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Bonneau Ridge 5 Acres
Highway 52 Parcel 3 : Bonneau, SC 29431
Berkeley County, South Carolina
Farm Description
This is an excellent opportunity to own a 5 +/- acre home site located close to Lake Moultrie and the Francis Marion National Forest. Only minutes from a public boat landing and the National Forest, this is a great place to create a private estate or mini farm. This property is also less than 10 minutes to Moncks Corner. This land features several potential areas for private home sites to create a large acreage estate.


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Find Phone Numbers has No connection with any of the companies listed on this site and other phone numbers can be found in the public domain. If you have any queries you can Contact us
We are a premium rate call referral service and forward calls to the relevant company and department at a cost of 5p per minute from a BT Landline - What is a call referral service?
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First Choice Telephone Number for Reservations, bookings, holiday information and all other enquiries
First Choice holiday deals are available online. However, if you wish to contact customer services prior to booking the lines are open 7 days a week. Please use the First Choice phone number above Monday to Friday 9am to 9pm, Saturday 9am to 8pm and Sunday 10am to 8pm. First Choice are part of the TUI Travel PLC Group of companies, a leading UK leisure travel company offering award-winning holiday brands through their network of outlets and over 14,000 employees. First Choice has been winning awards for quality, value and service in the holiday industry for many years such as "Best Charter Airline" and "Most Environmentally Responsible Airline". All holiday packages booked through First Choice are protected thanks to the ATOL stamp (ATOL is a holiday protection scheme backed by the government that ensures you won't be left stranded abroad or out of pocket if a travel company goes bust!).
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Carrie, on! "Love Wins" hitmaker to continue Opry tradition during CMA Fest this year
It's become a Grand Ole Opry tradition for Carrie Underwood to headline a couple of big shows on the Tuesday before CMA Fest, and it's one she'll continue in 2019.
Carrie will play the Opry at 7 p.m. and 9:30 p.m. CT on June 4, with Chris Janson and Travis Tritt on the bill as well. Look for more big names to join the roster as the date approaches.
The crowd will have a chance to warm up prior to the performance with a free Opry Plaza Party earlier in the day.
In addition to the two Tuesday shows, the Opry will also greet fans from across the globe on Thursday, Friday, and Saturday of that week. Tickets are on sale now at Opry.com.
This year's CMA Fest takes place from Thursday, June 6 through Sunday, June 9.
Copyright © 2019, ABC Radio. All rights reserved.


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You've decided to up your streaming audio game by picking up the Echo Sub to pair with your current Echo speakers. It's a great pickup, with 100 watts of power to accentuate the deepest lows of your favorite music. Now the only thing left to do is to set up the Sub within your current setup. Let's go through how to do that now!
Products used in this guide
- Amazon: Amazon Echo Sub ($130)
- Amazon: Amazon Echo ($100)
- Google Play Store: Alexa App (Free)
How to pair the Echo Sub to an Echo speaker
- Open the Alexa App on your phone.
- Tap the menu button on the upper left corner of your screen.
Tap Add Device.
- Tap the Amazon Echo icon.
- Tap Echo Sub.
On the Select your Amazon Echo screen, select your Echo Sub. It will be named Echo Sub-XXX
- Tap the Wi-Fi network your other Echo devices are connected to.
- Once your Echo Sub is connected to your Wi-Fi, tap Continue to begin pairing your Echo Sub to your Echo speaker.
Watch the Echo Sub set up video. After the video is finished, tap Continue twice.
- Tap the Echo speaker or stereo configuration you wish to pair your Echo Sub to and tap Next in the upper right of your screen.
- Let your Echo Sub pair to your speakers.
Your Echo Sub is now successfully paired with your Echo speaker(s)!
Once finished, you'll be able to enjoy your favorite songs while feeling the deep bass from your Echo Sub. It's the perfect compliment to your Echo speaker set up, or even a pair of Echos for 2.1 stereo streaming audio.
Our top equipment picks
Main Eventer
Amazon Echo
The classic smart speaker with a clean look.
Having one speaker is nice, but two or three is twice (thrice?) as nice, with the ability to group more than one speaker for multi-room audio.
At $100, the Amazon Echo is an solid option for families looking to ease into the smart speaker space. Being able to pair two for a stereo set up allows for 2.1 stereo sound when put into a stereo/sub pair with the Echo Sub, giving you high quality streaming audio with home assistant capabilities.
Additional equipment
Amazon Echo Sub ($130 at Amazon)
Pairing the Echo Sub with your Amazon Echo speakers will bring out the crisp lows in a lot of your favorite songs.
Setting up the Echo Sub will need the Amazon Alexa application:
Amazon Alexa App (Free at Google Play)
The nerve center of the Alexa ecosystem, the Alexa App is vital software for connecting all of your Echo devices together.
You can also pair the Echo Sub with a pair of Amazon Echo Dots as an alternative:
Amazon Echo Dot ($50 at Amazon)
A cheaper alternative to the Amazon Echo, the Echo Dot's speaker upgrade makes it a viable speaker and home assistant for anyone on a budget.
This post may contain affiliate links. See our disclosure policy for more details.
Get smart with your surge protectors with these power strips
Surge protectors can save all of your precious electronics. Smart surge protectors can do that and connect to your favorite smart home app.
Everything you need to get started with Raspberry Pi
Want to get started with a Raspberry Pi? Here's everything you'll need (beyond the Pi itself).
Make the most of your Ring Video Doorbell with these accessories!
The Ring Video Doorbell is great on its own, but it gets much more useful with some accessories.


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Exclusively Linda - Handmade in USA
Handmade 18 inch Clothes for American Doll - Dress, Pantaloons, Headband - Lavender Floral
- #886
Special occasion handmade doll DRESS, PANTALOONS and HEADBAND fit American Girl Emily, Kit, Felicity, Mary Ellen, Grace and similar sized dolls. (Trim and accents may be unsuitable for younger children. Fabric pattern placement may vary from photos.)
DRESS is made of iridescent floral lavender satin. LINED bodice is accented with a rhinestone buckle and lavender satin ribbon waist sash that is attached at sides and ties in a bow in back. Full skirt has an ATTACHED WHITE LINING with lace along hemline.
Included are white cotton blend PANTALOONS with elastic at waist, lavender satin ribbon beading lace on legs and a lavender satin ribbon bow at waist. Also included is a silver and white elasticized HEADBAND accented with lavender satin and silver and white organza bows.
Dress closes in back with velcro. All seams are serged to prevent fraying. Dress and accessories will be mailed in a box with tissue paper.
Purple shoes and white knee socks may be for sale in separate listings. Display doll Emily is not intended to convey that clothes are affiliated with any doll company or manufacturer.


text: Christmas gifts for history buffs! Leave a reply From the Legion Magazine. Christmas on the front lines A special Christmas and Holiday tribute to all those who served and continue to serve. WATCH VIDEO You received this email because you are part of our mailing list. Your email address is: email@example.com Canvet Publications Ltd. 86 Aird Place, Kanata, Ontario, Canada, K2L 0A1 1-844-602-5737 613-591-0116 email@example.com Share this:TwitterFacebookLike this:Like Loading... Related


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Bremond Junior High A Team are CHAMPS!
Fri, 02/09/2018 - 5:00am
MICHAEL COTTON Sports Editor
The Bremond Lady Tiger basketball program may be going through some learning experiences and growing pains on the Varsity level but the Junior High girls are playing exec element basketball.
This is something Coach White can look forward to especially with so many youngsters on the Team. The 8th grade team won the Championship at a tournament this past week going unbeaten in the process.
To read more please log in or subscribe to the digital edition http://etypeservices.com/Franklin%20AdvocateID516/


text: LYMPHOCYTIC GASTRITIS AND CELIAC DISEASE: EVIDENCE OF A POSITIVE RELATIONSHIPPrasad, K K; Sinha, S K; Sharma, A K; Nain, C K; Bhasin, D K; Singh, KPathology - Journal of the RCPA: 2009 - Volume 41 - Issue - p 80 RCPA Quality Assurance Programs Pty Ltd Congress Grant Free Author Information Department of Superspeciality of Gastroenterology, Postgraduate Institute of Medical Education and Research, Chandigarh (UT), India Aim: Lymphocytic gastritis (LG) is a histological entity characterised by intense lymphocytic infiltration (≥25 lymphocytes/100 epithelial cells) in the gastric surface and pit epithelium. Its cause has not been established, but an association with Helicobacter pylori infection or celiac disease (CD) has been suggested. The aim of this study was to verify the association of LG in adults with CD, with and without H. pylori infection. Methods: This prospective study included 63 adults with CD in whom gastric and duodenal biopsy was taken simultaneously. The adults were diagnosed as cases of CD based on the modified ESPGHAN criteria and positive serology. The control consisted of 63 non‐celiac adults matched for gender and age (within 2 years) without any gastric or duodenal ulcer in whom upper digestive endoscopy was performed. Helicobacter pylori were recognised in gastric biopsy on H&E sections; a modified Giemsa stain was performed in biopsy suspicious for H. pylori. The results were expressed as number and percentage or mean+SEM. Comparisons of quantitative measurements between groups were performed with Student's t test. Results: The mean age of CD cases (M:F 27:36) at presentation was 34.7±2.2 years. LG was found in 22 (34.9%) CD cases. CD cases positive for LG had a mean gastric IEL/100 surface epithelial cells of 43.2±3.5, compared with a mean of 10.5±0.7 in negative cases. CD cases not showing LG, however, did show significantly increased gastric IEL compared with non‐celiac controls (10.5±0.7 vs 4.9±0.3; p<0.0001). Three of 63 (4.8%) CD patients were positive for H. pylori, and none of 22 cases of LG were H. pylori positive. Conclusions: This study shows support for a pathogenetic relationship between celiac disease and lymphocytic gastritis. Celiac disease without lymphocytic gastritis also showed increased gastric intraepithelial lymphocytes. Histopathologists should be alerted to the distinct appearance of lymphocytic gastritis, and duodenal biopsy may be considered to pick up the celiac disease cases.© 2009 Royal College of Pathologists of Australasia


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- "Man-Made Monsters," an exhibition of selected works from third-year BFA Illustration and Cartooning Department students, based on various monster-related themes. Visual Arts Gallery, 601 West 26th Street, 15th floor, through Saturday, April 8.
- "Into the Darkness," an exhibition focusing on the use of black as a primary medium of expression, with work from MFA Illustration as Visual Essay Department recent graduate Jonathan Bean, MFA Fine Arts Department recent graduate Jenny Brown and BFA Photography Department student Melissa Libertelli. SVA Gallery, 209 East 23rd Street, through Thursday, April 13.
- "Mentors," an exhibition of works by 56 graduating photography students inspired by their year-long mentorships with leaders in the visual arts. Visual Arts Gallery, 601 West 26th Street, 15th floor, April 14 – 29; Reception: Tuesday, April 18, 6 – 8pm.
Click here for more information about SVA exhibitions.
Image: Jonathan Bean, Forgedale I, 2006; from "Into the Darkness."


