Fantaghirò 3 (also known as The Cave of the Golden Rose 3) is the third film from the Fantaghirò series. It was directed by Lamberto Bava, starring Alessandra Martines as the title character. It originally aired on television in 1993 as a two-parter, and hence is alternately titled as a double-set of Fantaghirò 5 and Fantaghirò 6 in certain releases. Kim Rossi Stuart, who played the hero in the previous two films, returned in this film but his role was much reduced.

In the film, Princess Fantaghirò fights against the handsome but cruel wizard Tarabas (Nicholas Rogers) and his mother, the witch Xellesia (Ursula Andress), to bring back to life the prince Romualdo (Kim Rossi Stuart), turned into a stone statue, and save the child princess Esmeralda. Archenemy of Fantaghirò, the Black Witch (Brigitte Nielsen), also returns but this time as an unwilling helper of the princess.

Plot

Part 1
The evil wizard Tarabas has learned of a prophecy that a royal child no older than ten is destined to destroy his kingdom. Shocked to learn that he is not invincible, Tarabas sends his clay soldiers out to kidnap all the royal children of the world. His mother, Xellesia, disapproves of this, but Tarabas is obsessed with learning how he will be defeated. Among the children he targets are the babies of Catherine and Caroline, Fantaghirò's sisters.

Fantaghirò and Romualdo protect the babies from Tarabas's clay soldiers but, during the battle, Romualdo accidentally falls into a cursed river and turns into a statue. Fantaghirò seeks the help of the Elf Queen to cure Romualdo, but she is told that only "The Impossible Kiss" by Tarabas can cure Romualdo. Fantaghirò decides to track down Tarabas by following his clay soldiers. When she comes across the clay soldiers attacking another castle, she intervenes. However, she is too late to save the King who, with his dying breath, asks Fantaghirò to take care of his daughter, Princess Esmeralda. Fantaghirò agrees and takes Esmeralda away to safety.

Tarabas, who has learned about Fantaghirò's quest, deliberately crosses paths with Fantaghirò and Esmeralda as they are travelling in the forest. He claims to be a common traveller, and they agree to camp together for the night for safety. Although Esmeralda is suspicious, Fantaghirò does not suspect anything. As they sleep, Tarabas is overcome with the desire to kiss Fantaghirò, but as soon as he approaches her, he starts to transform into a hideous beast. Tarabas runs away from the camp, and as soon as he does, the transformation ceases and he returns to his human form. He is confronted by Xellesia, who explains that the dark magic within him does not allow him to fall in love, for as soon as he tries to kiss the one he desires, he will be transformed into a beast to devour them.

Part 2
Fantaghirò and Esmeralda continue on their journey and are reunited with Lightning and Bolt who have a new plan to track down Tarabas. They decide to resurrect the evil Black Witch, who was destroyed in the previous adventure, and hold her heart hostage, promising to give her back her heart if she helps them find Tarabas. The witch reluctantly agrees and leads them to Tarabas' underground lair. There, Fantaghirò is shocked to learn that the man she befriended in the forest is the feared Tarabas. Tarabas agrees to give Fantaghirò the Impossible Kiss if she will marry him. Fantaghirò agrees. Tarabas chains himself up to prevent himself from devouring Fantaghirò and they kiss. The magic of the Impossible Kiss is captured by the Black Witch, who promises to take it back to Romualdo. As Fantaghirò is preparing to marry Tarabas, she is told by Lighting and Bolt that the witch has broken her promise, and the power of the Impossible Kiss is waning.

Tarabas agrees to let Fantaghirò go if she will promise to return him. Fantaghirò promises and chases after the Black Witch, but it is too late. Although Romualdo cannot be restored to life, Fantaghirò keeps her promise and returns to Tarabas. But Tarabas has had a change of heart and lets Fantaghirò go, realising that this is the only way to prove his love for her. A second Impossible Kiss is made when Tarabas kisses Esmeralda, whom he has also grown to care for. This second kiss revives Romualdo, the pair are finally married and they adopt Esmeralda as their daughter.

Cast

 Alessandra Martines as Fantaghirò
 Nicholas Rogers as Tarabas (voice: Francesco Prando)
 Ursula Andress as Xellesia (voice: Angiola Baggi)
 Brigitte Nielsen as the Black Witch (voice: Aurora Cancian)
 Elena D'Ippolito as Esmeralda (voice: Perla Liberatori)
 Kim Rossi Stuart as Romualdo
 Lenka Kubálková as Bolt (voice: Rossella Acerbo)
 Jakub Zdeněk as Lightning (voice: Laura Lenghi)
 Anna Geislerová as the Queen of Elves (voice: Stella Musy)
 Barbora Kodetová as Catherine (voice: Francesca Draghetti)
 Kateřina Brožová as Caroline (voice: Paola Valentini)
 Narrator as Gianni Giuliano

Production and release
Of all the films in the series, Fantaghirò 3 is the favourite one of both by the director Lamberto Bava and the writer Gianni Romoli, as the story gives more horror vibes. Tarabas' character was born from Romoli being a fan of the comic book series Dylan Dog, where a character of this name appears in one story.

Fantaghirò 3 was filmed over six weeks of Summer 1993 in the former Czechoslovakia. In an unexcepted problem were torrential rains going on almost uninterruptedly for the entire time of the shooting. Some of the film's special effects were created using computer-generated imagery resources similar to these used for Terminator 2: Judgment Day.

Kim Rossi Stuart categorically refused to reprise his role as Romualdo, so his character's scenes in the third and the fourth films were created using old footage, except two short scenes in the third film on which he grudgingly agreed on. Nicholas Rogers in the role of Tarabas  also caused problems, as he had declared during his audition that he was able to ride horses but as soon as the shooting began, he could not even mount a horse. It was then soon realized he was also not good at acting; Bava said that for the scene where Rogers has to say "I love you", they had to make three shots and then combine them later. He also injured himself on the set and had to be taken to hospital while still wearing his costume. The Black Witch was originally supposed to be killed off in the second film, but the highly positive feedback from the public convinced Bava to bring her back for more films. The scene of her head being reanimated, as she had been crumbled into many small stones, was created by simply sticking her head from a hole in a coffee table.

The film premiered on Canale 5 during Christmas 1993. It was later dubbed into multiple languages for foreign television broadcasts and released on home video (VHS and DVD) in Italy and in several other countries. Fantaghirò 3 and both of its prequels were recut (reduced and intersected with each other) into a 200-minute compilation film titled La meravigliosa storia di Fantaghirò ("The Wonderful Story of Fantaghirò") in 1995.

Sequel

In the next sequel, after a mysterious black cloud destroys Fantaghirò's castle, she allies herself with Prince Parsel to track the cloud to its origins and stop whoever is casting it. The film featured very few returning characters from the previous films, and most notable is that Kim Rossi Stuart, the hero of the previous films, did not return at all.

References

External links
Official website

1993 fantasy films
1993 television films
1993 films
1990s dark fantasy films
Fantaghirò films
Italian fantasy adventure films
Films about witchcraft
Films shot in the Czech Republic
Italian television films
1990s Italian-language films
1993 in Italian television

Fantaghirò 3


The A67 motorway is a motorway in the Netherlands. It is located in the Dutch provinces of North Brabant and Limburg.

Overview
The road is approximately 75 kilometer in length. The A67 motorway connects the Belgian border (A21/E34 road) near Hapert with Eindhoven and the German border (A40 road) near Venlo. Along the entire stretch of the motorway, the European route E34 travels along the A67. Besides, the section near Eindhoven, between interchanges De Hogt and Leenderheide, is shared with the A2 motorway and European route E25.

