text:
Peer-Reviewed Publications
Found 124 resultsTitle
Filters: Author is Dennis Durbin [Clear All Filters]
The role of restraint and seat position in pediatric facial fractures." J Trauma. 2002;52(4):693-8."
The rural-urban continuum: variability in statewide serious firearm injuries in children and adolescents." Arch Pediatr Adolesc Med. 2002;156(8):781-5."
The effect of seating position on risk of injury for children in side impact collisions." Annu Proc Assoc Adv Automot Med. 2001;45:61-72."
Factors influencing pediatric injury in side impact collisions." J Trauma. 2001;51(3):469-77."
Partners for child passenger safety: a unique child-specific crash surveillance system." Accid Anal Prev. 2001;33(3):407-12."
The premature graduation of children from child restraints to vehicle seat belts. United States Government Printing Office: Traffic Tech; 2001.
Rear seating and risk of injury to child occupants by vehicle type." Annu Proc Assoc Adv Automot Med. 2001;45:51-60."
Seat belt syndrome in children: a case report and review of the literature." Pediatr Emerg Care. 2001;17(6):474-7."
Trends in booster seat use among young children in crashes." Pediatrics. 2001;108(6):E109."
Validation of the ICD/AIS MAP for pediatric use." Inj. Prev.. 2001;7(2):96-9."
Assessing child restraint misuse by parental survey." Inj. Prev.. 2000;6(2):145-7."
The danger of premature graduation to seat belts for young children." Pediatrics. 2000;105(6):1179-83."
Discovery of predictive models in an injury surveillance database: an application of data mining in clinical research." Proc AMIA Symp. 2000:359-63."
Factors influencing pediatric injury in side impact collisions." Annu Proc Assoc Adv Automot Med. 2000;44:407-28."
The learning classifier system: an evolutionary computation approach to knowledge discovery in epidemiologic surveillance." Artif Intell Med. 2000;19(1):53-74."
Misuse of Booster Seats." Injury Prevention. 2000;6(4):281-4."
When "buckle up" is not enough: enhancing the safety of children in motor vehicles." LDI Issue Brief. 2000;5(9):1-4."
Buckle up! Is not enough: enhancing protection of the restrained child." JAMA. 1999;281(22):2070-2."
Determinants of Injury Severity With Child Exposure to Passenger Air Bag Deployment. Barcelona, Spain: Professional Engineering Publications Ltd.; 1999.
Determinants of Injury Severity with Child Exposure to Passenger Air Bag Deployment.. Professional Engineering Publishing Limited; 1999.
Development and validation of the injury severity assessment survey/parent report: a new injury severity assessment survey." Arch Pediatr Adolesc Med. 1999;153(4):404-8."
Patterns of Inappropriate Restraint for Children in Crashes. Barcelona, Spain: Professional Engineering Publications Ltd.; 1999.
Patterns of inappropriate restraint for children in crashes.. London, England: Professional Engineering Publishing Limited; 1999.
Preventing motor vehicle injuries." Curr. Opin. Pediatr.. 1999;11(6):583-7."


text:
While the doomsday scenario is an exaggeration, any deal is unlikely to solve the country's structural financial issues.
If what you see and what you read are to be believed, America is in a panic.
As the country gears up for the Holiday season and the New Year, it faces what's become known as the 'fiscal cliff'.
For years, Republicans and Democrats have argued about tax cuts and spending plans. But last year, the fight was particularly nasty. Republicans refused to allow more spending unless there was movement on taxes. The deadlock threatened America's ability to pay its bills and meet its commitments. The uncertainty led to an unprecedented downgrade in the US credit rating and severe wobbles in the international financial markets before agreement was reached to raise the debt ceiling, the level to which the country could raise money.
To try to avoid a repetition, a 'supercommittee' was formed with senior figures from both parties to agree a deal on $1.2 trillion in targeted budget savings over ten years. The idea was introduce tax and spending reforms and share the pain for both sides. As an incentive to reach a deal, a plan was agreed that would automatically trigger tax rises and spending cuts. It didn't work. There was no deal, and now the Budget Control Act of 2011 will go into effect at midnight on December 31st. The country will go off the 'fiscal cliff'.
What that means is that more than 1000 government programmes including the defence budget and health care provision for the elderly face deep automatic cuts. And temporary tax cuts will end, meaning a 2 percent rise in tax for every worker. It's estimated the average family will be paying around $2000 more a year in taxes, the shock to the financial system could throw America – still the world's biggest economy – in recession.
The reality is though the fiscal cliff won't mean immediate economic devastation. At any point, Congress and the White House could reach a deal which would kill any of these measures. An agreement could put together in the first days and weeks of the New Year before any of the doomsday changes begin to bite. It's not so much of a cliff, more of a slope.
Both parties seem reluctant to sort things out. With one eye on the endless campaigning that exists in the US and the midterm elections in 2 years, the Democrats are arguing against changing entitlement programmes and insist there must be higher taxes for anyone earning over $250,000. The Republicans continue to stick to their pledge not to raise tax rates, instead talk about changing the tax code and removing allowances. Some Republicans have begun to acknowledge rates must be raised to get a deal. Rightwing commentators say this could spark a civil war in the party.
Barack Obama and the speaker of the House, the senior Republican John Boehner, talked face to face on Sunday and some observers suggest that means a big announcement could follow.
But there's a worry that any deal will probably be short term. It will be passed by a lame duck Congress which will have little time to debate the full implications on the economy and important social safety nets because the artificially created deadline. It will however, allow both parties will argue they have to have 'something' to take back to their supporters.
What it is unlikely to do is lay the foundations to stop such panic in the future while addressing the major structural issues of America's finances.

subset: commoncrawl


text:
An annex of Iizaka where you can hear the murmurings of a stream
Service Agreement
Service Agreement
Welcome to Relux
Relux is a booking service with a selection of high satisfactory hotels and ryokans.
For those who wish to join the membership, please register below.
Registration fee, annual fee, and usage fee are all free.
Relux Benefits
After registration, we regard you agreed to Terms of Conditions and Privacy Policy and Information about GDPR, and you accept to receive Relux e-mail newsletters. Details.


text:
Men's yearslong feud looms over Mississippi ricin investigation
OXFORD, Miss. — The investigation into poisoned letters mailed to President Barack Obama and others has shifted from an Elvis impersonator to his longtime foe, and authorities must now figure out if an online feud between the two men might have escalated into something more sinister.
April 24, 2013 - 2:05 pm
OXFORD, Miss. — The investigation into poisoned letters mailed to President Barack Obama and others has shifted from an Elvis impersonator to his longtime foe, and authorities must now figure out if an online feud between the two men might have escalated into something more sinister.
Paul Kevin Curtis, 45, was released from a north Mississippi jail on Tuesday and charges against him were dropped, nearly a week after authorities charged him with sending ricin-laced letters to the president, Republican U.S. Sen. Roger Wicker of Mississippi and an 80-year-old Lee County, Miss., Justice Court judge, Sadie Holland.
Before Curtis left jail, authorities already had descended on the home of 41-year-old Everett Dutschke in Tupelo, a northeast Mississippi town best known as the birthplace of the King himself. On Wednesday, they searched the site of a martial arts studio once operated by Dutschke, who hasn't been arrested or charged.
Curtis, who performs as Elvis and other celebrities, describes a bizarre, yearslong feud with the former martial arts instructor, but Dutschke insists he had nothing to do with the letters. The letters contained language identical to that found on Curtis' Facebook page and other websites, making him an early suspect.
Federal authorities have not said what led them to drop the charges against Curtis, and his lawyers say they're not sure what new evidence the FBI has found.
On Wednesday, dozens of investigators were searching at a small retail space where neighboring business owners said Dutschke used to operate a martial arts studio. Officers at the scene wouldn't comment on what they were doing.
Dutschke's attorney, Lori Nail Basham, said Dutschke is "cooperating fully" with investigators.
"The authorities state to me that no warrant has been issued for his arrest," she said Wednesday afternoon.
Investigators in gas masks, gloves and plastic suits emerged from the business carrying five-gallon buckets full of items covered in large plastic bags. Once outside, others started spraying their protective suits with some sort of mist.
Dutschke was seen outside the studio observing the search on Wednesday.
Both men say they have met Wicker, and they each have a connection to Holland, who received one of the ricin letters.
Authorities say the letters were mailed April 8, but the one sent to Holland was the only one to make it into the hands of an intended target. Her son, Democratic state Rep. Steve Holland of Plantersville, said his mother did a "smell test" of the envelope and a substance in it irritated her nose. The judge was not sickened by what authorities say was a crudely made form of the poison, which is derived from castor beans.
Sadie Holland has declined to comment on the case.
She was presiding judge in a case in which Curtis was accused of assaulting a Tupelo attorney in 2003. Holland sentenced Curtis to six months in the county jail. He served only part of the sentence, according to his brother.
Running as a Republican, Dutschke lost a lopsided election to Steve Holland in 2007, and observers say the judge publicly chastised Dutschke at a political rally that year.
Brandon Presley, Mississippi's northern district public service commissioner and a distant cousin of Elvis Presley, attended the 2007 political rally in Verona. He told The Associated Press on Wednesday that he remembers Dutschke giving a "militant" speech with personal and professional attacks against Steve Holland.
Presley, also a Democrat, said he was doing his own campaigning, though, and doesn't recall details of the speech — just the tone of it, and the crowd's reaction.
"I just remember everybody's jaw dropping," Presley said.
Dutschke, who ran as a Republican, said his speech included sharp criticism of Steve Holland's record in public office.
Steve Holland says his mother made Dutschke get down on his knees and apologize. Dutschke denies that, saying Steve Holland is exaggerating.
Presley said he remembers Sadie Holland chastising Dutschke at the event, but he doesn't recall whether Sadie Holland told Dutschke to get on his knees and apologize.
"If he didn't, he ought to have," Presley said.
Presley said of Sadie Holland: "I don't believe the woman has an enemy in the world…. I don't know anybody who doesn't love Ms. Sadie Holland, except whoever this fool is who sent the letter. Whoever it is, they ought to be ashamed of themselves, picking on Ms. Sadie."
Dutschke told AP on Tuesday that he has no problem with Sadie Holland.
"Everybody loves Sadie, including me," he said.
After being released from jail Tuesday, Curtis described a long feud between himself and Dutschke, but said he's not sure exactly what started it.
The two worked together at Curtis' brother's insurance office years ago, Curtis said.
Curtis said Dutschke told him he owned a newspaper and showed interest in publishing his book called "Missing Pieces," about what Curtis considers an underground market to sell body parts.
But Dutschke decided not to publish the material, Curtis said, and later began stalking him on the Internet.
For his part, Dutschke, a former martial arts instructor, said he didn't even know Curtis that well.
"He almost had my sympathy until I found out that he was trying to blame somebody else," Dutschke said Monday. "I've known he was disturbed for a long time. Last time we had any contact with each other was at some point in 2010 when I threatened to sue him for fraud for posting a Mensa certificate that is a lie. He is not a Mensa member. That certificate is a lie."
Curtis acknowledges posting a fake Mensa certificate on Facebook, but says it was an online trap set up for Dutschke because he believed Dutschke was stalking him online. He knew Dutschke also claimed to be a member of the organization for people with high IQs. Dutschke had a Mensa email address during his 2007 legislative campaign.
Dutschke started a campaign to prove him a liar, Curtis said, and allegedly harassed him through emails and social networking.
Curtis said the two agreed to meet at one point to face off in person, but Dutschke didn't show up.
"The last email I got from him, was, 'Come back tomorrow at 7 and the results of you being splattered all over the pavement will be public for the world to see what a blank, blank, blank you are.' And then at that point, I knew I was dealing with a coward," Curtis said.
The voicemail for Curtis' lawyer, Christi McCoy, was full on Wednesday and she did not immediately respond to a text message. A phone number Kevin Curtis provided to The Associated Press was not working and his brother's number has been changed.
The previous day, Hal Neilson, an attorney for Curtis, said the defense gave authorities a list of people who may have had a reason to hurt Curtis, and that Dutschke's name came up.
Dutschke, who spoke with The Associated Press by telephone several times during the search Tuesday, said his house was also searched last week. He said he and his wife had gone to a friend's Wednesday because they didn't feel safe at their home.
"They ripped everything out of the house," he said Wednesday morning, adding: "I haven't slept at all."
Wagster Pettus contributed from Jackson, Miss., and THE ASSOCIATED PRESSs Jeff Amy and Jay Reeves contributed from Tupelo, Miss.


