Narrator definition for kids6/24/2023 The narrator’s characterizations of events, people, and places will be colored by their attitudes, prejudices, limitations, and shortcomings. A first person narrator is often more believable because the reader gets access to their thoughts and beliefs. First person narrators have many advantages, including credibility and intimacy. Point of view, or the kind of narration, deals with who is telling the story: first person (I, me, my) or third person (he, she, they). Point of View Example: Shiloh by Phyllis Reynolds Naylor However, the author switches the narrator between first person, speaking as death about himself and his thoughts, and as a third person point of view, describing all the characters' thoughts and emotions. This narrator is omniscient and knows all of the characters' thoughts and feelings. Another interesting example of POV is in The Book Thief by Markus Zusak which is narrated by Death. An example of the third person omniscient POV in literature is the classic Lord of the Flies by William Golding. In this case, the narrator is privy to the thoughts of the main character as well as the secondary characters.
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Red hourglass6/24/2023 The same place that would have the dot on the immature western black widow is continuous with the stripe (at least in the early stages of life).Īs western black widows mature, they develop more dark pigment in the background area, the stripes start to break up into nebulous isolated patches and eventually disappear as the spider continues to molt and adds darker pigment on its way to turning completely black. Also notice that the forwardmost dot in the brown widow is isolated from the rest of the stripe and is about twice as wide as long. In the western black widow, the stripe extends almost all the way up the abdomen. In the brown widow, it only extends about half way up the abdomen from the rear. The next thing to look at is the longitudinal stripe. However, the black dot at the top of the light colored line is small and blobby. Compare that to the immature western black widow and you see that the light colored stripe is more of a straight line or may be flattened a little at the top. In the brown widow, it looks something like a finger of a hand projecting upward and the finger is holding a large black rectangular blotch. However, pay attention to the lateral diagonal stripes on the abdomen. The egg sac of the western black widow is either round or pointed at the top, yellow and smooth.Īt first these spiders may look very similar. The egg sac of the brown widow is round and yellow with many little silk spikes sticking out from its surface, looking like a big pollen grain or one of those harbor mines from World War II. This is the easiest way to tell a brown widow from a black widow. Please check the internet to identify orb weavers to reduce the chance of misidentification. Orb weavers have spines on thier legs, widow spiders have no spines. Many people send in orb weavers orb weavers of the genera Neoscona and Araneus. Below is a pictorial comparison of the two species with ways to differentiate between them. In order to master identifying them, many specimens need to be examined. There is TREMENDOUS variation for both of these species as they grow from babies to adults. Unfortunately, immatures of the native black widow spider, Latrodectus hesperus, also are tan with white stripes and are frequently mistaken for brown widows. The brown widow is a tan spider with a series of white stripes. In the western United States, accurate identification of this spider can be difficult. but in the first decade of the 21st century, it spread remarkably quickly, is now found from Texas to South Carolina and is well established in the urban areas of Los Angeles, San Diego and surrounding suburbs. 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Of course Windows 10 has better features, more power, and better security than the older operating systems that are still in use today, but it comes at a cost.your freedom of complete privacy. In my most humble opinion, this is the worst thing that Microsoft has ever done with any of the software that they have ever released. Essentially Windows 10 in it's default state has the ability to read and watch everything you do on your computer, and use that data to sell it to other companies in order to target you with advertisements relative to your computer habits. Even in their EULA, they admit that they have the power to take this information and use it to sell it to other companies so that they can target you with custom advertisements for products that you probably don't even want in the first place. Microsoft released Windows 10 as a free upgrade because they are trying to now monetize the operating system by learning your computing habits, reading your e-mails, watching your internet history, examining your