In the past, traffic from the Eindhoven area towards the German Autobahn A61 had to take exit 41, and then travel along local roads for approximately 7 kilometers before they reached the border and the start of the German A61. Since 4 April 2012, a connection between the Dutch A73 and the German A61 is in operation (the A74), which gives drivers the possibility to travel between the Dutch A67 and the German A61 without having to leave the motorway.

Exit list

External links

Motorways in the Netherlands
Motorways in Limburg (Netherlands)
Motorways in North Brabant
Transport in Eindhoven
Transport in Venlo
Bladel

A67 motorway (Netherlands)


The Broderick Tower is a residential skyscraper in Downtown Detroit, Michigan. Original construction began in 1926, and was completed in 1928. The Broderick was fully renovated in 2012 by JC Beal Construction Inc.,who also served as the developer. The tower was the second tallest building in Michigan when it was originally completed in 1928. It stands 34-stories, with two basement floors. The building is designed with Neo-classical architecture, Chicago school, and Beaux-Arts designs. Limestone is a prominent material in the building's surface. It was designed by architects Louis Kamper and Paul Kamper for Theodore Eaton.

The tower is located at the Southeast corner of Woodward Avenue and Witherell Street, facing Grand Circus Park, and stands across the street from the David Whitney Building. The Broderick Tower is not a square, or even a parallelogram in shape.

History
Before the decorative cornices were removed, this building was 371'-6" to the top of the parapet wall, and 376'-7" tall to the very tip of the decorative cornice. This tower is topped by a Beaux-Arts/Neoclassical inspired crown.

The tower was originally constructed as the Eaton Tower, named after Theodore Horation Eaton, Jr., an importer and dealer in chemicals and dyes. The building changed ownership and names in 1945, when the tower was purchased by David Broderick, a Detroit insurance broker, which he then renamed after himself. After his purchase of the tower in 1945, David Broderick created the Sky Top Club on the 33rd floor of the tower, which was a private club used for entertaining Mr. Broderick's associates and guests. After David Broderick's death in 1957, the tower changed hands many times between 1963 and 1976, finally ending up in the hands of the Higgins family, which retains a stake in the ownership to this day.

A bar called Tavern on the Park was preceded by a restaurant called The Flaming Embers, which also later closed. Another bar called The Pit Stop opened on the ground floor of the building in 2007 but eventually also closed. Currently the Detroit Sports Bar & Grille  occupies the street level floor.

The memorable humpback whale mural on the rear façade of the building was painted by Metro-Detroit native eco-artist, Wyland, and was dedicated on October 13, 1997. A billboard was placed over the mural in July 2006, covering up the Whaling Wall mural. The money generated from a recently added billboard was announced to benefit the restoration of the building, as the billboard is visible from the nearby Comerica Park, home of the Detroit Tigers. In June 2010, the billboard was removed during a storm, once again revealing the mural.

Motown Construction Partners LLC, led by Fred J. Beal, Manager, and President of JC Beal Construction Inc., secured financing for a comprehensive re-development of the Broderick Tower in December 2010. Renovations commenced to create 124 apartments on floors 5-34, three separate restaurant venues floor 1 and the adjacent lower level and mezzanine, and office space on floors 2 through 4.

On November 2, 2012, the Broderick Tower received official certificates of occupancy by the City of Detroit. A call was made to residents by management around 3:30 PM; on that day, at least 5 residents moved in immediately. During that same weekend, at least 50 more residents moved in. , Broderick Tower is 100% leased and occupied.

Gallery

See also
List of tallest buildings in Detroit

References

External links

Official Site

Office buildings in Detroit
Downtown Detroit
Residential skyscrapers in Detroit
Office buildings completed in 1928
National Register of Historic Places in Detroit
Office buildings on the National Register of Historic Places in Michigan
Historic district contributing properties in Michigan
1928 establishments in Michigan
Louis Kamper buildings
Chicago school architecture in Michigan

David Broderick Tower


Iran University of Medical Sciences (IUMS) (, Danushgah-e 'lum-e Pezeshki-ye vâ Xedâmat-e Behedashti-ye Dârmani-ye Iran) is a high ranked medical university in Iran. According to "Times Impact Ranking 2019", IUMS has been chosen as 1st university in the nation & 41st in the world, Also 1st in the nation & 55th in 2020.

Located in Tehran, it was founded in 1974 under the name The Imperial Medical Center, and designed by William Pereira and Associates.

The school was state operated, and its current reincarnation trains 9,000 students in the medical field.

Its students rank among the very top 1% of Iran's students in the national ranking entrance exams for universities.

The University operates 11 schools (Medicine, Nursing & Midwifery, Public Health, Health Management and Information Sciences, Mental Health & Behavioral Sciences, Rehabilitation Sciences, Advanced technologies in Medicine, Allied Medical Sciences and Medicine, dentistry and Pharmacy in its International Campus), two centers, two institutes, twenty-nine research centers, seventeen teaching and fifteen non-teaching hospitals in Tehran.

IUMS is the activist & well-known medical college in the nation for participation in development of cognitive sciences & related technologies. "Brain & Cognition Clinic(BCC)" is first and only center established for expansion of cognitive sciences by their clinical application. Also, Iran psychiatric hospital has been mobilized by cognitive lab.

"DBS Project" is a national plan which was recommended by cognitive center depended to Iran president office; This project develops manufacturing of battery & electrode in deep brain stimulation. Hazrate-rasoul medical center as the national center for DBS surgeries in participation with Sharif university of technology, university of Tehran & Amirkabir university of technology, altogether try to make country independent in DBS.

Central Library

The Central Library and Documentation Center was established simultaneously with the medical center in 1974. In less than two years, it started working by collecting thousands of scientific journals and various books in different branches of medical sciences. It also had direct communication via satellite with the U.S.'s medical information center. The new Central Library building, with an infrastructure of about 10,000 square meters and 11 floors, was constructed in September 2012. The outlook of the Central Library is giving efficient information services at the national and international levels.

The Central Library comprises a digital study hall, a study hall for females, a study hall for post graduate students, a hall of books and journals, technical services, indexing theses, an audiovisual section, e-learning and workshops, a general reading hall, University fair, and a publication store.

Hospitals and educational centers
Hazrat-e Rasool General Hospital
Hazrat-e Fatemeh Plastic and Reconstructive Surgery Hospital
Hazrat-e Ali Asghar Pediatrics Hospital

Shafa Yahyaeian Orthopedics Hospital
Shahid Akbar-Abadi Gynecology & Obstetrics Hospital
Shahid Motahari Burns Hospital
Shahid Hashemi Nejad Urology Hospital
Iran Psychiatric Hospital
Firoozgar General Hospital
Field Hospital
Shohadaye Haft-e Tir Hospital
Firoozabadi Hospital
Lowlagar Hospital
Shohadaye Yaft Abad Hospital
Shahid Fahmideh Pediatrics Hospital
Emam Sajad Hospital (Shahriyar)
Hazrat-e Fatemeh Hospital (Robat Karim)

Research Centers
Iran University of Medical Sciences has different research centers in different fields. The names of Research Centers:

Research Institute of Endocrinology & Metabolism, Research Institute for Islamic & Complementary Medicine, Cellular & Molecular Research Center, Razi Drug Research Center, Physiology Research Center, Immunology Research Center, Onco-pathology Research Center, Anti-Microbial Resistance Research Center, Otolaryngology, Head & Neck Surgery Research Center, Iran Eye Research Center, Minimal Invasive Surgery Research Center, Pediatric Infectious Diseases Research Center, Occupational Medicine Research Center, Mental Health Research Center, Gastro intestinal & Liver Diseases Research Center, Rehabilitation Research Center, Center for Nursing Care Research, Occupational Health Research Center, Hospital Management Research Center, Health Management & Economics Research Center, Medical Education Research Center, Rajaie Cardiovascular Medical & Research, Center, Echocardiography Research Center, Heart Valve Diseases Research Center, Cardiac Electrophysiology Research Center, Cardiovascular Interventional Research Center, Colorectal Research Center, Bone & Joint Reconstruction Research Center.

