Aphrodite the Greek Love Goddess

Aphrodite the Greek Love Goddess Aphrodite was the Greek goddess of affection and magnificence. She was the most wonderful of the goddesses yet was hitched to the ugliest of the divine beings, the limp smithy Hephaestus. Aphrodite had numerous illicit relationships with men, both human and perfect, bringing about numerous youngsters, including Eros, Anteros, Hymenaios, and Aeneas. Aglaea (Splendor), Euphrosyne (Mirth), and Thalia (Good Cheer), referred to aggregately as The Graces, followed in the entourage of Aphrodite. The Birth of Aphrodite In one story of her introduction to the world, Aphrodite is said to have sprung from the froth that came about because of the cut off balls of Uranus. In another adaptation of her introduction to the world, Aphrodite is supposed to be the little girl of Zeus and Dione. Cyprus and Cythera are asserted as her origination. The Origin of Aphrodite It is felt that the richness goddess of the Near East was imported to Cyprus during the Mycenaean Era. Aphrodites principle clique focuses in Greece were in Cythera and Corinth. Aphrodite in the Trojan War Aphrodite is maybe most popular for her job in the Trojan War, particularly, an occasion going before it: the Judgment of Paris. Showed with the Trojans, during the Trojan War, as portrayed in The Iliad, she got an injury, chatted with Helen, and ensured her preferred warriors. Aphrodite in Rome The Roman goddess Venus is thought of as what could be compared to Aphrodite. Divine beings and Goddesses Index Elocution: ëÅ"a-fré™-ˈdä «-tä Likewise Known As: Venus

