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Daily Inspiration - Quotes to Live By

Moderate Quotes

I hope you find great value in these Quotes about Moderate from my large collection of inspirational quotes and motivational sayings.

Be merciful, moderate, and modest.
- Lao Tzu

Related topics: Values

A moderate addiction to money may not always be hurtful;
but when taken in excess it is nearly always bad for the health.
- Clarence Day

During his training, a baseball player strives
to make each swing better than the last.
The repetition of a faulty swing would be worse than useless.
It would ingrain bad habits.
The same is true of emotional responses.
we just entrench our anger habit.
to moderate our anger response,
over time, we can train ourselves to respond
to events as we choose - without anger.
You can't magically be free from anger tomorrow,
but you can put yourself on your own training program
that will reduce the frequency and intensity
of your anger response day by day, year by year.
- Jonathan Lockwood Huie

Be moderate in everything, including moderation.
- Horace Porter

These critics organize and practice in my case a sort
of obsessive personality cult which philosophers should
know how to question and above all,
to moderate.
- Jacques Derrida

When you make a movie outside the system and it's successful
critically or a moderate financial success,
- Brian De Palma

If you have great talents, industry will improve them:
if you have but moderate abilities,
industry will supply their deficiency.
- Joshua Reynolds

Your E-Mail Address:
Your Name:

Every reasonable human being should be a moderate Socialist.
- Thomas Mann

I would rather have a competent extremist than an incompetent moderate.
- Leon Jaworski

If the quickness of the mind and the fluency of the
tongue are too punctilious and sharp,
moderate them in your activity and rest.
- Xun Zi

HUD's mission is to provide decency and sanitary housing
for low and moderate income people in this country.
- Alphonso Jackson

Many people around the President have sizeable egos
before entering government,
some with good reason.
Their new positions will do little to moderate their egos.
- Donald Rumsfeld

Half the vices which the world condemns most loudly
have seeds of good in them and require moderate use
rather than total abstinence.
- Samuel Butler

Men govern nothing with more difficulty than their tongues,
and can moderate their desires more than their words.
- Baruch Spinoza

Prose on certain occasions can bear a great deal of poetry;
on the other hand,
poetry sinks and swoons under a moderate weight of prose.
- Walter Savage Landor

Chances are the movements of the euro as against the
dollar will be relatively moderate.
- Robert C. Solomon

Probably the greatest harm done by vast wealth is the
harm that we of moderate means do ourselves when we
- Theodore Roosevelt

The slogan of the moderate Republican Party is this:
we are rich,
and we are not going to take it any more.
- Richard Neal

Our strategy should be to strengthen the hand of moderate Muslims.
- Gijs de Vries

So moderate is insisting that North Korea should open door to outside.
- Kim Dae Jung

I consider myself a moderate Republican.
I have very, very moderate social views,
and I'm pretty strong on, on defense matters.
- Colin Powell

There are few things more amusing in the world of politics
than watching moderate Republicans charging to the
right in pursuit of greater glory.
- Mario Cuomo

I think you can have moderate success by copying something else,
you have to do something different and take chances.
- Lee Ann Womack

What is a moderate interpretation of the text? Halfway
- Antonin Scalia

The weather was fine and moderate.
The hunters all returned, having killed during their absence three elk,
four deer, two porcupines, a fox and a hare.
- Meriwether Lewis

As a result of that, America desires a moderate Islam;
an Islam that America can control; an Islam that America
can give direction to and give orders to its leaders.
- Louis Farrakhan

When I go out to eat, it's usually something moderate in style.
- Thomas Keller

With two people and luggage on board she draws four inches of water.
Two canoe paddles will move her along at a speed reasonable
enough in moderate currents.
- C. S. Forester

- Rudy Giuliani

Manifold subsequent experience has led to a truer appreciation
and a more moderate estimate of the importance of the
dependence of one living being upon another.
- Richard Owen

Keep high aspirations, moderate expectations,
and small needs.
- William Howard Stein

Be moderate in prosperity, prudent in adversity.
- Periander

Reject racial or religious hate.
Embrace moderate Islam.
- Geraldo Rivera

It's important that we work very closely with moderate Muslim forces locally,
nationally and internationally.
- Gijs de Vries

Avoid extremes: be moderate In saving and in spending;
An equable and easy gait Will win an easy ending.
- Robert Service

I consider my voice to be a centrist moderate voice
among the nine Democratic candidates.
- Bob Graham

We want a state wise in its contemplation -
just in its actions -
and moderate in the reach of government into our lives.
- Sonny Perdue

The key to tackling Islamist fundamentalism and terrorism
from the Islamist community is in the hands of moderate Muslims.
- Gijs de Vries

The short English miles are delightful for walking.
You are always pleased to find, every now and then,
in how short a time you have walked a mile,
though, no doubt, a mile is everywhere a mile,
I walk but a moderate pace, and can accomplish four
English miles in an hour.
- Karl Philipp Moritz

Rich men's houses are seldom beautiful,
rarely comfortable, and never original.
It is a constant source of surprise to people of moderate
means to observe how little a big fortune contributes to Beauty.
- Margot Asquith

Achieving price stability is not only important in itself,
it is also central to attaining the Federal Reserve's
other mandate objectives of maximum sustainable employment
and moderate long-term interest rates.
- Ben Bernanke

I'm a moderate.
I hang out in the middle.
I vote against my party with some regularity and try to compromise.
It doesn't appear right now that the Republican Party
is welcoming moderates any more.
- Claire McCaskill

Islam, the third in historical sequence of the ethical
monotheistic religions of the Near East,
was very successful in establishing its monotheism,
but had only very moderate success in spreading its
version of Jewish and Christian ethics to the Arabs.
- Carroll Quigley

The objects that are of moderate energy,
like our sun or most of the stars that we see in the
night sky with the naked eye,
are objects in which relatively moderate energy processes are taking place.
- Claude Nicollier

What farmers require is, that the prices should be moderate,
and the markets steady; and for this reason I did,
in 1826, 1827, and 1828, take the course which I would
now recommend to the House.
- Joseph Hume

The notion of a neutral, mainstream national media
gained dominance only in World War II and in its aftermath,
when what turned out to be a temporary moderate consensus
came to govern the country.
- Howard Fineman

A strong body makes the mind strong.
As to the species of exercises, I advise the gun.
While this gives moderate exercise to the body,
it gives boldness, enterprise and independence to the mind.
Games played with the ball, and others of that nature,
Let your gun therefore be your constant companion of your walks.
- Thomas Jefferson

At a moderate calculation, among a million of persons
inhabiting the metropolis,
there are, at least, twenty-five thousand children
who attend these schools,
and cost their parents as many pounds sterling,
per annum.
- Joseph Lancaster

It's clear to me now that we've got to reach out to
the Arab Sunni community in particular in an effort
to cause some moderate political activity to take place
so they join the future of Iraq.
- John Abizaid

Fundamentally, I believe that the U.S.
can improve its international standing and its national
security by expanding trade and strengthening its relationships
with moderate Muslim countries.
- Richard Neal

Rush Limbaugh is good for the party.
and then maybe a moderate can come in and rescue them.
- Evan Thomas

The struggle you see in the Republican Party today
is the country club Republican versus the bowling alley Republican.
Colin Powell brings us back to the country club image.
He's an insider.
He's a moderate.
- Pete du Pont

This is a simple change that will provide a huge financial
boost for many Americans,
particularly low- to moderate-income families.
It is an important step in making sure we do everything
we can to encourage all Americans to save and plan for the future.
- Jim Cooper

Obviously, people with low or even moderate incomes
could not afford such savings rates,
and even diligent savings from their low wages would
not be enough to pay for either retirement or healthcare.
- William Greider

There's a lot of things we can do to balance out what
Obama's done and going forward show the American people
the Republican Party can govern.
I want a coalition of tea party people,
independents, moderate Democrats trying to find a way
to move this country forward before we become Greece.
- Lindsey Graham

Existence of an excited state is not a prerequisite
for the production of inhibition;
inhibition can exist apart from excitation no less than,
when called forth against an excitation already in progress,
it can suppress or moderate it.
- Charles Scott Sherrington

The idea is that they wouldn't want to deal with militant
Islam but an Islam and Muslims who are committed to progress,
So that's what we are doing here.
- Abdullah Ahmad Badawi

to organize and moderate an annual conference that
would look at government policy through the lens of
the family to help identify ways that the family can
be supported and strengthened.
- Tipper Gore

I don't say 'Tis impossible for an impudent man not to rise in the world,
but a moderate merit with a large share of impudence
is more probable to be advanced than the greatest qualifications without it.
- Mary Wortley Montagu

Does the imam have a legal right to build the mosque
at Ground Zero? The answer is yes.
But is it the right thing to do? The answer is no.
And most Americans, and most moderate Muslims,
join with me in that call.
- Kilari Anand Paul

I contend that Bush would be a lot more moderate if
there weren't some fundamentalists breathing down his
neck every time he wants to establish the state of Israel,
every time he wants to do justice for the Palestinian people.
- Tony Campolo

I would not like to see a person who is sober,
moderate, chaste and just say that there is no God.
They would speak disinterestedly at least,
but such a person is not to be found.
- Jean de la Bruyere

Craft brewers are committed to promoting the safe and
moderate consumption of their beverage,
and work closely with their communities to prevent
underage drinking and alcohol abuse.
- Sherwood Boehlert

By these purchases the Indian title,
with moderate reservations,
has been extinguished to the whole of the land within
the limits of the State of Ohio,
and to a part of that in the Michigan Territory and of the State of Indiana.
- James Monroe

Moderates shouldn't be nervous about Newt because he has a vision,
he's laid it forward.
He's fundamentally leading us in the way that middle
class Americans want to go.
- Pete du Pont

The battleground has been moderates of all faith traditions
in all the countries of the world against the radicals
of all faith traditions in all parts of the world.
- Feisal Abdul Rauf

Tool of Communist agitators...
it's really a joke, isn't it? Because,
quite clearly, we are a party of real moderates.
It just shows how little they understand.
- Helen Suzman

I don't think the Republicans would appreciate the comparison,
but they're exactly like the Labor Party in England in the 1970s.
They're letting their extremists take them straight down.
The same thing is going to happen - they had to disappear
for a while and when they reinvented themselves they did it with moderates,
they did it with Tony Blair.
- Evan Thomas

Let's cooperate and challenge the administration to
cooperate with us because within the administration
there are also moderates and people who are not fully
comfortable with the tendencies that have prevailed in recent times.
- Zbigniew Brzezinski

Let's trace the birth of an idea.
It's born as rampant radicalism, then it becomes progressivism,
then liberalism, then it becomes moderated conservative,
outmoded, and gone.
- Powell Clayton

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Kotlin Race

May 15-Sep 15
Saint Petersburg
7 Mile
Time Trial Solo Swim

Aboutthe swim

The Kotlin Race is an extremely challenging swim in Russia and offers a unique time trial format.