text: I am still buzzing! A days pamper at a health spa would have cost me a fortune yet this morning I gave only my heart and am still overflowing with joy love peace happiness and strength, Colin feels sure I was drunk this afternoon! It was a fantastic meeting, so happy to be part of NLC xxxx Tracey Harding-Wood


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Let me guess, you have been playing Classic Crossword by Merl Reagle crossword and got stuck on the clue Missile type. Well, you have come to the right place to find the answer to this clue.
While some crosswords are much simpler than others, most require that players have a vast knowledge of the language and possibly even various topics. So while crossword puzzles are seen as a more intelligent game, they can be very frustrating for players to complete and even experienced crossword players need some help occasionally.
When finding the answers to the clues becomes too difficult, there's no shame in looking for them online.
Now you have the answer to your clue. Its time to move on to the next clue. You can browse through the list with all the answers to the Classic Crossword by Merl Reagle crossword of January 6th, 2019. Or you can use the search form below to find the answer (no matter if its Classic Crossword by Merl Reagle Crossword or any other crossword).
|Classic Crossword by Merl Reagle crossword of January 6th, 2019 other clues
|Some oil ministers
|It has a driver stuck in its head
|Relative of "parade rest"
|The two
|Go on and on
|Cosmetics ingredient
|Stickum of a sort
|Horseshoe spike
|Critical opening?
|Time in office
|Damn Yankees role
|Acrylic fabric
|Vietnamese money
|Visibility reducer
|Trial break
|Like a type of skiing
|Queen voiced by Idina Menzel
|NFL superstar of 1969
|Certain sandwiches
|Slangy nose
|Shrinks and vets
|Way out
|Farthest point
|Norma, for one
|Warty ones
|Mexican salamander
|Mull ___
|Sikorsky et al.
|"All right, already"
|Wheelchair-bound Glee character
|Campus VIP
|Aural prefix
|All tied up
|Put to work
|Christmas tree
|"Hope springs eternal" penner
|Hits the wrong button
|Reason for singing off-key, perhaps
|Regarding, in the Bible
|Busy ___
|Building annex
|Hockey maneuver
|Start of an algebra problem
|First name in design
|Pitcher's concern
|Smart guy
|Menacing comment
|___ crow
|Deodorant features
|Newspaper aside
|Some beginners have it
|Till bill
|Percussion instruments
|Actor Ron
|Pioneer airman ___ C. Eaker
|Things that go beep in the night
|___ mail
|Will Rogers's middle name
|Chewing-gum ingredient
|Before, in Biarritz
|Equine sound
|Film genre
|Tennyson's Arden
|Crier's cry
|It may be set at $100,000
|Oscar-winning musical
|Prior finish
|Sufficient sum, old-style
|Anne, John, and Liv
|HO buys
|What "two" meant to Paul Revere
|"The ___ St. Agnes"
|Create jack-o'-lanterns
|Kind of sampling
|Easy-to-make dessert
|First name of California's "Governator"
|One who gives the gift of sight
|Baby boys
|Fall for a tear-jerker
|It often comes after years or months
|TV journalist who married Mike Nichols
|Diamond disagreements
|It's over your head
|Paris's home
|Spiral ornamentations
|Singer Vikki
|Payment choice
|Wave makers
|Cart with detachable sides
|Greek letter
|She said, "It's even better when you help"
|Grieg's Peer Gynt, for one
|Their, in Thierry
|Seat formed by two people interlocking hands
|Joey's mom
|1962 film starring a collie
|"By the way, old chap ..."
|Ray Charles No. 1 single, "I ___ Loving You"
|Stubbornly stupid
|See 72 Across
|Bring back, as an old play
|Last place (with "the")
|Negative from Tin Pan Alley
|Like some lions
|Help in the worst way?
|Michelle who sued Lee Marvin for palimony
|Pizza alternative
|Hodges of baseball
|Giving the once-over
|Type of tea, ___ souchong
|Women's links org.
|Ring decision
|Clerk's query
|Inline purchase
|Poser's word
|Toy building-block company
|"___ get it!"
|Singer's peak, perhaps
We offer support and help with a wide range of crosswords and are guaranteed to make sure you complete everything; the site is also updated regularly to make sure that all of our answers are correct and to add more crosswords to the ever growing list.__IMAGE__
If there is any problem with the answer, please contact us! We will fix the problem.


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Dolce & Gabbana
London slip-on sneakers
Regular price £398.00 Sale price
Dolce & Gabbana's signature London sneakers sport a streamline shape and are available with or without laces. The perfect weekender shoe, these fun London designer's patch slip-on sneakers are crafted from luxurious leather in Italy. They feature a leopard print, elasticated side panels, a contrast black piping, a branded insole and a white, lightweight rubber sole. They are finished with the Italian fashion house's tongue-in-cheek designer's patch appliqué detailing to the front. A house casual classic, these designer's patch slip-on sneakers are a firm favourite with the fashion elite.
Made in Italy
Outer: Leather 100%
Lining: Leather 100%
Sole: Rubber 100%
Product code: CK0028AG352


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Click on the button below to download the latest version of the EasyLog WiFi Firmware.
EasyLog WiFi Firmware
EasyLog WiFi Firmware Update Procedure
1. If you are not running the latest version of the EasyLog WiFi Software (that is used to configure your logger on your PC), you should update this first before attempting the firmware update below; older versions of the EasyLog WiFi Software may not be able to perform the firmware update because they do not support the new .fwp file format used as the firmware file.
2. Download the latest firmware using the Download button above.
3. Open the WiFi Sensor Software and connect the WiFi logger to the PC via USB.
4. Click on "Advanced Tools" then on "Firmware Updater".
5. You will then see the "Detected Device Parameters" screen.
At point 3, for "Select the firmware file" click on "Browse" and select the firmware file downloaded earlier.
At point 4, depending on how old the firmware version you are upgrading from is, you will either get a "Your Device Will Be Factory Reset" message, or you will be given a checkbox saying "Factory Reset my device anyway. Settings will be cleared." It is always advisable to check this option for the best chance of success, however please note that a full setup of the device will need to be done again and it will also delete any logged data on the device.
When happy with your settings click on "Update Now".
6. The logger will now update and a "Firmware Updated" message should be displayed at the very end.


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How a Paddle Board Helps You Tone Your Body
Stand up paddle boarding is one of the most popular water activities. This sport can provide a lot of health and beauty benefits. Moreover, it will burn calories, increase your muscle mass, tone your body and make you feel and look better than ever.


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Please Help Me For My Medical Treatment
NASCAR in Michgan
My son missing since 6 yrs, please help
an other Nagada is oupada patharapada
OTSA conducts candle March for DAV student Taniya Banarjee
Onam Celebration
the school road is mud way
Oupada kuldiha sanctuary aria information boad circumstance ..
Vanivihar university students protest
Watch The Situation Of No-1 Smart City During Rain
Accident risk higher because of this drain.
This is in front of the Ramakrishna slum school.
Artificial flood in oupada block kalajhatia village..
TTE Asking For Bribe From Passengers
Bahuda in America
Electric Office Closed On Sunday
Newly made Guard walls collapsed in Loisingha village
Is Facebook Launching New TikTok Competitor?
Why Shah Rukh Saw 'The Lion King' 40 Times
Death Toll From Nepal Floods Reaches 67
Former DIG's Daughter Molested, Accused Held
India Must Tap Foreign Capital To Trigger Investment Cycle: CEA
Railways' 100-Day Plan: Cut Travel Time On Delhi-Howrah, Delhi-Mumbai Routes
Tendulkar Bats For Second Super Over To Decide WC Winner In Case Of Tie
No More Rent A Womb, As Govt Brings Bill Banning Commercial Surrogacy
Speaker Can't Force Legislator To Continue: Rebel Karnataka MLAs
10 Killed, 10 Injured In Mumbai Building Crash
0674-2549186, 9937414089


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Across the Pond, I Find a Poetic Powerhouse
April 20, 2018
Filed under Current Columns
Hang on for a minute...we're trying to find some more stories you might like.
Email This Story
As we wait for summer, the painful countdown of finals begins and music becomes the crutch for my spirit. This is the time of year where I've been known to blast "Hot Fuss" multiple times per day.
But a feeling even sweeter than the upcoming summer is a new album by one of the best modern songwriters. I couldn't have been more excited to tune in to L.A. Salami's, "The City of Bootmakers," as I worked on homework in a rare moment of quiet in my apartment.
"Bootmakers" is carried by the bluesy voice of Lookman Adekunle Salami and his tales of the struggles of modern London with a sharp talent for musical storytelling that is reminiscent of Bob Dylan and Patti Smith. Salami's creative wit and characters always keep me listening, and coming back to discover something new.
Opening with "Sunrise (intro)," the album sets itself up with happiness steeped in playful piano licks and a sing-a-long verse. Salami wastes no time jumping into his single, "Generation L(ost)Û and a critique of young millenials. This theme that courses throughout "Bookeepers" is both insightful and self-deprecating. Salami's own skinny jeans are too tight, but he is wise beyond his years.
There is fun and joy in an excursion through London on "Brick Lane," with a train ride to the hip new bar where "cash flows from all the wealthy come in/who seem not to like the scene that led them on." But all the other hipsters are already there and Salami struggles with the gentrification of the city he's known his whole life.
"England is Unwell" is a palpable frustration of the state of his country and its hostility towards immigrants. Salami's ideas and laments spill out like a late-night conversation. As "something in the air here doesn't feel just right" his love for England is clouded by its negative attitudes.
I was first introduced to Salami's work until last summer's Newport Folk Festival, which is one of the best parts of my summer. I fell in love with Salami's keen lyricism and seemingly endless imagery on his 2016 breakout record, "Dancing With Bad Grammar" and its working-class serenade, "Day to Day for 6 Days a Week.Û But "Bootmakers" raises up the volume and production variety, making it an awesome summer time album, full of the highs and lows we all find in the sun.
His acoustic and folk roots are still found in "The Tailsman on the Age of Glass" and its brooding closer that asks what we have all been asking; "What Is This?Û


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Christian community in Pune holds solidarity rally
Hundreds of members of Orthodox, Catholic and Protestant churches organized a peace rally in the city on Tuesday, 24th March, 2015 to support the rights of minority communities in India and protest against the gang-rape of a nun in Kolkata. The rally commenced from Saint Felix School in Bund Garden at 9 am and the protestors marched up to Council Hall by 11 am.
Speaking to the crowd that gathered for the rally, Pune Bishop Thomas Dabre said, "We are forgetting the secular approach of the Indian Constitution. In a situation, where minority groups are being targeted and their houses of worship are being vandalized, it is a direct attack on the constitutional rights of the citizens. We demand that the Modi government must ensure that that the culprits behind the attack on the Panvel church and the nun in Kolkata must be punished."
Emphasising on the concept that God is one and every religion preaches the tenets of peace, Father Malcolm Sequeira said, "We are all one and if we stay united nobody can do any harm to us."After the collector expressed his support to the cause and assured that the government would ensure that such incidents do not occur in Pune, the peace rally ended with the protesters singing the national anthem.
Rev.Fr.Thomas Myalil, Vicar of St Gregorios OSC, Dighi, Pune, and Rev. Fr. Jacob Thomas(Sherin),Vicar of St. Mary's Orthodox Syrian Church,Pimpri represented Malankara Orthodox Church in this peace rally.
Edited by Aneesha George.


