text:
Geoffrey Anyanwu, Awka
Minister of Labour and Employment, Sen. Chris Ngige, has said that the All Progressives Congress (APC) will sweep the polls in Anambra State in next month's generals.
Consequently, he has charged all APC candidates in the state not to panic but prepare their victory dance steps after elections as they will all coast home to victory after the contest.
Ngige who spoke at the weekend at Nnobi, Idemili South local government of the state when Hon. Charles Chinwendu Odedo kicked off his House of Representatives campaign, said those who ditched the party for other parties would live to regret it.
Parading all the APC candidates contesting election in Anambra Central Senatorial district, Ngige counselled them to take their campaigns to every nook and cranny of the area like the Jehovah Witness people who go from house to house on evangelism.
READ ALSO Vote wisely, Taiga urges Urhobo
Also speaking, Odedo, who was a former member of the House of Representatives, noted that while he was a member of the Green Chamber, he empowered over 4,000 constituents.
He stated that his decision to seek for the position again after some years was borne out of his desire to continue the excellent service to his people and his people's demand that he came to serve them in that capacity.
Some of the constituents including Mr. Emmanuel Maduekwe and Mrs. Hope Nwandu, noted that Idemili North and South Federal constituency would never get another person like Odedo hence it demand that he returned to the Green Chamber.
According to them, Odedo was not like other politicians, who would abandon their constituents immediately they were voted into power, adding that over 15,000 people benefitted from Odedo during his time at the House of Representatives.
"We are rallying around him to secure victory; God will not allow anyone to deny Odedo the opportunity of taking care of the needy, widows and less privileged in the society again."
Some of the APC candidates who were at Nnobi for Odedo's flag off campaign were Chief Sylvester Okonkwo (Anambra Central senatorial), Chief Emma Nweke (Awka North and South federal constituency), Hon Bona Orakwe (Idemili South constituency), Hon Rebecca Udorji (Awka North Constituency) and Hon Kenechukwu Chukwuemeka (Awka South constituency).


text:
Howard has a secret – he is in love with Christine. There's only one problem, Christine is DEAD! A grave was no place for Christine, the only place for her was at Howard's side. At last she was his, his to dress, his to feed and to care for.
Also Known As (AKA): Ziva Ljepotica, Boneca de Carne e Osso
File Name : Living Doll 1990.mkv
File Size : 1462.66 MB
Resolution : 716×480 @ 848×480
Duration : 01:35:15
Video : AVC (AVC), 1 912 Kbps, 23.976 fps
Audio : AC-3 (AC3), 192 Kbps (CBR), 48.0 KHz, 1 channel, 1 stream
Quality: DVDRip
Language: English
Genre: Horror

subset: commoncrawl


text:
UK retail giant Tesco is rethinking its fine wine strategy after the recession had resulted in many wines over £7 remaining on the shelves, senior product development manager Pierpaolo Petrassi has told Decanter.
"Customers are being more savvy and a bit more frugal, and we have to make sure that what is on the shelf is aligned with that," Petrassi said. "We have to put wines on the shelf that will sell."
Tesco have removed 150 wines from its range, bringing the total number down to below 900 wines. Of these, only 90 are regarded as fine wines.