searches, looking at the programs that you are installing, and so on and so forth. By now, most power-users with knowledge of Windows 10 know that it has numerous features that link Microsoft's Windows 10 directly to Microsoft so that it can send data from your computer directly to Microsoft's servers and send back information that you use just to search your computer locally. Reesescup6/24/2023 Place another drop of melted chocolate on top of the place where the two pretzels meet and press the wide end of the Reese into the melted chocolate, so the back of the Reese faces upwards.Press two pretzel sticks into the melted chocolate. to place a large dab of melted chocolate onto a piece of parchment paper or foil. This melted chocolate mixture will act as our glue. 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Adorable peanut butter cup reindeer treats made with miniature Reese’s cups, pretzels, and M&Ms. Ved mehta celebrated writer new yorker6/24/2023 Nine years later he was hired a full-time ideaman, given an office at the magazine and instructed not to tell anyone what he did. Stevenson interned as an office boy at The New Yorker in the mid 1940s when he began supplying ideas for other New Yorker artists. Died, February 17, 2017, Cos Cob, Connecticut. “Bruce Museum Celebrates Cartoonist James Stevenson’s Work With ‘Fun/No Fun’ Exhibit” Visit her website here.Īrticle Of Interest: James Stevenson Exhibit Visit his website here.įrom, Janauary 11, 2021, “A Conversation With Liza Donnelly, Children’s Author/Illustrator, and New Yorker Cartoonist”- Ms.Donnelly’s work first appeared in The New Yorker in 1982. The vaccine in our future, by Lars Kenseth, who began contributing to The New Yorker in November of 2016. You can read The New Yorker ‘s Postscript about him here, and The New York Times lengthy obit here. But, as happened so often in those days at the magazine, my shyness won out, and the opportunity vanished. I was standing next to him in an elevator and could’ve (should’ve?) introduced myself and told him how much I was enjoying his pieces in the magazine (and I really was). It was back in the old New Yorker offices at 25 West 43rd Street. I had one (missed) opportunity to meet Mr. Mehta went abroad (to England) and found a couple to sublet his apartment: the great New Yorker cover artist, Abe Birnbaum and his wife. Mehta describing a party scene (pages 160-162) wherein the guests, including Shawn, discuss James Thurber’s just released The Years With Ross, and the other is just a brief tidbit concerning a time Mr. Over time, two short cartoon-related moments from the book have stayed with me (as has the fab cover photo of William Shawn by the late great cartoonist & writer, James Stevenson): one is Mr. Shawn: The Invisible Art Of Editing (Overlook, 1998). Read more here.Ī Passing Note: Even though his long association with The New Yorker was not connected with the Art Department, I’d like to mention the passing of a long-time contributor to the magazine, Ved Mehta.įor those who love books by New Yorker contributors about The New Yorker, you’ll enjoy Mr. Hope does spring eternal here at the Spill that one day Rea Irvin’s design will return. Well, we’re inching into the new year, and the redrawn Talk masthead is still in place (it turned up in the Spring of 2017, elbowing aside Mr. This drawing could’ve been published 50 years ago, and it could be published 50 years from now. And then there’s Tom Toro’s fish swimming upstream drawing (it’s on page 42). He has taken the age-old problem of forgetting to date checks in the new year with the new year’s date, and allowed it to say something about the historically horrific year gone by. The topical one first: Joe Dator’s drawing (found on page 13) is the first cartoon of the issue. One is topical, and the other an evergreen. Two cartoons especially caught my eye in this issue, each an example of what the New Yorker cartoon can be at its best. One newbie: Jacob Breckenridge, who is the 2nd new addition to the magazine’s stable of cartoonists this year, and the 80th brought in since Emma Allen was appointed The New Yorker‘s cartoon editor in the Spring of 2017. Seventeen cartoonists and seventeen cartoons. Here (once again) is the Cover Story post with him. The Cover: As mentioned here last week, the cover (shown above), by Edel Rodriguez was early-released. The Monday Tilley Watch Takes A Glancing Look At The Art & Artists Of The Latest Issue Of The New Yorker Uf wing zone6/24/2023 Jayaraj Estates (Khata Holder), Rep by GPA Holder M/s Saibya Structures Pvt. 