's do it, let's fall in love.
When we do it live, you know, I introduced the song, everybody knows the tune, let's do it right. And I say, how does it go? And the audience starts singing, bird do it. They're really cute and light. I was like, yeah, we don't do it like that at all. Here's how we're going to do it. We're going to put some blues up in there.
WESTERVELT: Yeah, it's great.
MARIE: (Singing) The Dutch in old Amsterdam do it. Not to mention the Finns. Folks in Siam do it, just think of Siamese twins. Some Argentines, without means, do it.
WESTERVELT: I want to do a little compare and contrast here. Let's take a listen to Eartha Kitts version of "I Want to Be Evil."
KITT: (Singing) I've posed for pictures with Ivory soap. I've petted stray dogs and shied to clear of dope.
WESTERVELT: You're pretty faithful to the original at first.
MARIE: (Singing) My smile is brilliant. My glance is tender. But I'm noted most for my unspoiled gender.
WESTERVELT: But where Eartha swings a bit..
KITT: (Singing) Like something that seeks its level, I want to go to the devil. I wanna be evil.
WESTERVELT: You really take the tempo up there. You start to rock out there.
MARIE: (Singing) I wanna to be evil. I want to hurt flies. I wanna do things that scare, do lies.
WESTERVELT: Did you wrestle at all with how much to stay true to Eartha's takes versus...
MARIE: Never. As a matter of fact, I tried my best to get as far away from her versions as possible because I was so worried, oh, I don't want anybody to think I'm trying to sound like Eartha. Who could do that?
MARIE: (Singing) And then the theater, I want to change my seat just so I can step on everybody's feet. I wanna be evil.
I've got to tell the truth. What woman doesn't want to say that I want to be evil? You know, we're just told to be good girls, don't ruffle any feathers, don't do this, don't, don't, don't. And then here's this great tune. I'm tired of being good. I want to be evil.
So I've actually thrown out a suggestion to the women in the audience when we do this live that they video themselves singing this, you know, buy a little get-up, video tape themselves singing it, and then send it to me so I can put it on my YouTube or my website.
WESTERVELT: Interesting. You've got a little collection of "I Wanna be Evil" videos on your website now?
MARIE: Not yet. I haven't gotten one, I haven't gotten one. But I have a feeling that they are coming.
WESTERVELT: They're coming. After this interview they're coming.
MARIE: I hope so.
MARIE: (Singing) Ha ha ha, as evil as I can be.
WESTERVELT: I'm speaking with singer Rene Marie about her latest album, "I Wanna Be Evil: With Love to Eartha Kitt." It always seemed that she took on a bit of a character when she performed her music. I mean, she was the playful, bad girl, the temptress. Did you do a bit of that too? I mean, did you get into character a little to record these songs?
MARIE: No. It's not a matter of getting into character for me. What it is is simply disrobing what's already there, uncovering what typically stays covered up. So being vulnerable enough to go to those places that the songs just were dying for, you for me to go to. Any time you sing a song, like, "Oh, John," you just have to surrender to what the lyrics are.
MARIE: (Singing) Oh, John, please don't kiss me. Oh, John, please don't kiss.
I've gotten some criticism for some of the songs like that, but it's cool.
WESTERVELT: Why's that?
MARIE: Because, the lyric is Oh, John, please don't kiss me. Oh, John, please don't kiss.
MARIE: (Singing) Oh, John, please don't hold me. Oh, John, please don't hold.
Basically, John is doing whatever he wants to do and seducing this woman. And some people have taken it to mean that it's OK for someone to continue forcing themselves on someone else in spite of being told no. And I've had women approach me afterwards and say, why did you sing that song?
WESTERVELT: Yeah, you wrote in the liner notes that, you know, you had the most trouble with "Oh, John," 'cause the music moves sort of closer and closer to the forbidden, but no apologies.
MARIE: None whatsoever. I did have to pull my husband aside and say, mm-uh, about that "Oh, John" song.
