text:
如果特吕弗的改编电影《华氏451》 给人乏善可陈的感觉，可能是因为它不那么特吕弗，也不那么科幻。事实上，对于这部电影的刻薄评论可不少，比如Pauline Kael在她的影评这样写：
事实上他并不只赞赏本质，对于特吕弗在电影里所做的一些创意，比如把男主阅读双城记换成阅读大卫·科波菲尔，一字一字读着I am born，还有电视墙，结尾时书人（book-man）们走来走去的雪景……甚至在他自己1985的剧场版里，除了以上细节，还直接把电影结尾的某段台词套用上了。
Re-Framing Fahrenheit 451: Ray Bradbury’s dramatic responses to François Truffaut
By Phil Nichols
When François Truffaut’s film of Fahrenheit 451 was released in 1966, the immediate critical response was lukewarm. Film historian Arthur Knight, writing in Saturday Review within days of the film’s American release, recognised its “vivid and imaginative” approach to adapting Ray Bradbury’s novel, and called it both “highly original” and “thought provoking” – but at the same time “distressingly superficial” (Knight 1966). Critic George Bluestone found a deeply unsatisfying lack of passion in Oskar Werner’s portrayal of Montag, resulting in the character’s awakening being largely unmotivated (Eller 2014, p248). Perhaps the most scathing review of all came from Pauline Kael (1968), who noted Bradbury’s gimmick – that firemen don’t put out fires, but instead burn books – as being inexplicably compelling, while the film’s exploitation of it was “clumsy” and “unformed”.
Ray Bradbury’s own response was much more positive. Reviewing the film for the Los Angeles Times, Bradbury was pleased with Truffaut’s “visual poetry”. Not at all bothered by the film’s modifications to his story, he declared that Truffaut had captured the book’s essence and had produced a film “about a lover and a loved one […] Man as lover, book as loved one.” What’s more, he recognised a kindred spirit in Truffaut, in that he and Truffaut had “shared out a folly” and that their “parallel loves had, by an optical illusion, somehow joined” (Bradbury 1966c).
With passing years, appreciation for the film would increase, and while a clear critical consensus is still yet to be reached, many critics and Truffaut scholars have come to identify significant strengths in the film, while at the same time recognising failings which place it among the director’s lesser works. Bradbury’s opinion, on the other hand, shifted gradually from adoration of Truffaut’s achievement to a position of near condemnation when, in twenty-first century interviews, he began accusing Truffaut of “ruining” Fahrenheit 451.
In the midst of this critical shift of position, Bradbury wrote his own theatre version of Fahrenheit 451 (published in 1986). While presented as an adaptation of his novel, the play is actually something much more significant: a re-writing and re-casting of the novel, in response to Truffaut’s film. In developing his play, Bradbury consciously adopted a number of Truffaut’s innovations, and (possibly unconsciously) revealed influence from a number of others. The play later also served as the basis for Bradbury’s own screenplay version of Fahrenheit 451 (written in 1997, but as yet unpublished and unfiled). The result of this continued revision of his story is – to use terms from Linda Hutcheon’s A Theory of Adaptation – a multilaminated adaptation, a palimpsest layered of novel, film and theatre (Hutcheon 2006, 6-7).
Bradbury’s novel Fahrenheit 451 was published in 1953. Thirty years later, commenting on the notion of re-writing Fahrenheit, Bradbury would write, “I don’t believe in tampering with any young writer’s material, especially when that young writer was once myself” (Bradbury 1996, 75). Then, with the fiftieth anniversary edition of the novel in 2003, Bradbury wrote a new preface in which he stated, “[T]he book is complete and untouched. I will not go back and revise anything. I have a great respect for the young man that I was when I […] plunged into the passionate activity that resulted in the final work” (Bradbury 2003, 6).
Despite holding these views in relation to the novel, Bradbury did re-write Fahrenheit, first as a play and later as a screenplay. It is characteristic of his authorship that, although his novels remain largely stable, he frequently returned to his earlier works in new media: radio, television, film and theatre.
A Reaction to Truffaut
The 1966 film of Fahrenheit 451, scripted by François Truffaut and Jean-Louis Richard, was the first major film to be produced from an original Bradbury work, bringing to life his dystopian near-future world in which books are routinely torched by firemen.
Bradbury was immensely flattered when Truffaut showed interest in his work prior to the making of the film. Correspondence from his files shows that he immediately determined to arrange screenings of Truffaut’s earlier films, to familiarise himself with the oeuvre of this rising star director of French cinema (Scott 1962). On screening Truffaut’s celebrated Jules et Jim in 1962, Bradbury wrote to Truffaut, “You were born to make motion pictures […] A beautiful film of such texture and humanity, I simply am spelled by it” (Bradbury 1962). However, Bradbury resisted Truffaut’s invitation to collaborate on the screenplay for Fahrenheit, despite Bradbury’s considerable experience as a screenwriter. It would take four frustrating years for the complex arrangements for the film to fall into place, during which time Fahrenheit evolved from being a modest French film into an ambitious American-funded film, shot in Britain.
Bradbury’s own contemporary view of Truffaut’s Fahrenheit 451 was overwhelmingly positive. He appreciated the boldness of Truffaut’s independent vision of his story, and was impressed that the film seemed to reflect – and reflect upon – his novel. Immediately following a private screening in Los Angeles, and prior to the film’s release, Bradbury sent a telegram to Truffaut, proclaiming “My novel looks at your picture and sees itself, your picture looks at my novel and sees itself!” (Bradbury 1966a)
In a follow-up letter, Bradbury went into more detail. The film sets were “absolutely right” and so were the costumes. On the matter of casting, Bradbury was pleased with both Julie Christie (“beautiful[ly] in her double roles”) and Oskar Werner – a completely opposite view to many contemporary critics, who found the principal casting to be baffling. Bradbury offered but one criticism, which he couched as a “minor suggestion” which he recognised could not be acted upon at this stage. His suggestion was to make Montag’s escape from the city much more difficult. His reasoning was that “we need a longer period of tension in the running chase before the lovely quiet period at the very end, which is just right”. (Bradbury, 1966b). Upon the film’s American release, Bradbury wrote a review for the Los Angeles Times. He confirmed publicly the assessment he had communicated privately, amplifying his view that Truffaut had created a work that thoughtfully reflected the source text: “Truffaut has managed the difficult task of transmuting the written word into the visual form of poetry that we call motion pictures”. Bradbury acknowledged that Truffaut didn’t follow his book in every detail, but affirmed that he captured its “essence”. Having deliberately distanced himself from the making of the film, declining invitations to write the screenplay or visit the sets in London, in his review Bradbury stated his belief that “either you trust a director to deliver your child intact, or you should never have taken him on as a midwife in the first place” (Bradbury, 1966c).
Bradbury drew particular attention to the partially serendipitous ending of the film, set in a snow-covered landscape: “In the unexpected gift of softly falling snow, Truffaut moves his actors like all mankind, whispering their poetries and dream to the cold sky and the sifting whiteness”. This and other “special moments of beauty” convinced Bradbury that his and Truffaut’s “loves had […] somehow joined out there at the edge of tomorrow.”
With the passing years, Bradbury’s view of the film would shift. In 1982, around the time he was developing his stage play of Fahrenheit, an interviewer asked him if he would like to remake the film. His reply was simple: “It’s not necessary, because I love the Truffaut film” (Bradbury 1996, 133). But in the early twenty-first century, after Bradbury had remade Fahrenheit for himself as a stage play, he arrived at a new position: Truffaut’s film was “very good, but he made a mistake by casting Julie Christie in double roles” (Weller 2010, 69). A blunter re-assessment cited by USA Today (2009) had Bradbury saying that Truffaut had “ruined” Fahrenheit by downplaying the role of Clarisse, the free-spirit teenager who catalyses the changes undergone by the fireman, Montag.
Bradbury’s 1986 Play
Bradbury’s stage play of Fahrenheit 451 was first performed in the early 1980s, and was published in 1986. The play follows the same story as the novel, but with some scenes inevitably removed or shortened. More significantly the play incorporates several key aspects which show it to be a further development of the story. All of them can be seen to be responses to Truffaut’s film, in some cases adopting an invention of Truffaut’s, and in one case seeming to react against Truffaut.
Some of the elements adopted from Truffaut are minor, and yet deeply influence the dramatic impact of the story. For example, Bradbury borrows the idea of Montag using the despised television screen as a reading lamp: Montag “goes to turn on the TV screen to no particular station, to a station gone off for the night” (Bradbury 1986, 51). The idea that the TV has no content to offer surely resonates with Bradbury’s own conception of television in his novel, where the medium is good only for mindless engagement with interactive soap operas and for watching falsified news coverage, but the moment is drawn from Truffaut rather than from the novel.
More significantly, instead of Montag’s first act of reading in this scene being of a nonsensical text (a satirical passage from Jonathan Swift), the play adopts Truffaut’s idea of using a Dickens text to reflect Montag’s situation and state of mind – although instead of using the “I Am Born” opening chapter of David Copperfield, Bradbury selects A Tale of Two Cities: “It was the best of times, it was the worst of times” (Bradbury 1986, 51). The reading process, too, is mirrored on the film, with Montag tracing his fingers under the text as he haltingly reads, like a child learning to read.
Later, Bradbury re-works one of Truffaut’s more memorable scenes, in which a dying old man is helping a young boy to memorise Stevenson’s Weir of Hermiston. Bradbury substitutes Clarisse for the young boy, but otherwise the scene plays as in the film, with the old man passing away when the appropriate text is correctly recited – “And he died as he thought he would, as the first snows of Winter fell” (Bradbury 1986, 89). This scene is so directly drawn from Truffaut that it uses not Stevenson’s actual text, but Truffaut’s paraphrase of the text. Truffaut had originally scripted his scene to quote from Stevenson’s The Master of Ballantrae, but unexpected snowfall at the time of filming prompted him to improvise a change to Weir of Hermiston, but using lines not found in Stevenson (see Truffaut & Richard (1965, 127)).
While all these minor elements show up in the play without direct acknowledgment of Truffaut, Bradbury did openly refer to the influence of the film on his thinking. Bradbury recounted some of his writing process for the play in his 1982 essay “Investing Dimes: Fahrenheit 451”, which was later repurposed as an afterword to the paperback edition of the novel (Bradbury 2013, 199-205). Here, he addressed two major changes which were influenced by the film: the survival of Clarisse, the catalyst who sparks Montag’s curiosity, a character who disappears (presumed dead) part way through the novel; and the fleshing out of the antagonist, Fire Chief Beatty. Elsewhere, he addressed the question of technology, an area where his and Truffaut’s views of Fahrenheit seem to be most divergent.
