Overview.

The most common basic types of chemical reactors are tanks (where the reactants mix in the whole volume) and pipes or tubes (for laminar flow reactors and plug flow reactors)  Both types can be used as continuous reactors or batch reactors, and either may accommodate one or more solids (reagents, catalysts, or inert materials), but the reagents and products are typically fluids (liquids or gases). Reactors in continuous processes are typically run at steady-state, whereas reactors in batch processes are necessarily operated in a transient state. When a reactor is brought into operation, either for the first time or after a shutdown, it is in a transient state, and key process variables change with time.  There are three idealised models used to estimate the most important process variables of different chemical reactors:  Many real-world reactors can be modeled as a combination of these basic types.  Key process variables include:  A tubular reactor can often be a packed bed. In this case, the tube or channel contains particles or pellets, usually a solid catalyst. The reactants, in liquid or gas phase, are pumped through the catalyst bed. A chemical reactor may also be a fluidized bed; see Fluidized bed reactor.  Chemical reactions occurring in a reactor may be exothermic, meaning giving off heat, or endothermic, meaning absorbing heat. A tank reactor may have a cooling or heating jacket or cooling or heating coils (tubes) wrapped around the outside of its vessel wall to cool down or heat up the contents, while tubular reactors can be designed like heat exchangers if the reaction is strongly exothermic, or like furnaces if the reaction is strongly endothermic.

Types.

Batch reactor.

The simplest type of reactor is a batch reactor. Materials are loaded into a batch reactor, and the reaction proceeds with time. A batch reactor does not reach a steady state, and control of temperature, pressure and volume is often necessary. Many batch reactors therefore have ports for sensors and material input and output. Batch reactors are typically used in small-scale production and reactions with biological materials, such as in brewing, pulping, and production of enzymes. One example of a batch reactor is a pressure reactor.

CSTR (continuous stirred-tank reactor).

In a CSTR, one or more fluid reagents are introduced into a tank reactor which is typically stirred with an impeller to ensure proper mixing of the reagents while the reactor effluent is removed. Dividing the volume of the tank by the average volumetric flow rate through the tank gives the space time, or the time required to process one reactor volume of fluid. Using chemical kinetics, the reaction's expected percent completion can be calculated. Some important aspects of the CSTR: The behavior of a CSTR is often approximated or modeled by that of a Continuous Ideally Stirred-Tank Reactor (CISTR). All calculations performed with CISTRs assume perfect mixing. If the residence time is 5-10 times the mixing time, this approximation is considered valid for engineering purposes. The CISTR model is often used to simplify engineering calculations and can be used to describe research reactors. In practice it can only be approached, particularly in industrial size reactors in which the mixing time may be very large.  A loop reactor is a hybrid type of catalytic reactor that physically resembles a tubular reactor, but operates like a CSTR. The reaction mixture is circulated in a loop of tube, surrounded by a jacket for cooling or heating, and there is a continuous flow of starting material in and product out.

PFR (plug flow reactor).

In a PFR, sometimes called continuous tubular reactor (CTR), one or more fluid reagents are pumped through a pipe or tube. The chemical reaction proceeds as the reagents travel through the PFR. In this type of reactor, the changing reaction rate creates a gradient with respect to distance traversed; at the inlet to the PFR the rate is very high, but as the concentrations of the reagents decrease and the concentration of the product(s) increases the reaction rate slows. Some important aspects of the PFR:  For most chemical reactions of industrial interest, it is impossible for the reaction to proceed to 100% completion. The rate of reaction decreases as the reactants are consumed until the point where the system reaches dynamic equilibrium (no net reaction, or change in chemical species occurs). The equilibrium point for most systems is less than 100% complete. For this reason a separation process, such as distillation, often follows a chemical reactor in order to separate any remaining reagents or byproducts from the desired product. These reagents may sometimes be reused at the beginning of the process, such as in the Haber process. In some cases, very large reactors would be necessary to approach equilibrium, and chemical engineers may choose to separate the partially reacted mixture and recycle the leftover reactants.  Under laminar flow conditions, the assumption of plug flow is highly inaccurate, as the fluid traveling through the center of the tube moves much faster than the fluid at the wall. The continuous oscillatory baffled reactor (COBR) achieves thorough mixing by the combination of fluid oscillation and orifice baffles, allowing plug flow to be approximated under laminar flow conditions.

Semibatch reactor.

A semibatch reactor is operated with both continuous and batch inputs and outputs. A fermenter, for example, is loaded with a batch of medium and microbes which constantly produces carbon dioxide that must be removed continuously. Similarly, reacting a gas with a liquid is usually difficult, because a large volume of gas is required to react with an equal mass of liquid. To overcome this problem, a continuous feed of gas can be bubbled through a batch of a liquid. In general, in semibatch operation, one chemical reactant is loaded into the reactor and a second chemical is added slowly (for instance, to prevent side reactions), or a product which results from a phase change is continuously removed, for example a gas formed by the reaction, a solid that precipitates out, or a hydrophobic product that forms in an aqueous solution.

Catalytic reactor.

Although catalytic reactors are often implemented as plug flow reactors, their analysis requires more complicated treatment. The rate of a catalytic reaction is proportional to the amount of catalyst the reagents contact, as well as the concentration of the reactants. With a solid phase catalyst and fluid phase reagents, this is proportional to the exposed area, efficiency of diffusion of reagents in and products out, and efficacy of mixing. Perfect mixing usually cannot be assumed. Furthermore, a catalytic reaction pathway often occurs in multiple steps with intermediates that are chemically bound to the catalyst; and as the chemical binding to the catalyst is also a chemical reaction, it may affect the kinetics. Catalytic reactions often display so-called "falsified kinetics", when the apparent kinetics differ from the actual chemical kinetics due to physical transport effects.  The behavior of the catalyst is also a consideration. Particularly in high-temperature petrochemical processes, catalysts are deactivated by processes such as sintering, coking, and poisoning.  A common example of a catalytic reactor is the catalytic converter that processes toxic components of automobile exhausts. However, most petrochemical reactors are catalytic, and are responsible for most industrial chemical production, with extremely high-volume examples including sulfuric acid, ammonia, reformate/BTEX (benzene, toluene, ethylbenzene and xylene), and fluid catalytic cracking. Various configurations are possible, see Heterogeneous catalytic reactor.

A chemical reactor is an enclosed volume in which a chemical reaction takes place. In chemical engineering, it is generally understood to be a process vessel used to carry out a chemical reaction, which is one of the classic unit operations in chemical process analysis. The design of a chemical reactor deals with multiple aspects of chemical engineering. Chemical engineers design reactors to maximize net present value for the given reaction. Designers ensure that the reaction proceeds with the highest efficiency towards the desired output product, producing the highest yield of product while requiring the least amount of money to purchase and operate. Normal operating expenses include energy input, energy removal, raw material costs, labor, etc. Energy changes can come in the form of heating or cooling, pumping to increase pressure, frictional pressure loss or agitation.


Biography.

As a Spanish republican he was exiled in France in 1939. He was recruited by the French Foreign Legion and French Army and captured in 1940 by the Germans. Boix, like over 7,000 Spaniards, was an inmate in the Mauthausen concentration camp between January 1941 and May 1945. From the end of August 1941 he worked in the "Erkennungsdienst", the photography department of the camp administration, taking ID photos of inmates and documenting events in the camp. He was able to hide and preserve until liberation about 20,000 negatives taken by the SS head of the department, Paul Ricken, as well as by himself.  On January 28 and 29, 1946 at the Nuremberg trial (International Military Tribunal), Boix was called by the French prosecution to show photographs taken by the SS in Mauthausen. Those photos depicted the conditions in which the prisoners lived and were murdered in that camp. They were also proof that the camp was known and visited by high leaders of the Third Reich, such as Ernst Kaltenbrunner, who appeared visiting both the Mauthausen camp proper, and the Wienergraben quarry adjacent to the camp.  In April 1946 Boix was again a witness, this time in the American military trial that took place in Dachau against 61 accused from the Mauthausen camp.  Between 1945 and 1951 Boix worked as a photo reporter in the French press, particularly for a newspaper associated with the French Communist Party.  He died in Paris on 7 July 1951 from kidney failure at age 30.

Popular culture.

Films.

"Francisco Boix, A Photographer in Hell" is a documentary directed by Llorenç Soler and released in 2000. "El fotógrafo de Mauthausen" is a Spanish film directed by Mar Targarona released on 26 October 2018. Mario Casas plays Francisco Boix.

Graphic novel.

A graphic novel adaptation telling the story of Boix titled "Le Photographe de Mauthausen" was published in 2017 by Belgian publisher Le Lombard, written by Salva Rubio and drawn by Pedro J. Colombo.

Francesc Boix i Campo (in Spanish "Francisco Boix Campo", 31 August 1920 in Barcelona – 7 July 1951 in Paris) was a veteran of the Spanish Civil War and photographer who was imprisoned in the Mauthausen concentration camp. At the Nuremberg and Dachau trials he presented photographs that played a role in the conviction of Nazi war criminals.


Biography.

Born in Marijampolė, present-day Lithuania, Bidermanas arrived in France in 1930 to become a painter. In 1933, he directed a photographic studio in the 13th Arrondissement of Paris. During World War II, being a Jew, he had to leave occupied Paris. He went to Ambazac, in the Limousin, where he adopted the pseudonym Izis and where he was arrested and tortured by the Nazis. He was freed by the French Resistance and became an underground fighter. At that time he photographed his companions, including Colonel Georges Guingouin. The poet and underground fighter Robert Giraud was the first to write about Izis in the weekly magazine "Unir", a magazine created by the Resistance.

Humanist photography.

Upon the liberation of France at the end of World War II, Izis had a series of portraits of "maquisards" (rural resistance fighters who operated mainly in southern France) published to considerable acclaim. He returned to Paris where he became friends with French poet Jacques Prévert and other artists. Izis became a major figure in the mid-century French movement of humanist photography — also exemplified by Brassaï, Cartier-Bresson, Doisneau, Sabine Weiss and Ronis — with "work that often displayed a wistfully poetic image of the city and its people."  For his first book, "Paris des rêves" (Paris of Dreams), Izis asked writers and poets to contribute short texts to accompany his photographs, many of which showed Parisians and others apparently asleep or daydreaming. The book, which Izis designed, was a success. Izis joined "Paris Match" in 1950 and remained with it for twenty years, during which time he could choose his assignments.

Recognition and legacy.

