"The Fall of the House of Usher" is a narrative short story by American writer Edgar Allan Poe, first published in 1839 in Burton's Gentleman's Magazine before being included in the collection Tales of the Grotesque and Arabesque in 1840. The short story is a work of gothic fiction and includes themes of madness, family and metaphysical identities; the story begins with the unnamed narrator arriving at the house of his friend, Roderick Usher, having received a letter from him in a distant part of the country complaining of an illness and asking for his help. As he arrives, the narrator notes a thin crack extending from the roof, down the front of the building and into the adjacent lake, it is revealed that Roderick's twin sister, Madeline, is ill and falls into cataleptic, deathlike trances. Roderick and Madeline are the only remaining members of the Usher family; the narrator is impressed with Roderick's paintings and attempts to cheer him by reading with him and listening to his improvised musical compositions on the guitar.
Roderick sings "The Haunted Palace" tells the narrator that he believes the house he lives in to be alive, that this sentience arises from the arrangement of the masonry and vegetation surrounding it. Further, Roderick believes. Roderick informs the narrator that his sister has died and insists that she be entombed for two weeks in the family tomb located in the house before being permanently buried; the narrator helps Roderick put the body in the tomb, notes that Madeline has rosy cheeks, as some do after death. They inter her, but over the next week both Roderick and the narrator find themselves becoming agitated for no apparent reason. A storm begins. Roderick comes to the narrator's bedroom, situated directly above the vault, throws open his window to the storm, he notices that the tarn surrounding the house seems to glow in the dark, as it glowed in Roderick Usher's paintings, although there is no lightning. The narrator attempts to calm Roderick by reading aloud The Mad Trist, a novel involving a knight named Ethelred who breaks into a hermit's dwelling in an attempt to escape an approaching storm, only to find a palace of gold guarded by a dragon.
He finds, hanging on the wall, a shield of shining brass on, written a legend: Who entereth herein, a conqueror hath bin. As the narrator reads of the knight's forcible entry into the dwelling and ripping sounds are heard somewhere in the house; when the dragon is described as shrieking as it dies, a shriek is heard, again within the house. As he relates the shield falling from off the wall, a reverberation and hollow, can be heard. Roderick becomes hysterical, exclaims that these sounds are being made by his sister, in fact alive when she was entombed. Additionally, Roderick somehow knew; the bedroom door is blown open to reveal Madeline standing there. She falls on both land on the floor as corpses; the narrator flees the house, and, as he does so, notices a flash of moonlight behind him which causes him to turn back, in time to see the moon shining through the widened crack. As he watches, the House of Usher splits in the fragments sink into the tarn. In "The Fall of the House of Usher", Poe's unnamed narrator is called to visit the House of Usher by Roderick Usher.
As his "best and only friend", Roderick asks that he visit. He is persuaded by Roderick's desperation for companionship. Though sympathetic and helpful, the narrator is continually made to be an outsider. From his perspective, the cautionary tale unfolds; the narrator exists as Roderick's audience, as the men are not well acquainted and Roderick is convinced of his impending demise. The narrator is drawn into Roderick's belief after being brought forth to witness the horrors and hauntings of the House of Usher. From his arrival, he notes the family's isolationist tendencies as well as the cryptic and special connection between Madeline and Roderick. Throughout the tale and her varying states of consciousness, Madeline ignores the Narrator's presence. After Roderick Usher claims that Madeline has died, he helps Usher place her in the underground vault despite noticing Madeline's flushed appearance. During one sleepless night, the Narrator reads aloud to Usher as sounds are heard throughout the mansion.