text:
Act Two, Part One
By Dennis Abrams
Act Two: At the Senate, the tribunes are thoroughly dissecting Martius's many personal flaws, when Virgilia announces his triumphant return from war. Coriolanus enters the city to an enormous hero's welcome, horrifying both Brutus and Sicinius with the thought that he would be promoted. And of course, their fears are quickly confirmed when the Senate moves to make him a consul. Coriolanus remains aloof, but is eventually encouraged (or pressured) to address the commoners directly and beg for their votes – a process he finds as distasteful as it is democratic. And, though he eventually does win their support, the tribunes soon convince the citizens to reconsider their decision.
Caius Martius, it seems, is in many ways the ultimate that Rome (at least during the days of the Republic) can offer. Plutarch describes how 'valiantness was honoured in Rome above all virtues," and in the person of Martius we see the final result of that philosophy. Combining lofty aristocratic values with seemingly effortless machismo with near-suicidal valor on the battlefield, Martius acquires his well-known title while performing a particularly spectacular piece of military daring outside the city of Corioles – hence "Coriolanus.' Reborn in the fire and smoke and blood of battle, he "cannot in the world," the smooth-tongued politician Cominius suggests, "be singly counterpoised." In war, Cominius continues, Coriolanus has no peer:
His sword, death's stamp,
Where it did mark, it took. From face to foot
He was a thing of blood, whose every motion
Was timed with dying cries. Alone he entered
The mortal gate of th' city, which he, painted
With shunless destiny, aidless came off,
And with a sudden reinforcement struck
Corioles like a planet.
Coriolanus is not human (Bloom has pointed this out as well), but a killing machine "timed with dying cries"; nourished by battle, he is prepared to go on forever as if he were "a perpetual spoil," not even pausing to catch his breath.
The admiring portrait that Cominius draws is, of course, horrendous: a portrait of an unstoppable blood soaked beast of a warrior. "There is no more mercy in him than there is milk in the male tiger," (5.4.28-9) Menenius will say later. Still more shocking, though, is the attitude of his mother, the more than slightly fearsome Volumnia. As the women of Rome wait nervously for news of the battle at Corioles, Virgilia plaintively hopes that her husband has not been injured. But it is all that Volumnia can do to hold back her contempt: blood "more becomes a man," she scornfully replies, "than gilt his trophy."
The breasts of Hecuba
When she did suckle Hector looked not lovelier
Than Hector's forehead when it spit forth blood
At Grecian sword, contemning.
The warrior who becomes on the battlefield "a thing of blood" is eerily predicted in these grim words. Volumnia and her son are really a kind of nightmare perversion of Roman "values" – the city's obsession with military prowess approves Coriolanus's brutality in war just as it encourages the kind of sadistic outlook voiced by his mother. Blood (literally and figuratively) is what binds them, yet Volumnia describes not nurturing motherhood but graphic violence. A few moments later she describes all-too-approvingly how Coriolanus's little son shows every sign of following his father's bloody footprints – by tormenting a butterfly, then ripping it apart with his teeth.
Coriolanus depicts, again and again, the madness of life in Rome: though the people have genuine complaints with the way they are ruled, they allow themselves to be bought off with words. (Shakespeare confuses (intentionally?) his source, which clearly explains that as a result of the grain riots the people won political representation.) And though Roman ideas about "valiantness" seem comprehensible enough, in Coriolanus and his mother, they reach a pinnacle of inhumanity. And though the crowd detests (for good reason) the man who calls them "curs," they find themselves persuaded that he deserves to wield power over them.
At the urging of politicians eager to capitalize on his military victories, Coriolanus agrees to stand for the Senate – the one catch being, that in order to be elected by the "people," he must first beg for their "voices", aka votes. A curious dilemma arises: though the commoners can decide whether or not to elect him, most seem to believe that it would be embarrassing to show "ingratitude" to a man who has done so much for their city. And in doing so, they reveal that they, too have bought into the ideology worshipped by Volumnia and Coriolanus: although Coriolanus clearly despises the citizens, they are prepared to vote for him on condition that he shows them his battle scars. But Coriolanus is sure if he is prepared to go even that far. The irony, of course, is that he has become the very man he despises, the man who must "depend" on the crowd's "favours" is not all together lost on Coriolanus as he stands in front of the crowd begging for votes. "Better it is to die, better to starve," he bitterly exclaims, "than crave the hire which first we do deserve." (2.3.113-7). Longing for the solitary simplicities of the battlefield, Coriolanus simply cannot see the value in democracy.
From Kermode:
"The opening act as a whole is long and military. It begins with a prose scene in which the plebeians rehearse an uprising, but their complaints are interrupted by the arrival of Menenius, who makes his celebrated comments about the interrelation of the parts of the body politic, allegorized as parts of the single human body. This speech has its origin in Plutarch but is also indebted to a contemporary publication, Camden's Remains (1605). It is, like many Shakespearian overtures, a carefully composed thematic statement. The mutinous talk of the people is what the plot requires us to attend to, but without Menenius's speech we should not have borne in mind the larger ideological context. More important, we should not have been ready for the extraordinary network of allusions to part of the body in later scenes.
Once upon a time the limbs revolted against the belly because it seemed to do no work. Menenius, a jovial character, very loveable in his dealings with his peers, is trying to act as a go-between, though privately he detests the plebs. He explains the essential service done by the belly for the mutinous members (he calls the leading citizen 'the great toe of this assembly'). At the simplest level of plot this scene, despite its ostensible good humor, alerts us to the state of affairs between patricians and plebs; until the entrance of Coriolanus the tone is almost bantering. Menenius's leisurely lines – one of the few seemingly leisurely passages in the play – quietly establish a kind of lexical grid. 'The great toe of this assembly' is a joke, but it introduces language that is later no joke at all, when anger commands the scene and we are bombarded with body parts: breasts, hearts, palates, teeth, belly, and bosom, above all mouths and tongues and what issue from them, voices.
Voice, in the English of the time, was the word for 'vote.' Shakespeare never uses the word 'vote,' and it would have suited his purposes less well, for 'voice' relates the suffrage of the people to their disgusting bodies. When Coriolanus is forced to solicit the voices of the people by showing them his wounds he is reluctantly electioneering, and the bribe he offers is the most precious commodity of his case, wounds sustained in battle. 'I have wounds to show you…Your good voice, sir…if it may stand with the tune of your voices…' (II.iii.76-86). He must offer these in return for the voices of the people who, in his strong opinion, should not have voices or votes anyway. But the 'voice of occupation,' that is, of the proletariat (IV.vi.97), has to be heard. It is Menenius, appalled at the news of Coriolanus's approach, who uses that expression, and he associates their voice with their garlic breath so that their votes stink of their wretched diet. Soon their voices represent their whole bodies and certainly their power. Their voices exiled Coriolanus, they 'hooted' him out of the city; Cominius adds that he's afraid they will 'roar him in again.' They will be paid for their 'voices'; 'Y' are goodly things, you voices!'
All these illustrations, coming from a single scene and all depending on a bold use of synecdoche as well as on the insistent repetition of 'voice' and 'voices,' are very deliberate. Coriolanus is a play about anger, but it is calmly plotted. To Coriolanus the crowd is an anonymous, diseased body made up of individual vile bodies that unfortunately can be transformed into potent voices that are capable of making intolerable demands on his honor. From his first lines he despises their vileness, while Menenius greets him as 'noble,' an appellation very frequently bestowed on Coriolanus; it soon becomes tinged with irony. The epithet applies only to patricians; the opposite of 'noble' is 'vile.' 'What's the matter, you dissentious rogues,/that rubbing the poor itch of your opinion/Make yourself scabs?' (I.i.164-66). Here at the outset a plebeian political protest is represented as a bodily disease. The itch, a disease of poverty, along with stinking breath and sweat, stands for opinion, ever fallible and ever the word for ignorant popular thought. Later the people are 'measles' and 'tetters.' 'The wiser sort' of listener would recognize this opening as a kind of thesaurus with meanings to be fully realized only later. Such auditors, borne on by the stream of language, would remember this beginning in order to take their bearings.
The third scene, a conversation between upper-class ladies, is there solely to shed light on the causes of Coriolanus's extraordinary, unbiddable intransigence. It has no source in Plutarch. His mother's attitude to warlike achievement, besides which, in her view, nothing else counts, is expressed in her loving talk of reputation, blood, and wounds. Her language is violent because her love for her son is so involved in his heroically violent feats of arms that only thus can it be expressed. And he is as he is to please his mother. The boy, the son of the hero, also under the rule of his grandmother, is commended for violently tearing a butterfly to pieces: 'One on's father's moods,' says Volumnia contentedly: 'Indeed la, 'tis a noble child,' says her friend Valeria (II.iii.66-67). They speak a familial and a class dialect. In this society loss of blood in war is 'physical' (curative) (I.v.18), and so to look as if one had been flayed is a mark of honour. (I.v.22-29, 57). The hero's wife, Virgilia, feebly opposes her pacifism to this upper-class military boasting.
In the campaign of Corioli, Coriolanus, as usual, treats the common soldiery as a diseased body and himself behaves less like a man than a war machine. As a result of this action he acquires the name 'Coriolanus' – an 'addition' that will have a part to play in his death. Names, always important, are now even more so. When Coriolanus asks as a favor that a poor prisoner from Corioli who had done him some service should be freed, the request is at once granted, but Coriolanus cannot remember his name. In North's Plutarch the plea is on behalf of 'an old friend and host of mine, an honest wealthy man' whom Coriolanus wishes to rescue from the fate of being sold as a slave. There is no mention in Plutarch – where this incident happens immediately before Cominius awards Titus Martius his new name – of Coriolanus forgetting the man's name. Here is a small piece of evidence as to the way in which Shakespeare, working closely to a source, might find interesting interconnections where there are none in the original; Plutarch is not interested in the Volscians name or whether Coriolanus remembers or forgets it. In Shakespeare the 'addition' of a name to Caius Martius involves the subtraction of a name from 'a poor man.' When Menenius is turned away from the Volscian camp (V.ii) the guards jeer at this confidence in the power of his name, and 'name,' as we shall see, becomes a central issue in the last scenes.
The tribunes are dismayed at the triumph of their enemy; Brutus (II.i.205-21) gives a wonderfully sour and animated account of Coriolanus's reception in Rome; but they know his weakness and will politically exploit it. The language of the following scene is full of the energy this play derives from its 'little language,' as in the speech of an 'officer' whose role is simply to carry in cushions: 'he hath so planted his honors in their eyes and his actions in their hearts that for their tongues to be silent and not confess so much were a kind of ingrateful injury,' plucking 'reproof and rebuke from every ear that heard it' (II.ii.28-34). The speech of Menenius that follows has all the metrical roughness appropriate to a commendation of Coriolanus, and it suits the language of Cominius's eulogy: 'He was a thing of blood, whose every motion/Was tim'd with dying cries' (109-10). Menenius can only exclaim 'worthy man!' (122).
Here begins the matter of soliciting 'voices,' a part that Coriolanus says he will 'blush on acting.' He must now wear the 'gown of humility' and act the supplicant. Were his scars received only to 'hire' the 'breath' of plebeians? The scenes that follow are extraordinary in their use of 'voice' and related words such as 'tongue' and 'breath.' Should the citizens, they grotesquely but appositely ask themselves, put their 'tongue into those wounds and speak for them/ (II.iii.7)? Will they give their voices (36), their 'own voices with [their] tongues' (45)? Coriolanus hates their breath, and wishes they would clean their teeth, but arrogantly 'begs' their 'worthy voices' (79-80) and says he will show his wounds 'in private' (77).
The weight of the dialogue is always against this hero. All he needs to do to have the consulship, as a citizen temperately points out, is 'to ask it kindly' (75). He need not even 'counterfeit the bewitchment of some popular man' (101), for the voices are his for the asking. But they are dependent on stinking breath and stand for plebeian bodies. The words 'voice' and 'voices' occur forty-eight times in the play, thirty-two times in this scene; such battering of the audience is unparalleled in the canon. 'Voices' remains a synecdoche for citizens, for 'poor people.':
Here come moe voices. –
Your voices? For your voices I have fought;
Watch'd for your voices; for your voices bear
Of wounds two dozen odd; battles thrice six
I have seen, and heard of; for your voices have
Done many things, some less, some more. Your voices?
The Third Citizen in his comment (166-73) uses 'voices' five times Brutus the tribune takes up the cry, adding 'bodies,' 'hearts,' and 'tongues':
Why, had your bodies
No heart among you? Or had you tongues to cry
Against the rectorship of judgment?
Coriolanus will not play the part assigned him."
(In a footnote, Kermode notes, "'Rectorship,' otherwise not used by Shakespeare, is an out-of-the-way synonym for 'rule' or 'discipline.' The use of nonce-words to disturb such a context – all familiar body parts, and all resounding constantly in the text – seems typical of the craft of Shakespeare's later plays.)
And from Tanner:
"The god invoked by Coriolanus himself is, understandably enough, Mars – 'Now, Mars, I prithee, make us quick in work' (I.iv.10). Then, effectively, he becomes Mars – 'thou Mars' (IV.v.122) – thus Aufidius addresses him when he goes over to the Volscians. Indeed, as Cominius says, 'He is their god' (IV.vi.91). But this is not a god of mercy ('there is no more mercy in him than there is milk in a male tiger' – V.iv.28-30), but an angry god:
You speak o'th' people,
As if you were a god, to punish, not
A man of their infirmity.
By the end, his harsh and uncompromising demeanour moves Menenius to declare: 'He wants nothing of a god but eternity and a heaven to thrown in' (V.iv.24-5). (A Volscian soldier gives the not very different opinion that 'He's the devil' – I.x.17.) But, if he's a god, also a beast, and a very particular beast. He is once an eagle, once a tiger, once a horse, but three times a 'dragon.' First, by his own designation, after being banished – 'I go alone,/Like to a lonely dragon, that his fen/Makes feared and talked of more than seen' (IV.i.29-31). For the Volscians, he fights "dragon-like' (IV.vii.23). After he has switched his allegiance, his old Roman friend Menenius comments:
There is a differency between a grub and a butterfly; yet your butterfly was a grub. This Marcius is grown from man to dragon: he has wings; he's more than a creeping thing.(V.iv.11-14)
In post St-George times, knights are obliged to kill dragons; this ancient pre-Christian, and decidedly unchristian, proto-knight is metamorphosing into a dragon. (This late reference to butterflies of course echoes the early account of Coriolanus's son's characteristic conduct: 'I saw him run after a gilded butterfly; and when he caught it, he let it go again…catched it again; or whether his fall enraged him, or how 'twas, he did so set his teeth, and tear it. O, I warrant, how he mammocked it!' Volumnia's comment 'One on's father's moods' – I.iii.63-70 – might well prepare us for Coriolanus' subsequent behavior. Butterflies for boys: dragons, or dragonish behavior, for men.)
God, and beast, he is also described as a 'planet' and an 'engine.' Always more or less than human. And perhaps the most decisive pointer to his inhumanity, non-humanity, is the number of times he is referred to simply as a 'thing':
from face to foot
He was a thing of blood, whose every motion
Was timed with dying cries.
He sits in his state as a thing made for Alexander.
He also becomes 'a kind of nothing' (V.i.13: my italics). Talk of reification, or self-reification, is perhaps superegoratory; we all know, more or less, what it implies to call a person a 'thing.' Whether, and how, we can witness the 'tragedy' of a 'thing' – or a 'no-thing' – is a matter to which we will have to return.
More specifically, Coriolanus is closely identified with his sword. It is often referred to, usually 'smoking' with slaughter. One comes to feel that he is seldom happy, or quite at ease with himself, when it is out of his hand. Like his little son, he 'had rather see the swords and hear a drum than look upon his schoolmaster' (I.iii.58-9). His ambitions are entirely military and not, indeed, remotely 'scholastic,' nor even – in truth – political. He is happy with, and perhaps only with, the casque. And the sword. One of his earliest interventions in the row precipitated by the 'mutinous citizens' is:
And let me use my sword, I'd make a quarry
With thousands of these quartered slaves…
