One Yonge Street

One Yonge Street is a 25-storey office building that serves as the headquarters of Torstar and its flagship newspaper, the Toronto Star. It is 100 metres tall, is built in the International style, it was built as a replacement to the Old Toronto Star Building, located at 80 King Street West. That building was torn down to make room for First Canadian Place, it is located at 1 Yonge Street at Queens Quay, marks the foot of what was Highway 11, known informally as "the longest street in the world". The building housed the printing presses for the Toronto Star newspaper, until 1992 when a new press centre was opened in Vaughan, Ontario; the finished newspaper content is sent electronically to the plant where the plates are burnt and the paper gets printed and distributed. Editorial content of the newspaper is produced by employees working on the fifth floor, it has the headquarters of Torstar. The office space at One Yonge Street is leased out to a variety of other companies, including Pinnacle International, the Liquor Control Board of Ontario, Ontario Cannabis Retail Corporation, RL Solutions, Luminus Financial, a dental office, the downtown Toronto campus of Collège Boréal.

The property is owned by Pinnacle International. The parking lot and podium associated with this building are part of a high-profile development known as Pinnacle One Yonge by developer Pinnacle International and designed by Hariri Pontarini Architects; the project includes five skyscrapers on two parcels of land bisected by an eastern extension of Harbour Street. The tallest tower would reach 95 storeys for a total height of 307 metres, making it the largest in Canada; the three residential towers would total 2,962 condo units, the two commercial towers would provide 154,000 sq.m of space. Old Toronto Star Building - the office building used by the paper until 1970, located on King St. West. Old Globe and Mail Building Toronto Sun Building Yonge Street Toronto Star Toronto Star Press Centre Nordaline Communications "Toronto Star Building". Skyscraper Source Media. Retrieved 2009-05-29. One Yonge Street at Emporis. Retrieved on 2009-05-29


Moravagine is a Blaise Cendrars novel, published by Grasset en 1926. It is a complex opus, with a central figure like a dark persona of the author which he gets rid of through writing, its genesis took Cendrars never stopped working on it. In 1956, the author somewhat rewrote the text, added a postface and a section titled "Pro domo: How I wrote Moravagine". In its ultimate revision, Cendrars says the book is incomplete, as it was meant to be a preface to a "complete works of Moravagine" that are not there; the narrator, Raymond la Science, presented as a Blaise Cendrars' acquaintance, writes how, being a physician, he comes across Moravagine, a killer madman detained in an asylum. Moravagine is the degenerate heir to a long line of Eastern Europe noblemen. Fascinated by this man, the physician helps him escape shares his picaresque travel around the world, bumping from Russian terrorists to American natives, in a trail of crimes, they return to Europe just in time for World War I, when "the whole world was doing a Moravagine."

While characters live a wild adventure, the style in contrast is controlled. This contrast contributes to the peculiar feelings reading the novel. "Moravagine" sounds in French like "mort-a-vagin", or in English, "death-has-vagina" or "death-to-vagina". Indeed, Moravagine kills women, while in chapter I, we can read La femme est sous le signe de la lune, ce reflet, cet astre mort, et c'est pourquoi plus la femme enfante, plus elle engendre la mort. Woman is under the sign of the moon, this reflection, this dead star, and, why the more Woman gives birth, the more she engenders death. New York Review Books Classics edition of the book has a cover figuring a skeleton in woman dress. Cendrars was quite conscious that Moravagine was some sort of an other, himself. In pro domo he wrote J'ai nourri. A la fin je ne savais plus qui de nous plagiait l'autre. Il a voyagé à ma place. Il a fait l'amour à ma place. Mais il n'y a jamais eu réelle identification car chacun était soi, moi et l'Autre. Tragique tête-à-tête qui fait que l'on ne peut écrire qu'un livre ou plusieurs fois le même livre.