The location is spectacular, it takes place in the northern historic and cultural capital of Russia, Saint Petersburg. The swim itself starts in St. Petersburg, in the Gulf of Finland and continues for 25 km until swimmers reach the port city of Kronstadt on Kotlin Island.

The distance is 25 km, is tied with “Swim Across The Sound” as the longest races in the Global Swim Series, it is also the first GSS race in Russia! The distance alone makes it challenging, but so do the waves and sometimes rough open water conditions. It is a great marathon swim in itself, but also a great prep swim for other marathon swims like the English Channel.

The format is different than most races too. The race is more of a series of time trial solo swims throughout the summer season, from May 15-Sept 15, that are then compared and ranked at the end of the season. So picking the right day to do your own personal race becomes part of the challenge and strategy to not only complete the swim, but also to improve your ranking!

Because St Petersburg is one of the most beautiful and historic cities in the world, it would be a shame not to incorporate some sightseeing while on your swim and possibly visit some of the neighbors close by, such as Helsinki, Finland, Stolkholm, Sweden, or Tallin, Estonia. And if you want to bring some friends along that might find 25 km a bit too challenging, there is also a relay offered (although it does not earn GSS points) and there are wetsuit and non-wetsuit divisions and as water temp is 16-20C.

The Kotlin Race is a spectacular and unique challenge in the Global Swim Series!


pdl Sat Jun 2 17:20:14 2018 Below now follows the report of the automated merge of the Ubuntu changes to the pdl source package against the new Debian version. This file is designed to be both human readable and machine-parseable. Any line beginning with four spaces is a file that should be downloaded for the complete merge set. Here are the particulars of the three versions of pdl that were chosen for the merge. The base is the newest version that is a common ancestor of both the Ubuntu and Debian packages. It may be of a different upstream version, but that's not usually a problem. The files are the source package itself, and the patch from the common base to that version. base: 1:2.018-1 pdl_2.018-1.dsc pdl_2.018.orig.tar.gz pdl_2.018-1.debian.tar.xz ubuntu: 1:2.018-1ubuntu4 pdl_2.018-1ubuntu4.dsc pdl_2.018.orig.tar.gz pdl_2.018-1ubuntu4.debian.tar.xz base -> ubuntu pdl_1:2.018-1ubuntu4.patch debian: 1:2.019-2 pdl_2.019-2.dsc pdl_2.019.orig.tar.gz pdl_2.019-2.debian.tar.xz base -> debian pdl_1:2.019-2.patch Generated Result ================ Due to conflict or error, it was not possible to automatically create a source package. Instead the result of the merge has been placed into the following tar file which you will need to turn into a source package once the problems have been resolved. pdl_2.019-2ubuntu1.src.tar.gz Conflicts ========= In one or more cases, there were different changes made in both Ubuntu and Debian to the same file; these are known as conflicts. It is not possible for these to be automatically resolved, so this source needs human attention. Those files marked with 'C ' contain diff3 conflict markers, which can be resolved using the text editor of your choice. Those marked with 'C*' could not be merged that way, so you will find .UBUNTU and .DEBIAN files instead and should chose one of them or a combination of both, moving it to the real filename and deleting the other. C debian/patches/series Once you have a source package you are happy to upload, you should make sure you include the orig.tar.gz if appropriate and information about all the versions included in the merge. Use the following command to generate a correct .changes file: $ dpkg-genchanges -S -v1:2.018-1ubuntu4 -sa


What's New: English Language Arts Worksheets and Study Guides

Trace Kindergarten English Language Arts
Rhyming Words Kindergarten English Language Arts
Story Parts Kindergarten English Language Arts
Vowel Sounds Kindergarten English Language Arts
The Alphabet Kindergarten English Language Arts
Book Sense Kindergarten English Language Arts
Alphabetizing First Grade English Language Arts

North Dakota Standards for First Grade English Language Arts

ND.CC.1.L. Language Standards

Conventions of Standard English

1.L.1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.
1.L.1.b. Use common, proper, and possessive nouns.
1.L.1.c. Use singular and plural nouns with matching verbs in basic sentences (e.g., He hops; We hop).
1.L.1.e. Use verbs to convey a sense of past, present, and future (e.g., Yesterday I walked home; Today I walk home; Tomorrow I will walk home).
1.L.1.f. Use frequently occurring adjectives.
1.L.1.i. Use frequently occurring prepositions (e.g., during, beyond, toward).
1.L.2.d. Use conventional spelling for words with common spelling patterns and for frequently occurring irregular words.
1.L.2.e. Spell untaught words phonetically, drawing on phonemic awareness and spelling conventions.

Vocabulary Acquisition and Use

1.L.4. Determine or clarify the meaning of unknown and multiple-meaning words and phrases based on grade 1 reading and content, choosing flexibly from an array of strategies.
1.L.4.c. Identify frequently occurring root words (e.g., look) and their inflectional forms (e.g., looks, looked, looking).
1.L.5. With guidance and support from adults, demonstrate understanding of word relationships and nuances in word meanings.
1.L.5.a. Sort words into categories (e.g., colors, clothing) to gain a sense of the concepts the categories represent.
1.L.5.b. Define words by category and by one or more key attributes (e.g., a duck is a bird that swims; a tiger is a large cat with stripes).
1.L.5.c. Identify real-life connections between words and their use (e.g., note places at home that are cozy).

ND.CC.1.RF. Reading Standards: Foundational Skills

1.RF.4. Read with sufficient accuracy and fluency to support comprehension.

Phonics and Word Recognition

1.RF.3. Know and apply grade-level phonics and word analysis skills in decoding words.
1.RF.3.a. Know the spelling-sound correspondences for common consonant digraphs.
1.RF.3.c. Know final -e and common vowel team conventions for representing long vowel sounds.
1.RF.3.d. Use knowledge that every syllable must have a vowel sound to determine the number of syllables in a printed word.
1.RF.3.e. Decode two-syllable words following basic patterns by breaking the words into syllables.
1.RF.3.f. Read words with inflectional endings.
1.RF.3.g. Recognize and read grade-appropriate irregularly spelled words.

Phonological Awareness

1.RF.2. Demonstrate understanding of spoken words, syllables, and sounds (phonemes).
1.RF.2.a. Distinguish long from short vowel sounds in spoken single-syllable words.
1.RF.2.b. Orally produce single-syllable words by blending sounds (phonemes), including consonant blends.
1.RF.2.c. Isolate and pronounce initial, medial vowel, and final sounds (phonemes) in spoken single-syllable words.

ND.CC.1.RI. Reading Standards for Informational Text

Craft and Structure

1.RI.6. Distinguish between information provided by pictures or other illustrations and information provided by the words in a text.

Integration of Knowledge and Ideas

1.RI.7. Use the illustrations and details in a text to describe its key ideas.

Key Ideas and Details

1.RI.2. Identify the main topic and retell key details of a text.

Range of Reading and Level of Text Complexity

1.RI.10. With prompting and support, read informational texts appropriately complex for grade 1.

ND.CC.1.RL. Reading Standards for Literature

Craft and Structure

1.RL.5. Explain major differences between books that tell stories and books that give information, drawing on a wide reading of a range of text types.

Integration of Knowledge and Ideas

1.RL.7. Use illustrations and details in a story to describe its characters, setting, or events.

Key Ideas and Details

1.RL.2. Retell stories, including key details, and demonstrate understanding of their central message or lesson.
1.RL.3. Describe characters, settings, and major events in a story, using key details.