Meanwhile, his books continued to be popular with the public. Among the numerous books by Izis, Gerry Badger and Martin Parr have especial praise for "Le Cirque d'Izis" (The Circus of Izis), "published in 1965, but bearing the stamp of an earlier era". Shot mostly in Paris but also in Lyon, Marseille and Toulon, the photographs are "affectionate and nostalgic, but also deeply melancholic" with "a desolate undercurrent", forming a work that is "profound, moving and extraordinary".

Israëlis Bidermanas (17 January 1911 in Marijampolė – 16 May 1980 in Paris), who worked under the name of Izis, was a Lithuanian-Jewish photographer who worked in France and is best known for his photographs of French circuses and of Paris.


Early life.

Kurylenko was born in Berdyansk, Ukraine, then Ukrainian SSR. Her father, Konstantin, is Ukrainian, and her mother, Marina Alyabusheva, who teaches art and is an exhibited artist, was born in Irkutsk Oblast, Russia, and is of Russian and Belarusian ancestry.  Her parents divorced when she was three and she was raised by her single mother. Kurylenko rarely had contact with her father, meeting him for the first time after the split when she was eight, and later when she was thirteen.

Career.

Kurylenko moved from native Berdyansk to Moscow at 15. At the age of 16, she moved to Paris. In 1996, she signed a contract with the Paris-based Madison modelling agency where she met her publicist Valérie Rosen. The following year, by the age of 18, she had appeared on the covers of "Vogue" and "Elle" magazines. While working as a model in Paris, Kurylenko supported her mother in Ukraine.  She also appeared on the covers of "Madame Figaro" and "Marie Claire" magazines. She became the face of brands Bebe, Clarins, and Helena Rubinstein. She has also modelled for Roberto Cavalli and Kenzo and appeared in the Victoria's Secret catalogue.  In 1998, she features in the music video of French-Algerian Raï style singer Faudel called "Tellement Je T'aime".  One of her first acting appearances was in Seal's music video, "Love's Divine" in 2003, but her film career truly began in France during 2005. She received the certificate of excellence award at the 2006 Brooklyn International Film Festival for her performance in "L'Annulaire", and also starred in the "Paris, je t'aime" segment ""Quartier de la Madeleine" opposite Elijah Wood. That same year, she was selected to be the face of Kenzo's new fragrance, "Kenzo Amour". She has appeared in all subsequent "Kenzo Amour" advertisements.  In 2007, she starred in "Hitman" alongside Timothy Olyphant. She had a minor role in "Max Payne" as Natasha. She played Bond girl Camille Montes in the 2008 James Bond film, "Quantum of Solace" (after beating out Gal Gadot in the auditions). In the film she plays the role of a Bolivian Secret Service agent named Camille, who teams up with James Bond to avenge the death of her parents.  She was featured on the cover of the December 2008 issue of the US edition of "Maxim" magazine and on the cover of the February 2009 issue of the Ukrainian edition of "Maxim". In Ukraine the mayor of Berdyansk suggested naming a street after her in early 2008, and she and her mother met Ukraine's First Lady Kateryna Yushchenko in President Yushchenko's family country house.  Kurylenko appeared in Terrence Malick's "To the Wonder", shot in fall 2010 in Bartlesville, Oklahoma. She also appeared in "Oblivion", a science fiction film starring Tom Cruise and directed by Joseph Kosinski. Kurylenko played Alice Fournier who is the main subject of the spy thriller "November Man".  In 2014, Kurylenko starred in the historical drama film "The Water Diviner" alongside Russell Crowe (who made his directorial debut), Jacqueline McKenzie and Jai Courtney. She also played the headmistress in Vampire Academy.

Personal life.

Kurylenko acquired French citizenship in 2001. She married French fashion photographer Cedric van Mol in 2000, but the couple divorced four years later. She married American mobile phone accessory entrepreneur Damian Gabrielle in 2006, but that marriage ended in divorce in late 2007. Kurylenko moved to London in 2009.  Kurylenko and her former partner Max Benitz have one son, Alexander Max Horatio, born on 3 October 2015.  On 15 March 2020, Kurylenko announced she had tested positive for COVID-19. On 22 March, she said that she had completely recovered.

Olga Konstiantinivna Kurylenko (born 14 November 1979) is a Ukraine-born French actress and model. She was discovered as a model in Moscow at the age of 13. She moved to Paris to pursue a modelling career at the age of 16 and started her acting career in 2005. She found success as an actress for her role as Nika Boronina in the film adaptation of the video game "Hitman" (2007), and then mainstream prominence with the role of Bond girl Camille Montes in the 22nd James Bond film, "Quantum of Solace" (2008). More recently she starred in Stephen S. Campanelli's "Momentum" (2015), Terrence Malick's "To the Wonder" (2012), alongside Tom Cruise in "Oblivion" (2013), with Russell Crowe in "The Water Diviner" (2014), alongside Rowan Atkinson in the spy comedy film "Johnny English Strikes Again" (2018) and "The Room" (2019).


Description.

"Bursera simaruba" is a small to medium-sized tree growing to 30 meters tall, with a diameter of one meter or less at 1.5 meters above ground. The bark is shiny dark red, and the leaves are spirally arranged and pinnate with 7-11 leaflets, each leaflet broad ovate, 4–10 cm long and 2–5 cm broad.  The gumbo-limbo is comically referred to as the tourist tree because the tree's bark is red and peeling, like the skin of sunburnt tourists, who are a common sight in the plant's range.  The tree yields some ripe fruit year-round, but the main fruiting season is March and April in the northern part of the plant's range. The fruit is a small three-valved capsule encasing a single seed which is covered in a red fatty aril (seedcoat) of 5–6 mm diameter. Both ripe and unripe fruits are borne quite loosely on their stems and can spontaneously detach if the tree is shaken. Ripe capsules dehisce or are cracked open by birds. Birds also seek out the fruit to feed on the aril, which, though small, is rich in lipids (about half its dry weight).

Uses.

Gumbo-limbo is a very useful plant economically and ecologically. It grows rapidly and is well adapted to several kinds of habitats, which include salty and calcareous soils (however, it does not tolerate boggy soils). Gumbo-limbo is also considered one of the most wind-tolerant trees, and it is recommended as a rugged, hurricane-resistant species in South Florida. They may be planted to serve as wind protection of crops and roads, or as living fence posts, and if simply stuck into good soil, small branches will readily root and grow into sizeable trees in a few years. However, it has been noted in Central America that posts do not produce a tap root, only side roots, thus questioning the real value of wind protection as such fence posts would not be as sturdy as a true, naturally occurring sapling. Gumbo-limbo wood is suitable for light construction. It is rather brittle, though the trunk is used in Haiti to make drums and as firewood, and the tree's resin, called chibou, cachibou or gomartis, is used as glue, varnish and incense.  The arils are an important source of food for birds, including many winter migrants from North America. Local residents such as the masked tityra, bright-rumped attila, black-faced grosbeak and, in Hispaniola, palmchat, are particularly fond of gumbo-limbo fruit, as are migrants like the Baltimore oriole or the dusky-capped flycatcher. It is an especially important local food source for vireos such the red-eyed vireo when ripe fruit are abundant. Many migrant species will utilize gumbo-limbo trees that are in human-modified habitat, even in settlements. This creates the opportunity to attract such species to residential areas for bird watching, and to reduce the competition for gumbo-limbo seeds in an undisturbed habitat which rarer local resident birds might face. Given the eagerness with which some birds seek out the arils, it may be that they contain lipids or other compounds useful to humans; in order for these to be exploited, however, they would probably have to be synthetically produced, because although the crop of a single tree can be very large (up to or even exceeding 15,000 fruits, translating into a raw lipid yield of over 200 grams per harvest), individual seeds are small and cumbersome to harvest.  Gumbo-limbo's rapid growth, ease and low cost of propagation, and ecological versatility makes it highly recommended as a "starter" tree in reforestation, even of degraded habitat, and it performs much better overall in such a role than most exotic species.  The resin is used as a treatment for gout, while the leaves are brewed into a medicinal tea. Hexane extracts of the leaves have been shown to possess anti-inflammatory properties in animal tests. Gumbo-limbo bark is an antidote to "Metopium toxiferum", also known as chechen tree, which often grows in the same habitat and can cause extreme rashes just as the related poison ivy.

Bursera simaruba, commonly known as gumbo-limbo, copperwood, chaca, and turpentine tree, is a tree species in the family Burseraceae, native to tropical regions of the Americas from South Florida to Mexico and the Caribbean to Brazil, Jinotega and Venezuela. "Bursera simaruba" are prevalent in the Petenes mangroves ecoregion of the Yucatán, where it is a subdominant plant species to mangroves.


Cars.

In 1935 Arzens turned his interests to automobile engineering. He designed and constructed a six-speed automatic transmission which he installed in an old Chrysler and which worked. Robert Peugeot tried the car and was impressed, although hopes that the system might be adopted for the Peugeot 402 came to nothing, possibly because Peugeot had recently signed a deal with Cotal involving their pre-selector transmission.  Two years later Arzens came up with an eye-catching and streamlined two seater cabriolet prototype body built around the chassis of an old Buick. The car was christened "La Baleine" ("the whale"). With its integrated headlights, panoramic curved windscreen (of "plexiglas") and proto-ponton format styling, the design anticipated sports cars of the 1950s and 1960s. The car subsequently joined the Bugattis of the Schlumpf Collection at what has become the National Motor Museum in Mulhouse.  Two years later, following the German invasion, and the virtual disappearance of petrol for civilian use, Arzens came up with a second Baleine, closely resembling the first at least from the outside, but based on the chassis of an old Fiat - much lighter than a Buick - and encumbered by 1,100 kg of accumulator batteries. This was an electric vehicle with a claimed 10 hp providing a range of more than 200 km (125 miles) at 65/70 km/h (approx 40 mph).  Arzens' next automotive one-off appeared in 1942 and was instantly christened "L'Oeuf" (the egg), reflecting its egg-shape. Other eye catching features were the tiny wheels and the high proportion of the bodywork formed of curved transparent plexiglas. The body itself weighed just 60 kg, although adding the electric rear mounted motor raised this to 90 kg. Once batteries were added the vehicle weight was increased to 350 kg, allowing for a range of 100 km (63 miles) at 70 km/h (44 mph) or at 60 km/h 37 mph if two people were on board.

Rail locomotives.

In 1947 Paul Arzens was placed on the payroll of the French National Railway Company (SNCF) and his first commission for them dates from that same year. Arzens was behind the designs of the BB and CC locomotives and their numerous derivatives which would together dominate the French railway network during the 1950s, 1960s and 1970s.  One of his earlier designs was for the smooth fronted CC7100 series. It was one of these, the CC7107, which broke the electric train speed record in 1955. The record would stand until broken by a TGV in 1981. Arzens was also behind the reverse sloping front window characteristic of locomotives such as the BB15000, which he said had been inspired by the form of a "sprinter on the starting block".

