Silverado With White Rims

spring nuclear

seen that despite the tragedy that is unfolding in Japan and despite the foolishness of the idea from the start, are trying in every way to rip off the public opinion in pro nuclear power, I try to write a bit 'of questions of the servant, or man in the street, or someone who knows nothing and is based on bits and pieces that picks up around.

1) Nuclear power in Italy was defeated by a referendum in 1987. I do not know that the referenda decay in value over time. Otherwise, even the status of our Democratic Republic is in peril.

2) Germany, the economically most productive in Europe, plans to gradually decommission nuclear power plants until the complete closure within twenty years. It follows that they are already focusing on other types of energy resources.

3) If Italy insisted on this line would be able to set up plants in the best case in twenty years, when nuclear power will most likely already passed and the most technologically advanced other forms of energy will sustain.

4) The problem of waste. No one knows how to dispose of them. Italy are still circulating in those twenty-five years ago. In the U.S., is seeking more than ten years to build a disposal center in Yucca, near Las Vegas, but so far without success. We may be how we organize to deal with this?

5) We are not able to handle ordinary trash, we were not able to spread the culture of recycling in all areas of the country, why in heaven's name, we should instead be able to dispose of radioactive waste?

6) Of course, when this story went in port, there would be a massive run-up to speculation and hoarding business area of \u200b\u200bprocurement, who would ensure the quality, timing and certainty of the results? Let us remember the dire state of our logistics (see Salerno - Reggio Calabria and the like) and the pathological inability to keep Italian firms out of public malfeasance.

Ranch King Snow Blowers

another idea of \u200b\u200bwealth

the Italian Constitution, Art. 9

The Republic promotes the development of culture and scientific and technical research. Protecting the landscape and the historical and artistic heritage of the nation.

remember well these words. Let us remember well where they come from and in what spirit they were written. Before you say that Italy repudiates war as an instrument of aggression against the freedom of other peoples (Article 11), first to specify that personal freedom is inviolable (art. 13), the Constitution provides that the culture, research and the historical, artistic and landscape of the nation should be protected and promoted. As good of all, I humbly add, and I do not think of betraying the spirit of the Constitution. This paper, in addition to being the dam more solid we have to face of legal barbarism, it also recognizes our right to enjoy the beauty in which we live is not a minor detail. Assign a value to the legal and legal policy automatically mean beauty, and which seem happy to move, to ban speculation, looting, plundering the wealth of all the particular cultural and artistic, in which Italy has its roots. The founding fathers wisely took into account the possible looting of the territory, mass rape, which would deprive a large part of citizenship as a common good. We know how that turned out: we see every day as the Italian artistic patrimony is not only increasingly prey to wretched speculation, but also of neglect, indifference and ignorance, even by those who, in the role government should protect this wealth, raise and make it more usable by every citizen. And not only Italian, since much of this beauty is the patrimony of humanity. It 'nice to see how our cultural heritage is really ours, and not some rich master, our , with all the implications and responsibilities that this concept includes, to the point that if it were to deteriorate or fall prey the concrete casting of some jackal authorized, we could not call out saying, cowardly: I have no claim. The Constitution, enshrining a right, also reminds us of a duty.

Glands Painful With Alcohol

Area hardship, Jonathan Franzen

discomfort zone is the first book I read by Jonathan Franzen. I was not yet clear perception of the credit enjoyed by this writer, in Anglo-Saxon countries and not only: to take a look around on the Internet and you understand how the launch pad, near the peak of the upslope. In light of this, I was disappointed discomfort zone. It 'a text that presents itself as a narrative memory, a reconstruction scenarios of childhood / youth Author: glimpses of home life, portraits of family and friends, memories of school. It is written partly ad hoc, partly reassembled after being published piecemeal in various magazines. Ideas travel AC now offering something interesting, some apt maximum life and non-trivial, now penetrating nell'aneddotica more extravagant (the description of the joke with a lot of doodles to the pole of the flag is almost embarrassing as it is boring and incomprehensible ). Overall, the book sails on acceptable levels until the last section, titled, with the now usual nonsense contribution (in the usual American novels of recent years), my problem birds. Here, here, you have the distinct feeling that the author entirely loses the thread of the story: a raw, without any link, insert an extensive discussion on birdwatching, listing species, pointing out ambushes, referring sites and stages of his travels. An aside surreal, pulled a joke for long that the end does not explain anything and does not lead anywhere. In Zone discomfort writer accepts the risk of merging with the main character, but does not know how to work it out then: the result is this gallery of snapshots scombiccherata incoherent, like so many pieces of a collage put there by chance, or rather stuck in a false after the tragic decision to editing. We can try to consider the best parts, more as a favor to that Franzen to fulfill a vague criterion philological Area discomfort does not differ from the average American's latest production, that of writing schools, so to speak, a real assembly line of narrative ideas, the latest step in a process of degradation, a monument to the "normalization" of writing. An operation that failed even to Soviet Russia.

