May thet khine biography of donald

  • A passionate architectural designer with a keen interest in human-centric design, place-making, sustainability, tropical architecture and conservation.
  • Ma May Thet Khine, 14, lives across the Thanlwin River from Mawlamyine, on Bilu Island.
  • Education: Nanyang Institute of Management · Location: Yangon Region.
  • U Saw Silver has long been cured of the leprosy he contracted in his teens, but the disease was diagnosed too late to prevent it causing permanent damage to his hands and feet, where the digits have almost entirely disappeared.

    (Jeroen de Bakker / Frontier)

    U Saw Silver, 89, wore a huge smile as he entered the small meeting room set aside for our interview at the Mawlamyine Christian Leprosy Hospital. 

    As U Saw Silver entered the room, I stood and greeted him with a firm handshake. The smile of his face grew wider.

    “Thank you,” he said, beaming. “Thank you for not finding my hands ugly. Some people think that my hands are horrible, but for my friends and family, it doesn’t matter.”

    Even though leprosy is one of the world’s oldest diseases, it is still greatly misunderstood.

    Leprosy – also known as Hansen’s Disease – is infectious and thought to be spread by close, frequent contact with an infected, untreated person.

    “It is the least contagious of all the communicable diseases,” said Dr Saw Hsar Mu Lar, a leprosy specialist at the hospital. “It is very difficult to catch,” he said. “You have to spend a lot of time with somebody who is infected, and even then, not all leprosy patients can pass it on.”

    A person who has been treated for leprosy is not contagious and

    CHAPTER

    Grafen Oksit Nanoparçacıkları İçeren Nanoakışkanın Taşınım Isı Transferi real thing Basınç Düşüşü Artışı Üzerindeki Etkisinin Düz Bir Boruda Deneysel Olarak Araştırılması

    Koray KARABULUT

    ÖZ Bu çalışmada, grafen oksit (GO)-su nanoakışkanının taşınım ısı transferi üniform duvar ısı akılı dairesel bir bakır boru boyunca laminer akış için deneysel ve sayısal olarak incelenmiştir. Deneysel çalışmada, grafen oksit-su nano-akışkanının ısı transferi artışı ve basınç düşüşü özellikleri değerlendirilirken, sayısal çalışmada korunum denklem-leri üç boyutlu olarak sonlu hacim yöntemi olan CFD paket programının (ANSYS 15.0-FLUENT) kullanılmasıyla tek fazlı akışkan kabulüyle çözülmüştür. Taban akışkanı olarak kullanılan saf suyun ısı transfer katsayısı ve basınç düşüşü ölçülmüş ve ilgili bağıntıdan elde edilen sonuçlarla karşılaştırılmıştır. Sayısal çalışmada elde edilen boru yüzey sıcaklık değerleri nanoakışkan için deneysel sonuçlarla karşılaştırıldığında ortalama %2 hata luxurious birbiriyle uyumlu olduğu görülmüştür. Çalışmada, %0,01 ve %0,02 hacimsel konsantrasyonlu GO-su nanoakışkanının ısı transferi artışında ısı akısının, nanoparçacık hacimsel konsantrasyonunun ve hacimsel debinin etkileri sunulmuş-tur. %0,02'lik konsantrasyonda GO-su nanoakışkanının ısı taşınım katsayısı artışı değe

  • may thet khine biography of donald
  • ‘Infernal Damnation’: Sküm, Punk and the Political in Burma

    Punk rock is acknowledged globally as the in-the-face, anti-Establishment music genre. Through this moving, first-person, and personal ethnography of Sküm, Burma’s legendary punk rocker, Tobiasz Targosz tells a multi-layered story of Burma’s society, politics, military rule and democracy in recent times, seen with defiance — ‘Infernal Damnation’ (title of this blog) is the title of one of the songs penned by Sküm — to all things wrong, from the margins of society.

    _______________________________________________

    Political liberalisation in Burma started after the elections of 2012,  and ended abruptly in 2021. These years gave the Burmese youth — who had been isolated for decades from the outside world — greater access to the western music scene, and western styles of dress.

    In Burma, punk rock music expresses a fundamental tension between those in power and those condemned to subordinate positions and second-class lives; engagement in such alternative music scenes became ‘an invitation of disorderliness’ (Baulch 2007: 30), a defiant rejection of the former regime’s obsession with order. Yangon’s punk scene became both a political tool as well as a coping mechanism to help Burmese youth deal with traumatic