Bradbury’s explanation of Clarisse’s survival is brief, and directly credits Truffaut. “Many readers have written protesting Clarisse’s disappearance, wondering what happened to her” Bradbury writes, continuing “Truffaut felt the same curiosity and […] rescued her from oblivion […] I felt the same need to save her”. So it is that Clarisse, presumed dead in the novel, is actually safe among the book people and able to welcome Montag into their fold, in both Truffaut’s film and Bradbury’s play.
Bradbury’s account of the Fire Chief is more extensive. According to Bradbury, he “came […] out of the wings in answer to my question: How did it start?” The revised Fire Chief is not just opposed to books because of the system he works in. Instead he is an embittered character, who in a time of trouble had turned to books for comfort and consolation, but had found their words irrelevant, empty or hurtful: “Oh, the words were there, all right, but they ran over my eyes like hot oil […] Offering no help, no solace, no peace, no harbour, no true love, no bed, no light.”
This explanation of Beatty’s back-story is clearly important to Bradbury, and takes up several pages of the essay – and yet it barely touches the surface of the transformation the author has wrought for the Fire Chief. A fuller explanation requires a slight detour to consider how the Chief is depicted in both the original novel and Truffaut’s film.
Beatty as Father-Figure
There are many dimensions to Fire Chief Beatty in Bradbury’s novel. He’s quite a lowly official, yet he is also the highest-ranking representative of the system of government we see, and therefore the closest the reader gets to seeing the mechanisms of the state. He functions as a military commander, a censor, a judge, an executor. Montag also refers to him – albeit only after his death – as a friend (Bradbury 2013, 124).
In terms of his function in the story, Beatty is clearly a father-figure, not only keeping control over his squad but intervening in their personal lives. Mengeling (2002, 131-2) points out that when Montag feigns illness, Beatty comes to his home and watches over him at his bedside; Beatty wisely claims to have experienced the difficulties Montag is now experiencing, and lectures him on the dangers of his waywardness; and Montag hides things from Beatty as one might hide things from a disapproving parent. To Montag and to the reader, Beatty fully embodies the authoritarian state, and so when Montag rebels he is driven to destroy Beatty.
This Oedipal reading of Fahrenheit 451 is amplified in Truffaut’s film. Anne Gillain (2013, 161-186) observes that Truffaut’s version of the firemen’s world is both masculine and childish, in the sense that the fire truck and the firemen seem to be like a child’s toy. Indeed, there is one scene where Montag’s rival, Fabian, plays with a toy version of the truck.
Gillain relates Beatty’s squad to a Freudian “primitive horde”, referencing Freud’s Totem and Taboo. Here, she says, the father-king (the Fire Chief in this instance) maintains the immaturity of his sons (firemen and cadets), so that they will be forever dependent upon him, thus ensuring his continuing reign. The clues to this are many. Beatty looks down upon his men/boys from a throne-like seat on the fire truck. He addresses Montag like a child throughout, infantilising him by calling him by name rather than by using the pronoun “you”. He inflicts arbitrary, brutal violence, particularly on the younger cadets. As a consequence, the firemen’s dependency on the Chief keeps them in a state of rivalry with each other; they are rivals for the Chief’s attention and approval.
Furthermore, Gillain likens immaturity of the firemen – and of most of the populace – specifically to Lacan’s “Mirror stage”, that pre-lingual stage typically observed in children around two years old. The narcissism of the characters in Truffaut’s film – they repeatedly look at themselves in windows and mirrors – supports this notion.
Gillain’s most telling observation is the logical extension of her Freudian reading of the firemen. If the Chief is a Freudian castrating father, then he should reserve for himself the exclusive use of “the women” of the horde – except that in Fahrenheit 451, books take on the symbolic role of being the object of a fireman’s desire, taking the place of “the women”. Fahrenheit is a story of a man in love: a man in love with books – a notion consistent with Bradbury’s 1966 review of Truffaut’s film.
In contrast to Truffaut’s enriching of the Freudian undercurrents in the Fire Chief, Bradbury’s stage play moves in a very different direction. There are allusions to a father-son relationship, particularly in dialogue, and more so than in the novel, with Beatty’s sarcastic lines (directed at Montag): “My son has come out in pimples and started adolescence;” “Come on, child, give as good as you get;” and “Someone help the baby, someone help the child” (Bradbury 1986, 75-77).
However, far from embracing the Oedipal struggle implicit in the novel, the play unexpectedly reveals Beatty as a nurturing parent who wants Montag to have what he couldn’t have for himself.
“You’re so much like the fool I was, I can’t help but want you around long after I’m gone,” (Bradbury 1986, 82) Beatty says, as he prepares a diversion which will allow Montag to escape. Beatty draws the deadly Mechanical Hound to his own location, and away from Montag. He then awaits his inevitable death as a victim of the Hound, while Montag escapes. This is a stark contrast to Bradbury’s novel and Truffaut’s film, both of which fulfil the Oedipal struggle with Montag killing Beatty.
The seeds of the Chief’s suicidal action and redemption are sewn earlier in the play, when a linkage is made between Beatty and Mrs Hudson, the old woman (unnamed in the novel, but here given a name) who chooses to burn herself along with her books. As Beatty and Montag watch Mrs Hudson’s house in flames, stage directions call for “the light of a burning and flickering house” to play over their cheeks, and for Beatty to “rub[bing] his chin, recollecting”. His “Master Ridley” dialogue exchange with Mrs Hudson reveals a distinct commonality between two literate characters, and Beatty’s silent reflection allows for the possibility that Beatty is considering his own position in relation to books and literature. Far from being the representative of the system that Montag despises, and therefore “needing” to die for Montag to be free, this version of Beatty is a tragic figure who, unable to break the system himself, is at least able to prepare the way for his “child”.
Bradbury’s own 1966 review of the film indicates that he agreed with Truffaut’s view at the time: the “seemingly rash elimination” of technology from Truffaut’s film, he wrote, prevented a “properly balanced drama” from being turned “into one more ride on the James Bond computerised carousel” (Bradbury 1966c) – there having been three James Bond films released at this point. By the 1980s when the stage play was in development, we can assume, this was no longer a risk, and so Bradbury’s play makes confident use of the Mechanical Hound, a technological element of the story which Truffaut had jettisoned.
Later still, Bradbury would become increasingly critical of Truffaut’s removal of the Hound. In a 1993 interview he claimed that it was one of the things “that has always bothered me” (Green 1993) and in 1996 he called Truffaut “a coward” for leaving out the Hound: “[it] should be included, because it’s a metaphoric adventure thing” (Kelley 1996).
The Hound in the play is more sinister than in the novel, since it is represented largely through the use of lights and sounds, except for a couple of instances where the script calls for projection to display a pictorial representation of the robotic animal. In his 1975 essay “A Feasting of Thoughts, a Banqueting of Words: Ideas on the Theater of the Future,” Bradbury had speculated on the potential of holograms for creating “ghosts”, and gave an example of summoning up the Hound of the Baskervilles, bounding forth, and projected in three-dimensions (Bradbury 1991). While such technology would not be a reality in his lifetime, his script calls for the next best thing: a projected “image of a half-realised, blueprinted, x-rayed HOUND” (Bradbury 1986, 20) which changes in response to Beatty’s gestures, and is occasionally animated into running motion. For the most part, though, the Hound’s threatening presence is to be represented through “greenish light,” (20) “a faint green glow […] with a great shadow” (52) and through “snuffles and soughs” (51). Fittingly, though, Beatty names the Hound “Baskerville”, jokingly referring to this as “literary reference number 977” (21).
Bradbury concluded “A Feasting of Thoughts” with a recognition that technology was never to be the centre of theatre. He wrote, “no matter how large the multimedia, or how complex the stage of twenty-first century houses, the single actor in the lone spotlight will still be the thing” (Bradbury 1991, 197-213). Fahrenheit 451, for all the multimedia innovations called for in the play script, puts this philosophy into action from its opening scene, in which a solitary Montag delivers a monologue version of the “pleasure to burn” passage from the novel: “There is a thing about burning. It is so fine… so complete… so beautiful” (ellipses in original text). Montag declares that “we were born of fire” and that “we go back to it” (Bradbury 1986, 5).
The closing scene of the film, with the book-people wandering back and forth in the snow, was contentious for many contemporary critics. Are they free, or are they wandering as aimlessly as the unliberated people back in the city? Are they saving great literature by memorising it, or pointlessly talking nonsense to themselves? The imagery is ambiguous, and Bernard Herrman’s music underscores the ambiguity with a great unresolved final chord. But for Bradbury at the time it seemed that Truffaut “move[d] his actors like all mankind, whispering their poetries and dreams to the cold sky” (Bradbury 1966c).
Despite Bradbury’s admiration for Truffaut’s ending, in the play he opts for something more directly optimistic, as Montag and Clarisse look to the dawn horizon. Montag asks, “The light at the edge of the land. Is that the Sun…?” – a question which links back to Montag’s opening monologue: “We are born of fire.” Clarisse’s reply affirms the self-determination open to the liberated book people, and simultaneously shows the actualising power of language: “Morning? If we say it is, yes. If we say so… it must be” (Bradbury 1986, 90).
This play is Ray Bradbury’s Fahrenheit 451, but at the same time it isn’t. It’s not a simple translation of the novel, but nor is it an innocent updating of the story, nor an attempt to fix whatever may be wrong with the novel. Bradbury’s own metaphor for his process in selfadapting Fahrenheit 451 was “You float over your material. You don’t descend into it. You don’t retype it. You float over it like a salmon fertilising your own eggs” (Weller 2010, 99). But this metaphor overlooks the significance of the cross-fertilising from Truffaut’s film.
Bradbury’s play is best seen as a re-thinking of the novel in light of Truffaut’s film, or a play engaged in a dialogue with the film. The result, for the viewer, is a multi-layered drama through which flicker memories of the novel and memories of the film.
Fahrenheit 451 Revisited for Screen
