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On November 1, c. 1415, Alle Hallowmesse, Thomas Hoccleve’s period of mental illness came to an end as his wits returned to him—which allowed him to return to his twofold program of work, as a poet and at the Privy Seal. Scribal work was hard—and potentially dangerous to body, mind, soul, and pocketbook—and Hoccleve didn’t let readers of his poetry forget this. His Friend from the eponymous “Dialogue with Friend” even suggests Hoccleve may have been a victim of overwork, his mental affliction caused by his “bisy studie” (line 302).
Yet, as critics have noted, Hoccleve believed work was a sort of cure, if not for his illness then at least for his subsequent problem of alienation from his associates. He chastises his friend for his suspicions, declaring that his “Complaint” ought to be sufficient evidence of his recovery (lines 317-18).
This November 1, we face our own maddening onslaught of work, with midterms and holiday preparations, and many of us will habitually feel like we never quite get enough done. Let us remember Hoccleve and his ultimately optimistic view of scribal labor and the relationship between writing, memory and selfhood. We celebrate both Thomas Hoccleve’s work and his recovery, reflecting on how our own work seeks to recover Middle English poetry and evidence of late medieval life, and on the personal and public importance of that work.
Please join us on Recovery Day through social media by posting your thoughts or thematically pertinent medieval quotations and images to Twitter, Facebook, Instagram, Pinterest, LinkedIn and our society’s website with the hashtag #Hoccleve. Look out for our own posts on our site and our Hoccleve Lyfe Coache, Twitter and Facebook feeds; and “like” or retweet items throughout the day under the #Hoccleve hashtag followed by any other tags you’d like, such as #recovery, #thisiswhataprofessorlookslike, #MiddleEnglish, or #MSilluminations. Please follow us, participate, and “like” us to stay tuned!
The first IHS Conference is less than a month away. “The Making of Thomas Hoccleve” will be held in Winnipeg from July 6-8, 2018, and we have a great program lined up. This conference is open to other members of the society as well. How do you join, you ask? One way to join is to attend the conference. There is no fee for the conference or the society. If you plan to attend, please click here to register by June 18 so that we can confirm our catering and transportation.
Thomas Hoccleve has become increasingly prominent over the past twenty-five years, yet this conference is the first meeting dedicated solely to studying him since a conference in London in 1994. We are still finalizing some information on the program, which you can find here: http://umanitoba.ca/faculties/arts/departments/humanities/4225.html. If you would like to chair a session, please let us know.
If you are a citizen of Australia or the UK and entering the UK by plane (not land or sea, for some mysterious reason), you will need an ETA. If you do require an ETA please visit this website: http://www.cic.gc.ca/english/visit/eta.asp. I believe the process is fairly quick, but please do this before departing for the airport. I believe that US citizens only require a passport. However, Rules and requirements can and do change with little warning, so we encourage you to consult this site even if you travel regularly: http://www.cic.gc.ca/english/visit/visas.asp. If you are a citizen of another country, you may need to provide biometrics, please visit this website: http://www.cic.gc.ca/english/visit/biometrics.asp to find out more. Finally, if you require a formal letter of invitation, please contact Paul Jenkins, who will be happy to supply one.
Conference presenters will be staying at the Inn at the Forks. If you take a bus or a cab from the airport, it should take around 10-15 minutes by cab (recommended) to arrive. There are many other hotel options in Winnipeg, but please get in touch with David Watt or Paul Jenkins (email addresses below) if you would like some advice about particular hotels or if you would like to stay on campus.
Please note that the University of Manitoba is not downtown. We have therefore arranged transportation between the Inn at the Forks and the U of M campus. Please be ready to join us at 8:30 a.m. outside the Inn at the Forks if you would like a ride to the U of M campus each day of the conference, but please also make sure we know you are coming.
We have arranged for refreshments and lunches at the conference that will be at no cost to participants. We are also organizing a conference dinner on Saturday night. If you would like to attend that, please let us know.
The U of M was founded in 1877, though some of its affiliated colleges are older. Its campuses are located on original lands of Anishinaabeg, Cree, Oji-Cree, Dakota, and Dene peoples, and on the homeland of the Métis nation. We respect the Treaties that were made on these territories, we acknowledge the harms and mistakes of the past, and we dedicate ourselves to move forward in partnership with Indigenous communities in a spirit of reconciliation and collaboration.
This conference is generously funded by grants from the Social Sciences and Humanities Research Council, Research Manitoba, the Arts Endowment fund, and the University of Manitoba Conference Sponsorship Program. It is also supported by several units at the University of Manitoba: the Institute for the Humanities; the Archives & Special Collections; the Faculty of Arts; the Department of English, Theatre, Film & Media; Mosaic: An Interdisciplinary Critical Journal; the Department of Religion; the Department of History; and St John’s College.
Please note that the exchange rate is approximately $1 CAD to $ 0.75-80 USD at the moment. If you have any questions about any of the above, please contact David Watt (david.watt@umanitoba.ca). If you have any issues with the registration page, please get in touch with Paul Jenkins (umih@umanitoba.ca).
The International Hoccleve Society will host its first conference, “The Making of Thomas Hoccleve,” this summer. The aim of the society and of the conference is to map and inspire future directions of research into the making of Thomas Hoccleve by bringing together established and emerging scholars. We are delighted that Amy Appleford (Boston), Vincent Gillespie (LMH, Oxford), and Stephanie Trigg (Melbourne) will share plenary talks and that Nicholas Watson will respond to the conference as a whole. The conference will take place during the weekend prior to the meeting of the New Chaucer Society in Toronto. This way, scholars from far afield will be able to attend both conferences on a single trip to Canada.
In our call for papers, the Society invited scholars to consider and address a range of questions about Thomas Hoccleve and his making. For example, how might we set his poetry, which is often celebrated for its idiosyncrasies and individuality, in broader frameworks? How might we re-examine its relationship to literary history? Hoccleve’s closeness to Chaucer is well known but what other early influences, in English, French and Latin, shaped his writing? Why do he and Lydgate, both writing for the same Lancastrian patrons, each studiously avoid reference to their rival? Hoccleve is a key early-adopter of Chaucerian language, style, versification and metrical practice. But Hoccleve also refuses much of Chaucer’s potential legacy (for example the genre of dream-vision, the mode of courtly allegory, narratives of cities of the pagan past such as Troy and Thebes) when Lydgate does not. Where do those refusals leave Hoccleve in relation to English poetic history and what motivates them? Did he influence Middle Scots makers, alongside the works of Chaucer, Gower and Lydgate? What happens to the Lancastrian Regiment of Princes, a popular text surviving in whole or part in nearly fifty manuscripts, during the rule of the House of York? What can this substantial corpus of manuscripts tell us about the reading of poetry and of political advice in the fifteenth century?
Hoccleve played an active role in the making of his own books as well as the translation of a range of texts drawn from several languages and traditions. Is Charles R. Blyth right that Hoccleve was not ‘widely read’, when his source-texts can be diverse and surprising? Where and in what forms did Hoccleve encounter these source texts? What linguistic theories and intentions underpin his translations of orthodox religious writing (especially given the context of Arundel’s Constitutions)? And what about the diverse audiences for Hoccleve’s own poetry? Hoccleve wrote not only for fellow civil servants but also for London citizens and members of the ecclesiastical hierarchy. Some works might serve the antifeminist world of ‘London club culture’ (as Derek Pearsall has named it), but other works respond to the interests and reading habits of noblewomen, while Nancy Bradley Warren has put the Regiment in the hands of female monastics in the early sixteenth century. How can Hoccleve studies take account of such diversity while offering a coherent account of this author? How might new approaches inform our understanding of Hoccleve in this context?
Hoccleve inhabits a middle position between ‘clerical’ and ‘lay’ literary and intellectual cultures, a middle position also characteristic of many of the most interesting cultural and artistic exchanges, relationships and texts of this period. To make and remake Hoccleve’s literary reputation, as this conference will aim to do, is to also reach new understandings of the uncertain and rapidly changing cultural position of English poetry in the fifteenth century. We hope you can join us in Manitoba this summer. The tentative conference program is available below.
As we have done for the last three years the International Hoccleve Society is very pleased to be sponsoring the 4th Annual Hoccleve Recovery Day, this November 1 on social media. We are excited to welcome you and your students to participate by posting something related to our theme (and perhaps to Hoccleve) with the hashtag #Hoccleve at least once on a major social media site like Facebook or Twitter that day. The theme this year is “Recovery and Activism” Our full call is below the line. We really hope you will participate and we look forward to seeing what you’ll post!
Politics has a tendency to be maddening, and in recent months such a connection has been distressingly literal. Public discourse is increasingly accepting and understanding of mental illness and its treatment, but at the same time the availability of services and treatments is under attack by federal budget proposals. The Hoccleve Society would like to use this year’s annual Recovery Day to view mental and other personal health initiatives through the lens of expressions of distress and recovery and their context in our politicized world.
Thomas Hoccleve situated his melancholic desolation in his “Complaint” within the context of a bustling urban environment that metonymically expressed the constraints of national politics: the “prees” of London and Westminster crowds oppressed and turned on him an overwhelming and maddening “straunge countinaunce,” reflective of the alienating and repressive cultural policies of the Lancastrian kings. Scholars argue that Hoccleve’s poems were political expressions, perhaps of complicity but more likely of resistance and a struggle for identity and purpose.
At a time when American and global politics seem to be entering a new era of repression, socially we are also entering a phase of resistance that refuses to bow to mistruths and injustice. Just as Hoccleve sought truth through writing and self-expression, we invite you to share social media posts—which might include quotations from Hoccleve or other medieval writers—about your own processes of coming to terms with and reordering a disordered world. How do you envision members of a global community using activism and self-assertion in a fight for rights and humanity, harnessing together personal and political recovery?
On 1 November 2017, post your thoughts to Twitter, Facebook, Instagram, Pinterest, LinkedIn and our society’s website with the hashtag #Hoccleve. Look out for our own posts on our site and our Hoccleve Lyfe Coache, Twitter and Facebook feeds; and “like” or retweet thematically pertinent items throughout the day under the #Hoccleve hashtag followed by any other tags you’d like, such as #recovery, #thisiswhataprofessorlookslike, #MiddleEnglish, or #MSilluminations. Please follow us, participate, and “like” us to stay tuned! We will be compiling posts tagged with our #Hoccleve hashtag into a Storify page after the day for us all to use as resource and touchstone in the coming weeks and months.
IHS is pleased to announce that we will be sponsoring a session in partnership with the Lydgate Society at the 2018 ICMS in Kalamazoo.
We are thrilled that Robert Meyer-Lee has agreed to serve as a respondent to the panel of papers. Abstracts addressing either or both of these poets and the question of patronage should be emailed to Taylor Cowdery (cowdery@email.unc.edu) by no later than September 15. Inquiries also welcome.