He witnesses Madeline's reemergence and the subsequent death of the twins and Roderick. The narrator is the only character to escape the House of Usher, which he views as it cracks and sinks into the tarn or mountain lake. Roderick Usher is the twin of one of the last living Ushers. Usher writes to his boyhood friend, about his illness; when the narrator arrives, he is startled to see Roderick's appearance is off-putting. He is described by the narrator:gray-white skin, and now the increase in this strangeness of his face had caused so great a change that I did not know him. The horrible white of his skin, the strange light in his eyes, surprised me and made me afraid, his hair had been allowed to grow, in its softness it did not fall around his face but seemed to lie upon the air. I could not with an effort, see in my friend the appearance of a simple human being. Roderick Usher is a recluse, he is unwell both physica
Lermontov is a town in Stavropol Krai, located on the mountainside of Beshtau. Population: 22,541 , it was named after Russian poet Mikhail Lermontov. It was granted town status in 1956. Uranium mining boosted its growth, it was a closed town during the Soviet era. Uranium is no longer mined. Within the framework of administrative divisions, it is, together with one rural locality, incorporated as the town of krai significance of Lermontov—an administrative unit with the status equal to that of the districts. By 2022 it is planned to unite the village Bervinovka; as a municipal division, the town of krai significance of Lermontov is incorporated as Lermontov Urban Okrug.. Правительство Ставропольского края. Постановление №63-п от 4 мая 2006 г. «Об утверждении реестра административно-территориальных единиц Ставропольского края», в ред. Постановления №75-п от 5 марта 2015 г. «О внесении изменения в пункт 47 Раздела II Реестра административно-территориальных единиц Ставропольского края, утверждённый Постановлением Правительства Ставропольского края от 04 мая 2006 г.
№63-п». Вступил в силу с 4 мая 2006 г.. Опубликован: "Сборник законов и других правовых актов Ставропольского края", №17, ст. 5609, 10 июля 2006 г.. Государственная Дума Ставропольского края. Закон №88-кз от 4 октября 2004 г. «О наделении муниципальных образований Ставропольского края статусом городского, сельского поселения, городского округа, муниципального района», в ред. Закона №51-кз от 28 мая 2015 г. «О преобразовании муниципальных образований, входящих в состав Минераловодского муниципального района Ставропольского края, и об организации местного самоуправления на территории Минераловодского района Ставропольского края». Вступил в силу со дня официального опубликования. Опубликован: "Ставропольская правда", №216, 6 октября 2004 г
Mind-wandering is the experience of thoughts not remaining on a single topic for a long period of time when people are engaged in an attention-demanding task. Mind-wandering tends to occur during driving and other activities where vigilance may be low. In these situations, people do not remember what happened in the surrounding environment because they are preoccupied with their thoughts; this is known as the decoupling hypothesis. Studies using event-related potentials have quantified the extent that mind-wandering reduces the cortical processing of the external environment; when thoughts are unrelated to the task at hand, the brain processes both task-relevant and unrelated sensory information in a less detailed manner. Mind-wandering appears to be a stable trait of a transient state. Studies have linked performance problems in daily life. Mind-wandering has been associated with possible car accidents. Mind-wandering is intimately linked to states of affect. Studies indicate that task-unrelated thoughts are common in people with depressed mood.
Mind-wandering occurs when a person is intoxicated via the consumption of alcohol. Studies have demonstrated a prospective bias to spontaneous thought because individuals tend to engage in more future than past related thoughts during mind-wandering; the default mode network is thought to be involved in mind-wandering and internally directed thought, although recent work has challenged this assumption. The history of mind-wandering research dates back to 18th century England. British philosophers struggled to determine whether mind-wandering occurred in the mind or if an outside source caused it. In 1921, Varendonck published The Psychology of Day-Dreams, in which he traced his "'trains of thoughts' to identify their origins, most irrelevant external influences". Wallas considered mind-wandering as an important aspect of his second stage of creative thought – incubation, it wasn't until the 1960s. John Antrobus and Jerome L. Singer developed a questionnaire and discussed the experience of mind-wandering.
This questionnaire, known as the Imaginal Processes Inventory, provides a trait measure of mind-wandering and it assesses the experience on three dimensions: how vivid the person's thoughts are, how many of those thoughts are guilt- or fear-based, how deep into the thought a person goes. As technology continues to develop, psychologists are starting to use functional magnetic resonance imaging to observe mind-wandering in the brain and reduce psychologists' reliance on verbal reports. Jonathan Smallwood and colleagues popularized mind-wandering using thought sampling and questionnaires. Mind-wandering is studied using experience sampling either retrospectively. One common paradigm within which to study mind-wandering is the SART task. In a SART task there are two categories of words. One of the categories are the target words. In each block of the task a word appears for about 300 ms, there will be a pause and another word; when a target word appears the participant hits a designated key. About 60% of the time after a target word a thought probe will appear to gauge whether thoughts were on task.
