text:
Mexico and the United States celebrate 200 years of a forward-looking relationship
Mexico City –
To celebrate the bicentennial of relations between Mexico and the United States, Presidents Andrés Manuel López Obrador and Joe Biden exchanged letters in which they highlighted the importance of friendly relations between the two countries.
In Biden's statement, the US President stressed that cooperation has deepened in recent months and recognizes that mutual security and prosperity are intertwined and common aspirations are achieved when working together based on respect can go.
In response, President López Obrador sent him a letter saying relations are currently unbeatable and highlighting the fact that Biden has not even ordered the construction of a one-meter wall on the shared border.
López Obrador announced that at a summit of North American leaders to be held on January 9 and 10 in the Mexican capital, he would present a program on issues related to imports and the well-being of the peoples of Latin America and the Caribbean.
President Biden's letter was delivered by US special adviser Chris Dodd, who led a delegation of US officials who met with the Mexican president.
After the meeting, Foreign Minister Marcelo Ebrard explained that the next summit would seek to move forward in the Alliance for Prosperity.
"How can we do to reduce poverty, increase welfare, because if not, economic growth is not very useful and then the issue of alliance will be raised at the summit, why don't we join forces for prosperity Unite, form an alliance and a new deal between the countries of Latin America and the United States?
The proposal, explained Ebrard, "is that Latin America should be treated with respect, as an ally, with respect for its integrity and that we leave behind many of the negative experiences that we have had with interventionism."
In the letters, the presidents highlighted the fact that the bicentennial is exactly on December 12 when Mexico celebrates the day of the Virgin of Guadalupe.
Join Voice of America! subscribe our channel youtube Activate more notifications, or follow us on social networks: Facebook, Twitter I instagram,
CA Osasuna lost at home against Osasuna Feminino Deportivo (0-1) – Official website
Mexico earthquake kills one person and damages buildings in Colima
Countries with lower-than-expected vaccination rates show unusually negative attitudes toward vaccines on Twitter
A brush with basil! Rachel Allen puts the herb to good use in soups, Thai broths, pesto and mojito dishes.


text:
Tennessee Walker
Tennessee Walking
TWHBEA
Winfield, WV 25213
Tennessee Walking Gelding for Sale in Winfield, WV
Beautiful, smooth gait, Tennessee Walking horse that is great for for trail riding. This horse has two registrations Racking Horse Breeders' Assoc. of AM and the Tenn. Walking Horse Breeder' and Exhibitors' Assoc.
About Winfield, WV
Winfield was established on a 400-acre (160 ha) tract of land owned by Charles Brown. He established a ferry across the river in 1818. The first meeting of the county court was held at the home of Talleyrand P. Brown, in Winfield, on May 22, 1848. The town was incorporated on February 21, 1868, and named in honor of Winfield Scott, the commanding general of the U.S.
Horses in West Virginia
Tennessee Walking Horses
Tennessee Walking Horses in West Virginia
Huntington, West Virginia
South Charleston, West Virginia
Classified ad of Tennessee Walking Gelding for Sale in Winfield, WV

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: How would you reset radio inputs onClick? ReactJs Everything works fine, onClick the filters are removed and reset, but the radio inputs do not get removed. How would one go about resetting the radio inputs?
....
....

const [filters, setFilters] = useContext(FilterContext);

const toggleSelection = (e) => {
    setFilters((prevFilters) => ({
      ...prevFilters,
      [e.name]: e.id,
    }));
  };

const resetFilters = () => {
    setFilters({
      guest: 0,
      value: [200, 500],
      type: "",
      bed: "",
      view: "",
    });
  };

return (
...
...
<Categorie>

Type

  <Selector>
    <Selection
     type="radio"
     name="type"
     id="room"
     onClick={(e) => toggleSelection(e.target)}
    />
    <SelectionLabel htmlFor="room">room</SelectionLabel>
    <Selection
     type="radio"
     name="type"
     id="suite"
     onClick={(e) => toggleSelection(e.target)}
    />
    <SelectionLabel htmlFor="suite">suite</SelectionLabel>
  </Selector>
</Categorie>

...
...

<Categorie>
  <Selection id="reset" onClick={resetFilters} />
  <SelectionLabel htmlFor="reset">reset</SelectionLabel>
</Categorie>

)

I've looked around, messed around with the checked property but couldn't figure it out.

A: You can try useRef(). The idea is to create a reference to your radio inputs so you can control them through it. Here is some code:
....
....

const [filters, setFilters] = useContext(FilterContext);
const radioRef = useRef();
...

Assign it to the element:

    <Selection
     ref={radioRef}
     type="radio"
     name="type"
     id="room"
     onClick={(e) => toggleSelection(e.target)}
    />

Then just use it like so:
radioRef.current.checked = false;

This will uncheck the radio button linked to radioRef.
Here is a very basic Sandbox: https://codesandbox.io/s/hopeful-fermi-y59mf?file=/src/App.js
Note that this will work on a naked <input ... element. Since you seems to be using some framework, there might be a problem with this approach, but I doubt there will be.

redpajama_set_name: RedPajamaStackExchange


text:
PEC starts the year with $79 million worth of new contracts
Feb 6, 2014, 10:02 pm SGT
http://str.sg/ZkG6
Rachael Boon
rachaelb@sph.com.sg
Specialist engineering group PEC announced that it has secured $79 million worth of new contracts from repeat multinational corporations.
One contract includes providing engineering, procurement and construction works for a storage facilities terminal in Singapore, slated to be completed in September.
Another contract will see PEC providing field piping erection works for a liquefied natural gas plant in Malaysia, slated for completion by January 2016.
Other contracts include civil, mechanical, structural and piping works for various refinery facilities in Singapore, and are expected to be completed in the next 12 months.
Group chief executive Robert Dompeling said: "That we were able to secure these contracts underscores PEC's strong position in the downstream process engineering industry.
"Our long-standing relationships with leading industry players who value our commitment to excellence continue to stand us in good stead."
He said that long-term plans include building up the business, especially in the maintenance services sector.
Opportunities in target markets across Asia and the Middle East will also be explored for the firm to grow its reach.


text: 104. (Carl D. Lothrop) Boston Show, Week of Nov. 25, 1907. (Monday Nov. 25--Night Show.) Ellen Richards. On at 6.23, 10 min, full stage; 3 shows. An excellent performer on the tight wire, and has a pleasing stage presence. Thoroughly all right for the smaller houses in an early spot. In fact, she is a fine at her money. Robinson and Fanchette. On at 6.33, 15 min, in 1; 3 shows. It is due to them to say that they prefer to work full stage, with a close in 1, but are working entirely in 1 this week as a matter of accomodation. A fair character singing and dancing act, but I do not care to recommend it for anything better than 3-a-day. L. A. Street. On at 6.48, 12 min, full stage; 3 shows. A foreigner who has come over to take a chance and is working this as a trial week. He juggles rubber balls exclusively. He attempts comedy, but his humor is pathetic. I think that his act would be all right straight, for he really does some capital work. Cannot recommend him very highly on his showing today, but if he improves sufficiently to warrant, will make further report on him. Stereopticon. On at 7 o'clock, 8 min. "Rome". The Rinaldos. On at 7.08, 11 min, full stage; 3 shows. An excellent straight hoop-rolling act. Good enough for any house, although not quite in the same class with the Alpha Trio. Ila Grannon. On at 7.19, 11 min, in 1. Rather a pretty girl with an extremely pleasing personality and voice. Sings popular songs very well indeed and made a pronounced hit with this afternoon's audience. I regret that I cannot give her a better spot in this week's bill, for she would make good as late as 2.45 and 9 o'clock. Orchestra. 7.29 No Overture. Kennedy and Rooney. On at 7.30, 20 min full stage, 4 min close in 1; 24 min in all. For all anybody can understand of Kennedy's talk, he might be called "The indistinct comedian". However, he is an exceptionally good eccentric dancer and pianist, while Miss Rooney is dainty and certainly can step some. I think it would improve this act greatly if Kennedy would find some way to cut it down to about 16 min. Majestic Musical Four. On at 7.54, 16 min full stage, 4 min close in 1; 20 min in all. Four extremely good instrumentalists. Must be credited with a hit. Almost as good as the Exposition Four. Clarence Wilbur and Co. On at 8.14, 27 min full stage, 4 min close in 1; 31 min in all. I must confess that i was nervous about this act, on account of Wilbur's burlesque training, but I am pleased to state that the act, while distinctly low-comedy, got by without a cut on account of any objectionable matter. It certainly got a lot of laughs, and while I question its being worth $850, it is without doubt a good comedy act. Tonight is the first time the act has ever closed in 1, but there is no reason why it should not do so any time, as I think it strengthens the finish. Burke, who handles the act, does not feel that same breath with the Metzettis. Batty's Bears. On at 10.11, 14 min, full stage. Played the Orpheum last week but had this week open and were added to our show particularly as a children's feature for a holiday week. In its present shape I think that the act is very much to the good, and think that the early adverse reports must have been due to the fact that the bears did not recover from their sea-voyage. Mr. Batty also tells me that the animals must be worked constantly or they forget. So long lay-offs are fatal to his success. Robertson and Fanchette. Pimple squib. Comment. The great fault of this show is that there is too much of it. If I could dispense with one of the full stage acts, and turn another one into a crack-a-jack act in 1, it would improve it greatly. However, it seems to have pleased the audiences, both this afternoon and evening, and I think it will make a good holiday week bill.


Porcelanosa Oxford Cognac 22 x 90 cm – A stunning wood effect rectified porcelain floor tile with realistic texture, colour variations and matt finish. Suitable for use on internal walls, internal floors, external walls and shower walls.
To discuss Porcelanosa Oxford Cognac price, availability and alternatives, please call us on 0121 270 8808.


text:
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN" "http://www.w3.org/TR/html4/loose.dtd">

<meta http-equiv="Content-Type" content="text/html; charset=UTF-8">
<title>TeeInputStream</title>
<meta name="date" content="2015-09-17">
<link rel="stylesheet" type="text/css" href="../../../../../stylesheet.css" title="Style">

JavaScript is disabled on your browser.