In 1995, Mel Gibson’s Icon Productions bought the film rights to Fahrenheit 451 and began developing a new cinematic adaptation of the novel. Several screenwriters were attached to the project at various times, including Bradbury himself. Bradbury’s 1997 script was rejected along with all the others, and remains unfilmed and unpublished despite being an accomplished piece of screenwriting. Acclaimed writer-director Frank Darabont subsequently wrote a completely new screenplay, and while his version has come close to production on occasion, at the time of writing any new film version of Fahrenheit still looks like a distant prospect.
The 1997 screenplay gave Bradbury a chance to revisit and revise Fahrenheit 451 once more. It is as much an extension of his stage play as it is an adaptation of his novel, but it manages to break the story free of the confines of a stage set. Bradbury builds filmic spectacle, making full use of the Mechanical Hound and – unlikely as it may seem – a car chase to enliven the story. But he also develops his characters further, this time not just re-building Beatty, but ensuring that Montag remains the central character who undergoes dramatic growth. The screenplay confidently builds upon the best elements found in his novel, his stage play and Truffaut’s film, creating a synthesis that is arguably his best unfilmed screenplay.
The script wastes no time in establishing what the story is about, and calls for on-screen spectacle from the very first scene of the film, the burning of a house and its stash of hidden books. The books’ ashes are put into fireworks (“burn ’em to ashes, then burn the ashes” (Bradbury 2013, 6) which are then blasted into the sky as public celebration and, perhaps, public warning (Bradbury 1997, 2). This new addition to the firemen’s ritual calls back to the novel, 15 and Faber’s remark: “Even fireworks, for all their prettiness, come from the chemistry of the earth. Yet somehow we think we can grow, feeding on flowers and fireworks, without completing the cycle back to reality” (Bradbury 2013, 79).
From the firework display, ash fragments fall out with the odd full or partial page: something survives even this process, providing a symbol of hope which the screenplay will fulfil. Montag collects one such fragment, hiding it in his glove. Later on, he empties it into a drawer, where we see he has many more of them. He is collecting fragments of text, not whole books; until the Old Woman’s house is torched.
The screenplay, like the novel and especially the stage play, uses quotations for their performative value, but unlike previous versions of Fahrenheit, the use of physical fragments of text gives the script a visual analogue of quotations, allowing the idea that Montag can be entranced by the texts even when he cannot understand them. (Truffaut did something similar, of course, in withholding all text from the screen except for glimpses of pages writhing in flames.)
As if to provide a logical demonstration of the limited way that permitted texts function in this society, Bradbury here shows his firemen engaged in rote learning: Beatty gives Montag a packet of instructional papers to read, instructing him to memorize them, so that he can easily recite every word to his subordinates whenever required (Bradbury 1997, 27). Later, Beatty calls on Montag to recite a long litany of arguments about the state of the world and why it is necessary to burn books. Whereas in the stage play Beatty does all the lecturing himself, here it is as if Montag and the other firemen have previously been lectured to by Beatty, and have had to learn his lectures by heart. This neatly confirms the normality of rote learning in this society, and demonstrates that text is not forbidden here as long as it is broadly factual, functional and cut short, especially in TV news bulletins and the like (Bradbury 1997, 48-50). The importance of rote learning makes the primary action of the book-people – memorization of texts – much more plausible than in any previous telling of Fahrenheit 451.
The science-fictional elements determinedly played down by Truffaut – and somewhat marginalised in Bradbury’s stage play due to the pragmatic considerations of theatre – are emphasised much more in the screenplay, reminding us that Fahrenheit 451 is what Bradbury referred to as his only science fiction novel (Aggelis 2004, xviii).
The Montag’s wall-screen TV is a late-1990s upgrade to the large TV screen used by Truffaut, and is more reminiscent of the “parlor wall” found in the novel, although this one (Bradbury 1997, 10-12) has a multi-picture-in-picture display which can present a variety of images, including Orwellian surveillance images from outside the house and from elsewhere in the city. This multi-imaged representation of the reality is, though, only of interest to Montag. Mildred, as in the novel, uses it just to watch and engage in her fantasy soap-opera world (Bradbury 1997, 16).
Another dominant technology in the screenplay recalls the high-speed freeways of Bradbury’s novel. Mindless drugged drivers of “flivvers” provide a major obstacle to Montag as he attempts to escape from the city. The term “flivver” of course harkens back to Bradbury’s childhood in the 1920s and 1930s, with added echoes of Huxley’s Brave New World (1932), and suggests cheapness, oldness, rough rides and bad maintenance. In opposition to this, Beatty’s sleek car is the “Mantis,” which is later borrowed by Montag to escape the city.
Inevitably, there is an almighty car crash (beautifully described – Bradbury is an unlikely but evocative action-screenplay writer) (Bradbury 1997, 97), which might be compared to Bradbury’s classic short story “The Crowd” (1943).
The Mechanical Hound remains central to Montag’s story, and unlike Truffaut who entirely avoided it, Bradbury here revels in the possibilities that 1997 film-making might bring. The broad description (Bradbury 1997, 21) makes the creature similar to the one in the novel – a creature of nightmare, silvery, with eight spidery legs. This Hound is shown to be mass-produced on an assembly line (Bradbury 1997, 31), and indeed a whole pack of them is unleashed in pursuit of Montag.
Perhaps the greatest achievement of Bradbury’s screenplay is its re-balancing of two central characters. Beatty – whose redemption threatens to over-dominate the stage play – is again allowed to make a sacrifice in order for Montag to escape from the city. This time, however, Montag’s journey becomes more directed: as he moves through the screenplay, he more clearly seeks to find someone or something to identify with.
Beatty’s father-figure role is teasingly emphasised in places, such as when he first rescues Montag from a fall, and then punches his arm to make him fend for himself (Bradbury 1997, 34). More important, though is Beatty’s repeated attempt to forge an identity between himself and Montag (Beatty, too, was sick once (Bradbury 1997, 44); Beatty, too, secretly brought home books for years (Bradbury 1997, 52). Beatty encourages Montag to see himself as a torch-bearer, receiving a baton from Beatty (Bradbury 1997, 55). Montag might easily come to see himself as Beatty’s successor, were it not for Beatty’s insistence that he forget about Clarisse and the old woman, and believe that they had never existed (Bradbury 1997, 35; 57-8). Montag’s existential crisis is seemingly tipped in favour of escape when a flivver “dopester” tears Montag’s helmet
off. From this point on, he is no longer a fireman. There is an echo here, perhaps, of Truffaut’s film, where Montag consciously throws away his helmet as he begins his escape.
Montag ventures into Clarisse’s now abandoned house, and announces to whoever might be there that he is a friend to Clarisse: his first acknowledged identification with her. No longer a fireman, and no longer having Clarisse to talk to, he feels the need for assistance, and goes in search of Faber (Bradbury 1997, 62).
The final scenes take place not in the snow that Truffaut had used so well – but in rain (Bradbury 1997, 109). A re-united Montag and Clarisse leave behind the bonfire used to burn the books they have been memorizing. Fragments of burned pages blow away in the wind, just like the ones which survived the house-burning at the start of the script. The rain that falls has the power to put out fire, as well as cleanse.
In the screenplay’s final literary allusion, Montag inadvertently likens himself to Dickens’ Marley when quoting from A Christmas Carol – he accidentally says his own name instead of Marley’s when reciting: “To begin with, Montag was dead…” He embarrassedly corrects his mistake – but, of course, it is a correct analysis of what his own character had been at the start of the story.
Just as the origin of Fahrenheit 451 can be mapped back to precursor writings from the earliest years of Bradbury’s professional career, so his active engagement in the story can be traced forward through his revisitations of the story for stage and screen. Rather than settle on a mere transcription of a settled story into a new medium, Bradbury tends to tackle his story anew, making new discoveries about his characters and their world. The base layer is his fundamental story, substantially unchanged since the novel 1953 novel. In the 1986 stage play he finds much to absorb from Truffaut’s film, and in the 1997 screenplay – the top layer of this palimpsest – he achieves an effective updating of his story that draws upon the best elements of the underlying tellings of Fahrenheit 451.
Aggelis, Steven L. 2004. Conversations with Ray Bradbury. Jackson: University Press of Mississippi.
Bradbury, Ray. 1962. Letter to François Truffaut, 12 Aug 1962. On file at Center for Ray Bradbury Studies, Indiana University.
—. 1966a. Telegram to Truffaut, 31 Aug 1966. On file at Center for Ray Bradbury Studies, Indiana University.
—. 1966b. Letter to Truffaut, 31 Aug 1966. On file at Center for Ray Bradbury Studies, Indiana University.
—. 1966c. “Fahrenheit on Film.” Los Angeles Times, November 20, page M1.
—. 1986. Fahrenheit 451 [play]. Woodstock, IL: Dramatic Publishing.
—. 1991. Yestermorrow. Santa Barbara, CA: Joshua Odell.
—. 1996. Zen in the Art of Writing. Santa Barbara, CA: Joshua Odell.
—. 1997. Fahrenheit 451 (unpublished screenplay). On file at Center for Ray Bradbury Studies, Indianapolis.
—. 2003. Fahrenheit 451, 50th anniversary edition. London: HarperCollins. 20
—. 2013. Fahrenheit 451, 60th anniversary edition. London: HarperCollins.
Eller, Jonathan R. 2014. Ray Bradbury Unbound. Chicago: Illinois University Press
Gillain, Anne. 2013 François Truffaut : The Lost Secret. Bloomington, IN: Indiana University Press.
Green, Judith. 1993. “A few words with Ray Bradbury: The ‘Fahrenheit’ Chronicles – It Did Happen Here”. San Jose Mercury News, October 30, page 3c.
Hutcheon, Linda. 2006. A Theory of Adaptation. Abingdon: Routledge.
Kael, Pauline. 1968 Kiss Kiss, Bang Bang. Boston, MA: Little, Brown.
Kelley, Ken. 1996. “Playboy Interview: Ray Bradbury”. Playboy, May, 47-56 & 149-150.
Knight, Arthur. 1966 “Shades of Orwell”, Saturday Review, December 3. In Bradbury, Ray. 2003. Fahrenheit 451, 50th anniversary edition. London: HarperCollins.
Mengeling, Marvin E. 2002. Red Planet, Flaming Phoenix, Green Town: Some Early Bradbury Revisited. Bloomington, IN: 1stBooks.
Scott, Helen. 1962. Letter to Ray Bradbury, 27 April 1962. On file at Center for Ray Bradbury Studies, Indiana University.
Truffaut, François & Jean-Louis Richard. 1965 Fahrenheit 451 [unpublished screenplay]. London: Vineyard Films Ltd. On file at Center for Ray Bradbury Studies, Indiana University.
USA Today. 2009. “Graphic novel of Fahrenheit 451 sparks Bradbury’s approval,” August 2. [online] <http://usatoday30.usatoday.com/life/books/news/2009-08-02 bradburyfahrenheit-451-graphic-novel_N.htm> [Accessed 23 March 2015]
Weller, Sam. 2010 Listen to the Echoes: the Ray Bradbury Interviews. Brooklyn, NY: Melville House.

