. the dawn of e - life. new york, newsweek, 38 - 41. plater, w. m. ( 1995 ). future work : faculty time in the 21st century. change, 27 ( 3 ), 23 - 33. russell, t. l. ( 1997 ). the no significant difference phenomenon. raleigh, nc, office of instructional telecommunications, north carolina university. rodenberg, d. ( 1999 ). commentary : web - based learning : extending the paradigm. technology source. [ online ]. available : http : / / horizon. unc. edu / ts / commentary / 1999 - 11. asp spooner, f., spooner, m., algozzine, b., & jordan, l. ( 1998 ). distance education and special education : promises, practices, and potential pitfalls. teacher education and special education, 21 ( 2 ), 121 - 131. starr, r. ( 1997 ). delivering instruction on the world wide web : overview and basic design principles. educational technology, 37 ( 3 ), 7 - 15. young, j. r. ( 1997 ). rethinking the role of the professor in an age of high - tech tools : will ' unbundling ' of tasks give faculty members more time or put them on the sidelines? the chronicle of higher education, xliv ( 6 ), a26 - a28. about the authors deborah case, med. is a doctoral student at the university of kentucky. her areas of study include distance education, assistive technology, and early childhood special education. ms case is currently employed as a research associate at the university of louisville and is involved with online assistive technology training and the research component of a distance - based assistive technology assessment project to assess students in rural areas for assistive technology. prior to this role, ms case worked as an assistive technology specialist / practitioner in an assistive technology resource center and as an early interventionist. email : firstname. lastname @ example. org / email @ example. com debra k bauder, ed. d. is a teacher, technical consultant, computer specialist, technology training specialist, instructor in higher education, and a director of statewide training in assistive technology. dr. bauder has her educational specialists and doctorate from the university of kentucky with an emphasis on preparing personnel in the use of technology in special education. dr. bauder is a faculty member of the university of louisville ' s distance education faculty. she is involved in


[ parents, learn how to help your bullied teen. ] but the problem is likely much worse, since nearly two thirds of the incidents are never reported, the department estimates. limited supervision and a confined environment make school buses a hotbed for bullying, a recent slate article notes. " in my experience at least, bullying and the bus went together like peanut butter and jelly, " writes jeremy stahl, the article ' s author. while most drivers say bullying is a serious problem on their school buses, effectively juggling the monitoring of bullying while ensuring students arrive safely at their destinations is a significant challenge, notes the national association for pupil transportation. " there are typically far more children on a school bus than in a classroom, and the bus driver has to manage them all while operating a 10 - ton vehicle and facing the opposite direction, " napt officials pointed out in a 2010 release. [ bullying happens online, too. read more about cyber bullying. ] insufficient training and bullying policies that don ' t address a bus driver ' s role only compound the problem, mike martin, executive director of the napt, said in a presentation last year. to address this issue, the napt and department of education developed a two - part training program specifically for school bus drivers. building a rapport with students by greeting them and addressing them by name can help drivers prevent bullying, according to the training materials. when bullying does occur, the training champions the " see something, do something " mantra, instructing drivers to warn the students and inform school administrators. but school bus drivers are just that — drivers, not disciplinarians or social workers — and are limited in what they can do beyond reporting incidents, the napt points out. beyond that, it is up to parents and school administrators to address bullying when it is reported. have something of interest to share? send your news to us at email @ example. com.


chad stone is chief economist at the center on budget and policy priorities. we learned earlier this year that incomes at the very top began to rebound in 2010 from the financial crisis and great recession and that, in that year, about a fifth of total before - tax income went to the top 1 percent. this week, the federal reserve released information for 2010 about the distribution of wealth ( or " net worth " ) that reminds us that wealth is even more highly concentrated than income. first, let ' s define our terms : a family ' s income is the flow of money coming in over the course of a year from earnings, dividends and interest, social security, etc. its wealth is the stock of assets it has from inheritance and saving, minus its liabilities. assets include savings, stocks, vehicles, homes, business and financial assets, and so on, while liabilities include credit card debt, mortgages, past - due bills, and so on. the fed ' s report is based on its triennial survey of consumer finances, and provides literally a wealth of data on changes in u. s. family finances from 2007 to 2010. researchers rely on other sources of data for assessing trends in income inequality, but the fed ' s data on net worth are incomparable. we ' ll have to wait until researchers at the fed and elsewhere have crunched the numbers further to get more detail on the concentration of income and wealth in these data, including the share of the top 1 percent, but the published numbers already point to how much more concentrated wealth is than income ( as it has been since these data have been collected ). as the chart shows, 45 percent of before - tax income goes to the top 10 percent of families ranked by income. an astounding 75 percent of wealth goes to the top 10 percent of families ranked by wealth. if previous years ' surveys are a guide, we ' ll discover once all the data are available, that, in each case, nearly half of the income received or wealth held by the top 10 percent in each distribution is received or held by the top 1 percent. in these data, a family income of $ 142, 300 or more in 2010 would have put you in the top 10 percent of income ; a net worth of $ 952, 500 would have put you in the top 10 percent of wealth. in each case, of course, the averages are much higher ( almost $ 349, 000 for income and $ 3. 7 million for wealth ). to put that in perspective,


500 would have put you in the top 10 percent of wealth. in each case, of course, the averages are much higher ( almost $ 349, 000 for income and $ 3. 7 million for wealth ). to put that in perspective, the median income in 2010 in these data was $ 45, 800 ( half of all families had more, half had less ) while the median wealth was $ 77, 300. the rich took a hit in the financial crisis and great recession, with their net worth falling by 11 percent from 2007 to 2009, but that pales in comparison with a 24 percent drop in the net worth of the bottom 90 percent. it appears that the financial wealth that dominates the net worth of the top 10 percent fell less ( or rebounded more in 2009 - 10 ) than the housing wealth that accounts for most of the typical family ' s net worth. moreover, the net worth of the top 10 percent is nearly 10 percent higher than it was in 2001, while the net worth of the bottom 90 percent is 14 percent lower. as policymakers contemplate policies to address the nation ' s fiscal challenges, it seems reasonable to ask whether talk of restoring tax rates to what they were in the 1990s is " class warfare " or simply asking the wealthiest among us to bear their fair share of the lift. - why the education bubble will be worse than the housing bubble - follow the thomas jefferson street blog on twitter at @ tjsblog. - check out u. s. news weekly : an insider ' s guide to politics and policy


portraits of a marriage picasso ’ s first visit to rome, in february 1917, had originally been conceived as a wedding trip, but at the last moment his on - again, off - again mistress, irene lagut, who had promised to marry him, changed her mind, as had her predecessor, gaby lespinasse, the year before. instead of irene, jean cocteau accompanied picasso. in a vain attempt to set himself at the head of the avant - garde, this ambitious young poet had inveigled picasso into collaborating with him on parade, a ballet about a couple of shills who lure the public into their vaudeville theater by tantalizing them with samples of their acts. cocteau had desperately wanted serge diaghilev to stage this ballet in paris, and picasso ’ s chilean patron and mother figure, eugenia errazuriz, had persuaded the impresario to agree, provided picasso did the decor, erik satie the score, and leonide massine the choreography. sets, costumes, and rehearsals were to be done in rome, where the impresario had his wartime headquarters. picasso ’ s cubist followers were horrified that their hero should desert them for the chic, elitist ballets russes, but he ignored their complaints. after two and a half years of war, with its appalling death toll, hardships and shortages, and above all the absence of some of his closest friends, who were at the front ( notably fellow cubist georges braque and the poet guillaume apollinaire, who both suffered severe head wounds ), picasso was elated at the prospect of leaving the war behind to spend a couple of months in the relative peace of rome, which he had always wanted to see. when he arrived there, he was still suffering from chagrin d ’ amour. eager to find a replacement for the woman who had turned him down, he promptly fell for one of diaghilev ’ s russian dancers, 25 - year - old olga khokhlova. although he courted her assiduously and did a drawing of her, olga proved adamantly chaste. chastity was a challenge that picasso had seldom had to face. diaghilev warned him that a respectable russian woman would not sacrifice her virginity unless assured of marriage. olga was indeed more respectable than the bohemian models of his past ; she was the daughter of stepan vasilievich khokhlov, who she always claimed was a general but who was in fact a colonel in the


unless assured of marriage. olga was indeed more respectable than the bohemian models of his past ; she was the daughter of stepan vasilievich khokhlov, who she always claimed was a general but who was in fact a colonel in the corps of engineers in charge of the railway system. appointed to a post in the provinces in 1910, the colonel had taken his three sons and a second daughter with him, but had left olga behind. egged on by a friend ’ s sister who had joined the diaghilev ballet after graduating from the imperial ballet school, she decided to become a dancer. despite a late start at a st. petersburg ballet school, olga got an audition with diaghilev. a daunting committee — besides vaslav nijinsky, the star dancer, it included enrico cecchetti, the greatest of classical ballet masters — put her through her paces and accepted her. nijinsky was sufficiently impressed to pick her out of the corps de ballet. massine, who had taken nijinsky ’ s place in diaghilev ’ s company as well as in his heart, had chosen olga to play a role in les femmes de bonne humeur, based on a comedy by the 18th - century italian playwright goldoni, with sets by leon bakst. at a rehearsal for this ballet, picasso spotted olga and set about courting her. to familiarize himself with the techniques of theatrical decor and observe his new love dance, he helped the scene painters execute bakst ’ s designs. to watch olga backstage, picasso even helped the stagehands at the ballet ’ s premiere. fifteen months later, picasso would marry olga. ten years younger than picasso, olga had fine features, dark - reddish hair, green eyes, a lithe body, and a look of wistful, swan lake melancholy. photographs reveal her to have been a beauty — an unsmiling one as a rule, although in early snapshots with picasso and cocteau in rome she is actually grinning. the celebrated ballerina alexandra danilova declared that olga “ was nothing — nice but nothing. we couldn ’ t discover what picasso saw in her. ” on the other hand, lydia lopokova — the most intelligent of diaghilev ’ s ballerinas — was olga ’ s best friend in the company. besides being challenged by olga ’ s virginal stance, picasso sensed the victim within. her vulnerability would have appealed to his possessiveness and protectiveness — especially when the russian revolution


