Patrick Chappatte is a son of the world: born in Karachi in 1967 by Lebanese mother and Swiss father, grew up in Singapore and Switzerland. Does the cartoonist and illustrator: he worked for the New York Times and Newsweek. Now designing for the French language Swiss newspaper Le Temps and the German-speaking Neue Zürcher Zeitung and finally to the 'International Herald Tribune . A business card is quite respectable. I know his work thanks to weekly International : often the last page (the one reserved for cartoons taken from newspapers around the world) is offered one of his biting " designed editorial." In number 886 this week, the newspaper directed by John De Mauro highlights even more the talent of Swiss-Lebanese cartoonist, and attach a mo 'to insert consists of 3 large pages, its own comic reportage. The theme of the book Graphic Journalism is, once again, the Tunisian revolution: after the effective coverage of last week to work Othman Selmi (hence I mentioned here ) Chappatte realizes his correspondence going in person in the cities of south-central Tunisia, where la rivoluzione è iniziata. Lo stile è simile a quello di Joe Sacco : Chappatte fa parlare direttamente i protagonisti, esponenti dell'opposizione e semplici cittadini, che non vedono l'ora di raccontare i loro problemi al mondo dopo 23 anni di silenzio imposto dalle autorità.
Disegno di Chappatte
La voglia di libertà, di democrazia, di una società giusta e non corrotta emerge chiaramente dalle parole dei giovani, che sono per lo più disoccupati e che hanno cercato spesso fortuna imbarcandosi in una bagnarola alla volta dell'Italia.
Disegno di Chappatte
Curiosando sul sito di Chappatte ho scoperto poi che questo reportage è solo l'ultimo di una lunga serie: Nairobi, Ossezia, Gaza, Giappone, Libano, Iran sono solo alcuni dei teatri del mondo visitati dal nostro cartoonist.
Disegno di Chappatte
L'intero reportage sulla Tunisia lo potete trovare, in lingua francese, sul sito del quotidiano Le Temps in questa pagina , oppure, naturalmente in italiano, acquistando International this week. A quick final thought: why we need to go looking for foreign newspapers to find a comic book journalism, while our own La Repubblica, Il Corriere della Sera and La Stampa, to name just the most common, do not know what the Nenci Graphic Journalism term or, if you know it, ignore it beautiful? Maybe not even imagine the potential of information and in-depth (leaving aside the artistic value) that may have made a report through the comics. You probably do not consider him worthy of being published alongside articles written.
"If I want to try is pushing the sails to lands not yet discovered, if it is a pleasure in the pleasure of flying, if you ever cried jubilantly: 'The coast disappeared' - that's also my last chain is fall - the never-Mucchia around me, far away there shines for me space and time, come on! Come on! old heart. " (F. Nietzsche)
I mention this only now, after a year of opening the blog: I realized that it did not even have a post dedicated to Julia, one of my favorite comics, written by Giancarlo Berardi and published by Sergio Bonelli Editore . Yet it is a book that takes me by now since October 1998 when the author's publisher Ken Parker returned from Milan with a new character. I mention this now because the number came out on newsstands in February, entitled The hands of fate , is a small masterpiece. It 's a kind of history in which Berardi a master, and that I admired so many times reading the saga of Long Rifle. This is one of those stories where the protagonist is the character which is dedicated to the series, but appear on the scene of a group of people which tells a piece of life. In other words it is a choral history, where Julia is one among many. Berardi reveals the stories of ordinary people dosing with balance and rhythm to the space devoted to each of them. There is a soundtrack, as often happens in the stories of Julia, as a backdrop to the events of the common people: in this case is that of a small town radio station on which the radios are tuned to the environments in which players move . There is a morning rainy like many others, in a city like many others. There's the people who go to work by subway, bus strike there, the blocked traffic. Scenes of everyday urban life. The fates intersect tragically in a post office, another very common public place, in which the protagonists are elbow to elbow to make the queue at the desk or in the offices behind them.