domain: literature


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domain: geography


text:
August 6, 2013
Hi, I am a professional copywriter with some kids' picture books and scripts under my belt. I'm looking for a new writers group to join to help me stay on track. I am also excited to learn from and talk to other writers.
Very good! I'm looking forward to the next one.

domain: artistic


If nude mods go “too far”, they may impact the possibility of modding future FF titles.
[dropcap size=small]F[/dropcap]inal Fantasy XV is making it’s way to PC in 2018, and since modding will be enabled, the discussion surrounding mods for the game has been a hot topic of late.
It’s an inevitability that modders will likely add a sprinkling of nudity to the game for players who want to traverse the lands with the FFXV boys as they fulfill their destinies in nothing but their birthday suits. With this in mind, questions have arisen surrounding the nature of nude mods, and how they could impact modding within the franchise in future.
In an interview with PC Gamer at PAX West by way of a translator, FFXV director Hajime Tabata addressed the concerns surrounding nude mods, and expressed that whilst they don’t want to “restrict” the modding community, the “salacious” nature of nude mods is tricky. Tabata explained that any final decisions will be left to the CEO of Square Enix, but if modders go “too far”, the outcome of such mods may impact the possibility of modding future Final Fantasy titles:
“Obviously if things are taken a little too far, it might affect and influence the possibility of mods for future Final Fantasy games. So, if there’s anything we can say, it’s to try to be as controlled as possible.”
When it comes to nude mods, Tabata intimated that it’s still an issue the FFXV team is internally working on, but ultimately the desired outcome they wish for is that mods will “give players the freedom to play the game however they wish” without the need to put “too many limitations on what’s possible”.
You can see entire interview below:
It’s amazing that a big title such as FFXV is enabling mods in the first place. Many argue that developers should stay out of modding if they allow for it, but you can understand why in certain respects they’d want to keep tabs on mods to ensure they don’t cross the line. It’s a certainly a difficult topic with much debate surrounding it.
Alongside mods, the PC version is adding the ability to play in first-person with the ‘First-Person Mode’, as well as boasting of a “wealth of bonus content”.
Final Fantasy XV is expected to come to PC “Early 2018”.


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An Introduction to the Brehon Laws
The Ancient Laws of Ireland, with Irish Folklorist Shane BroderickEnroll in Course
Online Class which gives a (necessarily!) brief introduction to the Brehon laws from a native Irish Folklorist, clarifying some of the misconceptions that are commonly propagated in relation to the early Irish legal system.
We will examine questions and cover topics such as:
- -- Society at the time the laws were written down
- -- Status and social hierarchy
- -- The composition of the texts and the scholarship on them
- -- Fosterage
- -- Medicine/ sick maintenance
- -- Slavery and hostages
- -- The rights and status of women
- -- Marriage and divorce
- -- Poets and satirists
This Teaching is suitable for beginners, as well as those with more experience in this area, or in other traditions. You do not have to be dedicated to or working with any Irish Gods, Guides, or Guardians to take this class.
Your Course access enrollment below includes both live and recorded access to:
- -- Class Presentation Slides
- -- Class Video
- -- Class Audio
- -- Class Chat Log/Resources
You will get the unique perspective of a native Irish folklorist who has studied the Brehon Laws directly, with some of the top academics in this field. You can find more of Shane's work at Ireland’s Folklore and Traditions (on Facebook and Wordpress) - https://irishfolklore.wordpress.com/
Click the Enroll button below to join this Class.
"An invaluable resource. I highly recommend the Irish Pagan School. There are paid courses and a number of free courses and resources that maintain an excellent level of quality, whether free or fee based. New classes appear all the time on a wide variety of topics and featuring native Irish teachers. If you have an interest in Irish culture, history, and native spiritual practices then you will find a wealth of information available to you. Bain triail as! Give it a try!"
- Danielle Malone, Scotland (via Ireland)
AUTHOR BIO - SHANE BRODERICK, IRISH FOLKLORIST
Shane is a native of Youghal, County Cork, with a wide-ranging interest in many aspects of Irish culture and heritage. His almost life-long interest in folklore was instilled in him from a young age listening to the stories of his grandfather. This passion was fully ignited when he took up photography as a hobby and was taken by the folklore of buildings and sites he visited.
This led him to pursue the subject academically, and he graduated, with honours, from University College Cork in 2018 with a BA (JOINT HONS) in Folklore and Celtic Civilisation. As part of this, he studied the Brehon laws under Dr Kevin Murray (UCC).
He set up Ireland’s Folklore and Traditions (on Facebook and Wordpress) in the hope of bringing Irish folklore, traditions and customs to a wider audience. More at - https://irishfolklore.wordpress.com/
Frequently Asked Questions
"Great teachers who know their stuff. lots of resources provided, many at no cost. very engaging classes. I have now completed about half of the offered classes. Many have multiple updates and new materials. So much great information!"
- Jenna McGeoghegan, USA.
How to Get Access...
- Choose the payment option below that best suits you - pay in Euros with a Credit Card, or pay in US Dollars with a Credit Card or PayPal.
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- On the Order Summary page, click to 'Add Coupon' if you have one! (Type in the coupon code)
- Enter your Account and Payment information.
- Tick the box to agree to the standard Terms and Conditions.
- Click the orange button at the bottom of that page to enroll at the price that is displayed.
Don't forget you have a full, no quibble, 30 day money back guarantee!

domain: library


Hey @Seriously. I’m here to help and have some ideas on what may be happening for the sensors!
For the first sensor, could you reply with a picture of how you have the sensor mounted? If it’s constantly chirping at you like the door is opened, and it may even randomly says it’s opened and tripped in the app, you may have the placement off. If you could reply with the picture of how you have that sensor and magnet mounted, I can help from there to see if this is the case!
For the second sensor, is it still offline in the app? If it is, please remove the device from your system (may have to do Remove Failed Device in its advanced options section), factory reset the device and then set it up again. Once the device is set up on your app again, ensure the cover is on the device fully. When the device is showing tampered it means that the cover is not fully on. If you have found that you have the cover fully on and the device still shows “tampered,” please press down slightly on the top of the sensor while looking at your app. If the app shows that it’s not longer tampered or online whilst applying pressure, it’s a sign that the cover is damaged and not pressing down enough when there is no pressure to show the cover on and closed. You will need to contact our support team at that point via phone to get the device possibly replaced or looked into further.
If you get to the event of needing to contact support at any time, please give our support team a call at one of the numbers available here. We’re taking additional steps to protect our team and help reduce the spread of COVID-19. This has resulted in longer than normal wait times. If you are outside of the US, please read our response to COVID-19 here to see how to contact support.