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THE launch of the 2016/17 sailing season was no ordinary event for the Midway Point Yacht Club (MPYC), as it used the occasion to officially open its brand new clubroom facilities.
The redevelopment, which was made possible through a grant from the Tasmanian Community Fund (TCF), included a new boat storage shed, deck and a major upgrade of the change rooms and toilet facilities.
MPYC treasurer Stephen Miller said the club could now boast the best facilities in the state.
“This redevelopment has transformed the clubhouse area, allowing us to take on bigger events,” he said.
“On top of the storage area is a large eight-metre by eight-metre deck, which almost doubles the floor space of the club and provides an excellent viewing platform when we hold functions and regattas.
“During the past few seasons, the club has also added artificial grass to the rigging area, placed treated pine poles around the jetty, upgraded the canteen, including a shop-style display fridge, and new tables and chairs on the deck.
Labor Member for Lyons Rebecca White officially opened the new state-of-the-art buildings on Sunday 2 October.
Ms White was joined by Sorell Mayor Kerry Vincent, Yachting Tasmania’s Richard McMinn, MPYC members and guests.
Cr Vincent said the club was an excellent example of what could be achieved when members put their minds to it.
“The MPYC is a fantastic family-based club that has been working towards upgrading its facilities for a number of years,” he said.
“The club caters for all ages and the works it has undertaken have provided much benefit for both club members and the wider community alike.
“The upgrades it has managed with a limited budget and its ability to attract national titles shows the dedication and professionalism of all those people who are involved in running the club.
In addition to the weekly trophy and pennant races, the club’s upcoming sailing calendar includes the annual Pittwater Regatta, which will be sailed in the first weekend of December and the NS14 National Titles, to be held from 3-7 January 2017 at MPYC.
Mr Miller said the club’s members were “blown away” by the transformation of the clubhouse.
“This season should be a big one at MPYC and we invite anyone interested in sailing or training to come down to the club and check it out,” he said.
MPYC operates on Sundays from October until the end of March and is located at 40 Brady Street, Midway Point.
For more information, phone Stephen Miller on 0406 864 602.
Caption: The Midway Point Yacht Club has unveiled its new clubroom facilities made possible through a grant from the Tasmanian Community Fund.

industry_corpus2: Sports


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We are working towards publishing our forms in a format compatible with assisstive technology. In the meantime, if you need assistance, please contact us by phone or through our contact form.
Use this form to Identify spouse or partner of a deceased member to claim super benefits.
Use this form to claim benefits as a spouse or partner of a deceased member.
Notify CSS of changes to your employment status and personal earnings if you are an invalidity pensioner under 65.
Deduct your Division 293 tax debt account discharge liability from your CSS benefit.
Apply for reconsideration of a Decision made by a delegate of CSC.

industry_corpus2: Law & Justice


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I picked up my Championship Football repacks today for Sports Card Super Bowl IV. I made sure to grab two different types to get a variety, the boxes were supposed to contain 31 packs, 5 Leaf Draft cards and a relic card. What I actually got was 33 packs (including a 2012 Topps Magic rack pack with three packs and 3 mini blue parallels), 5 Leaf Draft cards, a relic card, 4 random inserts in penny sleeves and a pack of 2012 Panini Football stickers.
I also picked up a 3 pack 2013 Topps Magic football rack pack (includes 3 orange parallels) and a 2013 Panini Contenders value pack. These cards will be the overtime packs if the score is too low or tied.
Time to start ripping packs.
When it comes to collecting specific players or teams there can be frustration, hunting down the cards can be difficult and with today’s never ending parade of rainbow parallels it seems even worse. Now you not only search for the base card but you are also chasing down the colored parallels, the chrome versions, the platinum versions, the five different refractors and the special short-print, diamond refractor photo variation printed on the back of a pure 24k gold chocolate chip cookie card.
The one frustration that seems to get at me the most though is the “Ghost” card. The card you swear you have seen in your collection but when you are looking for it the card is no longer there. My phantom card is the 1995 Pinnacle Ken Griffey Jr. card, #128. The card where he is blowing a giant bubble. I swear this card is in my collection but I cannot find it. I have a binder specifically for my Griffey collection, all of his cards go in this binder and once they go in they do not come out. It just drives me crazy that I know I had this card but it now has disappeared.
Earlier this month Daniel Wilson from It’s Like Having My Own Card Shop offered to help me reach my blog goal of 100 followers. He held a contest using his own cards as prizes to help me attain my goal. I was touched by his generosity, I wanted to reach out to a fellow blogger and pay it forward by helping someone reach their goal.
I have been reading Fuji’s blog The Chronicles of Fuji for years and one goal that he has carried over for a couple of years was to add a T206 card of a Philadelphia A’s player to his Athletics personal collection. I have a collection of 1909-11 T206 cards and by luck I happen to have a card of Doc Powers, a Philadelphia A’s catcher. I sent a care package built around the Doc Powers card to Fuji to help him attain his goal.
Being the generous person that Fuji is, knowing that I am a Seahawks fan, he sent me some Seahawks cards as a “Thank you”. A great selection of mid-90s inserts plus two relics and two autographs.
During the 1990s the Seahawks were in a drought, they had a couple of .500 seasons but they tended to lose more than they won and even when an opportunity arose with the #2 pick in the 1993 draft they selected Rick Mirer over players like Garrison Hearst, Lincoln Kennedy or Hall of Famer Willie Roaf. There were some highlights though in Joey Galloway and Chris Warren so the games were always fun to watch. So I was quite delighted to receive a number of Galloway and Warren cards.
My favorite cards are the Teammates dual card of Galloway and Warren, these cards are the perfect example of the flash of the 1990s inserts. The cards are die-cut down the center in a zig zag type pattern so when they are put together they create one large card. I am torn because the cards are going in to my binder but I want to display them connected. I know, First World Collector Problems.
I have to admit, there are a number of Seahawks players that failed as pros but they are among my favorites no matter what. The list includes Brian Bosworth (I am a huge Boz fan), Rick Mirer, Aaron Curry, Lofa Tatupu and Mike Williams. Fuji, not knowing this, included a couple of Mirer cards and a Curry relic card, pretty cool.
A Curry and Turbin relic and a past/current Seahawk Tarvaris Jackson autograph.
The final autograph is from Fuji himself. I saw this card a number a years ago on a blog when the blogger traded with Fuji. I have wanted one ever since, I like when bloggers create something unique and memorable that is connected to their blog.
File Under 5 Years Of WTF?
Are Buy Backs Worth it?


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Through our multi-service, multi-sector and multi-geographical nature, we are able to provide value that goes beyond what is typically delivered in the industry, supplying a service that draws from our comprehensive and inclusive knowledge and experience base running throughout our practice.
Our multi-service approach, offering architecture, building consultancy, masterplanning, geomatic consultancy, interiors, landscape, BIM consultancy and principal designer services, creates an expansive knowledge pool that is available to every subdivision of the business across any project. We see all our projects throughout their entire life cycle, providing services across the timeline and glean rare perspective into how each inform the other. Our individual services thrive from a connected outlook, utilising this shared knowledge across the practice to collaborate and build our expertise on the latest market techniques.
Our multi-sector nature provides an incomparable breadth of experience. We work across a range of sectors including residential, education, infrastructure, civic, office and workplace, healthcare, technology and industrial, leisure, hospitality and retail. The industry is experiencing a morphing of sectors and with our expertise across sectors, and understanding of the commercial drivers, we bring the specialist knowledge required to deliver the vision. Immersion across all sectors ensures innovation and provides us with further understanding of the multifaceted requirements that projects need to exceed expectations and deliver outstanding solutions through design.
Our work across multiple geographies allows us to draw upon regional strengths and international experience, adding value across every market. Our offices throughout the UK provide focus and understanding of the local market. We embed ourselves within local communities, giving us a strong understanding of our client and the people affected by our designs. With a large UK presence, and a mix of offices, our staff have the ability to move around and we can provide a reactive scalability across all levels. Irrespective of whether we are delivering a multi-million regeneration project or a small refurbishment project, our business model scales to fit. Our global outlook across our international offices provides us with further insight of the wider industry and a deep understanding of the requirements of a whole host of varying schemes.
The result is an architectural and building consultancy process that creates functional and transformative spaces across the entire life cycle of the built environment.

