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Nadia holds an Honours degree and BSc in Environmental Management and is currently pursuing her Masters degree. In this role, she supports the delivery of technical assistance to help C40 cities develop greenhouse gas emissions inventories in line with international best practice. This includes the development of further guidance, resources and case studies on data management, inventory development and climate action planning. Prior to joining C40, Natalia completed a PhD in environmental engineering in Imperial College London. The topic of her research focused on the “Impact of Black Carbon Emissions from the uncontrolled burning of waste”. She also holds an MPhil in Engineering for Sustainable Development by the University of Cambridge. Before starting her PhD, Natalia was the Director of Research in Air Quality at the National Institute of Ecology and Climate Change (INECC) in Mexico. During this time, she coordinated the “Sustainable Cities Project”, which assessed the sustainability of medium-sized cities in Mexico. She is responsible for identifying knowledge gaps in adaptation research and is currently working across several research projects to support cities in undertaking climate adaptation actions. During this, she worked on urban risk resilience through project based in Lima, Peru assessing urban development in the city’s coastal area with a focus on transport and governance.

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Montages of television news clips report women marching in solidarity around the world: Athens, Copenhagen, Delhi, Istanbul, Lahore, Montreal, Paris, Santo Domingo, Sao Paulo, Tokyo and Da Republic of Brooklyn. As if all those women seek to end gang gunfire in their cities too. Addressing the audience, this strutting old-school sage kicks off his running commentary by explaining why his patter and the lines of other characters will rhyme: “In Da year 411 BC, before Baby Jesus Y’all, Da Greek Aristophanes penned a Play satirizin’ his DAY. In the most disconcerting instance, Dolmedes is flanked by a black gangbanger and a white cop. In the original play actors hurled no spears through the fourth wall. Aristophanes likewise christens members of his chorus with “fancy names,” as classicists call them. Two characters in Lee’s film meet at a coffee shop not located in Greek Town named Deus Ex Machina. Englewood vernacular replaces the Attic and Doric dialect used by Aristophanes. I doubt Lee could secure access to film in the Federal Reserve Bank of Chicago on South LaSalle Street. Seattle’s Negro Repertory Company, part of the Federal Theatre Project, staged a “Lysistrata” adaptation set in Africa.

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Highlighting the works performed and schemes implemented by Maharaja Hari Singh during his regime, the Speaker said that his contribution in socio-political and socio-economic reforms in the State for bringing the Jammu and Kashmir at par with other progressive states is highly laudable. He also lauded Maharaja for doing away with many social evils for the welfare of the public. Speaking on the occasion, Priya Sethi remembered the selfless services rendered by Maharaja Hari Singh for betterment of the State. In the function rich tributes were paid to the Late Maharaja Sahib and the students were made aware about the great deeds performed by Maharaja Hari Singh. Rajesh Gupta while speaking on the occasion said that Maharaja Hari Singh Ji was one of the great rulers of his times that India has produced. Rajesh Gupta said that the Late Maharaja Sahib was a great nationalist and performed his role admirably in the Round Table Conference in London. The British were so rattled by the forthright and brave leadership of the Maharaja that they started to hatch conspiracies against him and the revolt of 1931 was a manifestation of that. ajesh Gupta said that the Late Maharaja Sahib was a great educationist even in that era. e would never allow any children to remain out of school and at times children were put in schools by force. his is the reason for high literacy rate in Kashmir.

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Having been blind to their obsession, once they get what they want, once they achieve realization, the comedy is over. This does not mean Premise and Character 27 that the movie is over. Often, especially in romantic comedy, the realization is that they are in love. This can either be successful or bittersweet, as in Manhattan (Allen 1979). In essence, the comedy protagonist creates the other characters in the story. He holds deep obsessions and the cast of characters are there to exploit this. There cannot be too many dimensions to the character because this demands real empathy and compassion and kills the laughter. We sympathize but there must be a degree of comic distance, allowing us to appreciate the comedy from an ironic position. This holds true for most comic genres except romantic comedy, which mirrors our own experiences of love and demands that we identify closely with the protagonist(s). Dramatic goals are life and death to the participants, but the comic goal, although it may seem vital to the hero, is less important.