Circus by Sam Edelman Womens Ola Slide Sandal Golden Yellow uVbtRoEeuG

B077J46F8Q
Circus by Sam Edelman Womens Ola Slide Sandal Golden Yellow uVbtRoEeuG
  • Textile
  • Imported
  • Synthetic sole
  • Platform measures approximately 1.50 inches
  • Flatbed construction for comfort
  • Braided jute detailing at sole
Circus by Sam Edelman Womens Ola Slide Sandal Golden Yellow uVbtRoEeuG Circus by Sam Edelman Womens Ola Slide Sandal Golden Yellow uVbtRoEeuG Circus by Sam Edelman Womens Ola Slide Sandal Golden Yellow uVbtRoEeuG Circus by Sam Edelman Womens Ola Slide Sandal Golden Yellow uVbtRoEeuG Circus by Sam Edelman Womens Ola Slide Sandal Golden Yellow uVbtRoEeuG

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A snapshot is a read-only copy of the state of an image at a particular point in time. One of the advanced features of Ceph block devices is that you can create snapshots of the images to retain a history of an image’s state. Ceph also supports snapshot layering, which allows you to clone images (e.g., a VM image) quickly and easily. Ceph supports block device snapshots using the rbd command and many higher level interfaces, including QEMU , libvirt , OpenStack and CloudStack .

Important

To use use RBD snapshots, you must have a running Ceph cluster.

Note

If a snapshot is taken while is still in progress in a image, the snapshot might not get the exact or latest data of the image and the snapshot may have to be cloned to a new image to be mountable. So, we recommend to stop before taking a snapshot of an image. If the image contains a filesystem, the filesystem must be in a consistent state before taking a snapshot. To stop you can use command. See man page for more details. For virtual machines, can be used to automatically freeze filesystems when creating a snapshot.

When cephx is enabled (it is by default), you must specify a user name or ID and a path to the keyring containing the corresponding key for the user. See User Management for details. You may also add the CEPH_ARGS environment variable to avoid re-entry of the following parameters.

For example:

Tip

Add the user and secret to the environment variable so that you don’t need to enter them each time.

The following procedures demonstrate how to create, list, and remove snapshots using the rbd command on the command line.

To create a snapshot with rbd , specify the snap create option, the pool name and the image name.

To list snapshots of an image, specify the pool name and the image name.

To rollback to a snapshot with rbd , specify the snap rollback option, the pool name, the image name and the snap name.

Note

Rolling back an image to a snapshot means overwriting the current version of the image with data from a snapshot. The time it takes to execute a rollback increases with the size of the image. It is faster to clone from a snapshot than to rollback an image to a snapshot, and it is the preferred method of returning to a pre-existing state.

To delete a snapshot with rbd , specify the snap rm option, the pool name, the image name and the snap name.

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May 21, 2018 · 4:43 pm

Manuscript Road Trip: (Re)introducing the GottschalkAntiphonal!

The Flight into Egypt, Walters Art Museum, MS W.188, f.112r

A few months ago, I wrote about the potential of Fragmentarium for cataloguing fragments and digitally reconstructing dismembered manuscripts.I concluded that post with the aspirational note, “ I really do think it’s time for Gottschalk to go digital,” in reference to the manuscript I reconstructed as part of my PhD dissertation at Yale in the early 1990s. That work was done using black-and-white photocopies, and, when published by Cambridge University Press in the year 2000, black-and-white photographs. Now, 750 years after the manuscript was written, the Gottschalk Antiphonal has finally gone digital! I am very pleased to introduce my Fragmentarium reconstruction of the Gottschalk Antiphonal, in glorious IIIF-compliant interoperable color:

http://fragmentarium.ms/view/page/F-75ud/

Hello, Gottschalk!

I was inspired to add Gottschalk to Fragmentarium by my students’ work reconstructing other manuscripts and motivated to actually do it by my participation in a Fragmentology session at the recent International Congress on Medieval Studies at Western Michigan University in Kalamazoo. Thousands of medievalists from all over the world flock to Kalamazoo every May for this annual conference, listening to and learning from one another, greeting old friends, conferring with colleagues. My session was chaired by Elizabeth Hebbard (Indiana Univ.) and included fragmentology presentations by Julia King (Univ. of Toronto), Kayla Lunt (Indiana Univ.), Dana Kovarik (Univ. College London), and Elena Iourtaeva (Harvard Univ.). All six of us are working on fragmentology projects.I noted in my presentation that the Swiss-German word for “fragmentology” is “Schnipseljagd” (fragment hunting), which makes all six of us Schnipseljägerinnen (“Fragment huntresses”). That might just be my new favorite word.