Historical Background and Status

Recorded foundation and status of material designing industry By: S. Chakrabarty Preamble Industrial Revolution in U. K. during 1750 †1850 brought forth Textile Machinery. The strength of India in the field of cotton materials created by talented labor was upsetting the British. Orderly improvement of material industry with turning and powerloom hardware was started in Lancashire and Manchester to debilitate the Indian weavers. Rest is anyway known to everyone how the hardware business was created and sustained by the individual Governments in the UK and later by Germany and Switzerland followed by others in Europe.In India, apparatus produce began during the 50s, proceeded and advanced during 60s and 70s and from there on. The Government arrangement to boycott extension of the sorted out weaving part during late 60s made/bolstered the decentralized powerloom division. A lot of significance to handlooms and low level innovation power lingers in the ensuing years, saving a huge r undown of saved things for handlooms, choked the plant business which lost its drive for inventiveness just as creation for the general population. Low degree of creation in handlooms and low quality creation in powerlooms made us uncompetitive in the resulting years.The Government’s regulative weights on the Mill Industry kept on playing devastation for the weaving business till the presentation of 1985 Textile Policy lastly progressive Industrial Policy in 1991. Improvement and innovation development in the TEI The Textile Engineering Industry (TEI) during the late 60s, 70s and 80s had gotten some Government support as remote coordinated effort endorsements, import help by method of staged assembling program and concessional customs obligation affirmation for imported parts and segments for production of indicated material machinery.Import obligation on segments and parts when all is said in done was extremely high at 85% barring CVD and not favorable for indigenous turn of events. The concessional obligation on imported parts, segments and so on referenced above helped the Industry. The then Government’s approach was likewise strong that no import of hardware was permitted if there was sufficient indigenous creation. The neighborhood material industry in this manner had no real option except to purchase the Indian apparatus. This arrangement helped the TEI to create and produce turning apparatus in the nation of the ideal quality and amount. There was no opposition from outsider.Internal rivalry among different players made the improvement simpler and quicker. Outside producers had no real option except to go into coordinated efforts with nearby makers. This happened in turning as well as in handling hardware. The accompanying joint efforts merit referencing: Sr. No. 1 2 3 4 5 6 7 8 Names of Foreign Collaborators M/s. Material Machinery Makers Ltd. U. K. , Platt Bros. , U. K. M/s. Whitin Machine Works, U. S. A. M/s. Howa, Japan M/s. Zinser, Ge rmany M/s. Marzoli, Italy M/s. Hispani Suiza (Suisse) S. A. , Switzerland M/s. Rieter, Switzerland M/s. Schubert and Salzer, Germany Names of IndianManufacturers M/s. National Machinery Mfrs. Ltd. , Bombay* M/s. M C. , Calcutta M/s. Texmaco, Calcutta* M/s. Texmaco, Calcutta* M/s. M C, Bangalore* M/s. Indequip Engineering Ltd. , Ahmedabad M/s. LMW, Coimbatore M/s. New Standard Engg. Things Produced Spinning †Cards, Draw Frame, Speed Frame, Ring Frame Spinning †Carding Engines and RH Can Fed Inter Frames Spinning †Flat Revolving Carding Engines, Draw Frame, Speed Frames Spinning †Narrow Gauge Ring Frame Spinning †Entire Range Spinning †Ring Frame Spinning †Entire range Spinning †Blow Room, Cards, 9. M/s. Zinser, Germany M/s. Trutzschler, Germany M/s. Toyota, Japan 10 11 2 M/s. Suessen, Germany * Presently not in activity Co. Ltd. , Mumbai* M/s. Padmatex Engg. , Baroda* M/s. Trumac, Ahmedabad M/s. Kirloskar Toyoda Textile Machinery Pvt. Ltd. , Ba ngalore M/s. Suessen Asia, Pune Draw Frames Spinning †H. S. Draw Frame Spinning †Blow Room, Cards, Draw Frames Spinning †Ring Frame Spinning †Ring Frame Due to intense and long downturn in the Textile Industry, beginning higher import content combined with high pace of import obligation, non-move of most recent innovation under cooperation understandings prompting import of apparatus and so forth , the accompanying Indian Companies were shut down during 80s and mid 90s.These are M/s. MMC, Kolkata and Bangalore; M/s. Texmaco, Kolkata; M/s. Indequip Engineering, Ahmedabad; M/s. New Standard Engg. Co. Ltd. , Mumbai; M/s. Mafatlal Engg. Co. Ltd. Mumbai; M/s. Textool Co. Ltd. , Coimbatore; M/s. Jeetstex Engg. Ltd. Coimbatore and so forth while M/s. LMW, M/s. Trumac, M/s. Zinser India, M/s. Suessen Asia, M/s. Kirloskar Toyoda could figure out how to remain underway. Why we are better in turning hardware? There was Government support by way of†¢ †¢ Restricted import of turning hardware †for all intents and purposes no import of turning apparatus of a similar innovation accessible indigenously was allowed.No import of recycled turning apparatus was permitted. Import obligation concession on crude materials, parts, segments and adornments for creation of determined apparatus as the import obligation when all is said in done, was high. Furthermore, rivalry among the apparatus makers brought about creation of better quality machines. Explanations behind non-advancement in the Weaving Machinery Sector While the Textile Engineering Industry took up assembling of Spinning apparatus going all out with the satisfactory Government's steady measures referenced over, the equivalent didn't occur if there should be an occurrence of weaving machinery.During 60s (preceding 1970) the Industrial Policy precluded the sorted out plant part to grow their weaving limit. This was maybe to help work age in the towns by the decentralized and scattered handl oom division. It was because of this off-base strategy, the unapproved powerloom bunches began picking up grounds. Indeed, even huge numbers of the handloom groups began changing over into powerlooms. Since the residential interest for textures was developing quick because of the populace development, the powerloom segment in various pieces of the nation began developing quick while the handloom area began contracting actually. The truth of the matter is as yet not acknowledged by the Government). Today, there are more than 20 lakh powerlooms yet handlooms, may not be in excess of 8 lakh, if not less! During 70s the sorted out plant division was permitted to supplant standard powerlooms via programmed looms and shuttleless weaving machines 4:1 premise. Be that as it may, obligatory assembling of controlled fabric by the plants segment hosed the soul of the factories segment. Controlled fabric conspire was discarded during 80s. Desire for a decent interest because of substitution arr angement provoked the assembling of programmed lingers by M/s.Cimmco, Gwalior in a joint effort with M/s. Sakamoto, Japan and M/s. Mafatlal Engineering Co. in a joint effort with M/s. Ruti, Switzerland during 70s. In the late 70s M/s. Lakshmi Automatic Loom Works Ltd. (LALW) began producing Ruti 'C’ Type of programmed loom in a joint effort with M/s. Ruti, Switzerland. M/s. Cimmco just as M/s. Mafatlal Engineering Co. attempted to fabricate shuttleless weaving machines cooperation with M/s. Dornier, Germany, Toyoda, Japan and M/s. SACM, France individually during mid 80s. M/s. LALW additionally began making shuttleless cutlass and airjet looms during 80s.During 80s, the powerloom populace which was not really 7 lakh had developed to in excess of 10 lakhs. The approach of rejecting of powerlooms of the factory business after substitution or conclusion bombed hopelessly, all these powerlooms discovered their way to the decentralized part. The Government had no choice however to regularize all unapproved powerlooms because of political weight after declaration of 1985 Textile Policy and resulting Textile Control Order 1986, getting rid of the deep rooted powerloom license framework. The material strike during 1980s disabled the Textile plant industry in Mumbai and Maharashtra.During this period the composite structure of the plant business broke totally. While the turning area thrived with the cutting edge apparatus, the quantity of working weavers the sorted out factories part contracted extensively and a large portion of the plants thought that it was beneficial to shut down their weaving segment because of terrible economic situation, significant expense of work, low efficiency and extreme rivalry from the powerloom segment. Subsequently, there was for all intents and purposes no interest for the shuttleless weaving machines by the two Companies referenced above which provoked them to shut down their shades one by one.In the interim, because of the weig ht from the decentralized powerloom part the Government had to permit import of recycled weaving hardware which added to the troubles of indigenous producers of shuttleless weavers. M/s. LALW likewise needed to end the creation of shuttleless weaving machines. During 80s and upto 1991 there was defensive market for turning and handling hardware yet not for the weaving apparatus because of high creation cost and import of recycled looms. Activities debilitated after liberalizationThe Industrial Policy declared in 1991 changed the Industry as a rule to an impressive degree. The market got open to the outside makers and there was extreme rivalry. The turning apparatus producers grew up technologywise and capacitywise and there was additionally appeal for turning hardware. The weaving hardware couldn't flourish because of the surge of import of recycled apparatus. There was no limitation on import of recycled weaving hardware when 1991. After 1992, there was no help of the Government ei ther for advancement of weaving apparatus or some other material machinery.In this respect, the main praiseworthy actuality was that we became independent in Weaving Preparatory Machinery viz.