Green Green Tv Uncensored English

languages \u200b\u200b

I began to translate the Latin many years ago, by myself, with great patience, some heels, plenty of exercise. The reason? It seemed to me important. Leonardo da Vinci himself began to study it is already quite advanced in age, he came from a technical and felt the need to bridge that gap. I did not need further guarantees. I never believed the lie of the dead languages, because nine times out of ten the people expressed in this way has no linguistic practice. Do not know, for example, that the expression "dead language" is a misnomer, for the simple reason that a language never dies, but it evolves, it becomes something else, in a historical, social, anthropological, to say the least unpredictable . I will not be here talking about archeology of the social sciences, I will not be here talking about the history of the language. I realize how difficult it is to communicate well in a few lines, the heritage of beauty and intellectual growth that we encounter in the study of an ancient language (and contemporary, of course, but the modern languages \u200b\u200bhave the status of "economically productive "and did not need a defense): you chew items that have a different consistency than our words reflect a deep knowledge, rooted in our culture and our consciousness in the linguistic fabric is its perfect location. No coincidence that the best way to understand a civilization through the study of his language, as Foucault said: meanings are deposited in the language, social, civil and scientific achievements, but also sudden collapse, decay and corruption. Latin, greek, Aramaic, Sanskrit, and so on is our home, and not, as someone says buff, the dialect, which is merely a local deviation of spoken Latin. Languages \u200b\u200bare not dying, but our ability to understand and to establish a contact with them, make them enter our lives because it makes us stronger, more aware of us and what we now trivially, is defined identity. You can make wonderful discoveries, surprises are not lacking in the linguistic universe that is below us. Do not over, but below, because we are allowed to walk only on the shoulders of giants.

Denise Milani Physics

Auxilium Saluzzo - Asd Val Maira 2 to 0

EDUCATION (3-5-2): Abello - Reiner, Albert (CAP) (Raina), Ribero - Garnero, Rinaudo, Degiovanni, Oberto, Dutto - Galliano (Sonzini) Giorsetti.
(Cucchietti, Rosano, Coero, Pellegrino)
Herds S. Leonine

OTHER GAMES: Pro
Polonghera - Costigliolese 1-1
Ronchi - Marene nd
San Sebastian - Scarborough
Villafalletto nd - nd Verzuolo
Villanova Solaro - Villar na
Villanovetta '91 - 2.3 Youth Centallo

Water Gun Satellite Dish

Weekly meetings

Also included in the calendar of Sofas read the game against us last week. Now I make the squad but someone (or PJ Dino) who is asked to confirm Bari.

Date: Thursday, March 10
Time and Place: Free Time, 10:00 p.m. to 23:00 hours, 8 vs 8.
Opponents: The Sofas
squad: ?; Cain, Darius?,?;?, Mark Press, Cruz.
Facilities: Giang, Michele.
Out: Diego, Puma, Mimi, Dino, Chila, Max, Silvio.
Jersey: Blue

Much Does Cost Build Horse Stable

to the high seas, Eugenio Scalfari

do not usually write about essays I've read, I seem to run dry, not to ever hit the point, so dull to repeat what the author has already said . In this case I would make an exception. For the high seas Open Eugenio Scalfari is primarily a location: intellectual ride halfway between reflection out loud and open discussion on the great theme of modernity. Talking about the test in the strict sense would be misleading even before reductive Scalfari's latest book offers a perspective on a subject, revisits, in a high rate of quality pages, themes, readings, a curiosity of life designed, and designed in a broad sense, according to the great cultural bulb is modernity. Scalfari does not attempt to definitions: the whole essay is basically one big answer to the question: what is modern? The book attempts an answer: it identifies the source in the Essais of Montaigne, follow this thin wire through the pages of Hegel, Nietzsche, Rilke, Proust, Leopardi, and then find the end of the road, perhaps surprisingly, in the furthest reaches of Montale and Calvino. Modern, for Scalfari, is all that is opposed to dogmatism, which creates a doubt in the conscience, which places the reason (and reason) as the only lighthouse in the sea of \u200b\u200bideas. The disconsolate thesis is that we have gone beyond that stage, delivered to a return to barbarism, twisted in a perspective that is out of the great models of the past, to surrender a nude model new, and disturbing. What is this near future, it is still difficult to say. For the high seas is a reading stimulating, intelligent, which offers a more affordable level, the basic tools to approach the ideas as well: just what is now more systematically ignored, ridiculed or worse. Scalfari us back to this dimension of intellectual forgotten to be rediscovered by proposing it as indirectly to earn back the voice of the self, the repository of choice for dignity, independence, critical thinking, all those antidotes that a certain consumer society has tried all his forces to cancel. Beautiful and original pages on Rilke and Hegel, a certain feeling of well-known in the comments on Nietzsche and Proust. Scalfari certainly proved more comfortable in philosophical reasoning that in literary. Venial sins to be addressed in a reading that book and in an age of instant mob of any kind back to the fore the issues high. The unique, in so short a life that is worth addressing.