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org.apache.commons.io.input

Class TeeInputStream

java.lang.Object

java.io.InputStream

java.io.FilterInputStream

org.apache.commons.io.input.ProxyInputStream

org.apache.commons.io.input.TeeInputStream

All Implemented Interfaces:

java.io.Closeable, java.lang.AutoCloseable

public class TeeInputStream
extends ProxyInputStream

InputStream proxy that transparently writes a copy of all bytes read
 from the proxied stream to a given OutputStream. Using ProxyInputStream.skip(long)
 or ProxyInputStream.mark(int)/ProxyInputStream.reset() on the stream will result on some
 bytes from the input stream being skipped or duplicated in the output
 stream.

 The proxied input stream is closed when the close() method is
 called on this proxy. It is configurable whether the associated output
 stream will also closed.

Since:

1.4

Field Summary

Fields inherited from class java.io.FilterInputStream

in

Constructor Summary

Constructors

Constructor and Description

TeeInputStream(java.io.InputStream input,
              java.io.OutputStream branch)

Creates a TeeInputStream that proxies the given InputStream
 and copies all read bytes to the given OutputStream.

TeeInputStream(java.io.InputStream input,
              java.io.OutputStream branch,
              boolean closeBranch)

Creates a TeeInputStream that proxies the given InputStream
 and copies all read bytes to the given OutputStream.

Method Summary

All Methods Instance Methods Concrete Methods

Modifier and Type
Method and Description

void
close()

Closes the proxied input stream and, if so configured, the associated
 output stream.

int
read()

Reads a single byte from the proxied input stream and writes it to
 the associated output stream.

int
read(byte[] bts)

Reads bytes from the proxied input stream and writes the read bytes
 to the associated output stream.

int
read(byte[] bts,
    int st,
    int end)

Reads bytes from the proxied input stream and writes the read bytes
 to the associated output stream.

Methods inherited from class org.apache.commons.io.input.ProxyInputStream

afterRead, available, beforeRead, handleIOException, mark, markSupported, reset, skip

Methods inherited from class java.lang.Object

clone, equals, finalize, getClass, hashCode, notify, notifyAll, toString, wait, wait, wait

Constructor Detail

TeeInputStream

public TeeInputStream(java.io.InputStream input,
                      java.io.OutputStream branch)

Creates a TeeInputStream that proxies the given InputStream
 and copies all read bytes to the given OutputStream. The given
 output stream will not be closed when this stream gets closed.

Parameters:

input - input stream to be proxied

branch - output stream that will receive a copy of all bytes read

TeeInputStream

public TeeInputStream(java.io.InputStream input,
                      java.io.OutputStream branch,
                      boolean closeBranch)

Creates a TeeInputStream that proxies the given InputStream
 and copies all read bytes to the given OutputStream. The given
 output stream will be closed when this stream gets closed if the
 closeBranch parameter is true.

Parameters:

input - input stream to be proxied

branch - output stream that will receive a copy of all bytes read

closeBranch - flag for closing also the output stream when this
                    stream is closed

Method Detail

close

public void close()
           throws java.io.IOException

Closes the proxied input stream and, if so configured, the associated
 output stream. An exception thrown from one stream will not prevent
 closing of the other stream.

Specified by:

close in interface java.io.Closeable

Specified by:

close in interface java.lang.AutoCloseable

Overrides:

close in class ProxyInputStream

Throws:

java.io.IOException - if either of the streams could not be closed

read

public int read()
         throws java.io.IOException

Reads a single byte from the proxied input stream and writes it to
 the associated output stream.

Overrides:

read in class ProxyInputStream

Returns:

next byte from the stream, or -1 if the stream has ended

Throws:

java.io.IOException - if the stream could not be read (or written)

read

public int read(byte[] bts,
                int st,
                int end)
         throws java.io.IOException

Reads bytes from the proxied input stream and writes the read bytes
 to the associated output stream.

Overrides:

read in class ProxyInputStream

Parameters:

bts - byte buffer

st - start offset within the buffer

end - maximum number of bytes to read

Returns:

number of bytes read, or -1 if the stream has ended

Throws:

java.io.IOException - if the stream could not be read (or written)

read

public int read(byte[] bts)
         throws java.io.IOException

Reads bytes from the proxied input stream and writes the read bytes
 to the associated output stream.

Overrides:

read in class ProxyInputStream

Parameters:

bts - byte buffer

Returns:

number of bytes read, or -1 if the stream has ended

Throws:

java.io.IOException - if the stream could not be read (or written)

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Detail:

Field |

Constr |

Method

redpajama_set_name: RedPajamaGithub


Use pumpkins for festive ways to ice down drinks this Halloween.
Hi. I'm Vicky, Associate Food Editor for Southern Living magazine. Start a tradition this Halloween by making spider pumpkin coolers to ice down drinks for your party. These copper spider legs will last for years so you'll be able to use them again and again. The copper will develop a patina that adds real character. You can always polish the legs if you prefer a shiny finish. You can select the size of copper tubing that best fits your pumpkin. You want to cut the tubing to the desired length with a hacksaw or a copper tube cutter. The cutter is the easiest to use. You can purchase these at a hardware or home improvement store when you get the tubing. You want to measure and mark [SOUND] the lengths of copper before you start. You're going to attach the copper to cutter by fitting it into these two little grooves here. You twist the knob. You'll be able to feel the edge of the blade on the copper. And don't do it too tight or you'll crimp it. Once you get it on, you turn it. Now, loosen up a little bit, and then tighten it again. Keep turning until you have a clean cut. Any rough edges can be sanded down with an emery board. For each pumpkin you'll cut a total of eight legs that are the same length. We've got a few samples here to show you. I call these curvy legs and then right-angle legs. Curvy legs are made from a coil of soft copper tubing that she usually use to connect an ice maker to its water source. This version is the easiest to create. Once they're cut, all you have to do is attach them to the sides of the pumpkin. To make s shaped legs, take a piece of the tube and lay it on a flat surface and hold it with one hand. Using the other hand, slowly bend the copper into the desired shape. You'll want to make a larger curve at the top. And a smaller shape for the foot. Once you make the first leg, use it as a guide for the other seven. For legs with fixed right angles, purchase straight pieces of tubing. These legs were each made from a 12 inch piece. You'll also need 16 right angle fittings or elbows. Cut three pieces, two short and one long from each 12 inch length. These are two inches, six inches, and four inches. Glue the sections and the fittings together. We had it in caps on to the foot ends of some of these legs. We wanna secure these with glue too. Be sure to let all the glue dry. Clean your pumpkin. Cut and discard the top, seeds and stringy pulp from the inside. Attach the legs by gently pushing the tubing into the sides of the pumpkin. The edges of the two will easily pierce the skin. Space the legs around the sides and do your best to match up the positions from side to side so your spider will be balanced. If you're serving drinks in your pumpkin cooler inside or on a table or surface that could be damaged from condensation, take precautions to protect it by lining the pumpkin with a large plastic bag [SOUND]. Tucking the ends under. Then add ice, and your favorite beverages. Add you're done.


