 and my fuel pump relay. Luckily my freind has a 99 caval
Realy sounds like a wiring problem-may want to check wiring for corrosion around the battery area-even the wires on the bottom of the under hood electrical center beside the battery... Chevrolet Cavalier
I have a 2000 chevy express new battery and starter,driving up a hill today and cut out on me will not start have plenty of juice but wont turn over, also checked the fuel pump relay and was fine cant hear the fuel pump engaging any other info anybody can give me, I was hoping it is not the fuel pump Thanks
... 2001 Chevrolet ExpressWhen an emotionally disturbed man claims he witnessed a rape, the SVU must discover what is real and what is imaginary when the alleged victim turns out to be a patient in a psychiatric hospital.
PlotEdit.
SummaryEdit
While trying to catch a groper in Central Park, Rollins and Fin stumble upon a naked man running through the park in a drug-induced haze. He is taken to La Guardia Psychiatric Hospital where he witnesses a female patient being raped.
The SVU detectives are asked to investigate his claims & their interviews lead them to a frequent patient named Gia, but Gia denies that she was attacked even though her rape kit indicates a history of sodomy.
Olivia and Rollins talk to Gia's mother who claims that Gia has been making false rape accusations since she was 14 years old. Eventually, the detectives are able to get Gia to admit that her uncle has been raping her for 10 years. Once the detectives verify that Gia's uncle George disguised himself as a doctor to get access to Gia, he is arrested.
Uncle George claims that his relationship with Gia is consensual and they didn't have sex until she was 17 years old. Upon searching his house, Olivia and Rollins find nude pictures of Gia when she was 14 years old which is enough evidence to convict him on rape.Edit
- Karen Young as Dr. Meg Whitmere
- David Pittu as Attorney Linus Tate
Guest CastEdit
- Tim Guinee as George Zane
- J. Smith-Cameron as Diane Eskas
- Gavin-Keith Umeh as Captain Charles Lee
- David Gelles as Darren Bickford
- Michael Chernus as Jay Delaney
- Carrie Preston as Bella Zane
- Natasha Lyonne as Gia Eskas
- Jennifer McCabe as Doc Guard Stevens
- Brit Whittle as ER Doctor Lindstrom
- Kristin Rohde as Judge Angela Corcoran
- Joanna Howard as Amber
- Jon Freda as Lawyer
- Bill Cohen as Union Representative
- Kelly Spitko as Darcy
- David Winning as Angry Dad
- Alison Campbell as Jamaican Nanny
- Gayle Turner as Court Clerk
- Kent Cassella as Detective
ReferencesEdit
Episode references
QuotesEdit
- Amaro (to Olivia): You think I want to talk to him? I want to tear his head off.
- Olivia: My old partner, he, uh... There were a few times he came pretty close.
- Gia: In the real world, he's sane and I'm not.
- Gia: Some girls travel or go to college to get away. Me, I vacation at La Guardia Psychiatric Hospital.
Background information and notesEdit
Background information
Episode scene cardsEditDC's Crys Matthews is nothing if not ambitious. In August, she simultaneously released both a new full-length album, The Imagineers and an EP, Battle Hymn For An Army Of Lovers. These collections showcase two sides of Matthews’ dynamic songwriting; The Imagineers is a selection of thoughtful songs about love and life while Battle Hymn For An Army Of Lovers tackles social justice themes. Songs from both projects have already won her recognition and awards. She was one of ten finalists (from a pool of 5,000) in this year's NewSong Music Competition and, after performing at Lincoln Center on November 30th she was named grand-prize winner. Matthews also won the People Music Network's Social Just Songs contest at the Northeast Regional Folk Alliance. Matthews blends Americana, folk, jazz, blues, bluegrass and funk into a bold, complex performance steeped in traditional melodies and punctuated by honest, original lyrics. Having been compared to everyone from Toshi Reagon to Tracy Chapman to Ruthie Foster, Matthews’ eclectic infusion of genres has won her honorable mentions at the 2013 and 2014 Mid-Atlantic Song Contest and extensive radio play from Woman of Substance radio to WTJU-Charlottesville and WMRA-Harrisonburg to KBOO-Portland. Matthews has shared stages with Melissa Ferrick, Chris Pureka and Liz Longley, as well as several regional artists such as Owen Danoff, Eliot Bronson, and Heather Mae. Equally at home in an acoustic listening room as she is on stage at large music festivals, Matthews has quickly gathered a loyal following on the east coast playing such prestigious venues as The Birchmere, The Hamilton, and Jammin' Java. Matthews’ festival and showcase roster has included BMI's Island Hopper Songwriter Festival, the 40th Michigan Womyn’s Music Festival, Folk Alliance International, 30A Songwriters Festival, Northeast Regional Folk Alliance and many more. A prolific lyricist and composer, Matthews has found inspiration in her surroundings; from driving through the Blue Ridge Mountains to the compelling and heart-breaking love story of Richard and Mildred Loving. Thoughtful, realistic and emotional, Matthews’ songs speak to the voice of our generation and remind us why music indeed soothes the soul.
