Hawaii and Australia

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As well as the cases of misconduct by U.S. troops, some

Okinawan residents have complained about issues such as

environmental and noise pollution from the American presence.

There is also concern in Okinawa about the U.S. deployment of

the Marine Corps MV-22 Osprey, a controversial tilt-rotor

aircraft that can take off and land like a helicopter but fly

like an airplane.

Doubts about the Osprey's safety have been fueled by two

crashes -- one in Morocco and one in Florida -- earlier this

year.

The United States and Japan announced in April that nearly

half the 19,000 U.S. Marines on Okinawa would leave soon and

relocate to other areas in the Asia-Pacific region, including

Guam, Hawaii and Australia.

Maybe you were watching that other debate, I don’t know.

Your time is your own. As for me, I spent last evening at the

David H. Koch Theater at Lincoln Center in New York City

watching J.K. Rowling and Ann Patchett talk about Rowling’s

new novel The Casual Vacancy.

This was Rowling’s only live appearance in the U.S. for the

book, and the mood in the hall was giddy. These weren’t

casual fans: there wasn’t a lot of actual Harry Potter

cosplay visible, but you could tell a lot of people were

cosplaying in their minds. I was a little surprised that some

of the upper balconies of the hall were empty — I’d

envisioned this as a bit more of a mob scene — but

apparently the venue had been changed, after they

accidentally oversold a different hall. The Koch Theater

holds 2,586 people. Rowling signed everyone’s books last

night, and that would have been a lot of books to sign.

(MORE: Lev Grossman’s review of The Casual Vacancy)

Rowling got two standing ovations, once when her name was

announced, and once when she actually joined Patchett on

stage. If you’ve never seen Rowling in person, you should

know that it’s a bit special — she’s one of those people

who, without having obviously been media-trained, has the

trick of being smart and warm and natural and vulnerable-

seeming onstage. She laughs a lot and makes fun of herself.               



The respondent

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The PIL filed by Jeetender Gupta, a lawyer, alleged that

Colors has "disrespected" the national anthem by using it to

promote the realty show in various PVR multiplexes in the

city as well as in other parts of the country.

"The Colors channel randomly displayed an advertisement

inside the movie theatres and the said advertisement was in

the form of a visual displaying the logo of its programme

'Bigg Boss 6' followed by an audio demanding all present in

the hall to stand up for the national anthem.

"'Bigg boss chahte hain ki aap rashtriya gaan ke liye khade

hon', (Bigg boss wants you to stand for the national anthem)

and then the Indian National Anthem was played," the petition

stated.

It further added: "The respondent (TV channel) is trying to

associate itself with the national anthem solely for

commercial purpose of promoting its latest TV programme."

The plea said: "The acts of TV channel and PVR amount to

possible violations of the Prevention of Insults to National

Honour Act 1971 and the Emblems and Names (prevention of

improper use) Act 1950."
Women bosses become "ruthless" and far more competitive at

the peak of their fertility during a month, and hence were

less likely to give attractive women a pay rise, says a study

by US experts.

do with a pictorial self-consciousness

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For artists and art historians and other museumgoers who have been returning to the Poussin show time and again, the wonder of his art has everything to do with a pictorial self-consciousness that always leaves room for the unconscious to emerge. And this view of Poussin has larger implications, for it contradicts the general idea that classicism is, first and last, a style based on control. I am struck by Poussin's unwillingness to allow men and women and the world they have made ever to entirely dominate his landscapes. From time to time he cuts off our view of a figure by setting its lower half behind a rise in the land, or he breaks up the symmetry of a building with an overlay of foliage. The natural world and the human world are always in competition, which serves to remind us that Poussin's classicism involves the discovery, for each painting, of an experimental order, a provisional order. While his classicism sometimes suggests the coolness of a northerner's nostalgic embrace of southern possibilities, it is not for nothing that he lived most of his life in Rome. He knew classical art firsthand--not as a series of engravings in a portfolio, but as the battered fragments of stone and metal and frescoed plaster that had been pulled out of the rich Italian soil. He never forgot that idealism must be wrested from realism, that general principles must be deduced from particularities.
I have to admit that I was unprepared for the urgency that I have experienced every time I return to this exhibition. At a time when the world around us, political or economic or cultural, seems more disheartening than it has been in at least a generation, there is something thrilling about Poussin's conviction that the discipline of painting can make life a little easier to bear. In one of the most enigmatic canvases in the exhibition, the Landscape with Three Men from around 1650, a discussion is in progress. One figure, reclining on the grass, is pointing toward the blue-tinted mountains in the distance, while a man with a staff, probably a traveler, points in another direction, guiding our eyes toward the right margin of the canvas. Surely these two gestures, as clear as the symbols in a geometry book,