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Allow for's be genuine! If your self seem to be back again at the very last 12 weeks of your everyday living, do yourself obtain aspects that are notable or humdrum?
Notable – (adjective) Important or odd.
Illustrations of aspects that are notable:
• Undertaking significant targets.
• Establishing or correcting essential associations.
• Breaking during a paralyzing proscribing trust.
Humdrum – (adjective) Missing enjoyment or number; tedious; tedious.
Illustrations of components that are humdrum:
• Making it possible for hrs, times and weeks in the direction of move your self as a result of with no producing high-quality contributions towards your daily life or that of other folks.
• Embracing a existence that is trapped inside of a rut.
• Empowering many others toward dictate how your daily life will switch out.
Do yourself don't forget the working day at the time by yourself planted the strategy within your brain in direction of commence your personal Digital Guidance organization? Includes that seed sprouted and started towards prosper? Did the thought inspire on your own in direction of acquire some stage within invest in in direction of develop a eyesight for by yourself, mounted some objectives and act upon individuals targets?
If your seed of a idea contains not nevertheless sprouted, I can convey to yourself accurately the motive it lays dormant within just your thoughts. Your 'WHY' is not Substantial sufficient! I can not aggravation the significance of feeding on a massive motivating variable. I understand the impression of atmosphere a objective and quickly forgetting around it given that it wasn't powerful ample in direction of transfer me in direction of move. Comprise on your own at any time felt that path?
Below are 3 motives your self want in the direction of consist of a persuasive 'WHY' inside obtain in direction of grow to be a rewarding Digital Assistant. This will stress that implanted psychological seed towards germinate. Being familiar with your Massive WHY will do the just after:
1. Strain by yourself towards be relentless. Incorporate by yourself at any time been within just a monetary bind? It is extraordinary the elements that come to be obtainable towards on your own whenever yourself require income instant. (Exactly in direction of be obvious, I do signify felony elements.) For the duration of that period, Though your house loan is owing, on your own received't avoid hunting until eventually yourself incorporate a remedy towards the dilemma. The very same is legitimate Even though by yourself are searching for in the direction of develop your private office environment. Oneself will come across the supplies and the mentors who can assistance yourself in the direction of be profitable within just enterprise. By yourself will not enable nearly anything towards reduce on your own against carrying out hence.
2. Compel your self in direction of thorough jobs. A profitable workplace is pirate kings hack ios the end result of finishing a sequence of assignments. Any time yourself incorporate a eyesight of the design of office that on your own require toward acquire, by yourself will then have to have in direction of map out the phase techniques that will let oneself towards conduct your objectives. Finishing those people stage actions satisfies your objectives.
3. Allow oneself in the direction of acquire a existence-improving upon enterprise. We all incorporate in direction of exertion inside of buy in direction of offer you for our households. If that isn't a Large WHY for exhibiting up at a issue of work opportunities (that by yourself could dislike), I dress in't comprehend what is. I contain put in the the vast majority of my occupation as an worker. If by yourself were being toward question me why I labored for the services that I've labored for, I would've talked about, "I include towards consume and shell out expenditures!" That was my Huge WHY. If yourself'd together with in direction of notice why I am currently self-utilized, deliver me an e-mail and I will gladly percentage with on your own my clean Massive WHY.
If on your own appear to be back again at 2012, do yourself come across that professional a calendar year that was notable or humdrum? If oneself ended up aiming for notable and finished it, then CONGRATS! If on your own include precisely realizes your self ended up residing a humdrum 12 months and need in direction of crank out a variation, I invite oneself towards get started wherever oneself stand and try for just about anything a lot more. If your self are presently an made use of administrative well-informed, imagine of strategies that on your own can generate your 2013 yr-close analyze incredible! Crank out a record of trainings that on your own can get. Feel for day by day projects that on your own can thorough faster hence as towards strengthen your efficiency.
If yourself are currently functioning finish-season as a Digital Assistant, awareness upon how oneself can produce 2013 a notable 12 months. Determine what achievement implies for on your own. It might be enrolling a positive amount of customers or generating a unique profits. Regardless of what the situation, reveal your eyesight for achievement as a result that by yourself can commit incredible contributions towards the gratification of your objectives. Get started getting the applicable step these days.


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Mrs Carter's EyesSubmitted by Em on November 15, 2006 - 7:13am.
Mrs Carter is 91 years old. Grandmother of one of my dearest friends (who moved to Auckland when we were young) and one of the most inspirational women I think I will ever meet. I just wanted to share some of her with you, because she is a woman who really deserves to be here in a community of other women who are just as precious to me.
The calm before the stormSubmitted by Em on September 25, 2006 - 3:38am.
It has been such a long time since I could go to bed feeling so safe, that now that I have that security, that knowledge that I am safe, I don't know what to do with it. How, after all that time do I just close my eyes and know no one will be waiting for me to do so. For me to be so stupid, so lazy in protecting myself, closing both of my eyes and letting my guard down for even a second, feels not only luxurious, but also very very dangerous. I trained myself to be constantly aware of what is going on around me at all times of the day and night. I hear every little noise, I hear the sea, I hear car doors shutting quietly, I hear the wind pick up ever so slightly and each time it does, I look toward my bedroom door.


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BUFFALO, NY - The Buffalo wrestling team continues to find success on the recruiting trail, and announced today the signing of three more student athletes who are expected to compete right away for starting positions on the 2012-13 squad.
Head coach Jim Beichner and recruiting coordinator Matt Lackey announced the signing of high school seniors Jarred Lux and Jimmy Kloc, and the team will also add transfer Erik Galloway from the University of Pittsburgh. Lux will project to be a 184-pound wrestler, Kloc will likely compete at 149 and Galloway will continue to wrestle at 133 pounds at the Division I level.
"Most programs struggle with depth at the upper weights, just because they're not very plentiful," Lackey said. "This year our focus was on the upper weights and getting some starters in there and also add some depth behind them."
"You see a lot of different types of kids come through," Lackey added. "Some are highly ranked and have all the talent in the world, but you have to make sure they're still hungry. What you get out of the guys who didn't reach their goals in high school is that they have a monkey on their back and something to prove."
Lux comes to Buffalo from North Allegheny High School, which finished the 2011-12 season with a 20-6 record. Personally, Jarred had a 34-1 overall record and was ranked third in the state of Pennsylvania. In the preseason, he was a place winner at the prestigious Super 32 tournament. Lux will also have a familiar face welcoming him to campus.
"Jarred is (assistant coach) Jeff Catrabone's nephew, so from a pedigree standpoint, he's got some good genes with a three-time All American in the family," Lackey said. "Pennsylvania is arguably the toughest state in the country for wrestling, and we watched him all year long and saw that he was an extremely talented wrestler. He has several ways to score and he moves well for a big guy. His best days are ahead of him and we expect great things out of him."
Jimmy Kloc comes from Iroquois High School and is another New York state champion to make their way to UB. Kloc is a four-time state finalist and earned the state title in 2010 and 2011. As a freshman, he was the NHSCA Freshman National Championship. The website D1CollegeWrestling.net has Jimmy ranked 122 among the nation's top 150 incoming freshmen, just behind fellow recruit Chris Nevinger (117).
Erik Galloway recently finished his second season with the Pitt Panthers, finishing with a 13-6 record that included three pins and three tech falls. Hailing from State College, PA, Galloway won 123 matches as a high school wrestler at State College High School, good for fourth-most in school history. He was also a two-time NHSCA All-American and placed in the top eight of the PIAA state championships twice as well.
"He'll have to come in and earn the spot, but there are some needs at the lower weights and having a guy who can step in and make an immediate impact is important," Lackey said. "Sometimes with freshmen, you have to develop and build them up, but he comes in with two years under his belt working out in a tough wrestling room. He's battle ready."
Now entering his second season as the head assistant coach and lead recruiter, Lackey is thrilled with the potential each new recruit offers.
"These guys, along with fellow incoming freshmen Tony Lock and Chris Nevinger, are at weight classes where we need them," Lackey said. "We struggled at 184 this year and Justin Heiserman is moving up to heavyweight, so we have vacancies at 184 and 197 pounds and we feel these guys can fill that need. The theme for me this year in my first year as recruiting coordinator has been strong academics, and finding tough kids who have that drive and willingness to improve."