Julia 149 - The hands of fate. Written by: Berardi / sock. Drawings: Small
There is also space for a lecture at the university in which Julia, exposing differences between Freud and Jung, we take this opportunity to explain to his students what are the tools that a criminologist uses in its investigations, as profile analysis of psychological and environmental context. "Symbols, dreams, libido, unconscious. This is the universe of those who kill, which leads to the extreme what is inside us ..." These words spoken by Julia is the key and core of the entire series. Berardi, through his character, speaks of the uneasiness that pervades the men and women living in contemporary society. That mental illness that leads some among us to make criminal acts which cause injury, damage and death others. The dark side in everyone of us are told without moralizing: Julia he meets along the way of monsters and madmen, often as the chronicles are quick to define the perpetrators of heinous acts meccansimo more for a psychological defense for real analysis of the facts. Julia deals with people who act for many reasons so awful and tries to put them to face their responsibilities. And this happens even in the post office in Garden City, where Julia comes face to face with a woman who hates herself much more of his victims. Assisted in the screenplay by Lorenzo Calza and trust for the excellent drawings Claudio Small , Giancarlo Berardi gives us a little gioiello a fumetti. L'aspetto straordinario è che non è un fatto isolato: Julia è l'esempio di come un fumetto seriale possa raggiungere degli standard elevati di qualità pur sottostando all'incombenza temporale dell'uscita mensile. Come ha fatto con Ken, anche con Julia Berardi riesce a raccontare delle storie in cui prevale l'umanità dei personaggi, e lo fa con quella sensibilità, cura e attenzione che i suoi lettori gli riconoscono ormai da molti anni. L'aspetto però che più rincuora, come testimoniano le lettere pubblicate nella rubrica della posta Il Diario di Julia , è vedere come sempre nuovi e giovani lettori vengano conquistati dal personaggio. E questa è senz'altro un'ottima notizia.
Chiunque si avvicini al mondo dell’usato, sia esso venditore o compratore, si pone subito la prima drammatica domanda: “ma qual è il prezzo giusto?”.
A che prezzo devo mettere in vendita la mia barca?
Quale offerta devo fare per non esagerare al ribasso ma neanche farmi prendere per un fesso?
an illuminating article in the old Captain Basile!
"Twice the route, three times as long, four times the itch"
Reach by starting point the point of arrival as soon as possible: this is, of course, the key criterion in choosing the route of each type of boat that is going to take a navigation.
Nella navigazione a motore è in genere una scelta relativamente semplice: si traccia la rotta di minor percorso, normalmente costituita da una spezzata di lossodromie, e si cerca di seguirla accuratamente alla velocità consentita dalla potenza del motore e dallo stato del mare. Si è così ragionevolmente sicuri di arrivare a destinazione nel minor tempo possibile. Si può dire quindi che nella navigazione a motore la rotta di minor tempo normalmente coincide con quella di minor percorso.
Quest’affermazione è tutt’altro che vera nella navigazione a vela, indissolubilmente legata alla direzione e forza del vento, e più influenzata dalle correnti marine, considerato il fatto che la velocità media del veliero è inferiore a quella dell’imbarcazione a motore. Per cominciare, esiste un settore dei 360° dell’orizzonte, a cavallo della direzione di provenienza del vento, assolutamente vietato al veliero. L’ampiezza di questo settore è determinata dalle due rotte che il veliero riesce a seguire stringendo al massimo il vento sui due bordi, e varia in maniera molto considerevole in funzione delle caratteristiche del veliero oltre che delle condizioni del vento e del mare. Mentre per la Vespucci , per fare un esempio, il settore vietato è dell’ordine dei 150° nelle migliori condizioni, per una moderna imbarcazione da regata può reduced to about seventy degrees. Leaving aside the extreme cases, we can say that a pleasure craft "honest" the prohibited area is a hundred degrees, or more than one quarter of the arc of the horizon.