See also
List of Islamic educational institutions
Higher Education in Iran
List of universities in Iran
List of hospitals in Iran
Iran University of Medical Sciences's library management system

References

External links
Official website

1974 establishments in Iran
Medical schools in Iran
Iran University of Medical Sciences
Educational institutions established in 1974
William Pereira buildings

Iran University of Medical Sciences


Harold Philip Hamilton (April 26, 1924 – July 1, 2003) was a soldier, college president, professor, state government official and charity administrator.

Early life
Hamilton was born in High Point, North Carolina, the youngest of eleven children of a Methodist minister.

Hamilton served during World War II in the United States Army. He began his service at Lehigh University in Pennsylvania training to be an engineer, but in preparation for the Normandy Invasion his unit (among others) was sent to Camp Claiborne, Louisiana to train as infantry.  Hamilton was shipped with his unit to Europe where he was in combat with the 84th Infantry Division in France, the Netherlands and Germany in the Rhineland campaign, assault on the Siegfried Line and the Battle of the Bulge during which he was injured and returned to England for medical attention including to his frozen feet which caused him pain and problems for almost sixty years.

Hamilton was discharged from the Army in 1945 and returned to North Carolina to resume his studies.  He earned a B.A. cum laude from High Point College and a B.D. and Ph.D. from the Duke University Divinity School in 1954.

Career
In 1954, he was appointed as a professor at North Carolina State University where he also ran the YMCA. In 1955 Hamilton was appointed Dean of the College and Professor of Christian Thought at Kentucky Wesleyan College in Owensboro, Kentucky.  In 1959 at age 35 Hamilton became president of the college.  At the time Kentucky Wesleyan was in the midst of steep operating deficits and academic and enrollment problems.  Under Hamilton's leadership the college improved its financial situation, quickly mounting operating surpluses, and also greatly increased its enrollment and bolstered its faculty with increased pay and benefits and the addition of many highly regarded new professors.  Kentucky Wesleyan reached its peak enrollment during Hamilton's tenure.  Successful fundraising also allowed for the construction of several new buildings on the campus; in one campaign Hamilton enlisted the students to raise $250,000 to build a new library, and they did.  Hamilton also gave great attention to Kentucky Wesleyan's athletic programs and during his tenure the school, with its student body and athletic teams racially integrated somewhat ahead of many others, won its first few Division II basketball national championships (1966, 1968 and 1969) and established a program that is still today the most successful in Division II competition.

In 1970, after eleven years as president at Kentucky Wesleyan, Hamilton accepted the presidency of Central Methodist College in Fayette, Missouri.  Central Methodist, like Kentucky Wesleyan prior to Hamilton's arrival, faced declining enrollment, shaky finances and low morale.  The 1970s were difficult times for small colleges across the United States and Central Methodist in particular entered the decade with a difficult financial future.  Hamilton introduced new programs to attract new students, including organizing the Allied Health Consortium among various Missouri schools.  Hamilton also tirelessly worked to build new ties between the college and Missouri's Methodist churches and to recruit new students.  An office (using donated facilities procured by Hamilton) was opened in St. Louis to assist with school business and recruitment.  Hamilton improved conditions for the school's faculty by installing telephones in their offices, instituting health insurance as part of their employment benefits, and raising faculty pay.  Hamilton also established the school's first sabbatical program for faculty and made it a regular part of college affairs.  He also instituted faculty evaluations, conducted by faculty and students.  The curriculum was expanded and college governance was opened up, allowing for greater participation by more people and interests.  Hamilton also established a nursing program which continued as an important part of the college long after his departure.  Hamilton added new academic and athletic scholarships.  In 1973 the school's rugby team finished third in the national championship tournament, and the first women's athletic teams at the college were established during Hamilton's term as president.  Hamilton also arranged to have the tombstones of Daniel Boone and his wife returned to the college.  Also while at Central Methodist, Hamilton was ordained as a Methodist minister.

Hamilton left Central Methodist in 1976.  He returned to Kentucky and served as Assistant State Treasurer for the state of Kentucky from 1976 through 1980 and as executive director of the Department of Corporations in the Kentucky Secretary of State's office in 1980. His later positions included Vice President for Development, Timken Mercy Medical Center, Canton, Ohio, 1980 through 1983; president of the Deaconess Hospital Foundation, Evansville, Indiana, 1983 through 1984 (he was also assistant pastor at Aldersgate United Methodist Church in Evansville in that time), and vice president for planned giving for the Ohio Presbyterian Retirement Services Foundation in Columbus, Ohio, from 1985 to his retirement.

In 1963 and 1965 Hamilton returned to his alma mater, High Point College, to give the commencement address and to receive an honorary L.H.D. degree.  He also twice studied at Oxford University in England.

Personal life
After battling heart problems, Hamilton died in Columbus, Ohio, in 2003 and was buried with military honors at Cave Hill Cemetery in Louisville, Kentucky.  He was survived by his wife, four children, seven grandchildren and three great-grandchildren.

Further reading and sources
Central Methodist College 1961-1986, Bartlett C. Jones, editor, Central Methodist College, 1986.
In Pursuit of the Dream: A History of Kentucky Wesleyan College, by Lee A. Dew and Richard A. Weiss, Kentucky Wesleyan College Press/Progress Printing Company, 1992.
Dew, Lee A., Kentucky Wesleyan College, The Kentucky Encyclopedia, John E. Kleber, editor in chief, The University Press of Kentucky, 1992.

1924 births
2003 deaths
Heads of universities and colleges in the United States
United States Army personnel of World War II
Burials at Cave Hill Cemetery
Duke Divinity School alumni
High Point University alumni
Lehigh University alumni
American Methodist clergy
North Carolina State University faculty
Kentucky Wesleyan College people
Central Methodist University faculty
People from High Point, North Carolina
20th-century American clergy
20th-century American academics

Harold P. Hamilton


Garland Roark was an American writer (July 26, 1904 – February 9, 1985) known best for his nautical/adventure fiction. His first novel Wake of the Red Witch, published 1946, was a Literary Guild selection and adapted later by Republic Pictures company as a movie featuring John Wayne.

Life
In his own words:
"I was born in Groesbeck, Texas. My father died when I was four and my mother began to teach school. Before I was five I had learned to read and write and discovered a talent for drawing which developed over the years until my ambition was to first become a cartoonist, then an illustrator. I delivered the Dallas Journal every morning, taking as pay watercolor lessons, and during the great hurricane of 1915 when I was ten, I was considered quite a hero for having delivered the paper, even though flying tin roofs sailed about me. My education was cut short after a year of college when I went to work to help support my mother and young sister. I was a soda-fountain boy, a sign painter, a door-to-door magazine salesman; I worked in the oil fields and aboard cargo vessels plying the Mexican Gulf and Caribbean Sea, where I met many odd but wonderful characters who appear in my works of sea fiction.

"Later I got a job as a window display artist and fulfilled my desire for education by studying nights. I became an avid reader of every subject and increased my powers of observation of people and life. I began writing during the 1940s and after several rejections my book, Wake of the Red Witch, became a Literary Guild selection in 1946."