His very last words are 'To use my lawful sword' (V.vi.129) – his sword is full of law, is the law as far as he is concerned. But civic society depends on having laws instead of swords. In his younger days he 'lurched all swords of the garland' (II.ii.102), and at Corioles 'His sword, death's stamp,/Where it did mark, it took' (II.ii.108-9). Lartius pays him a rather curious compliment:
O noble fellow!
Who sensibly outdares his senseless sword,
And when it bows stand'st up!
This seems to suggest that Coriolanus himself remains erect, even when his sword droops. I think there is an entirely appropriate phallic hint there. Effectively all his energy and appetite and drive – in sum, a colossal force – have been directed (displaced, if you will) into his fearful, 'smoking' instrument of death – Eros 'bowing' to the stand-up work of Thanatos. When his soldiers lift him up in their arms (presumably carrying him on their shoulders), after his exploits at Corioles, Coriolanus cries out, not unhappily one feels – 'Make you a sword of me?' He is, indeed, to all intents and purposes, the sword of the city. The deeper truth is that he has made a sword out of himself.
This engine, this thing, this sword, this man of steel (let us say) – it is hard to see what could break or bend, deflect or deter, him. Yet that, of course, is just what happens at the climax of the play. After his victory at Corioles, Marcius (soon to be named 'Coriolanus') in a speech refusing praise and flattery, says:
When steel grows soft as the parasite's silk,
Let him be made a coverture for th' wars!
This is a much disputed and debated passage (MY NOTE: As we saw from Kermode), marked by that harsh, over-compacted meaning so characteristic of the play. Take one possible meaning as – when the army turns soft, use silk for armour. The power of the image lies, of course, in the idea of steel growing soft as silk. Impossible. Yet steel Coriolanus does turn, briefly, fatally, as soft as silk, when he capitulates to the intercessionary pleas to spare Rome Aufidius picks up the image for us, after the capitulation:
Breaking his oath, and resolution, like
A twist of rotten silk; never admitting
Counsel o'th' war; but at his nurse's tears
He whined and roared away your victory…
Man of steel to man of silk (rotten silk to the critical) – part of the tragic power of the play surely lies in this sudden transformation, and we must inquire a little as to how it comes about.
The crucial factor, or influence, is of course his mother, Volumnia. Plutarch-North has this to say concerning the relationship between Marcius (later Coriolanus) and his mother:
'the only thing that made him to love honor was the joy he saw his mother did take of him. For he thought nothing made him so happy and honorable, as that his mother might hear everybody praise and commend him, that she might always see him return with a crown upon his head…thinking all due to his mother…at her desire [he] took a wife also, by whom he had two young children, and yet never left his mother's house therefore.
(Tanner's italics)
There is not much more concerning Volumnia in Plutarch, apart from the crucial intercessionary scene when she dissuades her son from sacking his native city, Rome. All the other scenes involving Volumnia in the play are Shakespeare's invention, and, with powerful dramatic economy, they serve to reveal how – psychologically and emotionally – Coriolanus, indeed, never leaves 'his mother's house.' Whatever else he is or becomes – sword, engine, dragon, planet, god – he remains, ineradicably, a mother's-boy. These two words are central and crucial to the play.
Volumnia embodies, and articulates, the martial values of Rome. In her first speech, she celebrates that shift of affect, and affection, from the cushion to the casque – or rather, from the bed to the battlefield – we have already noted as a 'Roman' predisposition:
If my son were my husband, I should freelier rejoice in that absence wherein he won honor than in the embracements of his bed where he would show most love.
Better an absent honor than a present embrace – that's Rome. Or, at least, Volumnia's Rome. Virgilia, the wife of Coriolanus, is given no words by Plutarch, though he makes nothing of the fact. Shakespeare's Virgilia is, as it were, audibly silent. 'My gracious silence, hail!' (II.i.181) is about as amorous as Coriolanus gets in exchanges with his wife – but though she is almost entirely effaced and displaced by the extremely vociferous Volumnia, there is grace in Virgilia's silence. Ruskin found her 'perhaps the loveliest of Shakespeare's female characters,' and, while that doubtless tells us something about Ruskin, as always he has a point. Most of the speech in this play is, one way or another, pretty unpleasant. In the circumstances, there is, as it were, much to be said for not speaking. Such very few words as she does speak (Desdemona and Cordelia are loquacious by comparison), are either modestly decorous, or right against the Roman grain. For example, when Volumnia voluptuously wallows in the thought of her son's 'bloody brow' in battle, Virgilia's involuntary interjection is 'O Jupiter, no blood!' (I.iii.41). Virgilia is, in Volumnia's terms, very distinctly not a 'Roman' woman – and more power to her!
Having made him what he is – 'Thy valiantness was mine, thou suck'st it from me' (III.ii.129), Volumnia, on two crucial occasions, uses her influence to persuade him, against his better judgment (or steely, intransigent resolve) to go right against the rigid martial inclinations and instincts which she herself nutured in him. It is she who launches the idea that he should stand for counsulship – 'There's one thing wanting, which I doubt not but/Our Rome will cast upon thee.' Knowing that that will involve having to ingratiate himself with the common people, whom he quite intemperately and viscerally loathes, Coriolanus, rightly, senses immediately that such a role is not for him – 'Know, good mother,/I had rather be their servant in my way/than sway with them in theirs' (II.i.207-10). In particular, he shrinks in aversion from the prospect of having to put off his armour and don the 'vesture of humility' and then going to stand in the market-place, showing his wounds and begging for votes. Such a parade of pseudo-humility ill becomes a man who is uncorruptibly a total soldier – a butcher-soldier perhaps, but with his martial integrity intact. Quite simply, he won't do it:
I do beseech you
Let me o'erleap that custom, for I cannot
Put on the gown, stand naked, and entreat them,
For my wounds' sake, to give their suffrage. Please you
That I may pass this doing.
More pertinently – 'It is a part/That I shall blush in acting' (II.ii.145-6). Coriolanus is a soldier who can, emphatically, do deeds (there is much stress on this), but who cannot act parts. But Volumnia is a mother who always gets her way. So he tried, though not without some heavy irony concerning the self-falsification it involves. 'I will practice the insinuating nod, and be off to them most counterfeitly: that is, sir, I will counterfeit the bewitchment of some popular man' (II.iii.103-6). [MY NOTE: Why does Mitt Romney leap to mind when I read that line?] Though his instinct is all the other way. 'Rather than fool it so,/Let the high office and the honor go' (II.iii.126-7). After his session in the market-place, he cannot wait to 'change these garments' – thereby 'knowing myself again' (II.iii.153). He seems to have the people's 'voice,' but then the tribunes agitate the crowd and it turns against Coriolanus."
And finally, from A.D. Nuttall, who opens by mentioning both "Lear" and Antony" and the role of the "prompter."
"This time it is a lady, and she does an even more fundamental job than Iago – but she had more time in which to do her work. The lady is the Roman matron Volumnia, and the person she remakes is her own son. Having first produced him biologically, she embarks up on a process that we would call conditioning. The play does not show the childhood of Coriolanus, but the playwright wants us to know what this woman has done to him. It is made clear in a single brilliant scene, Act I, Scene iii.
The atmosphere of this scene is from the beginning 'womanly.' Volumnia and her daughter-in-law, Virgilia, are at first the only persons present (later they are joined by Valeria, a gentlewoman). There are no men. The stage directions reads, 'They set them down on two low stools and sew.' The sole textual authority for this play is the Folio of 1623. Its stage directions are famously more richly descriptive than those in other plays. They are likely to be authorial. We seem to be looking at a genre painting, a 'Dutch interior,' half a century before Vermeer. Sewing is a stereotypical feminine activity. Those men in the audience who are curious about the way women talk when there are no men present become especially alert. Of course, Shakespeare was a man, and had to guess. [MY NOTE: Did Shakespeare really have to "guess?"] He has the woman talk about family, about Coriolanus, who is Volumnia's son and Virgilia's husband. When Valeria arrives, she asks after Virgilia's son, little Marcius. Virgilia says he is well. Volumnia cuts in warmly with 'He had rather see the swords and hear a drum than look upon his schoolmaster.' (I.iii.55-56). It is clear that she speaks with benevolent approval. Valeria then recounts how she saw the little fellow chase a pretty butterfly, catch it, tear it, and, in his rage, chew it to pieces (I.iii.60-65). This ghastly behavior obtains immediate loving admiration from the ladies, most markedly from an entranced Volumnia: 'Tis a noble child.' Virgilia, perhaps wishing to lighten the atmosphere, says 'a crack' (in modern English, 'a lively lad'). The playwright has only to show that we are watching a replication of what must have happened when Coriolanus was a small child for the idea of conditioning to enter. This he does with Valeria's 'A' my word, the father's son' at line 57 and Volumnia's 'One on's father's moods' immediately after the narrative of the torn butterfly. Aggression, then as now, was rewarded with love. This is how you make a Roman military killer. The women do it – or rather, one woman has done it.
I have said that the initial setting is stereotypically female; the end of the scene, where the gossips depart to visit a pregnant lady who lives nearby is, again, conventionally 'what women do.' We need to stay with the stereotype a little longer. What, for example, is the stereotypical mother supposed to be like? I would guess that the answer is 'tender, nurturing, life-giving, protective.' Now listen to the way Volumnia imagines her son, at the time when she is speaking:
His bloody brow
With his mail'd hand then wiping, forth he goes,
Like to a harvest man that's task'd to mow
Or all or lose his hire.
This is too much for her daughter-in-law. Virgilia cries out, 'O Jupiter, No blood!' Volumnia brushes this pusillanimity aside; it is interfering with her vision:
Away, you fool! it more becomes a man
Than gilt his trophy. The breasts of Hecuba,
When she did suckle Hector, look'd not lovelier
Than Hector's forehead when it spat forth blood
At Grecian sword, contemning.
There is a professional gentleman in Dickens who momentarily frightens the reader by saying that he is firmly of his wife's opinion that 'Other things are very well in their way, but give me blood!' The wife eagerly chimes in, 'We meet it in a chin and we say, 'There it is, That's blood!' These blameless persons are in fact talking about pedigree. But Volumnia really does like blood. The mature ladies who used to hand out white feathers (symbols of cowardice) to young men not in uniform in the First World War were as nothing to this Roman lady.
This maturing mother desires above all to see her child shedding the blood of others, but also as bleeding himself. She has carefully fashioned him to this end. The remarkable thing about Volumnia's reply to Virgilia is the way it entwines the maternal with the erotic. When she speaks of the beauty of Hecuba's breasts the first impression made by the words is sexual – male sexuality at that. But these are the breasts of a suckling mother, and so we are returned to Volumnia herself, the mother in play. What is even more beautiful than these perfect, milky breasts, however, is the blood that sprang afterwards from the forehead of the son. Note that I have had to put in the word 'afterwards' to make sense of the speech. Volumnia telescopes the sucking child and the bleeding warrior. For her they are one.
There is a yet more violent juxtaposition of suckling and blood-letting earlier, in Macbeth. Lady Macbeth says,
I have given suck, and know
How tender 'tis to love the babe that milks me;
I would, while it was smiling in my face,
Have pluck'd my nipple from his boneless gums,
And dash'd the brains out.
Lady Macbeth is here trying to turn her husband into a killer. She sees this task as directly antithetical to her own female-ness: 'Unsex me here' Lady Macbeth's words are horrifying, but Volumnia is finally the more disturbing of the two. Lady Macbeth knows that her own thoughts are dreadful and is, so far, still a moral being. Volumnia perceives no conflict between the maternal and the murderous. Elsewhere Shakespeare reverts repeatedly to the idea of sucking not milk but blood. 'Drones suck not eagles' blood,' says Suffolk, scornfully, at 2 Henry VI, IV.i.109. In Henry V, Pistol, in a kind of drunken hysteria, eager to show his willingness to fight, shouts, 'To suck, to suck, the very blood to suck!' (II.iii.56), and later maintains his virile status even in an act of leniency when he says, "As I suck blood, I will some mercy show' (IV.iv.64). Most powerful of all is Caesar's dream, in which he saw his own statue spouting blood and the people of Rome bathing their hands in it. Decius interprets the dream: the vision 'Signifies that from you great Rome shall suck/Reviving blood' (Julius Caesar, II.ii.87-88). We half expect to be told that the Roman mother gives blood, not milk to her baby, by the breast. That after all is a fair figurative description of what Volumnia has done. The thing she actually says, that the child's bleeding forehead is fairer than the mother's breasts, may seem a less violent thought than that of sucking blood. Once more, however, Volumnia's words are more shocking than the other passages precisely because she is not thinking figuratively. The 'bloody child' of the 'second apparition' at Macbeth, IV.i.73, becomes a literal bleeding child, Hecuba's Hector, Volumnia's Coriolanus. Volumnia is thinking of real blood in a real battle and gives her pleasure in the thought an erotic charge completely absent from the other examples.
Shakespeare clearly saw Rome as a place where blood-letting is fetishized and, at the same time, deemed heroic. Brutus, when his desperate wife resorted to self-harm, was enchanted: 'O ye gods!/Render me worthy of this noble wife!' (Julius Caesar, II.i.302-3). After the assassination of Caesar the high-minded Brutus wished not to wash away the blood but to steep his arms in is so that they could afterwards stalk through the streets 'waving our red weapons o'er our heads' (III.i.109). 'Blood' and 'wound' are heavily recurrent words in Titus Andronicus and Julius Caesar, but 'wound' especially dominates Coriolanus. Readers of the source, Plutarch, may find this odd, since there is far less emphasis on wounds in the real ancient author than there is in the Renaissance play, though Plutarch does refer to the ancient practice of exhibiting wounds to solicit political support (Coriolanus xiv.i). As for the protracted play-business in which Coriolanus is pressed to show his wounds to the electorate and refuses (not because he thinks them unimportant but rather because he thinks them too sacred for political use) – this is thoroughly grounded in Roman practice. Scholars working on Shakespeare's classical sources tend to confine themselves to the obviously relevant places in Plutarch and the rest. But Shakespeare himself evidently read more widely. It is in Plutarch's Life of Aemilius Paulus that we find the closest analogue to Coriolanus as he appears in Shakespeare's play. Aemilus Paulus treats the crowd with Coriolanian scorn and uncovers his breast to reveal an unbelievable number of wounds. Shakespeare may well have found his way to the place in Seneca where the philosopher says that virtue is like the good soldier, who will submit to wounds and will count his scars. Nevertheless, even in this environment Volumnia is uniquely bloodthirsty.
The scene in which we are told about little Marcius and the butterfly shows, then, how Coriolanus was conditioned in his childhood to become the controlled killer we see triumphing in the first part of the play. Near the end, where Volumnia tries to persuade her son to spare Rome, her arguments make no impression on him, but as soon as she simply reminds him that his mother is speaking, he is hers to command (V.iii.161-88). The telescoping of the infant with the warrior that we saw in Volumnia's speech on the breasts of Hecuba is replicated at leisure by Shakespeare in the drama taken as a whole. Coriolanus is an awe-inspiring soldier, and he is also, at a certain level, Volumnia's baby still. Coriolanus is not, like Brutus, a reflective Stoic. That is to say, he is not conscious of himself and his high principles. Therefore when Volumnia seeks to manipulate him, she need not bring a mirror to the task as Cassius did (figuratively) when she sought to manipulate Brutus:
I, your glass,
Will modestly discover to yourself
That of yourself which yet you know not of.
(Julius Caesar, I.ii.68-70)
Nevertheless, Coriolanus does unthinkingly exemplify certain Stoic ideals: integrity, self-sufficiency, self-rule, contempt for popular caprice. Or he can seem to. The proud phrase 'author himself' is employed by Coriolanus to express his own rational independence of local loyalties and of biological kindred. The phrase in isolation blazes with Stoic confidence, but the circumambient grammar of the sentence in which it occurs has a different effect: Coriolanus says he will stand (future tense, not present) 'As if a man were author of himself,/And knew no other kin' (V.iii.37-37). 'As if' implies reference to a state of affairs that does not exist, implicitly confesses the artificiality of the Stoic stance. Then the word 'kin' reminds us of Volumnia. His assumption of a power to make himself, as a moral being, is comprehensively undermined by the fact that all this courage, all this aggression, was formed and moulded by the mother. His sturdy independence is itself an artifact. Stoicism is all about self-control. But when self-control is created artificially by an external agent is it any longer self-control?"
And that's it for today. I'm going to take a couple of days off – my next post will be Sunday evening/Monday morning – more thoughts on Act Two of Coriolanus. What do you all think so far?


