Let’s Get Harry

Let’s Get Harry is a 1986 action film directed by Stuart Rosenberg. It stars Michael Schoeffling, Thomas F. Wilson, Glenn Frey, Rick Rossovich, Gary Busey, Mark Harmon and Robert Duvall. Rosenberg chose to credit the film to Alan Smithee, a pseudonym used by directors who repudiate their involvement in a film.

The film opens with an American engineer named Harry Burck (Mark Harmon) being kidnapped by rebels in Colombia. Harry is there to help open a new water pipeline for his company and gets caught up in the action when a diplomat who is on hand for the pipe’s unveiling is also kidnapped. Word reaches back to Harry’s brother Corey (Michael Schoeffling) and his friends Bob (Thomas F. Wilson), cocaine addict Spence (Glenn Frey) and Kurt (Rick Rossovich), who were all awaiting his return home to Illinois. The men, who all work together at the same factory, learn that Harry was kidnapped by a drug lord named Carlos Ochobar. Corey and Bob travel to Washington, DC only to learn that the U.S. government is not going to mount any rescue attempt for Harry. We learn that the men (and everyone in the town) hold Harry in high regard. Kurt reminds his friends that they all owe Harry something, so he says their only choice is to rescue him themselves. Despite some resistance and skepticism from Kurt and Spence, all the men eventually agree to go. Before heading to Colombia, they enlist the financial help of a local car salesman named Jack (Gary Busey), who insists on going along, and the military expertise of a decorated no-nonsense mercenary named Norman Shrike (Robert Duvall).
Once in Colombia, they encounter resistance from the start, both from local officials and from the U.S. government. They eventually land in jail after being set up by one of Shrike’s contacts who was supposedly going to supply them with weapons. They are handed over to the U christian louboutin wedding shoes.S. in order to be put on a plane back home

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. They escape the plane at the last minute

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, but Kurt decides he has had enough and he stays behind. They continue on without him and eventually Shrike is killed in a firefight while saving one of the men’s life. The group ventures on with the help of a local woman and they eventually find Ochobar’s hideout. In the ensuing shootout with Ochobar’s men

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, Jack is killed. The group is able to save Harry and then escape, destroying Ochobar’s camp in the process.
Almost all of the ensemble cast were famous at the time of the film. At the time of the film’s release in 1986, Harmon was fresh from TV’s St. Elsewhere, Schoeffling was two years removed from Sixteen Candles, Wilson had just done Back to the Future

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, Rossovich was starring in Top Gun and Frey was famous for being a member of the Eagles and his recent solo work such as the hit song “You Belong to the City”. Both Duvall and Busey were well-established at the time and screen legend Ben Johnson also appeared in the film, playing Mr. Burck.
In the director’s cut of the film, Mark Harmon does not make an appearance of any kind until the final rescue sequence. Prior to the planned release, Harmon’s popularity grew dramatically due to his work on St. Elsewhere and being named “Sexiest Man Alive” by People magazine, and the producers wanted to make Harmon more at the center of the story over Rosenberg’s objection. Additional footage was shot featuring Harmon’s abduction and being held as a hostage. As a result, Rosenberg renounced the film, deciding to be credited as Alan Smithee.
Let’s Get Harry was one of a number of 1980s films that centered on civilians partaking in hostage rescues without the help of the U.S. Government. Other similar films that were released around the same time were Uncommon Valor, Rambo: First Blood Part II, Iron Eagle, and The Rescue.
The movie was filmed on location in Illinois and in Veracruz, Mexico.
Let’s Get Harry is currently only available on VHS and has not been released on DVD.

Cinquième circonscription de la Haute-Garonne

La cinquième circonscription de la Haute-Garonne est l’une des 10 circonscriptions législatives françaises que compte le département de la Haute-Garonne (31) situé en région Midi-Pyrénées.