Paul Arzens (1903–1990) was a French industrial designer of railway locomotives and motor cars. Arzens was born in Paris, at an address along the on the northern side of the city. As a young man he studied at the École des Beaux-Arts and soon gained recognition as a talented artist able at this stage, unusually, to live reasonably well on the sales proceeds from his paintings. This gave him enough time to pursue other interests in the realms of engineering and design. As his life progressed he accumulated a large collection of his own paintings and gained a reputation for an acute reluctance to sell any.


Biography.

Early life and career.

Maria Agnes Belokosztolszky was born to a Catholic family on January 30, 1895, in Vienna, Austria. Her mother was Czechoslovakian, while her father was Polish. She had a sister named Rosi. After high school, Belokosztolsky trained as an opera singer and ballet dancer. She took on the stage name Marianne Tolska. Throughout the early 1920s, she appeared in performances in Linz, Stuttgart and Salzburg City, working with Austrian composer Nico Dostal and singing operettas alongside tenor Richard Tauber. During this time, she married and divorced twice.  In 1924, Belokosztolszky moved to Berlin, where she met Jewish editor and journalist Hans Goldlust. The two married in 1929. Hans had informally adopted the surname 'Golz' to avoid social stigma surrounding traditionally Jewish-sounding names in Germany, so when Marianne married him she adopted the surname Golz-Goldlust. The couple moved to Prague in 1934, and Golz-Goldlust put her skills to work as a theatre critic.

Resistance work.

When the Nazis invaded Prague in 1939, Hans was arrested. Golz-Goldlust successfully got him released, helping him escape to England. She also helped Hans' mother and sister escape the country. Instead of joining them in safety, Golz-Goldlust decided to stay in Prague to help other persecuted Jews. She began holding social gatherings at her house to find like-minded citizens, and she soon met local resistance organizer Ottokar Zapotecky, whose network helped smuggle refugees out of Prague. Golz-Goldlust recruited new resistance members from Czechoslovakia and Austria, assisting Jewish refugees in their escape by putting them in touch with the network and moving financial resources across borders. She hid refugees in her home, continued to hold resistance meetings, and arranged to smuggle important information about Prague conditions to the exiled Czech government over in England.

Death and legacy.

On November 19, 1942, Golz-Goldlust and several of her resistance associates were arrested by the Nazis. Golz-Goldlust confessed immediately, telling her interrogators that she was the only resistance member in the group, and her associates were consequently allowed to go free. Golz-Goldlust was held in Pankrác Prison. Despite her captivity, however, she continued to write a steady stream of letters to friends and contacts; the letters were written on paper scraps and smuggled out of prison whenever she had meals brought to her.  Although Golz-Goldlust's family pursued legal means to have her freed, most lawyers were unwilling to risk the wrath of German authorities by arguing in her defense. Czech lawyer Marie Schrámek finally agreed to take the case, but was ultimately unable to free Golz-Goldlust, despite an appeal to the Special German High Court and to the Reich Minister of Justice. In May 1943, Golz-Goldlust was sentenced to death for her actions, and she was guillotined on October 8, 1943.  In 1946, Golz-Goldlust's letters were compiled and published as a book titled "Zaluji" (I Accuse), and later in German translation as "Der Große Tag" (The Great Day). Her story was eventually featured in radio broadcasts, articles, and a play. In June 1988, Golz-Goldlust was formally recognized posthumously by Yad Vashem as Righteous Among the Nations for her work rescuing Jewish refugees. An olive tree was planted in her honour at the Yad Vashem Memorial Centre in Israel.  In 2011, the German Resistance Memorial Centre held a special exhibition focused on Golz-Goldlust's life.

Marianne Golz-Goldlust (née Belokosztolszky) was an Austrian-born opera singer and actress. She maintained a successful career in eastern Europe during the early 1920s, later moving to Prague, Czechoslovakia, and becoming a theatre critic. She married Jewish journalist Hans Goldlust in 1929. When Hans was arrested by Nazis in 1938, Golz-Goldlust secured his release, helping him and his other relatives escape to England. She stayed in Prague to help the Resistance, a dangerous task which she accomplished by hiding Jewish refugees, smuggling financial resources and information across borders, recruiting new resistance members, and holding resistance meetings at her home.


Overview.

Saint-Exupéry station was designed by Santiago Calatrava, cost 750 million Francs and opened on 3 July 1994, at the same as the high-speed line to Saint-Marcel-lès-Valence. The building is mostly a combination of concrete and steel. The station has six tracks laid in a cutting. The two central tracks are isolated to permit trains to traverse the station at full speed (300 km/h) and have no platforms. The two external sets of tracks have 500 m long platforms. A small piece of land to the west is put aside for future expansion. Above the tracks, a 300 m long passenger concourse gives easy access to the platforms and is equipped with several travelators.  The railway station is linked to Lyon-Saint Exupéry Airport by a footbridge equipped with a travelator. This airport is historically the first to be served by a high-speed station. This proximity to the airport has not helped the station and it sees little use as passengers mainly use Lyon-Perrache and Lyon Part-Dieu.

Criticism.

Lack of interconnection with Lyon's urban transport network is frequently cited for the station's low usage. The arrival of the Rhônexpress express tram (opened August 2010) is unlikely to change this as Lyon residents will still find it easier (and cheaper) to use the stations within the city. The main "advantage" of the station is for travellers, arriving by plane, who are travelling onwards to the east. The underutilisation of the station has led to lower access charges than for the busier downtown stations, leading to low-cost operator Ouigo making it part of its network.

Train services.

The station is served by the following services:

Gare de Saint-Exupéry TGV (formerly "Gare de Satolas TGV") is a railway station near Lyon, France, directly attached to Lyon–Saint-Exupéry Airport. The station was built as an addition to the airport to serve TGV trains on the LGV Rhône-Alpes, part of the main line running from Paris Gare de Lyon to Marseille Saint-Charles. It is situated about 20 km east of Lyon city centre.


History.

"" was first performed on Christmas Eve 1818 at St Nicholas parish church in Oberndorf, a village in the Austrian Empire on the Salzach river in present-day Austria. A young priest, Father Joseph Mohr, had come to Oberndorf the year before. He had written the lyrics of the song "" in 1816 at Mariapfarr, the hometown of his father in the Salzburg Lungau region, where Joseph had worked as a co-.  The melody was composed by Franz Xaver Gruber, schoolmaster and organist in the nearby village of Arnsdorf. Before Christmas Eve, Mohr brought the words to Gruber and asked him to compose a melody and guitar accompaniment for the Christmas Eve mass, after river flooding had damaged the church organ. The church was eventually destroyed by repeated flooding and replaced with the Silent-Night-Chapel. It is unknown what inspired Mohr to write the lyrics, or what prompted him to create a new carol.  According to Gruber, Karl Mauracher, an organ builder who serviced the instrument at the Obendorf church, was enamoured with the song, and took the composition home with him to the Zillertal. From there, two travelling families of folk singers, the Strassers and the Rainers, included the tune in their shows. The Rainers were already singing it around Christmas 1819, and once performed it for an audience that included Franz I of Austria and Alexander I of Russia, as well as making the first performance of the song in the U.S., in New York City in 1839. By the 1840s the song was well known in Lower Saxony and was reported to be a favourite of Frederick William IV of Prussia. During this period, the melody changed slightly to become the version that is commonly played today.  Over the years, because the original manuscript had been lost, Mohr's name was forgotten and although Gruber was known to be the composer, many people assumed the melody was composed by a famous composer, and it was variously attributed to Haydn, Mozart, or Beethoven. However, a manuscript was discovered in 1995 in Mohr's handwriting and dated by researchers as. It states that Mohr wrote the words in 1816 when he was assigned to a pilgrim church in Mariapfarr, Austria, and shows that the music was composed by Gruber in 1818. This is the earliest manuscript that exists and the only one in Mohr's handwriting.  The first edition was published by in 1833 in a collection of "Four Genuine Tyrolean Songs", with the following musical text: <score vorbis="1" lang="lilypond"> \relative c" { </score>  The contemporary version, as in the choral example below, is:  <score vorbis="1" lang="lilypond"> \relative c" {  </score>

Translations.

In 1859, the Episcopal priest John Freeman Young, then serving at Trinity Church, New York City, wrote and published the English translation that is most frequently sung today, translated from three of Mohr's original six verses. The version of the melody that is generally used today is a slow, meditative lullaby or pastorale, differing slightly (particularly in the final strain) from Gruber's original, which was a "moderato" tune in time and siciliana rhythm. Today, the lyrics and melody are in the public domain, although newer translations usually are not.  In 1998 the Silent Night Museum in Salzburg commissioned a new English translation by Bettina Klein of Mohr's German lyrics. Whenever possible, (and mostly), Klein leaves the Young translation unchanged, but occasionally Klein (and Mohr) varies markedly. For example, "Nur das traute hochheilige Paar, Holder Knabe im lockigen Haar" is translated by Young: "Round yon Virgin mother and child, Holy infant so tender and mild" whereas Klein rewords it: "Round yon godly tender pair, Holy infant with curly hair", a translation closer to the original.  The carol has been translated into about 140 languages.

Musical settings.

Max Reger quotes the tune in the Christmas section of his organ pieces "Sieben Stücke", Op. 145.  Alfred Schnittke composed an arrangement of "Stille Nacht" for violin and piano in 1978, as a holiday greeting for violinist Gidon Kremer. Due to its dissonant and nightmarish character, the miniature caused a scandal in Austria.

In film.

Several theatrical and television films depict how the song was ostensibly written. Most of them however are based on a spurious legend about the organ breaking down at the church in Oberndorf, which appeared in a fictional story published in the U.S. in the 1930s.

"Silent Night" () is a popular Christmas carol, composed in 1818 by Franz Xaver Gruber to lyrics by Joseph Mohr in the small town of Oberndorf bei Salzburg, Austria. It was declared an intangible cultural heritage by UNESCO in 2011. The song has been recorded by many singers across many music genres. The version sung by Bing Crosby in 1935 is the fourth best-selling single of all-time.


Life.