s ballerinas — was olga ’ s best friend in the company. besides being challenged by olga ’ s virginal stance, picasso sensed the victim within. her vulnerability would have appealed to his possessiveness and protectiveness — especially when the russian revolution cut her off from her family — and also to his sadistic side. ( picasso expected the women in his life to read the works of the marquis de sade. ) his desperation at being rejected by the two women he had hoped to marry should also be taken into account. he was 35 and wanted to settle down with a presentable wife and have a son. the gala opening of the exceedingly avant - garde parade took place in paris on may 18, 1917, at the theatre du chatelet. due to the wartime blackout, the performance was scheduled for 3 : 30 in the afternoon. “ the audience wanted to kill us, women rushed at us armed with hatpins, ” cocteau claimed. “ a bayonet charge in flanders [ was ] nothing compared to what happened that night at the chatelet. parade was the greatest battle of the war. ” this was nonsense, and infuriated anyone who had suffered in the trenches. the women armed with hatpins had been invented by cocteau to drum up publicity. in fact, there were just a few boos ; applause prevailed. when the company left to perform in barcelona, picasso went along with olga and took his fiancee to meet his mother. as he later told francoise gilot, the painter and mother of his children claude and paloma, dona maria took a very dim view of olga as a daughter - in - law. “ you poor girl, you don ’ t know what you ’ re letting yourself in for, ” she supposedly told her. “ if i were a friend, i would tell you not to do it under any conditions. i don ’ t believe any woman would be happy with my son. he ’ s available for himself but for no one else. ” might the artist have been putting words into his mother ’ s mouth? dona maria later became extremely fond of olga. whether or not her future mother - in - law approved, olga was dead set on marriage. the russian revolution ’ s descent into a holocaust had left her with no alternative. also, she would have seen how rapturously picasso was received in france and spain and realized that he was far more of a celebrity than she could ever be. her best hope of stardom was to sacrifice her career as a ball


no alternative. also, she would have seen how rapturously picasso was received in france and spain and realized that he was far more of a celebrity than she could ever be. her best hope of stardom was to sacrifice her career as a ballerina and become madame picasso. the only problem : olga refused to sleep with her lover before they were married. a long engagement the company ’ s departure for a tour of south america left olga marooned in a country where few spoke french, let alone russian. neither dona maria nor picasso ’ s sister lola took olga to their hearts, and picasso would not let her meet his raffish, bohemian friends. fraught with worry at the news from russia, olga became totally reliant on picasso, with whom she proceeded to fall passionately in love. when he was off working in a friend ’ s studio, olga stayed in a pension. she exercised every day at the barre in a local dance studio. otherwise, as drawings reveal, she spent her time on a sunny balcony, reading and sewing and waiting for her french visa to come through. hitherto, olga had had no difficulty crossing frontiers. having left the troupe, she was now stateless, stuck in spain without a passport. evenings, picasso would pay court to her. she would get herself up in the gauzy black dress her fiance had picked out for her at barcelona ’ s fashionable grand gerard shop. arm in arm in the dusk, they would stroll ceremoniously up and down the famous promenade known as the ramblas. picasso enjoyed showing olga off, and soon he set about painting a lifelike portrait of her, costumed a l ’ espagnole, complete with a spit curl and a mantilla, improvised out of a fringed lace tablecloth pinched from a hotel. these trappings are at odds with the sitter ’ s melancholy gaze. this, his first portrait of her, is surprisingly unaffectionate. olga ’ s reproachful eyes and pursed lips look ahead to the cruel, exorcistic portraits picasso would paint 15 years later, when their marriage had soured. at first, olga would not allow picasso to spend the night in her room at the pension. for a sex - obsessed andalusian, the brothel would therefore have been a daily or nightly necessity. the stress generated by olga ’ s resistance might well explain the ambiguity and coolness of her expression in the portrait. however, the closeness that sitting for the portrait entailed seems to


, the brothel would therefore have been a daily or nightly necessity. the stress generated by olga ’ s resistance might well explain the ambiguity and coolness of her expression in the portrait. however, the closeness that sitting for the portrait entailed seems to have melted olga ’ s resolve. she finally allowed picasso to sleep in her room. sketchbook drawings reflect the couple ’ s ever increasing intimacy. we see olga in a negligee with her mane of reddish hair loose around her shoulders or done up in a chignon. and yet, for all their affection, these drawings reveal no trace of picasso ’ s predatory physicality. one of the few to evoke desire rather than pride of ownership is a study of a languorous - looking olga on a chaise longue, clutching a teddy bear — daddy ’ s little girl, but very much a woman. in another touching sketch of her, on her balcony, dated july 21, picasso portrays her feeding a canary. after a six - month wait for a visa, they were finally able to return to paris — olga to the luxurious new hotel lutetia, picasso to his rented suburban villa at montrouge. the winter of 1917 – 18 was bitter, but despite the cold and the discomfort he was happy to be home. they would live apart for most of the next six months. olga went off to do daily exercises at a ballet school, but there were also portraits to sit for, so she spent most of her days at montrouge. sometimes the bombing may have obliged her to stay there overnight. a nighttime trip with shrapnel raining down could be fatal. on meeting picasso ’ s former associates, olga made a major tactical error. she drove a wedge between picasso and his oldest french friend, max jacob, the great poet, who had chosen the artist as his godfather when he converted to catholicism. she could not stand his dirtiness, drunkenness, and addiction to rough trade. jacob had usually managed to stay close to the artist by insinuating himself into the affections of his women, but olga refused to have him around. knowing what she did about the homosexual ties that held diaghilev ’ s company together and sometimes blew it apart, she likely sensed the amorous nature of jacob ’ s feelings for her fiance. as a result, the artist would have to sneak off and see him on the sly. to commemorate his engagement, picasso painted a very traditional portrait of olga in all her glory. she wears the black dress he had bought for her in


her fiance. as a result, the artist would have to sneak off and see him on the sly. to commemorate his engagement, picasso painted a very traditional portrait of olga in all her glory. she wears the black dress he had bought for her in barcelona, holds a fan, and is seated on a slipper chair. the painting is ingresque in the pose but not in the handling. at the same time, it is one of the first examples of picasso ’ s use of a camera in preparation for a portrait. he had photographs taken of olga and followed them closely on canvas. even the color is virtually monochrome, delicately tinted as if by a retoucher. originally scheduled for may 1918, the marriage had to be postponed. the ballerina had woken up one morning with an agonizing pain in her foot. she could not move it or get out of bed. dancers can be reticent about their injuries, so we have to guess at the cause of olga ’ s. presumably she had suffered an accident in the course of her daily workout at the barre ; it could also have been the result of a previous injury. ( an old photograph of olga with a walking stick, taken before she met picasso, hints at an earlier injury. ) after a spell in a nearby clinic, she was obliged to undergo an operation, which left her entire right leg encased in plaster. by the end of june, the leg had healed sufficiently for a date to be set for the wedding : july 9. her plaster cast would be off by then, and her papers would be in order. at the last moment there was a hitch — seemingly occasioned by olga ’ s injury — and the wedding had to be postponed a few more days. even then the bride had to hobble around with a cane — a galling experience for a ballerina. the marriage certificate lists the clinic as her address. “ wedding photographs ” were taken much later. the civil ceremony was held at the mairie, and the religious ceremony at the russian church in paris. the witnesses for picasso were apollinaire and jacob ; for olga, cocteau and a russian ballet critic. following the wedding, there was a luncheon ; afterward, olga returned to the clinic. a few days later, the picassos left to spend their honeymoon in eugenia errazuriz ’ s villa in biarritz, where picasso did a great deal of work, including some lighthearted frescoes in one of the rooms. since olga was confined most of


the picassos left to spend their honeymoon in eugenia errazuriz ’ s villa in biarritz, where picasso did a great deal of work, including some lighthearted frescoes in one of the rooms. since olga was confined most of the time to an armchair or chaise longue, picasso could draw her all he wanted. she enjoyed this ritual, but she still comes across as a bit distant. sometimes he depicts her as a noble, classical beauty ; sometimes less formally, as a soulful young wife ; sometimes as a cubist construction. however, he always keeps his libido buttoned, which was not necessarily the case when he drew the gorgeous south american girls eugenia knew. on august 20, olga wrote jacqueline apollinaire that she was still bedridden. ten days later she was beginning “ to walk a bit, ” but it was not until late september that she finally appeared to be fully recovered. before being able to dance, she would have had to undergo months of agonizing rehabilitation. whether or not she did so, olga never danced again in public. the shadow of her injury would darken picasso ’ s future relationships with women. “ women ’ s illnesses are always women ’ s fault, ” he said to me many years later, as if to shift the guilt from his shoulders onto hers. the honeymooners returned home at the beginning of october and set about searching for a suitable apartment in central paris. picasso ’ s dealer, paul rosenberg, saw to it that they did not have far to look. to keep his valuable new artist under surveillance, he arranged for him to rent an apartment at 23 rue la boetie, the building next to his. rosenberg had a lease drawn up, and by mid - october they had moved from montrouge to the lutetia, the better to supervise the decoration. former friends denounced picasso ’ s new address as too redolent of bourgeois affluence and commerce. the rue la boetie had recently become the center of the paris art trade. it was lined with galleries and expensive antiques shops. why, in view of his denunciations of “ dealers [ as ] the enemy, ” did picasso choose to live in their very midst? had he returned to the more bohemian montparnasse, where he had previously resided, he would have encountered disgruntled cubists and former girlfriends at every turn. also, olga was determined to woo him away from his formerly louche life. the picassos moved into