industry_corpus2: Real Estate & Construction


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Catherine, Lady Slade, wasn’t surprised by her husband’s death, despite his youthful age. After all, Stephen was fond of over-indulging at both table and bed, although not always their marital bed. What did surprise her was the manner in which he died. She expected a cuckolded husband to take offence eventually or mayhap a pheasant bone to choke him. Yet he’d been struck through the eye by an errant arrow during a hunt. It didn’t make sense. Not only were his retainers superb marksmen, but she’d been told Stephen had fallen back to fix a saddle strap that had worked loose. Someone would have had to turn around to shoot him from the front, implying a deliberate act of murder, but she knew his men loved him too much to have done that. Indeed, they’d not even seen it happen. Despite her protestations that something was amiss, the death had not been investigated.
Another thing that surprised Catherine—Cat—were the tears she shed for him at his funeral procession. They were genuine. Stephen, the second baron of Slade, hadn’t been a bad husband as husbands went. He made sure the drafty old stone house was fitted with warm tapestries and hangings, he gave her jewels on her birthday and pretty gowns to wear whenever he thought she needed one. Unfortunately, those trinkets and gowns came at a hefty cost—one her husband couldn’t afford.
It was one of life’s sureties that upon a man’s death, his creditors will come knocking before the day was over. His brother, the heir, couldn’t pay immediately, but he did manage to postpone them with promises of future repayment plus an additional sum. It had been a worrying time. It still was.
Cat was the only one who cried at Stephen’s funeral. John, the new baron, was too busy insuring the two mourners he’d paid to walk behind the coffin looked suitably overwrought. Considering it was one of the coldest, wettest days of a bleak spring, they had no difficulty in giving off an air of misery. Cat had suggested twenty mourners more appropriate for the most prominent personage of the valley, but John had thought two ample considering there was no way to pay them.
“He deserves exactly what he’s getting.” Although he spoke quietly, Cat knew John was angry or frustrated or perhaps both. He’d hardly moved his lips. Ordinarily it was a sign that she should leave his presence, but this time she couldn’t. He would have to endure her, and she him. But for how long?
John, now the 3rd baron of Slade, was a tall, slender man with dark eyes and slick, black hair that skimmed his shoulders. That was the sum total of his virtues. His wet mouth rarely turned up in a smile and never in a laugh. He preferred silence and study to dancing, riding, hunting and, well, everything that required him to leave his desk. Although Stephen’s younger brother had always lived with them, he kept to himself. That was the way Cat preferred it. Until now. Now she wished she’d gotten to know him better. After all, he held her future in his hands.
“He did run up some debts,” she admitted, avoiding a muddy puddle only to brush up against old Doyle, one of the servants carrying the canopy who’d been with the family for years. He gave her a flat-lipped, sympathetic smile that she returned. “But a man ought to have a funeral befitting his status.” She cast her eye over the pitiful number of mourners, the plain coffin and the tattered banner of arms leading the procession. Her father-in-law, the first baron of Slade, had been sent off with forty-eight poor men and women dressed in black to follow the coffin, several mourners, two heralds of arms, a goodly sized banner of arms and four smaller bannerolls. It had been a grand affair that suited the magnificent figure her father-in-law had been. Her husband had cut an equally impressive figure, yet his own brother wouldn’t pay any more than he had to. It was a sorry sight.
John merely grunted. He increased the length of his stride, whether on purpose or by accident, Cat couldn’t determine. She had to hurry to keep up or get drenched by the rain since the servants holding the canopy followed their new master and not their previous master’s widow.
Widow. The word slammed into her chest with all the force of a fist. She was a widow now, and a childless one at that. She was alone in the world with her own family gone, but luckily still young enough to remarry. Widows had certain rights, thankfully, and a lifelong income from her late husband’s estate, but Cat didn’t want to move out of Slade Hall until her cottage could be made ready. Hopefully her brother-in-law would allow her to stay until then.
“When can we speak about my future?” she asked, peering up at his stern, heavy-browed profile.
Trade? Since when was her future a matter of commerce? Her pace slowed but John and the canopy did not. An icy drip fell off the canvas and trickled down her neck into her ruff. She shivered and hurried to catch up, stepping in a puddle that was deeper than it appeared. Water sloshed over the top of her ankle boots and thoroughly wet her hose. She wished she’d worn pattens.
“He was a lout and a poor baron. Look what he sank to.” He indicated the two pathetic mourners, the tattered banner, the small number of retainers and servants. Cat’s heart lurched. She should have insisted on something grander.
She stumbled and put out a hand to John’s—Slade’s—arm to steady herself. He snatched it away almost as soon as she regained her footing. The man loathed being touched, something he’d made clear on her wedding day when she’d gone to kiss her new brother-in-law’s cheek only to have him lean out of the way.
“I’ve not even buried my last one!” she protested.
Cat bit her lip and managed not to snap back at him. He wasn’t a man to trifle with. She had often argued with Stephen, and usually won, and was no stranger to speaking her mind, but something about John’s—Slade’s—countenance made her hold her tongue. He was in a dark mood today, more so than usual. Perhaps his brother’s death had affected him more than he let on. Her heart softened a little.
Well, of all the ill-mannered things to say to a woman, that was quite possibly the rudest! She may not be the prettiest woman or have been blessed with a comely figure, but she wasn’t ugly. Just plain. It hadn’t seemed to worry Stephen too much when he’d chosen her over several other women. Apparently he had admired her gentle nature and sensible manner. On the other hand, he had strayed from their bed. Frequently. A gentle nature and sensible manner apparently made for a good wife, but not lover.
“I have the Summer Cottage,” she said, more in an attempt to make herself feel better than remind John that she had an asset to bring to a marriage. “Indeed, I don’t have to find a new husband straight away. I can live there until I’m ready.” That way she could be out of John’s way and live her own peaceful life while she mourned her first husband and carefully chose her second.
The cottage…gone. The only link to her family sold off as if it were an excess apple from the orchard. Why had Slade never told her he’d sold it? He’d not once indicated he was in financial difficulty. The man she had trusted to have her best interests at heart had left her vulnerable and poor. John was right and yet he was not. Stephen was indeed foolish, but it seemed he possessed a heartless streak after all.
Cat would never cry over his death again. She would still miss him, like she missed a misplaced button or the sun on a day when she’d planned to go for a ride, but his loss was an irritation, nothing more. She wouldn’t mourn him to any great degree now.
She tried to voice her indignation but all that came out was a splutter. How could he be so cold? They were brother and sister in the eyes of the law and it was his moral duty to care for her. Did that mean nothing to him?
She stopped and stared at his broad back as he began the ascent to the church. The servants all looked back at her with sorry expressions, but did not stop. She got wet, but she no longer cared. The rain was nothing. The cold was nothing. Her future was beginning to look much bleaker than she’d ever expected.
Cat was given an entire two months to mourn her husband, but that was only because the new Lord Slade couldn’t leave the estate while it teetered on the brink of ruin. Fortunately he kept to his study day and night and she hardly saw him. When he did emerge, usually in the late evening, he didn’t so much as nod at her in greeting as he passed through the great hall where she embroidered or sewed. It was as if she didn’t exist. She began to hope he’d forgotten about getting rid of her.
Everything changed in early June when he announced they were to leave in the morning for London. Indeed, it wasn’t Slade who announced it—he insisted she call him Slade now—but his liveried retainer, Mr. Hislop. Hislop had ventured into the village from parts unknown almost five years ago and had struck up a friendship with Slade, then merely John. They’d been inseparable since, and upon Stephen’s death, the new baron had raised Hislop to be his second in command in all estate matters. It was quite an honor for a man who didn’t divulge his past to anyone. He could have been born in a field or a gutter for all Cat knew. Slade must have known, however. Cat couldn’t imagine her shrewd, careful brother-in-law allowing just anyone to see his ledgers.