Bion was from the town of Olbia on the north coast of the Black Sea by the mouth of the river Borysthenes (modern-day Dnieper). He lived c. 325-c. 250 BC, but the exact dates of his birth and death are uncertain. Strabo mentions him as a contemporary of Eratosthenes, who was born 275 BC. Diogenes Laërtius has preserved an account in which Bion describes his parentage to Antigonus II Gonatas, King of Macedonia. His father was a freedman and a dealer in salt fish, with which he combined the occupation of smuggling. His mother, Olympia, was a Lacedaemonian prostitute. The whole family were sold as slaves, on account of some offence committed by the father. In consequence of this, Bion fell into the hands of a rhetorician, who made him his heir. Having burnt his patron's library, he went to Athens, and applied himself to philosophy, in the course of which study he embraced the tenets of almost every sect in succession. First he was an Academic studying under Xenocrates and Crates of Athens, then he became a Cynic, (perhaps under Crates of Thebes), afterwards he attached to Theodorus, the Cyrenaic philosopher whose alleged atheism is supposed to have influenced Bion, and finally he became a pupil of Theophrastus the Peripatetic. After the manner of the sophists of the period, Bion travelled through Greece and Macedonia, and was admitted to the literary circle at the court of Antigonus II Gonatas. He subsequently taught philosophy at Rhodes, and died at Chalcis in Euboea.

Philosophy.

Because of his early association with the Academy, Diogenes Laërtius placed Bion among the Academics, but there is nothing in his life or thought suggesting an affinity with Platonism and modern scholars regard him as a Cynic, albeit an atypical one with strong Hedonistic or Cyrenaic leanings. Much of what Laërtius has to say about Bion seems to have been drawn from hostile sources so care has to be taken in using his account to reconstruct Bion's life and thought. Laërtius reveals to us a man of considerable intellectual acuteness, but quite ready to attack everyone and everything. He was essentially a popular writer, and in his "Diatribes" he satirized the foolishness of people. While eulogizing poverty and philosophy, he attacked the gods, musicians, geometricians, astrologers, and the wealthy, and denied the efficacy of prayer. Laërtius claims Bion was an atheist (which he renounced at the time of his death) but the surviving fragments reveal only a religious skepticism concerning mystery religions, oracles, etc. The quotations of Bion recorded by Teles, and preserved by Stobaeus reveal a man who "treats of ordinary human problems in a common-sense spirit, though for emphasis employing all the devices of contemporary prose style.... The situations dealt with are those that may confront any person, from the "universalia" of old age, poverty, exile, slavery, the fear of death, down to the more particular case of a nagging wife."  His influence is distinctly traceable in succeeding writers, e.g. in the satires of Menippus. Horace alludes to his satires and caustic wit. Examples of this wit are his sayings:  One saying is preserved by Cicero:  Another is cited by Plutarch:

Bion of Borysthenes (, "gen".: Βίωνος; BC) was a Greek philosopher. After being sold into slavery, and then released, he moved to Athens, where he studied in almost every school of philosophy. It is, however, for his Cynic-style diatribes that he is chiefly remembered. He satirized the foolishness of people, attacked religion, and eulogized philosophy.


Biography.

Chicherova was born in Yerevan and then moved to Belaya Kalitva, Russia, when the Soviet Union dissolved. She previously announced that she would retire after the 2013 World Championships in Moscow, after 14 years at the top, but has since continued to jump. After her second world silver in 2009, Chicherova announced her retirement, but after giving birth in 2010, she made her come back in 2011.  In 1999, she won her first major title when she was only 16, at the world youth championships in Bydgoszcz. Chicherova was among the world leading high jumpers for several years until she missed the 2010 season due to pregnancy. After returning in 2011 she established herself as the world leading female high jumper displacing Blanka Vlašić. Her personal best jump and the Russian national record is 2.07 metres, achieved on her 29th birthday at the Russian track and field championships of 2011. Her best indoors was achieved at the Hochsprung mit Musik meeting 2012 in Arnstadt with 2.06 m. She thereby improved her Russian indoor national record by two centimeters. Chicherova is among the top ten high jumpers of all time both indoor and outdoor.  Chicherova is currently in the athletics club based in Moscow, where she is coached by Yevgeni Zagorulko. She is married to Gennadiy Chernovol. She was absent for the 2010 season due to pregnancy and had her first child, Nika, in September that year.  With her victories in Daegu and London, Chicherova became only the third female high jumper in history (after Stefka Kostadinova & Heike Henkel) to win at both the Olympic Games and the World Championships.

Anna Vladimirovna Chicherova (; born 22 July 1982) is a Russian high jumper. She was the gold medalist at the 2012 London Olympics and the 2011 World Championships in Athletics and originally won a bronze medal in the event at the 2008 Summer Olympics. She was also runner-up at the World Championships in 2007 and 2009, and bronze medalist in 2013 and 2015.


Early life.

László was born in humble circumstances in Budapest as Fülöp Laub, the eldest son of Adolf and Johanna Laub, a tailor and seamstress of Jewish origin. Fülöp and his younger brother Marczi changed their surname to László in 1891.  He was apprenticed at an early age to a photographer while studying art, eventually earning a place at the National Academy of Art, where he studied under Bertalan Székely and Károly Lotz. He followed this with studies in Munich and Paris. László's portrait of Pope Leo XIII earned him a Grand Gold Medal at the Paris International Exhibition in 1900. In 1903 László moved from Budapest to Vienna. In 1907 he moved to England and remained based in London for the remainder of his life, although endlessly travelling the world to fulfill commissions.

Personal life.

In 1900, László married Lucy Madeleine Guinness, a member of the banking branch of the Guinness family and a sister of Henry Guinness. They had first met in Munich in 1892, but for some years had been forbidden to see each other. The couple had six children and 17 grandchildren.  László became interested in Catholicism as a young man, probably through his friendship with the Valentins, an elderly Bavarian couple. He was baptised into the Hungarian Catholic Church in 1894... "he never worshipped regularly but read the Bible and was a firm believer in God and the Christian story". His faith was especially strengthened by his visit to the Vatican in 1900, where he met and painted the aging Pope Leo XIII. László converted to Anglicanism upon his marriage, and his children were raised as Protestants. At a lecture to the Fisher Society in 1934, he said "I believe that to worship nature is a religious duty. I see in nature the fullest revelation of the Divinity, and my faith is that only by acceptance of this revelation and by striving to realise it in all its perfection can I prove my worship to be sincere".

Later life.

László's patrons awarded him numerous honours and medals. In 1909 he was invested MVO by Edward VII. In 1912 he was ennobled by King Franz Joseph of Hungary; his surname then became "László de Lombos", but he soon was using the name "de László".  Despite his British citizenship, his marriage and five British citizen sons, de László was interned for over twelve months in 1917 and 1918 during the First World War, accused of making contact with the enemy (he had written letters to family members in Austria). He was released on grounds of ill health, and exonerated in June 1919.  Due to overwork de László suffered heart problems for the last years of his life. In October 1937 he had a heart attack and died a month later at his home, Hyme House, in Hampstead, London.  In 1939, "Portrait of a Painter. The Authorized Life of Philip de László" by Owen Rutter, written in conjunction with de László, was published. In 2010 Yale University Press published "De László, His Life and Art" by Duff Hart-Davis and Dr. Caroline Corbeau-Parsons. His reputation still remains largely as a society portrait painter, but well numbered amongst his sitters were industrialists and scientists, politicians and painters, men and women of letters and many other eminent, as well as ordinary, people. Family members and a team of editors are compiling a catalogue raisonné published online and in progress. His oeuvre currently numbers almost 4,000 works, including drawings.

Subjects.

Portraits painted by László include the following individuals:

Philip Alexius de László, (, 30 April 1869 – 22 November 1937) was an Anglo-Hungarian painter known particularly for his portraits of royal and aristocratic personages. In 1900, he married Lucy Guinness of Stillorgan, County Dublin and he became a British subject in 1914.


Early life.

Alison Sudol was born in Seattle, Washington, to two dramatic arts teachers, Sondra (Fraser) West-Moore and acting coach John Sudol. Sudol and both parents moved to Los Angeles after their divorce, when she was five years old. Sudol grew up listening to a wide range of music, including Aretha Franklin, Ella Fitzgerald, and swing. She cites Bob Dylan, Johnny Cash, and Simon and Garfunkel as some of her biggest musical influences.  She graduated from high school at the age of 16, and considered herself "nerdy and quiet". Sudol did not "drink or smoke or do anything like that". She stated in an interview "I was so nervous about going into college like that and super young. I figured I would take two years and try to find out what I was doing with music. And when I was 18, I was just so deep into it that I didn't want to stop."  Sudol had a passion for literature, and immersed herself in the works of C. S. Lewis, E. B. White, Lewis Carroll, Anthony Trollope, and Charles Dickens. Her band's name, "A Fine Frenzy", is taken from a verse in William Shakespeare's "A Midsummer Night's Dream": "The poet's eye, in "a fine frenzy" rolling, doth glance from heaven to earth, from earth to heaven" (Act 5, Scene 1). After teaching herself to play the piano, she began putting her creative energy into writing songs.  A short demo she sent out received attention from EMI's Jason Flom, who signed her after visiting her house and "listening to her play".

Career.

2007–2013: Music releases.

In her music career, Sudol used the moniker A Fine Frenzy, taken from the phrase "in a fine frenzy rolling" (i.e., rolling in the ecstasy of inspiration), in William Shakespeare's "A Midsummer Night's Dream", Act V, Scene 1. In March 2007, Sudol appeared at the South by Southwest (SXSW) conference, opening for The Stooges. Shortly after, her debut album, "One Cell in the Sea", was released to generally positive reviews. The first single, "Almost Lover", peaked at number 25 on "Billboard's" Hot Adult Contemporary Tracks chart. In mid-2007, she secured another opening spot, this time for Rufus Wainwright on his tour. In March and April 2008, Sudol headlined her own tour in the US and Canada, and in April she toured France, Belgium, Germany and Switzerland. In September 2008, she was the star act on the opening night of the New Pop Festival organized by the German broadcaster SWR3. She returned to Germany, Austria, and Switzerland on a headline tour in November 2008 and played in the Super Bock em Stock festival in Portugal in December 2008.  Her song "You Picked Me" was featured on iTunes as one of the "Free Single of the Week" for August 14, 2007, and VH1 featured her as one of their "You Oughta Know" artists. Additionally, in October 2008, "You Picked Me" was chosen as network theme by SIC, a Portuguese television network. To date, "One Cell in the Sea" has sold 300,000 copies. In 2008 it was released in Germany, Austria, Switzerland, and Poland. In each of those countries, the album peaked within the top 30, with the first single, "Almost Lover," reaching number eight in Germany, number ten on the Swiss Charts and number five in Austria. Sudol's second album, "Bomb in a Birdcage", was released September 8, 2009. The first single, "Blow Away," was released on July 17, 2009, followed by two more singles, "Happier" and "Electric Twist". On November 23, 2009, a live album and concert film recorded in 2007, "A Fine Frenzy Live at the House of Blues Chicago", was released on iTunes.  On October 31, 2011, Sudol stated via Twitter that the band was mastering their new record. Several song titles, including "Avalanches" and "Riversong", were confirmed during Sudol's appearance at the Sundance Film Festival. In the March 2012 issue of "Lucky" magazine, Sudol revealed the third album's title as being "Pines". Previously scheduled for release in September 2012, the album's release date was pushed back to October 9. Along with "Pines", Sudol released an animated short film and a companion book illustrated by Jen Lobo. In September 2012, A Fine Frenzy was featured in a campaign called "30 Songs / 30 Days" to support "", a multi-platform media project inspired by Nicholas Kristof and Sheryl WuDunn's book. Afterwards, Sudol stated that she will no longer perform as A Fine Frenzy, although she continues to write songs: "I put A Fine Frenzy to bed".  For Season 1 of the television series "Transparent", Sudol and fellow cast member Clementine Creevy recorded a cover of Jim Croce's song "Operator (That's Not The Way It Feels)" under the band name Glitterish. A full version of the song was included on the Transparent soundtrack album, released in December 2014.  On November 24, 2017 Alison Sudol released "Enough Honey", the debut single under her own name.

