![]() ![]() Hard-disk space: 800MB or more free space required for installation (2GB or more recommended) screen resolution: 1024×768 pixels (XGA) or higher (1920×1080 or higher recommended).įor Macintosh OS users: 64-bit versions of OS X version 10.7, 10.8, and 10.9 CPU: Intel Core 2 Duo or better (Nikon recommends i5) RAM (memory): 4GB or more hard-disk space: 800MB or more free space is required for installation (2GB or more is recommended) finally, screen resolution: 1024×768 pixels (XGA) or higher (1920×1080 or higher recommended). Other system requirements for Windows users are:ĬPU: Pentium-compatible (Core i5 or better recommended) RAM (memory): 2GB or more (4GB or more recommended), 4GB or more under 64-bit operating systems. According to Nikon, both 32-bit and 64-bit versions are supported, but it recommends 64-bit versions. The application can also be installed on computers running pre-installed versions of these operating systems, the company adds. Windows OS: Windows Vista (Service Pack 2), Windows 7 (Service Pack 1), Windows 8.1. Users will need the following system requirements to run the software: The company says it will continue to add new features, and update and improve future versions of the application.Ĭapture NX-D also supports simple editing of JPEG and TIFF images. Nikon has also updated software functions in response to customer requests for example, it has added an automatic retouch brush for improved image processing. We’re thrilled that we are able to offer Capture NX-D free of charge to people wanting to take control of their images.”Ĭapture NX-D can also be used with raw images taken on a Nikon D810 or earlier DSLR via Picture Control Utility 2, which can be activated from Capture NX-D. ![]() The release of this free-to-download official version of the application takes this feedback into account – for example, you’ll see improvements to the user interface and the ways in which adjustments are applied. Zurab Kiknadze, product manager at Nikon Europe, said: “We launched a beta version of Capture NX-D earlier in 2014 and have been actively welcoming feedback, suggestions and functionality requests from users. The software can be used with a Nikon DSLR camera, a Nikon 1 advanced camera with interchangeable lenses, Nikon Coolpix cameras that support raw, and other digital cameras that also support raw images, says the company. The new version ( ver.1.0) software application allows photographers control over how they adjust their raw files, making it possible to produce high-quality images that have been shot in raw format. From today, photographers will be able to download the official version of Nikon’s Capture NX-D, free of charge.
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![]() The “Royals” wordmark below the logo increases in size considerably, now twice as wide overall as the “KCR” banner/crown logo above it.ġ992: So long powder blue as the Royals (along with the Montreal Expos) are one of the last two holdouts to switch back to grey on the road. This is the last time the Royals will wear “Kansas City” on a team uniform for 12 years.ġ986:One year after their first World Series championship the team tweaks their primary logo once again. Like the previous powder blue uniform the wordmark is white. The wordmark across the front remains the same but now in white instead of royal blue.ġ979: The “Royals” wordmark below the primary logo switches from a gold straight serifed font to a blue diagonal script, the font of this new wordmark is very similar to the one already worn on the Royals home jersey.ġ983: “Kansas City” is removed from the powder blue road jersey replaced with the same scripted “Royals” logo worn on the home jersey. 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On this banner is a large white “R” with “KC” in gold above it, below the banner is “ROYALS” in gold. ![]() ![]() Because of that, the Royals almost go with a logo featuring a large cow but shift gears and instead debut a blue and gold logo featuring a crown above a royal banner in the shape of home plate. The new expansion team is named after the American Royal Livestock Show which is hosted each year by the city of Kansas City, Missouri. As we get set for the 2015 World Series let’s take a look back through the logo and uniform history of the Kansas City Royals starting back at the very beginning of their franchise in 1969.ġ969: Kansas City Royals baseball begins just one year after the Kansas City Athletics relocated to Oakland, California in 1968. It is hard to predict what will happen next with Gallant, but we can’t wait to hear more from him. ![]() The flashing lights creates a smashing theatrical effect as he haphazardly dances to the painful tune. 