La cinquième circonscription de la Haute-Garonne est délimitée par le découpage électoral de la loi no 86-1197 du 24 novembre 1986 , elle regroupe les divisions administratives suivantes :
D’après le recensement général de la population en 1999, réalisé par l’Institut national de la statistique et des études économiques (INSEE), la population totale de cette circonscription est estimée à 169 516 habitants,.
Depuis le redécoupage de 2010 sa composition est la suivante :
La population totale de cette circonscription est alors estimée à 121 858 habitants

Voici la liste des résultats des élections législatives dans la circonscription depuis le découpage électoral de 1986 :

Les élections législatives françaises de 1988 ont eu lieu les dimanches 5 et 12 juin 1988

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Le taux d’abstention fut de ? % au premier tour, et de

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? % au deuxième tour.
Les élections législatives françaises de 1993 ont eu lieu les dimanches 21 et 28 mars 1993.
Le taux d’abstention fut de ? % au premier tour, et de ? % au deuxième tour.
Les élections législatives françaises de 1997 ont eu lieu les dimanches 25 mai et 1er juin 1997

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Le taux d’abstention fut de 26,94 % au premier tour, et de 23,29 % au deuxième tour,

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Les élections législatives françaises de 2002 ont eu lieu les dimanches 9 et 16 juin 2002.
Le taux d’abstention fut de 30,42 % au premier tour, et de 36,49 % au deuxième tour,.
Les élections législatives françaises de 2007 ont eu lieu les dimanches 10 et 17 juin 2007.
Le taux d’abstention fut de 36,71 % au premier tour, et de 36,64 % au deuxième tour.
Le premier tour des élections législatives françaises de 2012 a eu lieu le 10 juin 2012 Chaude Le coq sportif Sneakers Clearance Avec Nouveau style.

Kamalamba Navavarna Kritis

The Kamalamba Navavarana Kritis by Shri Muthuswami Dikshitar (1776-1836) are some of the most famous pieces of music in the Carnatic system of Indian classical music. They are treasures which embody not only the technical brilliance of the composer but also offer a peep into the advaitic school of Hindu philosophy and elements of Tantric rituals. They are very elaborate compositions which may be well compared with major symphonies in the Western system.

These songs are set in praise of the Goddess Kamalamba who is enshrined in Tiruvarur in the Tanjore district of Tamil Nadu in South India

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. The Goddess is the reference to the Divine Mother of the universe, or the Supreme Consciousness. The lyrics and the descriptive details are loaded with the mystical symbolism of the Vedantic (advaita) tradition and the chakras of the human system are closely linked to the evolutionary aspects described in the compositions that reflect the scholarly reach, musical depth and mystical significance of the composer. Navavarna refers to the 9 layers of the Sri Chakra yantra, one of the primary modes of Devi worship. Each avarna has a deity associated with it, which is mentioned in each of the songs.
Musically, they are par excellence and the majestic sweep of well known ragas (melodic forms) like Todi, Kalyani, Kambhoji, Sankarabharanam, Sahana, Anandabhairavi and Bhairavi are offset against haunting melodies in lesser known ragas like Punnagavarali, Ghanta and Ahiri.
Dikshitar uses several talas (time measures) although Rupakam (3 beats) seems to be his favourite. Ata talam (14 beats) and Misra Jampa (10 beats) in the Kambhoji and Bhairavi pieces are rarely used because of the technical difficulty in executing these. An added element is the use of different case endings (which Dikshitar uses in his other group krities, like the Abhayamba and Nilotpalamba set). The Dhyana (invocatory) kriti in Todi is in the vocative case, followed by the Anandabhairavi in the nominative, Kalyani in the accusative, Sankarabharanam in the instrumental, Kambhoji in the dative, Bhairavi in the ablative and so on. The ninth avarana kriti in Ahiri has all the cases; interestingly the raga itself has all the 22 Sruti (notes) in the octave. It is believed that such a fusion of all melodic and temporal elements in the same kriti is a musical way of expressing the advaitic ideal of “aham Brahmasmi” or complete union with the Absolute. Indeed the Ahiri composition is very unusual musically especially the pallavi which has a repeating and distinctive prose sections