She had not liked Hislop when he lived in the village and she liked him less since he’d moved into the house. He slunk around, his footsteps making no sound on the stone floor. Cat would think she was alone, only to turn around and find he’d snuck up behind her. He would watch her too through slitty, golden eyes. Eyes that were intriguing upon first acquaintance, but cool and detached the longer one looked at them. He wore his red-gold hair and beard short, neat, not a strand out of place. The thin scar slicing through the hair on his chin seemed out of character. His clothes were always spotless, as if his manservant spent all night cleaning them. Perhaps the poor fellow did. It would take a brave man to say no to Mr. Hislop.
Cat certainly didn’t dare. She accepted his command with a demure nod of her head then went in search of her maid. They packed together, choosing only the best gowns and jewels Cat had left. Slade had sold off most of the lovely things Stephen had given her over the years. It was a shame. She finally had a use for them and they were gone. There’d been few occasions for finery at Slade Hall with Stephen preferring hunting and drinking with his retainers to entertaining other nobles. Court, however, was different. She was expected to be a bauble among other, shinier baubles. If she wanted to attract a good husband, or simply to have a choice, she needed to present herself in the best light. Otherwise it was the blacksmith for her.
Upon entering the Presence Chamber at Whitehall Palace, it became clear to Cat that she was not going to enjoy court life. She looked as glamorous as a sack of turnips next to the ladies with jewels in their hair, at their throat, on their fingers and covering much of their clothing too. Indeed, most of the lords glittered brighter than Cat with their gold earrings and rings. They must be wealthy indeed to afford such things. Even Slade had managed to find a doublet made of the finest silk with silver buttons down the front. She wondered where he’d found the coin to pay for it.
He nudged her in the back and she stumbled forward. “You have to greet Her Majesty first,” he murmured as he nodded at a gentleman and lady who blinked vacantly at him. Clearly they had no idea who he was, but were curious nonetheless.
“I know that,” Cat said. She tried to see through the throng of bodies, but couldn’t. She was much too short. In which direction was the queen?
Cat wanted to poke her tongue out at his back as he walked off, but there were too many people watching, some surreptitiously, others openly.
The press of bodies in the Presence Chamber wasn’t so beautiful up close as it was from the entrance. Indeed, there was a distinct stink in the air which an abundance of rose water dabbed on the skin couldn’t hide. The combination was cloying. Cat coughed through her curtsey to the aging queen, but managed to suppress it as she rose. The queen spoke a few words and offered sympathies upon the death of Cat’s husband. How remarkable that such an aged and illustrious personage remembered them. It had been some years since Cat had last been to court, and she hadn’t been particularly memorable then let alone now.
The presentation lasted only a moment before a new arrival was nudged forward by an older man, perhaps her father. Cat and Slade backed away and blended into the rest of the courtiers.
“Now what?” she asked him.
She caught his arm before he walked off. His jaw hardened and his lips pinched tighter as he jerked free. “You promised to point out the eligible gentlemen,” she said. “Please, Slade. Please help me.” She hated to beg, but she didn’t have a choice. She knew not a soul. Slade had at least some familiarity, albeit limited. As the second son of a minor baron, he’d been to court a few times in recent years. It was a few more times than Cat.
He led the way up to the balcony where a number of lords and ladies stood in small groups. None paid Slade and Cat any attention as they found a position that gave them a good view over the audience below.
“My husband cannot force me to believe the same as he,” she scoffed.
Slade snorted through his nose. “An attitude like that will not help you, Cat. Not here. Do you see the other young ladies?” He swept his hand in an arc to encompass the giggling girls nearby, the more accomplished ones down below, all of them richly adorned and beautiful. “They are your competition. Do you think a headstrong widow of no fortune and nothing to recommend her has a hope of securing a husband with them around?” He answered his own question with another derisive snort. “Pay attention.” He turned back to the balcony and continued to point out unmarried gentlemen. It took only a moment more.
“That’s all of them,” he announced, turning away, impatient to be off.
“But there’s so few!” Cat protested. And all of them were either aged, infirm, or both.
She couldn’t tell from his tone whether that troubled him or not. After all, he must also be in search of a wife now that he’d gained the title. She was about to ask him if that were so when he moved away.
Indeed it wasn’t. Hislop had secured rooms for them in a house fronting Charing Cross since the palace was full and Slade wasn’t important enough to warrant accommodations within its walls. Still, a woman walking alone even that short distance at night was courting danger. Slade ought to have more care for her. She might not be legally under his protection, but he had a moral responsibility at the very least.
But Slade wasn’t looking at her. His attention was fixed on something down below in the Presence Chamber. Cat followed his gaze to a gentleman standing near the entrance, hands arrogantly on hips, a sapphire blue cape around his shoulders and a hat that wouldn’t have looked out of place in a birdcage it sported so many long feathers shooting from the crown. The hat obscured his face, but not his figure. Even from a distance, Cat could see he was leaner than most of the men there, and considerably younger. Indeed, he moved into the Presence Chamber with an assured swagger and an air of superiority that only a youth possessed, and an important one at that.
Everyone seemed to know him. Gentlemen clapped him on the shoulder as he passed, ladies curtsied low or offered up simpering smiles. One of the more brazen ones stepped into his path and thrust out her considerable chest. He made a great show of bowing over her hand before kissing it. She cast a conceited smile at those around her and glowed with satisfaction.
Slowly conversations fell silent around him as he moved through the crowd to the queen. Even the girls near Cat stopped their giggling long enough to gasp and whisper.
“Lord Oxley is here,” one said, breathy.
“Look at his fine legs,” said her friend, giggling into her hand.
That set off her friends again and they collapsed into snickers that would have had their mothers scolding them for unladylike behavior.
“Who is he?” Cat asked Slade.
“He’s not married or betrothed? A man in his position?” How odd.
At least he hadn’t mentioned Cat’s plain looks again. It would seem her financial difficulty was more of an impediment in the marriage stakes.
The earl removed his cape with a spectacular flourish that seemed to amuse the queen. He threw the cape at her slippered feet and got down on one knee. Cat couldn’t hear their exchange, but it was clear that he was making a gift of the cape.
“What would Her Majesty do with a gentleman’s cape?” she asked.
“Do you not see the fastenings at the collar?” Slade asked. As he said it, the two large button-like fastenings flashed in the torchlight.
“Sapphires,” she said on a gasp.
Her Majesty leaned forward, her head slightly bent, listening to whatever Oxley was saying. She seemed to be hanging on his every word. Then she fell back, giggling behind her hands like a girl. Oxley bowed low once more and backed away. Cat tracked his movement to a group of overdressed dandies nearby and watched as he fell into raucous conversation with them.
As if he’d heard her, the earl tilted his head back and looked up. He scanned the scattering of people on the balcony, nodding at some and bowing elaborately to the group of girls which set their giggles off again. His gaze continued and slipped over Slade and Cat before flicking back again. Even from a distance Cat could see he wasn’t as young as she’d first thought. He had a strong jaw and finely chiseled nose and cheeks. His skin was browner than she expected, the hair blonder. The contrast had a warm, handsome effect. Even more mesmerizing was his mouth. It was full without being womanly, and curved into a wicked bow. When first he’d skimmed over them, he’d sported an arrogant smile, but it vanished upon the second inspection. Then there were his eyes. She may not have been able to see them well, but she’d wager they were a remarkable shade of blue. A man as beautiful as the earl of Oxley simply must have blue eyes. Whatever color, they were staring directly at her with an intensity that warmed her belly and further south. No man of such beauty had ever looked at her like that. Like he could see into her. Like he knew her.
He suddenly looked away, the inspection over. It had been as brief as it had been powerful. The effects of it, however, lingered long after he moved on. Cat’s heart beat strong in her chest, having momentarily stopped beneath his scrutiny. Her face heated, her limbs too. Indeed, she felt hot all over.
“He seemed to take an interest in you.” Slade sounded surprised, or perhaps just disbelieving. He frowned down at Oxley, now in conversation with the gentlemen and ladies crowding around him. “Come on.” He grabbed Cat’s elbow.
“Where are we going?” she asked, struggling to walk casually alongside him and not draw attention to the fact he was gripping her much too hard.