This engagement of Crys Matthews is funded through the Mid Atlantic Tours program of Mid Atlantic Arts Foundation with support from the National Endowment for the Arts and the Delaware Division of the Arts.
Katerina Nebelin's treatment is sociological in two respects. Social class relations are the background for the emergence of philosophy, as a separate identity within the dominant warrior nobility. In Pierre Bourdieu's sense, philosophy becomes a relatively-autonomous field with its own rules of the game, through a series of steps from the Pre-Socratics through the Sophists, to a final claim for autonomy and superiority by Plato.
The relative autonomy of philosophy from economic and political domination came about through a dynamic of internal conflict, that gradually gave rise to the concept of Truth-seeking as the sole criterion of social status. The private feuds of the proud warrior nobility were transformed into debates among speakers and texts. Literary specialists had long existed, but the Pre-Socratics attacked poets such as Homer and Hesiod, above all Heraclitus who found them superficial and misleading. A new social role began to develop, although some incipient philosophers (e.g. Parmenides) continued to write in poetry and claimed inspiration from the gods. The so-called "Seven Sages" were an early form, concerned chiefly with practical political reforms, and this concern would continue with diminishing emphasis, from Thales down through Democritus. Some were mantics, wonderworkers and preachers of salvation, like Pythagoras and Empedocles. Others displayed themselves as outsiders (Heraclitus, Anaxagoras). Poetry had been the popular medium, while philosophy would become identified with prose. But its initial venues overlapped with those of the poets: aristocratic drinking parties, tyrants' courts, and public events like the Panhellenic games.
New paths to wisdom were defended, eventually formulating explicit epistemologies. Inspiration from the Muses was criticized, in favor of direct experience, accumulation of teachings, and what would become logic. Among the most sensational claims was Parmenides' argument that change does not truly exist because reality is always the same. But Parmenides presented his case in a traditionalistic manner: in a poem that expresses his heaven-given vision, as a superior revelation. Parmenides' far-reaching influence was not in his doctrine but in laying out the rules of a new kind of argument, as quasi-syllogism, arguing from premises to conclusions. One begins with a convincing premise and examines what follows from it. Opposing positions are not merely to be denounced and denied, but disproven. The community of argument now takes on a distinctive boundary, as the criteria of logical argument enclose all positions in a common method.
Nebelin's emphasis on the growing autonomy of the philosophical field is in opposition to the older sociology of knowledge which saw the rise of Greek philosophy as a reflection of external political change, the rise of city-state democracy and political citizenship. Political argument does provide some concepts and terminology. Solon and other reformers argued that justice (personified as the goddess Dike) punishes humans with political catastrophe for their self-interested quarrels. Anaxagoras and others generalized the concept: law rules the cosmos. The nature-philosophies followed, arguing for various world-elements and processes that make up the universe. Heraclitus rose to a higher level of abstraction, arguing that the world is ceaseless conflict and change, but nevertheless is ruled by an all-encompassing logos. Parmenides countered with the opposite position, that change is illusion and all being is permanent. Now philosophy combined both its distinctive topics and its method of argument, removed from poetic stories and political practice. The autonomy of the intellectual field took shape.
The Pre-Socratics also began to create a distinctive philosophical ethics, as an alternative to the traditional aggressiveness of the nobility, and to the ideal of public participation. In response to the newly rich, the nobility had already begun to deny that wealth was a standard of