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, are seamlessly put together.
The set concludes with a short and sweet mangalam (auspicious conclusion) in Sri ragam set in Khanda Ekam (5 beat talam). The entire set consists therefore of the dhyanam (invocation), the nine avaranas, and the mangalam (conclusion), a total of 11 pieces.
The rendition of this classic cycle of compositions begin with an invocatory song on Lord Ganesha and Lord Muruga.
The 11 kritis are as follows:
One of the specialities of this group set is the usage of Vibhakti or declension of the noun “Kamalamba” i.e., “कमलांब” in 8 cases like:
कमलांबा, कमलांबां, कमलांबिकया, कमलांबिकायै, कमलांबिकायाः, कमलांबिकायाः, कमलांबिकायां, कमलांबिके.
The Dhyana krithi, krithi for the eighth chakram, and Mangala krithi use the last declension. The Ahiri krithi can be decomposed so, to detail about the use of declensions of the noun.
Pallavi: 1st vibhakthi
Anupallavi: 1st two lines – 2nd vibhakthi Next two lines (Madhyama kala sahityam) – 3rd vibhakthi
Charanam: 1st line – 4th vibhakthi 2nd line – 5th vibhakthi 3rd line – 6th vibhakthi 4th line – 7th vibhakthi Madhyama kala sahityam – 8th vibhakthi.
The rendering of these Kritis are considered to be extremely challenging owing to the complexity of the words and the notations. The D.K. Pattamal and D.K. Jayaraman school are considered to be specialists in the rendering of these compositions. It requires years of training to render them to perfection.
Sri Muthuswamy Dikshitar was a great Devi Upasaka and was well versed in all aspects of Sri Vidya Upasana. Out of his devotion to Sri Kamalamba, (one of the 64 Sakti Peethams in India), the celebrated deity at the famous Tyagaraja Temple in Tiruvarur and his compassion for all bhaktas, Sri Muthuswamy Dikshitar composed the Kamalamba Navavarana kritis, expounding in each of the nine kritis

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, the details of the each avarana of the Sri Chakra, including the devatas and the yoginis. Singing these kritis with devotion, sraddha and understanding would be the easy way to Sri Vidya Upasana.
The details of Chakras covered are as follows:

Iranian jerboa

The Iranian jerboa (Allactaga firouzi) is a rodent of the family Dipodidae and subfamily Allactaginae. They are characteristically known as hopping rodents and have only been found in a small population in Iran

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. Iranian jerboa are microhabitat specialist, they require a particular environment to provide them with specific conditions suitable for living.

Similar to the other jerboas in the genus Allactaga, the Iranian jerboa are small hopping rodents of desert regions and have large ears and a long tail. The tail assists and serves as support when the jerboa is standing upright

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. They have long hind feet and short forelegs. The forelimbs of the jerboa serve as a pair of hands for feeding, grooming, etc.
Iranian jerboas were found on flat plains with a gravel and little vegetation. Low vegetation areas help them see predators more easily, allowing them to return to burrows quickly. Similar to most jerboas, the Iranian Jerboa avoids brightly moonlit nights to decrease the chance of predation

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Compared to other jerboas in the same genus, Iranian jerboas are most related to Allactaga hotsoni

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It is a nocturnal animal, spending the day in underground burrows. The Iranian Jerboas are one of the few jerboas that have different types of burrows. They make a different burrow in the summer and winter. The winter burrows have deeper tunnels, for protection during hibernation from predators and harsh winters

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This jerboa has a vegetarian diet of Anabasis and Peganum harmala.

Philippine House of Representatives election, 2016 (Central Visayas)

Elections will be held in Central Visayas for seats in the House of Representatives of the Philippines on May 9, 2016.

Each of Bohol’s three legislative districts will elect each representative to the House of Representatives. The candidate with the highest amount of votes wins the seat.
Rene Relampagos is the incumbent.
Erico Aristotle Aumentado is the incumbent. Veteran provincial board member Gerardo Garcia challenged him for the seat.
Arthur Yap is the incumbent. He is vying for his third and last term as congressman

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. Former Carmen mayor Conchita Toribio-delos Reyes challenged him for the seat. This is also the first time that Yap is running with an opponent.
Each of Cebu’s Six and 3 others legislative districts will elect each representative to the House of Representatives. The candidate with the highest amount of votes wins the seat

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Samsam Gullas is the incumbent.
Wilfredo Caminero is the incumbent.
Gwendolyn Garcia is the incumbent

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Benhur Salimbangon is the incumbent
Joseph Ace Durano is not running, his brother Ramon Durano VI is the party’s nominee

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Gabriel Luis Quisumbing is the incumbent but he is running for Mayor of Mandaue City, incumbent mayor Jonas Cortes is the party’s nominee.
Pablo John Garcia will run for the newly created 7th District against Board Member Peter John Calderon. His sister Gwendolyn Garcia, is also running for a seat in the House of Representatives respectively

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Each of Cebu City’s 2 legislative districts will elect each representative to the House of Representatives. The candidate with the highest amount of votes wins the seat.
Raul del Mar is the incumbent.
Rodrigo Abellanosa is the incumbent.
Aileen Radaza is the incumbent.
Marie Anne Pernes (LP) is the incumbent.