bohemian montparnasse, where he had previously resided, he would have encountered disgruntled cubists and former girlfriends at every turn. also, olga was determined to woo him away from his formerly louche life. the picassos moved into their new apartment a week before christmas 1918. it consisted of a single, spacious floor divided into his and her realms. picasso and lotti, his huge pyrenean sheepdog, took over the rooms looking onto the street for his studios ; the rooms at the back were his wife ’ s domain. to judge by the artist ’ s drawings of the salon and dining room, olga did up the place in a stylish but relaxed way. apart from the paintings on the walls, the only picassian touches were the upholstery of the armchairs in the salon, each in a different bright color, and a screen he painted for olga ’ s sitting room. olga turned out to be an exemplary maitresse de maison, according to the photographer brassai, “ not the slightest disorder, not a grain of dust. ” picasso, on the other hand, was a compulsive hoarder with an idiosyncratic relish of dust : it enabled him to tell whether anybody had disturbed his piles of old journals, letters, and smoker ’ s debris. the bedroom smacked of olga : twin brass bedsteads, as in the hotel lutetia. to keep her domain just so, olga assembled an impeccable staff : butler, cook, maid, and chauffeur. she took her role as hostess very seriously. with the guidance of cocteau and that supreme social operator misia sert, she was soon giving suitable little dinners — lots of caviar — for the beau monde after first nights at the ballet or theater. by virtue of their celebrity, the picassos starred at the fancy - dress balls organized by such scions of “ le gratin ” as count and countess etienne de beaumont and the vicomte and vicomtesse de noailles, who had one of the greatest collections of old and modern masters in france. of all picasso ’ s parisian friends, the one olga was fondest of was that enormously gifted jack - of - all - trades ( poet, novelist, playwright, cineaste, painter ) cocteau. he was elegant, mondain, witty — a social rigoletto. also, he was always at pains to charm her. hopelessly, masoch


trades ( poet, novelist, playwright, cineaste, painter ) cocteau. he was elegant, mondain, witty — a social rigoletto. also, he was always at pains to charm her. hopelessly, masochistically in love with picasso, cocteau managed to make himself indispensable — a mercurial manipulator — at the cost of being mercilessly mocked and yet in the end always taken back into favor, for he was without question the most coruscating wit of his time. picasso doted on him and defended him against his enemies, the surrealists. the bourgeois life on february 4, 1921, olga gave birth to a son who would be christened paul “ paulo ” joseph ( after his father, pablo, and grandfather don jose ). the godparents were misia sert and picasso ’ s rich argentinean fan georges bemberg, who was supposed to bring a spanish archbishop to preside over the ceremony. gertrude stein, whom picasso used to call his “ pard, ” was not asked to be a godparent. they had quarreled : “ they neither of them ever knew about what, ” wrote gertrude in her autobiography of alice b. toklas. at first picasso was delighted to have a son, the only male heir born to his branch of the family. paintings and drawings of the baby in his mother ’ s arms testify to paternal pride and love. unfortunately, olga became an obsessively overprotective parent and would behave as if the birth of a son and heir entitled her to a great deal of deference as the wife of the world ’ s foremost painter. from now on, she would play the part of madame picasso as if it conferred stardom. a bohemian at heart, picasso would try to adjust to her notion of how a celebrated artist should live. he was proud of olga and the ambience she provided, but this enjoyment would come under increasing attack from erstwhile friends. seeing man ray ’ s photograph of picasso dressed as a torero at one of etienne de beaumont ’ s very grand balls, braque said, “ i ought to recognize that gentleman. ” to counter criticism, picasso blamed his wife. “ you see, olga likes tea, caviar, pastries, and so on, ” he told one of his models. “ me, i like sausage and beans. ” around this time, a friend caught picasso looking at himself in a mirror and murmuring,


likes tea, caviar, pastries, and so on, ” he told one of his models. “ me, i like sausage and beans. ” around this time, a friend caught picasso looking at himself in a mirror and murmuring, “ comedia. ” the birth of a son triggered a monumental change in picasso ’ s work. during the summer of 1921, which he spent in a rented house at fontainebleau, he executed a number of huge, highly finished paintings of hefty nudes inspired by the classical sculptures he had admired in the naples museum. modernists criticized this return to representationalism, but two no less sizable cubist paintings entitled three musicians, which he worked on simultaneously, reveal that he saw these totally dissimilar styles as two sides of the same coin. the momentum generated in the course of the summer at fontainebleau carried him through into the following year. back in the rue la boetie apartment, he did his best to fill the role of a dutiful husband and father, but sometimes the tedium of these responsibilities and the russian chitchat of olga ’ s ballet associates became intolerable, and he would go off and cruise the boulevards. then, in october, an attractive american couple, gerald and sara murphy, entered his life, and for the next three or four years they would enliven it. in the summer of 1922, which the picasso family spent in the northern resort town of dinard, olga fell seriously ill. the nature of her illness has never been divulged. rather than having anything to do with her leg, it was seemingly the first manifestation of the gynecological problems that would cloud the rest of her life — “ women ’ s troubles, ” friends were told. in mid - september she had to be rushed to paris for an emergency operation. picasso had a difficult drive to the city, coping with paulo ’ s car sickness while applying ice packs to olga ’ s temples. a sanguine drawing of olga, done around the middle of september, shows her looking haggard and sick. this drawing evidently had a malign significance for picasso : 41 years later he gave it to his son paulo for christmas — seemingly the only work he ever inscribed to him. there would be many more representational portrayals of olga, but none of them manifests the anguish that makes this one so memorable. after olga ’ s operation, picasso went back to dinard to collect the work he had done there. his return attracted


would be many more representational portrayals of olga, but none of them manifests the anguish that makes this one so memorable. after olga ’ s operation, picasso went back to dinard to collect the work he had done there. his return attracted attention : while in paris he had bought a costly new car and hired a driver. the car was a fancy panhard, impressive enough to be written up in the dinard newspaper. from then on, everything picasso did would be news. picasso ’ s acquisition of a chauffeur - driven automobile was attributed to olga. many of his fellow artists and writer friends had acquired expensive cars — roadsters or racing cars for the most part — but they always drove them themselves. francis picabia had some 15 of the finest makes ; andre derain owned a renault and a racing bugatti ; braque had an alfa romeo. unlike most of his artist friends, picasso refused to learn to drive. he would later tell francoise gilot that he was frightened of spoiling the suppleness of his hands and wrists. if a painter could afford to buy a car, picasso thought, he should be able to afford a chauffeur. the change in picasso ’ s attitude to olga is reflected in his portraits of her after her recovery. there is a sadness to them, which bears out something picasso told gilot : that “ he tried to placate his wife by having her sit for him. ” olga figures in her husband ’ s early portraits of her as a trophy wife, almost never as a sexually desirable woman. the three highly finished paintings of her in a fur - collared blue dress he did in 1923 are not so much likenesses as idealizations — pastiches of the great french 18th - century pastelists. she was still an object of admiration and pride to picasso, but his desire for her was evidently cooling. the numerous portraits picasso did of his son are more alive than those he did of the boy ’ s mother. paulo figures in many different costumes and poses : on a donkey, with a toy lamb or a horse or a motorcar. on one occasion picasso took his sleeping son ’ s model car and repainted it in bright colors with trompe l ’ oeil cushions and a checkered carpet on the floor. when paulo awoke, he was furious. the father was not happy at the way olga pampered and monitored the boy. his upbringing at the hands of music teachers, dancing instructors, and the like became yet another bone of


carpet on the floor. when paulo awoke, he was furious. the father was not happy at the way olga pampered and monitored the boy. his upbringing at the hands of music teachers, dancing instructors, and the like became yet another bone of contention. like his father, the son would come to resent olga and ultimately to loathe her. now that the picassos were pillars of the beau monde, they were condemned to a constant round of fashionable functions. new year ’ s eve 1922, they were guests at a party given by paul rosenberg ’ s in - laws, the jacques helfts, who were silver dealers. everyone wore fancy dress, except picasso, who enjoyed dressing up only as long as it was not mandatory. olga put on a tutu ; rosenberg went as a chauffeur. picasso was so impressed by the antique french silver on the helfts ’ dining table that he asked whether he could buy a set of 18th - century knives, forks, and spoons. helft took him down to the vault, and the deal was done. picasso would give helft a watercolor of a knife, fork, and spoon to commemorate the purchase. the summer of 1923 would prove a historic one, not just for picasso and his friends the murphys, but for the future of the cote d ’ azur. in asking the proprietor of the hotel du cap at antibes, which had hitherto been limited to a winter season, to keep a few rooms open for the summer, the two couples unwittingly transformed the riviera into a year - round resort. the murphys were almost too adept at organizing treats for their children and friends. the picnics on the beach, boating trips, treasure hunts, dances, alfresco dinners, and cocktail parties left picasso little time for work. much as he enjoyed the murphys ’ american joie de vivre, he would eventually tire of the constant cocktails, the wisecracks in a language he did not understand, and the egomaniacal behavior of the murphys ’ literary friends f. scott fitzgerald and ernest hemingway. sara murphy is the model for some drawings and a couple of sand paintings, but there is no basis to the story that picasso fell obsessively in love with her, which was thought up by a former director of new york ’ s museum of modern art. sara was famously virtuous, and picasso was averse to affairs with women who had had children. in subsequent summers,