A Seat at the Table by Solange Reading List

A Seat at the Table by Solange Reading List After four years, Solange has finally blessed us with a new full-length album. From the visually arresting album cover to the obvious references to black pride, black empowerment, and the American legacy of racism, A Seat at the Table is an expression of black creativity as black resistance. Her influences for the album include Master P and No Limits Records, Claudia Rankine’s Citizen, and her father, to name a few. In an interview with Stereogum, Solange said, “The idea of having to fully understand where you’re from â€" when I say that, I mean it in a variety of ways, not just your history but some of the family heirlooms and traumas that might have been passed down to you, your overall existence â€" I set out to create a body of work that reflected that.” The singer and Saint Records founder has never been afraid to speak on civil rights issues, continuously using her platform to disavow police brutality and cultural appropriation. When asked about the idea that public figures have social responsibility, Solange told The Fader, “I don’t think it’s everyone’s responsibility if it’s not in their will. But I do feel conflicted when people feel like they may not have that calling, but they speak out against the movement. That, to me, is very problematic. I’d almost rather you just not speak at all.” 1. The Collected Poems of Langston Hughes  by Langston Hughes Like Hughes, Solange uses art to discuss racial identity and racism. The title of Solange’s album is reminiscent of the poem, “I, Too,” especially evoking the line, “Tomorrow, / I’ll be at the table. / When company comes.” For black people, racism and white supremacy maliciously block and prevent even the chance to attain the same opportunities as their white, privileged peers. In a society where anti-blackness would rather see black bodies lying uncovered and exposed on the street in the hot sun for hours, than see black people succeed.   2. Another Brooklyn: A Novel by Jacqueline Woodson Solange mentions that one aspect of the inspiration behind the album is Louisiana. Home, or our idea of home, consciously and unconsciously shapes our personal and public identity. Like her sister, Solange is very vocal about the influences that have shaped her as not only a young woman, but a young black woman. Woodson’s first adult novel in 20 years revolves around four friends growing up in 1970s Bushwick. In an interview with Vogue, Woodson said, “I’m fascinated by adult women who don’t have close friends and how that could come to beI think when you’re a kid, the relationships are so intimate and you’re so connected to your girls, so what becomes of them? What could possibly happen to have you become an adult woman and no longer have that?” Female empowerment via the intimate bonds of friendship and sisterhood is a concept that comes up again and again in Solange’s work, including A Seat at the Table.     3. The Fire This Time by Jesmyn Ward This essay collection curated by 2011 National Book Award Winner Jesmyn Ward couldn’t have arrived at a more necessary time. Calling upon James Baldwin’s The Fire Next Time, Ward and her contributors speak to the questions raised by Baldwin. What does it now mean to be black in America? Have we learned anything since the Civil Rights era? Or are we repeating tired and familiar patterns of injustice and abuse?   4. The Black Panthers: Portraits from an Unfinished Revolution by  Bryan Shih, Yohuru Williams, Peniel E. Joseph In her interview with Stereogum, Solange talked about how her father inspires her. She said, “That was so affirming to me throughout the process of making this album: Yeah, we have it bad, and it’s all relative, but then I would remind myself of some of the things that my dad went through so that my son could never have to endure those things.” This photo-essay book illuminates the past while showing how the groundwork was laid for future social justice movements such as Black Lives Matter. 5. Black Feminist Thought: Knowledge, Consciousness, and the Politics of Empowerment by Patricia Hill Collins The ninth track on A Seat at the Table, “Don’t Touch My Hair,” is a familiar demand known to black women operating in white spaces. Contrary to the ignorance of naysayers, it’s not “just” hair. Unlike white women, black women are judged for choosing to wear their natural hair. This decision can be met with backlash ranging from facing expulsion from school or losing one’s job. Solange’s activism could not flourished without this seminal text by Hill Collins.