If the point of arrival is included in this field should make the best of a bad lot and take the pace of close-hauled, choosing the edge that comes close most of the route of least path (Fig. 1).
fig.1
And while you begin to adapt to the idea of \u200b\u200btacking, which often results in a somewhat uncomfortable navigation ( Twice the route, three times as long, four times the itch : this was defined as the tacking by the sailors of past generations!). While sailing upwind, the prudent skipper will begin to make some observations and to raise issues. If you follow a pace very close, with the sheets up to shit, yes it is true that the bow closer to see what he wants, but it is also true that it will hardly be satisfied with the speed I can get. Puggiando of 5 °, the sheets a little spinning speed improvements. Puggiando other 5 th the speed continues to improve, but the bow still deviates from the goal and the path as a result of stretching (Fig. 2).
fig.2
What then is the best compromise between speed and bow? The experienced skipper who knows his boat and knows how to bring the best will always think of this dilemma. His "uncertainty range" is, however, much smaller di quello del principiante, il quale tuttavia farebbe bene a studiare attentamente questa faccenda, se desidera salire di qualità più rapidamente.
La VMG
VMG in inglese sta per “Velocity Made Good”, che tradotto alla lettera sarebbe “velocità fatta buona”. VMG è un termine ormai entrato stabilmente nel mondo della vela, come tanti altri di origine anglosassone, e bisogna tenerselo, anche perché il termine corrispettivo italiano pare che non sia mai esistito. La si potrebbe chiamare “Velocità utile” o “Velocità di avvicinamento”, in quanto la VMG altro non è che la componente utile della velocità. Se si fa rotta diretta da A a B, la VMG coincide con la velocità dell’imbarcazione. Se invece la rotta si discosta di un certo angolo dalla congiungente AB, la VMG risulta minore della velocità istantanea: tanto minore quanto maggiore è l’angolo di scostamento dalla congiungente AB, fino ad annullarsi quando quest’angolo è di 90°. Graficamente la VMG si trova facilmente (Fig. 3).
fig.3
Just draw a line joining the ship between A and point B arrival, the route actually held and the current speed, measured on a scale as desired. Projecting the velocity on the line joining AB, we obtain the VMG, which is measured with the same scale as the first choice. In the case of Figure 3, the boat speed is 4 knots. The resulting VMG of 3.6 knots. This means that at that time the approach speed at B is 3.6 knots. Sailing is this speed that counts, and choosing the shortest route must be made with the primary purpose of ensuring that the VMG at all times is the maximum possible. For those who remember the basics of trigonometry, la VMG non è che il coseno dell’angolo di scostamento dalla rotta diretta, moltiplicato per la velocità istantanea. Con i calcolatori digitali è facilissimo trovarla. Nel caso di Fig. 3, l’angolo di scostamento è di 26° e la velocità di 4 nodi. La VMG risulta, col calcolatorino, di 3,59 ... nodi, contro i 3,6 trovati graficamente. Disponendo del calcolatore, quindi, non è necessario fare operazioni grafiche. Basta sapere la rotta che si dovrebbe tenere, quella che invece si sta mantenendo, e farne la differenza, che è l’angolo di scostamento. Il coseno di quest’angolo per la velocità istantanea dell’imbarcazione è la VMG. I tasti da spingere sul calcolatorino sono in successione: 26 °, cos, X, 4 = Returning to Figure 2, knowing what hours and how is the VMG, it's easy to establish that in the particular case, the most convenient route is 45 ° from the wind , which corresponds to the highest VMG (Fig. 4).
fig.4
In practice, when going to windward, all this does not work: she does instinctively that the helmsman with a sensitivity that has gained with practice. He means "hear" what is the best compromise between the bow and speed and will try to keep this the best compromise. In other words, keep the VMG around the maximum value, consistent with prevailing conditions. Going on board with the port tack to get from A to B, all of a sudden you will have to tack. When? To answer this question is worth considering that the VMG, as it proceeds to the port tack, it is increasingly diminishing. This is due to the fact that 'angle between the actual route, which we assume constant, and the joining point of arrival, ship-to-point is gradually increasing (Fig. 5).
fig.5
When this joining (A'B in the drawing) will be oriented exactly upwind, the VMG will be the same on both sides. From that moment on, begin to be more favorable than the other edge. To maintain the maximum VMG would then need to veer all the time. But every viramento lose speed, then you need to recover prudently, so we will go on for a while '. A good rule is to turn when joining A'B is rotated by 5 °, after passing the wind direction (Fig. 6).