industry_corpus2: Literature & Emotions


text:
Arrange to clean the residence you are leaving - hire a cleaning company if necessary!
Make a list of the keys of your former home. Have you got all of them and are they in the same condition that you received them in?
Take to chance to have your carpets cleaned, and have them delivered to your new address!
Empty your letterbox, take off your name.
Insurance: tell your insurance companies that you will be moving. Are your household and fire policies still up to date? Take the opportunity to check them.
Don't forget your letterhead, stamps, business cards… Have them changed or redone.

industry_corpus2: Others


text:
While in Boston for business, attorney John Mason (Stewart) marries Jane (Lombard) after only knowing her for a few days. Not everyone is excited about the new couple’s marriage. John’s demanding boss, Judge Doolittle (Coburn), isn’t a fan of the marriage and doesn’t approve of honeymoons. Gossip also paired John with Doolittle’s daughter, Eunice (Weston). John’s mother (Watson) also passed out dead in a faint and is critical of everything Jane does. The couple faces tensions as they get to know each other, particularly with John’s job. The couple has a baby and on New Year’s Eve of 1938-39, the child comes critically ill.
When a senator dies, corrupt political boss Jim Taylor (Arnold) needs to fill the position with someone he can control. Patriotic but unexperienced Jefferson Smith (Stewart) is appointed in the place by his governor (Kibbee) and he is guided by Senator Paine (Rains), who is also controlled by Taylor, in his journey to Washington, D.C. Smith’s secretary Clarissa Saunders (Arthur), thinks Smith’s patriotism is bunk and tries to railroad him with a bad press story, but once she sees he is sincere supports him. While Smith is supposed to be a “Yes” man, he becomes determined to fight the corrupt senate politics.
Larry Hall (Stewart) and Eddie Burgess (Ayres) are a successful ice skating act until Larry and Mary Mckay (Crawford) fall in love and she’s included in the act as a singer. The trio fails and they lose their job. Larry and Mary gets a job as an actress in Hollywood to help support them. She doesn’t realize until later that her contract says that she isn’t allowed to be married without the studio’s consent. Larry can’t handle both their fame and their secret marriage. He leaves saying he will return when he makes a success with ice capades show.
Wealthy Willie Heyward (Treux) is accused of murder and his private detective Guy Johnson (Stewart) is arrested for obstruction of justice for hiding Heyward after the murder. Johnson escapes the police by jumping off a train, and poetess Edwina Corday (Colbert) witnesses his escape. Guy kidnaps Edwina so she won’t report him to the police as he tries to continue to clear Heyward of murder.
• Sandra (Lamarr), who is discovered while she is with her violinist husband (Dorn), who is auditioning for the orchestra.
The film follows the girls as they rise to fame and the trials they face on their way up: alcohol, wooing men who try to take them away from husbands and boyfriends and getting accustomed to more money. They all learn that fame has a great price.
-Florenz Ziegfeld was a famous Broadway producer who died in 1932. He was known for his lavish sets and elaborate costumes that “glorified the American girl.” Ziegfeld is a God-like figure in this film: he is discussed but never seen.
-“Ziegfeld Girl” is one of three films MGM dedicated to Florenz Ziegfeld. This film is a follow up to “The Great Ziegfeld ” (1936), a biopic of Ziegfeld starring William Powell as the impresario. “Ziegfeld Girl” is a sequel which shows the life of the Ziegfeld Girls. The third film was “Ziegfeld Follies ” (1946), which just showed multiple Ziegfeld-like acts.
-Hedy Lamarr requested to be in this film as a change of pace from her other dramatic roles, according to historian John Fricke.
-Two of the actors in the film were in original Florenz Ziegfeld produced films: Charles Winneger, who was in the original stage production of Show Boat, and Al Shean, who was part of the act Gallagher and Shean. Winninger and Shean recreate one of the Gallagher and Shean numbers in the film.
-The production of this film was originally announced in 1938 and was to star Eleanor Powell, Joan Crawford, Margaret Sullivan and Virginia Bruce (who was in The Great Ziegfeld). It was several years before the script was developed and the film was recast with newer talent, according to film historian John Fricke.
-James Stewart’s last film before joining the military to fight in World War II. His next film was “It’s a Wonderful Life” in 1946.
-The finale of “Ziegfeld Girl” edits in multiple numbers from “The Great Ziegfeld.” Judy Garland’s character is dressed in a costume which recreates the “Pretty Girl” number from the 1936 film, on top of the large tower.
-Busby Berkely choreographed the numbers in the film.
-The original finale was going to be “We Must Have Music” with Judy Garland, but it was deleted.
-Judy Garland felt a little inferior to her co-stars. A frequent story she shared was: When Lana Turner came onset, the technicians would whistle. When Hedy would pass through, they would sigh. When Judy came on set they would tell her hello, according to “Beautiful: The Life of Hedy Lamarr ” by Stephen Michael Shearer.
-“Ziegfeld Girl” was the game changer in Lana Turner’s career, and it led to more serious, dramatic and adult roles. The role was even expanded for Turner during filming.
-Lana Turner was originally supposed to die at the end of the film, according to TCM film historian Robert Osborne. Her death had negative reactions from preview audiences and is now cut to be left ambiguous.
-Model and later wife of Kay Kyser, Georgia Carroll, said in 2008 that Hedy Lamarr was shy and private during the filming. Hedy Lamarr and Judy Garland were friends and Lamarr and Lana Turner were cordial, according to “Beautiful: The life of Hedy Lamarr” by Stephen Michael Shearer.
In the grand scheme of film history, “Ziegfeld Girl” (1941) may not be very important. It is notable because it gave Lana Turner’s career the boost it needed, landing her in more sophisticated and adult roles. But when it comes to Metro-Goldwyn-Mayer movie musicals, this one isn’t even listed in the top 10.
But I love it. “Ziegfeld Girl” may be overly long (with a run time of 2 hours and 12 minutes) and the plot may be rather fluffy, but I think it’s a great example of the lavish luxury that was a Metro-Goldwyn-Mayer film.
With the Adrian gowns and themes of fame and newly found wealth, “Ziegfeld Girl” oozes glamour, sophistication and the jewel-encrusted style many people dream about. For some reason, for me, this film holds the definition of MGM glamour more than other well-known MGM films like “Singin’ in the Rain” (1952), “The Women” (1939) or “Grand Hotel” (1932).
I think one major reason for this is the “You Stepped Out of a Dream” number where Tony Martin sings as women in elaborate (yet eccentric) costumes walk up and down stairs like goddesses.
After it’s release, Hedda Hopper said that the film is so beautiful that it “makes you ill that it’s not in color.” I can’t say I agree though. While Technicolor would have made “Ziegfeld Girl” even more glorious, I somehow think that black-and-white suits it and glitters more than color would. Color would have almost been too distracting.
The cast of this film is also bursting at the seams. Not only are the leading ladies three of MGM’s most well-known and top stars, the character actors seemingly just keep coming out of the woodwork through the film.
I do also enjoy that two original Ziegfeld players- Charles Winninger and Al Shean- are included in the film.
I first saw “Ziegfeld Girl” in 2004 or 2005 and I fell in love with it and I still really love this movie. I loved it so much that “ziegfeldgirl1941” was part of my e-mail address at the time. I even tried to convince my mom to play “You Stepped Out of a Dream” when I walked downstairs to my prom date (she refused so this didn’t happen).
If the glamour of this film was a soap or a perfume, I would buy it and wear it. But since it’s not, I did the next best thing. I created Hedy Lamarr’s “Stepped out of a Dream” costume designed by Adrian for this Halloween. I bought the sleeveless white dress but made the rest of the costume- sewing on sleeves, cutting out and gluing silver stars and sequins, using 12 glue sticks to attach the wire with stars on a board on my back (Adrian also used a board on Hedy’s back.) If this 20-hour project doesn’t describe my love for “Ziegfeld Girl,” I’m not sure what does.
If you love MGM glamour and musicals, I would give this one a watch. I’ll give you fair warning that it’s a bit dramatic in parts, like when Lana Turner’s luck starts to change, but it’s such a fabulous look at MGM in it’s prime.
“The Philadelphia Story” taught me what a hangover was when I was nine.
And who knew what yare meant before Katharine Hepburn used the word?
My fourth grade education was enhanced when I learned the meaning of those words the first time I saw “The Philadelphia Story” (1940) in 1998.
My dad was out of town one summer evening and my mother, sister and I picked a movie to watch. We loved it.
“Why did she shield her eyes from the sun like that?” I asked my mom. She explained the consequences people face the next morning after drinking too much.
For years after, I even tried to imitate Hepburn’s silly little laugh she does in the film.
I had forgotten not only about my new vocabulary words the first time I saw the film but many of the charming scenes in “The Philadelphia Story” until I saw it last night for the first time on the big screen.
I drove an hour to my hometown of Greenville, SC where outdoor classic films are shown every week in May at the Reedy River Falls Park.
Classic film screenings are a treat for me. Where I live, viewing movies on the big screen is rare.
It had been several years since I had seen this movie. Though I knew it was good- boasting a cast of Katharine Hepburn, Cary Grant, James Stewart, Ruth Hussey, Virginia Weidler and Roland Young-I forgot how wonderful it really was.
The leads are perfect in nearly every film but Virginia Weidler steals the show.
On paper, the film sound dizzy: A divorced woman is remarrying, the ex-husband pops back in the picture and then a reporter-who already has a girlfriend-becomes a potential romantic partner. It’s a love pentagon.
But somehow the story works when it’s acted out.
The script of The Philadelphia Story was written specifically for Katharine Hepburn who originated the role on Broadway and reprised her role as Tracy Lord on screen. The film helped rid Hepburn of her box office poison status.
In the play, Joseph Cotten played C. K. Dexter Haven (played by Cary Grant in the film version) and Macaulay Connor was played by Van Heflin (played by James Stewart). While watching the movie last night I couldn’t help picture those two performing those roles.
I have only been to one other Moonlight Movie series in Greenville back in 2011 to see Strangers on a Train. It wasn’t a pleasant experience due to people talking and continuously getting up and down during the film.
However, last night was much more relaxing and everyone was respectful of the movie.
The only disappointing thing is no one applauded when the film started or when actors entered their first scene like at the Turner Classic Film Festival, however I heard several people around me say they had never seen the movie again.
Revisiting “The Philadelphia Story” was fun and I reminded me how great a movie it was. I’m discovering seeing movies on the big screen is a very special experience.
After all-they were made to be seen that way.

industry_corpus2: Film & Entertainment


text:
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Forex4You.Com Se Apne Funds Ko Withdraw Kerna Ab Bohat Hi Asan Hee.

industry_corpus2: Finance & Economics


text:
Following the success of Henley Amateur Operatic Dramatic Society’s (HAODS) dinner in the round show of ‘Allo ‘Allo last year, this week they are performing four of the ionic Blackadder II episodes in the show Welcome to Blackadder’s Lodgings in the HAODS studio (next to the Kenton Theatre).
The episodes from series 2 from 1986 are set in England during the reign of Queen Elizabeth I (1558–1603), and sees the principal character, Edmund, Lord Blackadder, as a Tudor courtier attempting to win the favour of the Queen while avoiding execution by decapitation.
The show opens with the episode Bells in which Edmund falls for his manservant and Flasheart plays the cad! The show also includes the episodes Head, Beer and Chains in which Blackadder is kidnapped and the Evil Prince Ludwig is unmasked. Edmund Blackadder is brilliantly played by Adam Howe and Barry Rosier who plays Baldrick completely immerses himself in this hilarious character. The other character we loved and had us in stitches was Mr Ploppy the jailor played by Neil Allen. The scripts are the original from the cult TV series with the jokes coming thick and fast. With a small performance space and changing area in the studio, there’s plenty of possible laughs too when the staging takes a wobble!
The costumes are all in true dramatic Blackadder style with many from the society’s only wardrobe but Queenie’s was especially made by Sacha Renie-Cook. The show of course would not be complete without that most recognisable of music provided by live minstrels! The royalties from each show are being donated to Comic Relief.
Unfortunately, tickets are sold out to all the shows so you’ll have to book for the next production which will be a joint production with Henley Players (29 May – 1 June) about a warring Italian family.
Watch out for more details on the website at www.haods.org.


text:
What Other Social Media Platforms Can Professionals Use?
Now that we've gone over the big five networks you should definitely be on – LinkedIn, Facebook, Twitter, Google+, and YouTube – you should have a better understanding of a proper social media presence on the Internet. Hopefully, you've set up a profile on at least one of the major networks, have a better understanding of what they do and why you should be on them, and you've optimized your profiles so yon can grow your brand, gain new clients, and deepen your relationships with your current community.
But what about all those other networks out there? I understand, it seems like there's a new one popping up every day. So how do you decide where to spend your time and energy? Besides the main five we've already discussed, investment professionals are experimenting with a number of other social media platforms. In this chapter, I'll provide a quick overview of what these platforms are.
With more than 200 million users logging in each month and more than 60 million photos uploaded every single day, Instagram is a social force to be reckoned with. Instagram is a photo-sharing social platform where each user has a profile and can upload photos (plain or stylized) for followers to view, enjoy, like, and comment. It may seem like a simple photo-sharing site, but many businesses and advisors are using Instagram to their benefit.
One of the main keys to Instagram's marketing potential for businesses is the fact that it is, first and foremost, a mobile application. If you've kept up with any of the social media trends around the Web, you know mobile is important. Some 91 percent of American adults own a cell phone, and 50 percent of these owners download apps like Instagram. All Instagram actions occur on users' mobile devices as they go about their day.
Instagram allows users to share photos not only with their direct Instagram network, but also through their Twitter and Facebook feeds. Cross- pollinating these different networks helps simultaneously build and strengthen a following. If your Instagram network is new or small, it's okay because you can just share your photos to Facebook or Twitter if you want more eyes on a picture you've created. The same hashtag, ©mentions, liking, and commenting practices that occur on Facebook, Twitter, and LinkedIn also apply to Instagram. Because it is becoming more integrated with the traditional social platforms, it will be harder and harder to ignore Instagram in the future.