If participants were not engaged in the task they were experiencing task-unrelated thoughts, signifying mind-wandering. Another task to judge TUTs is the experience sampling method. Participants carry around a personal digital assistant. At the signal a questionnaire is provided; the questionnaire questions vary but can include: whether or not their minds had wandered at the time of the what state of control they had over their thoughts and about the content of their thoughts. Questions about context are asked to measure the level of attention necessary for the task. One process used was to give participants something to focus on and at different times ask them what they were thinking about; those who were not thinking about what was given to them were considered "wandering". Another process was to have participants keep a diary of their mind-wandering. Participants are asked to write a brief description of their mind-wandering and the time in which it happened; these methodologies are improvements on past methods.
Mind-wandering is important in understanding how the brain produces what William James called the train of thought and the stream of consciousness. This aspect of mind-wandering research is focused on understanding how the brain generates the spontaneous and unconstrained thoughts that are experienced when the mind wanders. One candidate neural mechanism for generating this aspect of experience is a network of regions in the frontal and parietal cortex known as the default network; this network of regions is active when participants are resting with their eyes closed suggesting a role in generating spontaneous internal thoughts. One controversial result is that periods of mind-wandering are associated with increased activation in both the default and executive system a result that implies that mind-wandering may be goal oriented, it is assumed that the default mode network is known to be involved during mind-wandering. The default mode network is active when a person is not focused on the outside world and the brain is at wakeful rest because experiences such as mind-wandering and daydreaming are common in this state.
It is active when the individual is thinking about others, thinking about themselves, remembering the past, planning for the future. However, recent studies show that signals
Allocasuarina is a genus of trees in the flowering plant family Casuarinaceae. They are endemic to Australia, occurring in the south. Like the related genus Casuarina, they are called sheoaks or she-oaks. Wilson and Johnson distinguish the two closely related genera and Allocasuarina on the basis of: Casuarina: the mature samaras being grey or yellow-brown, dull, they are trees or shrubs that are notable for their long, segmented branchlets that function as leaves. Formally termed cladodes, these branchlets somewhat resemble pine needles, although sheoaks are flowering plants; the leaves are reduced to minute scales encircling each joint. Fallen cladodes form a dense, soft mat beneath sheoaks, preventing the development of undergrowth and making sheoak woods remarkably quiet. Another characteristic feature are the spiny "cones", about the size of an acorn but with a texture more resembling a conifer cone. However, sheoak "cones" are a woody fruit. Male specimens bear no fruit and are sometimes colloquially referred to as a "heoak".
As with legumes, sheoak roots possess nodules containing symbiotic nitrogen fixing bacteria. However, sheoaks are much less bushfire-tolerant than eucalypts. Fossils of related species have been found dating back to the time of Gondwana; the hard wood and rich texture makes sheoak wood popular among wood-turners. Sheoak wood is regarded as an excellent firewood as it burns with little ash; because of its ability to grow and develop extensive root systems in poor or sandy soils, to cover the ground with its "needles", it is used to stabilise soils in erosion prone areas, or on sand dunes. Sheoak is used as an ornamental shrub, although for this purpose the mat of "needles" may become a nuisance and must be considered. She-Oak Woodland & Forest Research team from IRD working on Casuarinaceae
Bunny is the debut album by the American band Halo Circus. It was recorded at Little White Lotus Studios in Compton, California, 76 Steps Studios, California, Sphere Studio in Los Angeles and Hinge Studios, it was released June 23, 2016. Personnel include singer Allison Iraheta, bass player and producer Matthew Hager, guitarist Brian Stead and drummer Valerie Bellino; some music industry veterans collaborated with the group to fashion the final song list. Pop music icon Paul Williams co-wrote the ballad "Band Aid." John Taylor, member of the 80's era band Duran Duran co-wrote "Something Special." Argentine singer/producer/composer Claudia Brant is noted as a co-writer for "Yo Me Voy." The album features a cover of "Verdad" written and recorded by the Mexican singer Julieta Venegas. Regarding the album's title, Iraheta states that while writing songs she "was intrigued by the idea that bunnies are these little, beautiful, harmless creatures that are prey, they have cotton tails specifically designed for hawks to spot them.
