to go home. The Revolution was winding down in Mexico. The Great War had ended in
France and a new revolution was just getting started in Russia. In Germany, food riots and political chaos had erupted everywhere. The British and the Irish were at each other’s throats.
Everywhere peons – the ordinary working people – were caught between the politicians and the generals, and were dying or mourning their dead.
The Revelation of Italian Frescos – 1920-1921
With his romantic, spartan life as the bohemian painter aligned with right-thinking comrades creating the new art of Cubism now in shards at his feet, Rivera must have felt the cold chill of failure trickling down his spine. He saw the has-beens and pretenders sucking up cheap brandy and raw wine at the cafés. He could smell the stink of dead dreams sticking to their clothes. He had been stripped of everything but the two resources that had never yet failed him: his mastery of the medium and his ruthless single-mindedness.
As Loewald pointed out, cogently, the basic view of external reality in psychoanalytic theory is negative. Accordingly, Freud’s perspective consists of a reality that exceeds the baby’s integrative capacities (Loewald, 1980, p. 23). It depicts as the norm an excessive influx of external reality that corresponds to the economics of trauma and is inflicted by an environment that does not adjust to the infant’s phase of development. Infancy and trauma go hand in hand, which leads Loewald to conclude that psychoanalysis “has not recognized, in its dominant current, that psychoanalytic theory has unwittingly taken over much of the obsessive neurotic’s experience and conception of reality and has taken it for granted as ‘the objective reality’” (Loewald, 1980a, p. 30) He contrasts the historic view, “the idea of an alien, hostile reality (a finished product imposed on the unsuspecting infant, from there on and forever after)”, with “the integrated, dynamic, reality (forever unfinished) on the elaboration and organization of which we spend our lives” (Loewald, 1980a, p. 32). This reality was historically and erroneously linked to the father, to whom submission is necessary:
Remote shared objects are used in FlashCom applications to do everything from sharing the position of spaceships in a game to broadcasting chat text messages.
They are a good way to keep track of what users are doing in a conference, let movies know what streams are available, and allow users to disconnect and reconnect to an application without losing track of the application’s state.
Shared objects are an extension of ActionScript objects that allow objects to be shared by more than one movie and to be stored for later use. Local shared objects
(LSOs) can be stored and retrieved locally by Flash movies between sessions and, under some circumstances, by more than one movie. Remote shared objects (RSOs) can be shared in real time by Flash movies connected to the FlashCom Server. When one movie changes a property of its copy of an RSO, updates are sent automatically to all the other movies sharing the same object. RSOs can be stored locally and on the FlashCom Server. RSOs have a send( ) method similar to NetStream objects that can be used to broadcast messages to every movie connected to a shared object.
A Web site is a great way to broadcast a message, announce a new product, post
late-breaking news, or just rant about the state of the world. But that's all
one-way communication, which you may find a bit limiting. You may be
curious to get some feedback from your audience. Or you may want to build your business by
selling your product online, and you need a way to gather vital stats from customers. If you
want to receive information as well as deliver it, it's time to add
forms to your Web design repertoire (see Figure11-1 for a simple example). Whatever type
of information you need to collect on your site, Dreamweaver's form
objects make the task easy.
A form begins and ends with the HTML <form> tag. The opening <form> tag
indicates the beginning of the form, and sets its properties; the closing </form>
tag, of course, marks the form's end.
In between these tags, different objects provide the basic user-interface elements of
the form. Radio buttons, text fields, and pull-down menus are just a few of the ways you
can gather input. It's perfectly OK to include other HTML elements inside a form, too. In
fact, your site's visitors would be lost if you couldn't also add (and format) text that
explains each form object's purpose. And if you don't use a table or Cascading Style
Sheets to lay out a form in an organized way, it can quickly become an unreadable mess
(see the box on Pull-Down Menus and Lists).
he biographical information about Repin that is available to us today does not provide any details about when and where he first met his wife Vera. What is known, however, is that this portrait was painted in a period of their relationship that is commonly called “engagement-period”, which generally serves as a mutual examination of the two people considering marriage; based on
Friedrich Schiller’s (1759-1805) reminder from his poem Song of the Bell: “Therefore test, who wants to bind himself forever, Whether heart will find right heart. The elation is short, the remorse is long.”
The engagement of Ilya Repin and Vera Chevtsova lasted unusually long – they married three years after the completion of this portrait – which was probably rather due to material and monetary reasons than a lack of mutual affection.
Vera Chevtsova is sitting dreamily on a bench that is covered by a green, patterned piece of cloth.