2014–present: acting.

In 2014, Sudol focused on her acting career and starred as Kaya in the recurring cast of the first season of Amazon Video series "Transparent". The role was a singer and love interest of Jay Duplass' character Josh. She also starred in the main cast of the television series "Dig", as the archeologist Emma Wilson. "Elle" named Sudol one of "The 7 Most Exciting Newcomers on TV this Season" in January 2015.  In 2016, Sudol co-starred in the film "Fantastic Beasts and Where to Find Them", the first in a series of five "Harry Potter" prequel films written by J. K. Rowling. Sudol plays Queenie Goldstein, the younger sister of Tina (Katherine Waterston), alongside Newton "Newt" Scamander (Eddie Redmayne). The film is set in New York sixty-five years before Harry Potter's story starts, is based on the Hogwarts textbook of the same name, and follows the adventures of its author, "magizoologist" Newt Scamander. The film was released in November. Sudol reprised the role in the film's 2018 sequel, "".

Literature and writing.

Sudol has often referred to the literary influences on her music. Recently she disclosed that she is also pursuing a secondary career as a writer. In an interview, Sudol said she is working a children's story in the "Narnia" tradition, a fantasy featuring animals. In a later interview with "Ladygunn" magazine, Sudol revealed the title of her fantasy adventure book to be "Three Sails and the Family Moss".

Charities and conservation.

Since 2011, Sudol has been a part of International Union for Conservation of Nature, becoming a goodwill ambassador in an effort to encourage others to participate in nature and conservation. She designed three tee shirts for Alternative Apparel in support for IUCN.  She is Greenpeace's first Arctic Ambassador.

Alison Sudol (born December 23, 1984) is an American singer, songwriter, actress, and music video director. She is known as the singer A Fine Frenzy, and also for her role as Queenie Goldstein in the "Fantastic Beasts" films "Fantastic Beasts and Where to Find Them" (2016) and "" (2018). Her music has been featured on numerous television shows and in several major motion pictures.


Format.

"The Mighty Boosh" centres on the adventures of Howard Moon (Barratt) and Vince Noir (Fielding). Series 1 opens and often closes with Howard and Vince addressing the audience in front of a theatre curtain, introducing the show and offering some final reflections. Series 2 leaves this format, instead starting in the characters' flat, with no direct address to the audience. Unlike the radio series, which is played as though real, the characters on the TV series all seem aware that they are in a TV show, and Vince especially will often break the fourth wall to address the audience and to comment on the situation. Little attention is paid to continuity; for instance, in the second series the shaman Saboo is shown being killed by the demon Nanatoo, but in series 3 he is alive and well. In the first series episode, 'Bollo', Bollo the gorilla dies at the end of the episode, before the credits. However, in subsequent episodes, Bollo is also seen alive and well.  Each series of the show featured Howard and Vince and the various recurring characters in a different context; in series 1 Howard and Vince are zookeepers in the "Zooniverse", Naboo is a fellow employee of the zoo and Bollo is one of the animals that live there. In series 2, Howard, Vince, Naboo and Bollo are flatmates in a district of London. In series 3, Howard and Vince work in Naboo's magical shop, the Nabootique, and plots often revolve around them getting in trouble whilst Naboo and Bollo are away from the shop.  Several episodes featured a "crimp"; a humorous "a cappella" nonsense song sung by Fielding and Barratt. The crimps were sung in a scat style and were lyrically characterized by non-sequiturs that were rhythmically similar to beatboxing, often accompanied by a small performance of hand gestures and pantomimes. The term was first coined in "The Power of the Crimp", episode 3 of the third season. Controversy arose in March 2008 when a new advertisement campaign for the cereal Sugar Puffs was shown to have imitated the particular style of crimping.

Characters.

Though there are many recurring characters, the "central cast" consists of five characters:  Recurring characters include:  Notable guest actors and actresses include:

History.

The Mighty Boosh made the transition from radio to television in 2004, when an eight-part television series - called "The Mighty Boosh" - was commissioned by the BBC. It was directed by Paul King and produced by Baby Cow Productions. The pilot episode was directed by Steve Bendelack, and a large portion of the pilot episode was used in the actual series, in the episode "Tundra". The pilot was shot with a live audience because there had been doubts as to whether the successful stage show could translate to the screen, but the actual series had no live audience.  Series 1 of the television version of "The Mighty Boosh" expanded on the radio series. It was first broadcast on BBC Three on 18 May 2004 and, from 9 November, also on BBC Two, although in a different order and with the mild swearing censored or edited out.  The second series began showing on BBC Three on 26 July 2005, though with a smaller budget. A full-length preview of the following week's episode was available online at the BBC's Boosh webpage. Series 3 started airing on BBC Three from 15 November 2007.  Series 3 began airing on America's Adult Swim on 29 March 2009. Series 1 aired on Adult Swim on 10 May 2009 with Series 2 airing on 5 July 2009.  In June of 2020, the program became one of several British comedy series to be removed from Netflix amid controversies resulting from the killing of George Floyd due to the blackface donned by the Spirit of Jazz character.

Media.

DVD releases.

In the UK the Mighty Boosh has released Series 1-3 individually and in a few boxsets. Series 1 was released on DVD (Region 2) on 29 August 2005, Series 2 on 13 February 2006 and series 3 was released on 11 February 2008.  As a result of a growing fan base in the U.S. the BBC released seasons 1-3 individually on North American NTSC-formatted DVDs on 21 July 2009. The North American series 1-3 boxset was released on 13 October 2009.

The Mighty Boosh is a British comedy television show created by Julian Barratt, Noel Fielding and others (collectively known as The Mighty Boosh).


Playing career.

Kaberle was drafted 76th overall in the 1999 NHL Entry Draft by the Kings. During the 1999-2000 season, he was traded to the Atlanta Thrashers for whom he would score his first career NHL goal on April 8, 2000 against Artūrs Irbe and the Carolina Hurricanes in a 4-3 Thrashers loss. Coincidentally, after the 2004-05 lockout, Kaberle would sign with Carolina.  In the 2006 Stanley Cup Finals, Kaberle scored a power play goal in the second period of Game 7 against the Edmonton Oilers, which would turn out to be the game and Stanley Cup winning goal. It would mark Kaberle's only Stanley Cup win.  During the off-season before the 2006–07 season, Kaberle suffered a shoulder injury, and was placed on the injured reserve on September 13, 2006. He was removed from the injured reserve on February 6, 2007, and scored the game winner that same night.  After four seasons with the Hurricanes, Kaberle was declared a free agent after he was bought out his final year of his contract on July 28, 2009. With his North American career at a close, he returned to his native Czech Republic and re-joined his original club, HC Kladno, for the 2009–10 season.  Kaberle played two more seasons in the Czech Extraliga with HC Pardubice and HC Plzeň before concluding his professional career after the 2011–12 season.

International play.

František Kaberle won the Ice Hockey World Championships five times: in 1996, 1999, 2000, 2001 and 2005. In 2006, he won the bronze medal at the Olympic Games in Turin. That same year, he would become the third player (first and second were Igor Larionov and Pavel Datsyuk in 2002) to win both bronze medal and Stanley Cup.

Personal life.

František Kaberle married his wife Kateřina on May 30, 1998. They have two daughters named Francesca and Vanessa.  His brother Tomáš Kaberle is a free agent and is also a fellow Stanley Cup winner with the Boston Bruins in 2011. Both of the Kaberle brothers were named to the Czech national ice hockey team for the 2006 Winter Olympics.  His father František Kaberle, Sr. used to play for the Czechoslovak national ice hockey team as well.

František "Frank" Kaberle () (born November 8, 1973) is a Czech former professional ice hockey defenceman. His playing career extended over 20 seasons, most notably in the National Hockey League with the Los Angeles Kings, Atlanta Thrashers, and the Carolina Hurricanes.


Success and influence.

During the nineteenth century the book was very popular and was, according to "The Times" in 1843, "a book which, of all others, if you ask for it at a foreign library, you are sure to find engaged". The story is descended from Melusine, the French folk-tale of a water-sprite who marries a knight on condition that he shall never see her on Saturdays, when she resumes her mermaid shape. It was also inspired by works by the occultist Paracelsus.  An unabridged English translation of the story by William Leonard Courtney and illustrated by Arthur Rackham was published in 1909. George MacDonald thought "Undine" "the most beautiful" of all fairy stories, while Lafcadio Hearn referred to "Undine" as a "fine German story" in his essay "The Value of the Supernatural in Fiction". The references to "Undine" in such works as Charlotte Yonge's "The Daisy Chain" and Louisa Alcott's "Little Women" show that it was one of the best loved of all books for many 19th-century children.  The first adaptation of "Undine" was E. T. A. Hoffmann's opera in 1816. It was a collaboration between Hoffmann, who composed the score, and Friedrich de la Motte Fouqué who adapted his own work into a libretto. The opera proved highly successful, and Carl Maria von Weber admired it in his review as the kind of composition which the German desires: "an art work complete in itself, in which partial contributions of the related and collaborating arts blend together, disappear, and, in disappearing, somehow form a new world".  In the 1830s, the novella was translated into Russian dactylic hexameter verse by the Romantic poet Vasily Zhukovsky. This verse translation became a classic in its own right and later provided the basis for the libretto to Tchaikovsky's operatic adaptation. The novella has since inspired numerous similar adaptions in various genres and traditions.