text:
Watch video
In 2008, Professors Ananda Gunawardena a Computer Scientist, and David Kaufer, a humanist, teamed up to build a platform to understand how students engage with course documents and videos, both individually and socially. The work was based on years on research on text analysis, machnine learning, learning sciences and human computer interaction research. The goal of the platform was to enable interaction in the context of documents and videos using annotations. The platform then aggregates, analyze and present visualizations of user annotations to understand "hotspots" of content that then becomes the focus on conversations and learning. It is an ideal platform to use for flipped education.
Salon is used by over tens of thousands of invitation only teachers and students all over the world. The tool is used in many ways that was never imagined in 2008. That is the innovation in Salon.
Integrating Salon to your course is easy. You create a salon, add members, post documents and videos, and invite members to annotate content. You can even email or embed salon activity links in your webpage. Salon aggregates all annotations into density and semantic "hotspots". There is no reason to wonder if students read the material before/in/after class. Salon gives you analytics like no other. You will know which students are doing the work, where students are having trouble, what topics to cover in class etc. Salon is also an amazing communication tool. Students ask questions about material in its context. Since you have the option of keeping salon transparent, you or other students can respond to questions. There is no need search for an answer or wonder what the question is all about. It is all there in the context. Salon is discipline independent. Salon's ability to track learner analytics like no other tool makes it an easy choice for thousands of instructors. If you are in education or training, K-12, higher education, or even corporate training, you need classroom salon. Embed/integrate salon activity links to your existing course environment.
Email firstname.lastname@example.com for a free instructor or student registration code. It is easy to adopt but yet very powerful
Interaction Design
Technical Lead
Publisher Dev.
David Kaufer
Alex Cheek
Openarc Systems, LK
Aaron Tan
Rupinder Paul Khandpur
Aditya Bandaru
Dev Doshi
Tharanga Gamathige
Elizabeth Keller
Wong Gu Kang
Peter Appleby
Krys Genter
Mohamed Soudy
Gary Miller
Randy Harper
Joanna Wolfe (CMU)
John Barr (Ithaca College)
Raja Sooriamurthi (CMU)
Randy Weinberg (CMU)
Ari Lightman (CMU)
Reed McManigle (CMU tech transfer)
Babs Carryer (CMU Olympus)
Classroom Salon is funded by the National Science Foundation, Gates Foundation through next generation learning innovations grant, Heinz Foundation (through Carnegie Tech. Transfer), Innovation Works and i6 innovation grants.


text:
The vast expanse of blue thread on this patch in not unlike the vast expanse of blue ocean that Scouts and Scouters in this council get to enjoy every day.
Name That Council, and you'll be entered to win the patch shown.
We'll pick one lucky winner from the correct responses to receive the patch seen above. Good luck!
Here's a reminder about the rules and how to send us your guess:
- Guess the name of the council whose members wear the patch shown.
- Submit your guess by e-mail.
- Make sure the subject line reads "Name That Council December 3"
- Only one entry is allowed per person.
Include the following information with your entry:
- Your name.
- Your unit number.
- Your council name.
- Your mailing address. (Don't worry, we won't publish or use this info. We just need to know where to send your patch if you win.)
The contest closes at 9 a.m. ET on Wednesday, Dec. 8.
We'll announce the winner and the correct answer soon after the deadline. Good luck!


text:
No More Diets: Dr
No More Diets
What is it about?
No More Diets: Dr. Jenn Mann's Guide to Overcoming Overeating and Losing Weight
App Screenshots
App Store Description
No More Diets: Dr. Jenn Mann's Guide to Overcoming Overeating and Losing Weight
***Featured in Parents Magazine, August 2012***
Let psychotherapist, author, television and radio host Dr. Jenn Mann guide you through the No More Diets program so you can develop a healthy relationship with food and lose weight once and for all. This app is for anyone who:
- wants to lose weight
- is tired of yo-yo dieting
- struggles with binges
- is an emotional eater
- feels their eating is out of control
- wants to make peace with food
Using the non-diet approach, Dr. Jenn explains why diets don't work, provides eating guidelines, teaches users how to rate hunger with the hunger scale, keep a successful Food & Feelings Log, gives tips for before/during/after a binge, and offers suggestions for support.
-Integrated videos with tips and suggestions from Dr. Jenn.
-No More Diets Guidelines
-Food & Feelings Log
-3 Hunger scales to rate your hunger before/midway/after each meal
-Writing exercise to reduce negative self talk
-Legalizing food log
-Customizable self care list
-Tips to avoid binges
-Audio Eating Exercise in which Dr. Jenn guides users through a meal using the No More Diets tools
-Support suggestions and recommended books
-Explanation of the Stages of Recovery
-Inspirational "Words of Wisdom"
Note: You should not undertake any changes in diet or exercise patterns without first consulting your physician. This is especially important if you are being treated for any medical condition. If you have an eating disorder or psychiatric condition, you should consult your mental health provider before beginning this app or utilizing any of the suggestions.
AppAdvice does not own this application and only provides images and links contained in the iTunes Search API, to help our users find the best apps to download. If you are the developer of this app and would like your information removed, please send a request to [email protected] and your information will be removed.


text:
Customer reviews
- Description
About this product
Here is all you need to know
- Specification
The Specs
The below specs apply to this product.
Alternative Partnumber N/A Product Status No UPC N/A Range N/A Category N/A
- PDFs & Videos
Looking for more details on this product?
Here are some PDFs you can download.
We currently have no TSXCDP 203-03 manuals uploaded but you can contact our technical team for help.


text: The US manufacturer Dune presented this new slightly modernist-looking series of cabinets created by the Stockholm based design trio Claesson Koivisto Rune at this year's ICFF in New York. 'Sierra' exists as a sideboard and highboard and is made from MDF with a reconstituted wood veneer. The filigree base is stainless steel with a pale gold tint.


text:
Stratton, Vermont
|This article is a stub. Help us to expand it by contributing your knowledge. For county and town page guidelines, visit U.S. County Page Content Suggestions.
Stratton is a town in Windham county, Vermont. It was formed in 1761 in N.H., though the following competing claims for its origins are N.Y. 1775. The probate district for Stratton is Marlboro, while the court district is Windham. For more information, contact the town at 9 W. Jamaica Rd., West Wardsboro 05360. On the attached map, Stratton is shown as 5 in Windham county.
For information about the state of Vermont see Vermont Family History Research.


text:
|1,325 free recipes at www.edenfoods.com
Serves 16 | Prep Time 1 hour 35 minutes | Cook Time 25 minutes
2 medium pizza crusts, (see Eden recipes for Pizza Dough and Kamut Pizza Dough)
1/4 cup Eden Extra Virgin Olive Oil
2 cloves garlic, minced
8 cups sliced red onions
8 cups Yukon gold potatoes, sliced into paper-thin slices
or red potatoes
1/4 cup fresh rosemary leaves
1/4 tsp Eden Black Pepper
1/2 tsp Eden Sea Salt
Preheat the oven to 400°. Divide the dough into two equal size balls. Roll out on a lightly floured counter or cutting board until about 1/2" thick. Place the rolled dough on pizza pans or large cookie sheets and let sit while you prepare the toppings.
To prepare the topping, heat the oil in a large skillet. Sauté the garlic and onions until the onions are transluscent, about 7 minutes or so. Evenly spoon the onions on top of the rolled pizza dough. Place a layer of potatoes on top of the onions. Sprinkle the potatoes with salt, pepper and rosemary leaves.
Bake the pizzas for about 20 minutes or until the crust is slightly golden. When almost done, lightly brush the edges of the crust with olive oil and bake another 5 minutes until golden. Remove and slice. Sprinkle with more salt and pepper to taste, if desired.
Yields: 2 12-inch pizzas - 16 pieces