industry_corpus2: Computing & Telecommunications


text:
Kick off Southampton-Cardiff in Premier League on today 15:00. Referee in the match will be Martin Atkinson.
Team Southampton currently is on lower place in table (16 position). In 5 last games (league + cup) Southampton get 9 points. Southampton from 2 matches can not beat any rival. Not lost the match from 5 games. Players Southampton in Premier League with the highest number of goals: Danny Ings 7 goals, Nathan Redmond 3 goals, Pierre-Emil Hoejbjerg 3 goals. Most assists in the club have: Danny Ings 1 assists, Nathan Redmond 2 assists, Pierre-Emil Hoejbjerg 1 assists.
Team Cardiff is in the releagtion zone of the table. 18 position. In 5 last matches (league + cup) team gain 4 points. Cardiff did not win the match away from 2 games. Leading players Cardiff in Premier League is: Bobby Reid 4 goals, Callum Paterson 4 goals, Victor Camarasa 3 goals. Most assists in the club have: Bobby Reid 2 assists, Victor Camarasa 2 assists.
In Cardiff not occur in the match due to injury: Sean Morrison.
Direct matches: Cardiff won more direct matches. Southampton won 4 matches , Cardiff won 7 direct matches, was a 2 draws. In 6 matches the sum of the goals both teams was greater than 2.5 (Over 2.5), and 7 matches teams scored more than 1.5 goals (Over 1.5). In 6 matches the both teams scored a least one goal (Both teams to score).


text:
Title China and the knowledge economy [electronic resource] : seizing the 21st century / Carl Dahlman, Jean-Eric Aubert.
Imprint Washington, D.C. : World Bank, c2001.
Description xxvi, 170 p. : ill.
Bibliography Includes bibliographical references (p. 167-170).
Subject Knowledge management -- China.
Information technology -- China -- Management.
Technology and state -- China.
Education and state -- China.

industry_corpus2: Subject Education


text:
Children are born scientists. Our job is to inspire their wonder, support their experiments, and help them communicate what they know. Join my webinar to deepen your understanding of the foundations of quality early science experiences, and gain ideas for playful science experiences you can bring back to your classroom.
Beth Wilson M.S.Ed. has been in the field of early childhood education for 18 years, working in schools and children's museums. In all of her work Beth advocates for children's right to play, and believes that every child deserves a playful and authentic early education.


text: I've been going through boxes of fabrics all day looking for materials for the next four outfits - three commissions, and one outfit for my Narae (or Isar, if she arrives in time). I have boxes of fabrics stashed everywhere - in closets, behind doors, and in one big room in the basement. I think I have all the fabrics now, so the next step is to look through my patterns, and get started. I think I'll try make the two fairy outfits first, as the weather has turned so warm, and the plants are literally shooting out of the ground. Who knows when the scillas will be in bloom - mine are already showing their blue buds, so it could be very soon. So, I better make those fairies first!


text:
Access Video is a production company in business for more than 20 years. Located in the beautiful Northern California Bay area, we specialize in HD film-style production for corporate, broadcast and small business clients.
If we can be of any assistance, don’t hesitate to call or email. We look forward to telling your story.


text:
Exhibition catalogue. Ed. by Katerina Chuchalina and Silvia Franceschini.
Authors: Ilya Budraitskis, Nikita Khrushchev, Vigdaria Khazanova, Daria Paramonova, Dmitry Prigov, Andrei Monastyrski, Viktor Misiano, Alexander Peremyslov, David Riff, Tony Smith, Kuba Snopek.
The Way of Enthusiasts is a translation of the name of the Moscow landmark “Shosse Entuziastov”, an avenue that connects the city center to the residential districts. The romantic and impassioned foundations that were laid under this name in the 1920s—as well as the urban environment it designated—gradually changed as the Soviet social project evolved. The book features spatial commentaries by Russian artists over the last few decades, and uses urban and architectural material as a parallel narrative to contextualize and depict the patterns underlying artistic practices since the shift from the Soviet era to a post-ideological society.


text:
For some reason Kejiro just started to think about death then he went into long periods of depression. He didn’t even know why he was depressed but he could always hear those voices in his head. Angry, confused, frustrated and eventually ready to yield, he began to consult with the voices. He saw reasons to end his suffering. He began to lose interest in keeping his promise to his uncle; he just didn’t care any longer.
Providence brought him a way out of his misery. While he was returning from school he saw an usera plant and identified the seed. He had seen the seed as a young child in Anioma community. The usera seed looked like a bean seed but not without some distinguishing features. It was black and had holes that passed from one end to the other. It had a dreadful poison that was untraceable in an autopsy. Kejiro immediately grabbed the opportunity that had presented itself on a platter of gold. He put a few seeds into a piece of nylon that was lying on the roadside and pushed it into his bag. He continued his long walk home.
Days went by and his torture continued.
‘You this stupid boy, I am sure you know today is Saturday. Have you swept the compound?’ Mrs. Idiala yelled at the top of her voice.
It was a little over 4AM but she had begun dishing out orders.
‘Wash the plates and scrub the floor, don’t forget to wash those dirty clothes too’. She never said please or thank you; she never saw the need. In her opinion, she had done Kejiro a great service by bringing him to the big city, accommodating him, putting him in a school and feeding him.
Kejiro walked pass Kingsley’s room and watched him roll around lethargically in bed. He hated the fact that he was treated with so much hate and disregard but Kingsley was showered with so much love.
He had become good at concealing his thoughts behind unspoken words, but those thoughts ate him up.
Kejiro knew there was no use protesting, to them he was just the house help with no feeling and who could be used like a donkey. He tried to embrace his reality but the voices kept coming to his head.
‘Are you a fool? Look at how they are treating you like an animal’ Kejiro listened as the voices schooled him.
‘Even when you were in Anioma you weren’t living like this. You need to free yourself from this prison you have put yourself ‘ the voices suggested.
‘That is rubbish’ screamed another voice.
By now Kejiro was washing the car, he whispered, ‘no’ in response to the question in his head, and then the voices continued.
Kejiro enjoyed the fact that somebody was on his side, albeit that it was just voices in his head.
‘What should I do?’ He asked, hoping that the voices would give him a way out of his misery.
‘I should endure?’ Kejiro tried to clarify.


text:
While the third zone of de-escalation in Syria is being set up in the northern cities of Homs, expert Boris Dolgov, in an interview with Radio Sputnik, said that although the de-escalation zones are a positive development for the country, they also carry certain risks.
Representatives of the Russian Defense Ministry and moderate Syrian opposition reached an agreement during their meeting in Cairo on operations of the third de-escalation zone in Syria, Russian Defense Ministry spokesman Maj. Gen. Igor Konashenkov said Thursday.
He further said that the Russian military police would set up on August 4 two border checkpoints and three observation posts in Syria’s Homs de-escalation zone.
A senior researcher of Arab and Islamic Studies of the Institute of Oriental Studies at the Russian Academy of Sciences, Boris Dolgov, said on Radio Sputnik that the creation of de-escalation zones in Syria is a positive trend, but also includes certain risks.
“It should be noted that the very trend of creating de-escalation zones in Syria is a positive moment, especially in Homs which is an industrial and densely populated area. However, here it must be said that the de-escalation zones are actually turning into autonomous regions, creating their own authority, sometimes separated from the central one. It even creates isolated military formations, which, if the conflict continues, could lead to a split in Syria,” Dolgov said.
In particular, the analyst said that the zone of de-escalation in the southwest of Syria, created with the assistance of the US, could turn into an independent territory from Damascus.
“Here I will recall the statements that were made by the US side, in which it was stated that they are not going to transfer the zones of de-escalation to the control of the Damascus government, after these zones are created,” Dolgov said.
Nevertheless, he said that despite the presence of these risks, negotiations on the creation of de-escalation zones should certainly continue.
“The success of these talks, first of all, lies in stopping the military actions and in curtailing the suffering of the peaceful population,” the analyst concluded.
According to Konashenkov, the Committee of National Justice, including representatives of the opposition and major ethnic, political and religious groups, will be set up in the Homs de-escalation zone to ensure its effectiveness.
Konashenkov also stressed that the cease-fire regime in the Homs zone, as in the other two zones, does not cover the militants of the Jabhat Fatah al Sham, formerly known as Nusra Front and Islamic State (both terrorist groups are banned in Russia).
The spokesman added that in accordance with the reached agreements, the moderate opposition took a commitment to push out from the zone all the units that have joined the aforementioned terrorist groups.

industry_corpus2: Politics & Administration


text:
I head up our equity portfolio team, which manages a generalist portfolio of dozens of investments across a range of sectors. I focus on developing lasting strategic relationships with management teams to build shareholder value.
I am a skilled relationship builder, keen to encourage portfolio companies to make the most of the growth investment options available. Overseeing a team of portfolio executives, I develop and implement strategies for the management of identified growth investments.
I joined the business in 2009 from the University of Warwick, where I was a business development manager in the university’s technology transfer office.
Earlier in my career, I was an associate at European Acquisition Capital (now Milestone Capital Partners) a mid-market private equity investor, and a manager in KPMG’s transaction services team. I started my career as a development chemist for NFi Electronics.
Find out more about companies John Mihell has worked with.


text: We had an excellent crop of potatoes this year and I wanted to find a way to dig them using my little tractor instead of tackling them by hand. I ended up welding some metal rebar to a 16″ cultivator shovel top help lift the potatoes to the surface, and then mounting it onto the 3 point hitch of my tractor using a standard 2″ hitch receiver and an old cultivator shank. The basic steps are to cut around 14-16″ pieces of rebar, weld them to the bottom of the cultivator shovel and then bend them up slightly so it directs the potatoes upward. I had no cut or bruised potatoes. Not the prettiest thing I have built, but it works well.

industry_corpus2: Agriculture & Fisheries


text:
Eagle Point Elementary School serves 1,360 students in grades Prekindergarten-5.
The percentage of students achieving proficiency in Math is 80% (which is higher than the Florida state average of 54%) for the 2015-16 school year. The percentage of students achieving proficiency in Reading/Language Arts is 73% (which is higher than the Florida state average of 52%) for the 2015-16 school year.
Eagle Point Elementary School placed in the top 10% of all schools in Florida for overall test scores (math proficiency is top 10%, and reading proficiency is top 20%) for the 2015-16 school year.
Minority enrollment is 76% of the student body (majority Hispanic), which is higher than the Florida state average of 61%.
Eagle Point Elementary School's student population of 1,360 students has grown by 14% over five school years.
The teacher population of 81 teachers has grown by 12% over five school years.
Eagle Point Elementary School is ranked within the top 10% of all 3,601 schools in Florida (based off of combined Math and Reading proficiency testing data) for the 2015-16 school year.
The diversity score of Eagle Point Elementary School is 0.49, which is more than the diversity score at state average of 0.46. The school's diversity has stayed relatively flat over five school years.


