Alevridou watched in disappointment

Brothel owner Soula Alevridou, the team’s new benefactor,

has already paid more than 1,000 euros ($1,312) for players

to wear her jerseys. The team is appealing the game ban, but

that doesn’t worry the 67-year-old Alevridou, who says she’

s only in it because she loves soccer.

“It’s not the kind of business that needs promotion,” she

said, dressed all in white and flanked by two young women in

dark leggings at a recent game. “It’s a word-of-mouth kind

of thing.”

Her businesses, plushly decorated pastel-colored bungalows

where 14 women are employed, have weathered the country’s

financial disaster far better than most, and she readily

acknowledges her success.

“If we don’t help our scientists and athletes, where will

we be?” she asked. “Greece has educated people, cultured

people and good athletes. It’s better to help them than take

our money to Switzerland.”

Alevridou watched in disappointment as her team lost its

fourth straight game, 1-0, despite her promise to players of

“a special time” at her businesses if they won.

“There’s a lot still missing. We have no midfield,” said

Alevridou, a slightly built woman with a husky voice. “Many

of our boys have jobs that keep them working at night. And if

we have a game the following morning, they can’t have a real

presence on the pitch. … They need more help.”

(MORE: Euro Crisis: Why a Greek Exit Could Be Much Worse than

Expected)

They aren’t the only team suffering. Greece’s Amateur

Athletics Federation suspended all its activities for several

weeks earlier this year to protest funding cuts. And even the

major soccer clubs sent most of their star players abroad

this summer in the face of financial trouble and poor

attendance, with fans no longer able to afford tickets.

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"Our data are also of international interest because
researchers used the Composite International Diagnostic
Interview (CIDI), which is an internationally and widely
accepted instrument," he said.MUMBAI: The body of an eight-
year-old schoolboy was fished out of a nullah close to his
Gorai residence on Wednesday, three days after he went
missing. Police investigation revealed earlier in the day
that the victim's 15-year-old cousin had kidnapped and
murdered him on Sunday for ransom, to buy electronic parts
for constructing helicopter models. He was arrested late on
Wednesday.
The victim Dheeraj Pandit, the youngest son of coconut vendor
Shivkumar, studied in a municipal school. The family lives at
Bheem Nagar in Gorai. Three of Shivkumar's brothers stay in
the vicinity with their families. The accused, who studied
till class V in Bihar, had a passion for building helicopter
models and built a remote-controlled set at home. "For the
past three months, the accused had been withdrawing money
from his father's bank account, using the latter's ATM card,
to fund his passion. But after he siphoned off Rs 50,000, he
realised he would invite his father's wrath unless he
replaced the amount in the account," said DCP Mahesh Patil.
Inspired by television crime shows, the accused plotted his
uncle's son's abduction and even wrote a ransom note
demanding Rs 1 lakh. He intended to spend half the ransom on
electronic parts for a new helicopter model and deposit the
rest into his father's account. Around 1pm on Sunday, when
Dheeraj was playing cards at home, the accused called him
home on some pretext and began tying him up. But a startled
Dheeraj screamed, so the accused panicked and strangled him
with his necktie. He then packed the body in a box and kept
it indoors for over 24 hours, sleeping near it and spraying
perfume to contain the foul odour. On Monday night, he
wrapped the body in a gunny bag and threw it in a nullah
nearby. Next morning, he dropped the ransom note at Dheeraj's
residence.

Some might be inclined to argue that by emphasizing

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In these late pictures Poussin's style achieves an exalted na?veté. The boldness of the vegetation in Spring suggests the plainspoken power of early Renaissance painting in Siena, or maybe even the jungle fantasies of Le Douanier Rousseau. And the monumental immobility of the figures in The Infant Bacchus and a number of other late paintings brings to mind the ritualistic antinaturalism of the sculpture of Old Kingdom Egypt. Here we discover a final paradox of artistic mastery: the shedding of facility that can be achieved only by an artist who knows everything there is to know about his craft.
It is significant, I believe, that the exhibition is called "Poussin and Nature" rather than "Poussin and Landscape," for Rosenberg and Christiansen obviously see in Poussin's studies of men and women living in the natural world the jumping-off point for a more general consideration of the place of nature in the work of this artist who was in many respects the ultimate conceptualist. Their goal, as I understand it, is to complicate our sense of Poussin's classicism by emphasizing the role of spontaneity, intuition, and poetic perception in his processes. Some might be inclined to argue that by emphasizing Poussin's nature poetry, Rosenberg and Christiansen have given us a more viewer-friendly master--Poussin lite. And of course there is an element of seduction in these pictures that you will not find in some of Poussin's more densely packed figure paintings, whether the two versions of the Rape of the Sabine Women or the cycles of Sacraments. But my guess is that many people who take a long, hard look at "Poussin and Nature" are going to find themselves revisiting other aspects of the painter's work with fresh eyes, for there is always a poetic spark in Poussin that undercuts the complacency that is often associated with classicism. For Poussin, the drive to absorb the visual languages of Greece and Rome and the High Renaissance was only the beginning. The ultimate question was what you wanted to say, and even his steeliest set pieces are suffused with a speculative spirit.