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Posts Tagged 'ancient greece'
Human Sacrifice in Ancient Greek Tragedy: A Mythic Hermeneutic
The last of my Arts Degree essays. This is not so much about Greek tragedy as about all of ancient Greek culture reflected in what it is not. It is a fitting conclusion to my myth theoretic work over the last few years.
What can the history of world mythology tell us about the meaning of death for the ancient Greeks as represented in tragedies featuring human sacrifice?
While the ancient Greeks are not believed to have practiced human sacrifice,[1] it features in a number of their tragedies from the late sixth and fifth centuries B.C.E. This raises the question as to the meaning of human sacrifice for the ancient Greeks, its function in dramatic performance, and what it demonstrates about the ancient Greek view of death. While death is always considered a grave and serious issue, a distinct feature of the representation of human sacrifice in ancient Greek tragedy is its overall ambiguity: sacrifice is never wholeheartedly advocated nor fully condemned, is neither entirely good nor bad. I argue that this is like much else in Greek myth and tragedy, but that this level of ambiguity is relatively unique for a post-Neolithic civilisation at this time, which may reveal something about the ancient Greek ethos, particularly regarding religious experience.
There are a number of elements common to most of the extant tragedies by Aeschylus, Euripides and Sophocles featuring human sacrifice. The call for human sacrifice usually comes from the gods, whether through an oracle, sage, prophecy or request from the dead.[2] The victim is always a young unmarried[3] person, usually a female virgin. The prospect of human sacrifice always evokes horror, pity, sadness and aggressive protest from the victim, his or her family, and/or the observing chorus. A more elderly relative often pleads to be substituted (Euripides, Hecuba 386-90; Euripides, Children of Heracles 453-67; Euripides, Phoenician Women 967-71),[4] to no avail. In most cases,[5] after much pathos, the victim courageously comes to accept his or her sacrifice[6] for the sake of the greater social good – to ensure a victory in war and/or to uphold the family name.[7] An easy way to escape is offered (Euripides, Iphigenia in Aulis 1426-30; Euripides, Children of Heracles 540-3; Euripides, Phoenician Women 970-4), which the victim always refuses, with an explicit (Euripides, Children of Heracles 588-9) or implied[8] exoneration of responsibility for the executioners. As is usual for ancient Greek tragedy,[9] the victim is killed offstage, usually with a messenger figure reporting the event.
It is undeniable that these are common elements in the plays. However, their meaning and interpretation among scholars has varied considerably, so much so that there is virtually no consensus as to what sacrificial death means for the ancient Greeks, as represented by the plays. Consider, for example, the most common interpretations and contrary opinions: Scodel argues that human sacrifice is presented as morally evil, cruel, and impious[10] – characters always protest against it; it is never presented comically – while Rabinowitz claims that the ancient playwrights romanticise victimisation and eroticise sacrifice[11] – victims are referred to as youthful beauties, executed in a public way, often for apparently noble causes. Sacrifice is chosen as subject apparently to reinforce the status quo,[12] to advocate the self-sacrifice of the hoplite soldier fighting in the Peloponnesian War,[13] and/or as an outlet for internalised violence.[14] These differing viewpoints are all effected by (a) the interpreter's exclusive focus upon positive or negative aspects of sacrifice as presented in the plays (more on this later), and (b) the degree to which textual evidence is seen as reflecting (even promulgating) social, cultural, religious, broader historical, or human psychological norms (i.e. the degree to which the text is 'read into'). Since my interest is in how the presentation of human sacrifice reflects the ancient Greek cultural perspective of death, we must first pause here to consider how the ancient Greeks might have reacted to and interpreted tragedy themselves.
The plays are not obviously primarily political speeches (like those of Lycurgus), nor are they histories (like the work of Herodotus). The fact that the Greeks did not, as far as we know, perform human sacrifice alerts us to the fictional (or at least mythological) nature of tragedy – not only human sacrifice but long-dead, legendary/mythological persons, supernatural events, and gods were portrayed in the theatre by actors wearing stylised masks during a religious festival.[15] Hence we must consider the plays, particularly regarding human sacrifice, as myth. In this regard, as per Rudolf Otto, Joseph Campbell and others,[16] we can expect mythology to primarily promulgate a numinous emotionality, and as per Clifford Geertz,[17] reflect and support a cultural ethos related to and vitiated by the worldview presented in myth.
But while religion reflects the highest, most primary source of meaning, particularly in ancient societies, the peculiar language and dialectic of myth has its own hermeneutic difficulties. The interpretation of a non-mythological source, such as a legal document, is relatively straightforward; provided there are no concerns about sincerity or authenticity, words can be taken at face value, and compared with and/or generalised into contemporary cultural norms, customs and beliefs. Mythological material cannot be reliably extrapolated and generalised into historical data in the same way. Herein lies the value of Joseph Campbell's 'hero's journey'.[18] The revelation in relation to Campbell's exposition of the more-or-less universal 'stages of myth' – such as 'the call to adventure', 'the road of trials', 'apotheosis with the father', etc. – lies not in the fundamental sameness and therefore hermeneutic equivalence of all mythologies worldwide, but in their differences: the divergences, omissions, transformations, and unique realisations of the mythological stages in each particular cultural nexus.[19] In other words, Campbell's 'hero's journey' can be used as the yardstick, with the cultural ethos revealed in the manner in which a particular culture arranges and realises the stages, or how a particular element loses or gains value by its position within the schema.
Sadly, the history of human sacrifice as a motif in myth is sketchy but, according to Campbell and others, it seems to make its appearance in early sedentary agricultural village cultures, generally on a 'complex hunter-gatherer'[20] or Neolithic level of human society, apparently extending into early prehistoric 'Bronze Age' societies.[21] The apparent religious attitude accompanying human sacrifice, as attested by our scant sources,[22] is not primarily aggressive, but ecstatic or ascetic; sacrifice appears as a voluntary act of the mythic hero, committed as a means of identification ('becoming one') with a god or transcendent principle.[23] Campbell has postulated that cultures to the east of modern-day Iran exhibit more features of this Neolithic sacrificial mythic worldview than those to the west.[24] The ideas of ascetic self-denial or ecstatic absorption in a ritual-religious role are fundamental religious principles of eastern myth.[25] For example, the Jain, Hindu, and Buddhist schools of India all encourage the individual to realise a state of 'no-self' or 'annihilation',[26] and the Confusion, Daoist, and Shinto religions of China and Japan advocate an absorption in a social-natural order.[27] As a result, myths of the east frequently present human sacrifice as an ascetic or ecstatic calling – death is fundamentally an escape from a sorrowful or deceitful world or a mere playful illusion (cf. reincarnation).[28]
In opposition to this, in mythologies to the west of Iran, the self is not denied; instead, "[it] is … treated as though it were a definable knowable entity with particular characteristics."[29] One does not 'deny ego'; one develops it.[30] Campbell has observed that this emphasis on individuality has separated god from man in western myth; connection to the deity is one of relationship, rather than identity, hence human sacrifice is frowned upon, and other forms of relationship to the deity are established.[31] Add to this a further division: in the Near East, god is generally more righteous than man; he is a mighty warrior god with moralistic concerns.[32] Relationship is established via a warrior code, a covenant, sacrament, or koran; Job submits to God with the words: "I despise myself and repent in dust and ashes" (Job 46:6).[33] Whereas in ancient Greece, god and man are separate but more equally matched. Humans may coerce other humans, even other gods, to oppose the will of Zeus; "I care less than nothing for Zeus," cries Prometheus. "Let him do what he likes" (Aeschylus, Prometheus Bound 937).[34] These differing relationships with god may also reflect the respective political systems: autocratic rule, mandated by god (Yahweh, Allah, Marduk) in the Near East, and a huge variety of political systems, democracy among them, in ancient Greece.
Thus we return to Greek tragedy, itself a form of mythmaking that is essentially unique to Europe in its quality of acknowledging "the human sufferer."[35] Suffering in eastern myth is either dismissed as an illusion (e.g. Hinduism) or presented as a weakness to be overcome in transcendence (e.g. Buddhism); in the Near East, it is essentially punishment for sin (cf. the Fall in the Garden). In Greek tragedy, suffering is apparently presented for its own sake, as an acknowledgement of the way the world is, but also as something to be surmounted – but in worldly, not other-worldly, action, such as war, vengeance, or even (unavoidable) human sacrifice, committed for one of these worldly ends. The unpredictability and diversity of Greek tragedy is a result of multifarious conflicts – between god and man, man and man, god and god, god and man and Fate. The 'message' of the myth is difficult to pin down because it is not, as per Near Eastern myth, moral/political ideology in disguise, nor is it transcendental psychology or 'sympathetic magic', as it is in the east, and in earlier hunter-gatherer and Neolithic myth.[36] In fact, a Greek tragedy may closely approximate what we mean today by a work of art, a creative work presented primarily for the story itself and the emotional effect it generates. It is as if the numinous emotional quality has managed to separate itself from the metaphysics, psychology, morality, or ideological strands of myth and religion proper – producing, on one hand, art (the theatre, etc.), and on the other, early science and democracy (philosophy, rhetoric, etc.).[37] Yet the fact that Greek tragedies were presented within a religious festival suggests that the break between religion and art had not fully occurred.
This almost 'artistic' expressive-ambiguity pervades tragedies involving human sacrifice particularly. As per above, ambiguity is acknowledged by many commentators.[38] It is difficult to conclude exactly why a virgin such a Iphigenia in Iphigenia in Auris must die. Why tell such a story? It makes no logical sense; there is no clear 'moral'. However, it certainly is emotionally powerful. As per Wilkins, "The principle rhetorical force of the [sacrifice situation] … is the great desire of the victim to die, against the wishes of the … relatives and friends."[39] The perverse emotional force of this scenario is actually not ambiguous – 'ambiguous' is too flat and unemotional a term. This comes back to tragedy's proper status as myth. Again, Greek tragedies are not discourse treatises, presentations of arguments as might occur in a law court or philosophical treatise. We cannot arrive at Euripides' opinion on human sacrifice by merely 'adding up' the number of 'for' or 'against' arguments presented in his plays, as many commentators have done to much confusion.[40] Rhetoric in tragedy is primarily emotional, as is appropriate for a mythological (or artistic) presentation of an argument concerning an obviously fictional event. Tragedy is not ambiguous; it is numinous, beyond the bounds of logic and reason.
The marvel of Greek tragedy is that it manages to be numinous, or, at least, emotionally powerful, without recourse to an explicit and corroborating political ideology, psychological literature, metaphysical revelation, or divine mandate. It is this desire to create a powerful, logically ambiguous, emotionally transcendent experience – an experience which these ancient people might designate 'an experience of the gods' – which explains many of the perverse events in tragedy. We see this messy emotional power in the contradictory arguments offered, the strange, seemingly unmotivated prophecies and omens, the ironic fusing of opposites[41] – death with marriage,[42] sacrifice as objectification,[43] as patriotic duty and familial obligation,[44] as horrendous waste.[45] The most courageous motivation for sacrifice is thoroughly complicated by the powerful protests against it.[46] Significantly, the acknowledgement of human uniqueness occurs simultaneously with that of human frailty. The result is a particularly capricious worldview full of powerful conflicts:[47]
… differing fortunes
Follow close upon one another.
Fate brings low those that were high;
The unhonoured Fate makes prosperous.
(Euripides, Children of Heracles 639-42).
To summarise, human sacrifice in Greek tragedy is, I argue, primarily not just ambiguous but perversely powerful and numinous, especially in the mythological context of a kaleidoscopically varied and complex order of gods, humans and fateful powers which forms the ancient Greek mythic worldview. Just as the issue of human sacrifice is grim and complex in Greek tragedy, so too is the ancient Greek view of death. It is clear that death is not spiritually welcomed like in many of the Neolithic and Asian mythic systems. The ancient Greeks' greater emphasis on worldly, social, and individualistic values meant that death was viewed with more reality and finality. Its necessity for a greater social good was recognised, but not unambiguously advocated. When characters die willingly in Greek tragedy, their sacrifice is linked to worldly ends – dying for the particular institutions of family and city-state. In fact, it is probably the inability of Greek myth to allow the individual to spiritually stand completely separately from these institutions[48] that makes Greek tragedy still appear somewhat alien to modern readers, who, inheriting more recent ideas from the European Renaissance, have a greater, or at least different, sense of the value of human life, of the individual, and his or her relation to society.[49]
Primary Texts[50]
Aeschylus Prometheus Bound trans. H. W. Smyth (Cambridge, MA, 1926).
Aristotle Poetics trans. P. Murray and T. S. Dorsch (London, 1965).
Euripides Children of Heracles trans. P. Vellacott (London, 1972).*
Euripides Hecuba trans. W. Arrowsmith (Chicago, 1958).