text:
Perspectives médiévales
Revue d'épistémologie des langues et littératures du Moyen Âge
AccueilNuméros37Études & travauxDossier : Le thème médiéval aux É..."This Rude Chivalry of the Wilder...
Le Moyen Âge en Amérique du Nord
Études & travaux
Dossier : Le thème médiéval aux États-Unis : entre fascination et répulsion
"This Rude Chivalry of the Wilderness": Chivalry and Native Americans in Cooper's and Irving's American Novels
Pauline Pilote
https://doi.org/10.4000/peme.9487
Résumé | Index | Plan | Texte | Bibliographie | Notes | Citation | Auteur
« In the four quarters of the globe, who reads an American book? » Cette phrase bien connue est tirée d'un compte-rendu fait en janvier 1820 par Sidney Smith du livre d'Adam Seybert Statistical Annals of the United States of America pour l'Edinburgh Review. Ce n'est sans doute pas un hasard si ce même texte suit dans le numéro un article qui fait un compte rendu des œuvres de Scott publiées jusqu'alors et qui cite en guise d'exemple de longs extraits du dernier roman en date, Ivanhoe. En effet, ce roman de Sir Walter Scott qui met en scène l'Angleterre médiévale fut sans doute l'un des plus populaires aux États-Unis. Cet engouement révèle alors un attrait pour le Moyen-Âge européen chez les Américains des premières décennies du xixe siècle. En effet, les contemporains américains de Scott ont recours aux motifs médiévaux déjà présents dans Ivanhoe – stéréotype du chevalier servant, demoiselle en détresse, code de l'honneur, etc. – pour décrire les Amérindiens qui peuplent leurs textes. James Fenimore Cooper, dénommé le « Scott américain », tout comme Washington Irving transposent ces motifs médiévaux sur le wilderness et dépeignent ainsi le Nouveau Monde comme une terre vouée aux prouesses chevaleresques. Ce paysage supposé primitif en vient alors à être paradoxalement pourvu d'une atmosphère de romance.
"In the four quarters of the globe, who reads an American book?" This oft-quoted sentence actually comes from a review written by Sidney Smith in January 1820 for the Edinburgh Review of Adam Seybert's book, Statistical Annals of the United States of America. Yet this text also follows, in the same issue, an article reviewing the whole of Scott's texts that had been so far published and which quotes lengthy excerpts from the latest romance, Ivanhoe. This book in particular, which takes medieval England as its background, was probably one of the most widely read of the Waverley Novels in America. The enthusiasm of the American readership in the early decades of the 19th century seems to reveal a general attraction for the European Middle Ages. Indeed, Scott's American contemporaries resort to the medieval apparatus that was brought back into fashion by Ivanhoe – stereotypes of knight-errantry, damsels in distress, code of honour, etc. – to describe the Native Americans that people their narratives. Both Cooper – the "American Scott" – and Washington Irving thus transplant medieval features onto the wilderness, thereby presenting the New World as a land calling for chivalric feats, paradoxically endowing that supposed pristine landscape with a general atmosphere of romance.
Index des médiévaux et anciens :
Jean Froissart, Thomas Malory
Amérindiens, chevalerie, États-Unis-d'Amérique, réception, sauvagerie
Native American, United States of America, reception, wilderness
nativo americano, Stati Uniti d'America, ricezzione, selvatichezza
Œuvres, personnages et lieux littéraires :
A Legend of Montrose, A Tour on the Prairies, Abbotsford and Newstead Abbey, Amadis de Gaul, Anne de Geierstein, Astoria, Chronicles of the Cid, Count Robert of Paris, Essay on Chivalry, History of Chivalry, History of the Crusades, Ivanhoe, Lady of the Lake, Lay of the Last Minstrel, Maid Marian or the Huntress of Arlingford, Palmerin of England, Quentin Durward, Reliques of Ancient English Poetry, The Abbot, The Adventures of Captain Bonneville, The Betrothed, The Bride of Lammermoor, The Deerslayer, The Last of the Mohicans, The Leatherstocking Tales, The Monastery, The Pioneers, The Port Folio, The Talisman, The Wept of Wish-Ton-Wish, Waverley Novels, Western Narrative
Index des modernes :
James Fenimore Cooper, Robert Henry, Washington Irving, Thomas Johnes, Charles Mills, Thomas Percy, William Russell, Walter Scott, Sidney Smith, Robert Southey, Joseph Strutt, Gilbert Stuart, Sharon Turner, Mark Twain
"Here are no 'gorgeous palaces and cloud capped towers'": Ivanhoe in America
"A last foothold left for a remnant of chivalry in the wild life of the Far West": The Chivalrous Way of Life of American Indians
"A region fruitful of wonders and adventures": Knight-errantry in "the Forest of Ill Fortune"
1 Mark Twain, Life on the Mississippi, New York, Library of America, 1982, p. 500-501.
Then comes Sir Walter Scott with his enchantments, and by his single might checks this wave of progress, and even turns it back; sets the world in love with dreams and phantoms; with decayed and swinish forms of religion; with decayed and degraded systems of government; with the sillinesses and emptinesses, sham grandeurs, sham gauds, and sham chivalries of a brainless and worthless long-vanished society. He did measureless harm; more real and lasting harm, perhaps, than any other individual that ever wrote. […] There, the genuine and wholesome civilization of the nineteenth century is curiously confused and commingled with the Walter Scott Middle-Age sham civilization; and so you have practical, common-sense, progressive ideas, and progressive works; mixed up with the duel, the inflated speech, and the jejune romanticism of an absurd past that is dead, and out of charity ought to be buried. […] Sir Walter had so large a hand in making Southern character, as it existed before the war, that he is in great measure responsible for the war.1
2 Ibid., p. 501.
3 James Hart in The Popular Book gives as an instance of the vast popularity of Ivanhoe in the United (...)
4 It is also considered a breakthrough in the sense that it was the first of Scott's novel to be prin (...)
5 Alice Chandler, A Dream of Order, The Medieval Ideal in Nineteenth-Century English Literature, Lond (...)
6 Ibid., p. 12.
7 Mark Girouard, The Return to Camelot: Chivalry and the English Gentleman, New Haven, Yale Universit (...)
8 The popularity has actually been waxing and waning even since the Elizabethan period (Alice Chandle (...)
9 Alice Chandler, "Sir Walter Scott and the Medieval Revival," Nineteenth Century Fiction 19-4, 1965, (...)
1Mark Twain's idea of a "Sir Walter disease"2 that would go on to be responsible for the American Civil War gives an idea of Walter Scott's tremendous influence in the United States, and of Ivanhoe in particular, which was published in December 1819 and was immediately shipped to America3. The "romance," as it is subtitled, was considered a breakthrough by Walter Scott's contemporaries, since it is the first of the Waverley Novels to deal with the English Middle Ages, as the author takes the themes he had broached in the previous novels further back into the past4. Actually, Walter Scott started out his career as a writer using medieval matter: The Lay of the Last Minstrel and The Lady of the Lake were published respectively in 1805 and 1810. These, however, read as poetry and Ivanhoe is the first of the Waverley Novels to deal with the Middle Ages. Later, he goes back to the same period in Quentin Durward (1823), The Talisman and The Betrothed (1825), Anne of Geierstein (1829), and Count Robert of Paris (1832). However, it is Ivanhoe, as the first to be published and the most successful of those books, that probably most affected nineteenth century attitudes towards the Middle Ages5. Even though some kind of medieval revival had been going on for centuries, Walter Scott was considered by his contemporaries as the one who fostered it and who brought it back into fashion. According to Alice Chandler, "Scott brought this interest to a focus by creating a completely believable medieval world, which he portrayed so vividly and attractively that many of his readers took it for historical truth rather than historical fiction."6 Nevertheless, the upsurge in interest in the feudal past was already well under way by the beginning of the 19th century: Thomas Johnes translated Froissart's Chronicles between 1803 and 1805 and the three quarto volumes of the first edition were so popular that they were immediately republished in pocket-size edition7. Similarly, Southey's translation of Amadis de Gaul, Palmerin of England and Chronicles of the Cid came out in 1803, 1807, and 1808 respectively; re-editions of Malory were released in 1816 and 1817 – the latter edited by Southey himself – and Charles Mills published his History of the Crusades in 1820 and his History of Chivalry in 1825. We can actually trace this popularity earlier, back to the eighteenth century8, with the "Graveyard poets" and Gothic novelists on the one hand, and antiquaries and ballad collectors in the wake of Percy's Reliques of Ancient English Poetry, on the other9.
10 Alice Chandler, "Chivalry and Romance: Scott's Medieval Novels", Studies in Romanticism 14-2, 1975, (...)
11 Sir Walter Scott, Ivanhoe, Princeton, Penguin Classics, 2012, p. 8.
12 Alice Chandler, "Chivalry and Romance…", art. cit., p. 189.
2Walter Scott draws on the idea, common at the time among historians, that the story of the Middle Ages began in the forests of Germany, Scandinavia, or the British Isles. 19th century historians Joseph Strutt, Robert Henry, Gilbert Stuart, or Sharon Turner find the origins of chivalry in that same place and usually divide the period into the Germanic, the chivalric, and the decadent phases10. "Dr Henry" and "Mr Sharon Turner" are themselves referred to in the "Dedicatory Epistle" which serves as a preface to Ivanhoe11, and according to Alice Chandler, Scott plagiarises Robert Henry in his own Essay on Chivalry12 that he wrote as a supplement to the 1815-1824 editions of the Encyclopaedia Britannica. In this, as in Ivanhoe, the point of view he provides on the values of chivalry sounds like an echo of the general notions that prevailed in the 19th century, and it goes hand in hand with some kind of idealisation of the chivalric code.
Valour, humanity, courtesy, justice, honour, were the characteristics of chivalry; and to these we may add religion, which, by infusing a large portion of enthusiastic zeal, carried them all to a romantic excess, wonderfully suited to the genius of the age, and productive of the greatest and most permanent effects both upon policy and manners. War was carried on with less ferocity, when humanity, no less than courage, began to be deemed the ornament of knighthood, and knighthood a distinction superior to royalty, and an honour which princes were proud to receive from the hands of private gentlemen; more gentle and polished manners were introduced, when courtesy was recommended as the most amiable of knightly virtues, and every knight devoted himself to the service of some lady; and violence and oppression decreased, when it was accounted meritorious to check and to punish them. A scrupulous adherence to truth, with the most religious attention to the performance of all engagements, particularly those between the sexes, as more easily violated, became the distinguishing character of a gentleman; because chivalry was regarded as the school of honour, and inculcated the most delicate sensibility with respect to that point. And valour, seconded by so many motives of love, religion, and virtue, became altogether irresistible.
13 William Russell, The History of Modern Europe, with an account of the Decline & Fall of the Roman E (...)
14 Walter Scott, "Essay on Chivalry", originally published in 1818 in the supplement to the Encycloped (...)
15 Walter Scott, Ivanhoe, op. cit., p. 363.
16 Walter Scott, "Essay on Chivalry", art. cit., p. 43.
19 Ibid., p. 10.