 Garland Roark later lived and worked in Nacogdoches, Texas. On September 14, 1939, he married the former Leola Elisabeth Burke. He dedicated to her two of his novels and esteemed her as "the world's greatest literary critic." Roark and Leola had two daughters: Sharon and Wanda.
 Favorite hobby: watercoloring.
 Attended West Texas State Teachers College (West Texas A&M University) for one year.
 During 1954, Texas Governor Allan Shivers appointed Roark an Honorary Admiral of the Texas Navy.
 Roark also contributed numerous historical articles to the Houston Chronicle.
 Catalogued as the Garland Roark Collection, Roark's lifework has been deposited in the archives of Stephen F. Austin State University's Ralph W. Steen Library. (To view a list of its contents, access the first External Link below.)

Works

Nautical/Adventure Fiction
 Wake of the Red Witch (1946). Little, Brown and Company. Novel.
 Fair Wind to Java (1948). Doubleday & Company, Inc. Novel.
 Rainbow in the Royals (1950). Doubleday & Company, Inc. Novel.
 Slant of the Wild Wind (1952). Doubleday & Company, Inc. Novel.
 The Wreck of the Running Gale (1953). Doubleday & Company, Inc. Novel.
 The Diver of the Rebecque (1953). Ziff-Davis Publishing Company. Short story published in the Vol. 1, No. 1 Winter issue of THE SEVEN SEAS pulp magazine, pp. 4–27.
 Star in the Rigging (1954). Doubleday & Company, Inc. Novel.
 The Outlawed Banner (1956). Doubleday & Company, Inc. Novel.
 The Lady and the Deep Blue Sea (1958). Doubleday & Company, Inc. Novel. (Original manuscript title Challenge of the Seas).
 The Gallant Captain Ross (1958). Davis Publications, Inc. Short story published in the Vol. 1, No. 1 October issue of JACK LONDON'S ADVENTURE MAGAZINE, pp. 63–72.
 Tales of the Caribbean (1959). Doubleday & Company, Inc. Short story collection. (cf James Michener's Tales of the South Pacific)
 Should the Wind be Fair (1960). Doubleday & Company, Inc. Novel.
 The Witch of Manga Reva (1962). Doubleday & Company, Inc. Novel.
 Bay of Traitors (1966). Doubleday & Company, Inc. Novel.
 Angels in Exile (1967). Doubleday & Company, Inc. Novel.

Western Fiction
By the pseudonym George Garland unless otherwise noted:
 Doubtful Valley (1951). Houghton Mifflin Company. Novel.
 The Big Dry (1952). Houghton Mifflin Company. Novel.
 Mogollon (1956). 15-page story published exclusively in newspapers. (e.g. The Star Weekly, Toronto, Canada, July 28, 1956). As Garland Roark.
 Apache Warpath (1959). New American Library/Signet Books. Novel.
 Bugles and Brass (1964). Doubleday & Company, Inc. Novel.
 Hellfire Jackson (1966). Doubleday & Company, Inc. Historical Novel. As Garland Roark. Co-written by Charles Thomas. A Western Writers of America, Spur Award winner.
 The Eye of the Needle (1970). Doubleday & Company, Inc. Novel.
 Slow Wind in the West (1973). Doubleday & Company, Inc. Novel.

Miscellaneous
 The Cruel Cocks (1957). Doubleday & Company, Inc. Novel about cockfighting in Louisiana.
 Captain Thomas Fenlon: Master Mariner (1958). Julian Messner, Inc. Biographical novel.
 Diamond Six: The Saga of a Fighting Family from Kentucky to Texas (1958). Doubleday & Company, Inc. Biography. Written by William Fielding Smith. Edited by Garland Roark.
 The 25 Flags of Texas (1961). Historical pamphlet.
 The Coin of Contraband (1964). Doubleday & Company, Inc. Biographical novel.
 Drill a Crooked Hole (1968). Doubleday & Company, Inc. Novel re Texas oil fields.

Movie Adaptations
 Wake of the Red Witch (1949).
 Fair Wind to Java (1953).

References

External links
 The Garland Roark Collection at Stephen F. Austin State University

 The Tall Ship Red Witch

1904 births
1985 deaths
People from Groesbeck, Texas
Novelists from Texas
People from Nacogdoches, Texas
20th-century American novelists
American male novelists
Western (genre) writers
American male short story writers
20th-century American short story writers
20th-century American male writers

Garland Roark


Bradley James Orr (born 1 November 1982) is an English retired footballer.

Career

Newcastle United & loans
Born in Liverpool, Merseyside, Bradley Orr started his senior career with Newcastle United, and was loaned out to Burnley due to lack of opportunities in the first team.

Bristol City
Shortly after this loan period in July 2004, he signed for Bristol City. He scored his first goal for his new team against Yeovil Town.

Although he was signed as a central midfielder, he was converted to right-back in 2005–06 and has played most of his games in that position.

On 29 August 2006, Orr was sent off for attempting to head-butt his own teammate, Louis Carey, during a game against Northampton Town. On 1 September 2006, Orr was sentenced to 28 days in jail relating to an incident outside a Bristol nightclub the previous October. Also jailed in relation to the same incident were teammates Steve Brooker for 28 days, and David Partridge for two months. Orr and Brooker were released on 14 September 2006, serving only half of their original sentence. He scored against Manchester City in the League Cup second round.

He was named in the PFA's Championship team of the season 2007–08.

According to media sources, he broke his cheekbone in the play-off final against Hull City.

On 27 November 2008, Bristol City decided to place Orr on the transfer list, due to rejecting several contract offers. On 1 January 2009, Bristol City announced that Orr had signed a two-and-a-half-year contract at the club.

Queens Park Rangers
On 26 July 2010, Orr signed for Queens Park Rangers. He scored his first goal for the club in a 2–0 win over Scunthorpe United on 21 August 2010. He became a regular in Rangers Championship winning season with a number of impressive performances at right back helping Rangers to a high number of clean sheets. Once promoted to the Premier League his first team opportunities at Loftus Road became increasingly limited following the signing of right back Luke Young.

Blackburn Rovers
His time at QPR was short-lived however, due to a lack of first team games. He made a move in the January 2012 transfer window to Blackburn Rovers on a three-and-a-half-year deal for an undisclosed fee a move he said he badly needed.

Orr made his debut for Blackburn when he replaced Jason Lowe in the 36th minute of the game in the 7–1 loss against Arsenal at the Emirates Stadium on Saturday 4 February 2012. He made his full home debut against his former employers QPR at Ewood Park, exactly a week later on 11 February 2012, in a game Rovers went on to win 3–2 and he also completed the full 90 minutes in his right-back slot. On Monday 2 April 2012, Orr started and played the full 90 minutes in the right-back berth against Manchester United at Ewood Park which ended in a 2–0 defeat on the night of his sixth appearance for Rovers in the Barclays Premier League. On Saturday 21 April 2012, he started and played the full 90 minutes in the right-back spot with Jason Lowe playing further forward in a 2–0 victory over Norwich City at Ewood Park, thanks to strikes from Mauro Formica and Junior Hoilett. On Monday 7 May 2012, Orr started the 1–0 defeat against Lancashire rivals Wigan Athletic at Ewood Park, but was replaced on 80 minutes for David Goodwillie, this loss meant that Rovers were relegated from the top flight.

Ipswich Town (loan)

On 14 November 2012, Orr signed for Ipswich Town on loan until 26 January 2013. His loan was extended to the end of the season in January 2013.

Blackpool (loan)
On 2 September 2013, Orr signed for Blackpool on loan until 2 January 2014.

Toronto FC (loan)
On 25 January 2014, it was announced that Orr would be placed out on loan to MLS side Toronto FC. The loan is set to run to December 2014 and would see Orr reunited with his former teammate at Blackburn, Ryan Nelsen. Nelsen was the head coach of Toronto FC having been sacked, along with his assistants, on 31 August 2014. Orr made his debut with Toronto in their season opener at Seattle Sounders FC on 15 March, the game ended in a 2–1 away victory with both goals coming from newly acquired Jermain Defoe. He scored his first goal for Toronto on 23 May against Sporting Kansas City.