text:
Ireland is a land that boasts 40 shades of green, so I dressed the table with a multi-hued cloth and with cabbage leaf plates in celebration for St. Patrick's Day.
Green and white flowers form a parade down the table, filling a pitcher, teapots and mini cabbage leaf bowls. . .
An assortment of Alstroemeria, Mums, Daisies, Stock and some Bells of Ireland for good luck.
I found some Green Trick Dianthus at the grocery store, the texture reminiscent of Irish moss. . .
Birds flew to the table to join the celebration with inspiration from an Irish Blessing. . .
"May flowers always line your path and sunshine light your day. . .
May songbirds serenade you every step along the way.
May a rainbow run beside you in a sky that's always blue. . .
And may happiness fill your heart each day your whole life through."
Help yourself to a sweet shamrock~ a Grace's Irish Oatmeal Biscuit.
You can find 17+ recipes and table inspiration for your St. Patrick's Day celebration, HERE.
St. Patrick's Day Table Details:
Cabbage Plates & Bowls / Bordallo Pinheiro, Tuesday Morning, several years ago
Bird teapots, pitcher and bird dishes / Victoria Bird Gracie China by Coastline Imports, HomeGoods, used here
Flatware / Pfaltzgraff Vienna
Napkins / Pier 1
Napkin Rings / Bed, Bath & Beyond, several years ago
Goblets, Tablecloth & Chargers / HomeGoods, several years ago
Grace's Irish Oatmeal Biscuits / World Market
☘ Erin go Bragh ☘
Wishing You a Happy St. Patrick's Day!
Thank you for your visit!
Sharing with: Metamorphosis Monday


text:
The Road Less Traveled is life-changing. An extraordinary summer travel opportunity for teens to join with others, explore humanity, and build deep relationships and an appreciation for our world's vast adventurous scenery and its people.
We find that our students, parents, and leaders speak far more expressively about their hands-on experience with RLT than we ever could. Explore Masters of Their Craft, Who We Are, Our Family, The RLT Experience and our Ambassadors of Hope to understand more about our work on The Road Less Traveled.
I have really found who I am as a person. I have learned that I am powerful and can do anything I put my mind to." -Kyra M. Nepal: Bodhisattva Alumni
Our summer travel programs for high school and middle school students in community service, language, and adventure are designed with thought, conscientiousness, and care. We encourage you to contact us with any questions, ask for references, and ultimately extend your faith and trust and join us for a summer of a lifetime. Explore our teen travel adventures for middle school and high school students.
Call today to save your spot!


text:
by Kate
Little Bo Peep Costume
Rate this costume:
5 votes
|add a comment
More views: (click to enlarge)
Little Bo Peep Costume
Lucy as Little Bo Peep. Costume made by her mom, Carrie.
|Costume type:
|Costumes for Girls
This homemade costume for girls entered our 2010 Halloween Costume Contest.
A word from Carrie, the 'Little Bo Peep' costume creator:
Little Bo Peep... but this one didn't lose her sheep! This classic costume was homemade. I choose the ivory fabric with pink floral print to reflect more of a vintage look that was represented in the classic nursery rhyme. The eyelet trim was too bright white so I tea-dyed it and it matched perfectly.
Similar costumes:


text:
Meet Jackie, a busy mom and new homeowner looking to create the perfect "big-girl room" for her preschooler, Coco. Jackie understands that while choosing the right color can be daunting, it's the first — and maybe even the most important — step in the decorating process.
Fortunately, Glidden® paint makes color selection easy, beginning with a simplified palette that includes only the colors people love to live with. Even better, with the My Image Inspiration tool, you simply upload a picture of something you like — art, furniture, fabric, anything really — and get a selection of color palettes to browse through, save, print, and share.
Check out this video to see how Jackie puts the My Image Inspiration tool to work for her daughter Coco's bedroom, and then visit Glidden.com to upload an image and try it yourself.


text:
How to design rubrics
Rubrics take many different forms. Some rubrics describe only three levels of performance; others have more. Sometimes the terminology used to describe the various parts of the rubric will differ. None of this really matters. The important thing is that the purpose of the rubric remains the same: it is used to make levels of performance explicit for both teacher and student.
The first step in designing a rubric is to identify the skills, knowledge and understanding that the teacher wishes the students to demonstrate. These become the success criteria.
For example:
An ability to …
Knowledge of …
Understanding of how/why/the ways in which …
The next step is to decide how many levels are to be described and then to write the performance descriptors
Some people find it easiest to start with the medium level, which should represent a satisfactory level of performance, and proceed from there to write the higher and lower level descriptors.
Writing performance descriptors
The performance descriptors describe the relative differences between performances at each level. These are some of the ways that difference can be presented:
- by referring to specific aspects of the performance which will be different at different levels.
For example,
analyses the effect of …/describes the effects of … /lists the effects of …
- by using adjectives, adjectival phrases, adverbs and adverbial phrases. These extra words are used where the aspects of a performance stay the same across the levels, but there is a qualitative difference to the performance.
For example
- accurately explains/explains with some accuracy/explains with limited accuracy
- provides a complex explanation/provides a detailed explanation/provides a limited explanation
- shows a comprehensive knowledge/shows a sound knowledge/shows a basic knowledge
*These descriptions need to be supported by work samples or exemplars in order to make the differences clear to students.
- by using numeric references. Numbers identify quantitative differences between levels.
For example,
- provides three examples/provides two examples/provides an example
- uses several strategies/uses some strategies/uses few or no strategies*
A word of warning: numeric references on their own can be misleading. They are best teamed with a qualitative reference (eg three appropriate and relevant examples) to avoid ignoring quality at the expense of quantity.
* This kind of description needs to be supported by work samples or exemplars in order to demonstrate exactly what is meant by 'several' etc.
- by referring to the degree of assistance needed by the student to complete the task. This kind of performance descriptor is explicit about the degree of independence shown by the student while undertaking the task.
For example,
- correctly and independently uses/ with occasional peer or teacher assistance, uses/ with teacher guidance, attempts to use
The consistent use of terminology when describing the parts of a rubric will assist in developing with students a metalanguage that can later be referred to when providing feedback. When teachers are uncertain of the terminology, or refer to parts of the rubric differently each time, clarity is lost and students are confused. A cross-school agreement about the use of terminology provides further consistency.


text:
Job-search dropouts growing in America (Other Views)
It's getting harder and harder to find a job in America. That is the major conclusion drawn from a dismal jobs report released Friday by the U.S. Department of Labor.
More the 625,000 Americans stopped looking for work in March, a staggering figure when compared to the 88,000 jobs that were created over the same period. Economists were expecting 200,000 new jobs in March, following better January and February results.
The nation's unemployment rate declined to 7.6 percent yet few people were trumpeting the news. That's because the rate doesn't count the number of Americans -- 12 million total -- who have stopped looking for jobs.
While the White House put its own positive spin on the report, labor market experts were left shaking their heads and for good reason: The nation's labor participation rate -- the percentage of people working or looking for work -- fell to 63 percent in March. It's the lowest participation rate since 1979 when another Democrat was in the White House, Jimmy Carter.
With fewer people contributing to the economy, there is less money going into public tax coffers and being spent on consumer goods. The result is a shaky job market.
What's going on?
While baby-boomers are retiring in big numbers and some workers are heading back to school, there is the very disturbing trend of people simply dropping out of the workforce. They've become so discouraged they just decide to quit. Some may never return to the labor force.
Joblessness is hitting all age groups and ethnic backgrounds, with blacks and Latinos bearing double-digit unemployment rates.
According to the Wall Street Journal, the labor participation rate of America's prime-age workers -- those between 25 and 54 -- is at its lowest level, 81.1 percent, since 1984. More than 565,000 unemployed workers in this category have stopped looking for work in the past year. They are the new young, rejected and restive.
Against this dismal backdrop, President Obama and Democrats in Congress and in some state legislatures are calling for higher tax increases.
Obama won't face re-election again but many Democrats and Republicans will. They're the ones who should be worried.


text:
Let's use the following MSDN: String Class
All of the pages of MSDN have the following sections. (Note the sections can be collapsed.)
- A brief description of about the class
- Inheritance Hierarchy
This tells you what the class inherits.
System.Object System.String
- Syntax
Some technical information on traits of the class.
'Declaration <SerializableAttribute> _ <ComVisibleAttribute(True)> _ Public NotInheritable Class String _ Implements IComparable, ICloneable, IConvertible, IComparable(Of String), _ IEnumerable(Of Char), IEnumerable, IEquatable(Of String)
- Constructors
This you all of the possible overloads that can be used when the class is initialised (New-ed up)
- Properties
The properties of the class object.
- Methods
Functions and Subroutines to class exposes.
Often it links to pages describing how to use that particular method.
- Opereators
This are the "arithmetical symbols" the class exposes.
- Extension Methods
A bit like Methods, but are defined separate from the class.
- Explicit Interface Implementations
What Interface the class implements.
- Remarks
Comments about using in the class.
- Things to watch for or be aware of.
- Often includes usage examples.
- Version
What version of the frameworks is the this about.
- Platform
What OS can this be used on.
- Thread Safety
What issues (if any) if you try to use on multiple threads
- See Also
Things you may what to also look up.
- Change History
What has changed in the documentation
- Community Content
User comments.
This post has been edited by AdamSpeight2008: 25 July 2011 - 12:28 PM


text:
I had to become passive to survive when young in every area! every home I stayed in; I had to become passive to deal with the outrage of what was going on around me! I become a giant passive aggressive being! I had no choice! I had to; or no survival; like being controlled in a prison camp!
Now; when I want to date women; I cant! I cant imagine that Im going back into any kind of family system where Im around family type people of any kind!
I can imagine where I have to make a deal with someone by forcibly! I don't mean violence; I mean; by consensual rules! I cant seem to walk up to a women and ask her out! I certainly cant do if she is good looking; Im like; whats the point; its going to turn out in a disaster sooner or later. IF Im with a women that does not understand me; its a completely waist my time! If she wants to understand me; she will have a conscious to do so! She will ask the right questions the right way!
Ive not been able to ask women out; I dont want to get used by them!
I have a rule; a women that does not care about her children or neglects them; Im finished with!
Ive got to get to a better group of people if I want to ask out women! Im so very confused and sick of dealing with the women in my groups! Their looks have nothing to do with anything; they have no decrement of right or wrong! They never question what is going on in someones life that makes them what they are! they dont ask questions! Their more predetorial!
Im very confused! if it was the right girl; Id ask her out! Ive gotten to the point of asking women out; but it was 2 late; within days of asking them out; they were going out with someone else! I was extremely affronted by this! I cant see asking the same women out after they've dated yet another guy for a few years; had another 2 kids with that guy and cant or wont take care of the other kids from the previous marriage! and; why did the guy in the first marriage dump her!
God might be calling me to love this women; that happens! I have to keep working with source energy! I dont know!
Im having real problems manifesting the right women to date! Im easily manifesting all the wrong ones; their great looking; hot; look like models or the kinds of women other guys use as trophies for status of their low self esteem because of the womens desirable looks with every group she visits! However, her looks are not enough for me! I wont get involved!
The time period I was destroyed when a child was done on purpose! it was right before I develop as a human being! I was still a child! it was meant to destroy my childhood development period!
Im not sure~
I have a hard time dating anyone; Im never sure if Im good enough or they are good enough! Im scared I will be shot down or they will shot me down later!
I know that in some cases; Ive asked for numbers but never followed through on anyone! nothing!
one women; I followed through; but she had already allowed herself to be taken by another guy! and supposedly, that was my fault because I didnt hit on her earlier! I thought; "my God"; its my fault your dating this guy instead of me; is that what Im being led to believe"; something never sat right with me concerning this!
I think its time to work with God and find a better set of people to date! or want to date! I dont know! honestly; I dont know!
In some cases; I feel God is leading me to love a specific women regardless of her background! I dont know what to think about this! This is complete insanity!