Unlock your biological data

Try: RNA sequencing CRISPR Genomic databases DESeq

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Provides a background correction method which uses a mixture of exponential and truncated normal distributions to flexibly model signal intensity and uses a truncated normal distribution to model background noise. Depending on data availability, three approaches are employed to estimate background normal distribution parameters using (i) internal chip negative controls, (ii) out-of-band Infinium I probe intensities or (iii) combined methylated and unmethylated intensities. Evaluation results in both duplicates and experimental standard samples showed that ENmix outperformed commonly used background subtraction methods in terms of improvement in replicability and accuracy as well as reducing probe design bias. After ENmix background correction the resulting data can be used with other commonly-used preprocessing methods including quantile normalization for between-sample normalization and BMIQ for further correction of probe-design bias.
BS Seeker
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Allows to map the bisulfite-treated short reads. BS Seeker is a bisulfite sequencing (BS) alignment tool that performs genome indexing, read alignment and DNA methylation levels calling for each cytosine. The software was improved utilizing multiple short-read mapping aligners, supporting gapped mapping and local alignment and building special indexes for handling reduced represented bisulfite sequencing (RRBS) data.
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An R package for DNA methylation analysis and annotation from high-throughput bisulfite sequencing. methylKit is designed to deal with sequencing data from RRBS and its variants, but also target-capture methods such as Agilent SureSelect methyl-seq. In addition, methylKit can deal with base-pair resolution data for 5hmC obtained from Tab-seq or oxBS-seq. It can also handle whole-genome bisulfite sequencing data if proper input format is provided.
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A software package to map and determine the methylation state of BS-Seq reads. Bismark is easy to use, very flexible and is the first published BS-Seq aligner to seamlessly handle single- and paired-end mapping of both directional and non-directional bisulfite libraries. The output of Bismark is easy to interpret and is intended to be analysed directly by the researcher performing the experiment.
GBSA / Genome Bisulfite Sequencing Analyser
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An open-source software tool capable of analysing whole-genome bisulfite sequencing data with either a gene-centric or gene-independent focus. GBSA’s output can be easily integrated with other high-throughput sequencing data, such as RNA-Seq or ChIP-seq, to elucidate the role of methylated intergenic regions in gene regulation. In essence, GBSA allows an investigator to explore not only known loci but also all the genomic regions, for which methylation studies could lead to the discovery of new regulatory mechanisms.
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Provides a standard for bisulfite sequencing data related manipulation. CGmapTools is a command-line bisulfite sequencing analysis toolkit with enhanced features on single-nucleotide variant (SNV) calling and allele specific methylations and visualizations. It includes modules for better data storage, extraction, visualization and improved performance in single-nucleotide polymorphism (SNP) calling.
An efficient and accurate general-purpose bisulfite sequence mapping program. BatMeth can be deployed for the analysis of genome-wide bisulfite sequencing using either base reads or color reads. It allows asymmetric bisulfite conversion to be detected by labeling the corresponding reference genome with the hit. It integrates novel mismatch counting, list filtering, mismatch stage filtering and fast mapping onto two indexes components to improve unique mapping rate, speed and precision. Experimental results show that BatMeth is faster and more accurate than existing tools.
A generative model to quantify DNA methylation modifications from any combination of bisulfite sequencing approaches, including reduced, oxidative, TET-assisted, chemical-modification assisted, and methylase-assisted bisulfite sequencing data. Lux models all cytosine modifications (C, 5mC, 5hmC, 5fC, and 5caC) simultaneously together with experimental parameters, including bisulfite conversion and oxidation efficiencies, as well as various chemical labeling and protection steps. We show that Lux improves the quantification and comparison of cytosine modification levels and that Lux can process any oxidized methylcytosine sequencing data sets to quantify all cytosine modifications.
A computational tool to accurately identify footprints from bisulfite-sequencing data. MethylSeekR incorporates several methodological improvements and extensions that make it robust and generally applicable. The method is based on a cutoff approach that identifies hypomethylated regions as stretches of consecutive CpGs with methylation levels below a fixed threshold. To achieve high accuracy and sensitivity, MethylSeekR incorporates important preprocessing and filtering steps, and controls segmentation parameters via false discovery rate (FDR) calculations. MethylSeekR is an easy-to-use package that describes in detail each step of the analysis and produces several control plots to facilitate the interpretation of the results and to avoid potential pitfalls in the analysis.
COHCAP / City of Hope CpG Island Analysis Pipeline
Provides tools for analysing single-nucleotide resolution methylation data. COHCAP is a pipeline that covers most user needs for differential methylation and integration with gene expression data. The software includes quality control metrics, defining differentially methylated CpG sites, defining differentially methylated CpG islands and visualization of methylation data. It contains two different methods of CpG island analysis. COHCAP has been shown scalable for high-quality integrative analysis of cell line data as well as large heterogeneous patient samples.
A comprehensive tool for identification and analysis of the methylation patterns of genomic regions from bisulfite sequencing data. CpG_MPs first normalizes bisulfite sequencing reads into methylation level of CpGs. Then it identifies unmethylated and methylated regions using the methylation status of neighboring CpGs by hotspot extension algorithm without knowledge of pre-defined regions. Furthermore, the conservatively and differentially methylated regions across paired or multiple samples (cells or tissues) are identified by combining a combinatorial algorithm with Shannon entropy.
Analyses small RNA sequencing data from multiple biological sources, taking into account replicate information, to identify robust sets of siRNA precursors. The segmentSeq R package has been extended to identify methylation loci from high-throughput sequencing data from multiple conditions. A statistical model is then developed that accounts for biological replication and variable rates of non-conversion of cytosines in each sample to compute posterior likelihoods of methylation at each locus within an empirical Bayesian framework.
Generates per-base methylation data given a set of bisulfite-treated reads. MethylCoder provides the option to use either of two existing short-read aligners, each with different strengths. It accounts for soft-masked alignments and overlapping paired-end reads. MethylCoder outputs data in text and binary formats in addition to the final alignment in SAM format, so that common high-throughput sequencing tools can be used on the resulting output. It is more flexible than existing software tool and competitive in terms of speed and memory use.
DMEAS / DNA Methylation Entropy Analysis Software
Analyzes the distribution of DNA methylation patterns for the quantification of epigenetic heterogeneity. DMEAS supports the analysis of both locus-specific and genome-wide bisulfite sequencing data. It progressively scans the mapping results of bisulfite sequencing reads to extract DNA methylation patterns for contiguous CpG dinucleotides. It determines the DNA methylation level and calculates methylation entropy for genomic segments to enable the quantitative assessment of DNA methylation variations observed in cell populations.
BEAT / BS-Seq Epimutation Analysis Toolkit
Delivers methods for the estimation of methylation levels, methylation status and for calling epimutation events in a two-sample comparison. BEAT implements all bioinformatics steps required for the quantitative high-resolution analysis of DNA methylation patterns from bisulfite sequencing data, including the detection of regional epimutation events, i.e. loss or gain of DNA methylation at CG positions relative to a reference. Using a binomial mixture model, the BEAT package aggregates methylation counts per genomic position, thereby compensating for low coverage, incomplete conversion and sequencing errors.
BRAT-nova / Bisulfite-treated Reads Analysis Tool-nova
A completely rewritten and improved implementation of the mapping tool BRAT-BW for bisulfite-treated reads (BS-seq). BRAT-nova employs a novel space-efficient representation of the genome and supports local alignment by allowing one indel per read. It is very fast and accurate. On the human genome, BRAT-nova is 2-7 times faster than state-of-the-art aligners, while maintaining the same percentage of uniquely mapped reads and space usage. On synthetic reads, BRAT-nova is 2-8 times faster than state-of-the-art aligners while maintaining similar mapping accuracy, methylation call accuracy, methylation level accuracy, and space efficiency.
bicycle / BIsulfite-based methylCYtosine CalLEr
Analyzes whole genome bisulfite sequencing (WGBS) data. bicycle is a next-generation sequencing (NGS) bioinformatic pipeline that can process data from directional (Lister) and non-directional (Cokus) bisulfite sequencing protocols and from single-end and paired-end sequencing. It also performs methylation calls for cytosines in CG and non-CG contexts (CHG and CHH). It provides statistical methylcytosine calling and offers several filters to screen reads.
AgIn / Aggregate on Intervals
A linear-time algorithm that combines the kinetic information for neighboring CpG sites and increases the confidence in identifying the methylation states of those sites. Using a practical read coverage of ∼30-fold from an inbred strain medaka (Oryzias latipes), we observed that both the sensitivity and precision of our method on individual CpG sites were ∼93.7%. We also observed a high correlation coefficient (R = 0.884) between our method and bisulfite sequencing, and for 92.0% of CpG sites, methylation levels ranging over [0,1] were in concordance within an acceptable difference 0.25.
SMAP / Streamlined Methylation Analysis Pipeline
Allows to extract multiple types of information (such as DMCs, DMRs, SNPs and ASM) from various types of RRBS and Bis-seq data. SMAP is designed to be an easy-to-use, one-stop and sophisticated package for methylation analyses. The pipeline consists of seven operational stages: (i) reference preparation, (ii) read preparation, (iii) alignment, (iv) calculation of methylation rate, (v) differentially methylated regions (DMR) detection, (vi) single nucleotide polymorphism (SNP) and allele-specific DNA methylation (ASM) calling and (vii) summarization.
CyMATE / Cytosine Methylation Analysis Tool for Everyone
A software platform to perform in silico analyses of DNA methylation at cytosine sites. CyMATE is suitable for analyses of sequence data obtained with bisulfite genomic sequencing and hairpin-bisulfite sequencing, i.e. single-strand and double-strand DNA data. A module for mutation analysis at non-methylation sites is also available. It has been designed as a universal tool for quick, comprehensive and automated analysis of bisulfite sequencing data, providing detailed qualitative and quantitative results. Analysis with CyMATE is simple, very fast, platform-independent and the most detailed of computational analysis methods.
Assists users in visualizing in silico quality evaluation of polymerase chain reaction (PCR)-based methylation assays. MethGraph consists of three parts: (i) the submission of one or more primer pairs either separately or by means of a list of primer pairs, (ii) the organism of interest and the type of genome sequence for which the primers’ specificity must be checked, and (iii) the formatting (display mode, color, name and description) and visualization of the primer custom tracks.
A software tool that not only fulfills the core data analysis requirements (e.g. sequence alignment, differential methylation analysis, etc.) but also provides useful tools for methylation data annotation and visualization. Specifically, Methy-Pipe uses Burrow-Wheeler Transform (BWT) algorithm to directly align bisulfite sequencing reads to a reference genome and implements a novel sliding window based approach with statistical methods for the identification of differentially methylated regions (DMRs). The capability of processing data parallelly allows it to outperform a number of other bisulfite alignment software packages.
WBSA / Web Service for Bisulfite Sequencing Data Analysis
A free web application for analysis of whole-genome bisulfite-sequencing (WGBS) and genome-wide reduced representation bisulfite sequencing (RRBS) data. WBSA not only focuses on CpG methylation, but also allows CHG and CHH analysis. BWA is incorporated as its mapping software. WBSA can be applied to DNA methylation researches for animals and plants and it provides advanced analysis for both WGBS and RRBS. It can also identify differently methylated regions (DMRs) in different strings. WBSA includes six modules: Home, WGBS, RRBS, DMR, Documents and Downloads, and provides the executable package for downloads and local installation. WGBS and RRBS modules include four main steps: pre-processing of reads and reference, alignment to the reference, identification of methylcytosines and annotation. DMR module includes DMRs identification and annotation of the correlative genes.
informME / information-theoretic analysis of MEthylation
Serves for inter-sample and differential methylation analysis of whole genome bisulfite sequencing (WGBS) data. informME takes in consideration all information available in methylation reads, and takes into account statistical dependencies between the methylation states of CpG sites. Moreover, it can quantify methylation stochasticity not by simple means and variances at individual CpG sites but by using joint probability distributions over the methylation states.
A computational approach based on deep neural networks to predict DNA methylation states from DNA sequence and incomplete methylation profiles in single cells. We validate DeepCpG on mouse embryonic stem cells, where we report substantially more accurate predictions than previous methods. Additionally, we show that DeepCpG provides new insights for interpreting the sources of epigenetic diversity. Our model can be used to estimate the effect of single nucleotide changes and we uncover sequence motifs that are associated with DNA methylation level and epigenetic heterogeneity.
Generates high-quality methylation maps. NGSmethPipe generates single base-pair-resolution methylation maps from bisulfite conversion high throughput sequencing experiments. It processes into 4 steps : sequence conversion into 3 letter alphabet building the Bowtie index, adapter removal and quality trimming, Bowtie alignment for single-end or pair-end reads, and post-processing including SNV and bisulfite failure detection, sequence error handling and extraction of methylation data for different sequence contexts.
A comprehensive genome-scale DNA methylation analysis server based on RRBS data. RRBS-Analyser can assess sequencing quality, generate detailed statistical information, align the bisulfite-treated short reads to reference genome, identify and annotate the methylcytosines (5mCs) and associate them with different genomic features in CG, CHG, and CHH content. RRBS-Analyser supports detection, annotation, and visualization of differentially methylated regions (DMRs) for multiple samples from nine reference organisms. Moreover, RRBS-Analyser provides researchers with detailed annotation of DMR-containing genes, which will greatly aid subsequent studies. The input of RRBS-Analyser can be raw FASTQ reads, generic SAM format, or self-defined format containing individual 5mC sites. RRBS-Analyser can be widely used by researchers wanting to unravel the complexities of DNA methylome in the epigenetic community.
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Total Number of words made out of Peals = 54