Euripides Iphigenia in Aulis trans. P. Vellacott (London, 1972).*
Euripides Phoenician Women trans. P. Vellacott (London, 1972).*
* Due to the layout of this translation, the line references for these titles are approximate only.
Secondary Texts
Austin, N. Meaning and Being in Myth (University Park and London, 1990).
Burkert, W. Homo Necans: the anthropology of ancient Greek sacrificial ritual and myth trans. P. Bing (Berkeley, CA, 1987).
Campbell, J. The Hero With A Thousand Faces (Princeton, 1949).
Campbell, J. Masks of God: Creative Mythology (New York, 1968).
Campbell, J. Masks of God: Occidental Mythology (New York, 1964).
Campbell, J. Masks of God: Oriental Mythology (New York, 1962).
Campbell, J. Masks of God: Primitive Mythology (New York, 1959).
Campbell, J. Myths to Live By (New York, 1971).
Cassirer, E. Language and Myth trans. S. K. Langer (New York, 1946).
Csapo, E. 'Theatrical Production, Greek' in M. Gagarin (ed.) The Oxford Encyclopedia of Ancient Greece and Rome (Oxford, 2010), from http://www.oxfordreference.com.ezp.lib.unimelb.edu.au/view/10.1093/acref/9780195170726.001.0001/acref-9780195170726-e-1235 (accessed 18/04/14).
Donner, Susan E. 'Self or No Self: Views from Self Psychology and Buddhism in a Postmodern Context,' Smith College Studies in Social Work 80 (2010), 215-27.
Garrison, E. P. Groaning Tears: ethical and dramatic aspects of suicide in Greek tragedy (Leide; New York; Koln; Brill, 1995).
Geertz, C. 'Ethos, World-View and the Analysis of Sacred Symbols,' Antioch Review 17 (1957), 421-37.
Hayden, B. Shamans, Sorcerers and Saints: a prehistory of religion (Washington, 2003).
Koller, J. M. Asian Philosophies, 6th ed. (Upper Saddle River, NJ, 2012).
Murnaghan, S. 'Sophocles' in M. Gagarin (ed.) The Oxford Encyclopedia of Ancient Greece and Rome (Oxford, 2010), from http://www.oxfordreference.com.ezp.lib.unimelb.edu.au/view/10.1093/acref/9780195170726.001.0001/acref-9780195170726-e-1181 (accessed 21/04/14).
Otto, R. The Idea of the Holy trans. J. W. Harvey (London, 1923).
Pollard, E. A. 'Sacrifice' in M. Gagarin (ed.) The Oxford Encyclopedia of Ancient Greece and Rome (Oxford, 2010), from http://www.oxfordreference.com.ezp.lib.unimelb.edu.au/view/10.1093/acref/9780195170726.001.0001/acref-9780195170726-e-1110 (accessed 18/04/14).
Rabinowitz, N. S. Anxiety Veiled: Euripides and the traffic in women (Ithaca, NY, 1993).
Rehm, R. Marriage to Death: the conflation of wedding and funeral rituals in Greek tragedy (Princeton, 1994).
Scodel, R. 'Virgin Sacrifice and Aesthetic Object', Transactions of the American Philological Association 126 (1996), 111-28.
Seaford, R. 'The Tragic Wedding,' Journal of Hellenic Studies 107 (1987), 106-30.
Wilkins, J. 'The State and the Individual: Euripides' plays of voluntary self-sacrifice' in A. Powell (ed.) Euripides, Women, and Sexuality (London and New York, 1990), 177-94.
[1] At least, not as normal practice, see Pollard (2010); Wilkins (1990), 178.
[2] Wilkins (1990), 177.
[3] Or not betrothed (Euripides, Phoenician Women 943-4).
[4] Wilkins (1990), 183.
[5] It is probably best to exclude Sophocles' Antigone from this study as her death resembles more of a murder/suicide than a sacrifice to the gods.
[6] Rabinowitz (1993), 35, 39, 42-43, 55; Wilkins (1990), 183.
[7] Wilkins (1990), 177, 179, 190; Roselli (2007), 111.
[8] Rabinowitz (1993), 38.
[9] Murnaghan (2010).
[10] Scodel (1996), 111, 119.
[11] Rabinowitz (1993), 39.
[12] Rabinowitz (1993), 37-8, 56; Roselli (2007), 110, 126.
[13] Wilkins (1990), 177, 179; Roselli (2007), 111.
[14] Girard, referenced in Rabinowitz (1993), 33; Burkert (1987), 62.
[15] Csapo (2010).
[16] Otto (1923), 5-71; Campbell (1962), 35-6, 45-8; Austin (1990), 15; Hayden (2003), 3, 63-4.
[17] Geertz (1957), 421-7.
[18] See Campbell (1949).
[19] Note: in this respect, the key Campbell text is not The Hero With A Thousand Faces (1949), but The Masks of God (1959-68), a work five times as long.
[20] See Hayden (2003), 122-7.
[21] Campbell (1959), 171-3; Hayden (2003), 200-1.
[22] E.g. the myths of Polynesian head-hunters, the stories of the astonished Christian friars in pre-colonial Mexico, and particularly the accounts of more recent human sacrifices in 19th century C.E. India (the ritual of sati, for instance).
[23] Campbell (1959), 179-83; Campbell (1962), 64-9.
[24] Campbell (1962), 3-9; Campbell (1964), 3-5.
[25] Campbell (1959), 176-83; Campbell (1962), 23-30; Campbell (1971), 65-6, 71-3.
[26] For example, nirvana means literally 'extinguished'; see Koller (2012), 47.
[27] Campbell (1962), 23-30.
[28] Campbell (1962), 23-30.
[29] Donner (2010), 217.
[30] Campbell (1962), 14-5, 21-3.
[31] Campbell (1962), 30-33; Campbell (1968), 346.
[32] Campbell (1971), 175-80.
[33] Campbell (1971), 81.
[34] Campbell (1971), 81.
[35] Joyce in Campbell (1968), 354; cf. "… since no suffering is involved, it is not tragic" (Aristotle, Poetics 14.5).
[36] See Campbell above.
[37] See Cassirer (1946), 97-8 for this idea.
[38] Scodel (1996), 111; Roselli (2007), 124; Rabinowitz (1993), 42.
[39] Wilkins (1990), 183.
[40] This is approach (a) above.
[41] Rehm (1994), 136-40.
[42] Rabinowitz (1993), 33, 38, 55; Scodel (1996), 111; Seaford (1987), 108-9, 112.
[43] Rabinowitz (1993), 33, 34, 39, 55; Scodel (1996), 111-2, 114, 115; Roselli (2007), 87-8, 130.
[44] Rabinowitz (1993), 33, 36, 38, 56; Wilkins (1990), 185; Scodel (1996), 111.
[45] Rabinowitz (1993), 55; Scodel (1996), 118-20, 125.
[46] Garrison (1995), 129.
[47] One is reminded of the difficult, tumultuous and unrelenting business of maintaining a healthy democracy.
[48] As, for example, in the later mythic/artistic developments of individualistic romantic love, and political-personal 'freedom'.
[49] See Campbell (1968), 304-8 for a revealing comparison of the Greek 'Theseus/Phaedra' story to the Celtic-Medieval 'Tristan/Isolt' story.
[50] The book of Job from the Bible was referenced in Campbell (1971), 81.
The Parthenon: Context and Interpretation
How does the historical context of the Parthenon influence the way in which we 'read' the building and its decorative program?
Our interpretation of the Parthenon on the Acropolis in Athens is coloured by our understanding of the historical context in which it was built. The period in which Pericles was the leading statesman of Athens is characterized as a period of Athenian dominance and prosperity in which the city became practically the seat of an empire, as it led the Delian League of Greek city-states, set up to resist the encroaches of the Persian Empire. While possibly considered little more than a treasury and a home for the statue of Athena Parthenos by the ancient Greeks, we cannot help but interpret the site, probably incorrectly, as a 'temple'. Undeniably though, it was a monument to Athenian hegemony, articulated through architecture and sculpture which drew upon a blend of mythology, history and politics in its imagery, expressing, among much else, the many successes the Greeks, particularly the Athenians, had over the much more numerous and powerful Persians in various armed conflicts, such as the battles of Marathon and Salamis.
The significance of the Persians wars for Athenians lies in the very large role that Athens played in these precarious victories, at least in the version of events that has come down to us in Herodotus. The victory at Marathon in 490 B.C.E. was largely an Athenian victory. Athens was mostly fending for itself in this battle which marked the first time that a Greek city-state had effectively resisted the Persians. The earlier Persian threat of 492 B.C.E. was met with little resistance from Thrace and Macedon, and in 490, before arriving at Marathon, the Persians burned Naxos and Eretria. Through all of this, Sparta, for example, made promises of assistance to the Athenians, but delivered in only a perfunctory manner. When Persian forces returned in 480 B.C.E., the battles at Thermopylae and Salamis involved the forces of a consortium of allied Greek city-states lead by Athens and Sparta. A similar consortium defeated the Persians again the following year in Plataea and Mycale.
Athenians were in the thick of these wars in a number of ways. Geographically, Athens was centrally located on the Greek mainland and in relation to the islands in the Aegean Sea. Sparta was well defended to the south and inland; Athens did not enjoy such a convenient geographical position and so could not afford the same isolationist attitude as the Spartans. As a result, Athens was involved in these conflicts to a greater degree, reaping the benefits of victory, and paying the price in defeat – Athens was sacked and burned twice during the Persian wars, during which the old temples on the Acropolis were effectively destroyed, along with an earlier Parthenon. The Athenians did not rebuild immediately, not until they had taken a more proactive approach to their defenses. The Persian Wars ultimately brought the disparate city-states of Greece together against the common enemy. Athens was at the head of the Delian League, a confederation of Greek city-states set up in 477 B.C.E. to defend Greece from any future Persian aggression. As the Persian threat receded, the Athenian statesman Cimon began to transform the contributions city-states paid to be part of the League into something resembling tributes paid by subject-states to a dominant empire-state. Cimon began to bully and lay siege to city-states who were not part of the League or wished to leave it. This caused frictions with Sparta, leading to the First Peloponnesian War.
By 446 B.C.E., Athens had formed peace agreements with Sparta and with the Persians yet was still quietly receiving tribute from many city-states. Under Pericles, the Athenians continued centralizing power and dominating both economically and culturally, taking on legal administration, standardizing currency, weights and measures, even making political decisions without directly consulting the city-states involved. This was a period of huge economic growth in Athens as wealth from the city-states flowed into the city. Athens became a cosmopolitan hub for the arts – sculpture, painting, theatre, and philosophy flourished. It was in this context that it was decided to begin rebuilding the monuments on the Acropolis including the new Parthenon in 449 B.C.E.
Importantly, the building we know as the Parthenon was apparently built primarily to house the statue of Athena Parthenos. The name Parthenon simply means 'unmarried women's apartments' (presumably the goddess's) and may have only referred to part of the building originally. The building receives surprisingly few mentions in the surviving literature, ancient writers instead seeing the statue of Zeus at Olympia as one of the wonders of the ancient world. Also, ancient writers do not refer to it as a 'temple'; there is little evidence for ritual practice in the building. This is another reason why we tend to interpret the building as having a specifically Athenian 'nationalistic' rather than a general religious significance. The building was used as a treasury, a storehouse of much of the wealth of Athens – it became the treasury of the Delian League when this was moved from Delos in 454 B.C.E.
The design of the building resembles temple designs of the past, but is on a monumental scale and has many unique features. One of these is the combination of Doric and Ionic stylistic features. The inner frieze, originally forming an uninterrupted band around the inner building as one continuous figured sculptural work, is a Ionic feature. Given our understanding of the context and purpose of the building, we can interpret this as recognizing a unity if not a dominance over the Ionian Greek city-states which were officially part of the League and empire. The building is also distinctive for not being strictly straight in any of its dimensions – it is subtly curved, supposedly to counter optical illusions which make straight lines appear curved on this scale. We could also interpret this as exhibiting Athenian ingenuity, even crafty duplicity, or as simply another element lending the monument an impressive effect. The profound sense of graceful balance in its measured proportions may also be interpreted as reflecting robust Athenian democracy.
Of course, much of the sculptural decoration has been weathered, defaced or destroyed in the Parthenon's long history, but ancient and modern historical sources contribute to supply us with a general idea of the scenes depicted on its pediments, metopes, and inner frieze. The west pediment is believed to depict Athena and Poseidon in a gift-giving contest for ownership of Athens. Given the context, we would interpret this as documenting a significant Athenian event; not exactly the founding of Athens but the event that led to its gaining Athena as its goddess. Athena gave the gift of an olive tree whereas Poseidon provided a natural spring which disconcertingly issued forth salt water (since Poseidon was a sea god). Presumably, Athena won the contest because the ancient Athenians were farmers and not seafarers. Poseidon was reportedly furious and so flooded Athens. However, in light of the fifth-century context, we know that Athens had since become a great naval power; its fleet was after all its most powerful force against the Persians and the basis of its continued power in the Delian League. We therefore tend to interpret this pediment as something more like a friendly contest rather than a war between Athena and Poseidon. The Athenians probably chose this myth to include and appease not exclude Poseidon.
The east pediment portrays the birth of Athena from the head of Zeus, another scene significant for the goddess's city. The metopes around the outer building depict scenes of war: we see Greeks versus Amazons, Trojans, and centaurs, and the Olympian gods fighting the giants. We may assume that not only do these scenes symbolize the cultured self-control of the Athenians over primitive, inferior forces, but, given the context, we may note the link with the Persian wars and even the Delian League in relation to the Trojan War, a famous mythological instance of another victorious Greek alliance. The inner Ionian frieze appears to depict the Panathenaic festival in which the Athenians took part in a procession to the Parthenon in order to present the statue of Athena Parthenos with the peplos, a special robe made by the women of Athens. Some scholars have questioned whether this scene actually is a Panathenaea as depictions of non-mythological scenes in friezes is extremely rare, instead suggesting it is a depiction of the sacrifice of Athenian King Erechtheus's daughter. Either way, this event seems to draw together all the threads of our interpretations from the historical, cultural and political context: the event celebrated the power and glory of Athens. Athenian colonies sent gifts and sacrifices for such a ceremonial procession, reinforcing the nationalism of Athens. It brought together Athenian citizens and, through ritual, linked them to their goddess Athena.