broad smile, beautiful red - and - black tie, wide gold ring — off an expensive umbrella — and huge mesmeric eyes instantly disarmed her. she remembered him saying, “ you have an interesting face. i would like to do a portrait of you. i feel we are going to do great things together. ” “ i am picasso, ” he announced, but the name meant nothing to marie - therese, so he took her to a bookstore and showed her a book about him. the fact that he was a painter touched her, she said, “ because my mother had had a great romance with a painter. ” picasso ’ s comment that she was beautiful gave marie - therese particular pleasure. her family — three sisters who lived with their single mother in a riverside house on the outskirts of paris — had always teased her for having an ugly “ greek ” nose instead of a cute little parisian retrousse one. picasso ’ s “ lovemaking [ was ] at times intimidating and terrible, ” marie - therese confessed, “ [ but ] in the end a completely fulfilling experience …. [ he ] was very ‘ virile. ’ ” what excited him was having total psychological power over her, as his imagery reveals. picasso ’ s boast to the poet paul eluard — “ you know, in my love affairs there has always been a lot of gnashing and suffering : two bodies entangled in barbed wire, rubbing against each other, tearing themselves to bits ” — should not be taken too seriously. the artist wanted to outboast a fellow disciple of the “ divine marquis. ” to conceal marie - therese from olga, picasso rented an apartment near where he had picked her up ; to conceal her in his work, he was obliged to allegorize her in the form of a guitar, a jug or a fruit dish, or interlocking monograms : he would also depict her in the form of his penis or her vagina. sometimes he would portray another woman in the pose he had devised for marie - therese. in cannes with olga for the summer of 1927, picasso missed his new girlfriend so much that he dashed back to paris to be with her. the trip left him more obsessed than ever. back in cannes, he filled two sketchbooks with some of his most astonishing images : a series of highly finished biomorphic drawings of marie - therese ’ s pumped - up body in the guise of his own engorged penis — hybrids composed of erectile tissue. picasso turns his mistress into an it


some of his most astonishing images : a series of highly finished biomorphic drawings of marie - therese ’ s pumped - up body in the guise of his own engorged penis — hybrids composed of erectile tissue. picasso turns his mistress into an ithyphallic figure with a penis for a head, alone on a sandy beach sunning her rubbery limbs and ballooning breasts. in one of the most spectacular of these masturbatory fantasies, he shrinks her head to the size of a pea set high in the sky to give her infinite height ; she trails a beach towel and inserts a tiny key into her cabana. the romance of picasso ’ s seduction of marie - therese walter should not blind us to the fact that picasso lived under the same roof as an obsessively jealous wife, who took the role of madame picasso — elegant consort, zealous mother, impeccable hostess — very much to heart. olga had no intention of relinquishing this role, nor did picasso, who had spanish reservations about such things, want her to do so. granted, olga ’ s gynecological problems had worsened and left her prone to psychological ones, but much as picasso would fulminate about her affliction and her terrible attacks on him, his wife would inspire images that are far more dramatic than his loving and lyrical images of marie - therese. like many another unfaithful husband, picasso soon found himself leading two separate lives : as an overtly conventional pere de famille who would take his wife and child off to trendy normandy resorts on weekends, and a secretive bohemian who hid his mistress away from his friends. this bifurcated pattern would be reflected in picasso ’ s bifurcated imagery. marie - therese ’ s images would be suffused with rampant sexuality, whereas those of olga — the subject of far more paintings than people realize — would reek of rage : the consequences of picasso ’ s shamanic effort to exorcise her troubles. in the summer of 1928, picasso forsook the riviera for dinard, where he kept marie - therese secreted in a pension de jeunes filles, well out of his wife ’ s sight. olga, paulo, and his governess kept to the beach immediately below their villa ; picasso and marie - therese kept to the plage de l ’ ecluse, with its rows of tempting cabanas. to justify his daily absences from olga, picasso likely rented a studio for his work


the beach immediately below their villa ; picasso and marie - therese kept to the plage de l ’ ecluse, with its rows of tempting cabanas. to justify his daily absences from olga, picasso likely rented a studio for his work as well as for his trysts with marie - therese. at dinard, picasso did several marvelous small paintings of her. at first he depicted her as an assemblage of sticks, beach balls, and boomerangs, and then gradually transformed her into a cutout, playing ball with identical cutouts of herself. in one of the paintings, picasso portrays himself crouching inside a phallic - looking cabana, waiting to catch the ball she is about to throw him. and whereas the previous summer picasso had pictured her volumetrically, not only as a male organ but also as a bionic gas pump extending a hosepipe arm to unlock her cabana, this summer he portrays her two - dimensionally as a cutout. this time the key in her hand is to his cabana. dinard — or was it marie - therese? — had an adverse effect on olga, just as it had had in 1922. her hemorrhages started up again, more seriously than ever. they became so grave that the family returned to paris on september 5. the following day, olga entered a clinic, where she would undergo an operation that necessitated a lengthy convalescence. picasso wrote to thank gertrude stein for a recent letter : “ olga is getting better, but she must remain in the clinic for some time. i ’ ll keep you informed about her health, but what a summer we have had! in spite of everything, i ’ ve worked and i will show you what i ’ ve done when you return. ” this letter was also signed by olga, who would leave the clinic on october 10, only to return a month later for a second operation. in early december she returned home, but not for long ; she was back in the clinic for christmas. olga ’ s absence solved a major problem : picasso and marie - therese could finally see each other as often as they liked without marital constraints. buoyed by love and sex and freedom from stress, picasso turned to sculpture. with the help of an old friend from barcelona, the sculptor julio gonzalez, he whittled his big, classical girls on the beach down to a cat ’ s cradle of metal rods, thereby advancing triumphantly into a new age of iron. soon picasso envisaged another monumental


friend from barcelona, the sculptor julio gonzalez, he whittled his big, classical girls on the beach down to a cat ’ s cradle of metal rods, thereby advancing triumphantly into a new age of iron. soon picasso envisaged another monumental beach sculpture, but, lacking the necessary facilities, he conceptualized it in paint. the uplifted arms of nude standing by the sea represent marie - therese rather than olga. picasso evidently wanted to see how his beautiful, trim young mistress would be enhanced by being portrayed in the pose identified in earlier works with his ballerina wife. a decorative obelisk topped with a ball that was part of the furniture of their left bank hideaway inspired the tapered neck and tiny head, which enables marie - therese to tower up into the sky. sculptural gigantism had become a fixation. early in 1929, olga finally emerged from the clinic, where she had spent most of the previous four or five months. her reappearance triggered some of picasso ’ s most harrowing images. up to then, his passion for marie - therese had generated the psychic energy that fueled his work. but his resentment and superstitious fear of sickness in women — olga, above all — proved to be an even more powerful source of inspiration. olga ’ s hysterical scenes and threats to kill her husband saw to that. had the distraught wife discovered that “ the other woman ” had become a fixture? she had only to look in her husband ’ s wallet to see that marie - therese ’ s photograph was always with him, or visit the studio to be confronted by loving images of her. “ how awful, ” picasso once told me, “ for a woman to realize from my work that she is being supplanted. ” not that there was much question of that happening to olga. the status quo suited the artist. marie - therese would have been miscast as madame picasso. olga may have sensed that her rival had no marital ambitions, and to that extent she accepted her existence. acceptance did not preclude resentment, but it would have been easier for olga to bear than the promiscuity of the past. a loved one ’ s tears evoked a predatory tenderness in picasso, but the tears of olga evoked only guilt and rage — rage that could be assuaged in paint. bust of a woman with self - portrait ( 1929 ) depicts olga as a scrawny succubus, with eyes sewn onto her cheeks like buttons and a dagger - sharp


and rage — rage that could be assuaged in paint. bust of a woman with self - portrait ( 1929 ) depicts olga as a scrawny succubus, with eyes sewn onto her cheeks like buttons and a dagger - sharp tongue protruding from her gaping mouth. perversely, picasso has given his wife, who had begun to dye her hair, a chignon dyed the color of marie - therese ’ s. more hurtful, he has set this travesty of olga off against a fine, cool profile of himself incised into a puddle of paint redder than blood. in another, bifurcated head of olga — goggle - eyed and manic on the left, depressed and tranquilized on the right — picasso diagnoses her perturbed state, the better, perhaps, to exorcise it. another, similar head, entitled the kiss, is a hybrid : a demonic dark - haired profile of olga on the left with a serene blond - haired marie - therese on the right. they sprout from the same neck. the ferocity in these images suggests that, for all his passion for women, picasso may have suffered from the atavistic misogyny that supposedly lurks in the psyche of every full - blooded andalusian male. it is above all in the two masterpieces of this spring, large nude in a red armchair ( may 5 ) and large bather ( may 26 ), that picasso pits his demons against olga ’ s demons. the shadows of two very different artists fall across large nude : matisse and goya. the positioning of olga ’ s right arm flopping bonelessly over the arm of the chair like a damaged leg is a cruel replay of the pose of matisse ’ s odalisque with a tambourine. the darkness of goya — a shadow picasso seldom provoked — falls no less strongly across this stridently colored work. large nude bears a disturbing resemblance to that artist ’ s misogynistic masterpiece, time, or the old ones : a bedizened hag gazing into a mirror, its back emblazoned with the words que tal? ( what ’ s up? ), which a no less hideous attendant holds up to her. the similarities — malevolent distortions, ominously flabby flesh — are self - evident. primed with goya ’ s merciless spanish irony, picasso gets back at his wife of little more than 10 years by picturing her as old and