There was something about being adorable and at the same time being a target that had my attention, the idea has kind of taken on a life of its own."The first single associated with the album was "Gone." Written as a response to Iraheta's being let go by her original record label, it was released on October 8, 2013. The Spanish version of the song, "Yo Me Voy", is the B-side of the single; the album has been nominated including Best Rock Band. Popdust listed the song "Band Aid" as one of the best songs of 2016 and said "This revolutionary track is striking, as Iraheta's cutting lead vocal frames love songs around larger world issues and the electric guitars and drums act represent the pulse inside our chests." Los Angeles Magazine describes the band's sound as "Dark, anthemic rock with a knack for soaring hooks." Critic Saeli Eshelman said the album covers a wide variety of genres and languages, further stating that "Bunny is most impressive and successful due to the skill and passion required to deftly traverse these varying styles".
Rock NYC reports "At a time when walls and barriers absurdly and shamefully are becoming fashionable again, Allison Iraheta and Halo Circus’ new album wants to break down borders and set you free, thanks to a series of panoramic pop-rock songs and their singer’s impressive vocals." In December 2016, "Bunny" was chosen as one of the best albums of 2016 by AXS music. "He Promises the Moon" – 0:50 "Nothing at All" – 4:18 "All I Have" – 3:24 "Desire" – 4:29 "Far from Eden" – 0:56 "Yo Me Voy" – 4:10 "Verdad" – 3:58 "Guns in Our Hands" – 5:41 "Band Aid" – 5:07 "Out of Love" – 5:02 "You Can't Take You Away from Me" – 4:19 "Dawn" – 0:38 "Something Special" - 5:38 The album was released as a Faux Curio rabbit's paw with a thumb drive. This included a bonus track. "Hello Love" - 4:20 Allison Iraheta – Vocals Matthew Hager – Bass and keyboards Brian Stead – Guitars Veronica Bellino – DrumsAdditional musicians: Gee Rabe – Accordion David Immerman – Additional guitars Julie Rogers – Violin Ginger Murphy – Cello Kevin Richard – Percussion Victory Mori – Classical guitar on "Guns in Our Hands" Janeen Rae Heller – Musical saw on "Guns in Our Hands"String arrangements by Matthew Hager except "Guns in Our Hands" by Matthew Hager and Julie Rogers Matthew Hager – producer Craig Bauer – mixing Eric Boulanger – mastering Halo Circus Official Site
Ilija Dimoski is a Macedonian football manager and former player. He is nicknamed "Majstorot", he played a total of 790 games, 249 with FK Pobeda and 541 with FK Radnički Niš, despite being a full-back, he scored 74 goals, 17 for Pobeda and 57 for Radnički. He was an offensive full-back who often participated in the attack, something of an avangard for the football of the 1960s and 1970s, he was the main penalty-shoot taker in the clubs he played missing. However, he entered in the history of Yugoslav football because of the high number of own-goals he scored, 8, one with Pobeda and seven with Radnički, he was well known by his strong shots, which he executed with the out side of the foot. He was known as a right full-back, during his 13-years long career with Radnički he played in every position except as goalkeeper, but in 1957 on one acasion he played as goalkeeper, while he was still playing with Pobeda. Born in Prilep, Vardarska banovina, Kingdom of Yugoslavia, he played as right full-back with local side FK Pobeda between 1957 and 1961.
When he started playing Pobeda was playing in third level, but in 1959 they got promoted to the Yugoslav Second League. In 1961 he was signed by Serbian side FK Radnički Niš. However, Dimovski will play with Radnički only one more season in Yugslav second level, since Radnički was an ambitious team and achieved promotion to the Yugoslav First League after just one season since Dimovski joined the club, it was the start of a major rise of Radnički and the beginning of a period of over two decades in which Radnički became among the most stable Yugoslav clubs. Dimovski stayed in the club 13 years; when he finished his spell with Radnički in 1974, the club direction nominated him as the main coach, however only three days Đorđe Kačunković replaced him, so Dimovski entered Yugoslav football history as the coach with the shortest spell in a club. In 1974, he had a short spell with lower-level side FK Proleter Novi Sad. After retiring, Dimovski became a coach, he became assistant manager of Kučunković at Radnički Niš, help the club win its first major international trophy, the 1974 Balkans Cup.
He will lead Radnički Niš as main coach to their maximal achievement in Europe, taking them to the semi-finals of the 1981–82 UEFA Cup. After coaching Radnički Niš, he coached FK Vardar, FK Pobeda, FK Pelister, FK Osogovo, FK Rabotnički, FK Napredok, FK Bregalnica Delčevo, FK Priština, FK Radnički Pirot, etc, he coached in Australia, Footscray JUST in 1989