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LIST OF OCCUPANCY CERTIFICATES ISSUED BY OFFICE OF THE JOINT DIRECTOR OF TOWN PLANNING DURING THE YEAR 2021-22 Sudo meaning medical6/24/2023 Pseudoaddiction (with “pseudo-” from Latin meaning “fake,” “not real,” was originally introduced and defined by Weissman and Haddox in 1989 as an “iatrogenic syndrome that mimics the behavioral symptoms of addiction” in patients receiving inadequate doses of opioids for pain. Pseudoaddiction, the subject of this review, is a clinical concept that has been influential as a diagnosis in clinical practice and the medical literature to indicate that under-treatment of pain, rather than risk of addiction with opioids, should be the primary clinical concern. While the origins of these trends are attributable to the recognition of pain as a significant, undertreated public health problem, a growing emphasis on opioids as the major, front-line treatment of choice for pain has gone hand in hand with reducing physicians’ fears of opioids causing or contributing to addiction. By the end of the last decade, Americans, although just 4 % of the world’s population, were consuming 80 % of the global opioid supply and 99 % of the world’s hydrocodone supply. From 2000 to 2009, opioids dispensed from US outpatient pharmacies rose from 174.1 million to 256.9 million doses. Accordingly, massive increases in US expenditures for prescription pharmaceuticals (from $12 billion in 1980 to $263 billion in 2011 ) have been driven in part by increases in opioid prescriptions and consumption. This shift has been attributed to various trends and organizational initiatives within health care that have (1) increased the prioritization and emphasis on the diagnosis of pain, relative to other medical issues (e.g., “pain is the fifth vital sign”), and (2) the treatment of pain with opioid analgesics as opposed to other modalities that have reputations of being less clinically efficacious and/or less cost-effective than opioids. Over the last 20 years, US health care has undergone a major shift in attitudes and clinical practice involving increased prescribing of opioids to patients with different causes and levels of acute and chronic pain. Future studies should examine whether acceptance of pseudoaddiction has complicated accurate pain assessment and treatment, and whether it has contributed to or reflected medical-cultural shifts that produced the iatrogenic opioid addiction epidemic. Nevertheless, the term has been accepted and proliferated in the literature as a justification for opioid therapy for non-terminal pain in patients who may appear to be addicted but should not, from the perspective of pseudoaddiction, be diagnosed with addiction. Empirical evidence supporting pseudoaddiction as a diagnosis distinct from addiction has not emerged. In contrast, six articles, none with pharmaceutical support, questioned pseudoaddiction as a clinical construct. These papers described pseudoaddiction as an iatrogenic disease resulting from withholding opioids for pain that can be diagnosed, prevented, and treated with more aggressive opioid treatment. Twelve of these articles, including all four that acknowledged pharmaceutical funding, were proponents of pseudoaddiction. Only 18 of these articles contributed to or questioned pseudoaddiction from an anecdotal or theoretical standpoint, and none empirically tested or confirmed its existence. By 2014, pseudoaddiction was discussed in 224 articles. This investigative review searched Medline articles containing the term “pseudoaddiction” to determine its footprint in the literature with a focus on how it has been characterized and empirically validated. Pseudoaddiction, a concept coined in 1989, has frequently been cited to indicate that under-treatment of pain, rather than addiction, is the more pressing and authentic clinical problem in opioid-seeking patients. Tremendous growth in opioid prescribing over two decades in the USA has correlated with proportional increases in diversion, addiction, and overdose deaths. Compile ardour linux6/24/2023 I don't use the TV screen for normal work, but I do like to run things like VCV Rack (an open source modular synthesizer system) there because of the sheer size of the screen. An ASUS GeForce GT 710 drives two ASUS 24" 1920x1200 monitors via HDMI and DVI An ASUS Radeon R5 drives a 42" TCL 4K "TV". 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Sometimes I have to deal with Drupal and web stuff too, but I try to avoid it if possible. My development work spans just about every aspect of native programming, from the many nuances and complications of GUI and UX design down to bare metal performance considerations, parallel, real time and lock free programming, complex data structure design and large scale data handling. I've also worked on some other audio and MIDI software, most notably JACK which can be used to interconnect different audio/MIDI applications so that they can share/exchange data. Ardour has been my central project for the last 20 years, and I've made a living from it for the last 10 years or so. I'm Paul Davis, the original developer and benign dictator of Ardour, an open source digital audio workstation used for recording, editing and mixing music (or more generally sound). |