Personal life
Orr is the uncle of former footballer Jon Flanagan.

Career statistics

Honours

Club
Queens Park Rangers
Football League Championship: 2010–11

Bristol City
Football League Championship PFA Team of the Year: 2007–08

References

External links

1982 births
Living people
Footballers from Liverpool
English men's footballers
English expatriate men's footballers
Men's association football defenders
Newcastle United F.C. players
Burnley F.C. players
Bristol City F.C. players
Queens Park Rangers F.C. players
Blackburn Rovers F.C. players
Ipswich Town F.C. players
Blackpool F.C. players
Toronto FC players
Premier League players
English Football League players
Major League Soccer players
Expatriate men's soccer players in Canada
English expatriate sportspeople in Canada

Bradley Orr


Irwin Lawrence "Paul" Mazursky (April 25, 1930 – June 30, 2014) was an American movie director, screenwriter, and actor. His best known movies were Bob & Carol & Ted & Alice (1969), Harry and Tonto (1974), An Unmarried Woman (1978), Moscow on the Hudson (1984), and Down and Out in Beverly Hills (1986). He was nominated for five Academy Awards: three times for Best Original Screenplay, once for Best Adapted Screenplay, and once for Best Picture.

Mazursky was born in Brooklyn, New York City. His family were Jewish and his grandfather was a Ukrainian immigrant. He was married to Betsy (Purdy) Mazursky from 1953 until his death. They had two children. He was an atheist.

Mazursky from a pulmonary cardiac arrest on June 30, 2014 at Cedars-Sinai Medical Center in Los Angeles, California. He was 84.

References

Other websites

1930 births
2014 deaths
Actors from New York City
American atheists
American movie actors
American television actors
Deaths from cardiac arrest
Jewish American actors
Jewish American writers
Movie directors from New York City
Movie producers from New York City
Screenwriters from New York City

Paul Mazursky


Streptanthus bernardinus is a species of flowering plant in the mustard family known by the common name Laguna Mountains jewelflower, or Laguna Mountain jewelflower.

Distribution
It is native to southern California and northern Baja California, where it grows in the Transverse Ranges around Los Angeles and the Peninsular Ranges to the south, including the Laguna Mountains east of San Diego and the Sierra de Juarez and Sierra de San Pedro Mártir of Baja. Its habitat includes temperate coniferous forest and chaparral on mountain slopes.

Description
Streptanthus bernardinus is a perennial herb growing from a woody caudex and producing an erect stem up to 60 to 80 centimeters tall. It is hairless and sometimes waxy in texture. The basal leaves are widely lance-shaped and up to 8 centimeters long by 2.5 wide. They are borne on petioles. Narrower lance-shaped leaves occur higher on the stem and may clasp the stem at their bases.

Flowers occur at intervals along the upper stem. Each has a bell-shaped calyx of greenish to yellow or white sepals just under a centimeter long. White petals emerge from the tip. The fruit is a thin, narrow silique which may be 8 to 12 centimeters in length or longer.

References

External links
Jepson Manual Treatment - Streptanthus bernardinus
Streptanthus bernardinus — U.C. Photo gallery

bernardinus
Flora of Baja California
Flora of California
Natural history of the California chaparral and woodlands
Natural history of the Peninsular Ranges
Natural history of the Transverse Ranges
~
~
Flora without expected TNC conservation status

Streptanthus bernardinus


外殼膜(),亦作殻皮,是軟體動物及腕足动物门物種的外殼之外的一層包裹物;但兩個分類的外殼膜由不同材質組成,亦使這兩種外殼膜表現出不同的特徵。在軟體動物,主要為腹足綱及雙殼綱最常見,但在頭足綱如異鸚鵡螺屬之類的物種也有外殼膜。外殼膜與其包裹的外殼及外殼上的其他分層都是整個外殼的整全部分,也成為了這些物種的可分辨外觀。

Periostracum這個字由(包圍)和兩部分組成,意思就是「包圍着外殼」,包圍着外殼的鈣質層(ostracum)。

軟體動物

成份
軟體動物的外殻膜是一層覆蓋在新鮮殻表面的纖維狀角質物,這種角質蛋白叫作贝壳素,主要由醌鞣製的蛋白質組成,與其他生物上皮組織組成的角質層相似。

功能

The formation of a shell requires certain biological machinery.  The shell is deposited within a small compartment, the extrapallial space, which is sealed from the environment by the periostracum, a leathery outer layer around the rim of the shell, where growth occurs.  This caps of the extrapallial space, which is bounded on its other surfaces by the existing shell and the mantle.  The periostracum acts as a framework from which the outer layer of carbonate can be suspended, but also, in sealing the compartment, allows the accumulation of ions in concentrations sufficient for crystallization to occur.  The accumulation of ions is driven by ion pumps packed within the calcifying epithelium.  The organic matrix forms the scaffold that directs crystallization, and the deposition and rate of crystals is also controlled by hormones produced by the mollusc.  The periostracum was probably essential in allowing early molluscs to obtain large size with a single valve.

The periostracum is secreted from a groove in the mantle, termed the periostracal groove.  When secreted, it consists of the soluble protein periostracin; this polymer becomes insoluble through a tanning process involving quinone.

Description

Periostracum is often yellowish or brownish in color. In some species it is black. The periostracum is very often a different color than the underlying layer of the shell.

In the shells of species which have periostracum, this shell layer is quite often physically worn away or chemically eroded in the parts of the shell that are older, thus it may only still be visible in the more recently formed areas of the shell.

Periostracum can in some cases be quite thin, smooth, glossy and transparent, such that it looks almost like a thin yellow varnish, or it can be thicker and more or less opaque. When it is thick it is often relatively rough in texture and dull. In some species the periostracum is tufted, or forms hair-like growths which in some cases can give the fresh shell a velvety feel, see. In some species the periostracum adheres very tightly to the underlying shell surface, in others the periostracum is less firmly attached.

In certain marine species, such as for example certain species of cone snails, a heavy periostracum obscures the color patterns that exist on the calcareous layer of the shell.

In many aquatic species, once a shell has been removed from the water and has had time to completely dry out, then the periostracum may become brittle and start to flake or peel off of the surface of the shell.

It is not uncommon for shell collectors to deliberately remove a periostracum layer (using household bleach) if they feel that a shell is more attractive without it. However the periostracum is an important part of the shell, and is definitely of interest to malacologists. Details of the periostracum can sometimes be very helpful in identifying a species.

Hairs on gastropod shells

Haired shells occur in gastropods in several species of the Stylommatophoran families Polygyridae, Helicidae and Hygromiidae. These families are only distantly related, suggesting that this features has evolved several times independently. Haired shells are almost exclusively observed in species living in moist microhabitats, like layers of fallen leaves, broad-leaved vegetation, damp meadows or wet scree. Such a correlation suggests an adaptive significance of the trait in such a habitat; it was thus speculated that the hydrophobic hairs facilitate the movement in wet environments by relieving surface tension.

These hairs can reach varying densities (up to 20 per squaremilimetre) and lengths (up to three millimetres). In some cases hardly visible, they confer an almost furry impression to the shell in others. These semi-rigid structures are part of the periostracum, a thin protein layer (conchiolin) secreted by the snail to cover the calcareous shell. Building hairs requires the snail to have specialised glandular tissue and complex strategies to form them. Consequently, this trait can be assumed to be costly and should thus present a selective advantage to its bearers in order to be conserved.