text:
Home prices near new peaks in many markets
- 10%25 of USA%27s top 200 housing markets at or near previous price peaks
- Cities closest to past peaks missed big run-ups in boom years
- But prices in dozens of cities still have a lot of ground to recover
Home prices in 10% of the nation's top 200 housing markets have recently hit new peaks or are only a hair away, new data show.
Another 24 of the top markets are within 5% of their previous peaks, according to data provided to USA TODAY by real estate tracker Lender Processing Services.
Many of those cities are likely to hit new peaks this year, economists say, given projections for continued price increases.
The data show how far prices in many cities have rebounded since the historic housing bust after mid-2006 — and how far they still have to go in most cities. The figures also underscore the uneven impact of the housing bubble, and then bust, in different regions.
Dozens of markets where prices peaked in 2006 or earlier are still 25% to 58% below those plateaus, LPS says.
Many cities now at or close to previous highs never saw the price run-ups leading up to the bust that others did. They didn't drop as far, so they have less of a climb back.
Of the cities within 5% of their previous peaks, none saw more than an 11% decline in home values from mid-2006 to the market's bottom in early 2012, LPS data shows. Nationally, prices fell almost 28% during that time.
"We didn't get invited to the party, so we never had the hangover," says Ron Croushore, CEO of Prudential Preferred Realty in Pittsburgh, where LPS shows prices peaked in 2012 and are now down less than 1%.
Denver, which was up almost 1% in February from its 2006 peak, suffered almost a 10% decline during the national housing bust.
Honolulu, which in February was within 2% of its 2007 peak, saw an 11% decline.
Job growth is another big factor in recovered markets.
Austin; Denver; Baton Rouge, La.; Houston; Oklahoma City; and Knoxville, Tenn., are at their previous highs or within 5%, LPS' data show.
In March, all of them posted stronger annual job growth than the national average of 1.4%, based on Bureau of Labor Statistics data.
Austin's job growth was 4% year-over-year. Home prices there are up 9.7% from mid-2006, LPS data show.
The strong job market "has helped our housing market recover rather quickly," says Angelos Angelou of the Austin-based Angelou Economics.
Seattle had a big fall, with prices down 26% from mid-2006 to 2012. It's still 21% off of its previous peak, LPS data show.
"Even though prices are rising a lot, we still have a ways to go," says E.J. Bowlds, managing broker for Coldwell Banker Bain in a Seattle suburb.
In the past year, national home prices rose faster than many had expected. LPS shows a 7.3% gain in February year over year.
Some cities have done even better. Home prices in Phoenix and San Francisco were up 19%.
Despite the gain, Phoenix is 36% off its 2006 peak. San Francisco is almost 25% off its peak, LPS says.
Las Vegas and the Central California cities of Stockton and Modesto are more than 50% below their peaks.
It'll be years before those cities hit their previous highs, says Jed Kolko, economist for real estate website Trulia.


text:
ENGLEWOOD, Colo. (AP) All eyes were on Peyton Manning this season, especially Brock Osweiler's.
He's the Denver Broncos' OTHER first-year quarterback, a 6-foot-8 passing project from Arizona State who's the first signal-caller ever drafted with the intention of one day succeeding the league's most decorated passer.
Osweiler bears a striking resemblance to ``Twilight'' actor Robert Pattinson, but what he really wants is to look more like Manning.
So, he's taken advantage of his apprenticeship by watching Manning's every move, scribbling copious notes and mimicking his mentor's notorious work ethic and preparation.
``There's no greater blueprint,'' said Osweiler, who also hopes to pick up some pointers from another pre-eminent passer this offseason in Green Bay's Aaron Rodgers, who waited in the wings for three years behind Brett Favre.
Osweiler said he's thrilled to be in Manning's shadow and insists he'll gladly bide his time while learning as much as he can from one of the game's greats.
Still, he says he's ready if needed.
``With my experience that I took being the backup at ASU, I understand what it's like to be thrown into the middle of a game,'' Osweiler said. ``So, I just study that game plan inside and out and prepare like I'm the starter so if anything ever did happen, I'm ready to go.''
If, heaven forbid, something should happen in the playoffs to the league's only four-time MVP, the next man up is a guy who's thrown all of four passes as a pro.
All of those throws came Sunday when Osweiler played the fourth quarter of Denver's 38-3 blowout of Kansas City, his fifth NFL game but the first in which he didn't just hand the ball off or line up in victory formation.
Osweiler, who handed off a dozen times before taking a knee three times, completed two passes for 12 yards in his three series of work Sunday.
``I'm not just here to hand off,'' he said.
Or take a knee, although he admits he's getting pretty good at that.
``I've got it down to where I'm taking only 1-yard losses,'' he joked. ``At first, I was taking 2-yard losses.''
All kidding aside, ``those are game reps and those are hard to come by,'' said Osweiler, who knows he might be called upon at some point to make sure Denver's Super Bowl aspirations aren't derailed.
Nobody, not even Osweiler himself, knows how he would handle the playoff pressure.
``I have confidence in how he prepares, I have confidence in how he conducts himself in meetings. I have confidence in how he conducts himself in this locker room, on this field,'' John Fox said. ``But as a coach, until you see a guy play live in a game, you don't know. That's not any kind of indictment, by any stretch. But until he gets out there and you watch him operate, you won't know. And neither will he, really.''
Osweiler takes no offense.
``Throughout the season I've made a great point to study the game plan each week inside and out so if anything did happen to him they could dial up whatever play they needed to and we wouldn't skip a beat. Now, would that happen? Shoot, we would only know if I get thrown into that situation,'' Osweiler said.
As Manning's backup, Osweiler only gets a handful of throws each week at practice, but he does get to pick the perfectionist's brain while Caleb Hanie runs the scout team. Osweiler doesn't just stay on the sideline, either; he stands behind the offense ``so I can try to see what Peyton's seeing and I use that as a mental rep and put myself through the play.''
Manning quickly answered all questions about his arm strength after missing all of last season while dealing with a nerve issue in his neck, putting up numbers this season worthy of a fifth MVP award while guiding the Broncos (13-3) to the top seed in the AFC.
He's also taken time to tutor Osweiler, who's almost 15 years his junior.
``I've always tried to choose the right time to ask it because he's very busy with very important things, but he's been more than happy to help me out,'' Osweiler said. ``There's even times where in a meeting he'll pause the tape and be like, `Hey, Brock,' and get my attention and point something out to me. And that's obviously not something that a lot of quarterbacks do, if any. And for him to take the time and do that is pretty special.''
Broncos boss John Elway loved Osweiler's size, strength and spunk and used a second-round pick on him last April after the tall passer threw for 4,036 yards and 26 touchdowns in his one season as the Sun Devils' starter in 2011.
Had he stayed in school for his senior season, Osweiler, who turned 22 last month, might have been a top-10 pick in this upcoming draft, which is light on marquee quarterbacks.
``To be honest, I haven't really looked back,'' Osweiler said. ``Obviously during the fall I would turn on an ASU game and wonder what would be taking place if I was the guy behind center, but you know, I'm a big believer in no regrets in life and just keep pushing forward.
``And so with me coming to Denver, I've been completely blessed in being put in such a great situation. This has been a huge year for me. And I'm extremely happy with where I'm at.''
Osweiler didn't throw overhand all the time at ASU, sometimes dropping his right elbow below his shoulder and winging it out a bit, which negated his height advantage over the Pac-12's pass-rushers.
So, after deciding to forgo his senior season in a new system under a new coaching staff, he went to work last spring with UCLA offensive coordinator Noel Mazzone, who was his offensive coordinator in college, to fix flaws in his passing game.
His education really ramped up when he started dissecting Manning's every move.
``I've learned so many things this football season that I wouldn't have if I'd stayed in school,'' said Osweiler, adding that deep down, he's sure ``it's a situation I think a lot of quarterbacks would do almost anything to have. I recognize that and that's why I try to soak it up every day.''
Online:http://pro32.ap.org/poll andhttp://twitter.com/AP-NFL
Follow Arnie Stapleton on Twitter:http://twitter.com/arniestapleton


text:
This is a customizable page. You have the ability to change the header image on this page along with the text/images below. To change the header image, change the "Featured Image" on the lower right hand side of the page within your admin. The image should be 1000 x 285 pixels. Remember to delete this intro text when finished.
We enjoy life by the help and society of others
To a Phi Delt, community service and philanthropy are essential pieces of living up to the ideals of the Fraternity. Each Phi Delt chapter has the opportunity to create its own events that impact the local community. Beyond chapter projects, individual members are encouraged to serve in ways and for organizations that are important to him. Wherever you go, you will find Phi Delta Theta chapters doing something of value on their campus and in their community.
We do it for Brother Lou
Phi Delta Theta has a unique partnership with The ALS Association in honor of Phi Delta Theta member and baseball great, Lou Gehrig, who passed away from ALS, now commonly known as Lou Gehrig's disease. The mission of The ALS Association is to lead the fight to treat and cure ALS through global research and nationwide advocacy while also empowering people with Lou Gehrig's disease and their families to live fuller lives by providing them with compassionate care and support.
Each year, thousands of dollars are raised for The ALS Association through the efforts of Phi Delta Theta members. The Fraternity encourages all of its chapters to connect with their local chapter of The ALS Association.
The Lou Gehrig Award
Each year, the Phi Delta Theta International Fraternity presents the Lou Gehrig Memorial Award to the Major League Baseball Player who best exemplifies the spirit and character of Brother Lou Gehrig, both on and off the field. This award is the first and only "officially" sanctioned Major League Baseball award given to ballplayers by a fraternity. Lou Gehrig was a distinguished member of Phi Delta Theta and a man of integrity. The award was created to acknowledge an individual player's outstanding commitment to both his community and philanthropy. Since the award's inception in 1955, the name of each recipient has been placed on the permanent Gehrig Award plaque, located at the Baseball Hall of Fame and Museum in Cooperstown, New York.
Iron Phi – The Brotherhood of Athletes
Another way that Phi Delts show their dedication to the fight against Lou Gehrig's disease is through Iron Phi. Iron Phi was developed to strengthen both Phi Delta Theta and its impact on the fight against Lou Gehrig's disease. Iron Phis must raise $1,000 through the Iron Phi fundraising website and achieve an athletic goal of choice. Dollars raised are split between The ALS Association for ALS research and the Phi Delta Theta Foundation for educational programming initiatives. Dollars raised by Canadian Phis are applied to the ALS Society of Canada and the Canadian Phi Delta Theta Scholarship Foundation. More than 1,500 Phis of all ages and athletic abilities have raised $500,000+ by doing everything from running and biking to swimming and walking in their pursuit to become Iron Phis.