Peals is an acceptable word in Scrabble with 7 points. Peals is an accepted word in Word with Friends having 9 points. Peals is a 5 letter medium Word starting with P and ending with S. Below are Total 54 words made out of this word.

Anagrams of peals

1). spale 2). lapse 3). salep 4). leaps 5). pleas 6). sepal 7). pales

4 letter Words made out of peals

3 letter Words made out of peals

2 letter Words made out of peals

1). el 2). pa 3). as 4). es 5). la 6). pe 7). al 8). ae

Also see:- | Words ending with Peals | Words Containing Peals

Words made after changing First letter with any other letter in peals

deals heals meals reals seals teals veals weals zeals

Scrabble finderAnagram FinderCrossword Solver

Note There are 2 vowel letters and 3 consonant letters in the word peals. P is 16th, E is 5th, A is 1st, L is 12th, S is 19th, Letter of Alphabet series.


Catherine Musco Garcia-Prats
Publisher: Amazon Digital Services LLC
Pages: 241

Through shared insights and experiences, this mother of 10 boys teaches and inspires moms to raise sons who are compassionate, loving, responsible, well educated, and faith filled. Her simple advice and easy-to-follow principles take the difficulty” out of raising sons. Advocating a practical and realistic approach that recognizes societal influences without allowing them to create a fear factor, she shies away from identifying sons as abnormal” because they do not follow the female pattern of development. Believing that diversity education begins at home within the family, she counsels that each child is unique in their interests, abilities, and strengths and that appreciating their individual gifts is key to their upbringing. She encourages and motivates mothers to make a commitment to their sons’ upbringing that provides them with the tools they need to reach their full ...
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This assignment provides you with an opportunity to create a code of ethics for you and your family, as well as to explain the strategies and thought processes that went into developing the code. First, create an original code of ethics for your family by thinking about your family as an organization. In your code of ethics, please include the following items: · guiding principles, · purpose of the code, · core values, · training and education (How will you train and educate others about the code?), · definitions, · who it covers, · mission statement, and · other pertinent elements you feel necessary to have a comprehensive code of ethics. The next part of this assignment involves an evaluation, where you describe the thought process behind the code of ethics that you prepared. For the evaluation part of this assignment, draft an essay to include the following items: · Identify the key roles of those who have a vested interest in the ethical behavior that your code defines. · Explain the strategies and thought processes that you used to formulate the code. · Explain how you would strategically implement and communicate the code to others in the organization. · Explain how you will monitor the practice of ethical decision-making. · Provided that laws exist and have been enacted for resolving conflict, why do we also need a code of ethics? In the process of writing your code, you must research the topic of codes of ethics and incorporate at least two articles, no older than five years. Your code and evaluation must be at least 1,000 words. Format the code as you like; however, be sure it is professional and legible. Format the evaluation part of the assignment by using APA Style. Save both parts in one Word document.

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Eureka Springs

Eureka Springs is a year-round community that celebrates the arts, people and their culture, an extraordinary culinary offering, top shelf entertainment, weddings, a spectacular outdoor environment with some of the nation’s most outstanding trail systems for mountain biking, hiking, camping, white water canoeing, fishing, boating. Additionally, there are over 150 lodging opportunities from historic hotels, first class motels, cabin and cottages.


By J. Hoberman

Publish yr note: First released December twenty eighth 2010

An military of Phantoms is an enormous new paintings of heritage and picture feedback from the very hot critic J. Hoberman. right here he applies an identical dynamic synergy of yank politics and American pop culture to the chilly War’s first decade that he dropped at the Sixties within the significantly acclaimed The Dream Life.

The years among 1946 and 1956 introduced U.S. dominance over Europe and a brand new conflict in Asia, in addition to the start of the civil rights move and the stirrings of a brand new adolescence tradition. The interval observed the motion picture purged of its political left whereas the increase of ideological motion hero John Wayne got here to dominate theaters. interpreting videos and media occasions, Hoberman has prepared a competition of cavalry Westerns, apocalyptic sci-fi flicks, and biblical spectaculars in which Cecil B. DeMille rubs shoulders with Douglas MacArthur, atomic exams are proven on reside television, God talks at the radio, and Joe McCarthy is bracketed with Marilyn Monroe. here's a historical past of movie that also is, to paraphrase Jean-Luc Godard, concerning the movie of history.

Essential analyzing for movie and historical past buffs, An military of Phantoms recasts an important period within the gentle of the silver screen.

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Extra resources for An Army of Phantoms: American Movies and the Making of the Cold War

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The most famous was P. T. Barnum’s American Museum in the 1840s and 1850s, but the dime museum ﬂourished until about 1900 in urban America. ”—an exhibit of the “missing link” between man and monkey. Dime museums presented indifferently live musicians, hypnotists, and freaks as well as waxworks, menageries, panoramas, and other visual illusions appealing to the diverse tastes of urban audiences. Dime museums also featured chambers of horror with topical exhibits, including wax displays of the execution of criminals in the latest legal killing machine, the Electric Chair, as well as torture used in 36 making the popular resort the Spanish Inquisition.

He also built the ﬁrst of three racetracks that would attract the “swells” mostly to the eastern end of the island. 26 Large land holding in the east assured a high social tone by the exclusion of peddlers, food stalls, freak shows, and whorehouses. Corbin even erected a high fence around his hotel to keep out peddlers and the riffraff, and hired Pinkerton detectives to weed out undesirables from his railroad in transit to the Manhattan Hotel. The beachfront was also patrolled by private police.

Opening the ceremonies, Henry Pain thrilled the crowd of thousands along the beach by setting ﬁre to a three-masted ship offshore. In 1906, the event leaned toward self-parody when it was dubbed the Carnival of Plenty complete with Prince Plenty and Queen Prospera. ” The real fun began after the parade when the crowd armed with bags of noisemakers and slapsticks acted out their own celebration. ” This bit of saturnalian disorder connected Coney’s Mardi Gras to the European ancestors it invoked.