In conclusion, our interpretations of the Parthenon and its decorative program are perhaps not overly specific, the sculptures and friezes do not reference the Persian Wars or the Athenian Empire directly, but what we know of this historical context indeed forces us to posit a general nationalistic program, especially considering the size and location of the Parthenon. We may also garner further interpretive insight by also considering what the Parthenon is not. It is not a monument to a particular king or leader, at least not outwardly. There is no giant statue of Pericles, for instance, even if the sources suggest that he was the main instigator of the building work. Instead we see a respect for the gods, and the impressive artistry of the masons and sculptors of antiquity. We cannot help but interpret this as exhibiting a respect for craft, for the gods, and, in the graceful ease and balance of the monumental architecture, for democracy.
Might, Cunning and Order in Hesiod's Theogony
Is the narrative of the unfolding cosmos in Hesiod's Theogony an explanation of the contemporary world of the Ancient Greeks?
Hesiod's Theogony, one of the earliest extant ancient Greek texts, charts the creation and evolution of the cosmos and the genealogy of the gods up to the reigning supremacy of Zeus. The text, full of divergent narratives and genealogical minutiae, is not easy to interpret. As an explanation of the contemporary world of the Greeks it is particularly troublesome, not only in light of limited archeological evidence and scant contemporary literature, but the very nature of its mythology makes historical evaluation largely a matter of supposition. Saying this, there are some general reflections that can be made on the basis of the text, especially concerning the importance of power and intelligence in shaping the burgeoning social order; yet such reflections are hardly explanations in the usual sense of the word.
The Theogony's social context is largely unknown or suppositional. Judging mainly from his Works and Days, Hesiod seems to have been a poor shepherd who lived around the late 8th or early 7th centuries B.C.E., in Boeotia in what is now Greece.[1] However, since Hesiod only makes one brief mention of himself at the beginning of the Theogony,[2] we must admit that his supposed biography is not exactly pertinent to our question. Similarly, we can garner a rough idea of the historical pre-history of Greece from archaeological data, yet this sheds very little light on the cultural context of the Theogony, coming as it does at the end of a period regarded by historians as a dark age due to the scarcity of artifacts.[3] The poem's divergent structure, declamatory opening song to the Muses, and prevalence of formulaic phrases[4] suggest oral storytelling; the myths recounted are believed to be of incalculable age.[5] There are a number of scholarly theories regarding possible Indo-European,[6] Hittite,[7] and Mesopotamian[8] influences with the appearance of common motifs such as father castration, yet most of these merely confirm the existence of ancient links with the Near East and do not help to explain the contemporary culture which probably absorbed these elements centuries earlier.
Importantly, the Theogony is not an account of ancient Greek society but a somewhat obscure semi-chronology of the early Greek pantheon; this is not societal exegesis but mythology. We must interpret this text in accordance with the spirit in which we understand the Greeks to have taken their mythology. We know from subsequent literature that Greek myth is not dogmatic or systematic; there is no single canonical version of the Greek mythic corpus.[9] Greek myths are rather like traditional folktales rife with deliberate and accidental integrations of cultural ideas, such as legendary episodes, political biases, moral postures, religious beliefs, philosophical reflections, social customs and elements of pure entertainment. In most instances, it is impossible to untangle the web of integrated ideas with any degree of certainty; such a task is compounded by the multiplicity of meanings that a single element can possess. However, we can attempt a cautious reflection on such ideas, provided we are wary that a broad thematic examination will yield merely a suggestion of early Classical Greek cultural sentiments and not explanations of society or lifestyle in concrete detail.
The Theogony has something of a confusing structure. It begins with an appraisal of the Muses, who meet with Hesiod on Mount Helicon, inspiring him to declaim the Theogony (Hesiod, Theogony 1-115); this is followed by the story of the evolution of nature and the gods as the developing offspring of Chasm and Earth, through the generation of the Titans, then on to that of the Olympian gods. The poem wavers between sections of chronological narrative, mostly describing the transitions between the generations (for example, the story of Cronus against Sky at 154-83 and Zeus against Cronus at 453-506), and sections of lengthy genealogical listings of the pairings of the various gods and their offspring (such as at 241-382 and 901-1019). The genealogical asides often distort the chronology of the poem by interspersing details of much later events, for example, the account of the birth of Medusa includes the details of her death during the later Heroic Age (Hesiod, Theogony 270-94). This has the effect of further confusing the focus and final meaning of the text, especially when, for example, Zeus is described as organizing his war against the Titans (Hesiod, Theogony 391-4) before his birth is narrated (Hesiod, Theogony 465-500). I think this confusion is largely incidental and a result of the oral background; the pre-existent structure of the basic myths recounted does not fit perfectly into the chronological sequence. Yet I believe this structural distortion reveals that Hesiod is deliberately re-structuring the myths, twisting them into a super-narrative that may reveal a paradigm pertinent to the contemporary Greek ethos. This re-structuring could be seen merely as the necessary form for a poem, or it could be interpreted as an early form of rationalization, similar to the attempt of a scientist or historian to catalogue thoughts in a stratified sequence.[10]
Either way, the Theogony seems to be an account of the establishment of order[11] – this much is obvious from the contrast between the opening primitivity of Chasm and his ilk, and the concluding ordered hierarchy of Zeus' pantheon. However, the exact nature of this new order is not immediately apparent on first reading. We may initially be confused by apparent similarities between the old and new orders – there are ways in which the poem can be considered as a mere continuity rather than a progression. For example, both orders exemplify the power of brute force; Sky's constriction of Earth (Hesiod, Theogony 156-61) and Cronus' defeat of his monstrous father (Hesiod, Theogony 174-90) may not seem significantly different in sentiment from Zeus' swallowing of Metis (Hesiod, Theogony 886-90) or his punishing defeat of Typhoeus (Hesiod, Theogony 853-68). Cunning or intelligence also plays a pivotal role on both sides: Earth deviously exhorts Cronus to attack his father (Hesiod, Theogony 163-6), Prometheus is cunning in his fire-theft (Hesiod, Theogony 565-6), while Zeus contrives to create woman (Hesiod, Theogony 567-84), and entices Obriareus, Cottus and Gyges to fight on his side in battle (Hesiod, Theogony 639-53). In fact, the entire Theogony can be seen as an alternation of acts of deceit with acts of force.[12] Scholar Stephanie A. Nelson argues that Hesiod attempts to change or gloss over elements of pre-existing myth in order to fit this plan;[13] for example, he tries to make Zeus's devouring act – properly an act of force – into an act of cunning to fit the structure: "he [Zeus] deceived her [Metis'] mind by craft and with guileful words he put her into his belly" (Hesiod, Theogony 888-9).
But the Olympian ordering principle is not simply a continuity of the primitive brute force and cunning of the earlier gods; it is a new combining of these elements – this integration is the new order. The two principles of intelligence and force are united at last in the figure of Zeus.[14] This "puts an end to the continual overthrow of cunning through force and of force through cunning."[15] The transformation is epitomized when Zeus swallows Metis and assumes the wisdom (Metis) unto himself (Hesiod, Theogony 886-90). This is a key coming together of opposites – not only of cunning and force but also of genealogy, of mother and father.[16] Recall, Zeus's father and grandfather performed similar acts of constriction and absorption – but of their offspring not their wives (Hesiod, Theogony 156-61, 459-62). In fact, it is their wives who cunningly plot against them with the next generation (Hesiod, Theogony 163-6, 467-74). Zeus essentially stops (or contains) this endless cycle of parental violence and cunning patricide by absorbing the mother instead of the son. Zeus uses his unique combination of masculine force and feminine wisdom to re-order the cosmos hierarchically. He does this both genealogically, by taking multiple wives and filling out the hierarchy with his progeny, and diplomatically, by absorbing pre-existing gods into his new order through the distribution of honours (Hesiod, Theogony 884), the apportioning of roles and duties.[17] Nelson notes that Hesiod appears to pointedly avoid the myth that the gods decided their stations by casting lots – "[n]ot chance, but the combination of intelligence and force in Zeus are, for Hesiod, the sole source of divine order."[18]
This divine order is reflected simultaneously in the natural cosmological order and the divine familial/political order under the reign of Zeus; in fact, it is possible to read these two 'orders' as not just concurrent but equivalent.[19] Zeus is not like the God of the Abrahamic traditions who positions himself wholly outside nature and time; Yahweh upholds a social morality considered to be intrinsically right – this is why he is so dogmatic. Zeus only appears in this way at the moments in which he is personified and acts on the world.[20] At other times, he appears to be guided by a nature which unfolds of its own accord.[21] This nature is often exemplified in subsequent texts by the prophesies of the Fates; in the Theogony the prophecies come from primeval Earth and Sky (Hesiod, Theogony 889), forces which Zeus has largely subjugated and assumed. These two aspects of Zeus are also represented in the narrative sections of the poem, where Zeus directs the action, and in the genealogical sections, where he is apparently produced and guided by a self-motivated unfolding.[22] And yet these two threads are represented as the same god; for the archaic Greeks, "the paradigmatically divine event [was] a natural one."[23] Zeus's laws, his morality, his deeds, his hierarchy, and his existence, his progeny, and the pre-existing nature of the world – are one.
This uniting of social, familial, and natural forces under a powerful intelligent ordering principle permits a greater philosophical flexibility than with a moralistic or dogmatic mindset. This flexibility is exemplified in the Theogony not only by Zeus' multifarious identification and participation with the earlier generations of the gods, but by the inconsistencies which he takes in his stride. For example, at 520, Zeus is described as binding Prometheus and setting an eagle to tear our his liver every day. Then we are told this eagle was subsequently killed by Heracles, and Prometheus was freed (Hesiod, Theogony 525-27). We might be given to wonder here how all-powerful Zeus could be so defied. But Hesiod explains that such was "not against the will of Olympian Zeus," (Hesiod, Theogony 527) who apparently allowed the eagle to be killed "so that the glory of… Heracles would become even greater than before" (Hesiod, Theogony 527-30). Here Zeus seems to be in conflict with himself, and yet we are assured of his consistency – we have switched from Zeus' 'acting' aspect to his 'happening' aspect. This suggests that what appear to be inconsistencies are human, not divine notions; Zeus is playing an ordered game which humans will never completely understand, like nature and life itself in its often unpredictable mysteriousness.[24] Thus nature (and Zeus) is both contained within and beyond the Olympian order, itself exemplified by an intelligence which both subsumes and unfolds alongside natural processes – rather like the processes of empirical rationality, testing and ordering while unfolding in accordance with natural laws.
This orderly paradigm is, I believe, the principal explicating suggestion we can take from Hesiod's Theogony concerning the archaic Greek world. It appears reflected in the new centralizing city-state of the polis, which could be seen as uniting political structure,familial household genealogy, and the sometimes mysterious processes of nature and time by means of a dynamic but evolving order, both powerful, intelligent and socially flexible.[25] This intelligent order may foreshadow the development of rationality in subsequent centuries, with the result that Hesiod's text could be interpreted as midway between mythology and early philosophy.[26] However, this is only a reflection on the order of Zeus as exemplified in the mythology of Hesiod's epic poetry; it is not an explanation of the ancient Greek world or its prevailing cultural ethos. For this, more corroborating evidence is required.
Primary sources:
Hesiod Theogony trans. G. W. Most, from Hesiod: Theogony, Works and Days, Testimonia (Cambridge, MA, 2006).
Secondary sources:
Athanassakis, A. N. Hesiod: Theogony, Works and Days, Shield, 2nd ed. (Baltimore, 2004).
Holscher, T. 'Myths, Images, and the Typology of Identities in Early Greek Art' in E. S. Gruen (ed.) Cultural Identity in the Ancient Mediterranean (Los Angeles, 2011).
Hine, D. Works of Hesiod and the Homeric Hymns (Chicago, 2005).
Kirk, G. S. The Nature of Greek Myths (London, 1974).
Luce, T. J. The Greek Historians (London, 1997).
March, J. The Penguin Book of Classical Myths (London, 2008).
Most, G. W. Hesiod: Theogony, Works and Days, Testimonia (Cambridge, MA., 2006).
Nelson, S. A. God and the Land (Oxford, 1998).
Pomeroy, S. B., Burstein, S. M., Donlan, W., Roberts, J. T., and Tandy, D. W. Ancient Greece: a political, social and cultural history, 3rd ed. (Oxford, 2012).
West, M. L. Hesiod: Theogony and Works and Days (Oxford, 1988).
[1] Pomeroy (2012), 120; Nelson (1998), 37.
[2] Hine (2005), 5.
[3] Pomeroy (2012), 57.
[4] March (2008), 8.
[5] Hine (2005), 7; Pomeroy (2012), 92-3.
[6] Athanassakis (2004), 3.
[7] Kirk (1974), 117; West (1988), xii; Pomeroy (2012), 59.
[8] Pomeroy (2012), 83.
[9] March (2008), 4.
[10] Luce (1997), 11; Holscher (2011), 50.
[11] Athanassakis (2004), 5.
[12] Nelson (1998), 46.
[13] Nelson (1998), 99.
[14] Nelson (1998), 43, 46, 99, 101; Athanassakis (2004), 6.
[15] Nelson (1998), 46.
[16] Nelson (1998), 101.
[17] Nelson (1998), 103.
[18] Nelson (1998), 103.
[19] Nelson (1998), 44, 105.
[20] Nelson (1998), 61, 62.
[21] Nelson (1998), 61, 62.
[22] Nelson (1998), 62.
[23] Nelson (1998), 62.
[24] Nelson (1998), 71.
[25] Pomeroy (2012), 104.
[26] Most (2006), lxvii; Hine (2005), 18.