Experiments by Pfenninger et al. (2005) on genus Trochulus showed an increased adherence of haired shells to wet surfaces. Haired shells appeared to be the ancestral character state, a feature most probably lost three times independently. The possession of hairs facilitates the adherence of the snails to their herbaceous food plants during foraging when humidity levels are high. The absence of hairs in some Trochulus species could thus be explained as a loss of the potential adaptive function linked to habitat shifts.

腕足动物

腕足动物门的外殼膜在不同物種由不同成份組成,包括有:糖胺聚糖及甲殼素、幾丁質或蛋白质,當中以幾丁質為主。
在這些腕足动物的外套膜邊沿上相對比較新的細胞所分泌的物質將外殻膜延展,但又會被其外套膜上層較新的細胞所取代,然後轉變功能成為為其外殻分泌礦物質構築物的細胞。

參看
 外殼 (軟體動物)
 Lorica

參考文獻

软体动物解剖学
腕足動物解剖學

外殼膜


The Opera dei Pupi ( in Palermo,  in Catania; ) is a marionette theatrical representation of Frankish romantic poems traditionally performed in Sicily, Italy.

Inscribed in the UNESCO's List of the Oral and Intangible Heritage of Humanity in 2001, it dates back to the third decade of the nineteenth century, and was particularly successful among the middle and lower classes, becoming one of Sicily's most significant expressions of history and cultural identity.

The puppeteers (named pupari) animate the puppets to represent episodes of serialized stories derived from epic-chivalric literature of medieval origin, with particular reference to the Carolingian cycle; and in a more limited manner, from the Arthurian novels. All these stories were elaborated in The History of the Paladins of France, written by Giusto Lo Dico, that is a "compilation of the Italian chivalric poems of the Renaissance in which the French literature of the Middle Ages was freely modified".  Published in handouts since 1858, the work written in prose brings together and re-elaborates the poems of cultured literature such as Orlando innamorato, Orlando Furioso and Gerusalemme Liberata.

The traditional repertoire of the shows also include historical-romantic narratives, stories of brigands, works by William Shakespeare such as Romeo and Juliette and Macbeth, and short farces.

History
It is difficult to establish when and where the Opera dei Pupi was born. "The chronicles say that the initiators of the Opera in Palermo were Don Gaetano Greco (1813-1874) and Don Liberato Canino, while in Catania they were Don Gaetano Crimi (1807-1877) and his antagonist Giovanni Grasso (1792-1863)". The so-called pupi in page (that is, without armor) certainly preceded the armored ones and were used to represent Sicilian tales and farces, which are still performed today. Studies also show that from the 16th century, shows of chivalry were staged with puppets throughout Europe; and in the 18th century such shows also took place in Sicily and Naples (being represented in the theater of Giuseppina d'Errico also known as "Donna Peppa").

However, only in the first decades of the nineteenth century, in Sicily, did the chivalrous repertoire achieve such resounding success as to supplant all the others and determine a series of technical and figurative innovations.This was probably due to the delayed effect of the pre-romantic and romantic style of the Middle Ages; but it is also a consequence of ingenious technical inventions which made it possible to give extraordinary effectiveness to combat scenes which become a sort of exalting dance, with a crescendo rhythm and which arouses an intense psychomotory participation in the audience.There are numerous studies dedicated to Sicilian Opera dei pupi. The most recent research by Ignazio E. Buttitta, Bernadette Majorana, Alessandro Napoli and Rosario Perricone followed the historically fundamental contributions of Antonino Buttitta, Antonino Uccello, Janne Vibaek, and Carmelo Alberti. Furthermore, we cannot fail to mention the fundamental studies of Giuseppe Pitrè and Sebastiano Lo Nigro as well as the book entitled Opera dei pupi by Antonio Pasqualino (Sellerio 1977). Narrations and memories of the puppeteers themselves can also be added to this short list.

Over time, the Opera dei pupi has gone through some periods of serious crisis: Giuseppe Pitrè recorded its decline at the end of the nineteenth century; a new crisis dates back to the 1930s and was due to the spread of cinema; the most recent one, and even more incisive, is that of the Fifties and Sixties when the popular neighborhoods of the cities began to empty and to reject traditional culture began to be rejected following the spread of new forms of economic well-being of the consumerist era. Despite these difficult periods, the Opera dei pupi is still practiced today by various companies of the Island, companies which haver an ancient or more recent history and attract new audiences, showing a renewed vitality.

The proclamation of the Opera dei pupi as a UNESCO "Masterpiece of the oral and intangible heritage of humanity" in 2001, upon a candidacy supported by the Association for the conservation of popular traditions, has greatly contributed to relaunching the attention on Sicilian traditional puppet theater. Being the first Italian practice to obtain this important recognition, in 2008, it was registered in the Representative List of the intangible cultural heritage of humanity, following the Italian ratification of the Convention for the safeguarding of the intangible cultural heritage of 2003.

The puppet and the puppeteer: general characteristics
Equipped with a wooden frame, the puppets are provided with real armor, richly decorated and chiseled, and vary in movement according to the "school" they belong to: Palermo, Catania or Naples. They differ in some mechanical and figurative aspects and at times among different individual subjects.

In general, the frame is composed of a wooden torso, which the legs are connected to, allowing for a pendular movement. The pupi are maneuvered using threads and metal rods. The so-called main rod, where the threads are attached to in order to control the limbs, passes through the center of the head and connects it to the torso. The upper end of the rod is hooked, allowing the marionette to be temporarily suspended, even during the play; and inclining the rod permits the marionette to be moved.

From a figurative point of view, one can generically distinguish the characters with an armor (armed) from those without (in page). The armor and costumes of the puppets respond to a complex iconographic code and adhere to the nineteenth-century romantic fashion of representing the Middle Ages.

Among the armed characters, the Christian and Saracen heroes can be distinguished. Christian warriors have kind faces and symmetrical features, wear a kilt (called faroncina in Palermo and vesti in Catania) and present their family's respective emblems on their helmets, chestplates and shields allowing the traditional audience to recognize the characters. The Saracens have more marked facial features; they often wear trousers and turbans, and their armor is decorated with half moons and stars. Among the page characters, the more comical characters stand out: in Catania the best known is Peppininu, who acts as a squire for Roland and Renaud; in Palermo, Nofrio and Virticchio perform in farces, with a licentious and funny tone, which often closed the performance. Farces date back to the vastasate, comic representations derived from the Commedia dell'arte.

The puppeteer - also known as "oprante", "teatrinaro" and, in Naples, "pupante" - manages the theater, is the director of he show and animates the puppets, giving suggestions, ardor and pathos to the epic scenes represented. He paints the scenes and advertising posters, and sometimes building the puppets.

The puppeteers are custodians of a vast heritage of stories, performative codes and construction techniques that are still handed down orally from teacher to student today.

To promote the shows, advertising posters (cartelli) were displayed outside the theaters; today they are used to decorate the walls of theaters. Painted in bright colors, they represent the different episodes of the Carolingian cycle and would inform the public at what point the narrative the puppeteer had arrived.

Puppets, cartelli, scenes and props, are part of the so called mestiere of the company, which is the set of objects necessary for the staging of the show

Transmission of the heritage
The puppeteers, who make up the heritage community of the Opera dei Pupi, are the custodians of a vast and complex heritage that is still transmitted orally from teacher to apprentice, both within the family and outside. It is a heritage that includes the stories represented and the modes of representation, the performative codes (e.g. sound code, kinesic code, etc.), as well as the techniques of construction of the puppets and how to paint the scenes and posters. The transmission of this heritage takes place within the companies and craft workshops primarily through the listening and observation of the master by the young apprentice.

In the traditional context, the transmission of this intangible heritage was facilitated by the daily enjoyment of the evening show. By going to the theater evening by evening, one could listen to and watch the stories represented. Observing the masters at work every day thus ensured a successful generational change and the transmission of knowledge.