text: Architonic doesn't do things by halves. For its Concept Space IV – the latest in a series of technologically innovative and architecturally led fair stands installed at the best design events internationally – it commissioned leading Swiss designer Beat Karrer to create an physical environment that is both structurally and materially striking, as well as ecologically smart. The result: a new kind of presentation space embracing a brand new material technology – FluidSolids®. (more…)


text:
Composition: Glipizide 5mg
Availability of this product will assure once the Pharmacy partners is confirmed.
Glylup 5mg tablet is used in the treatment of type 2 diabetes.
Glylup 5mg tablet is an anti-diabetic medication. It works by increasing the amount of insulin released by the pancreas in order to lower the blood glucose.
Hypoglycemia (Low blood sugar level), Nausea, Headache, Dizziness.


text:
Don't think there's a market bubble going on in MLB? Look at this, from the Associated Press:
A group headed by former Los Angeles Dodgers owner Peter O'Malley and including pro golfer Phil Mickelson reached agreement Monday to buy the San Diego Padres from John Moores.
The purchase price is believed to be around $800 million.
$800 million for the Padres. Sounds high, but maybe the team has more fans than we thought. Nope:
The agreement came months after Jeff Moorad's attempt to buy the team on a layaway plan fell apart. Moores' deal with Moorad, who began his attempted purchase of the club in 2009, was valued at about $500 million.
The San Diego Padres are still the same San Diego Padres they were in 2009. Hell, they may even be worse: The 2009 Pads had Adrian Gonzalez and Jake Peavy. The new team doesn't have a comparable star, unless you really like Carlos Quentin. And the Padres rank 14th out of 16 National League teams in per-game attendance, which is the team's worst showing since 1995.
So why are they "worth" $300 million more than they were three years ago? It's simple. Big television contracts make every potential owner squeal.
We've written before about the craziness cable-television money has brought to baseball (here and here, to name recent instances). The $2 billion sale in May of the Dodgers—to guys who do not have $2 billion—exemplified this lunacy. (The Dodgers think they will get $4 billion from their next TV contract.)
And, what do you know, the Padres recently signed a 20-year, $1.2 billion contract with Fox Sports San Diego. It was a sweet deal made even sweeter by Fox's $200 million cash advance to the team. (Since that $200 million will go toward paying off the outgoing owners, only $600 million actually changes hands in the sale.) Perhaps Fox's $200 million came from the network's cash reserves, but it's more likely that a regional sports network—especially one based in San Diego—would need to borrow money to come up with $200 million in cash. And that $200 million in cash is the only part of the deal that isn't Monopoly money. Everything else is a guarantee far into the future.
Perhaps you wonder what's wrong with making guarantees far into the future. Isn't that how business works? Well, sure, maybe. But prudent businesses generally don't make their future guarantees rely on ridiculous, unsustainable oligopoly-exploiting perpetual price increases!
As a refresher, this is how sports works on cable and satellite: The cable company negotiates a monthly fee with the channel that carries the games. Every channel has a fee (see here), and so your cable bill includes the $4.69 a month you pay for ESPN and the 33 cents a month you pay for MTV and the 58 cents a month you pay for Fox News. Unless the channel is on a special programming tier, like HBO or IFC, every subscriber has to pay those fees regardless of whether he watches the channels in question. Regional sports channels are not on special tiers, which means that everyone in the San Diego area with a cable box or a satellite dish—even those who don't care about the Padres, which is probably to say, 95 percent of the people in the San Diego area—pays approximately $20 a year for Padres games.
This is a broken system in the first place. It irritates a lot of cable and satellite executives. But they've gotten angrier than usual recently because sports networks have asked for giant rights fees increases to pay for the deals they've signed with teams. For instance, ESPN, which has guaranteed large contracts in recent years to the SEC and ACC and Big 12, has raised its fee 42 percent since 2006.
All this brings us back to San Diego, where Time Warner Cable is right now refusing to carry Fox Sports San Diego, because the network is asking for too much money. (The network is asking for a rights fee increase because it needs to—it just gave the Padres all that money.) So if you have Time Warner, you can't watch the Padres. But because the Padres have won only 47 of their 111 games, and because the Padres trot out a rotation which, until a week ago, included Jason Marquis AND Kip Wells, no one has complained enough to make Time Warner capitulate.
This is a glimpse of our future: televised baseball as scarce resource, a result of teams and cable networks putting too much stress on the delicate bargain of the past.
Any prospective Padres owners should have been able to glean something from the ongoing struggle: Fox's billion-dollar promise is anything but guaranteed. Phil Mickelson was once known as a serious gambler. He bet obsessively on NFL games, even though he knew he wouldn't win. We don't say this lightly: This is the worst wager of his career.


text:
Currency Displayed in
Hover over image to zoom
Brand new 30x40 inch UK Quad movie poster of The Wedding Date
Copyright 2020 Moviestore Inc.. All Rights Reserved. Sitemap |
Bigcommerce Premium Themes by PSDCenter
All prices are in USD.
Compare Now
Click the button below to add the THE WEDDING DATE 788870 UK QUAD SINGLE-SIDED REGULAR POSTER to your wish list.


text:
Photo by Henrique Dores.
Standing in the corner of the main Rukab Street with Al-Anbeya Street, the familiar site of Abdelhadi Yaish and his portraits adorned the wall and pavement. He leaned towards his drawing tripod while holding a cigarette in one hand and a pencil in the other, and asked, "Where are you from?"
After a few moments of introductory conversation, five different people had already stopped Abdelhadi. From requests for pictures, to information about his work or simply a friendly greeting, everything seemed like an excuse to engage in a conversation with this charismatic artist.
"I am here every afternoon, from 3 pm to 7 pm, so everyone knows me around here," he explains.
A professor of arts in the Evangelical School of Ramallah, and a husband and father of four, Abdelhadi still keeps that peculiar spark in his eyes, typical of a rebel, of someone that wants to eat the world.
"I still have time to draw at least four portraits per day, each one taking me around one hour to get it ready, and to carry out my duties as a father and husband," he tells the Palestine Monitor, who managed to interview him about his work, visions and opinions on the current state of affairs.
Palestine Monitor: How did you start drawing?
Abdelhadi Yaish: Well, I started drawing very young. When I was 9, I had a Karate accident. I broke my leg and I had to spend three month in the hospital, so when my uncle came to visit he taught me simple, basic drawing. And because I had time, I practiced a lot and eventually I fell in love with it. After that, I got some proper training in the Institute of Fine Arts in Jordan, and throughout the years I did some complementary courses in Italy and United States. But I always try to improve by my own.
PM: How would you describe yourself as an artist?
AY: That's a hard question… Well, I suppose I would describe myself as a painter, a drawer. However, helping people that do not have the possibility to get in touch with arts to have that first contact, and teach youngsters how to paint or draw, has become one of my passions. As learning is an important part of teaching, I am constantly building up myself as an artist, so it is only fair to include it in my self-description as an artist.
PM: What are the main difficulties that an artist in Palestine faces?
AY: There are many difficulties for an artist in Palestine. The lack of direct support to the artist from the responsible authorities or the practically nonexistence of centers that promote artists and art in Palestine are two of the main problems. Obviously, this is also due to the Israeli illegal occupation, which also makes almost impossible access and communication with other technical areas of art. Moreover, it makes the access to materials scarce and very expensive.
PM: Is your creative process connected with the social-political context that surrounds you? How does it work?
AY: Yes, it is definitively connected to the social and political context that surrounds me. What I do is mainly is an observation of reality. Therefore, my art is derived from the daily suffering caused by the illegal Israeli occupation. It expresses the depth of the tragedy where Palestinians are immersed in. My paintings of the leaders of the Palestinian people, for instance, intend to make a reflection about the long years of struggle for freedom and independence.
PM: What do you think of the recent visit of Barack Obama to Israel and Palestine?
AY: In my opinion, the visit of Barack Obama to Palestine achieved very little, to say the least. I wish that his historic visit had made progresses in the peace process between Israel and Palestine, but it was not the case.
PM: What are your expectations for the near future of Palestine?
AY: Palestine is in a very difficult situation. Nevertheless, the development of vital sectors like health or education is an obtainable goal for the immediate future. Also, support [given] to youth and the development of the energy sector should and could be reinforced.
PM: In your opinion, what could be a significant improvement of the current situation? What is the solution that you envisage for Palestine?
AY: Firstly, we need to achieve peace and national reconciliation in order to establish a fully functioning independent Palestinian state and institutions, so that we can overcome the current financial crisis. My solution would definitively have to include achieving Palestinian sovereignty in the illegally occupied territories in 67, the halt to the Israeli settlements and the removal of all checkpoints, the release of all prisoners of war and the right to return to all refugees.
PM: And what about a third intifada? Is it coming? Would it be a definitive step towards Palestinian independence and the end of Israeli occupation?
AY: I don't know whether a third intifada is coming or not, but I don't wish it to happen. A third Intifada would cause damage to both peoples and its outbreak would mean a regression of several years, delaying the peace process and postponing the actual establishment of a Palestinian state. We have to focus on the reconciliation of the Palestinian people, so that we can confront the occupation and make real progresses in the peace process.
PM: And finally, what are your projects for the near future?
AY: Right now I am trying, together with other Palestinian artists, to launch a gig to promote Palestinian art and artists around the world. We are planning to show our art in around 22 exhibitions in the United States and Europe. But this is a new project, so it is a bit early to tell if it happens or not. Let's hope it does…
Back to Top


