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British abolished the position of Peshwa and Marathas were limited to the small kingdom of Satara. Between 1814 to 1826 British had to fight many wars against Gurkhas in the North and Burmese in the North East. After several losses and some gains British signed peace treaties with Gurkhas of Nepal and Burmese. During the period of 1817-1818 British had to fight against non-traditional armies of Pindaris, who used to plunder British territory. During this period in the North West region of Punjab the Sikh power was growing and Maharaja Ranjit Singh (1780-1839) of Punjab became very powerful. British already had their hands full with problems in different part of India. So in 1838 they made a peace treaty with Ranjit Singh. During the same year there was a big famine in north-west India that killed nearly a million people. But after Ranjit Singh’s death there was infighting amongst Sikhs. British tried to take advantage of this and First Anglo - Sikh war started in 1845. Battle of Mudki and Ferozshah (1845) saw heavy fighting between British and Sikhs. Sikhs were defeated due to the treachery of their generals. The final battle of Sobraon on February 10, 1846 proved decisive where Sikhs again lost due to the betrayal of their generals. The British were able to capture most of India after defeating Sikhs in 1849 in Second Anglo - Sikh War. The year 1853 stands out to be a landmark year in modern Indian history as the first Railway opened from Bombay to Thane and first Telegraph line from Calcutta to Agra was started.

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It must mean something more, as it is too obvious and would be to the writers as well. I fee like I was so nervous and anxious that inwasnt fully focused For example I probably would enjoy meereen even MORE because I was so stressed the first time around about Jon and co. Characters making wrong decisions are NOT plot holes. According to the producers and director, by releasing Rickon, Ramsay wanted to lure Jon (and his army) on the open field, so he could crush them with cavalry. We didn’t see as much of him as the munching Tormund, for sure, but he was there. He became famous for his reviews of the Wire, which were pretty decent, but they were also almost the only ones online while the show aired. The women were few and those few were such stereotypes it was almost painful. Jon trying to rescue Rickon was wrong tactically but completely understandable. Ramsay passing up a golden chance to kill Jon is not. Nothing about Ramsay’s character would cause him to turn such an opportunity down. Ramsay can just sit there and preen, waiting for Jon’s forces to charge or go home. However, if nothing ill befalls the Freys, there was no need for that scene to be included. Something will happen, and it will be bad for the Freys. The casting called asked for a fat nobleman who changes allegiances with a stirring speech. Killing all Freys will be easy if she simply poison the food.

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All the commas bear down, tractions of the advancing bellyplate; every entity or phenomena met along the way is added to the charter. What’s involved is ’a picture, removed from empire,’ an urgent communique, a chronicle as long as the longest serpent. In poems that slither in spiritual migration towards unity, Harrison becomes the visionary poet of the Anthropocene, the poet we need for the other side of our age. — Carmen Gimenez Smith. He edits the Bronze Skull Press chapbook series and is also a visual artist. With a mission statement provided by an artist’s corporation, to a poem about corpses, and an essay about how Billy the Kid changed American mythology, these works emphasize the strange and residual power of material bodies, distorted and skewed through representation. It is produced in conjunction with a group exhibition of the same name. Caroline Picard’s opening essay takes the image of bodies left on Mt Everest as a way into our sense (or refusal) of a collective body—composed, as it must be of new (new) corpses. The book attests to the link between such otherwise banal human activity: that of losing and saving and losing again. Each contribution becomes a moment for art-making, a chance (as is climbing past the corpse named Green Boots) to mark our own finitude in the very moment of striving. Matthew Goulish, Lin Hixson and Fo Wilson consider the relationship between the human and the non-human, the body in performance as the anti-Idea, or, indeed, encumbrance— here the new corpse becomes a way to break out of a crisis in representation. It is an incredibly generous gift to anyone open to receiving it, this space in which rigorous poetic logic prevails. Whether it’s by troubling my assumed understandings of something, or drawing connections I hadn’t previously recognized, the immersive engagement they consistently bring to their projects makes my mind quicken and my spirit deepen. Disciplines cohabit, objects and events, each thing remaining itself while simultaneously transformed by its proximity to others. Poems, essays, lists and images together aim to show us how to live in a world of objects and how to describe living in a world of objects, how the material and the spirit inform and warp each other.

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Now Rogo may think that “beautiful son of a bitch” was some kind of Christ figure. It spins through your brain like those Alice in Wonderland passengers rolling through the ball room in loud clothing with confetti and pianos flying everywhere. It manages to be both mind-numbing and invigorating, inane and inspiring. What you might need on a day before the morning after. The importance of wrapping paper and colors and tinsel and. Focusing on those damn drapes, something to prettify a room, to obscure outsider view, to showcase taste, it is also a focus that could create anxiety and depression. It also works to detract a person from their actual problems. I’m fine! It’s the drapes. In The Cobweb, swatches of vivid drapery fabric sitting on a table between two characters, indeed just the word “swatch,” has never felt so lacerating and intense. Whenever Gloria Grahame holds a swatch in her hand or tosses it on the bed, I get nervous. It’s not crazy to think this material would attract Minnelli. As Mark Griffin wrote in “A Hundred or More Hidden Things: The Life and Films of Vincente Minnelli”. Folsey, a 12-tone score by Leonard Rosenman), with a cast that’s so star-heavy, you expect an Irwin Allen earthquake to shake up such icons. Before dying I want to see some red and some green.

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e, both look forward to a time when their contemporary expressions will share a presence with their audience so completely that the poets’ speech will become the audience’s internal monologue. Merleau-Ponty, whom Schwartz had met brie? , o? rs a strikingly similar account of the way that the right word gives the body “a maximal grip” on its present. 9 Merleau-Ponty o? rs the example of someone walking into a dimly lit room, touching an unknown object, and, upon speaking its name (“a comb”), becoming instantly able to make much-increased sense of his or her surroundings. Second-generation Jewish readers especially heard “a voice that seemed our own, though it had never really existed until Schwartz invented it” (Howe, ix). Schwartz’s second wife, Elizabeth Pollet, on the other hand, comments that she was struck, in the journal entries that she collected for her Portrait of Delmore, “with what is not present” to the act of remembrance. She tries to share her intuition of the Delmore Schwartz that she knew, situated in a past somewhere yet further beyond what he wrote, and can only draw from this feeling of incompleteness a sense of “the impossibilities, ? ally, of language to render life. 42 These two antithetical notions of time, “shattered” and “accretive,” combine to in? ct the history of Schwartz’s reception. As testimony to the strange times (and time frames) that Schwartz embodied, he is read as both a poet who gave voice to his generation and as an excessively ambitious poet, trying to force together a series of disconnected cultural and personal memories. What led him to construct this kind of place for himself was his own structurally parallel experience of time. Toward documenting multiple pasts and unveiling a new epic sensibility, Schwartz was guided by two impulses, as we shall now see: the split consciousness of time that was embedded in the history suggested by his own name, and his experience of life in the contemporary metropolis.