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Call me anxious, call me broke but I can’t lift this on my own.”Īlternative-R&B singer Gallant has been generating a lot of buzz with his debut EP Zebra, after which he basically vanished. ![]() ![]() ![]() The syntactic analysis offered here differs from traditional descriptions of the inflected infinitive in that it uses a theoretical approach to propose one concise condition which predicts all possible occurrences of the Portuguese inflected infinitive within the framework of relational grammar. ScidaPART TWO: APPROACHESHistorical PerspectivesMysticism in History: The Case of Spain’s Golden Age (47)Elizabeth RhodesSpanish Mysticism and the Islamic Tradition (57)William ChildersTeresa of Ávila and the Question of Jewish Influence (67)Michael McGahaWas Teresa of Ávila a Feminist? (74)Bárbara MujicaAfter Teresa: Mysticism in Seventeenth-Century Europe (83)Cordula van WyheTheoretical PerspectivesThe Mystical Encounter with Extremity: Teaching Teresa through Psychoanalytic Theory (95)Linda BelauTeaching Spanish Women Mystics with Theories of Autobiography (102)Sherry VelascoFeminist Epistemology and Pedagogy in Teresa of Ávila (107)Barbara SimerkaSpecific Course ContextsMaking Mysticism Accessible to Undergraduates (114)Lisa VollendorfTeaching Teresa of Ávila’s The Book of Her Life in the Tradition of Western Spiritual Autobiography (123)Carole SladeSuccessful Mystics and Failed Mystics: Teaching Teresa of Ávila in the Women’s Studies Classroom (134)Marta V.This book investigates two prominent issues with regard to the inflected infinitive-the syntactic distribution of the Portuguese inflected infinitive, and its origin and development from Early Romance. Preface to the Series (ix)Acknowledgments (x) Introduction (1)PART ONE: MATERIALSAlison WeberEditionsAnthologies in Spanish (17)Editions in Spanish (18)Bilingual Editions and Translations (19)The Instructor’s LibraryReference Works (20)Historical and Literary Studies (21)Religious and Theological Studies (24)Aids to TeachingMusic (25)Internet Resources (26)Illustrated Books (27)Films (28)Teresa in English Translation (30)Amanda PowellThe Language of Teresa of Ávila (39)Emily E. Spanish, Portuguese, Latin American Studies ReedElizabeth Rhodes María del Pilar Ryan Emily Scida Barbara Simerka Carole SladeCordula van WyheSherry VelascoMarta V. Kercher Howard Mancing Michael McGahaBárbara Mujica Kathleen Ann Myers Mario A. AhlgrenLinda BelauDana BultmanJoan Cammarata William Childers David H. They also recommend ways to teach particular texts in different kinds of courses and institutions. Contributors consider these authors in relation to Islamic and Jewish mysticism, the traditions of women’s writing, feminism, theology, and autobiography. Part 2, “Approaches,” presents methods for teaching the historical contexts of and various theoretical perspectives on the mystics’ works. This volume is designed to help instructors elicit students’ curiosity, sympathy, and appreciation for writings that can at first seem alien or confusing.Part 1, “Materials,” recommends accessible editions and translations print, electronic, and visual resources background and critical studies and sources on the philosophical and theological responses to the Spanish mystics. Though today’s students realize that religious beliefs have wide-ranging consequences, they are presented with particular challenges in studying the Spanish mystics because of their unfamiliarity with the linguistic, social, and religious history of early modern Spain. The writings of Teresa of Ávila and the Spanish mystics, most notably John of the Cross and Luis de León, aroused passionate responses when they were composed. “Instructors who teach these authors in undergraduate courses, especially those with subject matter devoted to world literature, Spanish history and culture, or women writers, will benefit from this excellent sourcebook.”