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Gotham S01E03 Recap: The Balloonman
Cobblepot returns to his old stomping grounds of Gotham. It's as crime-filled and corrupt as ever, just like he likes it. Danzer falls over a Ponzi scheme, angry he got caught. A man in a pig's mask and rickety cart is selling balloons, but Danzer isn't buying. The ballooman handcuffs Danzer to a string of balloons and off Danzer rises into the air on a giant weather balloon.
The cart was weighed down. Danzer cheated half the city out of their savings, and with no body Harvey hardly calls it a murder, rather justice. Gordon isn't ready to let it drop yet. No fingerprints to trace, and the carts are too easily stolen. The unsolved "solved" cases keep stacking up to Havey's dismay. Gordon can't just let the simple explanation close a case, he needs to get to the root and find the real answer. Selina Kyle is delivered into his custody, and it doesn't sound like she's going upstate or anywhere far anytime soon, she has information on the Waynes's case.
Gordon wants to find the real killer of the Waynes he's not taking the Pepper set-up. He made a promise to Bruce that he plans to keep. Selina takes Gordon back to the scene of the crime. She claims that she was there, but that's not concrete proof. Her pickpocket victim did report the crime around the time, so its possible. Selina reluctantly admits that she dumped the wallet in a nearby manhole. Right before she witnessed the Waynes die. Gordon isn't sure he believes her, but he certainly doesn't trust her. He hand cuffs her to a railing while he heads down the manhole. Crafty Selina picks the lock while Gordon finds the wallet. She was telling the truth, and now she's running free.
Laslo doesn't look too bad after the beating he took. Fish Mooney gives him a rest before she gets a visit from Detectives Montoya and Allen. They're looking for Oswald Cobblepot. She hasn't seen him, and she finds it funny that the Major Crime Unit is looking for Cobblepot. She didn't kill him, but points the finger at Jim Gordon. Rumor has it that he pulled the trigger, but that Falcone gave the order. Allen mentions a rumor of his own that Falcone gave her boytoy a good beating, and she may be looking for revenge. Fish claims she's only looking out for Oswald.
Oswald contemplates murder for a hotdog, when he's recognized. Everyone thinks that he's dead, and the man drags him to Fish. Fish will pay a pretty price for him. The man tells him that he should have stayed away, but Gotham is his home. Oswald guts the man, and the hotdog vendor sells him a hotdog with his newfound wealth.
Alfred tries to get Bruce to spar with him, but Bruce doesn't want to stick fight. Alfred continues to poke at the boy. He snaps, and really gives his all until Alfred calls it quits. He picks up the Waynes file, and finds the gruesome crime scene photos inside. Money can buy anything, and Bruce didn't have a hard time getting his hands on the pictures. Alfred worries that they'll give him nightmares, but he already has those. He's been looking for clues, but has yet to find anything. Alfred would prefer he leave it in the hands of Gordon to solve the crime.
Gordon is forced to report that Selina Kyle isn't returning that he lost her. Montoya and Allen confront Gordon about Cobblepot's death. They want to know if Falcone paid him to kill Cobblepot. They have no proof, only Fish's rumor. Gordon tells them to come back when they have some proof.
Cobblepot looks for honest work. He tries to get a job at a restaurant, but not only does he not have experience, he doesn't have the right shoes. Looking at a dishwasher that's about to change, and the poor man doesn't even know it yet.
Harvey has found a lead about the weather balloon, and Gordon mentions to him his Major Crime Unit visit. Someone talked, and Gordon isn't pleased. Harvey knows they have nothing, which is why they came rattling his cage. Gordon did what he had to do, and in the end no one really cares about Cobblepot's death. This isn't over for Gordon, he's not letting anything go until he gets to the bottom, until he finds the Waynes murderer.
Cobblepot stops the dishwasher, asking him his shoe size. Unluckily they wear the same size.
The former owner of the weather balloon sits down with Gordon and Harvey. Once he saw the news he came forward for fear that he would be accused of murder. Harvey didn't find the lead at all, it was dropped in his lap. The balloon was stolen some time back by a former employee. He stole 4 of them at that time.
Lieutenant Cranston kicks around a drug dealer. He's just one more heavy handed crooked cop on the force. A man pushes a cart down the street. He stops Cranston, and gets a beating at Cranston's hand. Cranston gets just deserts though as the downed man handcuffs his ankle to a balloon and away he goes.
Bruce reads about the Ballonman in the paper. Alfred complains about Bruce's lack of eating lately. Bruce continues his perusing, and Alfred tried to get Bruce to keep his strength up, but he's not hungry.
Gordon gets ready for another day. He didn't sleep well. Barbara is worried about him, for his safety because of the Ballonman's latest victim, a cop. When he targeted a conman, Danzer, few cared, but with a cop being added to the list, the case will get all the attention it needs. It shouldn't be that way, the lack of faith in justice is what brings on vigilantes, which has Gordon worried. Barbara thinks that his work gives people hope. His first case he caught the Waynes killer, which she thinks bolstered their confidence. That doesn't lessen the weight on Gordon's shoulders only makes it worse.
The people have a long list of people that should be the Balloonman's next target. Captain Essen isn't happy that one of her men fell prey to the Balloonman. She wants the man caught now. There are two more balloons out there. The next target is likely public and corrupt, which is a lengthy list. Harvey tells her they'll find him. That almost sounds like Harvey is ready to do actual work.
Harvey's tactics may not be Gordon's but at least he's doing something, which may or may not be good as he takes a man's burrito.
Cobblepot is hard at work. He's got the job. The boss warns him to work hard, and to be deaf, dumb and blind to everything else. Don Maloney arrives, opportunity knocks.
Harvey and Gordon follow up on a lead. They found the location of their potential Balloonman, but the man's girlfriend puts up a fight kicking Harvey around. Gordon gets him handcuffed while the girl beats the hell out of Harvey. Gordon pulls his gun and save Harvey before she can smash him beneath a television, and Harvey knocks her out.
Laslo worries about Fish's safety. She put the Major Crimes Unit after Gordon, and if Falcone finds out he may go after her. Fish reminds him that Falcone beat him to hurt her, and she'll be fine. Fish talks to her muscle about getting rid of a pretty girl, Falcone's girl and tells him to get rid of Laslo as well. He's killing her mood.
Montoya frightens Barbara. They were close enough that Montoya still has a key to her place. She gets the key back from her. She was worried about her, worried about Barbara's drug use. Barbara isn't using anything. Montoya tells her that Gordon murdered someone on Falcone's orders. Barbara doesn't believe her. She wonders if Montoya is working so hard to bring down Gordon because she loves him. Their past may have been full of lies, but Barbara always knew when she was lying. She's not lying now, or atleast she doesn't believe she is. Montoya kisses Barbara, and she doesn't return the kiss, telling her to leave. Montoya tells her to ask Gordon where he was the night Cobblepot was murdered.
The balloon thief get interrogated. He's not responsible for the murders, he has no motivation to do it. He sold the balloons, but he never saw the buyer's face. Harvey thinks that it's the perfect crime, with no bodies. The man explains how weather balloons work, eventually the bodies will come back down.
Cranston's body falls back to earth. Inside of his pocket is Jim Gordon's name. Gordon knows who the Balloonman is.
Falcone is only the boss of Gotham, because people believe he is, Maloney muses. Arkham is going to change everything. Maloney notices Cobblepot noticing him. He gives him some money, he was once like him. And Cobblepot is smart enough to not have "heard" any of his Falcone speech. News comes in on the next Balloonman victim, a corrupt priest. Maloney knows that the vigilante act isn't good for the city. He tells Cobblepot to go home and take care of his mother.
Gordon presents who he believes is the Ballonman. Davis Lamont works for children services. There was a form that Gordon gave to him that Cranston had in his pocket. He guesses that Lamont and Cranston scuffled, and Cranston took the form from Lamont stuffing it into his pocket before he was hooked to the balloon. Captain Essen wonders what made him snap. He was described as sweet. With one balloon left, and a long list of potential victims, they have to work fast. Harvey's leads come up short. They brainstorm where the balloon could be stored, and Gordon has an idea.
Both Lamont, and Selina Kyle mentioned that there was a new juvie building, so they head to the old one that is about to be demolished. Harvey and Gordon spot the last balloon, and they go in to investigate. Lamont grabs Harvey. They should be on the same side he tells Gordon, they want the same thing. The law is failing the city, but he knows Gordon is different. He risked his life to save the kids that everyone else was willing to throw away. His job isn't done. The men that he killed wouldn't have seen justice done any other way. Harvey gets tired of waiting, and makes a move. Gordon neutralizes Lamont, but Harvey straps him to his own balloon for a little taste of his own medicine. Gordon tries to grab him, but both are lifted away. Harvey tells him to let go, but Gordon refuses, telling him to shoot the balloon. Reluctantly Harvey shoots down the balloon.
Falcone pays Fish a visit, to make sure that there is no hard feelings. Fish claims that there are none. Falcone's girl met an accident via mugging. He plans to deal with the culprit and anyone who had a hand in it. He asks her to keep her ear to the ground about Maloney and Arkham. Seems he doesn't have it as firmly locked down as he had implied.
Lamont is taken away on a stretcher. He warns that there will be more vigilantes. Gordon will clean up the city he says, but Lamont tells him that he had his chance.
Bruce watches the news. Lamont may have had good intentions, but he killed people too, which made him a bad as the people he was trying to stop. Gotham needs a hero, but not a corrupt one.
Barbara rushes to Gordon's side, glad to see he's okay. He survived, but he's not okay. The city is sick, sick in a way that Gordon never realized. When he asked the last target, Lamont had said that it doesn't matter. The mayor, judges, they're all corrupt. Barbara tells him that it isn't true. It isn't, but it feels that way. There are cops who do the same thing that the Balloonman did. Barbara asks if he does. He asks if she thinks that he could, she doesn't. She knows he's a good man. There's a knock at the door, its Cobblepot and he's looking particularly dapper and penguinish.