This definition comes from William Russell's History of Modern Europe13 which he published in 1786 and which went through various stages of republication throughout the 19th century. Walter Scott takes up this idea almost verbatim in his "Essay on Chivalry": "valour is held in esteem […] the greater respect is paid to boldness of enterprise and success in battle. But it was peculiar to the institution of chivalry, to blend military valour with the strongest passions which actuate the human mind, the feelings of devotion and those of love."14 The same notions are translated into Ivanhoe: "expose your life by lonely journeys and rash adventures, as if it were of no more value than that of a mere knight-errant, who has no interest on earth but what lance and sword may procure him."15 Echoes are, in fact, numerous between the two texts: "He [the Preux Chevalier] was bound by his vow to seek out adventures of risk and peril […] Enterprises the most extravagant in conception, the most difficult in execution, the most useless when achieved, were those by which an adventurous knight chose to distinguish himself"16 becomes in Ivanhoe "the usual expedient of knights-errant, who, on such occasions, turned their horses to graze, and laid themselves down to meditate on their lady-mistress, with an oak-tree for a canopy […] sufficiently occupied by passionate reflections upon her beauty and cruelty, to be able to parry the effects of fatigue and hunger, and suffer love to act as a substitute for the solid comforts of a bed and supper."17 This further recalls in the "Essay on Chivalry" "[i]t was essential to his character that he should select, as his proper choice, 'a lady and a love,' to be the polar star of his thoughts, the mistress of his affections, and the directress of his actions. In her service, he was to observe the duties of loyalty, faith, secrecy, and reverence."18 Walter Scott also insists on the ideal of the knight: "[g]enerosity, gallantry, and an unblemished reputation [were] necessary ingredients in the character of a perfect knight"19 and he adds later: "[a]mid the various duties of knighthood, that of protecting the female sex, respecting their persons, and redressing their wrongs, becoming the champion of their cause, and the chastiser of those by whom they were injured, was presented as one of the principal objects of the institution."20 This quotation actually strongly recalls the subplot that concerns Ivanhoe and Rebecca in Scott's romance, as Ivanhoe clearly abides by those characteristics when he comes to rescue her at the hands of Brian de Bois-Guilbert and appears as her champion. Indeed, it is via a conversation between those two characters in which they both discuss chivalry that Scott lays out the more clearly Ivanhoe's own views on the subject:
The love of battle is the food upon which we live – the dust of the 'melee' is the breath of our nostrils! We live not – we wish not to live – longer than while we are victorious and renowned – Such, maiden, are the laws of chivalry to which we are sworn, and to which we offer all that we hold dear."
"Alas!" said the fair Jewess, "and what is it, valiant knight, save an offering of sacrifice to a demon of vain glory, and a passing through the fire to Moloch? – What remains to you as the prize of all the blood you have spilled – of all the travail and pain you have endured – of all the tears which your deeds have caused, when death hath broken the strong man's spear, and overtaken the speed of his war-horse?"
"What remains?" cried Ivanhoe; "Glory, maiden, glory! which gilds our sepulchre and embalms our name."
"Glory?" continued Rebecca; "alas, is the rusted mail which hangs as a hatchment over the champion's dim and mouldering tomb – is the defaced sculpture of the inscription which the ignorant monk can hardly read to the enquiring pilgrim – are these sufficient rewards for the sacrifice of every kindly affection, for a life spent miserably that ye may make others miserable? Or is there such virtue in the rude rhymes of a wandering bard, that domestic love, kindly affection, peace and happiness, are so wildly bartered, to become the hero of those ballads which vagabond minstrels sing to drunken churls over their evening ale?"
"By the soul of Hereward!" replied the knight impatiently, "thou speakest, maiden, of thou knowest not what. Thou wouldst quench the pure light of chivalry, which alone distinguishes the noble from the base, the gentle knight from the churl and the savage; which rates our life far, far beneath the pitch of our honour; raises us victorious over pain, toil, and suffering, and teaches us to fear no evil but disgrace. Thou art no Christian, Rebecca; and to thee are unknown those high feelings which swell the bosom of a noble maiden when her lover hath done some deed of emprize which sanctions his flame. Chivalry! – why, maiden, she is the nurse of pure and high affection – the stay of the oppressed, the redresser of grievances, the curb of the power of the tyrant—Nobility were but an empty name without her, and liberty finds the best protection in her lance and her sword."21
22 Some actually read Ivanhoe itself as questioning the values of chivalry. Indeed, the only true "kni (...)
3Rebecca here stands well ahead of her time as she questions Ivanhoe's values and puts into perspective his ideas22. Yet, the notions of chivalry Scott's contemporaries saw in Ivanhoe were those of an idealised Middle Ages replete with romantic artefacts – knights-errant, damsels in distress, code of honour, fortified castles, tournaments, etc. Those were indeed the features that dazzled Scott's American contemporaries, considering the favourable reception Ivanhoe underwent in the recently independent United States of America. James Fenimore Cooper and Washington Irving took up Scott's vision of the English Middle Ages and translated it onto American soil, thus turning their Native Americans into knights of yore and the wilderness into a land of romance.
"Here are no 'gorgeous palaces and cloud capped towers'"23: Ivanhoe in America
23 W.H. Gardiner, "Review of The Spy", The North American Review 15-36, July 1822, p. 252.
24 Anonymous, "Review of Adam Seybert's Statistical Annals of the United States of America", The Edinb (...)
25 Anonymous, The Port Folio 13, June 1822, p. 501.
4Ivanhoe was a particular success in America. It is actually relevant to note that the article from the Edinburgh Review from January 1820 with the often quoted sentence from Sidney Smith: "In the four quarters of the globe, who reads an American book?"24 actually follows in the same issue a review of Walter Scott's novels which tellingly quotes as striking examples of his worth lengthy extracts from Ivanhoe. West of the Atlantic as well, The Port Folio from 1822 – to give but one example among many – also acknowledges the popularity of the book: "we […] express our unfeigned praise of the extensive research, the playful vivacity, the busy and stirring incidents, the humorous dialogue, and the picturesque delineations, with which 'Ivanhoe' abounds."25 The novel was also praised for its historical rendering of the period and it is striking to read such articles as "The History of the Jews," published in The North American Review of January 1831, that should also praise the romance in passing:
26 Anonymous, "History of the Jews", The North American Review 32-70, January 1831, p. 260.
The character of the Jews has remained nearly the same to the present day, only varying with the times, not by any wide and decisive change in the prosperity or improvement of the race. But it is needless to dwell upon this period, since it has been set before the public eye in the splendid panorama of Ivanhoe; where we see at a glance the sufferings to which they were exposed, and the fortitude with which they stooped to meet them,—the contempt and hatred with which they were universally regarded, and the power which they contrived to gain notwithstanding,—the low avarice to which they descended, and the traditional enthusiasm inspired by the remembrance of their religion and their holy land. In the delightful vision of Rebecca, perhaps the loveliest portrait the imagination ever drew, we see the gentle firmness formed by long exposure to danger, contrasted in Rowena with the superiority of one, who had breathed nothing but the incense of chivalrous adoration; and we fear, that one touch of this celestial pencil has done more for this injured race, than justice and humanity in the last thousand years. It is well for the world, that this supernatural power of genius resides in such a conscientious and honorable hand.26
27 James Hart, The Popular Book, op. cit., p. 75.
28 Gratz Van Rensselaer, "The Original of Rebecca in Ivanhoe", The Century Illustrated Monthly Magazin (...)
5Ivanhoe went through a series of reeditions and adaptations in America, which were more numerous than those for any other of the Waverley Novels. Such a flourishing of digests was a common thing at the time, and in particular in America where paper was scarce, shorter texts were thus cheaper and circulated more easily through the continent. Abridgements and rewritings flowered as soon as it was published in England. Plays were performed as early as 182027, as well as operas, such as Maid Marian or the Huntress of Arlingford, of which the title page states: "Some of the Incidents taken from the Romance of Ivanhoe." In the late 1820s, we even note a renewed interest among Philadelphia readers, which was probably due to a rumour that spread at the time that the character of Rebecca was actually modelled upon Rebecca Gratz28, who was also a Jew and a resident of the town for some time as she became one of the founding members of the Female Hebrew Benevolent Society in 1819.
30 Quoted in James Hart, Ibid., p. 77.
31 Walter Scott, Essay on Chivalry, op. cit., p. 10.
6As was hinted at in Twain's indictment, Ivanhoe was also particularly popular in the South: indeed, although only five of the Waverley Novels were set in the Middle Ages, the South considered Scott as primarily a romancer of chivalry29. In the 1840s, tournaments were even reproduced, of which a South Carolina newspaper announced that they were copying "closely in dresses and arrangements […] those that Ivanhoe witnessed."30 The values of chivalry and in particular "personal freedom," which appears at the top of Walter Scott's list of values in his Essay on Chivalry, could well appeal to American readers: "the love of personal freedom, and the obligation to maintain and defend it in the persons of others and in their own, was a duty particularly incumbent on those who attained the honour of Chivalry."31 In Ivanhoe in particular, Cedric and the other Saxons' appeals to a time "when England was free" (44) could well entice American readers in the decades that followed Independence.
32 James Green, "Ivanhoe in America", The Library Company of Philadelphia, 1994 Annual Report, 1994, p (...)
7As appealing as it proved to American readers, Ivanhoe was indeed of particular importance to the American book market and, as such, is considered a breakthrough. According to James Green, Ivanhoe marks a turning point in the way books were published in America. Between 1815 and 1819, six novels by the then anonymous "Author of Waverley" appeared, one every year, and each was reprinted two or three times in America32. In 1820, however, Ivanhoe was released and was followed by The Bride of Lammermoor and A Legend of Montrose, and in 1821 The Monastery and The Abbot came out. Each of those was reprinted for a total this time of no less than twenty-six editions. In addition to that, the previous six Waverley Novels were all reprinted again in another twenty editions. As James Green puts it, "the novel that precipitated the tidal wave of 1820 was Ivanhoe."33 On top of this, Ivanhoe also marks a turning point in the American book market. Before 1820, Scott's novels were reprinted almost simultaneously by various booksellers in the main towns of the East Coast. With Ivanhoe, however, Mathew Carey, in order to reach out to a wider audience, paid Scottish printers $ 100 to get advance copies of the new Scott novels – Ivanhoe, The Monastery, and The Abbot. In doing so, Carey set a precedent in the sense that he obtained with his payment a de facto copyright on the novels by Walter Scott. Yet, Ivanhoe proved so popular that J. & J. Harper from New York set on to rival the Careys of Philadelphia and reprinted the book despite Carey's launching of a second edition and Ivanhoe can thus be said to have fostered early competition among prominent American booksellers.