malevolent distortions, ominously flabby flesh — are self - evident. primed with goya ’ s merciless spanish irony, picasso gets back at his wife of little more than 10 years by picturing her as old and decrepit. in 1930, picasso purchased a smallish, handsome, hidden - away chateau called boisgeloup. an hour ’ s drive northwest of paris, it was the perfect place to work in peace, and the old stables provided him with a badly needed sculpture studio. during the week, marie - therese would materialize and fulfill her duties as mistress, model, and muse. weekends, olga would appear with paulo and play the role of chatelaine. if olga arrived unexpectedly, marie - therese would scoot off on her bicycle to an inn at gisors. snapshots reveal that when olga was around picasso dressed up as an affable country gentleman in a smart three - piece suit, complete with watch chain and spats. paulo would put on the costume of a torero, jockey, harlequin, marechal de france, or 18th - century page. home movies show the chatelaine emerging from the house, a wistful smile on her face as she pulls the petals off a daisy — he loves me ; he loves me not — a heartbreaking image difficult to reconcile with large nude in a red armchair. for poor olga, life had become a charade. supposedly, the scales did not fall from olga ’ s eyes until picasso ’ s first major retrospective, at the galeries georges petit in 1932. painting after painting would have left her in no doubt as to the appearance, if not the identity, of her rival. however, bernard picasso, picasso ’ s only legitimate grandson, questions this assumption. he believes that his grandmother knew about marie - therese. olga was jealous and suspicious by nature, but she was no fool, and she is likely to have made inquiries of the concierge or people in the village. had picasso perhaps told her? how else to explain the rows? boisgeloup has come to be associated with marie - therese ’ s imagery, but it was never her turf ; it was olga ’ s. insofar as picasso and marie - therese had a place of their own, it was the hideaway on the left bank, and later an apartment a few houses down from his on the rue la boetie. it was not boisgeloup. ironically, after no more than five years the


place of their own, it was the hideaway on the left bank, and later an apartment a few houses down from his on the rue la boetie. it was not boisgeloup. ironically, after no more than five years the artist would lose possession of the chateau to olga, as a condition of their separation. their grandson, bernard, has inherited the place and transformed it into an exceedingly attractive and comfortable house. like many another married man passionately in love with a mistress, picasso repeatedly promised to marry marie - therese. these promises were not kept. as he told his later mistress dora maar and his second wife, jacqueline roque, he would never remarry until olga was dead. spaniards are averse to divorce, and although picasso contemplated it, he changed his mind when he discovered that olga would be entitled to half his property, including his paints and brushes and sketchbooks as well as his vast holdings of his own work. in the end, he settled for a separation. over christmas of 1931, picasso painted one of his most harrowing images of olga ; it is based on jacques - louis david ’ s great painting of the murder of the ideologue jean - paul marat at the hands of the royalist charlotte corday at the height of the french revolution. picasso ’ s version, woman with a stiletto, is deceptively sketchy. besides being stabbed in the heart, the little figure of marat ( a surrogate for picasso ) is about to be snapped up in the toothy maw of corday ( a surrogate for olga ). once again, picasso takes preposterous liberties with scale. the disproportionately large leg and foot belong to the otherwise minuscule marat. picasso envisions oozing gobs of vermilion gore, which end up as the red in a tricolor flag. this grotesquely farcical image implies that for picasso demonic mockery was the most effective way to exorcise olga ’ s murderous threats. better that he purge himself of his wrath on canvas than on her. ( when they were about to split up, in 1934, picasso would do an even more fiendish drawing of the murder of marat. this time round, a maniacal olga is cutting marie - therese ’ s throat with a huge knife. ) picasso finished this horrendous woman with a stiletto on christmas day. while he was working on it, olga was busy arranging a festive tea party for paulo


training your dog? why rewards work better than punishment - provided by vetstreet. com reward - based training has been demonstrated to be effective both in the trenches with trainers and — more important — in the realm of science. scientists ivan pavlov and b. f. skinner made famous the benefit of using rewards and positive associations to change both behavior and emotion in an animal. pavlov found that, over time, animals make associations with certain stimuli that did not elicit a response originally. in pavlov ' s famous dog experiment, the sound of a dinner bell could start a dog ’ s salivation response, because the dog had learned through previous experience to associate this cue with food. this approach is called classical conditioning. marrying classical conditioning and operant conditioning skinner ' s experiments explored ways to get animals to repeat or avoid behaviors depending on the consequence of that behavior ; for example, he taught lab rats that pulling a lever resulted in a treat appearing in front of them. this approach is called operant conditioning. classical conditioning and operant conditioning can be combined to train dogs with scientifically sound methods using rewards. classical conditioning affects behavior by changing the underlying stimulus associated with a natural response, while operant conditioning rewards a desired behavior, increasing the chances that the behavior will occur again in the future. these two approaches can both be used in a system of positive reinforcement. by pairing rewards and positive consequences with a stimulus, such as giving high - value treats to a dog every time he sees another dog he was once unsure of, a trainer can change the dog ' s response from fear or aggression to joyful anticipation each time he sees that particular dog. this change in stimulus then causes the desired behavior change in the dog — say, from barking at the other dog to sitting peacefully at his owner ' s side. why punishment is more of a problem than a solution science shows that in order to effectively change behavior, there has to be some motivation for the change. punishment is often a motivator of choice for more traditional trainers. unfortunately, using punishment most often only rewards the punisher, because it ’ s an outlet for frustration. punishment can quickly get out of hand — there is a fine line between punishment and abuse. punishment will not change your pet ' s behavior in the desired way. often the animal doesn ’ t understand what he is being punished for, and will associate other things with the punishment than what is intended. this can hinder the bond between pet and person, as the owner is perceived by the dog as someone


way. often the animal doesn ’ t understand what he is being punished for, and will associate other things with the punishment than what is intended. this can hinder the bond between pet and person, as the owner is perceived by the dog as someone who is “ unsafe. ” as a result, the dog will be intimidated by and afraid of the owner. when dogs are punished, they also begin to associate certain situations with something they dislike ; in this situation, a dog may show increased aggression. this can be seen in dogs who are jerked on their prong collar when they strain towards another dog on a walk ; eventually, the dog begins to escalate his reaction to barking and lunging when he sees another dog, because the sight of another dog means he is going to be punished. dogs that are punished may temporarily inhibit their behavior in order to avoid punishment, but they don ’ t learn a better behavior to take the unwanted behavior ’ s place. in the long run, either the old behavior comes back again later or other unwanted behaviors take its place. in order to change a dog ' s behavior using the punishment model, the punishment needs to increases in intensity with time, because dogs grow desensitized to it. dogs who have been trained using punishment methods have also been shown to have increased aggression and a higher tendency to bite, which can make them a danger to children or unfamiliar adults. why positive reinforcement is preferable punishment is not a method that can be used by the entire family ; it carries great risk for both the family and the pet. positive reinforcement training, on the other hand, is something the entire family can be involved in, from young children to the elderly. using rewards doesn ’ t require the use of force ; it simply requires creativity. choose the behavior you want to reinforce and the unwanted behavior you want it to replace, such as getting your dog to lie on a mat instead of begging at the table, and use rewards to get your dog to display the acceptable behavior. this will increase the chances of the desirable behavior recurring, while the unwanted behavior stops. with reward - based training, you will replace the fear and inhibition taught with punishment training to a demeanor of confidence and joy. reward - based training is scientifically sound for lasting behavior change and provides a common language between pet and person that deepens the human - animal bond.