Schnipseljägerinnen

The Schnipseljägerinnen of Kalamazoo

In my presentation I discussed the fragmentology projects completed by my students at the Simmons School of Library and Information Science, and I debuted my digital reconstruction of the Gottschalk Antiphonal.

The Gottschalk Antiphonal, with Gottschalk’s distinctive script, neumatic notation, marginal tonary-letters, and purple-and-red penwork initials (BRBL MS 481.51.6v)

The Gottschalk Antiphonal was written and illustrated in the late twelfth century by the scribe/artist/monk Gottschalk of Lambach and was used at the Lambach abbey for several centuries. The manuscript is a choirbook for the Divine Offices recited throughout the day, preserving liturgy for specific days throughout the year. Because it is a choirbook, it includes interlinear musical notation: predating the development of the four-line-staff and Gregorian notation, the Antiphonal uses unheightened neumes in the St. Gall style, with tonary-letters (indicating something akin to the “key” of each chant) in the margins. Gottschalk’s distinctive artistic style permeates the manuscript, with penwork initials in purple and red.

The Dublin wife hears of her dissolute husband at Kilkenny, and, hoping to save some new victim, threatens to expose him, and the "Doctor" is obliged to decamp in consequence. He comes to London. He creates a lot of valuable but imaginary French silk goods in bond [MD: property under a customs bond], which, if bought, will realise a fortune. The Kilkenny wife is appealed to for money, and various amounts are sent, till the business itself [in Kilkenny] is in a bankrupt condition, the goods from the shop are all gone, and the family ruined. While this cruel fraud was going on the cruel and heartless wretch had seduced two other girls in London, with one of whom he was living in Holywell-street, when the Kilkenny family, utterly ruined, were compelled to come to London.

Then came the sham Italian Conferences [MD: a series of newspaper articles written by Tucker about Italian republican conferences in London that did not in fact occur] -- the hoaxing of the Times, and its leading article approving of the "constitutional party," and its conference under "Signor Borromeo," the exposure of the fraud and the false pretenses of the "Count" by my broom. The summons at Bow-street, followed by a warrant -- the disappearance of the distinguished foreigner -- his arrest on the stage in Reading -- the conviction [MD: for obtaining money under false pretenses] at Westminster, and sentence -- are fresh in the minds of those interested in the matter. The last scene in "this strange eventful history" was enacted at the Central Criminal Court yesterday (Monday); but while yet the footlights of present interest are burning, and the audience remains, let me call before the curtain two of the performers in the saddest part of the drama -- one of them the victim from Sligo, the other from Kilkenny. Both of these ladies have suffered, and are still suffering, misery of the severest kind. One of them would have died of starvation had not a few friends of yours, Mr. Editor, given a little timely help. God only knows all their struggles, and agonies, and temptations, and their present daily endurances. If there is charity anywhere, they deserve it, and the smallest of contributions will be thankfully swept up for them by the broom of

A Man in the Streets

P. S. -- I have just heard from one of my fellows that does a crossing near the Old Bailey, that the sheriffs have examined into the case of the two poor ladies, and having satisfied them of their deserts [sic] have headed a subscription list on their behalf. Bravo, Sheriffs!

The world had not seen the last of Charles Alexander Tucker, after his nine-years sentences in 1858, despite the certitude of our legal crossing sweeper.

In late 1864, a man calling himself Dr. Henry Charles Smethwick took lodgings in the house of a widow in Red Hill, declined to pay his bills, and eloped with the widow's daughter, telling her that a private ceremony conducted by him was in fact a Catholic wedding, but promising her a ceremony in a Protestant church as well. To that end, Dr. Smethwick arranged for expensive wedding clothes from one Harvey, a draper in the Westminster road, which he paid for with a check drawn on a bank at Red Hill. The check returned; the draper swore out a warrant, and Dr. Smethwick was arrested and brought before the Lambeth Police Court. In that proceeding, the court discovered that Dr. Smethwick was -- surprise -- Charles Alexander Tucker, the sham Italian count.