8Thus considering the general enthusiasm for Ivanhoe among American readers and book sellers, Scott's text could not fail to become food for thought for the American readers, who appropriated the story and hence the values it upheld. It therefore reveals a keen interest in the English Middle Ages, despite the ongoing discourse in the decades that followed the Independence that called for a severing from the shared British past. This idea, prevalent at the time which asked for the creation of a separate history focusing on American matter may explain the wish to transfer the romantic notions of chivalry onto American soil.
"A last foothold left for a remnant of chivalry in the wild life of the Far West"34: The Chivalrous Way of Life of American Indians
34 Anonymous, "Analytical and Critical Notices," New York Review, October 1837, p. 439.
9As it turned out that Native Americans appeared as fit candidates to represent the American past, the notions of chivalry were projected onto them. Indeed, in the novels that were published in the aftermath of Independence, Native American characters were almost always found to be living an archaic way of life that was fast disappearing in the face of conquering settlers. Most of all, Washington Irving and James Fenimore Cooper endeavoured to portray those fading customs:
35 Washington Irving, The Adventures of Captain Bonneville, Three Western Narratives, New York, The Li (...)
We here close our picturings of the Rocky Mountains and their wild inhabitants, and of the wild life that prevails there; which we have been anxious to fix on record, because we are aware that this singular state of things is full of mutation, and must soon undergo great changes, if not entirely pass away. The fur trade itself, which has given life to all this portraiture, is essentially evanescent. Rival parties of trappers soon exhaust the streams, especially when competition renders them heedless and wasteful of the beaver. The furbearing animals extinct, a complete change will come over the scene; the gay free trapper and his steed, decked out in wild array, and tinkling with bells and trinketry; the savage war chief, plumed and painted and ever on the prowl; the traders' cavalcade, winding through defiles or over naked plains, with the stealthy war party lurking on its trail; the buffalo chase, the hunting camp, the mad carouse in the midst of danger, the night attack, the stampede, the scamper, the fierce skirmish among rocks and cliffs—all this romance of savage life, which yet exists among the mountains, will then exist but in frontier story, and seem like the fictions of chivalry or fairy tale.35
36 Susan Fenimore Cooper, Pages and Pictures from the Writings of James Fenimore Cooper, New York, W.A (...)
37 Washington Irving, Abbotsford and Newstead Abbey, The John Murray Archive, 1835, p. 134 (http://dig (...)
10It is striking to note that both authors, when dealing with Native Americans, resort to a vocabulary derived from the lexical field of chivalry which had been brought back into fashion by Scott. Both authors were well versed in Walter Scott's novels: Cooper would read every Scott book that would come out of the packet boats arriving from Liverpool36 and Irving went to Abbotsford in order to visit Scott himself and acknowledges in his journal, Abbotsford and Newstead Abbey, "when I consider how much he has thus contributed to the better hours of my past existence, and how independent his works still make me, at times, of all the world for my enjoyment, I bless my stars that cast my lot in his days, to be thus cheered and gladdened by the outpourings of his genius."37 Thus considering the tremendous popularity of Ivanhoe on the one hand and both authors' acknowledgements of their indebtedness to Walter Scott on the other, it seems fair to assume that they both derive their feudal conception of the Native American way of life from that same source.
38 Anonymous, "Analytical and Critical Notices," art. cit., p. 439
39 Washington Irving, The Adventures of Captain Bonneville, Three Western Narratives, op. cit., p. 950
11This chivalric depiction of the Native American way of life was what Irving's contemporaries actually perceived to be the purpose of his Narratives: an anonymous review of The Rocky Mountains (The Adventures of Captain Bonneville) for the New York Review from October 1837 reads: "He has shown us that here, in these worn-out times of the world, there is a last foothold left for a remnant of chivalry in the wild life of the Far West."38 The conclusion of Washington Irving's The Adventures of Captain Bonneville is indeed telling in that respect. The text narrates the expedition of Captain Bonneville across the American continent to the Rocky Mountains and back to reconnoitre both the land and the various Native American tribes that inhabit it, and it tellingly finishes with the words "the savage 'chivalry of the mountains'"39 to designate collectively the Native Americans that he had come across during his journey. Here, as in the quotation above mentioned, the comparison is made explicit, and this portrait of Indian life appears as worthy of incorporating tales of chivalry. Indeed, the term chivalry is very often used by Washington Irving to deal with his Native American characters and is repeated over and over again throughout the text: the conclusion of The Adventures of Captain Bonneville echoes its very beginning and the introduction to the expedition:
40 Ibid., p. 642.
Having thus given the reader some idea of the actual state of the fur trade in the interior of our vast continent, and made him acquainted with the wild chivalry of the mountains, we will no longer delay the introduction of Captain Bonneville and his band into this field of their enterprise, but launch them at once upon the perilous plains of the Far West.40
41 Washington Irving, A Tour on the Prairies, Three Western Narratives, op. cit., p. 28.
42 Washington Irving, Astoria, Three Western Narratives, op. cit., p. 352. This recalls in Ivanhoe the (...)
43 Ibid., p. 356-357.
12Not only is the term recurrent in The Adventures of Captain Bonneville, but in the other Western Narratives as well: the Osage camp in A Tour on the Prairies is described as "the wild chivalry of the prairies"41 and Arickara Indians as they sally out of their village in Astoria are referred to as "the savage chivalry of the village."42 In the latter case, the comparison is actually extended as the Indian warriors come back victorious from their feud with the neighbouring Sioux. Hunt, one of the leaders of the expedition, then describes the ensuing celebrations: "[t]he pageant had really something chivalrous in its arrangement"43 and continues by portraying the various bands of warriors marching into the village with their ensigns, and then moves on to evoking the "rude music" and even "minstrelsy" that accompanies the procession, the presentation of the trophies to the remnant of the tribe, the war feasts, and the heralds promulgating the events of the battle and recounting the exploits of the warriors. This account is strongly reminiscent of chivalrous pageants, and the word "pageant" itself as used by Irving brings to mind medieval undertones from the start.
44 James Fenimore Cooper, The Wept of Wish-Ton-Wish, New York, Stringer & Townsend, 1849, p. 93.
45 James Fenimore Cooper, The Prairie, The Leatherstocking Tales, vol. I, New York, The Library of Ame (...)
46 Washington Irving, The Adventures of Captain Bonneville, op. cit., p. 647-649.
48 See for instance, James Fenimore Cooper, The Prairie, op. cit., p. 1095.
49 James Fenimore Cooper, The Last of the Mohicans, The Leatherstocking Tales, vol. I, op. cit., p. 47 (...)
50 Washington Irving, Astoria, op. cit., p. 565.
13The associations between Native Americans and medieval customs is common currency in both Cooper's and Irving's texts. Cooper repeatedly uses "chivalry" and its derivatives to portray his Indian characters: The Wept of Wish-Ton-Wish speaks, for instance, of a "chivalrous scalp-lock"44 and in The Prairie, Cooper speaks of "the high and chivalrous sentiment, which, among the Indians of the Prairies, renders it a deed of even greater merit to bear off the trophy of victory from a fallen foe, than to slay him."45 The term "chivalrous" recurs frequently and countless examples could be found in both The Leatherstocking Tales and Irving's Western Narratives. Irving, for his part, also uses the word "gallant" when referring to some of his Indian heroes. Strikingly, the same word also appears in Ivanhoe but Scott uses it only to describe certain characters in particular: Ivanhoe, Robin Hood, and for a single occurrence, the army of King Richard during the Crusades. Washington Irving takes up the adjective in The Adventures of Captain Bonneville mostly, in particular when dealing with the Kansas chief White Plume46 of whom the narrator further evokes "his native chivalry as a brave."47 Therefore, the way of life that is delineated here is less medieval than knightly, as Native Americans are compared to aristocratic characters – "gentlemen"48 – of yore. For instance, in the preface to the first edition of The Last of the Mohicans, the Indians are explicitly compared to "feudal princes of the old world."49 In Astoria, Irving further develops this association when he portrays the Chinooks. He mentions them twice in the book, describing the tribe as a "royal family" surrounded by a "court," full of "nobles" and "princes."50 Earlier on in the narrative, he even speaks of "liege subjects."51 The theme resonates throughout Astoria, as Irving continues to depict his Native American characters as ancient noblemen. In one instance, though, they are turned into the vassals of equally medieval settlers: at the very beginning of Astoria, Irving recalls the history of the North West Company and tells how the French supremacy has been undone by British people. He speaks of the "aristocratical character of the Briton" only to correct himself and change it to "the feudal spirit of the highlander."52 He then goes on describing the fur company and how some Indians actually joined it: "Such was the North West Company in its powerful and prosperous days, when it held a kind of feudal sway over a vast domain of lake and forest"53 and then mentions the practices of "baronial wassailing."54 Native Americans are here depicted on an equal footing with ancient Britons in general. Even further into the narrative, Irving describes a council in an Indian village and notes that "[t]he pipe was passed from mouth to mouth each one taking a whiff, which is equivalent to the inviolable pledge of faith of taking salt together among the ancient Britons."55
56 Washington Irving, The Adventures of Captain Bonneville, op. cit., p. 763.
57 James Fenimore Cooper, The Prairie, op. cit., p. 1201.
59 James Fenimore Cooper, The Deerslayer, The Leatherstocking Tales, vol. II, New York, The Library of (...)
60 James Fenimore Cooper, The Pathfinder, The Leatherstocking Tales, vol. II, op. cit., p. 438.
61 As Cooper digs further into his youth in The Deerslayer, he foresees for his character that role of (...)
62 James Fenimore Cooper, The Pioneers, The Leatherstocking Tales, vol. I, op. cit., p. 194.
63 James Fenimore Cooper, The Pathfinder, op. cit., p. 69.
66 Here again, the cult of the horse among all Indian tribes that are introduced in both Cooper's and (...)