Thematic vowel

In Indo-European studies, a thematic vowel or theme vowel is the vowel *e or *o from ablaut placed before the ending of a Proto-Indo-European (PIE) word. Nouns, adjectives, and verbs in the Indo-European languages with this vowel are thematic, and those without it are athematic. Used more generally, a thematic vowel is any vowel found at the end of the stem of a word.

PIE verbs and nominals (nouns and adjectives) consist of three parts:

The thematic vowel, if present, occurs at the end of the suffix (which may include other vowels or consonants) and before the ending:
Athematic forms, by contrast, have a suffix ending in a consonant, or no suffix at all (or arguably a null suffix):
For several reasons, athematic forms are thought to be older, and the thematic vowel was likely an innovation of late PIE: Athematic paradigms (inflection patterns) are more “irregular”, exhibiting ablaut and mobile accent, while the thematic paradigms can be seen as a simplification or regularisation of verbal and nominal grammar. In the Anatolian languages, which were the earliest to split from PIE, thematic verbs are rare or absent. Furthermore, during late PIE and in the older daughter languages, a number of athematic forms were replaced by thematic ones, as in prehistoric Greek *thes- ‘god’ versus *thes-o- > Classical Greek θεός (theós).
The thematic vowel technically belongs to the suffix and not the ending, as each suffix is inherently either thematic or athematic. It is also used in some cases to derive stems from roots directly, acting as a suffix in itself (as in the second example above). However, when considering endings which are different for thematic and athematic inflections, it is generally included in the endings as well; see the section on fusion below.
In verbs, the thematic vowel is *e when the following ending begins with a coronal consonant (*t, *d, *dʰ or *s) and *o otherwise.[citation needed] Here is the present active indicative paradigm of *bʰer- ‘carry’:
For comparison, here is an example of an athematic verb, *h₁es- ‘be’. The plural forms ablaut to zero-grade on the root and shift the accent to the ending:
(The first person singular ending is sometimes *-m(i) and sometimes *-h₂(e), depending on tense, voice and thematicity.)
The PIE verb is characterized by two distinct sets of endings: one found in the thematic present and the perfect, and another found in the aorist and the athematic present. The middle endings seem like a mixture of these two. The thematic conjugation was widespread in what Donald Ringe terms “Western Indo-European” (Western IE), i.e. IE excluding Tocharian and especially Anatolian. The biggest problem on the origin of PIE thematic inflection is that the thematic endings have more in common with the PIE perfect (which formally, though not functionally and lexically, corresponds to the ḫi-conjugation in Hittite and other Anatolian languages), and that the actual etymological cognates reconstructed of thematic presents are few among the verbs belonging to the Anatolian ḫi-conjugation. In fact, most of the verbs belonging to the ḫi-conjugation in Anatolian actually have lexical cognates that inflect as athematic verbs in Western IE. All types of verbs belonging to the ḫi-conjugation in Hittite can be shown to have, or to originally have had the ablaut pattern with *o in the singular and the zero-grade in the plural, which is exactly the pattern of the Western PIE perfect.
The thematic presents in Western PIE also do not have quantitative ablaut, which indicates their relatively recent origin. This all has caused some linguists to speculate that perfect and thematic present endings go back to a single Early PIE prototype. According to Matasović