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Generate love
An expert talks about building strong relationships with the senior members of the family
October 13, 2013
When I was growing up, I always knew that there was one place to go whenever I needed or wanted anything. My paternal grandmother always welcomed me with open arms, an open kitchen — and dare I say it — an open wallet. She had a little restaurant and would ply me with mami and siopao until I was full to bursting, and would press a bill or two in my hand before I go home, in case I needed something for school.
That is not to say that those were the only reasons for my frequent visits. I just loved hanging around my Lola Chick (short for Intsik, not considered inappropriate back then) because she would tell me a lot of interesting stories of old China, which was one of the factors why I took up Asian Studies in college.
In the Philippine context of extended families, the relationship between grandparent and apo is often very close. This is the reason why many Pinoys relate to commercials that highlight this, such as the current Downtown and the oldie Karen ads, both from the same fast food company. Ali Gui, mainstay relationship counselor for the new GMA News TV show "Love Hotline," gives a rundown of the official lolo and lola roles: "Grandparents often become a family's first reserves in times of any form of crisis. They can act as fun playmates, role models, and family historians, mentors, and help establish self-esteem and security for children."
Gimme, grandma!
As it goes, a grandparent can afford to lavish time, attention, and er, resources on their grandkids – they are usually removed from the rat race that the parents are still embroiled in, thus can give in to that inclination to spoil the little munchkins.
Though the elders mean well, this can be a point of contention between the parents and the grandparents. "Many grandparents see spoiling the grandkids as their role. It gives them great pleasure to be generous to their grandkids and see their faces light up when they are. If you can, I would advise accepting a bit of the spoiling. Just be grateful your children have loving adults in their lives," says Gui.
If the parents are concerned about the deluge of material gifts, Gui advises treading carefully. "They can tactfully say that their 10-year-old may not be ready for an expensive game gadget as it may take away from study time."
Generational gaps
Another issue that can be a source of conflict between parents and grandparents is discipline. Things are a little different now with the digital generation – "kids should be seen and not heard" is no longer an accepted mantra in modern parenting. "Grandparents don't always see eye to eye with their adult children on the topic, saying 'nung panahon ko, bawal yan'. A common complaint from grandparents is that their grandkids are allowed to run wild, and the parents are so afraid of upsetting them and triggering off a tantrum, that they let the kids do whatever they want," Gui shares.
She advises, "Since they are not the actual parents, the lolos and lolas can only hope that over time their children will see the wisdom of setting and enforcing — age-appropriate rules and limits. But if parents let their children treat them with disrespect, grandparents can step in and say that lolo or lola won't tolerate rude behavior such as talking back to their elders."
What visiting grandparents can do is simply act as advisers, but they are free to enforce their own rules when the kids are on their turf. "They can caution the kids against jumping on the sofa, or eating too much junk, even if this is allowed in their own homes," Gui says.
Bonding activities
There are so many things that can strengthen a bond between grandparent and apo. While having a grandkid may inspire our senior citizens to be more active, advancing age may prevent a vigorous play day. Here are some things that they can enjoy together:
Story time. Lolo and Lola can be a rich source of stories about the child's heritage. The grandparents can talk about what their childhood was like before the advent of gaming consoles and the internet.
Arts, crafts, and cooking. Lolo may teach the child to make non-tech toys such as a kite or a paper boat. Lola can pass on family heirloom recipes, or maybe give the kids a headstart on Home Economics projects such as crochet and cross stitch.
Tech tutorial. Since kids today are quite tech savvy, they can teach lolo or lola a thing or two about social networking. That way, they can exchange messages or video calls even if the grandparent is away.
Gardening. If the grandparent has a green thumb, maybe they can plant veggies or even fruit bearing trees. This can be a lasting legacy for the young ones who will continue to appreciate what they have planted together even in the years to come.