text:
Critic's pick 268: Stevie Ray Vaughan and Double Trouble, 'Texas Flood,' and Fleetwood Mac, 'Rumours' (reissues)
How do you reawaken new generations to decades-old albums that, despite their career-defining popularity in another era, have essentially been pushed aside over time?
Simple. You do the same thing everyone does when you want to command attention. You offer a tasty bonus.
Two new reissues of records that completed the pop makeover of the veteran Brit blues brigade Fleetwood Mac and introduced the world to Texas guitar slinger Stevie Ray Vaughan do exactly that by including full bonus discs of unreleased concert material cut as their hit studio counterparts solidified the artists' stardom.
We won't waste time here rekindling praise for Vaughan's 1983 debut record, Texas Flood, or Fleetwood Mac's landmark 1977 chart-topper, Rumours. Consult the history books instead or, better yet, give both a fresh spin. They remain incendiary works.
Instead, let's examine the new treats.
Vaughan's bonus disc is devoted to an hour's worth of white-hot Lone Star blues, soul and guitar jubilation from a single October 1983 concert in Philadelphia. As soon as the show-opening Testify kicks in, we are reminded of two performance attributes that made Vaughan's guitar work so enchanting.
The first is obvious: the ability to be a monster soloist with blistering, elongated guitar lines that would stretch with voice-like qualities. That's the sound that regularly and somewhat rightly brought on mountains of comparisons to Jimi Hendrix. But the second quality is less heralded. As Testify also reveals, Vaughan was an equally wicked rhythm player. The tune kicks around a chunky groove, turning it inside out but staying in glorious time as Double Trouble's Tommy Shannon, on bass, and Chris Layton, on drums, fall into the groove. A seriously funky jam ensues.
The Hendrix parallel is addressed head-on with Voodoo Chile (mistitled on the reissue as Voodoo Child), a tune Vaughan would essentially make his own in the years to come. But the treat is when the guitarist puts on the brakes for a slow, seething version of Tin Pan Alley. That's where you hear Vaughan for what he truly is: a giant of a bluesman.
The bonus disc to Rumours is pulled from four summer concerts that Fleetwood Mac gave in 1977, a time when the band all but owned pop radio. The performances aren't revelatory, but they are certainly revealing. Without the studio sheen, Fleetwood Mac resorts to its primary strength: the rhythm section of bassist John McVie and drummer Mick Fleetwood. Toss in the guitar work of a young Lindsey Buckingham, and the music skyrockets from pristine pop into some rather immediate rock 'n' roll, as shown by denser, muddier readings of Go Your Own Way and Monday Morning.
The melodic appeal remains. But what fun it is to spread some dirty Rumours for a change.


text:
Has Fulltext
- yes (5)
Is part of the Bibliography
- yes (5)
Document Type
- Journal article (3)
- Conference Proceeding (2)
- English (5)
- DaTscan (3)
- Ioflupane (2)
- Parkinson (2)
- Parkinson Disease (2)
- Parkinson-Krankheit (2)
- Positronen-Emissions-Tomografie (2)
- molecular imaging (2)
- 123I-Ioflupane (1)
- Ganglia (1)
- Imaging pitfalls (1)
- Parkinsonism (1)
- Parkinson's disease (1)
- Pitfall (1)
- Prostata (1)
- Prostate Cancer (1)
- Radiotracer (1)
- Single-Photon-Emissions-Computertomographie (1)
- Tracer (1)
- ageing (1)
- neuroendocrine tumor (1)
- personalized medicine (1)
- positron emission tomography (1)
- prostate cancer (1)
- prostate-specific membrane antigen (PSMA) (1)
- reporting and data systems (1)
- somatostatin receptor (SSTR) (1)
- standardization (1)
- theranostics (1)
Sonstige beteiligte Institutionen
EU-Project number / Contract (GA) number
- 701983 (5)
PURPOSE: We aimed to (a) elucidate the concordance of visual assessment of an initial I-ioflupane scan by a human interpreter with comparison to results using a fully automatic semiquantitative method and (b) to assess the accuracy compared to follow-up (f/u) diagnosis established by movement disorder specialists. METHODS: An initial I-ioflupane scan was performed in 382 patients with clinically uncertain Parkinsonian syndrome. An experienced reader performed a visual evaluation of all scans independently. The findings of the visual read were compared with semiquantitative evaluation. In addition, available f/u clinical diagnosis (serving as a reference standard) was compared with results of the human read and the software. RESULTS: When comparing the semiquantitative method with the visual assessment, discordance could be found in 25 (6.5%) of 382 of the cases for the experienced reader (ĸ = 0.868). The human observer indicated region of interest misalignment as the main reason for discordance. With neurology f/u serving as reference, the results of the reader revealed a slightly higher accuracy rate (87.7%, ĸ = 0.75) compared to semiquantification (86.2%, ĸ = 0.719, P < 0.001, respectively). No significant difference in the diagnostic performance of the visual read versus software-based assessment was found. CONCLUSIONS: In comparison with a fully automatic semiquantitative method in I-ioflupane interpretation, human assessment obtained an almost perfect agreement rate. However, compared to clinical established diagnosis serving as a reference, visual read seemed to be slightly more accurate as a solely software-based quantitative assessment.
Patterns of uptake of prostate-specific membrane antigen (PSMA)-targeted \(^{18}\)F-DCFPyL in peripheral ganglia (2017)
Objective: Radiotracers targeting prostate-specific membrane antigen (PSMA) have increasingly been recognized as showing uptake in a number of normal structures, anatomic variants, and non-prostate-cancer pathologies. We aimed to explore the frequency and degree of uptake in peripheral ganglia in patients undergoing PET with the PSMA-targeted agent \(^{18}\)F-DCFPyL. Methods: A total of 98 patients who underwent \(^{18}\)F-DCFPyL PET/CT imaging were retrospectively analyzed. This included 76 men with prostate cancer (PCa) and 22 patients with renal cell carcinoma (RCC; 13 men, 9 women). Scans were evaluated for uptake in the cervical, stellate, celiac, lumbar and sacral ganglia. Maximum standardized uptake value corrected to body weight (SUV\(_{max}\)), and maximum standardized uptake value corrected to lean body mass (SUL\(_{max}\)) were recorded for all ganglia with visible uptake above background. Ganglia-to-background ratios were calculated by dividing the SUV\(_{max}\) and SUL\(_{max}\) values by the mean uptake in the ascending aorta (Aortamean) and the right gluteus muscle (Gluteusmean). Results: Overall, 95 of 98 (96.9%) patients demonstrated uptake in at least one of the evaluated peripheral ganglia. With regard to the PCa cohort, the most frequent sites of radiotracer accumulation were lumbar ganglia (55/76, 72.4%), followed by the cervical ganglia (51/76, 67.1%). Bilateral uptake was found in the majority of cases [lumbar 44/55 (80%) and cervical 30/51 (58.8%)]. Additionally, discernible radiotracer uptake was recorded in 50/76 (65.8%) of the analyzed stellate ganglia and in 45/76 (59.2%) of the celiac ganglia, whereas only 5/76 (6.6%) of the sacral ganglia demonstrated \(^{18}\)F-DCFPyL accumulation. Similar findings were observed for patients with RCC, with the most frequent locations of radiotracer uptake in both the lumbar (20/22, 90.9%) and cervical ganglia (19/ 22, 86.4%). No laterality preference was found in mean PSMA-ligand uptake for either the PCa or RCC cohorts. Conclusion: As PSMA-targeted agents become more widely disseminated, the patterns of uptake in structures that are not directly relevant to patients' cancers must be understood. This is the first systematic evaluation of the uptake of \(^{18}\)F-DCFPyL in ganglia demonstrating a general trend with a descending frequency of radiotracer accumulation in lumbar, cervical, stellate, celiac, and sacral ganglia. The underlying biology that leads to variability of PSMA-targeted radiotracers in peripheral ganglia is not currently understood, but may provide opportunities for future research.
MI-RADS: Molecular Imaging Reporting and Data Systems – A Generalizable Framework for Targeted Radiotracers with Theranostic Implications (2018)
Both prostate-specific membrane antigen (PSMA)- and somatostatin receptor (SSTR)-targeted positron emission tomography (PET) imaging agents for staging and restaging of prostate carcinoma or neuroendocrine tumors, respectively, are seeing rapidly expanding use. In addition to diagnostic applications, both classes of radiotracers can be used to triage patients for theranostic endoradiotherapy. While interpreting PSMA- or SSTR-targeted PET/computed tomography (CT) scans, the reader has to be aware of certain pitfalls. Adding to the complexity of the interpretation of those imaging agents, both normal biodistribution, and also false-positive and -negative findings differ between PSMA- and SSTR-targeted PET radiotracers. Herein summarized under the umbrella term molecular imaging reporting and data systems (MI-RADS), two novel RADS classifications for PSMA- and SSTR-targeted PET imaging are described (PSMA- and SSTR-RADS). Both framework systems may contribute to increase the level of a reader's confidence and to navigate the imaging interpreter through indeterminate lesions, so that appropriate workup for equivocal findings can be pursued. Notably, PSMA- and SSTR-RADS are structured in a reciprocal fashion, i.e. if the reader is familiar with one system, the other system can readily be applied as well. In the present review we will discuss the most common pitfalls on PSMA- and SSTR-targeted PET/CT, briefly introduce PSMA- and SSTR-RADS, and define a future role of the umbrella framework MI-RADS compared to other harmonization systems.