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, the Early PIE stative (becoming the perfect) is responsible for the original form of the thematic suffix *-o-, while the e-grade form is secondary. Verbs forming the underived thematic presents are overwhelmingly bivalent/transitive, and there are no statives in the Late PIE thematic inflection since all the original Early PIE statives either remained athematic presents, or they became Western PIE perfects. It is also probable that some Early PIE middle verbs also became thematic in the Western PIE period, since they lack middle correspondences in Anatolian.
In nouns, the thematic vowel is almost always *o, and only becomes *e when there is no ending or when followed by *h₂ in the neuter nominative/accusative plural. Here is an example paradigm for *h₂ŕ̥tḱos ‘bear’, a thematic animate noun, supplemented by the neuter *h₂érh₃trom ‘plough’ for the nominative/accusative:
Again, athematic nouns show ablaut and accent shifts, mainly between the “strong” cases (nominative and vocative in all numbers, and accusative singular/dual) and the “weak” cases (all others). A few endings are also different from the thematic paradigm; for example, the nominative/accusative neuter has *-∅ instead of *-m. See Athematic accent/ablaut classes of PIE nouns for examples.
There are several theories about the rise of o-stems in PIE nominal inflection. Two are the most prominent:
Pedersen was to first to notice that the subject of the transitive verb looked as if it had the form of the genitive (a sigmatic case) if it were active, and as if it had the form of the instrumental case, if it were inactive. Furthermore, the subject and object of intransitive verbs seemed to have the form of the absolutive (i.e. an asigmatic case). This caused an asymmetry between the valencies of transitive and intransitive verbs, summarized in the table below:
This theory was further developed by Beekes and Kortlandt, who assumed that the nominative syntax of old Indo-European languages was formed later and that the case system of the PIE language was primarily based on the ergative syntax. The same ending shared by the nominative and accusative neuter, originally designating inactive nouns, originated from the originally absolutive case, while the ergative was used with the active subject. Beekes claims the sigmatic genitive-ablative developed from the ergative. After the transformation of the ergative system into the nominative system, the form reconstructed as *CC-R-ós became the nominative, a new case of subject. Later what was to become the thematic vowel *-o- spread to other cases as well, giving rise to o-stem inflection.
Similar theories that assume the ergative past of the PIE syntax have been formulated by Gamkrelidze and Ivanov and Schmalstieg.
According to Jean Haudry o-stems originated from pronouns with a determining function that were suffixed to a nominal base, playing the role of a postpositional article. There exists a number of typological parallels for such a development:
Thematic and athematic forms were passed on to the daughter languages of Proto-Indo-European. In the most ancient languages, such as Sanskrit and Ancient Greek, the distinction between athematic and thematic nouns and verbs is preserved. In later languages, the thematic versus athematic distinction in nouns was replaced by distinctions between various thematic (“vowel”) and athematic (“consonant”) declensions, and athematic verbs are typically regarded as irregular.
As a consequence of such language changes, the distribution of thematic and athematic words differs widely in Indo-European languages. Latin, for example, has only very few athematic verbs, while Sanskrit preserves a large number of these. Greek resembles both Sanskrit and Latin in different respects.
Even in ancient languages, the thematic vowel is often indistinguishable from the case ending, because the two have fused together:
In Latin, athematic verbs were lost, except for a few, which were considered irregular or adopted into one of the four thematic conjugations:
Although the a of the Greek and Latin first declension was not originally a thematic vowel, it is considered one in Greek and Latin grammar. In both languages, first-declension nouns take some endings belonging to the thematic second declension. An a-stem noun was originally a collective noun suffixed with -eh₂, the ending of the neuter plural.
Sometimes vowels near the end of a noun or verb, where one would expect a thematic vowel, are not actually thematic vowels

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. Either these vowels are placed after an e or o, or they are on their own.
In both Latin and Greek, there are athematic nouns whose stems end in i or u (with the allophones y or w before vowels). These include Latin nāvis ‘ship’ and Greek thesis ‘placement’; Latin senātus ‘council of elders’ or ‘senate’ and Greek basileus ‘king’. Because these vowels are not e or o, they are not thematic, and the nouns take the same endings as consonant-stem nouns.
In Latin, there are four conjugations depending on the vowel before the endings (which include the thematic vowel): a, e, none, i. Although all the verbs belonging to these conjugations are thematic, these four vowels are not the thematic vowel of the different declensions: the thematic vowel is an e/o that has either fused with the endings and conjugation vowel or changed to i/u.
In Greek, some of the Latin conjugations are represented by contracted verbs instead