text:
2020 Conference is deferred to April, 2021.
Same place, same event, one year later.
- Conference Fees
- Accomodation
- Local Sights
- Calls For Papers
- Instructions for Authors
- Submit Abstract/Paper
- Workshop
2020 Conference is deferred to April, 2021.
21-23 APRIL 2020 | University of Waikato, Hamilton, New Zealand
Conference fees
Following the pre-conference workshop on April 21st, the conference opens with pre-dinner cocktails. Delegates can go en masse to a range of restaurants. Conference programme runs on April 22nd and 23rd, concluding mid-afternoon on April 23rd.
Conference fees cover pre-dinner cocktails, two days of conference presentations, two lunches, conference dinner. (Dinner on April 21st and accommodation is not included.)
Conference is being held at University of Waikato, with conference dinner at Wintec Atrium.
|NZ dollars
|Full registration – by March 31
|$440 plus GST
|Institutional members- by March 31
|$365 plus GST
|Overseas registrants (who are members of their national association)
|$365 plus GST
|Full time student/one day registration
|$215 plus GST
|Pre conference Workshop (21st April)
Managing risk in work-integrated learning
Dr Craig Cameron, Griffith University, Australia
|$85 plus GST
|Additional tickets for dinner (e.g. for partner/spouse)
|$85 plus GST
Institutional members in 2019 are: AUT, EIT, Massey University, University of Waikato, Unitec, Victoria University of Wellington, Wintec.
Two ways to register:
a) Register online and pay by credit card in the same process.
After registration, you will receive a GST tax receipt that contains all information needed for reimbursement of fees or by your institution for their records.
b) Receive invoice and pay direct to bank account or by cheque
Contact firstname.lastname@example.com to request an invoice.
For any options other than the above, contact firstname.lastname@example.com.
NZACE has arranged a discounted rate for the Novotel and IBIS Hotel in Hamilton Central. The IBIS Hotel has lower cost rates and is located next to the Novotel. Bookings need to be direct with the hotel, using the following discount codes.
• Novotel – 1835704
There will be a university shuttle from the Novotel to the University (and back) at set times everyday.
Tourism Waikato
While in Hamilton, enjoy some of our local activities!
- The award winning and stunning Hamilton Gardens. Free entry.
- Hobbiton Village, 30 minutes south of Hamilton in Matamata.
The amazing Waitomo Glowworm Caves, blackwater rafting, and ziplining. Everything from an easy glowworm cave experience to a full-on adventure (abseiling into a cave, blackwater rafting!).
Great bush walks and cycling trails
- Blue Springs walkway.
- The Hakarimata ranges.
- Bridal Falls.
- Wairere Falls.
- Great cycle trails.
Call for Papers for 2020 NZACE Conference
Key dates are as follows:
- Abstracts – final date 17th December 2019
- Papers for proceedings – 5th March 2020
- Abstracts for student posters – 5th March 2020
Abstracts will be reviewed with rolling acceptance, with notification received three weeks after submission.
General aims of conference:
➢ to report research in work-integrated learning(WIL)/cooperative education in New Zealand
➢ to debate topical issues
➢ to report on good practice & innovative features
The conference may help WIL practitioners, academics and NZACE members enhance their practice, research and publishing capability.
Conference streams:
➢ Research papers
➢ Topical issues
➢ Good practice papers
➢ Student posters
➢ either Quick Pitch (10 minutes plus 5 minutes for questions) or
➢ Full Presentation (20 minutes plus 5 minutes for questions).
A Quick Pitch presentation is for topics more suited to a short presentation. All presenters are encouraged to submit a paper for the conference proceedings.
Papers will be accepted for the program on the basis of a short 'structured' abstract (see the full Instructions for Authors document).
Papers for the proceedings can be either a short summary paper or the full conference paper. Papers are refereed and published in the conference proceedings. Papers need to be at least 1,200 words and must not exceed 1,800 words (excluding references). Authors may also be encouraged to produce a more substantial paper for publication in a journal such as International Journal of Work-Integrated Learning (IJWIL).
Student posters:
Student posters can be displayed at the conference. An abstract can be submitted for inclusion in the Abstract booklet and inclusion on the NZACE website. Alternatively just bring the Abstract to the conference.
Each poster must accompanied by someone registered for the conference. Posters can demonstrate visually the work a student has undertaken or can demonstrate reflection about their placement in work-integrated learning. Laminated poster minimum size of A2 and maximum of A1. Examples of previous posters available on request.
Call for Papers – Instructions for Authors
Instructions for EASYChair for NZACE Conference
If you have any queries, during the process, please contact firstname.lastname@example.com
EasyChair is an online conference management system used for NZACE Conferences. In order to submit papers to the conference you must first create an EasyChair account.
Note: If you have used EasyChair for a previous conference your existing username and password will work for the current NZACE conference – go to Paper Submission instructions on page 2.
EasyChair Account Creation
1. Go to the EasyChair NZACE Conference page.
2. Click the sign up for an account link
3. Enter the re-CAPTCHA text (this is to stop automated programs from misusing EasyChair)
4. Fill in the form and click Continue
5. You should now get an account creation email from EasyChair. Follow the link provided in the email and complete the Account Creation form and click Create my account.
NZACE EasyChair Abstract Submission
1. Go to the EasyChair NZACE Conference page.
2. Sign in using your EasyChair User name and Password
3. Selected New Submission from the menu bar
4. Complete the form with the author and submission details. Then copy and paste Title and Abstract into the box (NZACE prefers that abstracts are up to 400 words rather than the 500 allowed by Easy Chair). Enter Keywords. Select Topic (Type of Abstract – see instructions for authors for definitions of presentation types)
5. Click the Submit button
At this stage a file with the abstract should not be uploaded. This is for papers at a later date. Just ignore this part of the screen when submitting an abstract.
Pre-conference workshop April 21 – in the afternoon
Managing risk in work-integrated learning
Led by Dr Craig Cameron from Griffith University in Australia
Craig describes the workshop as:
Work-integrated learning poses ethical, legal, reputation, strategic, operational and financial risks for higher education. So what are some of the key risks and how can you manage them? In this hands-on workshop, I will equip you with the nuts and bolts of risk management, followed by group activities that explore recent conundrums experienced by WIL practitioners.
Register for the workshop through the same process as for the conference.
Price: $85 plus GST = $97.75
Who We Are
Our membership consists of staff from institutions around New Zealand who facilitate student work experience in business, research institutes and industry as part of students' educational programmes.
We initiate, support and publish research in cooperative education and provide guidelines for institutions seeking to establish cooperative education programmes. We have links with overseas cooperative education institutions for research and student exchanges.
Every year we host an annual conference for cooperative education practitioners to present research and new programmes.
NZACE News
Dr Jenny Fleming receives prestigous award
Dr Jenny Fleming, from Auckland University of Technology, and our current President, was recently awarded the Ralph. W. Tyler Award by the Cooperative Education and Internship Association, of the United States. This award recognises outstanding and distinguished...
Award Winner – Kathryn Hay of Massey University
Kathryn Hay of Massey University received the annual Social Work Field Placement Recognition Award from the Australia New Zealand Social Work and Welfare Education and Research Association. Congratulations to Kath on being just the second New Zealander to receive the...
Pilgrimage to see the father of Co-operative Education, Professor Herman Schneider
The WACE World Conference, August 2019, was kindly hosted by the University of Cincinatti which is the 1906 birthplace of Co-op and what we now recognise as WIL. Professor Schneider is considered by many as the father of co-op. He was well ahead of his time and had...
Major Sponsors
Thanks to our major sponsors for their support
Work Integrated Learning
Everyone Benefits
- Skilled, motivated temporary staff
- Projects completed cheaply
- Easy recruitment
- Reduced training costs
- Access to tertiary institution personnel and facilities
- Enhanced corporate profile
- Involvement with tertiary institution programs
- Real life learning experiences
- Enhanced career prospects
- Develop personal and interpersonal skills
- Combine work with study
Education Institutes
- Motivated students
- Learning supplemented by work place experiences
- Enhance community profile
- Improve industry links


