In Norse mythology, Sæhrímnir is the creature killed and eaten every night by the Æsir and einherjar. The cook of the gods, Andhrímnir, is responsible for the slaughter of Sæhrímnir and its preparation in the cauldron Eldhrímnir. After Sæhrímnir is eaten, the beast is brought back to life again to provide sustenance for the following day. Sæhrímnir is attested in the Poetic Edda, compiled in the 13th century from earlier traditional material, the Prose Edda, written in the 13th century by Snorri Sturluson; the enthroned figure of High quotes this stanza in the Prose Edda book Gylfaginning and states that Sæhrímnir is a boar. However, some scholars have translated the Poetic Edda attestation, which the Prose Edda attestation quotes, as not referring to the creature as any specific type; those scholars who recognize a difference in the taxonomy of the creature between the two sources have commented on the matter, further issues have been raised about the contradictory etymology of the name of the creature in relation to its apparent status as a boar, some scholars have theorized that the ritual killing of the animal may stem from religious practices in Germanic paganism.
The etymology of the Old Norse name Sæhrímnir is problematic. Attempts at explaining the apparent contradiction have been made by scholars. Sæhrímnir is twice in the Prose Edda. In the Poetic Edda poem Grímnismál, Grímnir comments on the creature. Translations of the stanza vary: In chapter 38 of the Prose Edda book Gylfaginning, Gangleri comments that "you say that all those men that have fallen in battle since the beginning of the world have now come to Odin in Val-hall. What has he got to offer them food? I should have thought that there must be a pretty large number there." High replies that it is true there are a pretty large number of men there, adding many more have yet to arrive, yet that "there will seem too few when the wolf comes." However, High adds that food is not a problem because there will never be so many people in Valhalla that the meat of Sæhrímnir cannot sufficiently feed them. High adds that Sæhrímnir is cooked every day by the cook Andhrímnir in the pot Eldhrimnir, is again whole every evening.
High quotes the above-mentioned Grímnismál stanza in support. Gangleri asks if Odin eats the same, to which High responds that Odin gives the food on his table to his wolves, for Odin himself consumes only wine and needs no food. A final mention of the beast appears in a list of hog names in the Nafnaþulur section of the Prose Edda book Skáldskaparmál. Scholar Rudolf Simek comments that the theme of the eternally renewing beast is found in myths of the god Thor's goats and may point to sacrificial rites in shamanic practices. Simek finds a difference between the Grímnismál and Gylfaginning and explains it as a result of an embellishment on Snorri's part, which he says owes more to the introduction of "characteristics of a medieval paradise".19th century scholar Jacob Grimm says that no information has survived about the worship of heroes in Germanic paganism but proposes a potential connection between Sæhrímnir and hero worship: Grecian sacrifices to heroes differed from those offered to gods: a god had only the viscera and fat of the beast presented to him, was content with the mounting odour.
Thus the einherjar admitted into Valhöll feast on the boiled flesh of the boar Sæhrîmnir, drink with the Ases. Are we to infer from this a difference in the sacrifices offered to gods and to demigods?" Rebirth in Norse religion
In show business, a guest appearance is the participation of an outsider performer in an event such as a music record or concert, etc. when the performer does not belong to the regular cast, band or other performing group. In music, such an outside performer is referred to as a guest artist. In performance art, the terms guest role or guest star are common, the latter term indicating the guest appearance of a celebrity; the latter is also credited as special guest star or special musical guest star by some production companies. In pop music, guest appearances are described with feat. or with. In a TV series, a guest star is an actor who appears in a few episodes. In radio and television shows, a guest star is a guest on the show, a celebrity. Guest appearances have been known in theatre and classical music for centuries, with guests both from the home country and from abroad; the advent of air transport has made this practice global. In classical music, guest orchestra conductors are a common practice.