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, in which the stem vowel contracts with the ending (which includes the thematic vowel). This results in different vowels in the ending from the non-contracted verbs.
In Latin, nouns of the first, second, fourth, and fifth declensions are considered thematic; the first declension has the theme vowel a, the second o, the fourth u, and the fifth e. Stems with i are treated together with athematic stems in the third declension, as they came to closely resemble one another. Latin verbs are subject to a similar classification: the first conjugation contains vowel stems with a, the second with e, and the fourth with i. There are no Latin verbs with o or u, and very few are athematic, but they are considered irregular verbs.
For example, consider the noun endings of the Latin “first declension” singular of the word rosa ‘rose’:
The vowel a is prominent in these case endings, so nouns like rosa came to be known as “a-stem” nouns, with a being the “theme vowel,” and such a word was later analysed as having a stem containing a root plus a suffix. In fact, philologists now believe that the suffix in PIE was *-eh₂

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, with a laryngeal that usually became a in the daughter languages

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The distinction between thematic and athematic stems is especially apparent in the Greek verb; they fall into two classes that are marked by quite different personal endings. Thematic verbs are also called -ω (-ō) verbs in Greek; athematic verbs are -μι (-mi) verbs, after the first person singular present tense ending that each of them uses. The entire conjugation seems to differ quite markedly between the two sets of verbs, but the differences are really the result of the thematic vowel reacting (fusing) with the verb endings, apart from the first person singular which already had different endings for thematic and athematic verbs in PIE. In classical Greek, the present tense active endings for athematic verbs are:
while the thematic verbs took the endings:
In Greek, athematic verbs, except for those that end in -νυμι -nūmi, are a closed class of inherited forms from PIE.
Greek preserves thematic nouns in the first or alpha and second declension, and athematic nouns in the third declension.
Declension of the athematic noun πούς (poús) ‘foot’:
Declension of the thematic noun ἄνθρωπος (ánthropos) ‘man’:
Most other Indo-European languages have similar distinctions, or had them in their past. Marked contrasts between thematic and athematic verbs appear in Sanskrit, Lithuanian, and Old Church Slavonic. In the Germanic and Celtic languages, the theme vowels are often hard to perceive because of the loss of final vowels. However, their presence is still felt, in a manner that defines different ways of declining nouns or conjugating verbs, so philologists still occasionally speak of vowel stems and consonant stems in these languages as well.
While Old English still contrasted “vowel stems” (thematic) and “consonant stems” (athematic), this distinction is no longer a meaningful one in Modern English, and other languages whose morphology has been drastically simplified by analogy.
In the term thematic vowel, theme refers to the stem of a word. For example, in the Ancient Greek verb τέμνω (témnō) ‘cut’, tem- is the root, and temn- is the stem or theme for the present tense. Hence, thematic vowel loosely means “stem vowel”.

The Reluctant Heroes

‘The Reluctant Heroes’ was a war film set in the period of the Korean War. It was directed by Robert Day and starred Ken Berry

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, Jim Hutton, Trini López, Don Marshall, Ralph Meeker, Cameron Mitchell and Warren Oates. The film also deals with some issues.

The film is about a tired platoon of men who are about to be sent home

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, but are picked to hold an observation point. They become a doomed platoon of men with a non military man in charge

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. The man is Lt. Parnell Murphy (played by Ken Berry) who is a military historian and has no combat experience. In order to defend hill 656 which is of strategic importance, he uses military tactics of Napoleon and Alexander the Great, which he draws from his own studies in history.
The original title of the film was The Egghead on Hill 656. It was announced in the April 24, 1971 issue of Billboard as The Egghead on Hill 656

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. It first aired on ABC on November 23

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, 1971. It was filmed on a Paramount Studios back lot.
One of the issues addressed in the film is racism. Even though the film was lacking in some areas, it’s emphasis was correct on the strategic importance of bridges.
The original run time of the film was 73 minutes.