text: Impeccable open and airy home. Entire home custom painted in the past five months. Heated and cooled garage with cable. Master down. Move in ready. Attic space adjoins upstairs bedroom and has been recently finished and added to square footage. Just needs carpet. $50,000 Kitchen remodel custom handmade cabinetry granite counters lighting microwave drawer custom flooring gas available for range tankless … Read More


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Very considerate of you to do this Vivi.
You know the city buildings with random clustered areas is very similar to the stock construction of Ravenholm and City 17. That being said I must say the setups you came up with seemed to reflect that nicely.
I have studied Ravenholm very much since I am a new learner to the Soruce engine, but its the influence of good material, and guides like these that have helped me to where I am at now.
Very good indeed.


text:
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Showing results for tags 'essential oils'.
Found 3 results
How Aromatherapy can Create a "Greener" and Healthier Home
LizzieWeakley posted a blog entry in Lizzie Weakley's Green BlogThere are few things that can make a home more inviting and pleasant to be in than a wonderful scent. Of course, everything from the kids' smelly shoes and your pets to grease from cooking and more can impact the smell of your home. Many people go to great lengths to overcome these smells and to improve the odor in their space. For example, it is common to spray air fresheners, to use deodorizers on your carpeting and even to light candles in various rooms in the home. While these are common steps to take, aromatherapy may actually be a healthier solution. The Toxins in Air Freshening Products Many air fresheners and other related products contain ingredients that are harmful to the environment as well as to your health. For example, most contain benzene, styrene, formaldehyde and phthalates. Some of these are known carcinogens. Others can increase hormone levels, cause reproductive issues, negatively impact the development of a fetus and more. Different air freshening products contain different levels of these ingredients, and some will opt to use products that have a lower level. However, a better option may be to forgo these products altogether and to opt for aromatherapy instead. What Is Aromatherapy? While most common household air freshening products use harsh, dangerous chemicals to make your home smell great, aromatherapy can produce the same aromatic results by using natural plant extracts and essential oils. These may be some of the same oils and extracts that you may use in your massage oils and bath products. The practice of aromatherapy describes the combination of art and science that come together to create a harmonizing, pleasant and healthy experience for the mind, body and spirit. Gary Young is a leading advocate of aromatherapy, and he has authored many books on the topic that go into great detail about his own health experiences with aromatherapy. How to Use Aromatherapy in Your Home Aromatherapy may most commonly be thought of in relation to making your home smell good, but there are true health benefits associated with aromatherapy as well. Each oil and various combinations of oils can be used to create different and healthy results for you. They have the ability to affect your mood, improve your physical health and help you to feel more spiritually balanced. Choosing oils is the first step to take to enjoy aromatherapy. You should spend time researching the effects each one may have on you. For example, lavender has qualities that will help you to feel more balanced and soothed. Rosemary can be both invigorating and warming. Sweet orange has uplifting, cheerful properties. These and other oils can be incorporated into your home individually or separately to create the healthy results you desire. While you want to choose a scent or a combination of scents that you find appealing and pleasing, you also should be aware of the impact they can have on your mind, body and spirit. Everyone wants a home that smells fresh, clean and pleasant, but daily activities and regular use of the home can often produce odors that are unappealing. Using air freshening products that you purchase at a local store can be effective at making your home smell better, but these products are bad for the environment and can have unhealthy effects on you and your family. The essential oils used in aromatherapy are a better option because they are natural, safe and healthy, and they are also equally as effective at making your home smell great. If you are looking for a great way to improve the odor in your home without creating an unhealthy environment, aromatherapy may be the right solution.
5 All-Natural Ways to Eliminate Pet Odors in Your Home
RachelleW posted a blog entry in Shades of an Apple Green HomePets make a welcome furry addition to any home. Unfortunately, they often generate unpleasant smells that can be hard to remove. The following are five natural remedies for getting rid of pet odors. Vodka and Essential Oils Vodka is a powerful tool in removing pet odors from the home. What makes vodka work so well is that it can quickly absorb any odors. Since it is made from alcohol, it evaporates fast. One recipe for a vodka air freshener includes 3 cups of water, 1 cup of inexpensive vodka, and 10 to 15 drops of essential oils with flavors like eucalyptus, lavender, or citrus. White Vinegar Vinegar is a powerful odor fighting agent. One of the nice things about white vinegar is that it is all natural, so it does not harm the home's occupants with chemicals. Pet odors can be removed from the room by taking white vinegar, putting it in a hand towel, and then ringing the hand towel out. Then wave the towel around the room, and the odors will eventually dissipate. Baking Soda Baking soda has long been used to remove hard to remove odors. Baking soda is more powerful when combined with other odor removing ingredients like vinegar. An odor removing spray can be made by taking 2 cups of water, throwing in a tablespoon of vinegar, and 1 teaspoon of baking soda. Then add 10 drops of essential oil, and the smells will disappear. It is easier to remove pet odors from carpets that have been treated to reduce odor, like the carpets sold at places like JLG Flooring for example. Hydrogen Peroxide Talk to any old-timer or anyone who is grown up on a farm and they will tell you that hydrogen peroxide is an excellent way to remove the smell of pet urine and skunk odor from carpets and upholstery. A tried and tested mixture includes 1 quart of hydrogen peroxide, ¼ cup of baking soda, and a touch of natural liquid soap. This mixture can be applied to an area and allowed to sit for 24 hours. Vanilla and a Light Bulb This is another old-timer trick to cover up unpleasant pet smells from the room. Take a dash of vanilla and put it on a light bulb. As the light bulb heats up, the smell of vanilla will permeate the room, effectively covering over any unwanted pet odors. Owning a pet is a lot of fun. However, it can also be a very smelly endeavor. By following some of the above-mentioned natural remedies, you can easily eliminate unwanted pet smells.
5 Commonly Asked Questions About Essential Oils and Their Use
RachelleW posted a blog entry in Shades of an Apple Green HomeEssential oils have long been used by mankind to treat a wide range of skin ailments and stomach problems, as well as to clean and improve the smell of a home. Recently, essential oils have received positive press in the media, and this has attracted more and more people to them. Yet, since there are many people who are not completely familiar with their use, there are some questions that arise. What Are Essential Oils and How Do They Work? All essential oils come from plants. The oil is extracted from the plant using a wide range of methods, most commonly distillation and expression. In order to be classified as an essential oil, the oil must have the chemical properties of the plant it is extracted from as well as the aromatic properties of that plant. Essential oils work because they are made up of tiny molecules that can easily be absorbed in the body through the skin. These molecules then interact with the body and depending on the plant that they are derived from can kill bacteria, kill viruses, help the body eliminate toxins, as well as provide a wide range of other cures. How Are Essential Oils Used? Most essential oils are used for topical applications. They are often placed on the skin either on the palm, temples, or on the sole of the feet. Since the skin is permeable, the oils are absorbed into the skin, providing different benefits. Some oils are inhaled. This is done by adding a few drops of the oil into a humidifier, putting them in a diffuser, boiling them in water, or by simply smelling the bottle. Some even choose to ingest essential oils, but more research should be done before deciding if this is appropriate for all oils. How Is the Quality of Essential Oils Determined? There are no governmental guidelines determining the potency level of essential oils. The quality is going to be determined on how pure the oil is, if it is directly from the plant, or if it has been adulterated with other sources. Additionally, its integrity, that is if the oils are extracted from a single type of plant or if they are a mixture from different plant species, is an important quality. Every company will define what quality means. Essential oil enthusiasts like Gary Young, founder and CEO of Young Living Essential Oils, have decided to create their own organic farms and distilleries to make sure that the essential oils they use are pure. The quality of the essential oil a person gets will depend on the price they pay for them and the person or company they buy them from. How Effective Are Essential Oils? There are people who have strong opinions about this. There are some individuals who believe that essential oils are the magical cure-all for everything, be it physical or mental. Others do not share this belief. It is a proven fact that essential oils have been used on every corner of the globe by billions of individuals over thousands of years, and these individuals attest to their effectiveness. And it is a fact that all pharmaceutical medicines are based on organic chemistry, including the chemical makeup of some organic oils. What Are the Top Five Oils One Should Consider Purchasing? Some of the more popular oils include lemon, peppermint, frankincense, eucalyptus, and tea tree. It is recommended that people learn about the oils before using them. Once they understand how the oil works and once they see how it makes them feel, then they can increase the amount they use. Essential oils have been providing relief to mankind for many years. It is recommended that a person takes their time and do their research prior to selecting essential oils in order to find the ones that are the most reliable and useful for their situation.


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- Paperback: 536 pages
- Publisher: Oxford University Press; 4 edition (March 4, 2016)
- Language: English
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McWhinney's Textbook of Family Medicine 4th Edition
by Thomas R. Freeman
Highly acclaimed in its first three editions, McWhinney's Textbook of Family Medicine is one of the seminal texts in the field. While many family medicine texts simply cover the disorders a practitioner might see in clinical practice, McWhinney's defines the principles and practices of family medicine as a separate and distinct field of practice. The fourth edition presents six new clinical chapters of common problems in family medicine: respiratory illness, musculoskeletal pain, depression, diabetes, obesity and multimorbidity. This new edition also provides information on stewardship of resources, patient information and data, delivery of care in the home, and consultation and referral. The volume also covers continuing advances in the research base of family medicine. Readers will come away with a deeper appreciation for the role of the generalist in healthcare.
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text: I think the Yola Blog is currently under-used. It features one or two websites for a time and some articles about SEO etc, which is good, but could it be extended to keep readers advised of suspected/confirmed/fixed problems on the platform? This would centralize things like the current run of problem reports on index pages for instance, giving a "one-stop-shop" for checking on such things. Alternatively, another stream could be created to do this.


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'We will get back our five stars' – Bar promises comeback after zero food hygiene rating
PUBLISHED: 15:18 09 September 2018 | UPDATED: 11:56 10 September 2018
A bar has promised to make a quick comeback after being hit with zero food hygiene rating.
Number 1 Bar and Kitchen, in Pier Walk, Gorleston, was handed the rating by Great Yarmouth Borough Council following an inspection in May.
A food safety officer informed the bar that major improvement was necessary in its management of food safety, condition of facilities and hygienic food handling.
Since the rating the business has decided to close its restaurant area to concentrate on simpler bar food.
Manager Karen Lear admitted the rating was "probably a contributing factor" behind the decision and added: "It was time to move on".
She said: "We were a restaurant and a bar but the restaurant area is now a lounge and pool room.
"It's bar meals now rather than a huge menu."
Ms Lear said the low rating was "a hiccup" and explained everything had now been corrected.
She said: "We have addressed everything on the list and everything is up to A1 standards.
"Everything has been put right and we are waiting on the inspector to come back – we will get back our five stars."
If you value what this story gives you, please consider supporting the Great Yarmouth Mercury. Click the link in the orange box below for details.