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Why Vacation Might Be The Secret To A Longer Life
In case you love to travel, then I want to inform you about a revolutionary solution to vacation. Perhaps you need to rent your own private island Most of us only have a finite number of vacation days each year, so figuring out the most effective place to go is usually a powerful choice. Whereas some of us are content touring the properly-worn tourist path, others prefer principally undiscovered destinations – and, whereas those seem to be fewer and fewer these days, there are still some incredible spots waiting to be found.
Whereas San Salvador may be the capital metropolis of El Salvador, Suchitoto is considered the nation’s cultural capital Suchi” hosts an arts and food festival every weekend and lies alongside the nation’s Flower Route, a wildflower-lined street linking mountain towns with their very own distinctive personalities Guests can stretch their legs on a hike to the putting Los Tercios waterfall, which cascades over hexagonal stone formations.
And a choice to spend time so far from residence does not necessarily imply depriving yourself – you’ll be able to end your day with a surprisingly good meal at the resort, capped off by a drink on the bar. Right now …


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Gogo Business Aviation today announced AirSprint Inc., the Canadian authority in Fractional Jet Ownership, will begin upgrading its Cessna Citation CJ3+ and Embraer aircraft to Gogo 5G—making it Gogo's first Canadian fleet customer.
"We strive to provide the highest level of service, and we are always looking for new and innovative ways to enhance our fractional owners' experience—seamless inflight connectivity (IFC) from Gogo was an easy decision," said James Elian, President & CEO of AirSprint. "Gogo's 5G system will allow us to provide the best-in-class IFC our owners expect."
Gogo 5G is expected to deliver speeds five to 10 times faster than current speeds, at approximately 25 Mbps on average, and 75-80 Mbps at its peak. Expansion of the Gogo 5G network in Canada will add significantly more time for inflight connectivity for operators flying in or through the country. Gogo is the only air-to-ground (ATG) company in business aviation with coverage in Canada and Alaska.
“AirSprint’s selection of Gogo 5G reinforces the value of ATG connectivity for aircraft flying in North America that demand exceptional speeds,” said Sergio Aguirre, president and chief operating officer of Gogo. “Coupled with Gogo’s award-winning customer support, AirSprint customers will realize the superior performance of Gogo 5G on the industry’s most reliable ATG network.”
The agreement also includes options for AirSprint to upgrade its midsize aircraft with Gogo Galileo HDX, Gogo’s Low Earth Orbit (LEO) global broadband solution, expected to launch in the second half of 2024. The Gogo Galileo product line is designed as an extension of the AVANCE platform to provide easy upgrade paths to new technologies and networks.
Any aircraft with an AVANCE product installed (L3, L5, LX5 or SCS), will only need to add the HDX antenna to the fuselage to access the benefits of LEO network technology. When coupled with Gogo 5G, customers will realize increased capacity and redundancy of coverage.
AirSprint Private Aviation is a privately-held company with offices in Toronto, Montréal and Calgary. AirSprint maintains the largest fractional fleet of private aircraft in Canada, a jet collection of Embraer Praetor 500, Embraer Legacy 450/500, Cessna Citation CJ3+ and Cessna Citation CJ2+ aircraft. AirSprint proudly flies Canadians from coast-to-coast, including service from Vancouver, Calgary, Edmonton, Winnipeg, Toronto, Ottawa, Montréal and the Maritimes. AirSprint provides discerning Canadians with a better choice for optimizing their time by enhancing the private jet ownership experience with industry-leading safety standards, exceptional turn-key service and increased flexibility; everything personalized for the Owners' individual travel needs. All at a fraction of the cost. AirSprint.com
Gogo is the world’s largest provider of broadband connectivity services for the business aviation market. We offer a customizable suite of smart cabin systems for highly integrated connectivity, inflight entertainment and voice solutions. Gogo’s products and services are installed on thousands of business aircraft of all sizes and mission types from turboprops to the largest global jets, and are utilized by the largest fractional ownership operators, charter operators, corporate flight departments and individuals.
As of June 30, 2023, Gogo reported 7,064 business aircraft flying with its ATG systems onboard, 3,598 of which are flying with a Gogo AVANCE L5 or L3 system; and 4,433 aircraft with narrowband satellite connectivity installed. Connect with us at www.gogoair.com
VP, Sales and Marketing & CGO
Source: Gogo Business Aviation; Posted October 17, 2023

domain: economics


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This week’s Franken’s Friday Fail comes once again from the Facebook page of one Al Franken.
It’s a Facebook post promoting a petition to raise the minimum wage. In the post, Franken argues that such a move would “give our economy a shot in the arm.”
Well, as you know, Al Franken and Barack Obama have spent the last six years tampering with the free market, and just look where that’s gotten us: record unemployment, massive numbers leaving the work force altogether, and ObamaCare wreaking havoc with the finest health care system in the world.
I’d also refer you to an interview Microsoft founder Bill Gates — someone who knows a thing or two about job creation — gave earlier this year in which he makes mince-meat of Franken’s minimum wage argument. Gates said:
“You have to be a bit careful: If you raise the minimum wage, you’re encouraging labor substitution and you’re going to go buy machines and automate things — or cause jobs to appear outside of that jurisdiction. And so within certain limits, you know, it does cause job destruction. If you really start pushing it, then you’re just making a huge trade-off.”
Franken’s Friday Fail is that he’d rather keep his spot as Obama’s #1 cheerleader in the Senate than open his eyes to the truth that leftist redistribution schemes just don’t work.
Sorry, Al — I’m sticking with Bill Gates and basic math on this one.
P.S. Barack Obama and Al Franken are up to their old class warfare tactics to divide the electorate again this year. This time they’re pushing to increase the minimum wage and decrease the “pay gap” for women.
But, according to a recent American Enterprise Institute report, female staffers in Obama’s White House earn only $0.88 on the dollar compared to men. And, a quick numbers crunch on the site Legistorm reveals the median salary for women in Al Franken’s Senate office is $1,408.08 less than for men. Just saying.

domain: news


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Dak Lak is in the Vietnam Central Highland, 183km from Nha Trang, 352km from Ho Chi Minh City, 200km from Dalat.
Dak Lak has a large natural area. 35% the province’s area is 1,000- 1,200m high mountain area while the Buon Ma Thuot Highland occupies 53.5%. The rich, flat red soil is a great advantage to develop long day – industrial trees like coffee, rubber, tea, and pepper…, to raise cattle and to grow forest. Alluvia soil is rice paddy and natural grass field. Dak Lak’s forest has abundant wood reserve and various rare animal species as elephant, lion, tiger, beer…
The Dak Lak’s climate is temperate with the annual average temperature is 24oC. There is a difference of only 5oC between the hottest month and the coldest one. The dry season lasts from November to April next year. It is quite cold, windy, and dry. The rainy season lasts from May to October with high rainy amount.
There are beautiful waterfalls such as: Thuy Tien, Trinh Nu, Krong Kmar, Bay Nhanh, among many big lakes such as Lak, Dak Mil.
Traveling to Dak Lak you may enjoy getting in the primitive forests of the Chu Yang Sin national park, Yok Don National park, visiting Buon Don that is a well-known local of hunting and taming wild elephants, or booking a tour to Dak Lak’s historical vestiges like Bao Dai Palace, Yang Prong Tower, Buon Ma Thuot Prison, Dak Tua Cave…
It is the scenery and the ethnic minorities living here that draw travellers to this region. Although most people around here, different to their counterparts in the north-west highlands, only don their traditional clothing for special occasions, the shape and structure of the housings is much more diversified and striking. From long houses to bamboo huts, stilthouses and large communal houses, every region and ethnic has its own distinct style. Everyday life is the same simple agricultural routine, and you are likely to get invited for a mug of rice wine rather often.
[vc_custom_heading text=”Tour Packages” font_container=”tag:h3|text_align:left” use_theme_fonts=”yes” el_class=”section-title”]