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Decca's transfers to CD of Britten's recordings of his own works gather pace and now reach what one is often tempted to call the greatest of his operas, although perhaps The Turn of the Screw claims that accolade. Billy Budd is remarkable in having been composed for male voices, yet not once is there any lack of colour or variety. Britten marvellously supports the tenor, baritone and bass protagonists with extraordinary flair in the use of brass and woodwind.
This was the last operatic recording John Culshaw produced for Decca and he again showed himself unsurpassed at creating a theatrical atmosphere in the studio. His use of stereo effects and his inspired balancing of voices and orchestra ensure that listeners at home feel that they are not merely observers of but participators in events aboard Indomitable in 1797. There have been several striking and brilliant stage productions of this opera in recent years, two having been built around Thomas Allen's outstanding performance of the title-role, and a new recording ought to be made, no great opera should exist in only one recorded version. But having said that, it must also be said that both technically and interpretatively this Britten/Culshaw collaboration represents the touchstone for any that follows it, particularly in the matter of Britten's conducting.
Where Britten is superb is in the dramatic tautness with which he unfolds the score and his unobtrusive highlighting of such poignant detail as the use of the saxophone after the flogging. His conducting of the choral scenes, particularly when the crew are heard singing below decks while Captain Vere and his officers are talking in his cabin, is profoundly satisfying and moving. Most of all, he focuses with absolute clarity on the intimate human drama against the background of life aboard the ship.
And what a cast he had, headed by Peter Pears as Vere, conveying a natural authoritarianism which makes his unwilling but dutiful role as ''the messenger of death'' more understandable, if no more agreeable. Peter Glossop's Billy Budd is a virile performance, with nothing of the 'goody-goody' about him instead a rough honesty in keeping with Melville's conception of the character. Nor does one feel any particular homo-eroticism about his relationship with Michael Langdon's black-voiced Claggart: it is a straight conflict between good and evil, and all the more horrifying for its stark simplicity. Add to these principals John Shirley-Quirk, Bryan Drake and David Kelly as the officers, Owen Brannigan as Dansker and Robert Tear and Benjamin Luxon in the small roles of the novice and his friend, and one can apply the adjective 'classic' to this recording with a clear consclence.


text: This 100% vegetable-based bar contains a high percentage of moisturizing glycerin to cleanse without drying or irritating. Chunky circular shape. Clear cello wraped. NET WT. 4.5 oz each.


text: Performance Accessories CL226PA raises the front of the vehicle 1.5 ? 2.5-inches. Kit includes high quality forged torsion bar keys, with shock extensions for the Chevy Silverado and GMC Sierra 2500HD / 3500HD pickups that maintains the vehicles factory ride. Performance Accessories forged leveling kit keys are designed to level out the front-to-rear stance of the vehicle. This allows the use of up to 33-inch tires for a more aggressive stance improving ride quality on and off-road while still maintaining proper suspension geometry. Easily installs within less than 2 hours.

industry_corpus2: Automobiles


text:
The FreefeetOff Road Electric Scooteris a dual-wheel self-balanceable electrically operated vehicle, a revolutionary ride-instead-of-walk and recreational tool. The driver may operate the movementby standing on it, and shifting his/her body. The scooteritself may automatically keep balance and the driver does not have to worry about the risk of falling down.
# # You lean forwarder, the Sunnytimes scooter go forwarder, lean back, go back, stand straightly,then stop.
# You lean left or right, then the Sunnytimes go left or right.
# It can climb of 35 degree. When climbing, just lean forwardheavily, when downhilling, just lean backward.


text:
The pupil premium is a Government initiative that provides specific funds targeted at improving outcomes for students from deprived backgrounds. Research has indicated that this group of students underachieve when compared to non-deprived peers. The premium is provided in order to support these pupils in fulfilling their potential and not being disadvantaged.
The Education Standards Funding Agency (ESFA) uses Ever6 as an indicator of deprivation. Each child classed as an Ever 6 free school meals child is awarded �1320 per year. In addition to Ever 6 free school meals the DfE issues an award of �2300 to each looked after child currently in their care. Students who have a parent serving in the armed forces are also awarded an amount of �300 per year.
Wickersley Northfield Primary used data provided by the DfE to initially identify students who have been awarded Pupil Premium Funding which is based on the school Census. The Governing Body and SLT have stated that if a child becomes eligible for free school meals after the census date and was not previously categorised as an Ever 6 free school meals child, they will be treated exactly the same as a child who was awarded the Pupil Premium grant.
* Intensive Literacy Support from Read Write Inc.Programme to improve phonics and spelling across the whole school.
* Timetabled 1-1 support for students in need of intensive support in all areas.
The report for each academic year will be published on the school website by the end of November following the publishing of the Raise on Line document.
When a school completes the Census the DfE will look for any child who at any time during the last 6 years was claiming for free school meals. Any child who meets this criteria will be classed as an 'Ever 6 free school meals child'.


text:
You organise and follow up the gathering of the subsidiaries' data needed for the consolidation process, in order to meet the legal requirements concerning the bookkeeping of groups of companies.
You produce pieces of information used to draw up the financial report, and participate in the setting up of information systems to control and transmit information from the entities / subsidiaries to headquarters.
Main interlocutor of the subsidiaries, you are aware of the challenges they face and provide advice within your area of expertise.
You contribute to elaborate periodical financial statements, in particular accounting, regulatory, fiscal and reporting statements, in compliance with the Group's referentials and standards. You participate in the implementation of new procedures and in the improvement of the existing procedures and methods. In this framework, you are in regular contact with the various operational entities, in order to better grasp the activity monitored and communicate about the regulations to apply.
You thus contribute to the steering and financial security of the Group.
provide internal advice to enable optimum use of resources.
Within the department in charge of the monitoring and management of the equilibrium of the balance sheet, you participate in the financial analysis of operations on behalf of our customers or corporate centre operations. You seek and implement the most suitable refinancing and investment methods, in compliance with banking regulations. Lastly, you take part in the improvement of the reporting system specific to this ALM activity.


text:
"DETROIT (AP) June 24th— Flint children under the age of 6 had significantly higher blood-lead levels after the city switched its water source in 2014 to save money, according to a report released Friday by U.S. disease experts. The likelihood a child would have a concerning blood-lead level — at least 5 micrograms of lead per deciliter of blood — was about 50 percent higher after the April 2014 switch from Detroit's water system to the Flint River. Flint used the water for 18 months, during which lead leached from old pipes in homes, businesses and schools because the water wasn't treated to control corrosion. The city switched back to Detroit's system in October."
Objective journalism has no place in these deep trenches of political corruption and human damage. The fruits of fractaled multilevel corruption generationally layered upon innocent people is now clear. The regulatory agencies in America tasked with protecting the people from greed, enforcing regulation and testing for contaminates have willfully neglected their duties. While people trust presidents, cast votes and blindly go about their lives, oversight agencies coldly calculate life on a crooked scale broken years ago. The facade is now over in Flint and the world is left to stare in amazement at the depths greed and corruption can go while disguised as trusted authority.

industry_corpus2: Water Resources & Marine


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Is that the first non-custom Domino statue? I remember searching for her before and only found Bowen's mini-bust. As a X-Force fan, she is a must have.
I will get the Domino statue also. Hopefully the paint job for this line is great.
I got my replacement and he is perfect.
I cannot wait for Magneto!!
Nice acquires Rafaelcab and omigeo!
Got this piece in as well…and yeah disappointed he is a little small (11" tall from bottom of foot to top of head) but love the detail.
Glad DST goes well with Bowen and Koto.
Here is height comparison with Koto Capt.
The age of Men is over. The time of the geek has come!
Love how you have these hard hitters grouped.
Wow - only 11 inches? Much smaller than I had hoped for. They seem to be all over the place with their scale; Venom is huge compared to Cable. Hope Magneto is at least 12"
Thanks for the great pics though.
Including the base, he is 12" to the top of his head. Every company seems to have different interpretation of scale, same with comic book artist. From the picture, Cable looks in scale with Colossus but then again Cable's height seems to varied from time to time.
Agree - just thought, probably incorrectly, that he was going to be 1/6 scale...which shouldn't be fluid ( I know...I am daydreaming...producers put out what they want and label it a certain scale).
Picked up Cable from my lcs today. Also had 20% off coming my way so that made it even sweeter.
Domino is scheduled for 11/28/2018.


text:
From snacking to refined restaurant spotted in a gastronomic guide, Sainte-Maxime offers a wide range of establishments to satisfy all tastes and all desires.
As a beach restaurant, traditional restaurant, brasserie, pizzeria or creperie, have a sit with your family or as a couple to taste all the different cuisines.
From China to Italy to finally end up in France and in Provence : you will convey a world tour of flavors.
Feel like a lazy day at the beach on a sunbed? Have lunch with your feet in the sand? Explore delightful addresses to enjoy sunshine at all times during the day, by the water!
Enjoy the brasseries in Sainte-Maxime for great friendly moments to enjoy the region specialties!
Since traditions are very important to us, enjoy our Provençal and mediterranean culinary specialties!
Want Pizza? Find all the good addresses and enjoy the most renowned specialty!
Enjoy salads, paninis, burgers and other sandwiches... On site or to take away. Choose from a wide range!
Looking to escape? Rediscover Vietnamese cuisine or Italy’s flavours!
Nothing better than a good crepe to stimulate the taste buds! Are you rather sweet or savory?
A great selection of ice cream to get refreshed with delicacy throughout the day! What is better than that?
Feel like a cocktail?... Sit and take your time to appreciate the taste of a beautiful destination!