fig.6
Ciò porta alla tecnica del bordeggio entro un settore di 10°, col vertice sul punto di arrivo B e con la bisettrice coincidente con la direzione di provenienza del vento (Fig. 7).
fig.7
Con questa tecnica ci si garantisce dagli effetti di un salto di vento, sempre possibile, se non addirittura probabile. Effetti che talvolta possono essere benefici, talvolta invece nefasti. In realtà, se si fosse sicuri che il vento si mantenesse constant in direction and intensity throughout the area affected by tacking, it would be worthwhile to carry out many of viramenti board long enough to pull a tack board to either the left or straight, and turn when you are in a position to reach B along with another board. But this rarely happens, even in races in a triangle, where the routes are relatively short and times of a few hours only. In practice, the wind sometimes scarce, sometimes gives good. For example, if, after a hypothetical border along with the port tack (Fig. 8) the wind was running about forty degrees counterclockwise, at the time of turn would be coming straight from the goal and you should start to tack.
If he had remained in tack in the field of 10 °, the turning of the wind could be achieved with one B edge.
fig.8
In summary, having to tack from A to B you should: 1. Choose the board closest to B. 2. Continue on the board until the detection of B exceeds 5 ° wind direction. 3. Tack, and if the wind turns, start over from step 1. If, however, remains constant, continue in turn as described in Section 2. 4. When you are close enough to B, that in view of the goal and no more than a quarter of a mile, continue on a board, leaving off the field (Fig. 7), turning when the angle between the bow and the detection of B is twice what the boat is able to forge with the true wind (not to be confused with the apparent wind, which is shown to the flag at the masthead or ribbons tied to the shrouds). To find out what holds the boat, just take note of the compass heading on the two sides and divide by two the difference. This is also the most practical way to ensure true wind direction. An old rule said to veer when the goal was abeam, or a little 'abaft the beam. The boats average now shaking a little more, so by adopting the old rule then you may want to puggiare to the point of arrival. This is not a bad thing, but the sailors are well aware of how much progress may be lost!
The tacking downwind
The pace in the stern is not the fastest. This is particularly true as the wind is light. The beginner realizes that the rate increases considerably when dall'andatura aft luff is full of only twenty degrees. The reason is that the apparent wind, the minimum intensity nell'andatura in the stern increases immediately luffing and, what is more important, visibly rotates more than was barley. This greatly enhances the aerodynamic efficiency of the sails. Having to go from A to B with the wind in its sails, it is thus said to be the direct route that will get to B in the shortest possible time. This will only happen if the wind is strong enough to keep his boat maximum speed. In medium wind conditions, light winds and even more, you'll always luff for a route, the wind, making walking the boat much better. Even in this case the pilot will be plagued by doubt: "If barley go faster, but then I have to jibe, and then a path higher. Should I? And what should I luff? "Here the considerations on the VMG are easier to implement than in tacking upwind, where the sensitivity of the helmsman to play the role. It should however have a speed sensor as well as the compass. Starting from the wind in their sails luff of just 5 ° 5 °, each time waiting for the speed stabilizes, and take notice. During these tests is to govern well the compass, taking care to keep the bow steady as possible for as long as is necessary to stabilize the speed. A simple graph, like that of Fig 9, or an even simpler operation with calcolatorino electronically immediately clear which of the four or five experimental routes allows greater VMG, and it is soon given the quickest route, although longer direct one.
fig.9
Wanting to get things done "so much per pound, luffs is about fifteen degrees with average wind, and up to about thirty degrees with light winds. If the wind is light you can also head up to 40-45 °. Suddenly he will present the question of when to jibe. The concept is simple: it is weird when, taking the wind on the other tack, under the same angle, you also have the bow on B. In practice, this occurs when the angle between the heading and the direction of B (which is the detection of polar B) becomes twice the angle between the stern and the true wind direction (Fig. 10).