14Eventually, not only are the Native Americans purposefully described as "ancient Britons" but the whole world around them is seen in this light. The Adventures of Captain Bonneville evokes "caparisoned" horses56, Cooper describes the Teton's tent as "emblazoned with the history of his own boldest and most commended exploits,"57 Irving elsewhere mentions the "light coat of mail" of some Indians58, and Cooper, as Natty Bumppo in The Deerslayer returns to the Indian encampment after his furlough, says that "we shall call [it] the lists"59. It is therefore a whole universe of romance that is revealed in those texts. Surprisingly, Natty Bumppo himself words the principle of chivalry explained by Scott in his "Essay on Chivalry" as a blend of military valour and devotion to a lady in a conversation with Jasper Western: "[t]he man that deals unfairly by a woman can be but a mongrel, lad, for the Lord has made them helpless on purpose that we may gain their love by kindness and sarvice (sic)."60 In this instance, Natty Bumppo endorses the role of knight-servant61 – just as he is Elizabeth's "champion" in The Pioneers62 – and Mabel is turned into a damsel in distress: "The Sarjeant's (sic) sweet child must be saved,"63 which is repeated again and again word for word in the whole chapter, along with a variation, "The Sarjeant's (sic) daughter must be protected."64 Similarly, the naming of his weapon by Natty Bumppo strongly recalls the medieval legends and brings the Leatherstocking hero onto an equal footing with the great legendary kings of yore, the King Arthur of the Legend of the Round Table, the Charlemagne of the Song of Roland, etc. The idea of a "code of honour," as evoked in Astoria – "the code of honor prevalent beyond the frontier"65 – also belongs to the list of medieval stereotypes brought back into fashion in the 19th century. The whole imagery of the fair wooing of the lady is also summoned in Irving's Western Narratives, as in The Adventures of Captain Bonneville when the narrator adds, as an aside, in the substory of a trapper and his Indian wife: "The free trapper, while a bachelor, has no greater pet than his horse66; but the moment he takes a wife [is] a sort of brevet rank in matrimony occasionally bestowed upon some Indian fair one, like the heroes of ancient chivalry in the open field."67
15Therefore, not only are Native Americans endowed with chivalrous outfit, but the whole world around them is imbued with medieval stereotypes, as though medieval features were transplanted into the American wilderness, thereby turning the New World into a proper land of romance.
"A region fruitful of wonders and adventures"68: Knight-errantry in "the Forest of Ill Fortune"69
68 Washington Irving, A Tour on the Prairies, op. cit., p. 11.
69 Robert Southey, Amadis of Gaul, vol. I, translated from Garciordonez de Montalvo, London, John Russ (...)
70 James Fenimore Cooper, The Prairie, op. cit., p. 1259-1261.
71 James Fenimore Cooper, The Pathfinder, op. cit., p. 157-174.
16Just as Amadis of Gaul stands as the emblem of the knight-errant wandering in the forest from adventure to adventure, the American wilderness and its unlimited woodlands appears as a fit stage for knightly deeds, which seem to be directly transferred onto the American continent. In The Prairie, the Pawnee Hard-Heart and the Teton Mahtoree engage in a duel, which Cooper describes at length70. It starts with a volley of arrows from each part, which ends when the quivers are emptied; is followed by a joust on horseback while each warrior is aiming at the other with his "lance" and ends with the dismounting of Hard-Heart, who however reverses the odds and throws a "blade" into Mahtoree's chest, who staggers back to "the edge of the sands" before dying in the river. The words emphasised here intrinsically recall medieval accounts of champion warfare. In The Pathfinder, it is a whole tournament which is described in chapter XI71. Nonetheless, contrary to the duel of heroes in The Prairie, which borrows vocabulary from the medieval romances, the tournament works here as a transposition of medieval stereotypes. Although it is referred to as a "passage of arms" by the commander of the garrison at Oswego, the tournament is actually a shooting tournament, where arrows are replaced by rifles and muskets. To choose the winner between the best marksmen, the tournament is closed by throwing in the air a potato that Mr. Muir and Pathfinder have to shoot:
As the sort of feat we are about to offer to the reader, however, may be new to him, a word in explanation will render the matter more clear. A potato of large size was selected, and given to one who stood at the distance of twenty yards from the stand. At the word "heave!" which was given by the marksman, the vegetable was thrown with a gentle toss into the air, and it was the business of the adventurer to cause a ball to pass through it before it reached the ground.72
17As underlined by Commander Lundie, it is an actual transposition to the realities of the wilderness that goes on here: "You're Scotch, Mr. Muir, and might fare better were it a cake or a thistle; but frontier law has declared for the American fruit, and the potato it shall be."73 We can see here at work the transposition of a medieval commonplace onto the American wilderness, where the general outline is that of a traditional tournament while the devices are adapted to the modern reality of the New World.
80 Washington Irving, A Tour on the Prairies, op. cit., p. 38. The popular folktale character of Robin (...)
18Moreover, from this example, it looks as though the white settlers who live alongside Native Americans share this chivalrous attitude, as though it was the wilderness itself and its atmosphere that were calling for this way of life. For instance, in A Tour on the Prairies, the young count as he associates himself with the young Osage Indian is compared to a "preux chevalier" and his Indian companion is described first as "his esquire"74 and later as "the young Osage, who was to act as esquire to the Count in his knight-errantry on the prairies."75 Actually, the whole world that Irving describes is marked by this archaic texture. Not only Native Americans but the trappers are similarly endowed with the medieval undertones that push them further into the past. The exact same words that were used to describe Native Americans actually pass onto their white counterparts: just as the Kansas chief was "gallant," so is the leader of free trappers, "a gallant leader from Arkansas, named Sinclair,"76 the old squatter that the expedition encounters at the beginning of A Tour on the Prairies is described as a "knight errant of the frontier"77 and in Astoria, Irving describes the men of the North West Company as "the chivalry of the Fur trade,"78 which is taken up in The Adventures of Captain Bonneville, when the narrator says of the mountaineers and trappers of the West that they lead a "wild, Robin Hood kind of life"79 or in A Tour on the Prairies, where the honey camp of rangers is described as "a wild bandit, Robin Hood scene."80
85 Washington Irving, Astoria, op. cit., p. 311-313.
86 In that sense, as a ruler, he strongly recalls the Richard of Ivanhoe, all the more so since he sta (...)
19Both Indian and trappers' lives therefore appear as fodder for romance plots. Irving makes this point clearly in the introduction to Astoria: "the stories [of the men of the North West Company] made the life of a trapper and fur trader perfect romance to me."81 Similarly, The Adventures of Captain Bonneville opens with the list of the names of the heroes of the expedition across the continent, "whose adventures and exploits partake of the wildest spirit of romance."82 "Romance" would no doubt call to mind the subtitle of Ivanhoe, just as it would relate to romantic plot, as was common association at the time. In that sense indeed, one can read the "romantic incident of Loretto and his Indian bride,"83 as it is told further into The Adventures of Captain Bonneville: the young Mexican Indian took a Blackfoot woman as his captive, made her his wife, and gave her a child. However, some time later, he meets a band of Blackfeet among whom stands the brother of the woman, and she is taken back by her people during the fight that ensues. She struggles to go back to her child and, as he hears her cries, Loretto rushes headless of danger through the enemy's ranks and brings the baby to her. She stays with her people and he later joins her in her own tribe. The story is taken to be romantic in the second sense, but the fact that Loretto's rash move is described as a "noble deed"84 may relate it to some chivalrous act on his part. The story of Blackbird in Astoria85 similarly partakes of the two meanings of romance. Indeed, the narrator says of him that he was the subject of "savage and romantic stories." The one he chooses to tell is that of a powerful warlord, who "fearless in battle, and fond of signalizing himself, […] dazzled his followers by daring acts,"86 who gained his beautiful wife in battle – herself referred to as "this beautiful damsel" – and killed her in a fit of temper. Those stories that are introduced within Irving's more historically grounded narratives give them an undertone of tales, be they folk tales or more novelistic matter. Irving himself recounts, for instance, the story of Kosato in The Adventures of Captain Bonneville and gives it, contrary to the others that are treated as mere anecdotes, the full length of a whole chapter. Kosato is a Blackfoot renegade who fled to live among the Nez Percés with his wife, who was actually his chief's wife. He killed the chief and they eloped through the woods. As a conclusion to the tale, the narrator notes: "Such was the story of Kosato, as related by him to Captain Bonneville. It is of a kind that often occurs in Indian life; where love elopements from tribe to tribe are as frequent as among the novel-read heroes and heroines of sentimental civilization, and often give rise to bloody and lasting feuds."87 Here, the tale is not related to medieval romance but to more contemporary novels. Cooper, on the other hand, has no such inserted romantic stories to tell in the Leatherstocking saga. However, one can trace undertones of a chivalrous romance in the subplot of Chingachgook and Wah-ta!-Wah in The Deerslayer. The story starts with Chingachgook and Hawkeye on their way to rescue Wah-ta!-Wah who has been taken captive at the hands of Mingo Indians. Natty Bumppo sums up the whole story in a very simple manner:
88 James Fenimore Cooper, The Deerslayer, op. cit., p. 615-616.
You must know that Chingachgook is a comely Injin, and is much look'd upon and admired by the young women of his tribe, both on account of his family and on account of himself. Now, there is a chief that has a darter (sic) called Wah-ta-Wah, which is intarpreted (sic) into Hist-oh-Hist, in the English tongue, the rarest gal among the Delawares, and the one most sought a'ter and craved for a wife by all the young warriors of the nation. Well, Chingachgook, among others, took a fancy to Wah-ta-Wah, and Wah-ta-Wah took a fancy to him.88
92 John P. McWilliams, The American Epic: Transforming a Genre, 1770-1860, Cambridge, Cambridge Univer (...)
93 James Fenimore Cooper, The Last of the Mohicans, op. cit., p. 875.
20Chingachgook abides by the rules of chivalry: "he is of the family of great chiefs;"89 he strides the warpath in quest of adventures with his companion – "Chingachgook and his pale face friend set forth on their hazardous and delicate enterprise"90 – and, as is summarised by the narrator, "[w]e all love the wonderful, and when it comes attended by chivalrous self-devotion and a rigid regard to honor, it presents itself to our admiration."91 The tale is turned into one of star-crossed lovers when it jumps onto the next generation in The Last of the Mohicans with Uncas and Cora. Indeed, the plot itself of The Last of the Mohicans calls for knightly deeds, most of the action revolving around the rescue of two captive maidens, recalling the subplot of Chingachgook and Wah-ta!-Wah in The Deerslayer, yet on a grander scale: two damsels in distress – Cora and Alice – and two young heroic rescuers – Uncas and Heyward, where the Indian hero sometimes outdoes the latter in their chivalric regard for the ladies92. In that volume of the Leatherstocking series in particular, the tale lapses into legend at the conclusion of the narrative: "Years passed away before the traditionary tale of the white maiden and the young warrior of the Mohicans, ceased to beguile the long nights and tedious marches."93 As the protagonists lose their name and as the story of the chivalrous Indian and his damsel becomes a tale told at night, the wilderness is endowed with the legendary depth Cooper's and Irving's contemporaries deemed as lacking from the American territory.