Although the crisis of the middle 19th century caused a significant irregularity of the shows (no longer being represented daily), even today the transmission of this heritage takes place according to traditional methods. In order to strengthen the process of transmitting the living heritage of the Sicilian Opera dei Pupi and to respond effectively to the challenges of the new millennium, in 2018 the puppet companies gathered in the "Italian Network of Organizations for the Protection, Promotion, and Enhancement of the Opera dei Pupi".

The characters
Among the main characters of the chivalrous epic of the opera dei pupi are the paladins in the service of Emperor Charlemagne, Princess Angelica, some Saracens (enemies of the paladins), and Gano the traitor:

 Count Roland
 Renaud
 Ruggero
 Ferragut
 Angelica
 Ganelon

The Opera dei Pupi in Sicily
Recognized in 2001 by Unesco as a Masterpiece of the Oral and Intangible Heritage of humanity, the Sicilian Opera dei Pupi has two different variants: that of Palermo, in western Sicily, and that of Catania, in eastern Sicily.

The Opera dei Pupi of Catania

The "Catania'' style of the Opera dei Pupi characterizes eastern Sicily, in particular the provinces of Catania, Messina and Syracuse. The skeleton of the Catania puppets has padding that helps make the puppets heavier. Their height is usually between 110 and 130 cm, and they can reach a weight of about 30 kilos. If they are warriors, they almost always hold their sword in their right hand due to the absence of the wire that, in Palermo puppets, connects the handle to the sword hilt. The non-articulated legs allow the considerable weight of the puppets to be unloaded on the stage without risking that the legs bend and they also facilitate the maneuver performed by the handlers (). They operate from a raised bridge (), positioned behind the backdrop and this position determines the reduced depth of the stage to the advantage of a greater width. From behind the backdrop, some speakers () improvise dramatic dialogues or read the different parts from a stretched script, respectively of the male and female characters.

The direction is usually entrusted to one of the speakers who gives instructions to the manianti.

In Catania, the repertoire also included: Erminio della Stella d'Oro, Guido of Santa Croce, Uzeta the Catanese, Farismane and Siface, Tramoro of Medina and Guelfo of Negroponte. In addition to these one could also find the Belisario of Messina, a story represented in Messina, "which marks a specific peculiarity of the city of the strait compared to the Catania tradition of the Opera dei Pupi.

In the Opera dei Pupi of Catania, the show was accompanied by the music played by an orchestra that included plectrum instruments and, sometimes, an accordion and some wind instruments. Today, there is a tendency to resort to recorded music.

In Catania, the cartelli are painted in tempera on wrapping paper and depict the most important scene of the evening episode. A removable sheet showing the salient features of the story  () was pinned to the sign.

The variants of Acireale and Siracusa
Stylistic variants of the Catania tradition include that of Acireale and of Syracuse.

In Acireale, there is a different maneuvering system according to which the puppets are manipulated from a bridge higher than the proscenium and placed in front of the backdrop. Even the puppets have some differences: they are smaller in size and the main and right arm maneuvers are very long both having a hook at the upper end. In Acireale, as in Palermo, the speaker lends his voice to represent both male and female characters.

«In Syracuse, in the historic theaters of the Puzzo family, the puppets, in size, weight, maneuvering system and repertoire are all similar to those of Catania; however, they have legs with a joint at the knee».

The heritage community
«Currently there are five families of puppeteers in eastern Sicily who are the custodians of the oral and intangible heritage of the opera dei pupi as well as of material goods (puppets, signs, scenes, scenic equipment, etc.). This includes both historical material and that which is used for the realization of the shows»:

 Fiorenzo Napoli's "Marionettistica Fratelli Napoli" [Marionette Theatre Company "Napoli Brothers"]  (Catania)
 Association "Opera dei Pupi Turi Grasso" (Messina)
 Cultural Association "Opera dei Pupi Messinesi Gargano" (Siracusa):
 The family Vaccaro-Mauceri" (Syracuse):
 Puglisi Family's Ancient Opera dei Pupi Company (Sortino)

The Opera dei Pupi of Palermo

The "Palermo" style of the opera dei pupi characterizes western Sicily and in particular the provinces of Palermo, Agrigento and Trapani.  Palermo's puppets are about 90 cm. high and weigh between 5 and 10 kilos. The legs can perform a pendular movement, have articulated knees and can draw and place the sword in its scabbard thanks to a wire that crosses the right hand nad connects the maneuvering iron to the sword hilt.

In Palermo, the puppeteers arrange themselves on the sides of the stage (for this reason the theater is deeper than it is wide) and, hidden by the side wings, operate on the same level as the puppets by extending their arms.  The master puppeteer is located in the right wings (the left of the spectators), directing the show, operating the puppets, improvising the dialogues by lending his voice to all the characters (even female) and creating the sound and light effects.

The show was accompanied by the music of one or more violins which, at the end of the 19th century, were replaced by the barrel organ, still used today.

The cartelli from Palermo, painted in tempera on canvas, are divided into different squares, usually eight, resembling a chessboard.  Each square, often subtitled, corresponds to one of the episodes of the long Carolingian cycle. A sheet bearing the words "Today" was attached to the square relating to the evening show, indicating at what point in the cycle they had arrived.

The heritage community

"Currently there are eight companies of puppeteers of Palermo who are depositories of the oral and intangible heritage of the opera dei pupi as well as of theatrical props (puppets, signs, sets, tools, etc.). This includes both historical material and that which is used for the realization of the shows":

Palermo:
 Vincenzo Argento's Agramante Cultural Association
 The "Franco Cuticchio" Cultural Association
 Angelo Sicilia's Marionettistica Popolare Siciliana Cultural Association
 Vincenzo Mancuso's Charlamagne Theatrical Cultural Association
 Cuticchio Figli d'Arte Association
 Girolamo Cuticchio's TeatroArte Cuticchio Company

Alcamo:
 The "Gaspare Canino" Opera dei Pupi Cultural Association

Subsequent diffusion of the puppet opera

The Opera dei Pupi is attested in Campania and Apulia, where puppets have the same mechanics and figurative characteristics.

The puppets, equipped with a padded wooden skeleton, are 110 cm. and weigh about 20 kg. The legs are semi-articulated. They have a single maneuvering iron rod as both arms are maneuvered with wires. The puppeteers would operate the puppets from a raised bridge behind the backdrop and lent their voices to the puppets by reading from a script placed on a sliding lectern.

As in Catania, the position of the puppeteers determines a greater width of the stage and a reduced depth.

In addition to the warlike stories, which include the Cycle of the Paladins, the Guerrin Meschino and the Palmerino d'Ulivo, historical-romance events, stories of bandits and the stories of the guappi were also represented in Naples.

In Naples, the cartelli are painted in tempera with pastel colors on wrapping paper or on canvas and depict a single scene on which a sheet was affixed that summarized the story of the day.

Among the most famous companies of Campania are those of Angelo Buonandi, the Corellia, the Di Giovannis, Alfredo Farina and Verbale.