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In D.C., real progress for people with disabilities
By Thomas Wilds
The Post has published an excellent series of articles in recent months on the District government’s care of D.C. residents with disabilities. The Nov. 28 Metro story by Henri E. Cauvin, “Probes of disabled abuse in D.C. lag,” reported that the agency overseeing the care of people with developmental disabilities is hundreds of cases behind in its investigations of abuse, neglect and other serious incidents.
I applaud the long-overdue focus on the plight of some of our most vulnerable residents, but we must not overlook the significant progress the city has made in the past 2 1/2 years.
A little history is warranted. While the District was one of the first jurisdictions in the nation to close its deteriorating institution for those with disabilities, Forest Haven, it continued to provide services through an inefficient medical and institutional model. For years, people with disabilities, their families, advocates, providers and a host of others attempted to change this by developing an individualized, community-based approach to services with little success.
Former residents of Forest Haven continued to receive institutional-type services. Support to allow people with disabilities to work went mostly unfunded, forcing people into sheltered workshops or group “busy work.” Day programs were facility-based and isolated from the community. Residential services consisted of large group homes, separated in many respects from normal community interactions and resources.
In April 2007, Mayor Adrian M. Fenty named Judith E. Heumann the first director of the D.C. Department on Disability Services (DDS). In August of the same year, Laura L. Nuss became deputy director of the Developmental Disabilities Administration (DDA) within DDS. They inherited a 30-year-old class-action lawsuit and a dysfunctional agency responsible for the welfare and provision of services to citizens with intellectual, developmental and other disabilities.
These leaders came with the right knowledge and values. They launched a new era of cooperation with service providers and improved services for people with disabilities. The individualized, community-based system was activated for the majority of clients, and essential services were developed and adequately funded. For many agencies, including St. John’s Community Services, the long battles to convert the institutional model to the individualized model have ended.
The people whom St. John’s Community Services supports now live in small-group settings with no more than three residents per apartment or home. For the first time, people with disabilities can receive support services in their homes. Supported employment now means one person, in one job, in the community and at a competitive wage. The city has also instituted effective monitoring of services and developed a progressive and dedicated staff team.
In addition, DDA and DDS have championed a program called Money Follows the Person to move people out of institutional services. And the agencies have formed partnerships with other city officials, most importantly with John McCarthy, deputy director of the Health Care Finance Administration, and his staff, who oversee the Medicaid program that provides most of the funding for these services.
For the first time in my 30 years as president of St. John’s Community Services, these District agencies are working together toward a common goal — to provide high-quality, community-based services for people with disabilities. Having battled the system for many years, I can say that while the system is far from perfect and abuses still occur, it has come a very long way from the atrocities of Forest Haven and a dysfunctional and unresponsive city government.
The writer is president and chief executive of St. John’s Community Services, which has contracts to provide services with the District’s Department on Disability Services and other agencies.
The comments to this entry are closed.


Sex ratio in india
India's skewed sex ratio seven brothers an aversion to having daughters is leading to millions of missing girls apr 7th 2011 | kotla, haryana. A un report on steadily declining child sex ratio in india has raised more questions on the dwindling number of girls in the country. List of countries by sex ratio this list include sex ratio of 201 western sahara, china and india qatar and united arab emirates has sex ratio 32435 and. Sex ratio in india latest news and in-depth coverage. Advertisements: declining sex ratio in india: reasons, gender gap and need for policy reforms gender equality is a core development objective in its own right it is. Sex ratio in india currently stands at 946 females available for every 1000 males know more on sex ratio in all states of india and child sex (male female) ratio. Get latest & exclusive child sex ratio news updates & stories explore photos & videos on child sex ratio also get news from india and world including business.
Niti aayog's latest release states a drop in sex ratio at birth (srb) in 17 indian states according to the report, gujarat recorded the most alarming dip of 53. In october, varsha deshpande persuaded a pregnant friend to travel eight hours to aurangabad, a thriving, medium-sized city in the state of maharashtra, for an. Population sex ratio in india as per census 2011 is 940 females per 1000 males. The world factbook contact cia the sex ratio is somewhat skewed by the high proportion of males at the royal air force station india: at birth: 112 male(s. Sex ratio news: latest and breaking news on sex ratio explore sex ratio profile at times of india for photos, videos and latest news of sex ratio also find news.
These studies suggest that the human sex ratio the 2011 birth sex ratios for china and india are significantly above the mean ratio recorded in the united. Share this on whatsapp(last updated on: november 26, 2016)sex-ratio in india as per the census, 2011 the child sex ratio has shown decline from 927 females per. Analysis of the declining csr (child sex ratio) in india factly looks into the declining child sex ratio in india and the number of gender critical districts in each.
India’s sex ratio at birth, skewed in favour of males, will remain the worst in south asia in 2050, according to estimates from the united nations department of. 1 jha, p, kumar, r, vasa, p, dhingra, n, thiruchelvan, d, and moineddin, r low male-to-female sex ratio of children born in india: national survey of 1 million. The rapid decline in the sex ratio in india over the past few decades is an artefact of the historically strong preference for sons over daughters to address the.
Academiaedu is a platform for academics to share research papers. The census has shown an increase in the sex ratio of total population from 927 in 1991 to 933 in 2001 thought it still needs further. India’s skewed sex ratio to worsen further, says a government report the sex ration will dip to 898 girls for 1,000 boys in 2031, says a ministry of statistics and. Free essay: bstract: through this paper, i would like to address the heinous act of female foeticide practiced at an alarming rate in various indian states.
Sex ratio in india
Sex ratio in india latest breaking news, pictures, videos, and special reports from the economic times sex ratio in india blogs, comments and archive news on.
Sex ratio is used to describe the number of females per 1000 of males in the population census of 2011 it was revealed that the population ratio of india 2011 is 940. Office of the registrar general & census commissioner, india: ministry of home affairs, government of india. In the human species the ratio between males and females at birth is slightly biased towards the male sex the natural “sex ratio at india report sex ratio as. 0 to 6 years child sex ratio in india is even worse than sex ratio of total population 2011 census in india revels the true fact of gender discourse in in. Get latest & exclusive sex ratio news updates & stories explore photos & videos on sex ratio also get news from india and world including business, cricket. Causes and consequences of declining sex ratio it is clear from the preceding chapters that almost in all the indian state in general and north indian states in.
What is ita recent report from the niti aayog said sex ratio at birth (srb) nationwide had dropped from 906 in 2012-2014 to 900 in 2013-2015 the srb is. Search for articles by this author affiliations centre for women's development studies, 25 bhai vir singh marg, gol market, new delhi 110001, india.


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Chelsea were held to a goalless draw by Liverpool at Anfield today. Despite the fact that both teams had some extremely talented players, neither could find the back of the net in one of the season’s most important matches.
Chelsea Players: Both Jurgen Klopp and Graham Potter were hoping for a big win that would keep their Champions League hopes alive. Prior to the match, both teams had 28 points, but Liverpool was ninth and Chelsea was tenth.
The visitors scored in the third minute of the match through German forward Kai Havertz, but the goal was ruled out for offside.
Neither Liverpool nor Chelsea created many chances in the first 45 minutes, but the Blues were the most dominant team in the second half, which ended in a goalless draw. For both teams, the second half appeared to be better and more exciting to watch.
They made several substitutions in the final 45 minutes, but no team was able to find the back of the net and take the three points. Graham Potter and Jurgen Klopp both fielded strong squads in the game, hoping for good results.
In today’s game, their January signing Mykhailo Mudryk was outstanding after coming on as a substitute in the second half. The Blues’ 22-year-old Ukrainian international is a standout down the left wing.
For Liverpool defenders such as Ibrahima Konate and Trent Alexander-Arnold, he was difficult to stop or play against. Mudryk came close to scoring a goal for Chelsea during the game, demonstrating how good he is and why Chelsea signed him.
Chelsea’s Most Hardworking Player Who Can Become The Main Guy For Graham Potter
Chelsea’s attacking front looked more lively after Graham Potter introduced Mykhailo Mudryk in the 55th minute of the game. He joined the Blues from Shakhtar Donetsk in the summer, and in the few minutes he was on the pitch today, he proved he is a dream forward for Chelsea fans.