fig.10
This can be appreciated by eye with a fair approximation, watching the small ripples in the wind drawing on the surface of the waves. While these do not always have the same forward direction of the wind, the ripples are always perpendicular to the wind itself. The detection of polar B can be appreciated by eye. The portable detector, however, is far more accurate than the naked eye. To use it properly need to get their reading of the compass when you take the survey. The difference between the two values \u200b\u200bis the polar tracking. Also to appreciate the true wind direction can help you with the portable detector, pointing in the direction perpendicular to ripples. If the wind is not exactly in the stern, you will choose the first edge closer and closer to B, and antics following the simple rules shown earlier (Fig. 11).
fig.11
Finally, if the wind shifts, it is necessary to jibe once, or continue on the same tack depending on how it runs, in order to maintain VMG always to the highest available. In practice, when the wind gives puggia little weird, and when he gives you good. Everything that is independent of the presence of current knowledge and more or less reliable of the local winds, for example, knowing that there is a high probability that the wind speed at a certain point in a certain way, or the current could influence, may well be a convenient start tacking in both bow and stern in, starting with the negative edge. These are the cards that play the competitors. However, considering that local practices, rather than the fate groped should certainly follow the rule of trying to approach the goal with the best VMG.
(and even passionate reading .. and reading in the original language ...)
Thereat suculente 2 - because beautiful pages full of free-preview unearthed on Google books: Island Packet, C & C, Endeavour, Morgan, Valiant, Pearson, Tartan and sisters at will: enjoy!
Due tavole a fumetti possono descrivere efficacemente una rivoluzione? Sì, se a farlo è Othman Selmi , giovane illustratore e fumettista tunisino, i cui disegni sono pubblicati questa settimana dalla rivista Internazionale , nella sempre interessante rubrica Graphic journalism . La rivoluzione raccontata attraverso il linguaggio delle nuvole parlanti è quella che ha trasformato il paese dell'autore nell'ultimo mese, aldilà di ogni previsione degli occidentali, contagiando poi il vicino Egitto e, in queste ore, la Libia e il Bahrein. Personalmente, ho capito molto di più di ciò che è accaduto reportage from the north African country of Othman Selmi, not many newspapers and TV news in our house. Here are two tables of the cartoonist, dominated by warm colors which go from the red flag of Tunisia.
drawings Othman Selmi, 885 of the International from February 18, 2011
drawings Othman Selmi, 18 to 885 of the International February 2011
The cover of the current number of International is dedicated to the two revolutions that have changed the history of Tunisia and Egypt. Inside there are, in addition to Article Chart Othman Selmi, interesting writings Olivier Roy, Rashid Ahmed, Amira Hass and Slavoj Žižek .
to these things, inspired by a yearning for freedom and secular justice, the Slovenian philosopher writes The Guardian, reported in the journal:
"... When a system authoritarian approaches the final crisis, its dissolution, as a rule, follows two phases. Before the real collapse, there is a mysterious break: a sudden people realize that the game is over, simply no longer afraid. Not only is the system loses its legitimacy, but his own exercise of power is perceived as an impotent reaction to panic. In a scene typical of cartoons, a character reaches a cliff but contnua to walk, as if the earth under your feet again. Begins to fall when slo looks down and sees the abyss. When he loses his authority. It is as if the regime was on the precipice to drop it, you just remind him to look down ...."
E 'was repeated before a parliamentary committee and Barack Obama of Illinois, then governor of the state. This was not the slightest touch and repeatedly voted against the Born Alive Infanct Protection Act, the law that protects babies born alive after an attempted abortion.
*** worked for a year at Christ Hospital in Oak Lawn, Ill., as a professional nurse in labor and delivery department, when I heard that we were doing an abortion of a child with Down syndrome Down to the second quarter. I was completely shocked. He had specifically chosen to work at Christ Hospital because he was a Christian hospital and was not involved, so I thought, in abortion. It made me very sick to know that the place where they had their abortions were carried out on a hospital named after my Lord and Savior Jesus Christ. I was further saddened by the knowledge that the hospital's religious affiliates, the Evangelical Lutheran Church of America and the United Church of Christ, were pro-abortion. I do not think that any Christian denomination could be pro-abortion!