Tucker, as Smethwick, pleaded guilty to a charge of theft, saying in a letter to the court that:
For his Smethwick frauds, Tucker received five years at hard labor. Charm Foot Womens T strap Low Heel Open Toe Flats Sandal Blue qMs3nikdn
, he was granted license and released in December of 1868, at the age of 44 or so.

After that, I cannot trace him.

The narrative of our crossing-sweeper is, in all material respects, borne out by other sources, although he failed, I think, to sweep up at least one alias -- Signore St. Vicento, teacher of languages -- and at least one scheme: a method of accelerated language instruction based on phrenology.

There's a lot here for someone to pick apart and pick up: a lost novel by an accomplished con artist, Tucker's life as a tour through early Victorian culture, the special horrors of the "lady killer" and the Law's complete inability, at that time, to protect women from his depradations. The ease with which identity (and authority) could be assumed, made use of, and discarded. The crowds willing to submit to that authority.
What interests me is, as always, the question of belief. What made so many people collaborate with this (to use a much-handled phrase of the time) plausible fellow?

From other sources, we learn that plenty of people, in every locale Tucker visited, found reasons not to associate with him -- not least because of his Irish-lilted Italian, and the ridiculous military costumery he was fond of donning for public lectures.

But plenty did transact with Tucker, in his various guises, because of his plausibility, and because of something far more complicated than the trusting, ignorant naivety projected on the victims of the con artist, in the bipolar narratives the Victorians were -- and we, other, Victorians are -- so fond of deploying when we look at serial cons, and outre beliefs.

The uncomfortable question, which needs to be asked and answered, is: what did Tucker's marks expect to get, from their transactions with him? Before the moral grandstanding, and the victimology, what? Were Tucker's marks, as the Victorians believed at mid-century, examples of a particular "temperament," usually characterized as "weak" or "disordered" "nervous constitutions"? Were these events evidence of the fundamental failures of mass education, as many (scientifically-minded) reformers saw them? Were they examples of self-delusion, on the part of Tucker's victims, and perhaps Tucker himself? Were they the expected wreckage of a free market in contracts, to be ameliorated, if at all, by private philanthropy?

The answers are unavailable. But the predator-prey narrative is, from my perspective, as unsatisfying now as it was inexplicative then.
Posted by Marc Demarest
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Jun
19
As part of my ongoing propaganda campaign to get MA and PhD students to consider the greenfield opportunities for theses and dissertations in modern occultism, I guest-blogged a few days back as part of the wildly-interesting Popular Occulture in Britain project.

Why bother with another thesis on George Eliot, or another humdrum book on Aleister Crowley, when virtually the whole of Victorian occultism lies fallow in the noonday sun?

Posted by Marc Demarest
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Jun
10
(Part of the Great Materializers series, thusfar comprised of: Francis Ward Monck , William Lawrence , William Eglinton , Alfred Rita , Cecil Husk , and William George Haxby ...)
Coincident with the opening of the famous seance rooms at 61 Lamb's Conduit Street, and the inauguration of his partnership with Charles E. L. Williams, Francis Gideon Herne (1850-1887) provided the following backstory to W. H. Harrison for inclusion in the May 15, 1871 issue of the (p. 166):

Soon after the death of my sister Jane [MD: if she existed, before 1861] I was doing something to her grave in the churchyard, when I saw her, as well as two other spirits who were almost constantly with me. They shewed me three lignum vitae trees; one of them was green at the bottom, and dry all the way up; the second green at the top and dry at the bottom; the third healthy in all its parts. A voice said to me -- "You can be which you please," and I chose the healthy tree. They told me that one tree symbolised a man who served God in his childhood only; the second symbolised a man who served Him only in his old age; the third represented a man who served God all the days of his life. They added that "all through would reach heaven in time." They told me "not to be afraid to work for the truth, as I possessed some power, and would be called upon to do a work." During all this earlier period of my life, I believed what my friends told me, that I was subject to hallucinations, and I did not think that the visions and voices came from spirits. The voices were not heard by others. I was, and am, clairaudient.

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