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Nazi Film Melodrama$

Laura Heins

Print publication date: 2013

Print ISBN-13: 9780252037740

Published to Illinois Scholarship Online: April 2017

DOI: 10.5406/illinois/9780252037740.001.0001

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Reprivatization after Nazi Cinema: Postwar German Melodrama

(p.193) Epilogue
Nazi Film Melodrama

Laura Heins

University of Illinois Press

Abstract and Keywords

This concluding chapter reflects on the development of German melodrama in the aftermath of World War II. It traces a sense of disillusionment with the Nazi “deployment of sexuality” in films and how it had prepared the ground for the renewed postwar cultivation of domesticity and feminine nurturance in West Germany. The return to private life and to puritanical mores in the postwar era was partly a response to the attack on “bourgeois” sexual morality that had been carried out by the mass culture of the Third Reich. Turning against nudity and licentiousness in the early 1950s could be represented and understood as a turn against Nazism. Thus, this “reprivatization” and newly conservative culture left its mark on West German melodramas of the 1950s.

Keywords:   postwar German melodrama, domesticity, feminine nurturance, postwar conservatism, reprivatization

In spring 1944, as the Reich was preparing for total war and nervously anticipating the Allied invasion, stories of Wehrmacht officers’ lavish lifestyles in occupied territories circulated among the German home front populace, disillusioning many who believed in the mythic power of an ordered and unified Volksgemeinschaft. The Nazi “deployment of sexuality” was backfiring on several fronts, and the libidinal, cinematic weapon of war was faulted as a failed technology. In Security Service reports the regime’s spies shifted responsibility for military defeat away from the Nazi leadership’s imperialist fantasies of mass destruction and toward the supposed destruction caused by excessive sexuality, which the Nazi cinema itself had seemingly produced. Not surprisingly, it was female sexuality that received the brunt of the blame for what was perceived as an abrupt decay in moral standards—defined exclusively in terms of sexual behaviors rather than militarist violence and genocide.

The Security Service raised an urgent alarm in April 1944 about a general outbreak of what it termed the widespread “tendencies toward excessive sexual behavior without responsibility to the community.”1 Wartime conditions had facilitated a complete breakdown in the restraint of German women, the SD agents claimed:

To a much larger extent than during the First World War, women in the present war have been released from their peacetime life order … there are coinciding reports from all areas of the Reich that confirm that it is no longer a matter of isolated phenomena, but rather that a large proportion of women and girls are inclined to live it up sexually to an ever stronger degree. This is primarily noticeably with soldiers’ wives. There are reportedly widely known locations in many cities where soldiers’ wives go to meet men and to accompany them (p.194) home. While their mothers carry on in this way, the children are often left on their own and at the risk of utter neglect.2

The message that Nazi militarist culture promoted and facilitated the satisfaction of desires unavailable in peacetime bourgeois society had apparently been received by the female audiences of Nazi films. The SD, overlooking the instrumentality of such messages, directly blamed the Nazi cinema along with other forms of mass culture for what it called the “eroticization of public life” in the Third Reich, an eroticization that had given way to what the Security Service depicted as a widespread and detrimental license that was undermining wartime unity.

As a remedy the SD recommended a complete departure from Nazi cinema’s previous gender representations:

The original values of the German woman should be discussed and emphasized much more in the press, radio and film than they have been up until now. It is not sufficient that books—which are not read by the majority of the population and can no longer be purchased even by those interested—speak of the woman as the “defender of morality,” “guardian of life,” etc., while films, pop songs, short stories and the illustrated press (joke sections of newspapers, fashion magazines) cultivate the type of the erotic woman who enchants all men.3

Apparently this advice was not heeded at the Propaganda Ministry. As we have seen throughout this book, the “erotic woman” was an indispensable element of Nazi cinema’s attractions, the basic tool of its ideological and financial goals, and the primary interest of Nazi melodramas. Nazi revue films may have offered the most concentrated provocations of desire with their physical displays and fetishism of the exposed female body, but melodrama transformed these erotic provocations into models for living, moving from iconic image to narrative. And Nazi melodramas, far from offering narratives championing housewives as revered family nurturers and guardians of private life in the manner of classical Hollywood melodrama, continued instead to cultivate the eroticization of the Third Reich public sphere even as it was collapsing.

A few months after the SD circulated its warning, prints of Veit Harlan’s domestic melodrama Opfergang were delivered to cinemas in the Reich and abroad. The film was enthusiastically received by spectators, and due to its enticing thematization of extramarital relations and its exploration of “natural” eroticism in luxurious settings, it achieved a box office triumph over Hollywood films in some foreign markets.4 As the Reich general film director noted in a memo to Goebbels on the foreign reception of the film, Opfergang was derisively called a “carnival orgy” by a leading film critic in Switzerland, but the melodrama was nonetheless received with enormous popular success (p.195) in that country.5 Opfergang, perhaps the most paradigmatic Nazi melodrama, narratively dissolved bourgeois domesticity by throwing open the confining windows of tradition, reveling in a sexual masquerade, and ending in hallucinatory eroticized death. The eruptions of stylistic and erotic excess in the film reached a climax in Opfergang’s masked ball sequence. Here, as chaotic groups of masquerading women reverse the conventional order of sexual aggression, suggestions of lesbianism are phantasmagorically multiplied. Control over vision and narrative logic threatens to break apart completely under the riot of garish colored lighting, a mise-en-scène dominated by a slide in the shape of a giant clown’s tongue, a sound track with dizzying music and the delighted shrieks of female revelry, along with highly disorienting editing. The two blondes in riding gear who wordlessly follow the romantic hero Albrecht at the bar stare at him intensely out of masked blue eyes, move in a synchronized and mechanical manner, and thus seem to be the extreme incarnation of Nazi melodrama’s fantasy women. This vision is interrupted by a shot of text dissolving over Albrecht’s masked face as his mistress Aels’s voice is heard on the sound track: “In the night, the souls are more connected than during the day. Or is it only my desire that is lying to me?” This sequence, ambiguously marked as a possible subjective vision of either the hero or the heroine of the romance, is never securely fixed as the vision of either, and the question of exactly whose fantasy this filmic text may be remains indeterminate. It was a threatening scene, one that another Swiss critic described as being “quoted straight from hell.”6

The hellishness of the melodrama for the male viewer, we can be sure, arose from the collapse of narrative certainty under the image of female desire. Melodramatic excess was an unintentional by-product of Nazi cinema’s attempts to create a uniquely successful German film art and of the inability to completely manage the representation of sexuality and spectator desire within classical cinematic conventions. The occasional failure of this management was evidenced by dissenting viewers and their objections to the sexual morality of Nazi films. Toward the end of the war the Security Service took up this dissent and applied it to an explanation of why the Nazis were losing the war. Much like at the end of the First World War, excessive female sexuality was finally blamed for undermining morale and destroying the unity of the Volksgemeinschaft. This time, however, the production of sexuality could no longer be attributed to imaginary enemies of a true German culture. The Nazis had fulfilled their own desires in their cinema and their mass destructions.

The late conviction that the “true nature” of the German woman had not been sufficiently realized in Nazi culture prepared the ground for the renewed (p.196) postwar cultivation of domesticity and feminine nurturance in West Germany. The return to private life and to puritanical mores in the Adenauer era was partly a response to the attack on “bourgeois” sexual morality that had been carried out by the mass culture of the Third Reich. According to Dagmar Herzog, many historians since the 1960s have inaccurately described the Third Reich as prudish and preoccupied with petty bourgeois family values; thus they have failed to fully grasp the extent to which the sexually repressive climate of the 1950s was not a continuation of Nazi culture but rather an attempt to master the fascist past. As Herzog has commented: “One powerful initial impetus for sexual conservatism in postwar Germany lay in the fact that incitement to sexual activity and pleasure had been a major feature of National Socialism. Turning against nudity and licentiousness in the early 1950s, especially in the name of Christianity, could, quite legitimately and fairly, be represented and understood as a turn against Nazism.”7 Although they may have implicitly understood that the promise of new freedoms and pleasures had provided the Nazis with popular support and an incentive for German men and women to participate in the regime’s imperialist and genocidal missions, Adenauer-era conservatives also insisted on a reinstatement of Christian sexual morality as a means of repressing the past. Instead of investing most of their energies in pursuing Nazi war criminals and probing the German conscience about its responsibility for the Holocaust, postwar Christians battled against pornography, homosexuality, and extramarital heterosexuality, thereby displacing efforts to “clean up” German culture from the political to the private sphere.

This “reprivatization” and newly conservative culture left its mark on West German melodramas of the 1950s.8 The objections of pre-1945 spectators to the Nazi cinema’s apparent distaste for domestic and rural settings cleared the way for a postwar retreat into the mountains of the Heimatfilm, the most characteristic Adenauer-era melodramatic genre. Here, in Agfacolor daydreams of rural German landscapes untouched by the destruction of carpet-bombing, conventional gender roles and repressive sexual norms were visibly reinstated. As Johannes von Moltke has asserted, the prevalence of the Heimatfilm in the 1950s is indicative of “the decade’s obsession with domesticity,” according to which the image of “home” received new value as a “place of retreat, the realm of privacy, and a key site for the enforcement of outdated gender norms.”9 The popular authority of the church, previously embattled by Nazi secularism, was also reinforced after the war and reappeared on the cinema screen in the 1950s Heimatfilm in the form of venerated village priests and copious religious symbols. Accordingly, monogamous marriage once again became the normative ideal and preferred resolution of postwar (p.197) melodrama’s narrative trajectories. As von Moltke has further noted, the “trope of marriage” was central to the 1950s Heimatfilm and functioned as the prime figure of “harmony and compromise.”10 West German filmmakers who worked in other postwar melodramatic genres were similarly interested in rebuilding the image of the harmonious German home, though nuclear family unity was to be achieved more through repressive means than through compromise.