text:
252 x 232 mm
252 x 232 mm
Konrad Oberhuber and Albertina
Klaus Albrecht Schröder, director of the Albertina in Vienna, looks back on the period of his predecessor's tenure as the director of the museum (1989—1999), describing the situation of the collection at that time, and the policies Konrad Oberhuber employed, e.g. while acquitting new works of art for the collection (especially the purchases of international works), as well as his activity as a scholar and teacher of art.
On the Connoisseurship and Art-Historical Methodology of Konrad Oberhuber
This article deals with the expertise and art-historical methodology of Konrad Oberhuber. The methodological principles are based on the teachings of the Vienna school of art history, on the one hand, and developed from Oberhuber's museum experience and research work, on the other. Oberhuber was not only one of the most prominent specialists in the field of drawing and one of the most important art historians of our time, he also distinguished himself from other experts by providing detailed written documentation of his attributions, which were grounded in solid scholarship. In a number of examples is explained the approach of this scholar, who had a remarkable visual memory and an exceptional eye.
One of Oberhuber's theories has not yet received the full recognition that it deserves from other scholars of art history. Based on the teachings of Rudolph Steiner, it maintains that the seven-year cycles that occur in human development are also to be found in the works of art. This step-by-step development, which Oberhuber explained using the example of Raphael's oeuvre, can also be applied to the works of other artists, offering art-historical researchers entirely new possibilities with regard to the dating of artworks.
The author, former student of Konrad Oberhuber at Harvard, gives his personal reflections on the personality of the scholar, on his human qualities. Although important for teaching, these qualities generally slip between the cracks of university culture as they cannot be measured, and they are not necessary for professional success.
Konrad's official accomplishments — his publications and museum acquisitions — will survive all of us. Commemorating them seems redundant as they commemorate themselves. Those fortunate to have known Konrad directly can pay tribute to other accomplishments. Although reflected in the tone and content of his scholarship and the particular art works he lovingly acquired for various museums, these personal accomplishments do not translate as well into the official record. They remain tied to private encounters in the living classroom which Konrad took with him wherever he went. Existing in the unrecorded space of the personal encounter, they are what Wordsworth called "that best portion of a good man's life: his little, nameless, unremembered acts of kindness and of love".
The «Gorgóneion» from Mantua
The present author explores the unusual iconography of a sheet in the Gabinetto Disegni e Stampe of the Uffizi, in which she has recognized an autograph drawing by Andrea Mantegna in the so-called Head of a Man with a Wide-Open Mouth. It may be identified with the "Mask in Pen" by the great Paduan artist, mentioned in the manuscript of the Inventory of Drawings of the Florentine Collection, which was compiled at the end of the eighteenth century by Giuseppe Pelli Bencivenni. This drawing is executed in a synthetic manner. It displays the self-confident hand and vigorous technique of parallel-hatching evident in some pen-and-ink studies by Mantegna. He developed this style of graphic mark, and it remained consistent throughout his career, from his earliest years in Padua onward. Like almost all of his securely attributed sheets, the newly identified Uffizi drawing reveals little, or no cross-hatching.
The Uffizi Head of a Man exhibits facial features closely similar with the celebrated Self-Portrait, frescoed by Mantegna in the Camera picta, which peeks out from amidst the stylized ornamental designs and the acanthus leaves on a painted pilaster in the so-called wall of the Meeting. The newly identified Uffizi drawing also resembles the mask with hair in the form of acanthus leaves, seen at the centre of the basin in the Project of a Fountain, now in the British Museum. A second version of this British Museum sheet is also preserved in the drawings collection of Emilio Santarelli, now forming part of the Gabinetto Disegni e Stampe of the Uffizi. Both sheets, in turn, seem to stem from a common Mantegnesque prototype, which was either an autonomous lost work, or a work that recombined various figural elements deriving from the great master. The Uffizi drawing, with its exaggerated expression of the face, reveals that it is part of the Quattrocento tradition of reusing antique masks, and which was an especially prominent part of Mantegna's practice of antiquarianism, as has been emphasized by Fritz Saxl and Moshe Barasch.
It is possible that Mantegna sought to portray himself with a terrifying expression, as an allusion to the fierce Gorgon. For, this mythological figure embodied terror, but as she resided on the breast of Athena—Minerva, the Goddess of Wisdom, she was also able to keep her ghosts far away and instil terror only in ignorant and unwise persons. A relevant example, the Medusa on the shield of Pallas in the reverse of a medal, executed by Bartolommeo Melioli, was based on a drawing that was probably by Mantegna, and the physiognomy in this work resembles that of the bronze portrait bust of the great artist in his funerary chapel at Sant'Andrea in Mantua. The attention lavished by Mantegna on the theme of the Medusa (from the ruined frescoes in the Ovetari Chapel in Padua to the Triumphs of Caesar, today at Hampton Court) reflects his close ties to the intellectual milieu of scholars of epigraphy, antiquarii, humanists, and copyist-scribes of ancient sources in Padua and Mantua. They revered the collecting of medals and antique coins, and in these objects the myth of Medusa figured with some prominence. The drawings by Cyriac of Ancona, which were made well known by Felice Feliciano, also provided an important means of dissemination of such motifs.
Mantegna probably produced the Uffizi sheet after he had finished the fresco-cycle in the Camera picta — 1474 being a likely post quem date. This drawing is undoubtedly earlier than the two lost works by Leonardo described in Giorgio Vasari's Vita of the artist, and which Leonardo would have executed before his departure for Milan in 1482—1483. The type of figure in the Uffizi drawing seems also comparable to Florentine works from the 1470s, especially those produced in the workshops of Verrocchio and Pollaiuolo. In these Florentine works, the figures are portrayed with mouth wide-open and hair dishevelled, and thus represent a typology that oscillates between the head of the Gorgon and those of the Furies.
The Self-portrait in the guise of Medusa at the Uffizi appears to embody some kind of artistic declaration by Mantegna. It demonstrates the strength of his will in imitating Sculpture rather than Nature, for it was precisely this artistic propensity in Mantegna's Ovetari frescoes which provoked the criticisms of Squarcione, according to Vasari. At once deeply suggestive and idealized, Mantegna's Self-portrait alludes to the apotropaic masks of antiquity and the myth of the Gorgon, and arrives at a kind of consecration of a "poetica di pietra" — a poetry in stone — magnificently evident from his early sculptural figures of the Ovetari frescoes to the monochrome paintings imitating marble or bronze of his late years.
Florentine artists considered drawing the foundation of art. It is due to this venerable approach that a great number of preparatory drawings were made and that, even with losses due to the vicissitudes of time, numerous examples are preserved today. Many of these are still nameless. The concerns here are some late sixteenth-century and seventeenth-century Florentine drawings which can be lifted from long established orbits of anonymity or of attributions of convenience, identified and related to particular historical contexts. Proposals are made for drawings by the 'reformers' Benedetto Veli, Giovanni Maria Butteri, Giovanni Battista Paggi, Lodovico Cigoli who was a leader in the Florentine Baroque, his disciples Sigismondo Coccapani and Cristofano Allori, the later artist Fabrizio Boschi, and the draftsman-collector Giuseppe Santini.
An Important Drawing by Liberale da Verona in the Uffizi
A beautiful pen drawing in the collection of the Gabinetto Disegni e Stampe of the Uffizi (inv. no. 1103 E) depicts Christ blessing (on the recto) and a Seraph with long wings reaching his feet (on the verso). The drawing has hitherto received little scholarly attention, but, for stylistic reasons, can be easily connected to two drawings, also executed in pen, in the collection of the Szépmûvészeti Múzeum in Budapest (inv. nos. 1767 and 1768). The Madonna and Child depicted in one of the Budapest drawings is no doubt a preparatory sketch for a painting of the same subject in the collection of the National Gallery in London (inv. no. 1134), a well-known work by Liberale da Verona from his late period. Therefore, the drawing from the Uffizi should be attributed to the great Veronese master of the Quattrocento. What is more, since the Seraph on the verso is a preparatory drawing for Liberale's fresco in the Bonaveri Chapel in Santa Anastasia church in Verona, executed in the early 1490s, it must have come from under Liberale's hand. The quality of the drawing in the Uffizi as well as of that in the Budapest museum is very high, confirming the high quality of Liberale's art in his late period.
A Series of Paintings Depicting the Stories of Moses by Paolo Veronese and Workshop
In 1976 Terisio Pignatti published a painting representing Moses and the Burning Bush — then in storage in the Pitti Palace — with a provenance from the Villa of Poggio a Caiano, including it, at my suggestion, in his catalogue raisonné of the works of Paolo Veronese: it has since been accepted by other scholars and in 1988 it was shown in two exhibitions devoted to the artist. At that time no one could suspect that the painting was part of a series of five illustrating the main events in the life of Moses, of which four have now been identified (the fifth, representing Moses with the Tables of the Law and the Golden Calf, is still missing). The Finding of Moses, on loan to the Italian Embassy in Bonn, can be attributed to Benedetto Caliari. Another canvas of the series, which reappeared in the storeroom of the Villa of Poggio a Caiano, represents The Crossing of the Red Sea: the quality of the painting would suggest an autograph work by Veronese, and therefore the real pendant of the first picture.
On the occasion of this special publication devoted to the memory of my dear friend Konrad Oberhuber, I wished to do further research on this subject, also because Konrad, in two publications of 1968, pointed out that Veronese had copied from H. Cock's illustrations of ancient Rome (1551) in several ruins that appear in his frescoes in Villa Barbaro at Maser. Similar ruins are also to be found in the Moses and the Burning Bush, providing a clue for a dating in the 1560s, both of the Maser frescoes and the series devoted to Moses, once in the Villa of Poggio a Caiano, for which the earliest record known to us dates back to 1781. To the three pictures discussed above it is now possible to add another one, representing Moses Striking the Rock, on loan from the Florentine Galleries to the palace of the Senate in Rome, which, as G. Fioco thought, may also be attributed to Benedetto Caliari. The provenance of the paintings is still mysterious, but judging from their frames, which seem datable to the beginning of the 17th century, we are inclined to think that they were acquired by a member of the Medici family.
Konrad Oberhuber returned again and again to Giulio Campagnola's prints and drawings, without, however, taking up the problem of his activity as a painter. After reviewing the contemporary evidence for the artist's paintings, together with past attributions, this essay proposes the so-called Faun in the Alte Pinakothek, Munich, as his work. While disputed between Correggio, Palma Vecchio, and Giorgione, among others, the Munich panel resembles another tiny picture of Mars and Venus, convincingly ascribed to Giulio, in the Brooklyn Museum, as well as comparable portrayals in his graphics. The actual subject would appear to be the ancient Daphnis, reputedly the inventor of the pastoral.
Starting with a discussion of Titian's late Nymph and Shepherd in Vienna, of which Panofsky's interpretation as Paris and Oenone is accepted, it is noted that all the figurative components recall work by Sebastiano del Piombo and Titian himself of the early Cinquecento, a period when histories of the early life of Paris were uniquely common in Venetian painting. Various uncontroversial examples of Paris narratives by unidentified artists are cited, and several paintings by or after Giorgione and Titian are proposed as representation of Paris. In particular, from visual comparison with his lost early Finding of Paris, recorded by Michiel and known in a copy by Teniers, it is argued that Giorgione's Tempesta illustrates the Nurture of Paris. It is further shown that a lost Judgement of Paris known in several copies, and of which the original is variously attributed to Giorgione or Titian, must be by Titian since it quotes a figure in an engraving that was not issued in Giorgione's lifetime: Marcantonio Raimondi's Adam and Eve after Raphael. It is suggested that both the Tempesta and the Judgement of Paris may have been components of a Paris cycle in which Sebastiano too could have been involved. The article concludes that by returning, in his Paris and Oenone, to themes that he had addressed over sixty years earlier and to which he had not returned in the interim, the elderly Titian was consciously paralleling his own early life with the early life of Paris, and was responding to a profound emotional need to close the sequence of his mythologies with an untrammelled evocation of youthful love.
The present article discusses a Raphael drawing in the form of a chiaroscuro woodcut depicting Archimedes Contemplating an Icosahexahedron and offers a rare insight into Raphael's visual planning for one of his canonical works, the School of Athens. Preliminary ideas are known for two other frescoes in the Stanza della Segnatura: a drawing for the Disputa, and Marcantonio's engraving for the Parnassus. The present author submits a preliminary disegno for a figure in the third fresco, which suggests an earlier and other meaning for the School of Athens. Raphael, clearly the image's designer, always drew for work underway. The article asks several questions on a subject of an image of an ancient philosopher contemplating an icosahexahedron with faces mis-shapen from the square.
 Part A
 What was the subject's destination? Given the c. 1510 date of the drawing, it must have been prepared for the School of Athens of the Stanza della Segnatura. — How did Raphael know that Archimedes had invented the icosahexahedron? And from where did Raphael get the polyhedron's form? Answering the question involves examining Luca Pacioli's method in arriving independently at that polyhedron, pictured in Divina proportione. — Why was the polyhedron mis-shapen when the Divina's plate shows congruent planes? The mis-shapen form put Archimedes in dialogue with Bramante/Euclid by encoding the crossing of St Peter's. Pacioli was unaware of Archimedes's prior discovery. The article traces the geometric means by which he arrived at the body anew, in order to account for its textual position. The non-corresponding position of the plate is, instead, linked to another body that Pacioli, who was architecturally therefore spatially aware, could have adjusted to its true form. — Why was Archimedes expunged? He vitiated the power of Euclid, the historical personification of geometry. In Aristotle's realm, it was Euclid, of these two geometers, who fulfilled the prescription of higher purpose, that of theoretical wisdom. Raphael then transferred the encoded tribute to Bramante from the icosahexahedron to a diagram on the Bramante/Euclid tablet that indicates Bramante's design of the painted space of the School of Athens.
 Raphael's preliminary thoughts, preserved in drawings for the Stanza della Segnatura, are very rare. The present article is the first to identify the early purpose of this design, and to recognize the figure's later manifestation as St. Andrew in the Transfiguration.
 Part B
 Of the chiaroscuro woodcut itself, only two impressions are known. Of the genre, it is the sole example in which Leonardo's dark manner is engaged. Because of the print's technical importance, the present author has traced the evolution of Ugo Panico da Carpi's graphic skill in the context of Leonardo's influential painterly mode in the Transfiguration and in Parmigianino's Vision of St. Jerome.