-Feminist Teacher We are currently accepting preorders for this forthcoming title. Submitting Work to the MLA International Bibliographyīuilding Inclusion and Equity through Intercultural Praxis in World Language ClassroomsĬonferences, Fellowships, and AnnouncementsĪpproaches to Teaching Teresa of Ávila and the Spanish Mystics Procedures for Organizing Convention MeetingsĪppropriate Conduct at the MLA Annual ConventionĢ022 Forum Executive Committee Appointees Policies for Forums and Allied Organizations Presidential Theme for the 2024 ConventionĪccess Guidelines for MLA Convention Session Organizers and Presenters Recover your username or reset your password. Approaches to Teaching Teresa of Ávila and the Spanish Mystics | Modern Language Association If you have any questions regarding a specific product, please do not hesitate to contact us at (888) 392-4814. What does that mean for you as the customer? It is very likely that the manufacturer may not honor your products warranty, or that your product was never intended for the US market to begin with. If a competitor’s website has the same product but is not restricting the display/functionality in the same way that you see here on, than that competitor is likely NOT an authorized dealer. Some items may not be able to be advertised below a certain price or any pricing at all and others may not be able to be added to a shopping cart via an “add to cart” button. Why do I need to contact you in order to place my order?Īs an authorized dealer for the product you are looking at, is bound by certain agreements with our manufacturer partners in how we display, price and sell certain products. Plus, when you shop with, our projection experts can help you determine which movie screen is best for your needs. We’ve got premium projection screen brands like Stewart Filmscreen and Screen Innovations along with high-quality lower budget cinema screens from Elite Screens and Elunevision. 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SOURCE footage width (640) DIVIDED BY 1.Projector screens are surfaces specially designed to project images on. ☞ 4:3 to 16:9 Regular Widescreen Aspect Ratio: SOURCE footage width (1920) DIVIDED BY 1.85 = 1038px tallĪs a ‘bonus’, here is the method for converting your 4:3 aspect ratio video to regular 16:9 widescreen (assuming 640×480 footage): ☞ 16:9 to 1.85:1 / Academy Flat / “Flat” Aspect Ratio: SOURCE footage width (1920) DIVIDED BY 2.35 = 817px tall ☞ 16:9 to 2.35:1 / Cinemascope / Anamorphic / Panavision Aspect Ratio: If your SOURCE footage is 1280×720, your width would be 1280 if your SOURCE footage is 720×480, your width would be 720 and so on. In film-industry jargon, the shortened form, Scope, is still widely used by both filmmakers and projectionists, although today it generally refers to any 2.35. These are all assuming 1920×1080 footage. ✏ Here are some examples of aspect ratio conversion methods. – crop 132px from top, 131px from bottom). If it is a decimal number (such as 131.5), even it out to whole pixels (i.e. ✏ To find the amount to crop off the top and bottom, subtract your pixel number (817px here) from your source footage height (1080px) and divide it by two. ![]() ![]() ![]() To convert from any aspect ratio to a wider format (such as 2.35:1 or 1.85:1), all you have to do isĭIVIDE the WIDTH of your SOURCE footage (1920 in this example) by the final aspect ratio desired (2.35 in this example). By the end, Rayman becomes angry enough to take off his shoe ( and his foot, incidentally) and throw it at the TV, which finally breaks, releasing the Rabbids inside and causing the chase from the beginning of the game to start all over again. The further the game progresses, the more frustrated Rayman becomes by the constant noise and distraction of the TV and attempts to get rid of it in several different ways, causing gradual damage to the television and the screen to crack further and further. The gameplay itself is set inside the television as the Rabbids participate in various minigames themed after the different TV channels and programs. The TV remains constantly powered up and works even if it is unplugged, and the cutscenes of the game consist of Rayman attempting to destroy or get rid of the TV. Lightning strikes the Rabbids outside, mysteriously trapping them inside of the TV of the house Rayman takes refuge in. The game begins with Rayman running away from a mob of Rabbids and hiding in a nearby house. In this game, Rayman is for the first time only present in the cutscenes and is not a playable character, further pushing the Rabbids series away from its roots. Rayman Raving Rabbids: TV Party is the third game in the series. However, it is shown that the Rabbids are thwarted after selecting the credits roll, as several signs around the world show that no submarine parking is allowed. The game is more based around party-style multiplayer gameplay, and beyond the opening introduction the plot disappears, even going so far to not include an ending sequence or automatic "end-of-game" credits roll. Rayman infiltrates the operation by dressing up as a Rabbid and following them to Earth in order to stop their plans of taking over the foreign planet. The second game, Rayman Raving Rabbids 2, is set with the Rabbids launching a full-scale invasion on Earth. |
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