External links.

English-language editions

Undine is a fairy-tale novella ("Erzählung") by Friedrich de la Motte Fouqué in which Undine, a water spirit, marries a knight named Huldebrand in order to gain a soul. It is an early German romance, which has been translated into English and other languages.


Distribution.

The natural range of "M. pfefferi" extends from Mandurah in Western Australia (), northeastward to Moreton Bay in southern Queensland (), and across the Arafura Sea to the southern coast of New Guinea. The species has also been recorded from Sulawesi and the Maluku Islands in Indonesia, and even as far west as the Malaysian islands of Mabul and Sipadan. They are also common in the Philippines and are frequently sighted in the Visayas.  The type specimen, a female, was collected off Challenger Station 188 in the Arafura Sea () at a depth of 51 m on October 9, 1874, as part of the "Challenger" expedition. It is deposited at The Natural History Museum in London.

Description.

"M. pfefferi" is a robust-looking species, having a very broad, oval mantle. Arms are broad and blade-like and have four rows of suckers. The modified arm used by males for fertilisation, called the hectocotylus, is borne on the left ventral arm. The oral surface of the modified region of the hectocotylus is wide, swollen, and fleshy. It bears transversely grooved ridges and a deep furrow running along the middle. The sucker-bearing surface of the tentacular clubs is flattened, with 5 or 6 suckers arranged in transverse rows. These suckers differ greatly in size, with the largest located near the centre of the club. Three to four median suckers are especially large, occupying most of middle portion of the club. The swimming keel of the club extends considerably near to the carpus. The dorsal and ventral protective membranes are not joined at the base of the club, but fused to the tentacular stalk. Dorsal and ventral membranes differ in length and extend near to the carpus along the stalk. The dorsal membrane forms a shallow cleft at the junction with the stalk. This particular species of cuttlefish is the only one known to walk upon the sea floor. Due to the small size of its cuttlebone, it can float only for a short time.  Most sources agree that "M. pfefferi" grows to in mantle length, although others give a maximum mantle length of. The dorsal surface of the mantle bears three pairs of large, flat, flap-like papillae. Papillae are also present over the eyes.  The cuttlebone of this species is small, two-thirds to three-quarters the length of the mantle, and positioned in its anterior. Characteristic of the genus "Metasepia", the cuttlebone is rhomboidal in outline. Both the anterior and posterior of the cuttlebone taper gradually to an acute point. The dorsal surface of the cuttlebone is yellowish and evenly convex. The texture throughout is smooth, lacking bumps or pustules. The dorsal median rib is absent. A thin film of chitin covers the entire dorsal surface. The cuttlebone lacks a pronounced spine; if present, it is small and chitinous. The striated zone of the cuttlebone is concave, with the last loculus being strongly convex and thick in the front third. The sulcus is deep and wide and extends along the striated zone only. Striae (furrows) on the anterior surface form an inverted V-shape. The limbs of the inner cone are very short, narrow, and uniform in width, with the U-shape thickened slightly towards the back. The cuttlebone of "M. pfefferi" does not possess an outer cone, unlike that of most other cuttlefish species.

Habitat and biology.

"M. pfefferi" has been recorded from sand and mud substrate in shallow waters at depths of 3 to 86 m. The species is active during the day and has been observed hunting fish and crustaceans. It employs complex and varied camouflage to stalk its prey. The normal base color of this species is dark brown. Individuals that are disturbed or attacked quickly change colour to a pattern of black, dark brown, white, with yellow patches around the mantle, arms, and eyes. The arm tips often display bright red coloration to ward off would-be predators. Animals displaying this colour pattern have been observed using their lower arms to walk or "amble" along the sea floor while rhythmically waving the wide protective membranes on their arms. This behavior advertises a poisonous nature: the flesh of this cuttlefish contains a unique toxin.

Reproduction.

Copulation occurs face-to-face, with the male inserting a packet of sperm into a pouch on the underside of the female's mantle. The female then fertilises her eggs with the sperm. The eggs are laid singly and placed by the female in crevices or ledges in coral, rock, or wood. In one instance, around a dozen eggs were found under an overturned coconut half. They had been placed there by a female which had inserted them through the central hole of the husk. Thereby, the eggs were protected from predatory fish.  Freshly laid eggs are white, but slowly turn translucent with time, making the developing cuttlefish clearly visible. From birth, juvenile "M. pfefferi" are capable of producing the same camouflage patterns as adults.

Commercial value.

A toxicology report has confirmed that the muscle tissue of flamboyant cuttlefish is highly toxic, making it only the third cephalopod found to be poisonous. Research by Mark Norman with the Museum Victoria in Melbourne, Victoria, Australia, has shown the toxin to be as lethal as that of fellow cephalopod the blue-ringed octopus.  "M. pfefferi" represents no interest to fisheries for the above reason. If its supply were steady, the spectacular colour and textural displays of this species would make it an excellent candidate for private aquariums. The species is sometimes seen in public aquariums, available through captive breeding programs, such as the Monterey Bay Aquarium.

Metasepia pfefferi, also known as the flamboyant cuttlefish, is a species of cuttlefish occurring in tropical Indo-Pacific waters off northern Australia, southern New Guinea, as well as numerous islands of the Philippines, Indonesia and Malaysia. The flesh of this colorful cephalopod contains unique acids, making it unsuitable for consumption.


Early life.

Jeanne Hébuterne was born in Meaux, Seine-et-Marne, the second child to Achille Casimir Hébuterne, who worked at Le Bon Marché, a department store, and Eudoxia (or Eudoxie) Anaïs Tellier Hébuterne. The family was Roman Catholic.  A beautiful girl, she was introduced to the artistic community in Montparnasse by her brother André Hébuterne, who wanted to become a painter. She met several of the then-starving artists and modeled for Tsuguharu Foujita.  Wanting to pursue a career in the arts herself, and with a talent for drawing, she chose to study at the Académie Colarossi, where in the spring of 1917 Hébuterne was introduced to Amedeo Modigliani by the sculptress Chana Orloff, who came with many other artists to take advantage of the Academy's live models.  Jeanne began an affair with the charismatic artist, and the two fell deeply in love. She soon moved in with him, despite strong objection from her parents.

Life with Modigliani.

Described by the writer (1883–1954) as gentle, shy, quiet, and delicate, Jeanne Hébuterne became a principal subject for Modigliani's art.  In the spring of 1918, the couple moved to the warmer climate of Nice on the French Riviera where Modigliani's agent hoped he might raise his profile by selling some of his works to the wealthy art connoisseurs who wintered there. While they were in Nice, their daughter, Jeanne Modigliani, was born on 29 November.  The following spring, they returned to Paris and Jeanne became pregnant again. By this time, Modigliani was suffering from tuberculous meningitis and his health, made worse by complications brought on by substance abuse, was deteriorating badly.

Death.

On 24 January 1920 Modigliani died. Hébuterne's family brought her to their home, but she threw herself out of the fifth-floor apartment window two days after Modigliani's death, killing herself and her unborn child.  Her family, who blamed her demise on Modigliani, interred her in the Cimetière de Bagneux. Nearly ten years later, at the request of Modigliani's brother, Emanuele, the Hébuterne family agreed to have her remains transferred to Père Lachaise Cemetery to rest beside Modigliani.  Her epitaph reads: "Devoted companion to the extreme sacrifice."

Legacy.

Their orphaned daughter, Jeanne Modigliani (1918–1984), was adopted by her father's sister in Florence, Italy. She grew up knowing virtually nothing of her parents and as an adult began researching their lives. In 1958, she wrote a biography of her father that was published in the English language in the United States as "Modigliani: Man and Myth".  It took more than thirty years before an art scholar persuaded the Hébuterne heirs to allow public access to Jeanne Hébuterne's artwork. In October 2000, her works were featured at a major Modigliani exhibition in Venice, Italy by the Fondazione Giorgio Cini.  It was revealed in January 2010 that the works presented at the exhibition were forged. Christian Parisot, the curator of the exhibition, had been accused by Hébuterne's grandnephew of faking 77 drawings. He was sentenced to a two-year suspended sentence and a 50,000€ ($70,000) fine by a French court of appeals.

Jeanne Hébuterne (6 April 1898 – 26 January 1920) was a French artist best known as the frequent subject and common-law wife of the artist Amedeo Modigliani. She took her own life two days after Modigliani died, and is now buried beside him.


Biography.

Lucien Clergue was born in Arles, France. At the age of 7 he began learning to play the violin, and after several years of study his teacher admitted that he had nothing more to teach him. Clergue was from a family of shopkeepers and could not afford to pursue further studies in a college or university school of music, such as a conservatory.  In 1949, he learned the basics of photography. Four years later, at a corrida in Arles, he showed his photographs to Spanish painter Pablo Picasso who, though subdued, asked to see more of his work. Within a year and a half, young Clergue worked on his photography with the goal of sending more images to Picasso. During this period, he worked on a series of photographs of travelling entertainers, acrobats and harlequins, the « Saltimbanques ». He also worked on a series whose subject was carrion.

Friendship with Picasso.

On November 4, 1955, Lucien Clergue visited Picasso in Cannes, France. Their friendship lasted nearly 30 years until Picasso's death. Clergue's autobiographical book, "Picasso My Friend", looks back on important moments of their relationship.

Founding the Rencontres d’Arles photography festival.

In 1968, and with his friend Michel Tournier, Clergue founded the Rencontres d’Arles photography festival which is held annually in July in Arles. He exhibited his work at the festival during the years 1971–1973, 1975, 1979, 1982–1986, 1989, 1991, 1993, 1994, 2000, 2003 and 2007.  Clergue also illustrated books, among them a book by writer Yves Navarre.  Clergue took many photographs of the gypsies of southern France, and was instrumental in propelling the guitarist Manitas de Plata to fame.  Clergue's photographs are in the collections of numerous well-known museums and private collectors. His photographs have been exhibited in over 100 solo exhibitions worldwide, with noted exhibitions such as in 1961, at the Museum of Modern Art New York, the last exhibition organized by Edward Steichen with Lucien Clergue, Bill Brandt and Yasuhiro Ishimoto. Museums with large collections of his work include The Fogg Museum at Harvard University and the Museum of Fine Arts, Boston. His work, "Fontaines du Grand Palais" (Fountains of the Grand Palais), is in of Lugano. His photographs of Jean Cocteau are on permanent display at the Jean Cocteau Museum in Menton, France. In the U.S., an exhibition of the Cocteau photographs was premiered at Westwood Gallery, New York City.  In 2007, the city of Arles honored Lucien Clergue and dedicated a retrospective collection of 360 of his photographs dating from 1953 to 2007. He also received the 2007 Lucie Award.

