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As a matter of fact, it is around religious beliefs and practicesslametans, holidays, curing, sorcery, cult groups, and so on-that the most seriously disruptive events seem to cluster. Religion here is somehow the center and source of stress, not merely the reflection of stress elsewhere in the society. Yet it is not a source of stress because commitment to the inherited patterns of belief and ritual has been weakened. The conflict around Paidjan's death took place simply because all the kampong residents did share a common, highly integrated, cultural tradition concerning funerals. There was no argument over whether the slametan pattern was the correct ritual, whether the neighbors were obligated to attend, or whether the supernatural concepts upon which the ritual is based were valid ones. For both santris and abangans in the kampongs, the slametan maintains its force as a genuine sacred symbol; it still provides a meaningful framework for facing death-for most people the only meaningful framework. The social structural forms in which they participa j 173 Ritual and Social Change: A Javanese Example are for the most part urban ones. But on the cultural level-the level of meaning-there is much less of a contrast between the kampong dweller and the villager; much more between him and a member of the urban elite. The patterns of belief, expression, and value to which the kampong man is committed-his world view, ethos, ethic, or whatever-differ only slightly from those followed by the villager. Amid a radically more complex social environment, he clings noticeably to the symbols which guided him or his parents through life in rural society. And it is this fact which gave rise to the psychological and social tension surrounding Paidjan's funeral. The disorganization of the ritual resulted from a basic ambiguity in the meaning of the rite for those who participated in it. Most simply stated, this ambiguity lay in the fact that the symbols which compose the slametan had both religious and political significance, were charged with both sacred and profane import. The people who came into Karman's yard, including Karman himself, were not sure whether they were engaged in a sacralized consideration of first and last things or in a secular struggle for power.

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Given we last saw him surrounded by the faith militant last episode, it's probably a reference to him. That or jon snow leaving the nightswatch, it's 1 of those 2. They'll probably have a wink to the fact in the show though. Dosh khaleen is the council of widows of past khals. After her husband, khal Drogo died, she should have been taken there but she went out on her own expedition instead. I think it will either be most likely Daario Naharis or, might even be Missandei(! , who is leading the harpies. This would make them a traitor to the queen, and hence an oathbreaker. Smalljon Umber will hand deliver Rickon to Ramsay. And Ned Stark failed at whatever she asked him. (to keep Jon Snow safe, I think). He wasn't present at the Twins for the Red Wedding in the tv series, so he's not in a position to be held hostage forcing his families alliance with the Boltons. Remember, Stannis offered to release Jon Snow from his oath to take up a position of responsibility. But Jon declines because of a want to stay with his brothers because he believes its the right thing to do.


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I think you can read Frank Miller’s work as representative of his political views, for example, which you may start to interpret as political propaganda. (That’s what I pulled from Alan Moore’s reaction. . It’s obviously true in performance art, but something like dead trees or electrons across silicon, it seems less so. I’ve been begging to put it back up for ages, so I was relieved when his dissertation was finally published. Of course the creator of a work is found in their creation. Of course that’s not the only possible interpretation or perhaps even the most interesting one. As you can probably figure out from our discussion on Tap earlier, authorial intent is always a matter of interest to me. Many of the rules are going to require reevaluation, or at least new perspectives. If a modern reader finds Shakespeare difficult to understand, is Shakespeare therefore less art for it. Or is the entire medium of the stage play not art at all because older ones can be harder to appreciate. His or her intent may also be front and center or utterly minimalist. But ultimately what a consumer of art takes away from a piece is up to the consumer, the author can only influence, not dictate. If the consumer gets it wrong, or doesn’t get it at all, well, maybe that reflects on the art, maybe on the consumer; who knows.


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. in Law and Diplomacy, Fletcher School of Law and Diplomacy, Tufts University, USA. 2000-2005 L. . (Hons), University of Barcelona, Spain. 1992-2000 High School, German School of Barcelona, Spain. My project aims to explore how should EU law respond to pro-secession and territorial challenges. Since the position of the United Kingdom after Brexit negotiations is still highly unclear, the legal discussion around this type of territorial debates is not only relevant for Spain, but also for the UK. Paul Craig, who is one of the world leading experts on EU law, is an invaluable asset of this project. Feb-Jul 2014: External internship at the department of physiology at the University of Valencia. Oct-Jul 2015: External internship in the Neuronal and Tissue Regeneration laboratory at the Principe Felipe Research Center (Valencia, Spain). One of the most promising new avenues of treatment is to combine axon growth-promoting and tissue- engineering strategies to create a permissive and encouraging environment for injured spinal nerve processes to regrow. Our proposal consists in combining a novel hydrogel that works as a scaffold and is capable to deliver locally Epac 2 agonist that regulates intrinsic pathways boosting neurite growth. Promising results have been achieved using different models in vitro, such as primary cell cultures, and in a recently established Ex vivo model for SCI.


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I tried making myself write every day, but that just made me negative and resentful of the work. What works for me now is trying to be open to inspiration and writing ideas down whenever they come. Then making time to flesh those ideas out, booking it into the diary. Recording music involves other people and generally money, so there s an incentive there to be as efficient as possible. I made a lot of my album and new EP with my guitarist and producer Josh Teicher in our home studio, and collaborating with others requires a different type of discipline, balancing each other s schedules and time constraints. Getting out there and playing is the easy bit, for me. What was it that encouraged you to take that step out of your lounge room to the stage. Georgia: After high school I floated a bit; I was raised in a musical family and I knew that I wanted to sing professionally, but I didn t know how to get started. In my early 20s bought a round-the-world ticket and travelled through South America, Central America and Europe, eventually settling in London where I got a job in the corporate world to pay off some credit card debt. There was this defining moment in that job, when one of the directors who I had been working with for six months forgot my name and called me sweetie. It was like a light bulb went off I thought, what the hell am I doing here. I booked my flight home immediately and threw myself into songwriting and performing back in Melbourne, connecting again with the musicians I knew here. What experience do you want your audiences to have. Quite different music, but both concerts left me feeling energised, ecstatic and empowered.