Opfergang’s director, Veit Harlan, like most Third Reich filmmakers, survived both the war and the halfhearted American de-Nazification measures and continued to make melodramas throughout the 1950s. His postwar films, although produced with the same personnel as his Nazi features, also evidenced some cultural shifts from the Third Reich to the Adenauer-era cinema. After being accused and subsequently acquitted of crimes against humanity for making the notorious anti-Semitic melodrama Jud Süss, Harlan redirected his defamatory attacks from Jews to homosexuals in his 1957 film Anders als du und ich/Das dritte Geschlecht (Different from Me and You/The Third Sex). Harlan’s postwar filmmaking and the public response to it were both paradigmatic for the Adenauer-era tendency to displace guilt for Germany’s anti-Semitic genocide onto an obsession with sexual “decency.” While the public disapproval of his Nazi past was relatively limited, Harlan did encounter opposition to the sexual content of his early postwar films. Harlan’s 1951 melodrama, Hanna Amon, was originally scripted as the story of an incestuous love affair between a brother and a sister, thus replaying one of Harlan’s favorite Nazi-era themes, but this narrative did not conform to the new climate of conservative sexual morality in the early years of the Federal Republic. As Harlan’s wife and lead actress, Kristina Söderbaum, related in her memoir, Harlan’s distributor demanded changes to the content of Hanna Amon’s script following the hostile reactions to Hildegard Knef’s nude scene in Die Sünderin (The Sinner, 1951) earlier that year: “There were riots in all German cities about this film. The Catholic Church denounced it and the activist group ‘Clean Screen’ called for a boycott … [Our] script had to be rewritten and the material toned down … All allusions to a possible brother-sister love were eliminated, and all that remained was the act of Hanna Amon, who killed a woman because she considered her incapable of managing the farm according to the wishes of her parents.”11 Incestuous desire and Opfergang-style eroticized death had become unacceptable content for early Adenauer-era melodramas. Murder for the sake of private property and family legacy, on the other hand, was apparently more comprehensible for conservative postwar audiences.

With the return to influence of the Catholic Church came a reinstatement (p.198) of domesticity, a revaluation of the nuclear family as normative, and a newly puritanical concept of sexual decency. Harlan followed the spirit of the times with his 1958 family melodrama, Ich werde dich auf Händen tragen (I’ll Carry You On My Hands). Starring Kristina Söderbaum once again, the film moves in exactly the opposite direction as Opfergang: from a beach to a bourgeois interior. The 1958 film thus reversed the Third Reich melodrama’s effort to flee the domestic sphere in favor of the fantasized spaces of overseas empires. In the postwar melodrama, Söderbaum plays a single woman who has been disappointed by her past temporary lovers and the lies born of male passion and consents to marry a Tyrolean widower and antiques dealer (thus a man who represents exactly the sort of tradition-bound lifestyle that so many Third Reich films denounced as “philistine”). The heroine then leaves the north German coast (the scene of Opfergang’s finale) and spends most of the rest of the film indoors, very much unlike Söderbaum’s militaristically horse-riding character in her 1944 melodrama. When she arrives in her new home, the heroine finds her new husband’s daughter, a boyish child with an angry spirit, and a portrait of the child’s dead mother above the fireplace. The ensuing family tensions are subsequently resolved by the husband in a different manner than in most Third Reich melodramas: instead of smashing the antiques, slashing the maternal portrait, and divorcing the child like the industrial dictator hero of Harlan’s 1937 (anti-)family melodrama, Der Herrscher, the male protagonist of this postwar Harlan melodrama works on pacifying and unifying the family. Characteristically, however, the reconstitution of the nuclear family is achieved with the help of a Catholic priest who preaches a repressive ethic of female masochism. After the widower’s daughter runs away from home, the priest escorts the masculine girl back to the house and tells her (as if conveying a programmatic message to all German women in the audience): “With every blow, guilt will be removed from you … If you get beaten now, then you just clench your teeth and you take it.” By the end of the film, the daughter has finally been chastised and the wife entirely de-eroticized.

The stylistic excesses of the Nazi melodrama Opfergang give way here to a more domesticated sentimentality. In the final scene of Ich werde dich auf Händen tragen, Söderbaum’s character is once again shown lying in bed with the same weak pallor as at the end of her 1944 melodrama, but instead of an orgasmic death, a shot of two newborn babies in a crib follows the close-up of the heroine in bed. Her now conventionally feminine stepdaughter then begs for forgiveness, trumpets on the sound track proclaim the restoration of a peaceful order, and a gate opens to reveal an exterior shot of a carefully tended garden outside the secure home—in direct opposition to the ocean of (p.199) eros and thanatos onto which Opfergang’s final gates opened. The bourgeois domesticity and nuclear family conventions that had been assaulted twenty years earlier by the Nazi melodrama Der Herrscher were now reborn in the Adenauer-era cinema, reproduced by the very same fascist filmmaker.

The conservative restoration characteristic of the West German melodrama of the 1950s applied to some extent to the cinema of East Germany as well, in accordance with a similar return to conventional sexual morality in the German Democratic Republic (GDR). As Dagmar Herzog has argued, there was a “turn toward a socialist variant of sexual conservatism” in the 1950s and 1960s in East Germany, with repressive tendencies that had “part Stalinist, part ex-Nazi, part petty bourgeois” origins.12 However, the prudish culture of the first fifteen to twenty years of the GDR did not accompany the same overvaluation of traditional nuclear family domesticity in East German cinema as in West German cinema of the same era. In many respects, East German filmmakers responded to the legacy of Nazi cinema in a different manner than West German filmmakers, most obviously through the overt antifascist rhetoric of East German films. In opposition to the popularity of the Heimatfilm and other melodramatic genres in the West in the 1950s, the East German state-owned film industry Deutsche Film AG (DEFA) did not find melodrama to be as amenable to the socialist project. Although nationalistic pathos was certainly a characteristic feature of Stalinist cinema, the socialist master narrative of rational progress through the historical dialectic did not conform easily with melodrama’s fatalism and circularity, and the positive hero mandated by socialist realism was most often embodied by male characters.13 Melodramatic women’s pictures were not common among DEFA films of the 1940s to 1950s,14 and the few melodramas approximating this genre showed that the tension between the public and private spheres was reconciled differently in the East German cinema than in both Third Reich and Adenauer-era melodramas.

The first DEFA production, Die Mörder sind unter uns (The Murderers Are Among Us, 1946), could be considered a domestic melodrama, though the main question posed by the film concerns the postwar treatment of Nazi war criminals. Directed by another former employee of the Nazi film industry, Wolfgang Staudte, Die Mörder sind unter uns did suggest—somewhat like Harlan’s Ich werde dich auf Händen tragen—that German guilt could be redeemed through feminine nurturance, and it also reveals the initial postwar longing for a return to a harmonious domestic sphere. Starring Hildegard Knef as a former concentration camp inmate who returns to Berlin in 1945, falls in love with a former Wehrmacht soldier, and heals him of his posttraumatic stress disorder by reestablishing an orderly domesticity, Staudte’s film hints at a restoration of traditional gender roles. Ultimately, (p.200) however, this film does not endorse the same reprivatization as West German melodramas. Rather than ending in an idealized image of a reconstituted nuclear family, the final sequence of the film calls on spectators to recognize the victims of war crimes and to bring the guilty to justice. As Hester Baer has argued, the gender politics in Die Mörder sind unter uns are not entirely conventional, since the film posits an active and productive female gaze, even while demonstrating in conservative fashion how nurturing women could help restore the damaged postwar male subjectivity. At the end of the film the female protagonist does not surrender entirely to domesticity, but retains her work as a graphic designer of political posters, and thus the film, in Baer’s estimation, “fails to attain the kind of closure that would ensure the restoration of traditional gender ideology.”15 In its optimistic (though admittedly problematic) vision of a realigned gender dynamic in the Soviet sector, Die Mörder sind unter uns appears to be a response to Nazi melodramas like Die vier Gesellen (see chapter 2), which cynically demonstrated the necessary capitulation of women to marriage as a primarily economic institution. Bearing a strong resemblance to Ingrid Bergman’s graphic designer character in Die vier Gesellen, Hildegard Knef’s character seems to overcome (or repress) the Third Reich woman’s forced subjection to gender inequality as she speaks with glowing eyes about returning to the socially useful work of reconstruction. Die Mörder sind unter uns thus corresponds to the utopian, future-directed orientation of socialism and its stress on female participation in the labor force.

A few other DEFA melodramas of the immediate postwar period demonstrate the difficulty in reconciling the private realm of emotion with the project of building a postwar public sphere in a Marxist country. Joshua Feinstein has noted that the topics of love and sexuality presented continual challenges for film directors of the East German film industry; at the same time that DEFA films were often faulted by critics and officials for lacking in emotion, the leaders of the regime discouraged scenes that might arouse erotic feelings. As Feinstein asserts in reference to the censoring of nude bathing and carnival scenes in Slatan Dudow’s 1959 film Verwirrung der Liebe (Love’s Confusion), “Above all, officials objected to the film’s sensuality, which they perceived to be a threat to socialist morality.”16 The fear of sensuality among the GDR leadership, as Dagmar Herzog has argued, arose from the suspicion that indulgence in private pleasures might depoliticize the populace and turn it away from socialism.17 Even marriages were often depicted as relatively chaste in DEFA films of the 1950s, and romantic relations sometimes appear as an impediment to the construction of a collectivist society. In Roman einer jungen Ehe (Story of a Young Couple, 1952), a troubled (p.201) marriage serves as a metaphor for Cold War ideological divisions, with the female partner representing socialist virtue and the male partner the moral decay of the West (also embodied by the character of an ex-Nazi West German film director, a thinly veiled representation of Veit Harlan). Dudow’s Frauenschicksale (Destinies of Women, 1952), in which a West Berlin playboy seduces a series of young women and drives one to commit murder, equates erotic desire to capitalistic materialism and aggression, and all of these are coded as manifestations of Western degeneracy. By the end of the film each of the female protagonists has managed to extricate herself from her affective snare by relocating to the more “rational” East and by becoming a productive worker in the new, forward-looking socialist society.18 In such films the East German cinema’s rhetoric of reconstruction and progress echoes some aspects of the fascist modernization project, and its problematization of the private sphere may also recall some aspects of Nazi melodrama. But DEFA differed fundamentally from Nazi cinema in its refusal to eroticize violence, and it differed from Adenauer-era cinema in its refusal to relegate women to a subordinate and predominantly familial role.