But what was more shocking to know that the method Christ Hospital used for abortions, called induced labor abortion, now also called "live birth abortion of a child." In this type of abortion procedure doctors do not try to kill the baby in the womb. The goal is simply to give birth to a baby who dies during or shortly after birth. To induced labor abortion, a physician inserts a medication into the channel the birth of the mother, near the cervix. The cervix is \u200b\u200bthe opening at the base of the uterus that normally stays closed until a mother is pregnant about 40 weeks and is ready to give birth. This medication irritates the cervix and stimulates it to open early. When this happens, the little boy full format of the second or third quarter falls outside the uterus, sometimes alive. By law, if an aborted baby born alive, must be drawn as well as certificates of life and death. Ironically, at Christ Hospital the cause of death often listed for live aborted babies is "extreme prematurity," an admission by doctors that they were to cause this death. Not is uncommon for a live aborted baby shots on for an hour or two or even more. At Christ Hospital one of these live aborted babies survived for a full eight-hour shift. Some babies aborted are healthy, because Christ Hospital performs abortions for the life or "health" of the mother, and also for rape or incest.
In the event that an aborted baby born alive, he or she receives "comfort care", which is to keep the baby warm in a blanket until he dies . Parents can take the baby if they wish. If parents do not want to keep the baby aborted and dies, a staff member cares as long as dies. If the staff does not have the time or inclination to take the baby, they will be brought to the new Christ Hospital's Comfort Room, which is equipped with a camera for the first photo if parents want professional pictures of their aborted baby, what it takes for the baptism dresses, certificates, equipment to take fingerprints of children's feet and bracelets for mementos and a rocking chair. Before it was established the Comfort Room, the children were brought to die in a utility room. One night, a fellow nurse was carrying a child with Down syndrome who was aborted alive to our utility room as their parents did not want to hold him and she had no time to keep him. I could not bear the thought of this suffering child dying alone in a closet, so I cradled and rocked for 45 minutes that he lived. He was among the 21 and 22 weeks, weighed about 250 grams and was about 25 cm long. He was too weak to move a lot, and that he had used all my energy to try to breathe. Towards the end was so quiet that I could not determine if he was still alive. I held to the light to see through his chest where his heart was still beating. After he was pronounced dead, ending his Armstrong on his chest, wrapped him in a tiny shroud, and carried him to the morgue of the hospital where they brought all of our patients died.
After holding that baby in her arms, the weight of what I knew became too great to bear. I had two choices. One was to leave the hospital and go to work in a hospital that did not carry out abortions. The other was groped to change the practice of abortion of Christ Hospital. Then I read a passage of Scripture that spoke directly to me and my situation. Proverbs 24.11-12 says: Free those who are led to death and saves those who are dragged to the scaffold. If you say, "Look, I do not know anything," perhaps he who weighs the hearts do not understand? He who watches over your life knows it, He will reward each according to his works. I decided to leave the hospital would be a irresponsible and disobedient to God Yes, I would be more comfortable to leave the hospital, but the children would continue to die. The journey in which God had brought me, since for the first time I went out in obedience to fight abortion at a hospital named after His Son has been overwhelming! He now travels around the country, describing what I or other members of staff we have witnessed. I have testified four times before a parliamentary sub-national and Illinois [and even before Barack Obama, who did not change ndt]. Laws are being launched to stop this type of abortion which in fact is a infanticide. The Christ Hospital e l’aborto a nascita di bambino vivo hanno ricevuto molta attenzione da parte della gente. Ora sono state fatte descrizioni di “aborti a nascita di bambino vivo” sulla televisione nazionale, alla radio, sulla stampa, e presso legislatori locali e nazionali. Tra le centinaia di esempi ci sono:
•La trasmissione radio di Padre Frank Pavone ed il programma televisivo Difendere la vita su EWTN •I programmi O’Reilly Factor, Hannity and Colmes della Fox Cable News •Il programma radio Breakpoint di Chuck Colson •Il programma televisivo Dr. Laura •Il programma televisivo Listen America del dr. Jerry Falwell •Articoli ed editoriali in U.S. News and World Report, World Magazine, the Washington Times, NY Times, Newsweek, Christianity Today e Focus on the Family Citizen Magazine, per dirne alcuni. Anche un’altra infermiera del Christ Hospital ha testimoniato con me a Washington. Allison disse di essere entrata nella Stanza Ripostiglio in due diverse occasioni e di avervi trovato bambini abortiti vivi lasciati nudi su una bilancia o su un piano metallico. Ho testimoniato riguardo ad un membro del personale che buttò via accidentalmente nella spazzatura un bambino abortito vivo. Il bambino era stato lasciato sul banco della Stanza Ripostiglio avvolto in un asciugamano usa e getta. Quando la mia collega comprese che cosa aveva fatto, cominciò ad esaminare la spazzatura per trovare il child and the child fell out dall'asciugamano on the floor. Other colleagues have told me so many harrowing stories of aborted babies alive that you are taken care of. They told me of an aborted baby who was thought to have spina bifida, but was borne with the spine intact . Another nurse is haunted by the memory of an aborted baby who came out and weighed more than expected, almost a kilo. It is haunted because they do not know if it was wrong not to provide medical care to that child. Other hospitals have now admitted that perform abortions to live births. is clearly not a rare form of abortion. But Christ Hospital was the first hospital in the U.S. to be offered publicly in the open because they make this type of abortion.
