as well as those reported

michael kors dresses

(MORE: Man Arrested at LAX for Transporting an Arsenal of

Weapons)

The increase in violent crime was the result of an upward

swing in assaults, which moved up by 22 percent, from 4

million in 2010 to 5 million last year. The increases in

violent crime experienced by whites, Hispanics, younger

people and men accounted for the majority of the increase in

violent crime.

In the latest survey, property crime was up for the first

time in a decade, from 15.4 million in 2010 to 17 million

last year. Household burglaries rose 14 percent, from 3.2

million to 3.6 million. The number of thefts jumped by 10

percent, from 11.6 million to 12.8 million.

The victimization figures are based on surveys by the Census

Bureau of a large sample of people in order to gather data

from those who are victims of crime. They are considered the

government’s most comprehensive crime statistics because

they count both crimes that never are reported to the police

as well as those reported.

Last May, the FBI’s preliminary crime report for 2011, which

counts only crimes reported to police, concluded that crime

dropped again last year, down 4 percent for violent crime and

3.7 percent for property crime. The declines slowed in the

second half of last year, a sign to academic experts that the

many years of lowering crime levels might be nearing an end.

Historically, less than half of all crimes, including violent

crimes, are reported to police.

The Uruguayan Senate has voted 17-14 to legalize all first

trimester abortions in a groundbreaking step in Latin

America.
The Wednesday vote came after senators accepted a compromise

measure that has frustrated both sides of the bitter abortion

debate.

longitudinal descriptive data

michael kors dresses

"Clinical data has revealed a higher proportion of

individuals who have died than among the general population

of the same age," explained Ulrich John, professor of

epidemiology and social medicine at the University of

Greifswald.

John and colleagues gathered a random sample of 4,070

respondents aged between 18 and 64 years. Of them, 153 were

identified as alcohol dependent (AD). Of these, 149 (119

males, 30 females) were followed for 14 years.

"Gender-specific data is rare, even among clinical samples.

Furthermore, these studies have two main limitations," adds

John, according to the journal Alcoholism: Clinical &

Experimental Research.

"First, we know that only a minority of AD individuals

receive treatment. We lack knowledge about how this selection

occurs. Second, we have no evidence about the potential

effects of specialized alcoholism treatment on mortality

among people who had been diagnosed AD," says John, according

to a University Medicine statement.

"We would like to know whether treatment might enhance

survival time. For ethical reasons, no controlled trials are

possible. Thus, longitudinal descriptive data as in this

study are helpful," says John, study co-author.

John adds that Germany is well-suited for this kind of

research since it is mandatory for residents to provide vital

status data.


The fascination of Poussin's landscapes

michael kors dresses

And the space of these landscapes is indeed stage-like, as Blunt implies when he observes that Poussin's landscapes are based on a "finite space," rather than the "infinite space" of his friend Claude Lorrain's paintings, with their misty oceans and sunset skies. The fascination of Poussin's landscapes is in the infinite subdivisions of this finite space, in the way forms fit within forms. Poussin's protagonists are actors on a stage; the woman bending down to gather Phocion's ashes becomes a consciousness within the consciousness of the painting, her arched back set in a counterpoint with the upright frontality of temples and the great spreading power of the trees. Poussin's genius for incident and interval, for visual relationships that are spontaneous yet exact, is something to behold. Very few artists have this gift: in the French tradition after Poussin, you find it only in Watteau, Chardin, Corot, and Braque.


The razor-sharp lucidity of the landscapes of the late 1640s, which suggests a middle-aged man's supreme confidence, gave way in the fifteen years leading up to Poussin's death in 1665 to a very different quality: a thickening of the surface, a shivering stasis. This more overt painterly touch was precipitated by physical infirmity. Poussin developed a tremor in his hands that left him no longer able to give his forms the exactitude of the Ashes of Phocion and the Orpheus and Eurydice. But when facility abandoned him, he found a new unity in the blurring of details--in the necessity of conceiving figures and landscape elements in a bulkier and more compact way. There is a deliberateness that is not without its own surprising delicacy in Blind Orion Searching for the Rising Sun, The Infant Bacchus Entrusted to the Nymphs of Nysa, and the Four Seasons, of which two, Spring and Summer, have made the trip from Paris to New York. In these late works, the rectangle of the canvas frames not a single moment, not a Now, but something closer to an eternity, a Forever. What counts here is not narrative immediacy but the timeless lessons to be drawn from the narrative--about good and evil, the lineage of Christ, Bacchic fertility.