WESTERVELT: Right.
MARIE: (Singing) Please don't touch me. Oh, John, please don't touch. Oh, John, please don't. Oh, John, please. Oh, John.
WESTERVELT: You care a lot about social issues, and your past albums reflect that, Rene. I mean, you've taken on racism and homelessness and inequality. Yet, this album is pretty much all fun, almost tongue-in-cheek. I mean, is this the pure playful and fun side of Rene Marie?
MARIE: It is so much fun. I had no idea how much fun I would have doing these songs. I mean, I love it. And as a matter of fact, I'm kind of dreading my next project because if I do my original stuff, it's going to be all fun like this one is.
MARIE: (Singing) They said that I'm a witch, that I weave a spell. Well, I'll be a son of L and what the, well, let me tell you I'd rather be burned as a witch, than never be burned all.
WESTERVELT: Rene Marie, it's been a real pleasure. Thank you so much.
MARIE: It's been my pleasure. Thank you very, very much. I've enjoyed talking to you.
WESTERVELT: That's Rene Marie. Her latest album is a tribute to Eartha Kitt called "I Wanna Be Evil."
MARIE: (Singing) ...to unglue you, and all of the hex of the weaker sex to boo-do-dupe-dupe-do-do-you. They said that I'm a witch, that I weave a spell. Well, I'll be a son of a L, well, let me tell you I'd rather be burned as a witch than never be burned at all...
WESTERVELT: And for Saturday, that's ALL THINGS CONSIDERED from NPR West. I'm Eric Westervelt. Check out our weekly podcast. Look for weekends on ALL THINGS CONSIDERED on iTunes or on the NPR app, and follow us on Twitter @NPRWATC. I'm @EricNPR.
Tomorrow, I'll visit to a middle school in San Francisco where something different's happening. Kids with disabilities aren't relegated to a special classroom. Instead, they're being included in all classrooms.
UNIDENTIFIED MAN: Just by looking, you can't necessarily tell me who's the gifted the kid and who's the kid with a disability.
WESTERVELT: Inclusion, it's not always a simple process, and it's the subject of a hot debate. That's tomorrow. Until then, thanks for listening, and have a great Saturday night.
MARIE: (Singing) ...ooh, what the hell. Baby, I'd rather be burned as a witch, than never to burn at all. Got a match? Ha-ha-ha-ha-ha-ha, ha, ha, ha. Transcript provided by NPR, Copyright NPR.


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I am all about a great chocolate dessert for Valentine's Day, but I rarely have time to make something too involved. Instead I keep it simple and make brownie tarts. They are just brownies flavored with a little hazelnut extract and baked in round tart pans. But they are so pretty and decadent, they've been upgraded just enough to be perfect for a romantic holiday meal.
The best part about making these is that they really are a cinch. In fact, they come together so quickly and easily you don't have to fret about time constraints. There is hardly a faster baked good out there.
When you are looking for a great chocolate dessert next week here you go. You'll love everything about the look and taste and so will your sweetie. And, don't forget, if you need any kind of chocolate dessert there are so many great ones to choose from!
Click here for the full recipe: Hazelnut Brownie Tart
It's not just the hazelnut extract that gives this brownie tart its deep, rich flavor. Instant coffee dissolved in boiling water adds even more.
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About John Bowman
Painting cityscapes, still lifes, and images from war, John Bowman updates historical genres in order to reflect on the modern world. His cityscapes feature dense groupings of simplified shapes and structures that create geometric patterns, while his still-life paintings substitute nature morte themes for sumptuous plates of fruit, vegetables, deli meats, cakes, and stacked cheeseburgers. The bountiful display reflects industrial food production and invokes the grotesque with its decadent levels of excess. Bowman has also produced drawing, sculpture, and public art projects.
American, b. 1953, Sayre, Pennsylvania, based in New York, New York
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