Guest artists should not be confused with touring groups, orchestra, or individual artists, although the distinction may be blurred. In the case of touring, their act is independent in itself, while the guest takes part in the act of the resident staff; the duration of involvement of a guest artist may vary, from separate short-term acts with fees per concert to fixed temporary contracts for several seasons. In the early days of the pop music industry the bands were stable units, while guests were not uncommon, they were given credits on album covers. For example, Eric Clapton was not credited in print for his guitar performance in the release of "While My Guitar Gently Weeps" of the Beatles. Still the term was used as early as in the July 1954 UK Singles Chart by "The Four Aces ft. Al Alberts" w/"Three Coins In The Fountain" at 5th place. Guest appearances have become a credited staple of music industry; the custom of guest appearance has become prominent in rap music, this influenced rock musicians as well.
To have a guest star on a record, the production coordinator must obtain permission from the record label of the guest and make sure that proper credits are delivered to the host record label to be printed on the album cover in the form "Artist name, courtesy of Record Label name." The permission is not always granted and sometimes negotiations may take a long time. A common reason for guest appearances is to draw attention to an act by including a celebrity into it, and vice versa, in the fashion-driven environment of show industry, older stars keep themselves in the limelight by associating themselves with emerging stars. In rap and multiple guest starring was recognized as a way to diversify the performance. In theatre and ballet, guest appearances diversify actors' repertory and experience under different choreographers, give more acting opportunities. For established stars prestigious overseas engagements increase their home status. Conversely, a guest star benefits the receiving troupe, bringing new technique.
Audience would welcome diversity, theatrical business benefits as well: theatre connoisseurs will come to see the same piece with a new star. Commercialization of guests policy may have negative consequences. Local theatres may limit the growth opportunities for their performers in favor of guests. Sometimes rehearsal times are inadequate to integrate the home and guest styles. Touring increases physical load on an actor, it is associated with multiple stress factors: from jet lags to close calls due to unanticipated travel delays. With a television series, the appearance of a special guest star, or depending on an overabundance of guest star appearances to the frustration and demerit of the regular cast of the series, could mark the moment when a series "jumps the shark". Cameo appearance Guest character Guest host
The Higher Education Statistics Agency is the official agency for the collection and dissemination of quantitative information about higher education in the United Kingdom. HESA was set up by agreement between the relevant government departments, the higher education funding councils and the universities and colleges in 1993, following the White Paper “Higher Education: a new framework”, which called for more coherence in HE statistics, the 1992 Higher and Further Education Acts, which established an integrated higher education system throughout the United Kingdom. In 2018 HESA became the Designated Data Body for higher education in England under the Higher Education and Research Act 2017. HESA is a company limited by guarantee whose members are Universities UK and GuildHE. HESA collects data from all publicly funded higher education institutions in the UK as well as a small number of private providers; the annual data collection streams are: Student data collection - information about students and qualifications at HEIs AP Student data collection - information about students and qualifications at Alternative Providers of higher education Staff data collection - information about staff employed by HEIs Finance record - income and expenditure of HEIs Graduate Outcomes - survey of graduate activities 15 months after leaving higher education Aggregate offshore record - count of students studying wholly overseas for UK HE qualifications HE Business and Community Interaction survey - information about interactions between HEIs and business and the wider community Estates management record - buildings and environmental information about HEIs Initial Teacher Training record Unistats collection Provider Profile collection Destinations of Leavers from Higher Education - survey of graduate activities six months after leaving HE HESA publishes statistics and analyses based on the data it collects: Statistical Bulletins - Official Statistics outputs summarising each data stream Annual open data releases - detailed statistical tables Performance Indicators - comparative data on the performance of HEIs in Widening participation, student retention and teaching outcomes, research output and employment of graduatesJisc acts as a data processor for HESA to provide data extracts for research and publication by external users such as League tables of British universities.