The Text This Week

The Text This Week is a world wide web site devoted to the study of the Christian Bible and the conduct of Christian worship.
The site is organised in terms of the passages of scripture recommended for reading each Sunday (and on other days) in the lectionaries of the major Christian denominations, and in particular in the Revised Common Lectionary

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, which is widely used in many denominations and countries kooples outlet. However all the resources are available at all times

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, and the site is indexed by the bible passages as well as by the calendar.
The site contains comprehensive references to historic bible commentaries and worship resources that are in the public domain and available on the world wide web, and also to works of modern scholarship and to subscription web sites. It is international in scope, though most (not all) of the resources it indexes are in English. It is constantly updated. The site is theologically, denominationally and liturgically eclectic. As a result it is used and respected by preachers world-wide.
The Text This Week was founded and is maintained by Jenee Woodard

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, a member of the United Methodist Church in Sioux Falls, South Dakota.

Readymade (chanson)

Pistes de Stadium Arcadium
She Looks to Me If
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Readymade est une chanson du groupe de musique rock Red Hot Chili Peppers, figurant sur le double-album Stadium Arcadium sorti en 2006.
Cette chanson peut être considérée comme une allusion aux ready-made de Marcel Duchamp. En effet, le guitariste John Frusciante considère cet artiste comme une source majeure d’inspiration. Sur la pochette de son premier album solo, Niandra Lades

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, sorti en 1994 Chaude Le coq sportif Sneakers Clearance Avec Nouveau style, on peut d’ailleurs le voir travesti en Rrose Sélavy, un personnage fictif inventé en 1920 par le même Marcel Duchamp.
La chanson débute par une ligne de basse de Flea, jouant le riff principal de la chanson pendant quatre mesures. Des guitares additionnelles viennent ponctuer les quatre mesures suivantes. Puis tous les instruments rentrent ensemble. 4 nouvelles mesures passent et donnent ainsi le ton de la chanson

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. Le chant d’Anthony Kiedis rentre alors, utilisant une mélodie relativement monotone et répétitive, suivant parfaitement le rythme du riff principal. Les couplets utilisent le mi comme unique note, seul le refrain vient casser cette monotonie par une suite d’accord sol-la, pour revenir finalement sur le mi.
Pour le solo de guitare, John Frusciante utilise les techniques guitaristiques de hammer-on et pull-off utilisant une forte distorsion sur le son. On peut aisément définir cette chanson comme appartenant au genre musical hard rock, notamment pour le son très saturé de la guitare ou bien le jeu agressif de la batterie, utilisant souvent les cymbales crash tout au long de la chanson.
Le batteur Chad Smith adopte un jeu particulier, consistant à jouer « à l’envers et à l’endroit. » Habituellement, la batterie, en particulier dans la musique rock, a pour rôle d’appuyer les temps qui composent la mesure; celle-ci étant souvent binaire, on retrouve le processus traditionnel suivant: grosse caisse sur les temps 1 et 3, caisse claire sur les temps 2 et 4. Ici, Chad Smith inverse le processus une fois sur deux. On retrouve alors le schéma suivant : caisse claire sur le 1 et 3, grosse caisse sur le 2 et 4.
Cette chanson a été jouée durant le Stadium Arcadium tour, notamment lors du live filmé du 3 juillet 2007, à Chorzów en Pologne. On peut d’ailleurs y voir l’actuel guitariste Josh Klinghoffer accompagner le groupe, en tant que musicien additionnel ; il remplacera John Frusciante en 2009 après son départ.

Avram Hershko

Avram Hershko (Hebrew: אברהם הרשקו‎; born 31 December 1937) is a Hungarian-born Israeli biochemist and Nobel laureate in Chemistry.

Hershko was born Herskó Ferenc in Karcag

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, Hungary

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, the son of Shoshana Margit and Moshe Hershko, both teachers. Hershko emigrated to Israel in 1950. He received his M

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.D. in 1965 and his Ph.D in 1969 from the Hebrew University-Hadassah Medical School, Jerusalem, Israel. He is currently a Distinguished Professor at the Rappaport Faculty of Medicine at the Technion in Haifa.
Along with Aaron Ciechanover and Irwin Rose, he was awarded the 2004 Nobel Prize in Chemistry for the discovery of ubiquitin-mediated protein degradation. The ubiquitin-proteasome pathway has a critical role in maintaining the homeostasis of cells and is believed to be involved in the development and progression of diseases such as cancer, muscular and neurological diseases, and immune and inflammatory responses.
His contributions to science directly helped cure one of his long-time friends of cancer.
Professor Hershko serves on the Scientific Advisory Board of Oramed Pharmaceuticals.