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Wynn and Wynne are unisex names
Posts Tagged 'law'
Touch Screen Menus: Boys Names - Girls Names
From 1880 to 1946, Virgil was a Top 200 American baby boy name, reaching the Top 100 several times
After 1948, Ulysses dropped out of the Top 500 list for American baby boy names. It last appeared in the Top 1000 in 2005 at No. 982
5 American baby boys were named Travers in 2012. An equal number were named Corrado, and another 5 were named Mercury.
Rudolph was a consistent Top 200 American baby boy name from 1889 to 1938
Names similar to Qasim include Cosimo (Italian) and Casimir (Slavic)
Plato is a good pick if you're sure your baby boy will be born with a superior intellect


text: Canoes are an important means for transporting crops and fishing in Mentawai island, southern Sumatra. Floats made of very light wood are used to tie nets to prevent them from sinking and to signal when prey is caught. This float shows a human figure wearing a tall headdress and is carved in a minimalist form. The natural way in which the arms reach to touch the knees attests to the great skill of the artist. It also reflects Mentawain pride in making all objects aesthetically beautiful, whether they are for ceremonial or daily use.


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A natural hot & cold wheat pack in linen for yoga practice, relaxation and all over body application. Designed to block out unwanted light and soothe tired eyes.
A multifunctional eye pillow in plain natural linen.
Cover: 100% European Linen
Inner Bag: Natural cotton & British Wheat
Size: 20 x 12 cm
Weight: 200g
Heating and cooling times
Microwave: 30 - 60 seconds 600W
Oven: 5 - 10 minutes 125 °C
To use as cold pack, freeze for a minimum of 30 minutes.


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We pour and finish the largest homes and commercial buildings to sidewalks and driveways. Let us help you find the best solution for you. We take pride in making sure all concrete services maintain the highest in structural integrity and aesthetics.
From demolition to small trenches, we provide excavation services for both large and small projects. With in house excavation, you can be sure you receive the best service for the best price.
Our bread and butter, we have been building homes since 1985 and love homes that are unique. Specializing in custom and semi-custom homes, you set the stage and make your ideas come to life. We offer in house drafting services to help you capture what you envision in your home design. Wether it is your first home or looking for luxurious custom home, we are here to help. If you have any question, please do not hesitate to call or email our staff; we are more than happy to assist you.
We Build:
Two Story
Split Levels
and much more!
Design is one of the most important elements of construction and we offer in-house drafting services to provide high quality plans and design that will meet your needs. Whether you want to start from scratch or use some ideas you have seen, we can help. Please contact us for more details or setup an appointment to see what can do for you.
We use the latest computer and CAD technologies to generate plans. Adhering to city codes and engineering standards, your house will not only look great but will be able to withstand mother nature.
Our Commercial Division has been in business since the early 2000's; specializing in all aspects from the smallest handy-man repairs and maintenance to complete turn-key projects. Our focus is aimed at providing our clients with a high quality product while maintaining a safe, clean, efficient, and professionally managed job site.
Completed Projects Include:
Light Industrial
Medical Office/Specialty
Commercial Maintenance
Renovations (Large and Small)
Tenant Improvements
Concrete Tilt-Up
Steel Framing
Structural Steel
Conventional Framing
Underground Utilities
and more!
Copyright © Mike Klauck Construction Company Inc. | All Rights Reserved
881 North 400 East, Springville, UT, United States 8014898162