On 31 August 2001, after a battle of two and a half years with the hospital, I was fired. Now I'm free to openly discuss the horrors of abortion, having seen with my own eyes. I can testify personally that God = a + majority. Each of us has a voice that we use to stop the atrocity of abortion. There is something very wrong with a legal system that says doctors are obliged to declare the deaths of children but are not required to visit the children for them to live and to estimate the probability of survival. In other words, our laws currently say that children are not entitled to medical supervision until they are dead. We look the other way and pretend that these children are not human while they're alive but human only after they died. Styles for these children is the birth certificate and death, but it is really only the death certificate that matters. There are other children in America just as abandoned as these.
Abortion is a cancer that is literally killing America. is killing our children and yet the killing of our consciences. It started when we put God outside of our decisions and we declared that the little beings growing inside the women are "products of conception" and not boys and girls. Who should be surprised that we continue to move beyond the limit, so that now aborted these "products of conception" alive? job even in a hospital named "Christ" that does just that! It is beyond my comprehension that we are doing what we are doing, so I can not even imagine what horrible ways we will think in the future to torture our children.
Source: Priest For Life. Translation appeared http://www.postaborto.it/ - 11/11/2008
V olume by Mario Giuliacci , Giuliacci Andrea and Paul Corazzon and has the support of 14 meteorologists Centro Epson Meteo.
New 2010 edition is completely updated and enriched with a chapter on climate change , our most important theme in the landscape scientific and political world.
Series: Weather
Edition: Second (2010)
Pages: 763
ISBN: 978-88-483-1168-7
Price: € 32 , 00
Powered by Centro Epson Meteo, the Guide is the most comprehensive treaty ever published in elementary meteorology Italy: the book describes and explains all the phenomena directly or indirectly related to the atmosphere addressing an exhaustive arguments of physical, climatic, historical and many others.
Ogni argomento è esposto in uno stile che coniuga semplicità e chiarezza con il massimo rigore scientifico .
"He's a priest after my own heart (...) through him I liked spread devotion to My Mercy ..." (Diary, 1256).
"His mind is closely linked to my mind and therefore is' quiet for my work, I will not let you're wrong, but you do not do anything without his permission" (Diary, 1408).
Divine Providence, in the mission of Santa Sister Faustina, a special role entrusted to her confessor and director spiritual - Don Sopocko. During the time that Sister Faustina was staying in Vilna (Vilnius, Lithuania), in the years 1933-1936, this priest was for her invaluable help in the discernment of inner experiences and visions. It was to order him to write his DIARY , Catholic mystic document of exceptional value. It has also revealed the extraordinary personality of Don Sopocko and its contribution in the realization of the demands of the Lord Jesus
"Seeing the dedication and efforts of the Rev. Dr. Sopocko for this cause, I admired his patience and humility. All this has cost much, not only the sacrifices and disappointments of various kinds, but also a lot of money, and has done everything the Rev. Dr. Sopocko. I see that Divine Providence had prepared him to make this work of mercy, even before I pray to God for this. Oh, how mysterious are Thy ways, O God, and happy souls who follow the voice of Thy grace "(Diary, 422 ).