domain: game


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4 Tips How To Give Tiles a Second Life with Reusable Stencils
Want to remove old, unfashionable tiles and arrange the entire room as you see fit? Or maybe you are overwhelmed with their coloring and you want to give them a second life? As we know, replacing the tiles is not only time-consuming, but also requires bigger finances. Before starting the renovation, however, it is worth thoroughly checking the tile’s condition. If they are solid and undamaged, the stencils will definitely be a bull’s eye! Thanks to them, you will cheaply and quickly renew old tiles, and create your own composition in any style. In addition, their ease of use will let you make them yourself, so you will not have to waste your money on any specialist. Will you bet on classic black and white patterns? Or maybe you will go crazy with an extraordinary motif and various colors? All you need is a well-matched design, paint in your favorite colors and properly selected tools. Check our website, get inspired and decorate the whole home in your own style!
Tiles are a timeless solution while arranging both the floor and walls. Want them in your own home, but you don’t have enough money to buy all the necessary materials? If you want to reduce spending a bit, and, at the same time, not limit yourself to only one pattern, the solution that springs to mind is pretty obvious – imitation tiles. It is a trend that has settled in the hearts of own space creators for good and enjoys unflagging popularity. This type of stencil gives you unlimited creating possibilities and the price, definitely more attractive than classic tiles, allows you to choose more than one design and size. Another asset is the fact that its use does not require any special skills or tools. Therefore, you do not need to hire any specialist, and making the pattern will be child’s play and pleasant. Deciding on stencil, you open the door to the world lined with tiles. A bit of willingness and imagination is all you need.
NOT ONLY WALLS
The walls are not the only, but most often decorated surfaces, which with the use of stencils always look very effective. They have also found their purpose in painting floors, from ceramic tiles to concrete slabs. We have known for a long time that the surface on which we move is vulnerable to damage. You should, however, carefully consider whether it is necessary to remove old tiles and install new ones. If they do not have any dents and only the top color layer has been damaged, we have a much easier and cheaper solution for you! Repainting a stencil takes only a few moments, and thanks to its durability, you will be able to reproduce the same design many times with the use of one sheet. With an additional floor covering with the protective varnish, you will be able to enjoy the renewed tiles for a longer period of time. What’s more, you don’t have to limit yourself to just inner changes. Tiles in front of the house or on the balcony are the most practical way of arranging external surfaces. With the selected motif, outdoor paint, and with an appropriate protection against rain, your terrace will gain a unique character. Wooden surfaces decorated with patterns, such as furniture or wall decorations, look equally good, giving even the most demanding interiors a unique atmosphere.
The biggest interior decoration advantage with the use of stencils is definitely the huge pattern choice and the possibility of realizing an individual concept. That’s why they are an ideal solution for cheap renovation of old and unfashionable tiles. Modern geometric compositions will certainly fit into the house arrangement not only in a modern style, but will also perfectly match the timeless retro motif. Our collection also includes a wide design gamut inspired by warm and colorful Spain. By combining several of them, you are able to create a real Iberian mosaic. In turn, traditional Chinese motifs will bring a hint of madness to your room, and the accompanying intense tints will significantly stimulate the creativity of every household member. Retro style, colorful Spain, or fancy ornaments? Or maybe elegant and tasteful geometric patterns? Decide for yourself and create your own dream composition!
Stencils can be used for various decorating techniques. The most frequently chosen one, and, at the same time, giving equally delightful effects, is the classic filling of the pattern with paint. With this kind of painting, you can try various products, such as acrylic, glitter, or fluorescent paints – depending on where we paint and what effect we want to achieve. However, in the case of creating imitation tiles, decorative plaster or concrete will be perfect. This task is easier than it seems, and on our website you will find detailed instructions on how to do such a unique and creative ornament step by step. Thanks to this, you will compose a breathtaking work that will give the bas-relief effect on your wall. An extraordinary pattern, proper tools, and the infinite imagination power are all you need to create a composition that will delight everyone.

domain: hobby


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The IFSC Code of Co-operative Banks Vaishya Nagari Sah Bank branch is HDFC0CVNB05. The branch is located in Parbhani district of Maharashtra. For address and phone numbers, scroll down.
Co-operative Banks Vaishya Nagari Sah Bank IFSC Code: HDFC0CVNB05
Co-operative Banks Vaishya Nagari Sah Bank MICR & Contact Info
Address, MICR code, branch contact number etc of Co-operative Banks Vaishya Nagari Sah Bank branch is given below. You may contact the branch or the Customer Care number of the bank information relating to your Co-operative Banks account.
|Branch Name||Co-operative Banks Vaishya Nagari Sah Bank|
TQ. Jintur, Parbhani - 431509
City & District : Parbhani
State : Maharashtra
Bank Name : Co-operative Banks
Branch Name : Vaishya Nagari Sah Bank
IFSC Code : HDFC0CVNB05
Location : Parbhani, Maharashtra - View full address
To make NEFT or RTGS money transfer to Co-operative Banks Vaishya Nagari Sah Bank branch from any other bank in India, IFSC code is necessary. For hustle free payment transfer, share the accurate IFSC, branch name and account number with the transferer.
Search Branches & IFSC


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Vernon Hills, IL USA
Width: 6" Length: 10"
Designer: Pat Adams at www.forestquilting.com, used with written permission.
Materials/Techniques: Paper pieced, machine quilted.
Artist Statement: I love Christmas.
Dedication: To Mother and Aunt Mildred.
This quilt has Fast Finish Triangles.
This quilt earned $32.11 for the AAQI.


2500lbs manual winches with 2 speed
- Item #: MLE250C
- Two Speed operation - gear ratios of 17.3:1 in low gear, 5.4:1 normally
- Laminated, high carbon steel gears for longer life
- 9 1/2" quick-attach handle with ergonomic handle grip
- Reversible ratchet allows turning of cable or strap onto winch drum in either direction
- Freewheel operation for easy line removal
- Rigid, welded reel construction for added strength
- Easy to install and high quality.
- 2-Speed Operationyes
- Drum Hub Dia.1-1/8"
- Gear Ratio17.3:1/5.4:1
- Handle Length9-1/2"
- Max. Drum Capacity (cable)5/16" x 47'
- Max. Drum Capacity (strap)38'
- Reversible Ratchetyes
- Surface treatment Zinc plating
- Weight (kg)6.85
- Weight (lb)15.10
- Work Load (lbs)2500 lbs


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Design is a process that links innovation and creativity, providing a structured process based on well-established design principles to resolve real-life problems. Design involves generating ideas, exploring the possibilities and constraints to find solutions. Design is human-centred and focuses on the needs wants and limitations of the end user. Students will develop an understanding of design through theory and practical work.
Students will have the opportunity to undertake a range of practical projects to demonstrate their understanding and deepen their knowledge. Industrial visits, as well as guest speakers will allow students to gain real insight into how their subjects relates to the word of work.
This qualification aims to prepare students for the workplace by incorporating skills such as effective researching, creating and designing, manufacturing, analysing, and evaluating. This shows potential employers that students are well-rounded and a focus on industrial visits help to give them experiences to talk about in potential interviews.
All students study the following:
1. Human factors and ergonomics
2. Resource management and sustainable production
4. Raw materials to final product
5. Innovation and design
6. Classic Design
ALL students study Higher Level at Wilmington. The topics are as follows:
1. User-centred design (UCD)
3. Innovation and markets
4. Commercial production
External Assessment (60%)
Two (SL) or three (HL) written papers containing: multiple-choice, data-based, short answer and extended response questions.
Internal Assessment (40%)
Practical investigations, a group project and a student driven design and manufacture project.
Minimum of 5 9-5 grades in GCSE Examinations including English and Maths.
The study of Design and Technology creates exciting routes for progression and could lead to great career opportunities within: Architecture, Engineering Design, Product Design, Automotive Design, Environmental Design, Furniture Design, Interior Design, Graphic Designer, Animation, Web Design, as well as jobs in Advertising, Marketing, IT, Business.

domain: design


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By: Ryan Browne
The world’s biggest tech companies are facing a corporate tax avoidance crackdown after the Group of Seven most developed economies agreed to a historic deal.
The G-7 on Saturday backed a U.S. proposal that calls for corporations around the world to pay a minimum 15% tax on profits. The reforms, if finalized, would affect the world’s largest companies with profit margins of at least 10%.
Looking ahead, the G-7 hopes to achieve a wider agreement on the new tax proposals next month at a gathering of the expanded G-20 finance ministers…read more.