schools have banned cupcakes, issued obesity report cards and cleared space in cafeterias for salad bars. just last month, michelle obama ' s campaign to end childhood obesity promised to get young people moving more and revamp school lunch, and beverage makers said they had cut the sheer number of liquid calories shipped to schools by almost 90 percent in the past five years. but new research suggests that interventions aimed at school - aged children may be, if not too little, too late. more and more evidence points to pivotal events very early in life - - during the toddler years, infancy and even before birth, in the womb - - that can set young children on an obesity trajectory that is hard to alter by the time they ' re in kindergarten. the evidence is not ironclad, but it suggests that prevention efforts should start very early. among the findings are these : ¶ the chubby cherub - like baby who is growing so nicely may be growing too much for his or her own good, research suggests. ¶ babies who sleep less than 12 hours are at increased risk for obesity later. if they don ' t sleep enough and also watch two hours or more of tv a day, they are at even greater risk. some early interventions are already widely practiced. doctors recommend that overweight women lose weight before pregnancy rather than after, to cut the risk of obesity and diabetes in their children ; breast - feeding is also recommended to lower the obesity risk. but weight or diet restrictions on young children have been avoided. " it used to be kind of taboo to label a child under 5 as overweight or obese, even if the child was - - the thinking was that it was too stigmatizing, " said dr. elsie m. taveras of harvard medical school, lead author of a recent paper on racial disparities in early risk factors. the new evidence " raises the question whether our policies during the last 10 years have been enough, " dr. taveras said. " that ' s not to say they ' ve been wrong - - obviously it ' s important to improve access to healthy food in schools and increase opportunities for exercise. but it might not be enough. " much of the evidence comes from an unusual long - term harvard study led by dr. matthew gillman that has been following more than 2, 000 women and babies since early in pregnancy. like children and teenagers, babies and toddlers have been getting fatter. one in 10 children under age 2 is overweight. the percentage of children ages 2


a jesuit franciscan. - guest voices a franciscan jesuit for pope what can we make of the argentine jesuit pope who has chosen the name francis? jesuits and franciscans are both catholic, but they do represent different forms of catholic spirituality. in times past, the jesuits and franciscans have also had their share of disagreements — over mission territory, over involvement in secular affairs and over the finer points of theology. jesuits are celebrated for their complexity ; franciscans are admired for their simplicity. jesuit spirituality values discernment and decision - making, and a prayerful consideration of possibilities and choices. it is a way that emphasizes detachment from the passions. franciscan spirituality embraces an ethos of sharing, a sharing not just of possessions, but also of love and experience. it is a way recognizes our reliance on the mercy of god. jesuits, of course, have a well - deserved reputation as the intellectuals of the church — a quality that finds expression not just through teaching and research, but also through organizing and institution building. franciscans are accustomed to expressing themselves in less discursive ways : through labor, through charity, and through other examples of what catholics call corporal and spiritual works of mercy. it ’ s easy to make too much of these differences. many jesuits have embraced poverty and lives of hidden service ; and many franciscans are keen theologians and brilliant thinkers. but most importantly, jesuit and franciscan spiritualities converge on the person of jesus christ. st. ignatius of loyola, the founder of the society of jesus, often meditated on the prayer amina christi that says, “ o jesus, hide me in thy wounds so that i may never be separated from thee. ” st. francis of assisi, the founder of the order of friars minor, kissed and washed the sores of lepers. for him, christ was not just revealed in the leper, jesus was a leper : despised, humiliated, and outcast. for both ignatius and francis, for both jesuits and franciscans, it is the person of christ who reveals the divine and transforms our humanity. pope francis will bring a jesuit intellectualism into the papacy. after all, he was trained in germany and taught theology himself. but by choosing the name francis, he is also affirming the power of humility and simplicity. pope francis, the argentine jesuit, is not simply attesting to the complementarity of the ignatian and franciscan paths. he is pointing to how the mind and heart meet in the love of jesus christ. both st. ignatius and st.


on jan. 29, 1839, in the little chapel in the english village of maer, a religious, 30 - year - old woman named emma wedgwood put on a green silk dress and got married. she believed firmly in a heaven and a hell. and she believed you had to accept god to go to heaven. she married charles darwin. as we head into a new era for a country that has struggled for too long with the marriage of science and religion, we should take a look at the marriage of charles and emma darwin. when charles came home in 1836 from his five - year voyage around the world, which included the visit to the galapagos islands, he was already seeing life and creation in a new way. and as he courted emma, he also was secretly scribbling notes about a new idea, his theory of evolution, in leather - bound notebooks marked " private. " he knew that his view of creation would rock the faith of emma and almost everyone in england, and as he prepared to propose to her, he agonized. charles ' father advised him to keep his mouth shut. " conceal your doubts, " he warned. but charles couldn ' t do that. he was too honest. he told emma of his doubts about the veracity of the bible and of his growing skepticism about religion. emma said she would marry him anyway. she prized his candor, and she knew he was a good and moral man. but in a letter she sent him soon after their engagement, she told him that she was sad that " our opinions on the most important subject should differ widely. " this was the first of several letters about religion that emma wrote to charles during their lives. she urged him not to close the door on faith. and she shared her fears that they would be separated for eternity. charles always listened to what she had to say, and they talked about the problem. he kept each letter close. he wrote on one of them, " when i am dead, know that many times, i have kissed and cryed over this. c. d. " on another he wrote, simply, " god bless you. " charles and emma had 10 children together. three of the children died ; the death of their beloved 10 - year - old daughter, annie, broke their hearts. that loss could have driven them apart forever. it strengthened emma ' s faith and all but closed the door on god for charles. but they fought for their marriage. the day after annie died, emma wrote


old daughter, annie, broke their hearts. that loss could have driven them apart forever. it strengthened emma ' s faith and all but closed the door on god for charles. but they fought for their marriage. the day after annie died, emma wrote to charles, " you must remember that you are my prime treasure ( and always have been ). " darwin worked for decades on his theory. he tried to make his argument as strong and solid as possible, and he also aimed not to offend. he showed emma drafts, and he worked harder on a passage when she wrote in the margin, " a great assumption. " in 1859, as he finally readied " the origin of species " for publication, he gave the manuscript to emma. she was always his best and most trusted editor. as she read the argument that essentially took god out of creation, she did not ask charles to soften it at all. in fact, she helped him strengthen his book by making the language clearer. ( she also cleaned up his spelling and punctuation. ) through the years, the two continued to talk and listen to each other about this " most important subject, " as emma called it. she encouraged him not to approach religion in the same way he approached science. what leads to faith, she said, is " feeling, not reasoning. " after he became famous, people often wrote to the sage of down house and asked him what he believed about god. usually darwin demurred. and he echoed emma. he said his views were of " no consequence to anyone except myself " and that the question of religion was for theologians, not for scientists. still, he often pointed to his friend, the american botanist asa gray, who was both an evolutionist and a theist. charles and emma were married for 43 years. in his last years, charles renewed a fascination with worms and wrote " the formation of vegetable mold through the action of worms with observations on their habits, " a bestseller in its day. emma, never much interested in science, found herself joining him in his obsession. they spent hours together watching the worms in the garden of down house, side by side. although they never were able to see eye - to - eye on the question of religion and god, they were able to reach their hands across the gulf. in the end, each of them accepted and, it seems, truly understood what the other believed. if it is a sign of intelligence to be able to hold two opposite thoughts or opinions in your head, then


new test best measure of heart risk apo predicts disease better than cholesterol feb. 27, 2003 - - cholesterol, schmolesterol. the name of the heart disease game is now apob, researchers are telling doctors. it ' s not that cholesterol isn ' t important. after all, more scientists have won nobel prizes from studying cholesterol than any other molecule. but science has marched on. four huge clinical trials now show that there ' s a better single measure of heart - disease risk than cholesterol levels. it ' s called apolipoprotein or apo for short. apolipoproteins are tiny fat particles floating in the blood. having a lot of one kind of apo - - apolipoprotein b or apob - - means high risk of clogged arteries and heart attack. a high apob count predicts heart disease even better than a high level of " bad " ldl cholesterol, argue allan sniderman, md, and colleagues. this international group of experts also argues that the ratio of apob to apoa1 ( another kind of apo ) tells doctors more than the ratio of ldl cholesterol to " good " hdl cholesterol. " the measurement of apolipoproteins should now be introduced broadly into clinical practice, " sniderman and colleagues write in the march 1 issue of the lancet. the experts based their opinion on several huge clinical trials. the new test should be particularly helpful for patients taking cholesterol - lowering drugs. many studies show that ldl cholesterol levels don ' t do a good job of predicting heart disease risk in these patients. for them, measuring apob and the apob / apoa1 ratio may be better. good tests for apo already exist. in fact, they are even easier than cholesterol tests. that ' s because a patient doesn ' t have to fast before giving a blood sample. so why aren ' t most doctors already using the tests? " the importance of cholesterol is densely entrenched within the medical profession and lay public, " sniderman and colleagues note. " the pace of change will be determined, in part at least, by how resistant conventional belief is to emerging clinical evidence. " source : the lancet, march 1, 2003.


a listed building is a building, object or structure that has been judged to be of national historical or architectural interest. a listed building is a building included on a register called the ' list of buildings of special architectural or historic interest ', drawn up by the department of culture, media and sport ( dcms ), under the planning ( listed buildings and conservation areas ) act 1990. in the act any object or structure fixed to the building is treated as part of the listed building, as is any object or structure within the curtilage of the building, which although not fixed to the building, forms part of the land and has done so since before 1 july 1948. listed buildings in the borough to find out whether a building is listed or not, check the heritage gateway. if you own a property that is listed or are planning to carry out some improvement to a listed building please read on. listed buildings are placed in one of three grades, which give an indication of their relative importance - grade i, grade ii * or grade ii. grade i and ii * listed buildings are a small proportion ( about 6 per cent nationally ) of all listed buildings. they are particularly important to the nation ' s built heritage as buildings of outstanding architectural or historic interest. the remaining buildings are listed grade ii and represent an important part of our built heritage which is given special protection. grading can be changed where re - evaluation takes place after damage or alteration, or as more evidence of a building ' s history or architectural quality comes to light. but the statutory controls on alterations apply equally to all listed buildings whatever the grade. the following are the main criteria, which the dcms uses in deciding which buildings to include on the statutory list : architectural interest buildings of importance because of their design, decoration and craftsmanship ; also important examples of particular building types and techniques and building of significant plan forms ; historic interest illustrations of important aspects of the nation ' s social, economic, cultural or military history ; historic association close historical association with nationally important people or events ; group value especially where buildings comprise an important architectural or historic group or a fine example of planning, such as squares, terraces or model villages. the older a building is, and the fewer the surviving examples of its kind, the more likely it is to have historic importance. all buildings built before 1700 which survive in anything like their original condition are listed and most buildings built between 1700 and 1840 are listed. buildings erected after 1840 may be listed where they are the best examples of particular building types and only buildings of definite quality and character