Sopocko Don wrote in his diary:
"There are truths that you know, often we hear about and talk about it, but you do not understand. So it was with me, as regards the truth about God's mercy. Often referred to this truth in the homilies, I thought about during retreats, repeated the prayers of the Church - especially in the Psalms - but I did not understand the significance of this truth or depth of its content, namely that it is the highest attribute of 'God's work outside. We wanted to order a simple nun, Sister Faustina, the Congregation of Our Lady of Mercy (Mary Magdalene), who headed inside, I spoke briefly and often repeated, encouraging them to explore, study and reflect on this often truth. (...) at the beginning I did not know what it was, I listened, I doubted I was asking myself questions, I did research and I would recommend to others - only a few years later I realized the importance of this , the immensity of this idea and I am convinced of the effectiveness of that old myself, how great and life-giving worship, but overlooked by those who called for a renewal in our time. (...) The belief in Divine Mercy, the disclosure of the cult of this mercy of others and to devote to it, without limitation, all my thoughts, words and deeds, without a shadow of trying myself, will be d 'now on a principle fondamentale della mia vita, con l’aiuto della medesima misericordia incommensurabile”.
In the inside cover of a song 'Nahuatl love with the usual pattern of Ivo Milazzo for the heading "Footprints in the wind "
"I'm thinking of the past ... Many springs ago, when I was a child, hosted in our village an old crow that he had lost his memory .. We called him Chemako , "one who does not remember", and older people held him in high esteem because, they said, his heart beating close to the Great Spirit ... "
So the decision is made Ken to call in the village of Hunkpapa. We face the first masterpiece of the series. In this book there is everything. There is everything that happens in life is love, loyalty, betrayal , fear, courage, cowardice, friendship, humor, the tale, the dream, cowardice, motherhood, family, death. Berardi creates the perfect story. Door Ken and Belle, two whites, in an Indian village. It makes them live there for a year causes them to lose everything you were before, they take away the superstructure, leaving only the person. He will bring two new people in a completely different reality from the one from which: shows how the white man's civilization is incompatible with that of the red man. Ken has lost his memory, Belle is kidnapped, he has nothing to forget you all. But the road who do have the same goal: both become part of the community that received them relying only on their deepest identity: Ken is not a scout and Belle is the wife of a surgeon, two people are accepted for their humanity. The screenplay is a masterpiece too: alternates between moments of dramatic irony to others, scenes of Indian life in the village to the clamor of battle, the sweetness of a kiss and a tender smile to the tragedy of the assassination. Ken's life is swept away again, after the events of the past numbers. Here even more: the adopted child comes into the picture, which will meet after many years in Boston. It 's a book that you can not tell, but only read. And see in his drawings. I propose a few.
Design by Ivo Milazzo: Hunkpapa controlled by the Ottawa attack the column of soldiers accompanying Belle
Design by Ivo Milazzo: Belle tries to escape
Design by Ivo Milazzo: the triumphal entry to the Indian village
Design Ivo Milazzo: not worth the money how dare
Design Ivo Milazzo: Chemako Theba and the village
Design by Ivo Milazzo: Chemako no longer knows who he is
Design Ivo Milazzo: Theba chooses his future father
Design by Ivo Milazzo: Belle ran away ending up in the hands of white "savages"
Design by Ivo Milazzo: Kianceta and Ottawa
Design by Ivo Milazzo: The mother of Theba, Tecumseh, Wakan Tanka calling for her husband Chemako
Design by Ivo Milazzo: Tecumseh and married couples are Chemako
Design by Ivo Milazzo: Kianceta, Ottawa, and Theba Chemako
Design by Ivo Milazzo, the death of Tecumseh at the hands of the white man
Design by Ivo Milazzo : the death of Ottawa at the hands of the white man
Design by Ivo Milazzo: Chemako, Belle, Belle Theba and son flee the storm and Ottawa