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Get ready to round down your Kessel Run distance as we review the new Star Wars moive, Solo! Plus, movie news and a look at the first Volume of Deadly
Tag: Star Wars
247: Rebel A Salt
Star Wars: The Last Jedi. And Marvel's Doctor Aphra. That's it. Get Doctor Aphra on Amazon! Train in the Force with us on Facebook and Twitter! Check out some streaming
233: Webby Seconds
Stick around this week and help us say goodbye to the incomparable Len Wein. Gone way too soon. This show is dedicated to him. On the show, we've got news
CONvergence 2017: Day 1
From infinity to the time you get seated at TGI Friday's, we are here to bring you all the news that's fit to cast from CONvergence 2017! Our first day
223: Rat Themes
Whatchu gonna do when we run wild on the new Netflix 80's wrestling show, GLOW? Listen, hopefully. Plus, we've got a review of Get Out from writer/director Jordan Peele, and
215: Summer Slap Fight!
Ring the bell and let the battle Royal begin as we pit 1982 vs 1984 vs 1986 for the title of Best Movie Summer of All Time! Fast Times at
214: Choppy, Choppy, So Sloppy
Get ready for the shade this week as we bring you a show of unpopular opinions! Our unmitigated gall knows no bounds as we bring the heat on Wizard World,
204: The Age of En-Harrel-Ment
Through the fire and flame, JET returns to you this week, with news about Avengers: Infinity War, The Inhumans, Wonder Woman, and Woody Harrelson! Plus, Kal's still batting 1.000 with
199.5: Surf Troopers
Get ready to rebel as we bring you our exclusive review of Rogue One: A Star Wars Story! Plus, a look at the Marvel Star Wars comics of the '70s!
197: Crunkin' Chewbacca
Leave it all on the dance floor with us on this show as we begin our Long March of Christmas Pain by watching 1996's cinematic genital torture-fest, Jingle All the


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A self-guided, self-exploratory play-to-learn, make-and-take space for young inquisitive minds to imagine, create, and innovate. Perfect for all ages. The Studio is open for free-creation and sensory exploration, and our supply bins are stocked with plenty of materials!
Feb. 26 – March 1: Frogs
Did you know that frogs can catch their prey in .07 seconds? Our studio activity this week will have kids creating fun interactive frog faces. Flies beware, these are the fastest tongues in the West!


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Eligibility to Join in One Year Courses.
B.lit (Tamil)
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The Persons Who Have Completed there Above Mentioned Degree can Join in B.Ed.,
OC-50% OF Marks
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Success Begins With The Decision To Try: Overcoming Barriers & Embracing Diversity in Medicine
"It's kind of fun to do the impossible" – Walt Disney
This quote resonates with me on such a personal level. Have you ever had anyone tell you that your dreams are impossible? I have…multiple times. And it's a great feeling to prove them wrong.
My road to becoming a physician was certainly not a traditional one. As a female minority with a background in electrical engineering, I wasn't the "typical" medical school applicant. Throughout my journey, I've faced countless challenges and setbacks along with a fair share of doubters who tried to bring me down. I've encountered racial discrimination so frequently that at one point I became accustomed to it. I've felt like I wasn't being taken seriously by my colleagues because of my gender. I've been prejudiced against by my very own patients. I've had others assume that I was incompetent and inexperienced given my young age. I've felt defeated in so many ways. Although these struggles were difficult to endure, they helped shape me into a stronger person and a more compassionate healer.
Overcoming these barriers helped build my confidence and fueled the fire to chase my ambition of becoming a doctor. I've finally found my voice, and I hope to help empower others who are currently struggling with these issues. The following steps helped me rise above my obstacles, pursue my dreams, and develop a positive mindset regarding my unique background. My hope is that sharing my tips and experiences will help inspire a generation of amazing and diverse young minds follow their dreams.
1. Know that your future is worth it.
Everyone deserves a chance to achieve success. The first step to achieving success is realizing that YOU are worth it. Your FUTURE is worth it. Your SUCCESS is worth it. Embrace your diverse background and allow your unique experiences to make you stronger. Coming from a different background means you have something new to bring to the table. With enough dedication, hard work, and determination, you CAN and WILL make a difference.
2. Identify your barriers.
Success begins with the decision to try. One of the most important steps to success is to recognize how you can move past the barriers that are hindering you from success. These barriers may include financial struggles, lack of emotional or social support, time constraints, family responsibilities, etc. My biggest tip is to reach out to family, friends, or external resources to assist with coming up with a solution. No person is an island, and we have the ability to thrive when we seek the help of others.
3. Get up and try again.
There will be times when you feel like you've failed. The most important thing is to pick yourself back up and keep going. KNOW that you can do this. Remember that each failure and mistake teaches us something new. You've made it this far in life, and nothing can bring you down now.
4. Have confidence in yourself.
Make your presence known and own it! Being a female minority, I often struggled with my confidence and self-esteem. I used to be shy and soft spoken, especially when speaking to superiors that intimidated me. It eventually donned on me that having confidence in yourself will allow others to have confidence in you as well. Believe in yourself and you'll be unstoppable.
5. Embrace your success.
One day you'll look back and realize that everything you worked for was worth it. This is your time to shine! Remember to give back and encourage others who are struggling with the same barriers you've faced. Don't' be afraid to share your story because you never know who you'll inspire!
About the author:
Audrey Sue Cruz, MD is a third year internal medicine resident in Southern California who attended medical school at the University of Nevada School of Medicine. Prior to medical school, she studied and received her bachelor's degree in electrical engineering. However she found that her passion for medicine and her love of math and science lead her to become a doctor, her true calling. Outside of work, Audrey Sue enjoys traveling and seeking new adventures. Follow Audrey Sue on Instagram.


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For nearly 30 years, MBH International Corp. has been exporting commercial foodservice equipment to distributors throughout the Pacific Rim and Middle East. Dedicated to satisfying your needs by offering a broad range of cost effective, premium foodservice equipment designed to uphold the highest level of efficiency, quality and performance, MBH International is an industry leader on the foodservice equipment frontier.
Click here to sample a list of equipment & product lines.
Contact us today to learn more about our premium commercial restaurant equipment, supplies and product lines. We are excited to partner with you to find the perfect fit to optimize your foodservice requirements.
MHB International is proud to introduce, and have readily available, The CROWN Collection—your major source for steam cooking equipment. Visit our CROWN Introduction page to learn more.


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Yes this house in Voronezh is attracting peoples eyes. It's projected in such way it doesn't have any sharp angle. Now it's looking like a castle or some bee hive from the future. Let's see it more detailed:
Actually it's two house complex on a shore of a river.
This is how it looks up close. As you see there are no sharp angles in the shaping of the house – only round parts were used.
Those are photos from inside
Round walls with round windows
Here is plan of an apartment
It's somehow remind those things that you put on side of corners to prevent some sort of contact which can leave you "corner bruises".
Actually it wasn't first time architecture of this kind that was used in Soviet country.
Here is another house from Kiev:
It was also round shaped:
And this house from Belarus:
There is something to such houses making them visually attractive. As they say that nature isn't using right angles, so it might be more "organic" and more nice to human eye.


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A San Bernardino man is in jail Friday night, Jan. 27 after allegedly beating his girlfriend, kidnapping the baby she was sitting, stealing her car and leading police on a chase.
Carlos Valenzuela, 21, was arrested on suspicion of felonies including assault with a deadly weapon, kidnapping, child endangerment, carjacking, domestic violence and evading police, said San Bernardino police Lt. Mike Madden.
For police the incident began 7:23 p.m. with what should have been a routine traffic stop for vehicle code violations. Yet when officers went to pull over the driver, later identified as Valenzuela, he took off for unknown reasons, Madden said.
Moments later, Valenzuela pulled into a shopping center at Base Line Street and Medical Center Drive. Officers saw a woman run up to the vehicle and try to get inside and retrieve a baby.
An officer jumped out of a patrol vehicle to help and Valenzuela kept lurching the vehicle back and forth as they safely removed the baby from the vehicle, Madden said. Valenzuela then sped away with police in pursuit.
As they neared California Street and 20th Street officers executed a PIT maneuver, causing Valenzuela to spin out and enabling officers to take him into custody about 13 minutes after the attempted traffic stop.
Police learned the incident began in the 1800 block of West 19th Street when Valenzuela went to where his girlfriend was babysitting a 16-month-old boy, Madden said. Valenzuela was reportedly upset with her for unknown reasons and allegedly beat her repeatedly with a stick. He then allegedly took the baby and drove off in his girlfriend's car.
Madden said Valenzuela's girlfriend called the baby's mother, and one of them called Valenzuela to plead that he stop and release the baby.


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In a world in which technology is influencing nearly every decision we make, we thought it was time to create an opportunity for Sheffield's tech scene to stay in the loop and learn more.
Spaces Acero has recently joined forces in a partnership with Sheffield Digital, in attempt to further the digital awareness and recognition that Sheffield deserves.
DigixSpaces is an event series composed of a number of technology related talks. Bringing companies and communities from across the UK together; our first edition is based on Machine Learning and AI. Join us for a night of networking, drinks, food and 3 talks to learn more about the progression of AI. Expect to learn more about starting out in the digital world and the journey from an idea to the execution of a product all based around Machine Learning.
Spaces and Sheffield Digital members will receive discounted tickets. Plug into our space for our not-so-ordinary tech event.