buildings built before 1700 which survive in anything like their original condition are listed and most buildings built between 1700 and 1840 are listed. buildings erected after 1840 may be listed where they are the best examples of particular building types and only buildings of definite quality and character are listed. buildings that are less than 30 years old, are normally listed only if they are of outstanding quality and under threat. buildings are not listed until they are at least ten years old. buildings are added ( or removed ) from the list by the dcms listing, archaeology and world heritage branch, on the advice of specialist inspectors employed by english heritage. a building is added in one of 3 ways : there is no requirement to consult the owners before a building is listed but unless an inspector is aware of a specific threat, they will contact the owner. there is also no right of appeal against a listing and no right to compensation for loss of redevelopment opportunities. the dcms will consider a request to review a listing providing the request is accompanied by new evidence relating specifically to the architectural or historic interest of the building. evidence about a building ' s condition and cost of repairing or maintaining it or redevelopment plans can not be considered by the dcms. if you want a building to be listed or a listing to be reconsidered, you must write to : department of culture media and sport listing, archaeology and world heritage branch you do not need to be the owner of a building. the dcms does not normally consider a request for de - listing when : any request for a listing review should be accompanied by : the statutory list includes a description of each building, which may refer to some, but not all, important features of an historic building. every part of a building is listed, including the interior and any later alterations or additions. even if a feature ( internal or external ) is not included on the description, it does not mean that it is not of interest and it is still part of the listed building. you will need the council ' s consent to demolish a listed building or for any alteration or extension which would affect its character as a building of architectural or historic interest. the need for listed building consent is different from planning permission but the process is very similar. it is a criminal offence to carry out works to a listed building without prior listed building consent - even if you did not know that the building was listed. carrying out unauthorised work is punishable by a fine or a prison sentence and the council can require you to put the building back the way it was. regular


listed building consent - even if you did not know that the building was listed. carrying out unauthorised work is punishable by a fine or a prison sentence and the council can require you to put the building back the way it was. regular maintenance and ' like for like ' repairs do not need listed building consent but it would be required if the repairs include removal of historic material or changes to its character. for example, internal alterations that include removal of historic doors, fireplaces or plaster work or replacement of external doors or windows would require consent. painting and internal decorating does not need listed building consent but any external painting may require consent as it may affect the character of the listed building. replacement of modern kitchen and bathroom fittings does not require consent. advice on maintenance and repairs is available from the council and is recommended as the effect is not always straight forward. you can contact us if you are unsure whether you need permission, or for more advice on what type of work would require listed building consent. emergency work can be carried out to a listed building without prior consent providing you can subsequently prove all of the following : you will need to fill in a listed building application form. the listed building consent process is very similar to the planning process and for most cases it will take eight weeks to process an application. advice to owners or developers and their professional agents is an important part of the listed building application process and planning officers are available to discuss your proposal before you submit your application. except for the most simple applications it is advisable to employ an agent who is familiar with the policies and procedures of the council and is able to complete the necessary heritage statement. generally, the council seeks to preserve listed buildings, their settings and any features of architectural or historic interest. we would not normally approve an application to demolish a listed building, allow alterations that would involve the loss of historic parts of the building, obscure the original plan form, layout or structural integrity, or otherwise diminish the historic value of listed buildings. the council also aims to keep listed buildings in their original use, or if this use no longer exists, in another use that causes least harm to the building. many buildings can sustain some sensitive alterations or extensions to accommodate continuing or new uses. but listed buildings vary greatly in the extent to which they can be changed without harm to their special architectural or historic interest. additional detailed guidance is included in the government ' s national planning policy framework. not all listed buildings are cared for by their owners. in certain cases of deliberate neglect or long


to which they can be changed without harm to their special architectural or historic interest. additional detailed guidance is included in the government ' s national planning policy framework. not all listed buildings are cared for by their owners. in certain cases of deliberate neglect or long term vacancy, a listed building is put on the register of buildings at risk. a register is drawn up by english heritage for grades i and ii *. the council has legal powers to serve an urgent works notice or repairs notice on a listed building owner, requiring repair works to be carried out to prevent further decay. the notice will specify the works, which are considered reasonably necessary for the preservation of the building. an urgent works notice is restricted to emergency repairs only - for example works to keep a building wind and weather - proof and secure against vandalism. a repairs notice is not restricted to urgent works and may include works to preserve architectural details but can not be used to restore lost features. in extreme cases where building owners have not taken reasonable steps to preserve a listed building, the council can do the work at the owner ' s cost or compulsorily purchase a building at risk. if you are aware of an historic building which is either derelict or not being properly preserved you can the planning team who will inspect the building and advise you what action they intend to take. for information on zero rated vat building works contact hm revenue and customs ( on the web link on the right building and construction work and vat scroll down the page to ' work on buildings other than ordinary homes that may be reduced - rated or zero - rated ' ). the governments national planning website, planning portal, also has useful information along with organisations such as english heritage and national monuments record centre. this page was last updated on 09 / 11 / 2012


expect the flu to last about five days, which is the time it takes your body to produce the antibodies that finally beat the infection. you will be protected from that strain of influenza for the rest of the season. some people continue to feel ill and cough for more than two weeks. in some cases, the flu can make health conditions such as asthma or diabetes worse or lead to complications such as bacterial pneumonia. adults older than 65 and people with chronic health conditions have the greatest risk for complications from the flu, the cdc says. antiviral medications are also recommended to treat the flu - - amantadine, rimantadine, zanamivir and oseltamivir - - but must be taken within the first two days of illness to be effective, the cdc says. they can reduce the length of time flu symptoms are present. these medications usually are used in hospitals, nursing homes and other institutions where people are at high risk for complications of the flu. some side effects may result from taking these medications, such as nervousness, lightheadedness, or nausea. individuals with asthma or chronic obstructive pulmonary disease are cautioned about using zanamivir. talk to your health care provider if you think you should take one of these medications. these medications are not meant as a substitute for vaccination.


treaty of peace between the republic of finland and the union of soviet socialist republics march 12, 1940 the government of the republic of finland on the one hand and the presidium of the supreme soviet of the union of soviet socialist republics on the other hand. desiring to put to an end the hostilities which have arisen between the two countries and to create lasting peaceful relations between them, and being convinced that the creation of precise conditions for reciprocal security, including the security of the cities of leningrad and murmansk and of the murmansk railway, corresponds to the interest of both contracting parties. have to this end found it necessary to conclude a peace treaty and have... agreed upon the following : hostilities between finland and the ussr shall cease immediately in accordance with procedure laid down in protocol appended to this treaty. the national frontier between the republic of finland and the ussr shall run along a new line in such fashion that there shall be included in the territory of the ussr, the entire karelian isthmus with the city of viipuri and viipuri bay with its islands, the western and northern shores of lake ladoga with the cities of kexholm and sortavala and the town of suojarvi, a number of islands in the gulf of finland, the area east of markajarvi with the town of kuolajarvi, and part of the rybachi and sredni peninsulas, all in accordance with the map appended to this treaty. a more detailed determination and establishment of the frontier line shall be carried out by a mixed commission made up of representatives of the contacting powers, which commission shall be named within ten days from the date of the signing of this treaty. both contracting parties undertake to refrain from any attack upon the other and make no alliance and to participate in no coalition directed against either of the contracting parties. the republic of finland agrees to lease to the soviet union for 30 years, against an annual rental of eight million finnish marks to be paid by the soviet union, hanko cape and the waters surrounding it in a radius of five miles to the south and east and three miles to the north and west, and also the several islands falling within that area, in accordance with the map appended to this treaty, for the establishment of a naval base capable of defending the mouth of the gulf of finland against attack ; in addition to which, for the purpose of protecting the naval base, the soviet union is granted the right of maintaining there at its own expense the necessary number of armed land and air


base capable of defending the mouth of the gulf of finland against attack ; in addition to which, for the purpose of protecting the naval base, the soviet union is granted the right of maintaining there at its own expense the necessary number of armed land and air forces. within ten days from the date this treaty enters into effect, the government of finland shall withdraw all its military forces from hanko cape, which together with its adjoining islands shall be transferred to the jurisdiction of the ussr in accordance with this article of the treaty. the ussr undertakes to withdraw its troops for the petsamo area which the soviet state voluntarily cede to finland under the peace treaty of 1920. finland undertakes, as provided in the peace treaty of 1920, to refrain from maintain in the waters running along its coast of the arctic ocean warships and other armed ships, excluding armed ships of less than 100 tons displacement, which finland shall be entitled to maintain without restriction, and also at most 15 warships or other armed ships, the displacement of none of which shall exceed four hundred tons. finland undertakes, as was provided in the same treaty, not to maintain in the said waters any submarines or armed finland similarly undertakes, as was provided in the same treaty, not to establish on that coast military ports, naval bases, or naval repair shops of greater capacity than is necessary for the above - mentioned ships and their armaments. as provided in the treaty of 1920, the soviet union and its citizens are granted the right of free transit across the petsamo area to norway and back, in addition to which the soviet union is granted the right to establish a consulate in the petsamo area. merchandise shipped through the petsamo area from the soviet union to norway, and likewise merchandise shipped through the same area from norway to the soviet union, is exempted from inspection and control, with the exception of such control as is necessary for the regulation of transit traffic ; neither customs duties nor transit or other charges shall be assessed. the above mentioned control of transit merchandise shall be permitted only in the form usual in such cases in accordance with established practice in international communications. citizens of the soviet union who travel through the petsamo area to norway and from norway back to the soviet union shall be entitled to free transit passage of the basis of passports issued by the appropriate officials of the soviet union. observing general directives in effect, unarmed soviet aircraft shall be entitled to maintain air service between the soviet union and norway in the petsamo area. the government of finland grants to the soviet union the right of transit for good between the