21As American authors started using the whole paraphernalia of chivalry that Walter Scott brought back into fashion, a plethora of associations were brought to the minds of 19th century American readers, who were for the most part well-read in English literature and well aware of the contents of the Waverley Novels. Thus recalling medieval romances might be a device to help the authors to picture more easily for their readers what is happening in the uncharted world of the Far West, which would then appear to them as a land deemed for chivalrous feats, a worthy setting for knightly deeds. The primeval wilderness would be provided in the process with a depth of romantic associations and the supposed matter-of-fact reality of the New World would give way to the image of a land of "wide and wild peregrinations, […] hunting exploits, […] perilous adventures and hair-breadth escapes among the Indians."94
Anonymous, « Analytical and Critical Notices », New York Review and Quarterly Church Journal 2, 1837, p 439‑440.
Anonymous, « History of the Jews », The North American Review 32-70, 1831, p. 234‑276.
Anonymous, « Review of Adam Seybert Statistical Annals of the United States of America », Edinburgh Review 33, 1820, p. 69‑80.
Anonymous, « Review of Ivanhoe, A Romance », The Port Folio 13, 1822, p. 493‑501.
Alice Chandler, A Dream of Order: The Medieval Ideal in Nineteenth-Century English Literature, London, Routledge & Kegan Paul, 1971.
Alice Chandler, « Chivalry and Romance: Scott's Medieval Novels », Studies in Romanticism 14-2, 1975, p. 185‑200.
Alice Chandler, « Sir Walter Scott and the Medieval Revival », Nineteenth-Century Fiction 19-4, 1965, p. 315‑332.
James Fenimore Cooper, The Leatherstocking Tales, vol. I, New York, The Library of America, 1985.
James Fenimore Cooper, The Leatherstocking Tales, vol. II, New York, The Library of America, 1985.
James Fenimore Cooper, The Wept of Wish-ton-Wish, A Tale, New York, Stringer & Townsend, 1849.
Susan Fenimore Cooper, Pages and Pictures from the Writings of James Fenimore Cooper, New York, W. A Townsend and Company, 1861.
W.H. Gardiner, « Review of The Spy », The North American Review 15-36, 1822, p. 250‑283.
Mark Girouard, The Return to Camelot: Chivalry and the English Gentleman, New Haven, Yale University Press, 1981.
James Green, « Ivanhoe in America », Library Company of Philadelphia: 1994 Annual Report, 1994, p. 8-14.
James David Hart, The Popular Book : A History of America's Literary Taste, New York, Oxford University Press, 1950.
Washington Irving, Abbotsford and Newstead Abbey, The John Murray Archive, 1835. http://digital.nls.uk/jma/gallery/title.cfm?id=65&seq=9.
Washington Irving, Three Western Narratives, New York, The Library of America, 2004.
John P. McWilliams, The American Epic: Transforming a Genre, 1770-1860, Cambridge, Cambridge University Press, 1989.
Jane Millgate, « Making It New: Scott, Constable, Ballantyne, and the Publication of Ivanhoe », Studies in English Literature, 1500-1900 34-4, 1994, p. 795‑811.
Garciordonez de Montalvo, Amadis of Gaul, Translated by Robert Southey, London, John Russell Smith, 1872.
William Russell, The History of Modern Europe, with an account of the Decline & Fall of the Roman Empire; and a View of the Progress of Society, from the Rise of the Modern Kingdoms to the Peace of Paris, in 1763. In a Series of Letters from a Nobleman to his Son, vol. I., London, Rivington, 1822.
Sir Walter Scott, « Essay on Chivalry », Essays on Chivalry, Romance, and the Drama (Miscellaneous Prose Works, vol. VI), Edinburgh, Robert Cadell, 1834.
Sir Walter Scott, Ivanhoe, Princeton, Penguin Classics, 2012.
William E. Simeone, « The Robin Hood of Ivanhoe », The Journal of American Folklore 74-293, 1961, p. 230‑234.
Kenneth M. Sroka, « The Function of Form: Ivanhoe as Romance », Studies in English Literature, 1500-1900 19-4, 1979, p. 645‑660.
Mark Twain, Life on the Mississippi, New York, The Library of America, 1982.
Gratz Van Rensselaer, « The Original of Rebecca in Ivanhoe », The Century Illustrated Monthly Magazine 24, 1882, p. 679‑682.
3 James Hart in The Popular Book gives as an instance of the vast popularity of Ivanhoe in the United States the example of birth records which state an increase in the use of Ivanhoe and Rowena for children born after 1820. (James Hart, The Popular Book, A History of America's Literary Tastes, New York, Oxford University Press, 1950, p. 76)
4 It is also considered a breakthrough in the sense that it was the first of Scott's novel to be printed as an octavo on pricey post paper and in a new smaller type, instead of the duodecimo demy paper of its predecessors. (See on the subject, Jane Millgate, "Making It New: Scott, Constable, Ballantyne, and the Publication of Ivanhoe", Studies in English Literature, 1500-1900, 34-4, 1994, p. 798.)
5 Alice Chandler, A Dream of Order, The Medieval Ideal in Nineteenth-Century English Literature, London, Routledge & Kegan Paul, 1971, p. 34.
7 Mark Girouard, The Return to Camelot: Chivalry and the English Gentleman, New Haven, Yale University Press, 1981, p. 42.
8 The popularity has actually been waxing and waning even since the Elizabethan period (Alice Chandler, A Dream of Order, op. cit., p. 2.)
9 Alice Chandler, "Sir Walter Scott and the Medieval Revival," Nineteenth Century Fiction 19-4, 1965, p. 315. The revival not only takes place in literature but in other fields as well, in particular in architecture and painting with notably Benjamin West's series, and his portrait of Edward III meeting with the Black Prince at the Battle of Crecy, in which the young knight is surrounded with the whole paraphernalia of chivalry – standards, war-horses, crests and helmets, etc. (Mark Girouard, op. cit., p. 19)
10 Alice Chandler, "Chivalry and Romance: Scott's Medieval Novels", Studies in Romanticism 14-2, 1975, p. 188.
13 William Russell, The History of Modern Europe, with an account of the Decline & Fall of the Roman Empire; and a View of the Progress of Society, from the Rise of the Modern Kingdoms to the Peace of Paris, in 1763. In a Series of Letters from a Nobleman to his Son, vol. I, London, Rivington, 1822, p. 193.
14 Walter Scott, "Essay on Chivalry", originally published in 1818 in the supplement to the Encyclopedia Britannica, The Miscellaneous Prose Works of Sir Walter Scott, Bart., vol. VI, "Chivalry, Romance, the Drama", Edinburg, Robert Cadell, 1834, p. 10.
22 Some actually read Ivanhoe itself as questioning the values of chivalry. Indeed, the only true "knight-errant" is King Richard himself who is depicted in the book as a rather irresponsible and reckless ruler. On the other hand, Ivanhoe, despite the notions that he vehemently upholds, is a rather poorly knight: he sleeps during the whole main battle and as he turns up as a champion in the lists of Templestowe, appears as a weary knight on a shabby horse: "'A champion! a champion!' And despite the prepossessions and prejudices of the multitude, they shouted unanimously as the knight rode into the tiltyard. The second glance, however, served to destroy the hope that his timely arrival had excited. His horse, urged for many miles to its utmost speed, appeared to reel from fatigue, and the rider, however undauntedly he presented himself in the lists, either from weakness, weariness, or both, seemed scarce able to support himself in the saddle." (Ivanhoe, op. cit., p. 390) See on that subject Kenneth M. Sroka, "The Function of Form: Ivanhoe as Romance", Studies in English Literature, 1500-1900, 19-4, 1979.
24 Anonymous, "Review of Adam Seybert's Statistical Annals of the United States of America", The Edinburgh Review 33, 1820, p. 79.
28 Gratz Van Rensselaer, "The Original of Rebecca in Ivanhoe", The Century Illustrated Monthly Magazine 24, New York, The Century Co., 1882, p. 679-682.
32 James Green, "Ivanhoe in America", The Library Company of Philadelphia, 1994 Annual Report, 1994, p. 8.
35 Washington Irving, The Adventures of Captain Bonneville, Three Western Narratives, New York, The Library of America, 2004, p. 949.
36 Susan Fenimore Cooper, Pages and Pictures from the Writings of James Fenimore Cooper, New York, W.A. Townsend and Company, 1861, p. 16.
37 Washington Irving, Abbotsford and Newstead Abbey, The John Murray Archive, 1835, p. 134 (http://digital.nls.uk/jma/gallery/title.cfm?id=65&seq=9).
39 Washington Irving, The Adventures of Captain Bonneville, Three Western Narratives, op. cit., p. 950.
42 Washington Irving, Astoria, Three Western Narratives, op. cit., p. 352. This recalls in Ivanhoe the "wild spirit of chivalry" of which Richard the Lion-Heart is endowed (Ivanhoe, op. cit., p. 364).
45 James Fenimore Cooper, The Prairie, The Leatherstocking Tales, vol. I, New York, The Library of America, 1985, p. 1249.
49 James Fenimore Cooper, The Last of the Mohicans, The Leatherstocking Tales, vol. I, op. cit., p. 470.
59 James Fenimore Cooper, The Deerslayer, The Leatherstocking Tales, vol. II, New York, The Library of America, 1985, p. 979.
61 As Cooper digs further into his youth in The Deerslayer, he foresees for his character that role of a hero: "Such was the commencement of a career in forest exploits, that afterwards rendered this man, in his way, and under the limits of his habits and opportunities, as renowned as many a hero whose name has adorned the pages of works more celebrated than legends simple as ours can ever become." (James Fenimore Cooper, The Deerslayer, op. cit., p. 593).
66 Here again, the cult of the horse among all Indian tribes that are introduced in both Cooper's and Irving's narratives strongly recalls the popular stereotypes usually linked with the images of chivalry.
69 Robert Southey, Amadis of Gaul, vol. I, translated from Garciordonez de Montalvo, London, John Russell Smith, 1872, p. 179.
80 Washington Irving, A Tour on the Prairies, op. cit., p. 38. The popular folktale character of Robin Hood was actually brought back to life by Walter Scott himself, in the Locksley of Ivanhoe. See William E. Simeone, "The Robin Hood of Ivanhoe", The Journal of American Folklore, 74-293, 1961.
86 In that sense, as a ruler, he strongly recalls the Richard of Ivanhoe, all the more so since he started out in the same way: "His career had begun by hardships, having been taken prisoner by the Sioux, in early youth. Under his command, the Omahas obtained great character for military prowess, nor did he permit an insult or an injury to one of his tribe to pass unrevenged", Ibid., p. 312.
92 John P. McWilliams, The American Epic: Transforming a Genre, 1770-1860, Cambridge, Cambridge University Press, 1989, p. 141.
Pauline Pilote, « "This Rude Chivalry of the Wilderness": Chivalry and Native Americans in Cooper's and Irving's American Novels », Perspectives médiévales [En ligne], 37 | 2016, mis en ligne le 01 janvier 2016, consulté le 20 janvier 2022. URL : http://journals.openedition.org/peme/9487 ; DOI : https://doi.org/10.4000/peme.9487
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Today is the 13th anniversary of the attacks on the WTC. It was a great tragedy of many people. Those who miraculously escaped death, probably still have goose bumps at the memory of those events.
On September 10th 2001, this family was one of the last families to stand at the top of the World Trade Center.
Previous story Spooky Coincidences? Or Greater Powers?