Election as Member of the Academy of Fine Arts.

He was named Knight of the Légion d'honneur in 2003 and elected member of the Academy of Fine Arts of the Institute of France on May 31, 2006, at the same time as a new section dedicated to photography was created. Clergue was the first photographer to enter the Academy to a position devoted specifically to photography.  He was Chairman of the Academy of Fine Arts for 2013.

Personal life.

Lucien Clergue was married to the art curator Yolande Clergue, founder of The Fondation Vincent van Gogh Arles. He was the father of two daughters: Anne Clergue, a curator of contemporary art who has worked at Leo Castelli Gallery, and Olivia Clergue, a handbag fashion designer whose godfather was Pablo Picasso.

Lucien Clergue (; August 14, 1934 – November 15, 2014) was a French photographer. He was Chairman of the Academy of Fine Arts, Paris for 2013.


Design.

The "Leander" class was influenced by the "York"-class heavy cruiser, and was an attempt to better provide for the role of commerce protection. The 7,000-7,200 ton "Leander"s were armed with eight BL 6 inch Mk XXIII naval guns in twin turrets, two forward and two aft. Their secondary armament consisted of four high angle QF 4 inch Mk V naval guns, which were later replaced by twin mountings for eight guns (the later high angle QF 4 inch Mk XVI naval gun). Their close range anti-aircraft weaponry consisted of twelve Vickers machine guns in three quadruple mounts. They also shipped a bank of four torpedo tubes on each beam and provision was made in the design for carriage of two catapult-launched Fairey Seafox aircraft.  Speed was, and 845 tons of armour was provided. During trials in December 1932 "Leander" made with at 7265 tons displacement and with at 9010 tons deep displacement. The first five vessels did not contain dispersed machinery; the boiler rooms were arranged together and exhausted into a single funnel, a unique feature amongst British cruisers. This meant that damage amidships was more liable to disable all the boiler rooms. In service their machinery proved to be highly reliable and exceeded trials output by a wide margin as evidenced by "Achilles" on 13 December 1939 during The Battle of the River Plate:

Wartime modifications.

During the war, significant modifications were made to the vessels. Various additional anti-aircraft armaments were added, and the two New Zealand vessels removed a turret to carry heavier 20 mm and 40 mm anti-aircraft guns in its place. Changes to the aircraft launching capability were reported, although use is unclear.  Named after the character from Greek mythology. Loaned to New Zealand, commissioned as HMNZS "Leander" in September 1941. At the Battle of Kolombagara, "Leander" was heavily damaged by a Long Lance torpedo, causing many casualties, and sending the ship to repairs for two years.  "Achilles" was the second vessel loaned to New Zealand, commissioned as HMNZS "Achilles" in September 1941. She had earlier participated in the Battle of the River Plate. "Achilles" was sold to India in 1948, and was known as HMIS "Delhi" for a few years, then served as INS "Delhi", until 1978.

Ships in class.

"Leander" group.

"Ajax" participated in the Battle of the River Plate. The town of Ajax, Ontario was named after the ship, with street names in the town named after members of the crew. "Ajax" also participated in the Battle of Cape Matapan and took part in shelling the mainland of Normandy during the beach landings. Chile wanted to buy HMS "Ajax" in 1948-9, but the opposition leader in the UK, Winston Churchill thought the ship should be retained for the RN and it became a political issue. The Leander class cruisers were very well built in the early 1930s and in the case of "Achilles" proved capable of more than 40 years service. After the rest of the class, including HMS "Ajax," were scrapped, there was regret in the RN, because in many ways with their long 12,000 mile range and generous hull they were ideal for use as ocean radar pickets.  Manned by New Zealand crew, although not part of the Royal New Zealand Navy. "Neptune" was sunk by an Italian mine off the coast of Tripoli.  "Orion" spent much of the early war in the Mediterranean providing escort to convoys and was also at the Battle of Cape Matapan in March 1941. She participated in the evacuation of Crete in 1941 and was heavily damaged. Orion's repairs were completed in March 1942, after which she was widely employed, in home waters and on convoy escort duties to Africa and the Indian Ocean. Orion returned to the Mediterranean in October 1942 and was involved in convoy escort duties and supported the army in the invasion of Sicily. She also took part in the Normandy Landings in June 1944, where she fired the first shell. Orion received 13 battle honours, a record only exceeded by HMS Warspite and matched by two others.

Modified "Leander" group.

The last three ships of the class, referred to as the "Modified "Leander"", ""Amphion"", or ""Perth"" class, had their machinery and propulsion equipment organised in two self-contained units (separated fore and aft), allowing the ship to continue operating if one set was damaged. The two exhaust funnels, one for each machinery space, gave the modified ships a different profile from the early "Leander"s, which had a single funnel. To cover the separate machinery spaces, the side armour was extended from, negating the weight reduction created by the separation. During design, it was planned to modify the forward-most and aft-most 6-inch turrets to be fitted with three guns instead of two, but the plan was cancelled when it was determined that the required alterations would cause several negative side effects, including reducing the ship's top speed and causing problems with effective fire control. All three ships were sold to the RAN, "Sydney" while under construction and "Perth" and "Hobart" after a few years of British service.  Completed 1936 as HMS "Amphion" and transferred to the RAN as HMAS "Perth" in 1939. She operated with British ships in the Battle of the Mediterranean, participating in the Battle of Cape Matapan in March 1941. Lost in the Battle of Sunda Strait in early 1942.  Completed 1936 as HMS "Apollo" and transferred to the RAN in 1938 as HMAS "Hobart", she took part in the East African Campaign, the Battle of the Coral Sea and provided fire support at Guadalcanal. After being badly damaged by a torpedo strike in 1943, she returned to action in the Philippines landings (1944), followed by the Borneo and Aitape-Wewak campaigns. She was put into reserve after the war and was not decommissioned until 1962.  Laid down as HMS "Phaeton", the ship was acquired by the RAN, launched as HMAS "Sydney" and was commissioned in 1935. Also involved in the Mediterranean campaign. "Sydney" sank the Italian cruiser "Bartolomeo Colleoni" at the Battle of Cape Spada in 1940. Later that year, "Sydney" took part in the Battle of Cape Matapan and Battle of Calabria, sinking two Italian destroyers, the and. In 1941, off Western Australia, "Sydney" encountered the German auxiliary cruiser "Kormoran"; the two ships destroyed each other and "Sydney" was lost with all hands; the wrecks of both ships were located in 2008.

In fiction.

Warren Tute's novel "The Cruiser" features "HMS Antigone", a "Leander"-class cruiser with a striking similarity to "HMS Ajax".  Douglas Reeman's novel "A Ship must die" is set aboard the titular fictional "Leander"-class cruiser "Andromeda" pitted against a German surface raider operating in the Indian Ocean.

The "Leander" class was a class of eight light cruisers built for the Royal Navy in the early 1930s that saw service in World War II. They were named after mythological figures, and all ships were commissioned between 1933 and 1936. The three ships of the second group were sold to the Royal Australian Navy (RAN) before World War II and renamed after Australian cities.


History.

The Letter of Aristeas, called so because it was a letter addressed from Aristeas to his brother Philocrates, deals primarily with the reason the Greek translation of the Hebrew Law, also called the Septuagint, was created, as well as the people and processes involved. The letter's author alleges to be a courtier of Ptolemy II Philadelphus (reigned 281-246 BC).  Over twenty Greek manuscript copies of the letter are known to survive, dating from the 11th to the 15th century. The letter is also mentioned and quoted in other ancient texts, most notably in "Antiquities of the Jews" by Josephus (c. 93 AD), in "Life of Moses" by Philo of Alexandria (c. AD 15), and in an excerpt from Aristobulus of Paneas (c. 160 BC) preserved in "Praeparatio evangelica" by Eusebius.  In detail, the work relates how the king of Egypt, presumably Ptolemy II Philadelphus, is urged by his chief librarian Demetrios of Phaleron to have the Hebrew Law translated into Greek, and so add the knowledge of the Hebrews to the vast collection of books the empire had already collected. The king responds favorably, including giving freedom to Jews who had been taken into captivity by his predecessors, and sending lavish gifts (which are described in great detail) to the Temple in Jerusalem along with his envoys. The high priest chooses exactly six men from each of the twelve tribes, giving 72 in all; he gives a long sermon in praise of the Law. When the translators arrive in Alexandria the king weeps for joy and for the next seven days puts philosophical questions to the translators, the wise answers to which are related in full. The 72 translators then complete their task in exactly 72 days. The Jews of Alexandria, on hearing the Law read in Greek, request copies and lay a curse on anyone who would change the translation. The king then rewards the translators lavishly and they return home.  A main goal of the 2nd-century author seems to be to establish the superiority of the Greek Septuagint text over any other version of the Hebrew Bible. The author is noticeably pro-Greek, portraying Zeus as simply another name for the God of Israel, and while criticism is lodged against idolatry and Greek sexual ethics, the argument is phrased in such a way as to attempt to persuade the reader to change, rather than as a hostile attack. The manner in which the author concentrates on describing Judaism, and particularly its temple in Jerusalem could be viewed as an attempt to proselytise.

Criticism.