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The Real AI: Augmented Intelligence
We explain why Augmented Intelligence, is the right AI for 2018.
Last year QuantumBlack joined a panel as part of the World Economic Forum, in Davos, and spoke about a term that was relatively unheard of back then: Augmented Intelligence.
Over the last 12 months momentum has built around Artificial Intelligence, which is what everyone means when they say AI. But we think that the other AI, Augmented Intelligence, is the right AI for 2018. The term has crept more and more into the media and into our vocabulary and that of the tech leaders we spend time with. There have also been signals in the market that have shown the importance of how machines, humans, and processes are coming together to form something very powerful indeed.
This isn’t a new idea. Ada Lovelace in 1842 envisioned a calculating machine and proposed that the machine could be made to determine “that which human brains find it difficult or impossible to work out unerringly” — which is another way of saying the machine would augment the human.
There’s a lot of concern about AI in the public discourse today, and we think we have to address those concerns head on in order to earn (or rebuild) trust. As the World Economic Forum kicks off again in Davos today, here are some of our thoughts on why and how we need to get Augmented Intelligence right; right now. And why we should never forget about the human aspect.
What is Augmented Intelligence?
As Nick Ismail writes in Information Age, “The concept of augmented intelligence is not to replace humans, but rather to capitalise on the combination of algorithms, machine learning, and data science to inform human decision-making abilities.”
Technology is becoming more and more advanced but cannot prosper on its own, the human brain and the experience that humans have is not easily taught, from removing bias to introducing emotional intelligence.
We should be using technology in the right way, to make our roles more efficient and enhancing the human capabilities.
For example, one of our recent projects involved risk-scoring clinical trials for a global Pharma company. We sucked in all sorts of structured and unstructured datasets — finance, HR, emails, the site visit reports (Word documents backed up as PDFs) and so on. Over 100 data sources. Then our data scientists coded machine learning algorithms that used hundreds of different features to predict where patient safety issues might occur. Some of these were obviously a big deal, like previous safety issues; some were only flagged by the machine, as humans had never thought to look at them, like the time lag between an event occurring and it being entered on the system of record. The resulting risk score allowed patient safety teams to be allocated to the highest risk sites, making them 4–5X more effective than being deployed at random as they had been before.
We didn’t set out to replace humans with machines; we set out to make those humans the best they could be — to give them super powers. That’s our goal in all our work.
How do we embrace Augmented Intelligence?
In order to successfully implement Augmented Intelligence, we see five building blocks that organisations need to put in place.
Data is the raw material and the strategic asset, that can help gain competitive advantage. (As a side note, in a world of non-physical asset businesses, we would argue data deserves a place on the balance sheet).
Most of our work involves thinking about non-obvious datasets. If we want to augment humans, we need data on those humans — what they do, who they meet, when they work, even in some cases how much they’ve slept recently.
In one recent piece of work, we helped a rail company reduce injuries by using all the data on their people to predict who was most likely to get injured in a given shift, allowing them to take pre-emptive measures. In some cases — like in elite sports — we have even worked with data on the inner workings of the human body! But often timesheet, calendar and email data is enough to get a good picture of what people are doing.
2. Machine Learning Analytics
Using new techniques and science, organisations are able to interpret and exploit their data in new ways and at a scale and pace traditional methods just can’t. Not only can analytics offer insight into cost savings and efficiencies, they can identify research and development opportunities.
And machine learning algorithms can deal with dimensions of complexity that the human brain just can’t. For example, in spotting fraudulent transactions (without those false alarms that drive us all mad), our algorithm looked at over 1,500 features, like the frequency of transactions in an account, their amount, whether the transaction had been made before, what time of day it was and so on. A human can hold maybe 10–20 of these features in their mind. A machine has no limit. Back to superpowers again — the highest risk transactions are then flagged to a human team to investigate.
Data and analytics offer a way to understand and identify patterns of behaviour and opportunities, whether that be to improve an existing service or product or introduce something totally new to the market. However, just because a pattern is identified it doesn’t guarantee it will be ethically or morally right. As reported in the MIT Technology Review, human judgement is needed by data scientists and engineers to identify and remove bias from data.
It’s imperative that domain expertise, critical thinking and curation come into play, to allow decisions (by humans) to be made constantly, supporting the machine intelligence. In 2017, we started to hear a lot more about ethical AI and this theme is only going to get bigger this year, as data scientists and engineers play the role of orchestrators of our future.
When we bring together design, engineering, and data science it becomes a very powerful mix, bringing together a perfect working group to create a strategy for innovation.
Once the three building blocks above are happening, someone’s gotta do somethin’ about it. Otherwise it’s just pretty lines on a page. We’re big fans of the “OODA Loop” to describe how to take action and keep iterating all the time.
The OODA loop is designed to help make better decisions, the four steps are:
By using this approach and repeating this loop, you can deal with data as it is changing all the time. It’s good enough for air pilots in dogfight situations; it’s good enough for us! It offers truth and allows you to interpret at scale and pace, before taking action.
As processes advance and learn, we’ll also see Reinforcement Learning start to appear, which use continuous learning to “collect tools that run and analyse massive numbers of simulations involving complex computation graphs.”
The final aspect of Augmented Intelligence is establishing the right culture. One that breeds leadership, decision-making and an organisational culture that is radically different to others you’ve seen before. People need to empowered and have more citizen data scientists, so that organisations are able to make data-driven decisions at all levels.
We’ll also start to see a changing workforce, thanks to Software 2.0, whereby the “programmers of tomorrow do not maintain complex software repositories, write intricate programs, or analyze their running times. They collect, clean, manipulate, label, analyze and visualize data that feeds neural networks.”
This year, we think we’ll see more businesses explore the machine + human + process approach as humans augment the technology that isn’t yet available, or ready to exist independently. We hope so, anyway!


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|Sector:||Transport, Logistics and Shipping|
|Salary:||£28000 – £33000, Company Car|
|Location:||Home Based, South East|
Just Recruitment are recruiting on behalf of one of the UK’s leading International Moving Companies. With over 100 years of experience in moving individuals and families around the world, their clients are migrants and expatriates embarking on a new life abroad or moving to the UK. They focus only on international moving, with the popular destinations being Australia, New Zealand, Canada, and USA.
As an International Sales Consultant, you will be based in the South covering London, the Home Counties, Kent, Essex, and Surrey. You will work with prospective customers, visiting them in their homes to understand their needs before developing a relocation solution. The role will require flexible working days and hours.
Please note: All follow ups and pricing will be completed by the sales team within the head office, you will not be required to complete these.
Location: Role based in London, Home Counties, Kent, Essex, Surrey although visiting prospects outside these locations may be required.
Compensation: Salary £28,000k-£33,000k (dependent on experience), Company car, 25 days holiday.
Working hours: Monday – Friday 9am to 5pm (Additional hours may be required per business requirements)


BURBANK — The Holy Family basketball team accomplished something Tuesday afternoon that it didn't do Monday — score in the first quarter.
Unfortunately for the Gaels, the end result remained the same.
Holy Family did indeed get a better effort Tuesday, but it still suffered a 50-41 loss to St. Genevieve in a consolation contest of the 14th annual Pioneer Shootout at Providence High.
Holy Family dropped to 1-7 and lost its fifth game in a row. It will meet Canoga Park or Armenian General Benevolent Union of Canoga Park in another tournament game at 3:30 p.m. today.
"We got a better effort compared to [Monday], but we still had some turnovers and reaching fouls in the second quarter," said Holy Family Coach Ernest Siy, whose team was held scoreless in the first quarter of Monday's 71-24 opening-round loss against L.A. Baptist. "Basketball is a game of runs and St. Genevieve capitalized and we couldn't execute on our chances."
The Gaels did get some quality efforts from several of their players, including one from junior forward Jennifer Rodriguez. Rodriguez finished with 10 points and a game-high 15 rebounds.
Holy Family saw its top player, senior guard Gayle Lachica, get into foul trouble early. Lachica, who was named to the All-Horizon League second team last season, picked up her third personal foul with 6:48 left in the first half. Siy said he had no choice but to take Lachica out of the game.
"She had those three fouls and we had to take her out," Siy said. "This team rises and falls with her and you can tell that.
"They need her to be out there."
Holy Family scored just 29 seconds into the game on a layup by junior forward Elena Lomeli. The Gaels extended their lead to 9-2 on a jump shot by junior guard Gaby Diaz with 5:01 remaining in the first stanza.
The Valiants (7-3) regrouped and tied the game with 5:01 left in the second quarter and held a 19-18 halftime lead.
The Gaels had seven third-quarter turnovers, which played a factor in St. Genevieve racing to a 35-29 lead entering the fourth quarter.
Holy Family, which dropped a 36-27 nonleague road game against St. Genevieve on Dec. 14, opened the fourth quarter on a 5-0 run to cut the lead to 35-34. Senior guard Clarizza Merino made a three-pointer and Lachica converted on a pair of free throws with 7:07 left.
The Valiants finished the game on a 15-7 run.
Lachica finished with 10 points, seven assists and five steals.


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I’m nervous as a cat Wonder what he’ll look like? What will I feel when I see him? What will he think when he sees me?! oh my god I feel so much emotion right now I want to hide in the bathroom and cry Jesus! I got here early I'm almost finished with my first... Continue Reading →
Getting a Connection in Today’s Almost Anti-Social World
Connection is the energy that is created between people when they feel seen, heard and valued...
It Happened The Moment I Saw You…
Another beautiful excerpt from Avastave's continuing exploration of love. If you have ever truly been in love with someone where the connection was so strong, then you will understand this. It's not about losing your life or yourself to someone else, but instead it is about a unique blending of two lives and hearts together.... Continue Reading →
Learning to surf the waves
I'm snowed in today at home. We had a big ice storm last night in Plano Texas and my power went out around 12:30am. Power is still out and I - am being forced - to learn again how to be quiet within myself. I am also honing in on my survival skills! It didn't... Continue Reading →
SAFE with Want and Desire our New (old) BFF’s
I have to share a few thoughts on this poem I wrote. I actually wrote this months ago and yes, I was there in my favorite cafe with my headphones on when I suddenly realized how isolated I was from the world, that's when these words came to me. I was reminded of them... Continue Reading →
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Listen with Mummy
If you like being read to, let me tell you a story. ‘The Killing of Mummy’s Boy’ is a 5* psychological thriller about what happens when a woman meets a murderer on a train.
Recently, I had great fun turning it into an audio book. Spurred on by Vectis Radio’s Head honcho, Ian Mac, who had interviewed me about the story, I spent18 hours recording at Vectis studio. Exciting stuff. The thing was I could only use the equipment when the station wasn’t broadcasting which meant creeping in at the dead of night. Just me and a microphone. I frightened myself stupid, conjuring up the caste of characters. Loved doing all the voices, especially mummy’s boy himself – what a nasty piece of work. And Ben, the elusive murderer, a Londoner to the last. An out and out bad boy or a good guy gone wrong?
Right now, if you’re an audio book virgin, you can download the The Killing of Mummy’s Boy for FREE!
Have a listen, if you’re brave enough!

domain: entertainment


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A delicate twisting diamond band that comes together at the back, holding a showstopping rose with a round diamond in its center.
The perfect ring for a nature/gardening lover or a disney princess!
This ring is made up of mixed white and rose gold (or platinum and rose gold) with a G si1 0.15ct central round diamond and 0.25ct of diamonds on the band. total diamond weight being - 0.40ct
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Protecting the oceans can bring three times the benefits to humans
Details of this important survey have been published in a research paper which states that strict protection of the oceans will ensure a steady supply of healthy food, promote the habitat and survival of marine animals, and perhaps climate change. A natural solution to change will also be found.
According to a report published in the weekly scientific journal Nature, experts have identified special places in the oceans. If they are closely monitored and protected, 80% of marine life will be protected, the number of fishing will increase by 8 million metric tons, and stopping sea floor trawling will reduce carbon dioxide emissions by up to one billion tons. Will Because this method of fishing on the sea floor is very dangerous.