President Jose Mujica plans to sign it

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The Senate had already approved a more liberal version of the

proposed law, but concessions made to gain the votes of more

socially conservative members of Uruguay’s lower house

forced a second vote.

President Jose Mujica plans to sign it, unlike his

predecessor Tabare Vazquez, an oncologist whose had

threatened to veto it.

The Syrian government on Wednesday said the international

envoy’s call for a holiday cease-fire would likely fail

because the rebels fighting to topple Bashar Assad’s regime

have no unified leadership to agree to it.

The envoy, Lakhdar Brahimi, had asked Iranian officials to

help broker a truce during the Muslim holiday Eid al-Adha,

which falls later this month.

(PHOTOS: The Syrian Civil War: Photographs by Alessio

Romenzi)

But Syria’s state-run Al-Thawra newspaper, a government

mouthpiece, said Wednesday that the biggest obstacle to the

truce was the lack of an authority to sign for the rebels.

“There is the state, represented by the government and the

army on one front, but who is on the other front?” the paper

asked in an editorial.

All international efforts to end Syria’s civil war to date

have failed. Both rebels and government forces have

disregarded previous cease-fires, and the scores of rebel

units fighting to topple the regime have no unified

leadership. Many don’t communicate with each other.

They give live bytes to the media and make

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What's entertaining is that this animal kingdom is a product
of Bollywood (they should've moved to Film City studios,
instead). They do action scenes in slow-mo (inspired by 'Ek
Tha Tiger', maybe), sing romantic duets, dance garba, say
dialogues like, "Mere paas maa hai", and exchange jaadu ki
jhappi (Munnabhai chale jungle mein, haan?). There are also
creatures like a parinda with 'Ghajini'-like tattoos under
his wing, a bat (called Batman) who impersonates Dev saab,
and an evil hyena called Kaalia (Prem Chopra) who sings
Tandoori Nights (die-hard Himesh Reshammiya fan). And guess
what, these worldly-wise animals talk about casting couches,
and saas-bahu tele-shows too (more power to Ekta Kapoor!)
That's not it. They give live bytes to the media and make
headlines (thankfully, they aren't tweeting yet).
With satire, spoof, humour and wit, director, Nikhil Advani
has highlighted the ongoing aadmi v/s animal battle, the
desperate need for preservation of wildlife and the downside
of deforestation. His creatures entertain and tell the story
in true Bollywood style (too many songs and too much drama
'foxes' the plot). The problem is, he doesn't cut to the
chase, and it turns out to be more like a long safar than a
safari. The 3D effects are striking in parts and amongst the
best we've seen in India, but few scenes are deja vu 'Lion
King'. Alex and Bajrangi with their histrionics and rip
-'roaring' banter are the stars of this show. While the
cartoon creatures will appeal to kids, there's more for
adults here. The 'real' Men of the jungle that is.
The annual death rates of alcohol-dependent women are 460 per
cent higher than the non-drinking general population while
male alcoholics have a 190 per cent higher death rate than
the general population, German researchers have found.

Most of his paintings

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Ever since 1648, when the French Royal Academy of Painting and Sculpture was founded, Poussin has been presented as the exemplar of French classicism. But Poussin--who was middle-aged when the Academy began and spent most of his life in Rome, far away from the struggle to define a truly French art--always remained something of an outsider in relation to the establishment that crowned him the ultimate insider. Poussin arrived in Rome in 1624, when he was thirty. In 1640, Louis XIII and Cardinal Richelieu wanted him to come to Paris and take up the position of premier peintre du roi, but during his two years there he chafed at the sorts of public commissions that he was expected to carry out, and he was back in Rome in 1642, where he lived until his death in 1665. Most of his paintings were done for wealthy connoisseurs; he was very much a man who painted to please himself. While the conferences held at the French Academy in the seventeenth century involved tremendously erudite, almost legalistically precise discussions of the meanings of gestures and objects in Poussin's paintings, it is by no means clear that this is how he thought about his paintings, or wanted others to think about them. There is an experimental, even a playful quality about the erudition of this great Frenchman who spent most of his creative life in Rome, and it seems to have gotten lost in the bureaucratic intricacies of the Parisian art world, where he was celebrated as the French Raphael and his subtlest inventions were sometimes treated as if they were little more than lesson plans.
Rosenberg and Christiansen echo the ideas of Blunt when they argue that Poussin's processes were more intuitive than the arbiters of French academic taste in the last decades of the seventeenth century cared to believe. Evidence to support this line of thinking can be discovered in Poussin's letters and in the testimony of his friends, as well as through close studies of the way that his compositions and themes appear to have evolved. One of the works that is significant in this regard is Landscape with Pyramus and Thisbe,