Sleepover Accident Pee

Dylan Dog is a snapshot of the meaning

rummage through a stack of comic books worn and outraged by the harassment at home, I found some Dylan Dog survived the decimation nursery. Books are a bit 'of years ago, in a decent condition after all. I was a fan of the suspect critical Craven road, but for which the genius of the narrative, and the originality of the idea of \u200b\u200bSclavi, I could not fully appreciate quell'impasto horror, yellow, humor. I felt the complex dynamics, and in return, many of those stories: literary references generally higher and less high, historical references, nightmares mixed with reality. I came to the conclusion that Dylan Dog was not for me, and for a reason quite clear: many stories I could not understand almost anything. I could not, despite all the goodwill, to find the clue, the link, the meaning. It was almost frustrating, because in those years, the age range from eleven to sixteen, I had a desperate need for meaning. Not that the hours do not have more, but, you know, that requirement urgency has given way to a more open and conciliatory contemplation of so-called textual matter. In other words, with growth, as much of maturation, and that bit of cultural reflection that the time had not yet, first I tried to refine the taste, but on the other I came to realize that the meaning in a work is not always the most important element. The meaning and significance, and has its role and its purpose, but the goal as it aesthetic that any reader / viewer stands, rests on other grounds, in which Dylan Dog (which, as comics are a narrative device as well as sequential art, as he said Eisner) pile up and are confused: These bases are the designs? References? The pleasure of traveling with my mind? I have not found an answer, and maybe not even me find it interesting. As often happens, the real interest lies in trying . To spend an important comparison is not completely meaningless in my opinion, could apply to the hero of Sclavi the same as for the Joyce's Leopold Bloom. With the proper proportions, of course. But we are not dealing in both cases of a story that has little or nothing to do with the plot? Dark narrative paradox.

Can I Join The Army With Narcolepsy

the voice that went out

I find it hard to explain my relationship with Carmelo Bene. I keep telling myself that sooner or later I'll write something serious and documented, instead of scattered notes that I have dedicated over the years, but every time I'm always forced putting it off. A bit 'for my personal idiosyncrasy to the written thesis, a bit' because I'm not sure that a cunning little or big he would be pleased. The teaching of CB was so vast and deep that even I do not know exactly where to start. Take notes, I rivedrei interviews, performances, films, readings, again read his written work, published by Bompiani in this volume brilliantly insane and absurd come under the heading Classic. But why Carmelo Bene? What has made so important, what did he say? It 'was an artist who paid with their blood an artist's life, which mixed blood with the earth, and created its sand, its color, lymph which drew lines heretical and dirtied our certainties. He had no predecessors - some say Artaud, but it is a comparison that holds only in part - but many underlying reasons, music, literature, painting, and especially philosophy. Carmelo Bene's work rightfully belongs to a purely philosophical cultural context, where the realm of the idea, or quell'inconfessato Kantian noumenon is that Plato is to be said and the scaffolding of his work. For me it was and is a master of arts, communication and thought.

This whole premise is to say that I saw his first feature film, Our Lady of the Turks, from the book of the same name, also by CB once again was able crippled. The more I grow, the more I realize that this film is not film, and denial of a perfect machine image has a palette of colors and virtually inexhaustible meanings. Inside Our Lady is an inner world in constant turmoil, a constant tidal wave of senses and thoughts, a mirror of the mind and at the same time the our mind. It 'a work that goes beyond the provocative, or rather is inscribed in the category of provocative in the etymological sense: who look at is called the open, can not be. The flood of calls and evocations most learned almost frightening: the intellectual universe of the artist pours into a kaleidoscope of edgy and irritating. But beautiful. Here, I find no other word: there is beauty in every frame, no art, suffering, inability to speak and understand urgency. The first feature is a mechanism of CB exaggerated, crazy, compressed, which overflows from the image and overflows in a region difficult to define. The attempt to go beyond the cinema, CB, is a final attempt, stillborn great perhaps for this reason: Our Lady remains a point of arrival and a separate in artistic beniano, an atoll stormy, against the world, against life.

Why Do I Feel Fluttering In My Upper Ab

Hi, Oscar!

The real cinema, I am convinced, is not in the Oscar ceremony. There are only damazze balance on their heels, actors with heavy makeup, glycerine tears, that cinema is only a survey of American (okay, well done Colin Firth, it means that his Oscar draws the scandal given to Cage in '96 ), which share major pie in a blaze of papier-mâché and nonsense. The film must have a sense if he wants to risk something, to be played on the skin. Otherwise it is not art, it is a spot. There are two Iranian directors, Mohammad Jafar Panahi and Rasulov, who were sentenced to six years' imprisonment and twenty interdiction Art (not longer be able to make films), a violent and uncivilized regime. In all honesty I think the most noteworthy aspect of the question this film, not the golden prize of a group of stars from the world outside, confined in a parallel universe - the U.S. - more and more self-referential and increasingly inclined to give him awards. I believe, with equal honesty, that the infernal machine of the statues can not be regarded as culture, but an awful and hypocritical business of manufacturing, in a machine-movement that now survives in itself, devoid of original content, a thousand miles away from change a world in turmoil. It is also impossible to compare the hardships and difficulties of realization of independent filmmakers, who often risk their skin in no metaphorical sense, with the mob of American advertising, lying in human skin armchairs, surrounded by stars of plastic, stories and amorazzi now all that junk that makes most American film parody of himself that he was.