Demetrios of Phaleron, a client of Ptolemy I Soter, is not a good candidate as a collaborator with Ptolemy II Philadelphus. Roger S. Bagnall notes that he made the strategic mistake at the beginning of the reign of supporting Ptolemy's older half-brother, and was punished with internal exile, dying soon afterwards.  The Spanish humanist Luis Vives is sometimes quoted as having been the first to have exposed the fictitious character of the Letter, in his "In XXII libros de civitate Dei commentaria" (Basel: Frobenius, 1522), on Aug. Book XVIII, 42. But a lecture of the Latin text reveals that Vives only transmitted Jerome's criticisms of the Aristeas story, and added nothing critical of his own account. The inconsistencies and anachronisms of the author, exposed by many 17th-century scholars were collected and presented with great erudition and wit by Humphrey Hody (1659–1706), Hody placed the writing closer to 170–130 BC. His Oxford dissertation of 1685 provoked an "angry and scurrilous reply" from Isaac Vossius (1618–1689), who had been librarian to Queen Christina of Sweden, in the appendix to his "Observations on Pomponius Mela", 1686, to which Hody conclusively replied in notes to his reprint of 1705. Due to this, the author of the letter of Aristeas is most often referred to as pseudo-Aristeas. Modern scholarship is unanimously with Hody. Victor Tcherikover (Hebrew University) summed up the scholarly consensus in 1958: "Modern scholars commonly regard the “Letter of Aristeas” as a work typical of Jewish apologetics, aiming at self-defense and propaganda, and directed to the Greeks. Here are some instances illustrating this general view. In 1903 Friedlander wrote that the glorification of Judaism in the letter was no more than self-defense, though “the book does not mention the antagonists of Judaism by name, nor does it admit that its intention is to refute direct attacks.” Stein sees in the letter “a special kind of defense, which practices diplomatic tactics,” and Tramontano also speaks of “an apologetic and propagandist tendency.” Vincent characterizes it as “a small unapologetic novel written for the Egyptians” (i.e. the Greeks in Egypt). Pheiffer says: “This fanciful story of the origin of the Septuagint is merely a pretext for defending Judaism against its heathen denigrators, for extolling its nobility and reasonableness, and first striving to convert Greek speaking Gentiles to it.” Schürer classes the letter with a special kind of literature, “Jewish propaganda in Pagan disguise,” whose works are “directed to the pagan reader, in order to make propaganda for Judaism among the Gentiles.” Andrews, too, believes that the role of a Greek was assumed by Aristeas in order “to strengthen the force of the argument and commend it to non-Jewish readers. Even Gutman, who rightly recognizes that the Letter sprang 'from an inner need of the educated Jew,' sees in it 'a strong means for making Jewish propaganda in the Greek world.' ” But Tcherikover continues, "In this article an attempt will be made to prove that the Letter of Aristeas was not written with the aim of self-defense or propaganda, and was addressed not to Greek, but to Jewish readers."  In 2001, Bruce Metzger writes: Most scholars who have analyzed the letter have concluded that the author cannot have been the man he represented himself to be but was a Jew who wrote a fictitious account in order to enhance the importance of the Hebrew Scriptures by suggesting that a pagan king had recognized their significance and therefore arranged for their translation into Greek.  Scholars avid for the scant information about the Library and the Musaeum of Alexandria have depended on pseudo-Aristeas, who "has that least attractive quality in a source: to be trusted only where corroborated by better evidence, and there unneeded," Roger Bagnall concluded.

The Letter of Aristeas or Letter to Philocrates is a Hellenistic work of the 2nd century BC, assigned by Biblical scholars to the Pseudepigrapha.


Gameplay.

Players start the game with a farming couple living in a two roomed hut. Each round, they take turns to place their family members on action spaces to get resources and improve and grow their households. Only one family member can occupy each action space within the same round, so players need to time their actions to get maximum profit while denying progress to the opponents.  The game is played in 14 rounds, divided by 6 harvests. At each harvest, food is grown, people are fed, and animals multiply. Players lose victory points if they have trouble feeding their family, which makes food production a major point of tension in the game.  At the end of round 14 comes the final harvest after which victory points are counted. Scoring in "Agricola" rewards a middle of the road strategy. Players are penalized for not focusing on any one aspect of the game, and stop scoring in any area they focus on too much. The player with the most balanced and prosperous farm wins.

Optional cards.

To achieve variation between games, players are dealt a hand of optional cards – occupations and minor improvements. Players get additional resources and various bonuses for playing these cards. They can also get an initial direction for their strategy, based on the occupations and improvements they were dealt. Numerous expansion decks have been released to fill in gaps in gameplay and add thematic settings. The game offers a simplified 'family' variation for less involved players, in which occupation and minor improvement cards are not used.

Differences in the Revised Edition.

The original Agricola used multicolored wooden pieces of the same circular shape to denote various resources (clay, wood, reeds, etc.). The 2016 edition offered shaped wooden pieces for resources that make it easier to differentiate between the many types of resources. The new edition also included fewer optional cards – two decks for a total of 96 cards (as opposed to three decks with 308 cards in the original edition). Some reviewers praised the balance of the new decks.

Awards.

2009  2008  2007

Agricola is a Euro-style board game created by Uwe Rosenberg. It is a worker placement game with a focus on resource management. In "Agricola", players are farmers that sow, plow the fields, collect wood, build stables, buy animals, expand their farms and feed their families. After 14 rounds players calculate their score based on the size and prosperity of the household.


Playing career.

Mason grew up in Oakville, Ontario, playing mostly A hockey until his Bantam year, when he moved up to the AAA level with the Oakville Rangers of the OMHA's South Central AAA League. He was drafted after his minor midget season with Oakville by the London Knights of the OHL in the 11th round of the 2004 OHL Priority Selection.  In 2004–05, while attending Abbey Park High School, he led the Grimsby Peach Kings club to the OHA Jr.C. title in 2004–05 and in 2005–06 was assigned to the Petrolia Jets Jr.B. club when his playing time was limited with London. Despite this, Mason was selected by the Columbus Blue Jackets in the third round, 69th overall, in the 2006 NHL Entry Draft. He started the 2007–08 season with the Blue Jackets, but was returned to London after being a healthy scratch for Columbus' first two games of the season. While competing for Team Canada at the 2008 World Junior Championships, he was traded by the Knights to the Kitchener Rangers on January 4, 2008, hours before the semi-final game.  Upon returning from the World Junior Championships with a gold medal, Mason was briefly recalled by the Blue Jackets on an emergency basis in February, but did not appear in a game and was quickly returned. Mason suffered a knee injury towards the end of the regular season, but with the playoffs approaching, he tried to play through it for several weeks. After defeating the Plymouth Whalers in the first round, Mason was pulled out of the line-up and underwent arthroscopic knee surgery on April 18, forcing him to miss the remainder of the OHL playoffs, as well as the 2008 Memorial Cup. Kitchener won the OHL championship without Mason, but lost 4–1 in the Memorial Cup final against the Spokane Chiefs of the Western Hockey League (WHL).

Columbus Blue Jackets.

Before his first professional season, Mason underwent an additional knee surgery in September, causing him to miss the first month of play in the American Hockey League (AHL) with the Blue Jackets' minor league affiliate, the Syracuse Crunch. Shortly after recovering and joining the Crunch's line-up, Mason was called up by the Blue Jackets on November 4, 2008, in the absence of injured starter Pascal Leclaire. He made his NHL debut on November 5, starting against, and defeating, the Edmonton Oilers 5–4. He recorded his first NHL shutout several games later on November 22, making 15 saves in a 2–0 win against the Atlanta Thrashers.  Mason continued to start games upon Leclaire's return from injury and was named NHL Rookie of the Month for November after posting a 5–2–1 record, including three straight wins and two shutouts. In the midst of shutout streak, having not allowed a goal against the Philadelphia Flyers, Los Angeles Kings and Anaheim Ducks, he was named Rookie of the Month for a second-straight month in December. Along with Mason's three straight shutouts, he posted a 7–5–0 record, 1.41 goals against average (GAA) and.950 save percentage for the month. Chosen to play for the rookies at the 2009 NHL YoungStars Game, he opted, however, to skip the competition. It was later revealed on January 30, 2009, by Blue Jackets General Manager Scott Howson that Mason had been suffering from mononucleosis for the previous three-to-four weeks. After three more starts, on February 8, Mason was put on the injured reserve. He returned to the line-up on February 13 against the Detroit Red Wings in a 3–2 Columbus victory. Mason finished the season with a 33–20–7 record, 2.29 GAA and.916 save percentage. For his season's performances, he was awarded the 2009 Calder Memorial Trophy for rookie of the year honours, edging out Kris Versteeg of the Chicago Blackhawks and Bobby Ryan of the Anaheim Ducks in the process. Additionally, on April 27, 2009, the NHL announced that Mason was nominated for the Vezina Trophy as the NHL's top goaltender, along with Tim Thomas of the Boston Bruins and Niklas Bäckström of the Minnesota Wild. Thomas was eventually awarded the trophy.  The next three seasons were a disappointment for Mason, however, as he was unable to duplicate the play of his rookie year, and the Blue Jackets failed to make another playoff appearance.

Philadelphia Flyers.

Mason was traded on April 3, 2013, to the Philadelphia Flyers for goaltender Michael Leighton and a 2015 third round draft pick. On April 8, Mason signed a one-year contract extension worth $1.5 million. Mason had four wins and two losses in Philadelphia and posted an impressive 1.90 GAA and a.944 save percentage, leading to speculation that Mason would replace Ilya Bryzgalov as the starter for Philadelphia. In the off-season, on June 25, 2013, Bryzgalov was bought-out by the Flyers, where the team subsequently signed goaltender Ray Emery, effectively promoting Mason to the starter's role. On November 12, 2013, Mason recorded his first shutout for Philadelphia against the Ottawa Senators in a 5–0 win. On January 18, 2014, Mason signed a three-year contract extension with the Flyers worth $12.3 million for an annual average of $4.1 million. Mason finished the 2013-14 season with a 33-18-7 record and a.917 save percentage, which was enough to bring the Flyers to the playoffs. In the playoffs, Mason started 4 games and played in 5, going 2-2 with a 1.97 GAA and a.939 save percentage, but the Flyers were eliminated by the New York Rangers in 7 games.

Winnipeg Jets.

On July 1, 2017, as an unrestricted free agent from the Flyers, Mason signed a two-year deal with the Winnipeg Jets worth $8.3 million.  On June 30, 2018, Mason was traded to the Montreal Canadiens along with forward Joel Armia and a few draft picks for defenceman Simon Bourque. Minutes after acquiring him, the Canadiens sent him to waivers in order to buy out his contract. Mason's contract was not picked up by another team, thus making him an unrestricted free agent.  He is now retired, returning to his hometown of Oakville to serve as the Director of Goalie Development for the Oakville Rangers, a youth team in Oakville.<ref

Steve Mason (born May 29, 1988) is a Canadian former professional ice hockey goaltender who is currently the Director of Goalie Development for the Oakville Rangers of the Ontario Minor Hockey Association (OMHA). He was selected 69th overall in the 2006 NHL Entry Draft by the Columbus Blue Jackets. Playing major junior in the Ontario Hockey League (OHL), Mason spent three seasons with the London Knights and Kitchener Rangers. In the 2006–07 season, he was named OHL Goaltender of the Year. He joined the Blue Jackets in 2008–09 and won the Calder Memorial Trophy as rookie of the year. Internationally, he won a gold medal with Team Canada at the 2008 World Junior Championships while earning tournament MVP and Best Goaltender honours.