Collecting and Philology: Remarks on Drawings by Boltraffio, Solario and Luini from the Jabach Collection at the Louvre
A relationship between the watercolour additions and those in pen and ink in a group of drawings from the Jabach Collection (1618—1695), now in the Département des Arts Graphiques at the Louvre, Paris, is presented here for the first time. The drawings discussed in this study were done by Giovanni Antonio Boltraffio, Andrea Solario and Bernardino Luini, as well as by Nicolas Poussin, with additions and integrations executed by Charles Errand on the occasion of the publication of Leonardo's Trattato della Pittura (Paris, 1651). Among the artists Everhard Jabach employed for the "improvements" on the drawings in his collection before selling them to the King of France in 1671, was Michel Corneille the Younger (1642—1708) to whom Jabach assigned a particular role, as has been demonstrated in previous important studies by Catherine Monbeig Goguel.
The present article considers a broader cultural context including mid-seventeenth century Rome, Giovan Pietro Bellori and the veneration for Raphael, to whom at least two of the drawings in the Jabach Collection here examined (now assigned to Solario) were attributed at the time. Certain drawings executed at Jabach's time by French artists, such as Charles Errard, Noël Coypel and Michel Corneille the Younger (hitherto unpublished), seem to show familiarity with the Raphael—Solario drawings, now in the Louvre, retouched and integrated at that time with landscapes and vegetation.
This article provides a re-examination of several crucial aspects of Agnolo Bronzino's Holy Family in Vienna. The painting, mentioned by Vasari and executed for Bartolomeo Panciatichi c. 1545 — early 1550s, was meticulously revised and altered several times by Bronzino, as is revealed by the recent examination with infrared-reflectography and restoration of the painting. An important detail in the painting is a Hebrew word painted on the book supported by the Virgin. While earlier scholars had identified this word "Jesus", this article suggests that instead it is "Isaiah", which would be more suitable to a Holy Family because one of the Prophet Isaiah's most famous prophecies was that of the Birth of Christ. It is proposed that the sources for the Hebrew lettering and phonetic spelling of the word "Isaiah" are to be found in the texts being studied by members of the Florentine literary academy, the Accademia Fiorentina, and in particular those referred to by Pierfrancesco Giambullari in his Il Gello di M. Pierfrancesco Giambullari Accademico Fiorentino, Florence, 1546, such as the works of Sebastian Münster and Sante Pagnino. The patron of the picture, Bartolomeo Panciatichi, who was suspected of unorthodox faith, persecuted for having Lutheran books in 1552, and who was also a member of the Accademia Fiorentina, may have seen the inclusion of the book of "Isaiah" as a veiled reference to traditions more fundamental than those of the modern Catholic church. He would also have been in a position to appreciate the fact that in "Isaiah" in Hebrew means "the Salvation of the Lord", which could allude to the doctrine of salvation through Christ alone.
The relationship between the painting by Claude Lorrain at the Hood Museum of Art at Dartmouth College and the related record drawing Liber Veritatis 7, at the British Museum, has broader implications for our understanding of the early evolution and evolving intentions of the artist in the creation of that celebrated album. It is proposed that the album may have been begun about 1635 as a record book of compositional reference for significant works that were being sent abroad, rapidly expanding to include commissions for prestigious patrons and only consequently nearly all major compositions. An examination of the changes in drawing style in the earliest sheets, a comparison of Claude's treatment of figures in several of the early paintings with their handling and occasional removal in the associated Liber Veritatis sheets, and reference to his etchings of the period further assists in our understanding of the genesis of the Liber Veritatis. The Dartmouth College painting also is unique among Claude's paintings in its explicitly erotic narrative — a narrative removed from the Liber Veritatis record drawing — and this issue is also explored in its cultural and historical context.
The Dresden Period of Kokoschka in a Mirror of Contemporary Exhibition Reviews and the First Monographs of the Artist
The present article shows, by means of documentary material, Kokoschka's rise to fame as one of the most eminent painters and draughtsmen of the twentieth century during his stay in Dresden in 1917—1923. This success was possible thanks to the numerous reviews of his exhibitions held in many German cities, written by well-known literary and art historians, and published in art magazines, literary journals, the daily press, as well as in the first monographs of his oeuvre. The reviewers were particularly fascinated by Kokoschka's ability to make the spiritual elements visible in his art, as displayed already in his earliest works. Of crucial importance in this period was Kokoschka's participation in the Venice Biennial of 1922, for the works exhibited there showed the utmost level of colour and expression. All the same, in the subsequent showing at Paul Cassirer's gallery in Berlin in 1923, Kokoschka's success in Germany did not reach its climax.
The Portrait of Caterina Cornaro in Lorenzo Lotto's Adoration of the Christ Child in the National Museum in Cracow
Lorenzo Lotto's Adoration of the Christ Child of c. 1508, purchased in 1971, is part of the holdings of the Gallery of Western European Painting at the National Museum in Cracow (until recently located in the Princes Czartoryski Museum).
The theme of the "Adoration of the Christ Child", which enjoyed wide currency in Italian Renaissance painting, was given here an exceptional rendering. The central group of five figures forms a certain compositional whole, as if bound together by an imaginary circle made of the tilted heads of St Francis, the Virgin and the faces of Jesus and St John. The only figure that stands out of the sacred, self-contained tondo is St Catherine, placed at the rear, against the green drapery, on the right-hand side of the picture. Her face, with individually rendered features, differs significantly from the idealized faces of the other figures. She is not young, rather middle-aged, with rounded, full face and a clearly visible double chin. Such characteristics confirm that this face cannot be an idealized one. Here we have a quite realistic rendering of a particular middle-aged woman, whereas from the lives of saints and other literary sources we know that St Catherine was charming and beautiful, and died a martyr's death at the age of 18.
The figure of St Catherine has been masterfully integrated with the group of saints in the middle ground, yet at the same time she is distinctively separated from them, and her "otherness" is clearly underscored by the Renaissance-style dress she is wearing, which makes her belong to the real world. The "otherness" of St Catherine consists in the fact that she has the portrait features of a particular person, contemporary with the painter. The present author suggests that this person is Caterina Cornaro, Queen of Cyprus, brought by Lorenzo Lotto to the unreal world of the saints adoring the Christ Child. What is more, it seems quite probable that the painting, currently in the collection of the National Museum in Cracow, had been painted on the commission of the Queen of Cyprus, perhaps in her estate in Asolo or maybe in Venice, and was supposed to serve her private devotion.
In the rich tradition of paintings depicting Caterina Cornaro, the portrait of the Queen of Cyprus as St Catherine in the Cracow painting by Lorenzo Lotto is all the more important for it had been painted by an artist who knew the Lady of Asolo personally, which can guarantee the authenticity of the model's likeness.
Konrad, it was clear, was in possession of a tremendous intellect. I have met some eminent art historians before, and although they are sympathetically inclined towards an understanding of contemporary art, they labor to achieve it. Konrad spoke beautifully on Raphael and why he was important, but he was a person with an agile capacity to leap centuries with obvious ease. The radical challenge that took place at the beginning of the 20th century when the Russian Revolution forced the pace of the advent of abstraction, made no difference to Konrad's ability to see it, understand it, and estimate it. His flexibility of intellect was impressive. His willingness to embrace art of different ages on its own terms was highly unusual, for such a great specialist.
His appetite and ambition were authentically supported by an intellect that was the acme of focus, and intrepid in its flexibility. Almost as if it were a moral responsibility to deny time its tyranny over understanding. I believe it is this moral imperative that drove Konrad's voyage. Thus he has left us a body of writing and influence that is oceanic.