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Q: How to use GRUB from a USB drive to boot any OS that is on the HDD? I got two operating systems on my laptop(Win 8.1 and Kali), but i updated from win 7 and deleted the boot record. To be honest i don't want Grub on my HDD, i like booting directly into windows. My idea was to install Grub on to a usb stick and load into kali whenever i need to or want to. Is that possible? I only found topics on booting all kind of OS's from usb but not from HDD.

A: I finally found the best method for me to start Kali without reinstalling Grub to my HDD. For this i used unetbootin and SuperGrub(Download here)

*

*First install unetbootin:

sudo apt-get install unetbootin

*

*Then rename the supergrub .iso to .img (using .iso gave me booterrors) and start unetbootin.

*In unetbootin select the floppy method and load the renamed .img file.

*Select the USB drive and press OK.

*Now use the stick to boot whatever OS is on your HDD.

I used the USB stick on my laptop and loaded into Supergrub and found every OS that is installed on the HDD. Worked great. This way i can keep windows as main OS and always boot directly into it and whenever i want to use Kali i just pop in my USB drive and use Supergrub.


This entry was posted in Meals and tagged chorizo, easy recipes, mid week meals, pasta, red peppers by Rebecca@florencefinds. Bookmark the permalink.
Thank you Rebecca. I've been trying to find new mid week meals for Martin and I and this fits the bill beautifully. And this weekend I'll be making steak with a stilton sauce. Oh yeah!
This recipe has made me feel so hungry! Looks so good, will definitely be making this.
Yum! I love pasta but always eat far too much!
This weekend we're at my parents down south and we've said we will cook for them so we're going to make smoked haddock and leek risotto is is super easy but totally delicious!
Mmm that looks yummy and not too fussy to make. I'm making my first ever meat and potato pie this weekend – i could not be any more northern if i tried!
My colleague describes me as a Northern Man to people because I make (and eat) so many pies. Mmmmm, pie!
That sounds delish! Link already sent to the hubby.
This weekend I will be cooking up a storm as we're throwing a retirement party for my Dad. We've already made the puds (cheesecake, millionaires shortbread and portuguese tarts – all very easy) and tonight is the side dishes – the best pasta/pesto you've ever had, Tom's famous potato salad and winter coleslaw. And then tomorrow morning will see us marinating and roasting chickens before blending some yummy alcohol-free cocktails. Wish me luck!
If it's the Bill Granger Portuguese Tart recipe then it is indeed easy, delicious & receives lots of wows! From everyone.
It's Jamie's actually. From 30 minute meals – so, so good.
Esme can I come and live with you and Tom as your official food taster?!
Rachie – nothing wrong with a Victoria sponge – it's my favourite!
Victoria and Em – ditto – I'm so lazy when Pete's not there.
Laura and Esme – I'm seconding the call for the recipes – please do send them in!
This is a good start to the weekend!
Cooking for my sister & her family this Sunday. I'm going to make the Jaffa Cakes for tea time. Think it will be a tagine & chocolate cheesecake for lunch.
Oh my, this looks yummy!!! Unfortunately the boy suffers from bad heartburn so he has to stay away from things like chorizo. I think I'll be making myself this next time he goes off for a night with his friends though!
I'm not sure what I'll make this weekend but I did make my first ever Shepherd's pie last night in honour of St David's Day. It was very tasty (if I may say so myself).
Rachie – I made a huge victoria sponge cake for my birthday to bring to work. I love victoria sponge!
Making me very hungry! A version of this is what we practically lived when we were in Spain last year self-catering. So easy and chorizo is so yummy, but haven't made it for ages so good reminder, thanks!


text:
Americano do Brasil är en ort i Brasilien.   Den ligger i kommunen Americano do Brasil och delstaten Goiás, i den centrala delen av landet,  km väster om huvudstaden Brasília. Americano do Brasil ligger  meter över havet och antalet invånare är .

Terrängen runt Americano do Brasil är huvudsakligen platt, men västerut är den kuperad. Den högsta punkten i närheten är  meter över havet,  km nordväst om Americano do Brasil. Runt Americano do Brasil är det ganska glesbefolkat, med  invånare per kvadratkilometer..

Omgivningarna runt Americano do Brasil är huvudsakligen savann.  Savannklimat råder i trakten. Årsmedeltemperaturen i trakten är  °C. Den varmaste månaden är september, då medeltemperaturen är  °C, och den kallaste är juni, med  °C. Genomsnittlig årsnederbörd är  millimeter. Den regnigaste månaden är januari, med i genomsnitt  mm nederbörd, och den torraste är augusti, med  mm nederbörd.

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Externa länkar

Orter i Goiás

redpajama_set_name: RedPajamaWikipedia


text:
Vincetoxicum alatum är en oleanderväxtart som först beskrevs av Robert Wight och Arn., och fick sitt nu gällande namn av Carl Ernst Otto Kuntze. Vincetoxicum alatum ingår i släktet tulkörter, och familjen oleanderväxter. Inga underarter finns listade i Catalogue of Life.

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Tulkörter
alatum


There are six huge names joining us this year, and we're kicking things off by bringing girl power to Marella Cruises in 2019. Irish girl group B*Witched shot to fame in the 90s when their first four singles all topped the charts – earning them a place in the record books. Their hits include 'C'est La Vie', 'Rollercoaster' and 'Blame It On The Weatherman'. And for the boy band fans? 5IVE are one of the biggest UK boy bands in history, with countless Top 10 hits, sell-out tours and millions of albums sold. Their hits include 'Slam Dunk (Da Funk)', 'When The Lights Go Out', 'Everybody Get up', 'If Ya Getting Down', 'Keep On Movin'', 'We Will Rock You' and 'Let's Dance'. You'll also be dancing to 90s tunes from 911 and S Club Party, plus DJ sets by Judge Jules and DJ SASH!
Which ports of call are included?
Just like last year, we'll be sailing you to two ports on this short break. You'll board in Newcastle and head to Ijmuiden, the port for Amsterdam, where you've got a full day to make the most of the city. Whether you opt for cycling alongside the canals or visiting the Anne Frank Museum, there's plenty to keep you busy. The ship docks in Zeebrugge on day two, the port for Bruges. Indulge in some world-famous Belgian chocolate, relax at one of the city's charming cafes, or marvel at the impressive architecture. The cruise finishes in Southampton on day four.
You'll be sailing on Marella Explorer, home to 10 bars and 10 restaurants, including a sushi spot and a steakhouse. Head to the Champneys spa for a 90s-inspired makeover, or try your luck at the Indigo Casino. Once the parties start, take in the 360-degree-views from the Indigo Bar while enjoying a tipple, and dance the night away in the Indigo Club. Expect fancy dress parties and film screenings, plus Spice Girls, Oasis, and Stone Roses tribute acts.
This is an All Inclusive cruise, with six different restaurants included in the price, plus a range of alcoholic and soft drinks. Excursions in Amsterdam and Bruges, coach transfers, some restaurants and à la carte dining, plus use of spa facilities onboard are also available at an extra charge.
Book your place on the cruise, and if this is your first time on a ship, read our handy guide on what to pack.


This gut-wrenching, poetic memoir reminds us that no life story can be reduced to the word "refugee"…Uwiringiyimana weaves the pieces of her life into a fine tapestry that evokes deep empathy, even as it provides an excellent introduction for young readers to the political and economic climate in a conflict-ridden African region.
This gut-wrenching, poetic memoir reminds us that no life story can be reduced to the word 'refugee.' Uwiringiyimana weaves the pieces of her life into a fine tapestry that evokes deep empathy, even as it provides an excellent introduction for young readers to the political and economic climate in a conflict-ridden African region.
Sandra's account of her transition to America is fully as engrossing as her family's escape from their war-torn homeland, and her memories of trying to navigate American culture...will provoke consideration even with readers who look upon immigrant classmates and neighbors with indifference.
A brave and honest story that puts a human face on the international refugee crisis-and asks us all to walk a mile in Sandra's shoes.
Sandra's life story has profound power. From Africa to America, to the world-an inspiring tale and a riveting read.
In a world on fire, Sandra's story of survival delivers essential truths and a message of peace and unity that speaks to us all.
As America's doors threaten to shut against refugees, this memoir could not be timelier. Her ability to summon the chaos and terror is extraordinary, but then, so is she. [Uwiringiyimana] has emerged as a powerful spokesperson for the plight of the dispossessed.


Defining growth, figuring out your definition of success, and learning from those who are paying attention with Paul Jarvis.
Paul is back on the Food Blogger Pro Podcast to chat about his new book, how to build better businesses, how to define growth, and so much more.
Thanks to our Reviewer of the Week, Carolyn from Umami Girl! If you'd like to be featured, leave a review for us on iTunes and include your name and blog name in the review.


text:
Eixera
Studio: Xavi Cornejo arquitectes
Authors: Xavier Cornejo i Mata
Location: Girona, Spain
Video: Fragments
Eixera is the winning proposal of the tender called by the Catalonia's College of Architects to refurbish its site in Girona. It is placed in the building called La Pia Almoina (14th century), in the middle of the Jewish quarter of the city, framing the stairway of the Cathedral.
The building La Pia Almoina has undergone a long and complex evolution since its construction. The most important change has been the construction of a huge metal structure closed with glass block at the back of the building, in 1974.
The submitted project proposal was based on the idea that land and culture endure through the ages… and that construction adapts to the demands of each moment. For this reason, we proposed the space Eixera to be semi-open, semi-closed.
Eixera achieves the transformation of the ground floor, the first floor and most of the metal structure in the semi-exterior space. The majority of the old closings of glass block have been removed and substituted by wood slats, it being understood that it is an open but covered space. Therefore, it protects people from the rain; it lets air circulate freely (no need of air-conditioner) and it is tailored to the existing environmental conditions.
In the execution phase, we have introduced a closing made of wood and glass from the first to the fourth floor and it clearly singles out the interior spaces from the semi-exterior spaces. Thus, both at functional and conditioning level, the reform is clearer.
Why did you choose this category?: COLLECTIVE PLACES
The La Pia Almoina building is located in a privileged place of Girona, in the middle of the old town and next to the Cathedral stairway. It has always been a building intended for private use, without any interaction with the citizens.
Nowadays, the main use of the building is to be the seat of the Official College of Architects of Girona.
Eixera is the winning proposal of the tender called by the Catalonia's College of Architects to reform this building. Apart from the accomplishment of the functional requirements, the project's major attraction is the connection between the building and the citizens by involving them in the interior.
This intervention has managed to create a passage between the streets and the different levels of the surroundings. The citizens can now walk across the Eixera through a semi-open space as if it was another street of the old town. However, this is unlike a common street because it is an interior passage inside an emblematic building until now unknown to the majority of the population.
The huge metal structure covered with wood slats creates an interesting interplay of light and shade that arouses the curiosity of the users and stimulates the use of this space.
This project has achieved the objective of making part of this building available to the citizens so they can benefit from a new space full of architecture, culture and history.