and the word was made flesh and dwelt among us sometimes, we miss the obvious. amid all the festivities of christmas, we are cautioned to remember the birth of christ. far less often, we are reminded to look beyond the birth and consider the incarnation. though the birth of jesus is a joyous event, the incarnation is the beginning of something unexpected : the restoration of humanity to a state of grace greater than that of adam and eve before the fall. at the annunciation, we dwell more on the angel ' s announcement and mary ' s response than jesus being conceived at that time. in the christmas season, we might do well to contemplate the incarnation, especially because it requires from us a response. two views of the incarnation are common in music, books and homilies : while these are both true, let us instead contemplate other less popular views of the incarnation because so much good work has been done regarding the first two. none of the following views of the incarnation is new, just overshadowed by the ones already mentioned. in considering the incarnation, we must remember that jesus existed before his conception. in fact, we believe " through him all things were made " ( from john 1 and the nicene creed ). through jesus, god freely chose to share in the human experience, shrinking back from nothing and participating in our world as one of us. though lord of all creation, he was subject to joseph and mary, his creatures. though the author of life, he submitted to its rules, sleeping, eating, drinking and even passing out that which his body could not use. he bore the limits of human communication, and struggled to reveal the kingdom of god in human words and actions. he endured the same politics among his followers that we suffer today, and he paid his taxes. even in the miracles, he never violated nature : stones did not become bread, animals did not speak, it did not rain wine. although he did not create death, he submitted to it for our sake, because it was the will of the father. being both god and man, inseparably joined, jesus carried this intimacy in his own body. he showed a perfect union between the divine and the human in every moment of his life. by his life, jesus again blessed creation and declared it good, and proved the love of god for creation by his life, death and resurrection. whatever jesus did as a man would be forever blessed and proven good. in the greatest intimacy of all, jesus did not reject his humanity


blessed creation and declared it good, and proved the love of god for creation by his life, death and resurrection. whatever jesus did as a man would be forever blessed and proven good. in the greatest intimacy of all, jesus did not reject his humanity at the resurrection. rather than leave us merely enlightened, he rose to the father while beckoning to us to follow and share his glory. likewise, all creation will be perfected to serve us in the world to come ( st. ignatius of antioch ). our pastor often says : " the faith is caught before it is taught. " jesus introduced a new glory into human life, almost like a virus. instead of illness and death, this contagion brings life and a share in god ' s glory. the incarnation makes it possible for us to become part of the body of christ and do the same things he did. as part of his body, we heal the sick and raise the dead ( after all, where did hospitals come from? ), we challenge those in power by our lives and words, and we bring the love of god to the poor and those rejected by society through counseling, food, and support. anyone surrendering their life to god will become at least a bit more like jesus. just as god breathed life into man at the creation, so, too, does jesus breathe life into us through the holy spirit. we are truly a new creation, for we too have received the spirit of god. writers, such as st. irenaeus and st. thomas aquinas, expressed a movement of creation coming forth from god and then returning to god. creation was not something god did a long time ago. it is ongoing. thomas merton, commenting on the writings of irenaeus, said he saw " man as a possibility of indefinite growth. " the incarnation opened up new possibilities for growth and made a path to god for all of creation. the incarnation was a continuing of the work of creation, and we are called to join the great procession joyfully leading all creation back to god. the love of god, made flesh in the incarnation, did not consider man below his concern. as jesus did not reject us, we can reject no one. as jesus shared in our poverty, we are called to share in the poverty of others. in our relationships with others may be found a kind of " second incarnation " as the body of christ comes to the world again and again, loving, sharing, finding the lost and feeding the hungry. for another view of


human rights – a central concern for the global hiv response on world aids day 2010, the global community is focusing attention on protecting human rights of all people affected by hiv. health, hiv and human rights are inextricably linked. hiv responses need to ensure that human rights are protected and promoted. at the same time, the promotion and protection of human rights reduces hiv risk and vulnerability and makes hiv programmes more effective. those populations most vulnerable and at risk of hiv are often the same populations prone to human rights violations. hiv policies and programmes in the health sector must promote human rights and empower individuals to exercise their rights. the right to health is central to the hiv response. while we are encouraged by news that hiv epidemics are stabilizing in most regions of the world, it is clear that too many people still do not have access to essential hiv services that can prevent hiv infections and save lives. antiretroviral treatment is still only available to one third of people in need. even with the expansion of programmes to prevent mother - to - child transmission of hiv, in 2009 only 53 % of pregnant women living with hiv were able to access treatment to prevent their infants from becoming infected. populations most at risk of hiv infection, including injecting drug users, sex workers, men who have sex with men and transgender people are also those populations who have the least access to much needed hiv prevention, treatment and care services. for example, coverage of harm reduction programmes remained limited in 2009. among 92 countries that reported, 36 had needle and syringe programmes and 33 offered opioid substitution therapy. people living with hiv should not only enjoy their right to health but also their right to access crucial social services such as education, employment, housing, social security and even asylum in some cases. ensuring the rights of people living with hiv is good public health practice, by improving the health and well - being of those affected and by making prevention efforts more effective. a wide range of countries have enacted legislation to prevent discrimination against people living with hiv. however, in many cases, there is poor enforcements of such laws and stigmatization of people living with hiv and most - at - risk populations persist. hiv - related stigma and discrimination continue to undermine hiv responses. the fear of being shunned by their families and friends, marginalized in their communities or denied employment and other services is often the reason why people do not present for hiv testing or attend hiv services. all too often it is the negative attitudes and behaviours of health workers that


##d by their families and friends, marginalized in their communities or denied employment and other services is often the reason why people do not present for hiv testing or attend hiv services. all too often it is the negative attitudes and behaviours of health workers that make health services inaccessible and unacceptable to those people at greatest risk of hiv infection and in greatest need of prevention, treatment and care services. people living with hiv, drug users, sex workers and men who have sex with men should be able to attend health services where they feel safe and are ensured the best possible and non - judgmental care. the failure to promote and protect human rights increases vulnerability and can drive hiv epidemics. in sub - saharan africa, women and girls are particularly vulnerable to hiv ; 80 % of all women living with hiv are in this region. in eastern europe, over 50 % of hiv cases are among people who inject drugs. in france, netherlands and spain, between 1 / 3 and 3 / 4 of new hiv infections are concentrated among migrants. on the eve of a new decade, we need to address laws, policies, and regulations that increase hiv vulnerability and risk, impede access to health services or infringe on human rights, particularly for vulnerable and most - at - risk populations. in nearly 80 countries, same - sex sexual relations are criminalized, with 6 countries applying the death penalty. in over 50 countries and territories, there are restrictions on travel and residence for people living with hiv. in many countries drug users are sent to prison or compulsory rehabilitation programmes rather than being provided with effective treatment. the health sector has a critical role to play in promoting public health approaches and arguments when laws are made and strategies developed by other sectors. today, i call on all sectors to protect human rights, including the right to health, and to combat discrimination. working with people living with hiv is critical for an effective hiv response and member states need to be mindful of the commitments made in the 2006 political declaration on hiv / aids to promote better legal and social environments for people to access hiv testing, prevention and treatment. who is firmly committed to the goal of achieving universal access to key hiv services. however, this will not be possible unless we make sure that the human rights of everyone, everywhere, are protected and promoted. for more information, please contact : team leader, communications, telephone : + 41 22 791 1073,


chemical hazards in drinking - water - copper copper is considered in the who guidelines for drinking - water quality. you can link from here to : the guidelines for drinking water quality also consider for individual chemicals : aspects of analytical achievability [ section 8. 3, pp. 157 - 166 ] technical achievability ( through treatment and other means ) [ section 8. 4, pp 166 - 184 ] rolling revision of the who guidelines for drinking - water quality copper is included in the plan of work of the rolling revision of the who guidelines for drinking - water quality. recent studies in rabbits have suggested a link between copper in drinking - water and alzheimer disease. levels in the rabbits ’ drinking - water were well below the current who guideline of 2 mg / litre, based on acute gastrointestinal effects ; however, it has not been established whether rabbits are an appropriate model. in addition, a communication received by who headquarters suggested the need to review the guideline value and text on copper with regard to toxicity in the preparation of formula for bottle - fed infants. progress to date the gdwq wg meeting ( geneva, 2004 ) agreed to monitor studies relating to the health effects of copper and to consult with infant nutrition experts. the gdwq wg meeting ( geneva, 2005 ) decided that the issue would be better dealt with by the who nutrition group. the gdwq wg meeting ( geneva, 2006 ) met with the who nutrition group and requested that they follow up on progress in the infant formula area at the next meeting and review the current background document on copper. no progress had been made by the time of the gdwq wg meetings in berlin ( 2007 ) and singapore ( 2008 ). other publications of interest - chemical safety of drinking - water : assessing priorities for risk management ( in preparation ) - protecting groundwater for health : managing the quality of drinking - water sources ( in preparation ) - protecting surface waters for health ( in preparation )