Department for Employment and Learning GuildHE Office for Students Higher Education Funding Council for Wales Jisc Quality Assurance Agency for Higher Education Scottish Funding Council Skills Funding Agency UCAS Universities UK Universities in the United Kingdom Universities' Statistical Record HESA Official Website Mobile web service
The Chicago Teachers Union is a labor union representing teachers, paraprofessionals, clinicians in the Chicago public school system. The union has fought for improved pay and job security for its members, it has resisted efforts to vary teacher pay based on performance evaluations, it has pushed for improvements in the Chicago schools, since its inception argued that its activities benefited students as well as teachers. The CTU united several teachers' organizations in Chicago in the wake of a teachers' revolt against banks during the Great Depression, it was chartered in 1937 as Local 1 of the American Federation of Teachers, in which it played a founding role. It was the largest and most active AFT Local until the 1960s; the CTU won collective bargaining rights in 1966 and conducted several strikes during the 1970s and 1980s. In September 2012, the union began its first strike in 25 years; the CTU is affiliated with the Illinois Federation of Teachers, the Chicago Federation of Labor, the AFL-CIO.
It has more than 25,000 members. Current officers come from the Caucus of Rank-and-File Educators, elected in 2010 to replace the longstanding United Progressive Caucus. From that point until her 2018 retirement, Karen Lewis was president. Through a successors election the new officer slate became: President Jesse Sharkey, Vice President Stacy Davis Gates, Recording Secretary Michael Brunson and Financial Secretary Maria Moreno; the CTU originated from the Chicago Teachers Federation, an organization of women elementary school teachers founded in 1897. In its first few years, it ran a successful campaign to increase teacher pay, its membership grew to 2500. In 1900, the CTF elected Catherine Goggin and Margaret Haley as its officers, deciding to pay them the same wages as those made by teachers. Under the leadership of Haley and Goggin, the CTF struggled for women's suffrage, for women's rights within the labor movement, for the right of woman workers to earn as much as their male counterparts.
The CTF launched a successful campaign against corporate tax evasion, the compensation for, used to pay back salaries upon which the city had reneged. In 1902, the CTF joined the Chicago Federation of Labor, it was the first time. In 1916, Haley and the CTF helped to found the American Federation of Teachers, in which the CTF became Local 1. However, the Chicago Board of Education, led by Jacob Loeb, had passed a rule against teacher unions: Membership by teachers in labor unions or in organizations of teachers affiliated with a trade union or a federation or association of trade unions, as well as teachers' organizations which have officers, business agents, or other representatives who are not members of the teaching force, is inimical to proper discipline, prejudicial to the efficiency of the teaching force, detrimental to the welfare of the public school system. Therefore, such membership, affiliation, or representation is hereby prohibited; this rule, which became known as the Loeb rule, further stated that teachers would be fired unless they stated in writing that they did not belong to any such organization.
The Loeb rule allowed the city to fire 68 teachers, including the CTF leadership, who refused to leave the union. By 1917, the CTF was forced to withdraw from both the CFL and the AFT. Subsequent passage of the Otis rule placed education in the hands of a centralized Board of Education. However, the board was still appointed by city politicians. In the coming years, the city and School Board were accused of rampant corruption in connection with two-time mayor William Hale Thompson. Many CPS employees were appointed by the Mayor, a 1931 study found that Chicago spent more money than any other major city on operations costs outside of education; the proliferation of bureaucracy was a serious concern: when the Elementary Teachers Union formed in 1928, one of its stated goals was "freeing of teachers from the intolerable burden of red tape and clerical work. Chicago teachers became exceptionally militant during the Great Depression, when teachers and many of their students faced extreme poverty and miserable school conditions.
In the inner city, classrooms were undersupplied and overcrowded. "Too many city classrooms still resemble enlarged prison cells," according to a 1931 report. The city neglected to pay its teachers on 37 out of 46 paydays. Teachers claimed of egregious class sizes and poorly maintained schools. Most stayed in the classroom teaching. Teachers organized independently to procure food and clothing for their students, giving large sums from their own shrinking paychecks. Once again, supporters of the public schools launched a campaign against local tax dodgers, who they said had owed taxes on hundreds of millions of dollars worth of new construction; this time, business leaders retaliated, in February 1932 forming a group called the Citizen's Committee on Public Expenditures, which pushed the city to cut its education budget. The banks, which controlled millions of dollars worth of city tax anticipation warrants, announced de facto control over city policy. In a statement published in the Saturday Evening Post, railroad president and CCPE secretary Fred Sargent wrote that banks "positively will not lend money for any municipal function which does not have our active support.