Film melodramas of the Third Reich, as I have argued throughout this book, reflect the generally embattled status of domesticity under German fascism. Unlike classical Hollywood melodramas, which aimed to bolster the ideological norms of the middle-class nuclear family and Christian sexual morality, Nazi melodramas appealed to viewers with deceptive discourses of liberation from conventional sexual morals and familial structures. Instead of engaging the rhetoric of a return to tradition, Nazi cinema promoted images of a fascist cultural modernity, a nonetheless reactionary modernization that aimed to advance the militarist and genocidal goals of the Third Reich rather than the emancipation of its citizens. Repeatedly invoking images of a repressive nineteenth- and early twentieth-century past, Third Reich melodramas not only described bourgeois morality as antithetical to a wartime fascist order and to Germany’s planned colonialist future but also presented Nazism as a youthful rebellion against philistinism. Film melodrama thus constituted a key battleground in German fascism’s multiple projects of modernization, militarization, and the dissolution of the private sphere.

As an imperialist regime, the leaders of the Nazi state intended to push beyond the walls of the home, to expand the borders of the Reich abroad, and to induct German citizens into a greater servitude to the fascist nation. Romance melodramas, as we have seen, supported this goal by training (p.202) audiences in lifestyle choices and character traits that corresponded to Nazism’s colonialist aspirations. These included seemingly modernized gender roles, even extending to heroines who strive for higher education and work in traditionally male-dominated professions. Yet the goal of such narratives was not to achieve greater gender equality and genuinely liberatory modernization, but to serve the pragmatic needs of an imperialist economy by increasing the wartime labor pool and redefining the feminine role as a subordinate and self-sacrificial one within the workplace, as much as it had been previously in the home. Similarly, Nazi cinema’s ostensibly progressive defense of single motherhood disguised a much more regressive goal: to shift the responsibility for reproduction to women alone. Since familial demands stood in conflict with industrial productivity in the fascist imagination and women were viewed as holding too much authority in the bourgeois home, many Third Reich domestic melodramas called the legitimacy of monogamous marriage into question and argued for a departure from conventional family structures. Breaking with genre conventions as well, the stability of the family was not equated with the stability of the nation in most Nazi melodramas. In contrast to the claim of Hollywood’s wartime melodramas that the war was being fought in defense of middle-class domesticity, Christianity, and nuclear family values, Nazi home front films suggested that greater pleasures were to be found in a more risk-filled life beyond quotidian, civilian existence.

Outside the home and in conquered territories, Nazi films promised, lay the possibility of intensified erotic experience. With conscious calculation, Goebbels’s Propaganda Ministry planned for eroticized imagery and narratives to fulfill a political function, both by inciting spectators to militarist action and by distracting them from the destructive consequences of fascist rule. Film melodrama, as a mode concerned primarily with the realm of emotion and sexual relations, played a key role in this incitement by affectively binding spectators to the Reich. Since Nazi films offered sexual content that exceeded the more restrictive codes of Hollywood films, spectators were invited to view German fascism as a system that allowed for the expression of elemental drives. Violent feelings in particular were elicited from viewers, as Nazi melodramas were structured to appeal to a more intense form of sadistic voyeurism than comparable Hollywood melodramas. Lacking a firm concept of genres as gendered, Third Reich filmmakers oriented melodramas, conventionally considered “women’s pictures” within Hollywood cinema, toward male spectators as well. Nazism’s perverse imagination, as it was reflected in the melodramas of the Third Reich, thus centered on male-oriented fantasies of polygamy, incest, and sexual power over colonized peoples and coerced partners.

(p.203) Although Nazi melodramas were highly popular with both foreign and domestic audiences, the evidence of spectator response presented in this book proves that some viewers reacted negatively to such appeals. As much as Goebbels endeavored to engineer uniform spectatorship through vigilant control over each film’s relative dosage of melodramatic affect while attempting to contain the threat inherent in stylistic excess, absolute control over spectator response was never entirely achieved, and the goals of the Ministry of Propaganda often stood in conflict with the interests of female, rural, and Catholic viewers in particular. Security Service reports demonstrate that the domestic realm proved to be a continual source of problems for a regime fixated on homogeneity: the disinclination of many German women to support the war in the expected manner or to conform to the Third Reich’s population policies, the resistance of conservative and rural populations to cultural products that reflected urban and secular attitudes, and the bitterness of the lower classes about their own exploitation in wartime work and military service all gave the Nazi authorities cause for concern. The pseudo-emancipatory appeals of Nazi culture, which promised liberation from the strictures of (petit) bourgeois morality, were intended primarily for the upper strata of male members of the Reich; all others in the supposedly unified Volksgemeinschaft were to serve the interests of the political, military, and corporate leadership. But the desires of many segments of the population did not entirely conform to the regime’s narratives of liberation through servitude outside of the home.

After the defeat of the Third Reich many Germans wished to retreat to a more orderly private sphere. In the East this desire was quickly subsumed under the ideological imperative to focus on the building of a socialist society, and private pleasures were generally neglected in the DEFA cinema until the 1970s. In the West, Nazi cinema’s incitements to colonialist fantasies gave way to the more domesticated consumerist and touristic attractions of Adenauer-era cinema. A decade later the reprivatization of the immediate postwar period in West Germany was in turn viewed as problematic by many members of the younger generation. The restitution of domesticity in the West German culture of the 1950s was followed by a renewed rejection of bourgeois morality in the critical theory and protest movements of the late 1960s, as the sexual revolution in West Germany gave rise to a process of liberalization or “sexual evolution” in the East as well.19 Younger West Germans who had grown up in the repressive environment of the Adenauer era and later began to excavate the guilt of their parents’ generation for the crimes of the Third Reich often misrecognized the connection between bourgeois morality and Nazism, aided by Freudian interpretations of the fascist persona. Assuming that the 1950s obsession with sexual propriety was simply (p.204) an unbroken continuation of Nazi culture and that petty bourgeois family values underpinned Nazi convictions, many leftist West Germans of the 1960s and ’70s equated an anti-puritanical stance with an antifascist position.20 Yet, as this investigation of film melodrama under German fascism has demonstrated, the attack on puritanical sexual morality was very much at the core of Nazi culture’s appeals. Genuine sexual equality within both the private and public spheres and the decolonization of the erotic imagination, on the other hand, may legitimately be considered antifascist values.

(2.) Ibid., 16:6481–82.

(3.) Ibid., 16:6488.

(4.) Memo from Reichsfilmintendant Bacmeister to Reichsminister Goebbels dated January 13, 1945, re: “Auslandspresseecho zu dem Film Opfergang,” BArch R 109 II/15.

(5.) Ibid.

(6.) A further Swiss reviewer cited in the same document criticized Opfergang’s ambiguities and excesses and compared it unfavorably to the film’s more orderly literary source: “The characteristic elements of Binding’s work, of his people, figures, moods and actions—namely the measured quality, the clarity and unambiguousness—have been turned into the opposite, into a bombast of feelings.” BArch R 109 II/15.

(8.) I have borrowed the term “reprivatization” from Herzog. See ibid., 104.

(10.) Ibid., 128.

(13.) Joshua Feinstein argues that the type of the “resolute male comrade” typifies the DEFA film of the 1950s, when female protagonists were more marginal. Feinstein, Triumph of the Ordinary, 132.

(14.) According to Marc Silberman’s historiography, the first true DEFA “woman’s film,” Lots Weib (Lot’s Woman), was not released until 1965. Silberman, German Cinema: Texts in Context, 164.

(18.) For a more extended discussion of Roman einer jungen Ehe and Frauenschicksale, see Pinkert, Film and Memory in East Germany, 106–27.

(20.) Ibid., 156–60.


Truck Repair Service LLC
2695 11 Mile Road NW, Sparta, MI 49345 616.887.1924

What is a severe service maintenance schedule?

Truck Repair Service LLC Answer:
When I was a kid in Sparta, Sunday meant having a bath, getting dressed for church and then hanging up my Sunday clothes soon as we got home. Mom didn't have to wash those clothes but once a month or so.

Most owner's manuals will describe severe service as:
Stop and go driving
Short trips
Low speed driving
Extreme hot or cold
Dusty conditions
Carrying heavy loads

For most people in Sparta, some “severe” driving is part of their everyday routine. You can ask your friendly and knowledgeable service advisor at Truck Repair Service LLC about how you drive around the Grand Rapids area and see if your routine is closer to the regular or severe definitions and adjust your service intervals for things like oil changes, transmission and cooling system service.

Give us a call.