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|These aren't the spoilers you're looking for.
It's just "Star Wars Trilogy" and that's good enough for us.
The Packaging
Reasonably attractive, the three tapes each come in their own sleeve, while a cardboard box plastered with starfighters and whatnot comfortably keeps the tapes together. A separate translucent sleeve slides over the bigger box, keeping the tapes from spilling out when you move from your dorm room back to your parent's basement. (Kidding, kidding.)
You can face the tapes out either way, one alignment shows the Light Side characters (Yoda, Luke, and the Droids), the other shows the Emperor, Darth Vader, and an anonymous Stormtrooper.
Overall, pretty attractive, and certainly more bookcase-friendly than some of the flat boxes of the past.
Goodies Inside
All right, "goodies" may be overstating the case. You'll find better prizes inside of a box of Crackerjacks (maybe not, but it sure feels like it). Basically you get a coupon book and two cards from the 'Jedi Knights' trading card game, which is kind of like Magic: The Gathering but with Star Wars stuff.
|Bonnie Piesse (young Aunt Beru).
Actually, make that one card -- the other one is just an ad for the trading card game. Our one real card was "Darth Vader's Lightsaber." Well, that's pretty cool.
The coupons (about $40 worth) are for various Legos, books, games, and even toothpaste. Yeah, toothpaste. If the Force can't fight cavities, nothing can.
The original trilogy
There's not much to say about the three original movies, A New Hope, The Empire Strikes Back, and Return of the Jedi. It's Star Wars, for goodness sake. If you don't what we're talking about, we don't know how you ended up on this website. Maybe you clicked on the wrong link in the search engine while looking for naked pictures of Lara Croft.
|Joel Edgerton (young Owen Lars).
These particular tapes are the 1997 Special Edition versions of the three movies: digitally mastered in THX. They're probably as good as a version of the original trilogy as you can get on VHS. But still, they're VHS. Apparently DVD is still too "experimental" for Lucasfilm.
Episode II: The Saga Continues
Ah, now this is what you're interested in, right? This is this year's big "selling point" for the re-released trilogy: a short, ten minute documentary titled "Episode II: The Saga Continues."
Actually the first thing you'll see when you pop in A New Hope is a short, one minute promo for www.starwars.com. We only mention it because it's kind of neat: it stitches together scenes from the original trilogy with The Phantom Menace in a slick, fast-cutting way that makes them look pretty close in quality, at least on VHS.
|George Lucas in official Star Wars Club sweater.
Once that's out of way, it's on to the documentary proper. A brief title scene pops up, announcing "Episode II: The Saga Continues," tricking your brain for just half a second into thinking you're about to see "Episode II." Then George Lucas appears and reality sets back in.
NOTE: minor spoilers ahead
Just like in "The Making of The Phantom Menace", Lucas doesn't really have much too say; this is not deep documentarian work by any stretch of the imagination. He talks vaguely about how the various movies will fit together, and then we segue into the first real spoiler, an examination of the Owen and Beru homestead on Tatooine, which will be revisited in Episode II.
Much ado is made of the difficulty of recreating the homestead as it appeared in Episode IV twenty-five years ago. Shots and a few reference photos from A New Hope are lovingly compared to the impressive set that's been built in the Australian outback, and the viewer can't help but conclude that yes, the new house does look a lot like the old one. It's hardly an earth-shattering revelation, however.
|Production designer Gavin Bocquet holds court in the new Lars homestead.
We're also introduced to Joel Edgerton (Uncle Owen) and Bonnie Piesee (Aunt Beru), two youthful and earnest actors who talk about how they studied the New Hope scenes of their predecessors with a great attention to detail as they prepared for their roles. They are amusingly charming, but there's so little of Aunt Beru and Uncle Owen in the originals that you can't help but wonder what they're going on about at such great length. Edgerton also describes his interactions with Anthony Daniels (C-3PO).
Speaking of Anthony Daniels, much of the rest of the documentary has the Golden One talking about the evolution of C-3PO, the development of his character, and the transition from the skeletal, incomplete C-3PO seen in The Phantom Menace to the more completely constructed one that will be seen in Episode II. That leads us to the documentary's other minor spoiler: some footage of Daniels putting on the new C-3PO costume, which looks a lot like the one he wore in the original trilogy but less refined: rather than glittering gold, it looks like gritty, unfinished steel.
The documentary concludes by revisiting with Lucas, and the wise old master gives another minute or minute and a half dissertation comparing the limited scope of the original trilogy to the much grander sweep and Galactic pageantry that is presented in the current batch of films.
And that's it.
Bottom Line
If you're one of the five people on the planet without a copy of the original trilogy on VHS, this is a pretty sensible purchase, one that will in fact let you rejoin the rest of the human race. But if on the other hand you already have a Star Wars boxed set, particularly if you already have the 1997 Special Edition version, there's not a whole heck of a lot of reasons to pick this up. At least not for yourself.
|A new look for C-3PO.
Of course you fanatical Star Wars completists and hardcore Lucasians out there probably already own this thing, so there's not much we can say to dissuade you from ponying up your annual $30+ tax to Lucasfilm.
But for the slightly less rabid fan, we may have figured out a way you can view the "Episode II" mini-documentary without blowing another $30 on the same damn movies (assuming you don't just have some slightly nuttier friend whose tapes you can watch).
That's right, it's holiday shopping season! Surely there is some benighted soul in your family who doesn't yet have their own copy of the trilogy -- maybe Grandma or Grampa or your three-month-old niece. It's the season of giving, and everyone deserves a present you're interested in!
Come to think of it, Grampa probably needs some "Star Wars" toothpaste too...
Discuss the various incarnations of Star Wars on the IGN Sci-Fi Movies Message Board.


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Study Without Stress Workshop 22 November 2019
Study Without Stress: a cognitive behavioural therapy program for years 11 and 12 students
Presented By: Professor Viviana Wuthrich and Dr Carly Johnco
This one day training will enable psychologists, teachers and school counsellors to implement the Study Without Stress program within a school environment or in a clinical setting. The program has its theoretical basis in Cognitive Behavioural Therapy (CBT) and is designed to specifically target difficulties many students have in coping with the building stress during Years 11 and 12. The program can be completed by students during or outside of classes in one school term and is ideal for students already experiencing high stress levels.
Who Should Attend
This workshop is open to psychologists, school counsellors and teachers in a wellbeing/mental health support role (e.g. pastoral care teacher), and other mental health workers with relevant qualifications and experience.
Professor Viviana Wuthrich
Professor Wuthrich's research focuses on the understanding and treatment of anxiety and mood disorders in children, adolescents and older adults. She has developed a number of manualised and computerised treatment programs for children and older adults that have been shown to be efficacious in randomised controlled trials including the Study Without Stress Program, Cool Kids Anxiety Management Program, Cool Teens and Chilled Out computerised programs for anxious adolescents, and the Ageing Wisely program for comorbid anxiety and depression in older adults.
Dr Carly Johnco
Dr Johnco's research is focused on understanding and treating anxiety and related disorders in youth and older adults. Her research has three main streams: 1) understanding the mechanisms that contribute to the development of anxiety, including neurocognitive and learning mechanisms, 2) identifying age-relevant factors that maintain anxiety and related conditions, and 3) whether we can use our knowledge of the mechanisms that underpin anxiety to enhance our treatments.
Instructional Method
Lecture and interactive discussion.
Learning Objectives
At the end of the workshop, attendees will be able to:
- Implement the Study Without Stress program within a school environment or clinical setting.
- Teach students cognitive and behavioural skills to manage the stress linked with an increased workload and academic pressure associated with years 11 and 12.
- Equip students with both knowledge and practical tips to overcome unhelpful thinking styles, create a study-life balance, manage anxiety and problem solve.
- Evaluate the usefulness of the program in their school.
Workshop Times
Registration: 8:30am to 9:00am
Workshop: 9:00am to 4:00pm
Workshop Fees
Special end of year workshop fee: $330
Student Concession: $230
Registration Closes 20 November 2019.
Morning tea, lunch and afternoon tea will be provided.
Workshop Materials
All participants of this workshop will need the Study Without Stress Program kit to use throughout the workshop. The kit can be purchased here and will be available for pick-up on the day of the workshop. The kit includes a therapist manual and an adolescent workbook.
Additional handouts will be made available to attendees on the day.
If you would like to purchase the Study Without Stress Program kit to review prior to the workshop, please visit the Centre for Emotional Health online bookshop to place your order with your delivery instructions. The kit is priced at $55.
Certificate Of Attendance
In order to receive a certificate of attendance for the workshop you must attend the full day.
Workshop Location
Seminar Room 1.601, Australian Hearing Hub, 16 University Avenue, Macquarie University, NSW 2103.
Getting To Macquarie University
Macquarie University is 27km (approx. 40 min drive) from Sydney Airport and is easily accessible by car, train and bus. The Macquarie University train station on the Sydney Metro Northwest line.
Parking Options
Macquarie University has several campus carparks that can be paid either using a ticket machine (charged by the hour) or PAYG online via the CellOpark app (charged by the minute). Learn more about visitor parking options here.
Alternatively, free street parking is available on Culloden Road or Waterloo Road, (Macquarie University side).
Local accommodation within walking distance to the venue includes the following:
- Travelodge North Ryde
- MGSM Executive Hotel & Conference Centre
- Holiday Inn Express Sydney Macquarie Park
Cancellation Policy
- A 20% cancellation fee will be charged for written cancellations received before 15 November 2019.
- No refund is available after the registration deadline of 15 November 2019, however a substitution is permitted (i.e. another person may attend in your absence).
- If there are extenuating circumstances preventing your attendance, please contact the CEH via firstname.lastname@example.com.

Study Without Stress: a cognitive behavioural therapy program for years 11 and 12 students

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Site Directions
Macquarie University has several campus carparks that can be paid either using a ticket machine (charged by the hour) or PAYG online via the CellOpark app (charged by the minute). Learn more about visitor parking options here.
Alternatively, free street parking is available on Culloden Road or Waterloo Road, (Macquarie University side).
Public Transport
There are many different ways to get to Macquarie University. We encourage people to use sustainable methods of travel where possible. There are regular train and bus services extending to areas right across Sydney.
Please visit http://www.mq.edu.au/on_campus/getting_to_macquarie/ for transport options.
|Session Notes
|Fri 22 Nov 2019
|9am - 4pm (UTC+11:00)
|Seminar Room, Level 1,1.601 - Australian Hearing Hub


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Product Description
A purse with a cross body cord. 3 compartments, one open scoop pocket, one zippered pocket for extra security, main body compartment for bigger goodies, one small interior pocket. 8 x 10 x 2.5
Click to shop more Maruca – most styles are available in any pattern you see here. Ask if you see a pattern you love but want to see it in a different style, please ask!


text:
At this time we lived in a community.
Comment: Getting a flashback again Madame M..
Today she is shaved and pierced.As a young girl she had a big black bush
Spring break!From a girl to a woman!
Comment: Your budding like a flower>>
You see the erotic is growing in herself.
At this time,we often are naked for picnic in the forest
The whole life waits for her.
Comment: Care free in the day>>
Under the skin of this shy girl a big sexual energy is growing up.
natuaral outdoor erotic.Sex every day!
Comment: You always have a great story. Madame M.. Thanx for the flashback and I'll be floating in RedClouds for you!!