Not until 1998 did al Qaeda undertake a major terrorist operation of its own, in large part because Bin Laden lost his base in Sudan. Ever since the Islamist regime came to power in Khartoum, the United States and other Western governments had pressed it to stop providing a haven for terrorist organizations. Other governments in the region, such as those of Egypt, Syria, Jordan, and even Libya, which were targets of some of these groups, added their own pressure. At the same time, the Sudanese regime began to change. Though Turabi had been its inspirational leader, General Omar al Bashir, president since 1989, had never been entirely under his thumb. Thus as outside pressures mounted, Bashir's supporters began to displace those of Turabi. The attempted assassination in Ethiopia of Egyptian President Hosni Mubarak in June 1995 appears to have been a tipping point. The would-be killers, who came from the Egyptian Islamic Group, had been sheltered in Sudan and helped by Bin Laden. When the Sudanese refused to hand over three individuals identified as involved in the assassination plot, the UN Security Council passed a resolution criticizing their inaction and eventually sanctioned Khartoum in April 1996. A clear signal to Bin Laden that his days in Sudan were numbered came when the government advised him that it intended to yield to Libya's demands to stop giving sanctuary to its enemies. Bin Laden had to tell the Libyans who had been part of his Islamic army that he could no longer protect them and that they had to leave the country. Outraged, several Libyan members of al Qaeda and the Islamic Army Shura renounced all connections with him. Bin Laden also began to have serious money problems. International pressure on Sudan, together with strains in the world economy, hurt Sudan's currency. Some of Bin Laden's companies ran short of funds. As Sudanese authorities became less obliging, normal costs of doing business increased. Saudi pressures on the Bin Laden family also probably took some toll. In any case, Bin Laden found it necessary both to cut back his spending and to control his outlays more closely.
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Answer: What assassination plot caused the U.N. Security Council to sanction the Sudanese government?

Earth processes have not changed over time. The way things happen now is the same way things happened in the past. Mountains grow and mountains slowly wear away. The same process is at work the same as it was billions of years ago. As the environment changes, living creatures adapt. They change over time. Some organisms may not be able to adapt. They become extinct. Becoming extinct means they die out completely. Some geologists study the history of the Earth. They want to learn about Earths past. They use clues from rocks and fossils. They use these clues to make sense of events. The goal is to place things in the order they happened. They also want to know how long it took for those events to happen.
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Answer: What do geologists study to give them clues about the Earth's past?

Madame White Snake: East Asian Femme Fatale of Old The Chinese legend of Madame White Snake, the snake demon that takes human form and becomes the wife of a man, has exerted a lasting influence over East Asian folktales and fiction for centuries. Two quintessential novellas, "The Lust of the White Serpant" from Ugetsu Monogatari by the Japanese author Ueda Akinari and "Eternal Prisoner under Thunder Peak Pagoda" a traditional Chinese story, are both relatively complex and demonstrate not only the evolution of the White Snake figure to become a more believable human, but also what aspects may have given her enduring appeal. While both these stories are ostensibly morality tales about the dangerous beauty of this femme fatale, the true source of pleasure from these narratives is the femme fatale's transgressive behavior, not her eventual punishment for it. Early tales of Madame White Snake appeared in China as early as the Song Dynasty, and initially her portrayal was fairly direct, as a villainous demon who drains the life force out of her human husband. But over time, characterizations of her became more complex, and the persona of Madame White Snake became more sympathetic, and perhaps even a model of the ideal Confucian wife, particularly in "Pagoda". Whalen Lai notes, "She was a loving wife, a caring mother, rescuer of her family from the first flood, and, at that point, a general benefactor of man. She took on the virtues of a traditional Chinese female, particularly forbearance". But if she were really an ideal wife, why could she not live happily with her human mate? Her dangerous sexuality is the key. Femme fatale might seem an unusual term to apply to a character from pre-modern Chinese and Japanese literature who may exemplify the virtues of an ideal Confucian wife, since it is primarily associated with film characters, particularly those of the film noir genre. But this term, which is relatively speaking, a neologism (The earliest uses were around the beginning of the 20th century
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Answer: What neologism can be applied to Madame White Snake?

"Femme" is an apt description of the depiction of Madame White Snake and all her incarnations. It refers to a woman who is dangerously attractive, and lures men to their downfall with her sexual attractiveness. In both incarnations of Madame White snake, the authors depict her as bewitchingly beautiful. Toyoo, her human lover in "Lust of the White Serpant" cannot shake the image of her beauty from his mind and dreams of her, and finds himself "disturbed and agitated" by her "ethereal beauty". In "Eternal Prisoner," Madame White Snake's bewitching beauty follows her lover Hsu into his dreams, and the next morning "he was so distracted that he could not concentrate on doing business." Both of these stories align negative connotations with her beauty, suggesting that her sexuality is the cause of their distraction. In addition to distracting sexuality, the irregular characterization of Madame White Snake might be another trait her character has in common with the archetypical noir femme fatale. In her essay analyzing the noir film from a feminist perspective, Christine Gledhill writes "Not only is the hero frequently not sure whether the woman is honest or a deceiver, but the heroine's characterisation is itself fractured so that it is not evident to the audience whether she fills the [femme fatale] stereotype or not".
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Answer:
What works are about Madame White Snake?