Truck Repair Service LLC
2695 11 Mile Road NW
Sparta, MI 49345


Late Anthropocene:
3 Continents, 2011
Hotspots collaborators: Ann Rosenthal (Pittsburgh), Karin Bergdolt (Germany), Beth Manoian (Dubai)
video, salvaged automotive exhaust systems, canvas, paint, wood, metal tracking

See video clip below.

Viewing the landscape from the point of view of a 'natural' history diorama, we offer a question forged of rusty mufflers in which the past and future converge. A once yellow brick road, and a continuous landscape captured in Pittsburgh; Nurnberg, Germany; and Dubai circle the globe probing where it is we are heading. Video captured from freeways on three continents.
Hotspots: What comes after oil? is an international collaboration imagining the paradigm shift required to envision life-enhancing economies and wise use of our natural resources.

Installation text:
An-thro-po-cene |'anθropo, sene |
the current geological age, viewed as having begun about 200 years ago with the onset of significant human impact on the ecosphere.

In the mid-21st century, geologists formally agreed that a new geologic epoch, the Anthropocene, had begun. The term reflects the lasting impact humans have had on the planet, altering the course of evolution in ways that will last tens of millions of years—a distinction formerly reserved for natural geologic events, such as earthquakes or volcanic eruptions. These human impacts include habitat destruction and the introduction of invasive species, which have caused widespread extinctions; ocean acidification, which has changed the chemical makeup of the seas; and urbanization, which has vastly increased rates of sedimentation and erosion.

The term "Anthropocene" was originally coined by Paul Crutzen, who shared the 1995 Nobel Prize for discovering the effects of ozone-depleting compounds.

"Mattress Factory installations look at process, collaboration" Trib Live, April 10, 2011, Kurt Shaw trib/ae/museums/s_731348.html


Boulevard Heights Amphitheater

Boulevard Heights Amphitheater
6770 Garfield Street
Hollywood, FL 33024
check with venue

The Boulevard Heights Amphitheater is a spacious outdoor amphitheater located in Hollywood, Florida. The large, outdoor stage is nestled under a canopy of mature oak trees that lend natural shade and a sweet ambiance to the area. The theater is devoted to offering free concerts through the Hollywood West Performing Arts Concert Series. The concerts feature a wide genre of different artists and are usually scheduled the second Saturday evening of every month and are weather permitting. These events are always family friendly.

Take in some local music culture with a night out under the stars and the trees. These are family friendly events. You are allowed to bring blankets, lawn chairs, picnic baskets and coolers with you for a fun and comfortable evening. There are quite a few pizza and sub sandwich restaurants cIose by if you prefer to order take out and bring it with you. You will see couples enjoying an affordable, cozy date night out and families with their children, dancing, playing with beach balls and sharing a meal during the music. There are also a lot of local community groups that like to meet up here. This is a great location to socialize and dance the night away in a free and safe public place.

All of the concerts offer FREE admission and FREE parking.The Amphitheater offers more than just musical concerts. During different nights throughout the year you are also able to catch family friendly movies under the stars and trees! Again, picnic blankets, chairs and food are permitted and these events are always free! This outdoor theater is a gem with it's outdoor ambiance and free offerings to the public all year long!


Social Media & the News

This is the second in a series of blog posts for LIS’s Year 12 Core TOK class. Outside comments are welcomed and encouraged.

In the 21st century, social media has significantly impacted how journalism happens and how we learn about and understand breaking events.

In his TEDxThessaloniki talk, Crowdsourcing the News, Paul Lewis discussing how his job as a journalist has changed with the rise of social media.  In his talk, he mentions several popular social media networks which influence how and what gets reported in the mainstream, traditional news media.  These are listed below along with a few others.

Earlier, we posted about Traditional Mass Media vs. Alternative News Sources and asked about the similarities and differences in their reporting of news stories.  Today, the LIS library wants to know: How is social media impacting journalism and therefore the news we get?

To answer this key question, consider

What IS social media’s impact on journalism?
What are the positive aspects of social media’s impact on journalism?
What are the negative aspects of social media’s impact on journalism?
How can you use social media to stay informed?

Core TOK students, please use at least two different specific examples from Social Networks in your response.

News! Read All About It! News!

Photo by Damien Roue under CC BY-NC 3.0 license


Fabulous Fit combines a user-friendly approach to the fitting process with a dynamic visual presentation of technical procedures, guiding the user through the process of identifying a figure variation, recognising incorrect fit and its cause, measuring the body and corresponding pattern area, adjusting the pattern, and altering garments. This book is the essential text for coursework in fashion selection, fitting and alteration.


How do you start your day off on the right foot? Do you use yoga to help you achieve the balance you need for the day? I suggest creating a wake up routine for yourself in order to experience the beginning of the new day you’ve been blessed. A routine will help you start your day in a way that is blissful and full of peace. Another important reason for creating a wake up routine is that the world is completely out of our control. The only things we can control are our own thoughts and actions. Therefore, giving yourself part of the day that’s completely for you can help in your quest for getting through every day sane and happy. Some tips for creating a wake up routine:

1. Focus on the habits you want to establish. If you don’t feel like putting them into habit you won’t. Be sure you know why you are doing what you’re doing in the morning so that you feel it is worth your time to do so.

2. Put into action the things you ENJOY doing! For me, this is having a cup of tea, some oatmeal, a bit of yoga, running, and quiet time. I love all of these things and therefore, they are easy to wake up and do. If you are forcing yourself to do something you hate, maybe it’s time you reconsider why you’re forcing yourself to do something in the first place. It is true that there are things in life we have to do, even if we don’t enjoy them. But this morning time is for you, so remember that. Seriously consider all the things already taking up your time and ponder how necessary they truly are.

3. Consider waking up about 20 minutes before the sun but be sure to do so in a calm, relaxed manner. When I have to wake up to darkness to do something other than relax or take in the still-cool air, I don’t really enjoy this. This can be very difficult for some people, especially night owls. But science has proven that our brains are sharpest in the mornings and that if you wake up at the same time every day, and go to bed at relatively the same time every night, you will not feel tired. Furthermore, according to Ayurveda, vata energy fills the air in the time before the sun rises. Vata is known for movement so this is the best time to wake up your body. Then, you can also be awake when the energy changes from vata to kapha (muscle energy) with the sunrise. When this transition happens, your body is already awake and present, allowing you to make that transition easily. However, waking up before dawn doesn’t just happen. Ease your body into it so you can enjoy it. For a week, go to bed a half an hour earlier and wake up a half an hour earlier. Each week you can progress, changing your sleep schedule to allow yourself to wake up comfortably before dawn.

3. Ayurveda (and modern science) also says that whatever you put into your body at the beginning of the day will set the tone for the rest of it. Thus, it is a good idea to drink a glass of lukewarm water with a slice of lemon or lime in it at the beginning of each day. The lukewarm water gets your digestive fires going and the lemons and limes are full of vitamins and minerals that can help flush out toxins in the digestive tract.

4. If you don’t already, get in the habit of eating breakfast every day. This is not to be underestimated. Break-fast describes exactly what you’re doing: breaking the fast of the night. If you are someone who just cannot stomach breakfast in the morning, start small. You don’t need 4 eggs, hashbrowns, and bacon. Start with a piece of fruit. Take it easy but eventually try to get yourself to eat a little bit more in the mornings if you don’t already.

5. Try to exercise in the morning. One of my favorite running quotes is “I run in the morning before my brain tells me not to.” I don’t remember who said this but this is extremely apt. Even though I love to run, as the day wears on, I get tired, as do most people. It is really difficult for me to get myself to seriously work out at night. Also, in the morning your core body temperature is lower than at the end of the day and your heart rate is also lower, making perceived effort less.

6. A thought about habits: Work on one habit at a time. If you bombard yourself with 5 different habits you want to adopt NOW, you’re bound to fail. Take it one at a time. It takes about 13 weeks to fully establish a habit. I like to keep a little journal of my progress. Check off every day that you do said habit for 13 weeks. If you miss a day, you start over. This is the clincher. The prospect of having to start over with all my hard work motivates me to do that action every day.

Other things you can consider adopting into your morning routine, depending on what appeals to you:  reading, meditation, sitting outside enjoying the quiet, writing, getting a creative flow going with whatever it is you do creatively, taking photos, journaling, taking a walk, reading your blogs, updating your own blog. Notice how all these things are probably enjoyable to many people. I didn’t say check your email, pay your bills, clean your bathroom, get on your cell phone, do exercise you hate but do anyway, listen to loud music. The sanctity of the morning revolves around the fact that it can be all about you and it is quieter than any other time of the day you may be awake. Revel in this and appreciate the morning for what it is: wonderful!

What morning rituals do you participate in? What do you do in the morning that helps you keep your cool throughout the day? Why do you LOVE the morning?

Namaste. Jenna

photo via Niffty


Read My Pins: Madeleine Albright '68SIPA, '68, '76GSAS

In 1997, Madeleine Albright '68SIPA '68, '76GSAS was named the first female Secretary of State, becoming the highest ranking woman in the history of the U.S. government. While serving under President Bill Clinton, first as U.S. ambassador to the United Nations, and then as Secretary of State, Albright became known for wearing brooches that purposefully conveyed her views about the situation at hand.

"I found that jewelry had become part of my personal diplomatic arsenal," she said. "While President George H.W. Bush had been known for saying 'Read my lips,' I began urging colleagues and reporters to 'Read my pins.'"


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TMC’s SEM-Base® is an active vibration cancellation floor platform designeds for use with scanning electron microscopes.

TMC’s Stage-Base™ 450 is specifically designed to be the primary vibration cancellation system for advanced semiconductor tools which incorporate high-precision motorized X-Y stages.