This has been a powerful lever in dealing with the small number of recalcitrants in public office who still cling to a faith in a Santa Claus." And: "business men of Chicago have learned their lesson. We shall not again let the mechanism run wild." Sargent and the CCPE were accused of "financial
Mariano Alberto Martínez, known professionally as Mariano Mores, was an Argentine tango composer and pianist. Mariano Martínez was born in the San Telmo section of Buenos Aires, Argentina, in 1918; when he was a child, he played classical music on the piano well. He made his professional debut at the age of 14 at Café Vicente on Corrientes Avenue. Mores took classical music lessons at the D´Andrea conservatoire in Lanús. After a brief spell with the folk group "La Cuyanita," he was hired as conductor and pianist with Roberto Firpo's orchestra, he began composing music. He will marry Myrna and adopt her artistic surname as his own. In 1938 he wrote the soundtrack of the film Senderos de Santa Fe and met showbiz figures such as composer Valdo Sciammarella and playwright Alberto Vaccarezza, who helped him become lead pianist with Francisco Canaro's orchestra in 1939. Mores left this orchestra in 1948 to form his own, which made its debut at the Presidente Alvear Theater. Pianist and conductor, Mariano Mores established himself as one of the leading tango performers.
Together with Enrique Santos Discépolo, he authored such classics as Uno, Sin palabras and Cafetín de Buenos Aires. Mores and José María Contursi wrote Tu piel de jazmín, Grisel and Cristal, he co-wrote La calesita and El patio de la morocha with Cátulo Castillo, Una lágrima tuya with Homero Manzi and, Cuartito Azul with Mario Battistella. Mariano Mores took part in several musical films together with such stars as Delia Garcés, Osvaldo Miranda, Virginia Luque and Hugo del Carril, he starred in the 1949 films Corrientes, calle de ensueños, La Doctora quiere tangos with Mirtha Legrand. For the 1953 film La voz de mi ciudad he composed one of his most remembered milongas, Taquito militar. In television he starred in series M ama a La familia Mores. Mores created the modern tango sextet and established himself as one of the leading figures of the Argentine popular music. Mores died on 13 April 2016 at the age of 98. Media related to Mariano Mores at Wikimedia Commons
William Edward Collins was a doctor and politician. His greatest sporting accomplishments were in rugby union. Collins played two games of first-class cricket for Wellington in the 1880s, he had played for Cheltenham College, had played against teams captained by WG Grace. AEJ Collins was his nephew, while his son David Collins played more than 50 first-class matches and his brother John Collins six. Away from sport, Collins was a notable medical doctor and surgeon in Wellington, having studied at the University of London. In WWI he was a Colonel in the New Zealand Medical Corps. While on the New Zealand Hospital Ship Maheno in 1915 serving in the Mediterranean he "raised hackles by denying nurses their officer status and deluding himself that he could command the ship’s commander, the master". Collins was appointed as a member of the New Zealand Legislative Council from 1907 and until he died. Wilson, James Oakley. New Zealand Parliamentary Record, 1840–1984. Wellington: V. R. Ward, Govt. Printer. P. 151.
OCLC 154283103. "William Collins WWI NZEF Personnel file". Archives New Zealand. "William Collins". The New Zealand Herald. 13 August 1934. "William Collins". The Evening Post. 11 August 1934. "William Collins". The Evening Post. 13 August 1934. "William Collins, tributes in Parliament". The Evening Post. 14 August 1934. William Collins at CricketArchive William Collins at ESPNcricinfo