industry_corpus2: Hospitality & Catering


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See the work of various local and national artists in the Tony Hungerford Memorial Art Gallery.
The gallery was established in 2000 in memory of Southern Maryland artist Tony Hungerford, the son of Vincent and Evelyn Hungerford.
The gallery is at the La Plata Campus, Fine Arts Center and is open Monday - Friday from 9 a.m. to 9 p.m. and Saturday from 10 a.m. to 6 p.m. Please call 301-934-7828 to arrange for other hours if necessary. Gallery Talks are usually held on Tuesday afternoons and are free and open to the public.
Please watch this page for the exhibit updates, or join our e-news mailing list for information to be delivered directly to your e-mail.
Artist Lecture: October 4, 2018, 2:30 p.m.
the rest areas seal the deal on our un-infringed-upon travel.
and a picnic bench. But the rest areas are places we share.
sociologically, and emotionally. We need them.
Since ancient times geometric perfection (circle, square, and triangle) has been thought to convey sacred and universal truths by reflecting the fractal interconnections of the natural world. One finds these similarities across cultures embedded in many diverse ethnic patterns. Incorporating these traditional designs into contemporary artwork promotes a collective perspective that strengthens cross-cultural bonds. Given our troubled times, my work speaks to the shared legacy between the West and the Middle East with hope and optimism. Viewer response worldwide has confirmed the prevalent yet profound spiritual and emotional qualities of color, light, and pattern central to my art. As such, it is a perfect conduit for conversations that embrace cultural diversity through mindfulness and mutual respect.
Both meditative and prayerlike, my process incorporates slow work made by hand to counter visual skimming and to encourage a reflective response from the viewer. Inspired by sacred geometry, I create interlocking stencils based upon Celtic knotwork and Islamic ornamental tiles. These stencils are tiled into nine-square grids and cut out of Mylar. For the papercuts, the design is hand cut into painted paper. From behind, the color reflects through the cutwork. For the pulped paintings, the stencils are used to mask the patterns onto handmade paper using pulp painting techniques. For the GPS prints, acrylic paint is applied through the stencils onto a soft Gelli plate. Burnishing transfers the shapes to paper. Some of these works may be overprinted, hand painted or hand cut. To create immersive installations, multiple units are installed 4” – 7” apart in large grid formations.
Reni Gower is a Professor in the Painting and Printmaking Department at Virginia Commonwealth University. In 2017, she was recognized with SECAC’s Award for Outstanding Artistic Achievement. In 2014, she was also honored to receive the College Art Association’s Distinguished Teacher of Art Award, as well as Virginia Commonwealth University’s and VCUarts’ Distinguished Teaching Awards. She is the recipient of a NEA / SECCA Southeastern Artist Fellowship and several Virginia Commission for the Arts Project Grants. In addition to her painting practice, she curates award winning traveling exhibitions that include Papercuts, FABRICation, Geometric Aljamía: a Cultural Transliteration, and Pulped Under Pressure: The Art of Handmade Paper.
Her art work is represented in many prestigious collections and has been exhibited at international and national venues for over 40 years, including the American Embassy in Vatican City, Rome, Italy; Total Gallery, Dubai, UAE; Landford120 Gallery, Melbourne, Australia; Galeria ICPNA Miraflores, Lima, Peru; Kimball Art Center, Park City, UT; Tinney Contemporary, Nashville, TN; Taubman Museum, Roanoke, VA; Noyes Museum, Hammonton, NJ; Villa Terrace Museum, Milwaukee, WI; Hunter Museum, Chattanooga, TN; and The Painting Center, New York, NY. She holds a Master of Fine Arts degree from Syracuse University, a Master of Arts degree from University of Minnesota-Duluth, and a Bachelor of Science degree from the University of Wisconsin-Madison.
Note: there is no artist lecture for this exhibition.
I focus on drawing as the primary means of expression of my studio research. Typically, I collect source materials from direct observation or photographs, which I synthesize in compositional exercises as sketches that lead to final works. Alternatively, without preparatory compositional sketches, I begin drawings as marks and line from which I identify and develop representational subjects. Figures and environments in individual compositions present singular moments within a suggested narrative, which I enhance by dividing images into sections to tell stories in multipart works. Additionally, I use multiple sections in drawings to juxtapose imagery from the US and Japan, the two places I live each year.
My subjects are human figures in contemporary urban settings presented from unexpected vantage points in order to reveal the latent interested of everyday visual experiences. Influences on my work are artists that focused on composition and the relationship of the human figure and their surrounding urban space, which includes artists Edgar Degas, Edward Hopper, and Robert Birmelin. Also, graphic novels and comic books have had a large influence on my work. For instance, I work largely from my imagination after putting imagery to memory from sketching. When my imagination proves insufficient while drawing, I return to support images that initiated my research. As a medium, the immediacy of drawing, specifically using charcoal or ink, facilitates a strong connection between thinking and putting marks on paper, recording ideas and facilitating their development. Lastly, the use of deep space from foreshortening and linear perspective, as well as dynamic point so view and storytelling, in graphic novels has had a significant influence on my work.
Finally, my drawings are large-scale, which I hang unmediated by frames and glass, bringing the artwork into the audience’s immediate space and making the process each drawing has undergone directly visible. The scale of the drawings, the figures within them, as well as composition and point of view, place the audience in unexpected, and sometimes overwhelming, spaces, enabling the resonant experiences from which the drawings are inspired achieve a similar resonance with viewers.
We cannot stop our journey here in life. When we wake, we cannot deny having another morning and then another night. And we cannot deny our memories. The wheel also, then, is who we are, our identity cycling like the oceans caught in the tidal dance between the moon of memory and the earth of our living day.
April 10-13 | Works not accepted must be picked up. See a faculty member during this period to confirm whether your work is available for pick up.
Exhibition presented in the Tony Hungerford Memorial Art Gallery, Fine Arts Center, La Plata Campus.
Artist Jan Clayton Pagratis has made a gift to CSM of one of the paintings from her show: "The Yellow School Bus" 14"x11" Encaustic, Pencil Shavings, Rusty Metal and Wood, on Canvas.
Ms. Pagratis expressed her warm gratitude for the opportunity to show her work at CSM and a special appreciation for the interest expressed by the students. The painting she donated relates to students, and education in particular, and she felt CSM to be an appropriate home for the painting. CSM, the Division of Communication, Arts and Humanities and the Tony Hungerford Memorial Art Gallery would like to thank Ms. Pagratis for her gift and show our appreciation for her work.
The family of painter and avid sportsman Professor Larry Chappelear has made a wonderful gift to CSM of one of his abstract paintings, Juniper II, 2004, mixed media on panel, now hanging in the FA Theatre Lobby. From 1973 to his retirement in 2011, Mr. Chappelear was an advocate and coordinator for the Studio Arts program, promoted exhibits of visiting artists that led to the founding of the Tony Hungerford Art Gallery, became a popular professor who helped thousands of students acquire a greater appreciation of the arts and more skill in expressing their own artistry, and married potter and fellow faculty member Susan Chappelear. We missed Mr. Chappelear when he retired from the college family and came to miss him even more when he passed away in the early months of his retirement. Juniper II is all the more treasured as an addition to the college's art collection, for his work will serve as a lasting memory of his contributions to the college and his skill and creativity as a painter.


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Who are the OGE bloggers?
This is my last (and slightly delayed) blog post for the semester. It seems impossible to sum up the experiences and memories of my semester in Spain so I thought I would talk about my final month in Madrid, specifically: the city’s transformation for the Christmas season.
First, it should probably be noted that Christmas Day is not the most important day of the holiday season in Spain. That day is Three Kings Day, which occurs in January at the end of the 12 Days of Christmas. Both days are celebrated as a time with family, but according to my host siblings, Three Kings Day results in better presents.
Despite this slightly shifted calendar, Madrid still gets decked out in true capitalist fashion in December. Most of the decorations are funded by what seems like the only department store: El Corte Inglés. On any street that houses an El Corte Inglés store, there are beautiful Christmas lights that hang across the buildings. These lights are spread out through the city; each street has a unique design but all of them are colorful and whimsical. My personal favorite is the huge dandelions, but other streets have globes, spirals, snowflakes or just blocks of bright colors. You can even take the NaviBus for 2 euro to see them all.
Though nothing compared to the Christmas markets in France or Germany, Spain’s main squares all host their own Christmas markets. Each one has a specific focus. There is a market by the Opera house for food, while the one in Plaza de España is for artisan crafts. You can even get El Corte Inglés specific decorations by the Gran Vía Plaza. Speaking of food, Spaniards are really big on Christmas candy. My host family’s kitchen has been stocked with candy since the end of November. Most common in my house were polvorones and turrones, which are both nut-based candies.
As a Catholic country, it comes as no surprise that nativity scenes, otherwise known as belenes, are essential to Spain’s Christmas season. According to tradition, families buy a new figure every year to add to the scene. The nativity set in my host family’s house now takes up an entire table and includes everything from the baby Jesus to an extra fisherman.
The tradition I find most unusual is the Spanish Christmas Lottery, which has been in existence since 1812. For weeks leading up to Christmas, people stand outside in lines to buy tickets in the world’s biggest lottery. It is a communal event and people often chip in to buy shares of tickets as a group. The first prize is called El Gordo and this year the winning tickets worth 400,000 euros each were all sold from an office in Acacias, a neighborhood in Madrid.
I have loved getting to experience new things in Madrid, even up to the last week. Though the bare trees and cold weather are a far cry from the 90 degree heat of my arrival in August, this winter season is still just as much a part of my semester abroad experience. I can’t think of a better way to wrap up my time in Madrid than to enjoy the festivities of the holiday season.
The opinions expressed in Stories Beyond the Hilltop are those of the author, and do not represent the views of the Office of Global Education or Georgetown University, unless otherwise noted.