C'est pourquoi tous les beaux livres se ressemblent. Ils sont tous autobiographiques. C'est pourquoi il y a un seul sujet littéraire: l'homme. C'est pourquoi il n'y a qu'une littérature: celle de cet homme, de cet Autre, l'homme qui écrit. I fed, raised a parasite at my expense. At the end I no longer knew, he traveled in my place. He made love in my place, but there was never a real identification because each one was me and the Other. A tragic one-on-one that makes it possible to write several times the same book; that is. They are all autobiographical; this is. That is why there is only one literature: that of this Other, the man who writes. Among real people that may have been used as models, have been cited: Otto Gross and psychoanalyst Adolf Wölfli violent psychotic inmate of Waldau's Asylum, near Berne, known for his prolific Outsider art work. Favez, nicknamed "Ropraz's Vampire", a Swiss felon that Cendrars may have met during World War I while in the French army. Moravagine, Grasset, 1926. Moravagine, Paris, Le Club français du livre, 1947.

Moravagine, Grasset, 1956. Édition revue et augmentée de "Pro domo: comment j'ai écrit Moravagine" et d'une postface. Moravagine, Paris, Le Livre de Poche, 1957. Moravagine, Lausanne, La Guilde du Livre, 1961. Moravagine, Club des Amis du Livre, avant-propos de Claude Roy, illustrations de Pierre Chaplet, 1961. Moravagine, dans Œuvres complètes, t. II, Denoël, 1961. Moravagine, Lausanne, Éditions Rencontre, 1969. Moravagine, dans Œuvres complètes, t. IV, Paris, Le Club français du livre, 1969. Préface de Raymond Dumay. Moravagine, Grasset, coll. "Les Cahiers rouges", 1983. Moravagine, Denoël, coll. "Tout autour d'aujourd'hui", t. 7, 2003. Moravagine est suivi de La Fin du monde filmée par l'Ange N.-D, "Le Mystère de l'Ange Notre-Dame", et de L'Eubage. Textes présentés et annotés par Jean-Carlo Flückiger. Flückiger, Jean-Carlo, Au cœur du texte. Essai sur Blaise Cendrars, Neuchâtel, À la Baconnière, 1977. Touret, Michèle, Blaise Cendrars. Le désir du roman, Champion, coll. "Cahiers Blaise Cendrars", n° 6, 1999.

Sous le signe de Moravagine, Paris-Caen, Minard-Lettres modernes, série "Blaise Cendrars", n° 6, 2006. Oxana Khlopina, Moravagine de Blaise Cendrars, Bienne-Gollion/Paris, ACEL-Infolio éditions, collection Le cippe, 2012

National emblem of Cape Verde

The national emblem of Cape Verde contains a circle within, written the name of the nation in Portuguese. Within the circle are a torch and triangle, symbols of freedom and national unity. At the top of the shield is a plumbob, a symbol of righteousness; this emblem replaces the earlier variant with the seashell, in use since independence. The current emblem was adopted in 1992. On 8 May 1935, Portugal introduced a new coat of arms for its colonies, including Cape Verde, São Tomé and Principe, Guinea-Bissau; the 1935 arms are described as follows: "All arms were of the same model: divided vertically in such a way that two sub-shields are formed. The dexter was white with five small blue shields each bearing five white discs; the sinister represented the colony. In the base green and white waves to indicate the overseas location. To complete the badge, the arms were set upon a golden armillary sphere with a golden mural crown." On July 11, 1951, a revised version was introduced, used until July 5, 1975.

The replacement flag following independence in 1975, in use from until 1992, used colours more typical of African nations, with red and yellow identical to the flag of Guinea-Bissau. On the left in the red portion of the flag was the coat of arms, in use from July 5, 1975 until September 22, 1992 in its own right, it featured a large black star, surrounded by a saffron-yellow and green maize wreath and a scallop shell in the centre of a saffron/amber colour. The independent coat of arms, not used on the flag, featured the same saffron-yellow and green maize wreath and a scallop shell in the centre at the bottom, but the star was smaller and complicated with several other features, including a flag poll and something resembling a book; the current national emblem of Cape Verde was adopted in 1992 at the same time as the national flag, 17 years after the island nation became independent. The circle of the current emblem is ringed with ten stars, that represent the islands of Cape Verde, is similar to the symbolism on the flag of Cape Verde.

The plumbob symbolizes righteousness and uprightness which constitute the "key vault" of Cape Verdean constitution. The equilateral triangle symbolizes unity and people's civil rights recognized by the democratic system; the torch symbolizes. The sea symbolizes nostalgia; the palms symbolize victory won in the struggle for national independence, the stars represent the ten islands that form the archipelago of Cape Verde