Museums and collections
If the show itself is the moment of implementation of the oral and intangible heritage of the puppet masters, the objects associated with the Opera dei Pupi (puppets, backdrops and signs, etc.) also constitute a precious heritage of tangible assets capable of restoring the history of the Sicilian traditional puppet theatre including the different phases it went through, the innovations, and the talented artisans who animated it. Among the most representative museums and collections of the mestieri of individual families of puppeteers, there are:
 Antonio Pasqualino's International Museum of Marionettes
 The Ignazio Buttitta Foundation Collection - Gallery of arti popolari of Geraci
 The Nino Canino Collection - Real Cantina Borbonica, Partinico
 The Ninì Cocivera Collection - Museo cultura e musica popolare dei Peloritani, Gesso
 The Giacomo Cuticchio Senior Collection - Palazzo Branciforte, Palermo
 The Ignazio Munna Collection, Monreale;
 The Pennisi Theater Collection - Macrì of Acireale
 The Gesualdo Pepe Collection, Caltagirone;
 Giuseppe Pitrè's Sicilian ethnographic Museum Collection, Palermo
 The Agostino Profeta Collection, Licata
 The Puglisi Family's Antique Opera dei pupi Collection - Museo civico, Sortino
 The Opera dei Pupi Collection of Randazzo

To know
The Opera dei Pupi nourishes the collective imagination, both in the theatrical, cinematographic and artisan fields. For example, in 2015 Girolamo Botta, of Palermo origin, founded the art company G.Botta in Sulmona. With his mobile theater, he makes his puppets and paintings tour in central Italy. His artifacts have a smaller size than the traditional ones of the Palermo school: in fact, the puppets measure 70 cm, and the theater is also on a smaller scale. Later he gave life to the "Italic puppets" that tell the deeds of the warriors of the Osco-Umbrian peoples during the Social War against the Roman Republic.

In the media
There are numerous film appearances of the Opera dei Pupi as well as documentary films produced. Below is a non-exhaustive list:

Film appearances and reinterpretations:
 Totò a colori, directed by Steno, 1952
 Che cosa sono le nuvole, directed by Pier Paolo Pasolini, 1967
 The Godfather - part 2, directed by Francis Ford Coppola: in the film from 1974 there is a scene depicting Little Italy during the 1900s where a Sicilian puppet theater is represented.

Documentaries
 Nasce un paladino, directed by Roberto Andò and Rita Cedrini, 1983
 Per filo e per segno, directed by Roberto Andò, 1990
 In viaggio con i Pupi, directed by Maurizio Sciarra, 2008
 The Childhood of little Roland. Antonio Pasqualino and the Opera dei Pupi, directed by Matilde Gadliardo and Francesca Milo, 2014
 Pupi a 360 gradi, directed by Alessandra Grassi, 2018
 Cùntami, directed by Giovanna Taviani, 2021
 Pupus, directed by Miriam Cossu Sparagano Ferraye, 2021

See also

 Paladin
 Carolingean cycle
 Matter of France
 Unesco

References

Further reading

Scientific publications

In English

Other languages

 Rosario Perricone, I ferri dell'Opra. Il teatro delle marionette siciliane, in Giovanni Azzaroni, Giuseppe Liotta (edited by), Antropologia e Teatro, n. 4, Bologna, Dipartimento delle Arti - Alma Studiorum - Università di Bologna, 2013, pp. 210–234.

 Antonio Pasqualino, Come si costruisce un pupo, in Quaderni del circolo semiologico siciliano: Atti del II Congresso internazionale di studi antropologici, n. 12–13, Palermo, 1980, pp. 533–553.

Books written by the heritage community et al.

 G. Arcidiacono, L'opera dei pupi in Sicilia, Lussografica, Caltanissetta, 2016.
 C. Coco, Nuovo repertorio per l'opera dei pupi, Vol.II; Edizioni Youcanprint, 2013.
 C. Coco, I pupi siciliani nella letteratura, nel teatro, nel cinema nella TV e nella musica, Screenpress, 2012.

External links

 Video example on official UNESCO site
 Web portal of the Italian network of organizations for the protection, promotion and enhancement of the opera dei pupi

Masterpieces of the Oral and Intangible Heritage of Humanity
Puppetry in Italy
Culture of Sicily

Opera dei Pupi


HNoMS Norge was a coastal defence ship of the Eidsvold-class in the Royal Norwegian Navy. Built by Armstrong Whitworth at Newcastle on Tyne, she was torpedoed and sunk by German destroyers in Narvik harbour on 9 April 1940.

Description
Built as part of the general rearmament in the time leading up to the events in 1905, Norge remained, along with her sister-ship Eidsvold, the backbone of the Royal Norwegian Navy for just over 40 years. Norge and Eidsvold were the largest vessels in the Royal Norwegian Navy, displacing 4,233 tons and crewed by 270 men. Both vessels were considered to be quite powerful for their time, with two 21 cm (8.26 inch) guns as their main armament. They were armoured to withstand battle with ships of a similar size, with 6 inches (15.24 cm) of Krupp cemented armour in the belt and 9 inches (22.86 cm) of the same armour on the two gun turrets.

It was intended to augment the Norwegian coastal defence ship fleet with the two ships of the Bjørgvin class, ordered in 1912, but after these were requisitioned by the British Royal Navy while still under construction at the outbreak of World War I the Eidsvold class and the older, two ship strong, Tordenskjold class was forced to soldier on long after they were obsolete.

First and final battle

On the morning of 9 April 1940, German forces entered Ofotfjord under cover of fog and heavy snow. The Germans contacted the captain of Eidsvold, demanding that he surrender, and when this was turned down, the battle-ready German destroyers torpedoed Eidsvold before she could fire her guns.

Aboard Norge, deeper inside the fjord, the explosions were heard, but nothing could be seen until two German destroyers suddenly appeared out of the darkness. Captain Per Askim of Norge gave orders to open fire. Four rounds were fired from the 21 cm guns (one from the fore gun and three from the aft) as well as seven or eight rounds from the starboard 15 cm guns, directed against the German destroyer Bernd von Arnim. The range has been estimated as 800 metres (1/2 mile). Due to the difficult weather conditions, it was hard to use the optical sights for the guns, which resulted in the first salvo falling short of the target and the others going over the target.

The German destroyers waited until they were alongside the pier before returning fire. Bernd von Arnim opened fire with her 12.7 cm (5 inch) guns, as well as with machine guns, but the weather gave the Germans problems as well. The destroyer also fired torpedoes—in all three salvoes of two torpedoes each. The first two salvoes missed, but the last struck Norge midships, and she sank in less than one minute, her propellers still turning. Ninety of the crew were rescued from the freezing water, but 101 perished in the battle which had lasted less than 20 minutes.

The wreck
The remains of Norge lie at a depth of about , in the middle of Narvik harbour. Partly salvaged in situ, it is considered a war memorial and diving on the wreck is prohibited.

Notes

Sources

External links

Eidsvold-class coastal defence ships
Ships built on the River Tyne
1900 ships
World War II coastal defence ships of Norway
Maritime incidents in April 1940
World War II shipwrecks in the Norwegian Sea

HNoMS Norge


Lu̍k-Kiáng (鹿頸) he Hiông-kóng Pet-khî ke tûng-pet-phu ke thi-fông, tsiap-khiun Piên-kin Kim-khî, mien-hiong Sâ-thèu-kok lâu Tshṳ̂m-tsun-sṳ Yàm-thièn-khî.

== Lu̍k-Kiáng Chan Uk (鹿頸陳屋) ==Luk Keng Chan Uk''' (鹿頸陳屋) is a village situated in the Luk Keng area, in the northeastern part of the New Territories, Hong Kong. It is however a popular tourist attraction for sightseeing and hiking.

As the name suggests, this village is mainly inhabited by the Chan (陳 Hakka tshin11 ) Clan. Though mainly inhabited by the Chan clan, there are other different surnames in the village such as Wong. It is a Hakka speaking village. Historically, the village was used for livestock farming and growing crops. Today, the village is mostly uninhabited. The ruins of the village school can be seen.

Luk Keng is well-known for its natural scenery and wildlife, which is a contrast to Hong Kong's modernised culture. Parts of Luk Keng are surrounded by tropical rainforests. Rare animals such as the Nannophya pygmaea and Black-faced Spoonbill have been sighted in Luk Keng, as well as monkeys. Waterfalls are present in Luk Keng.

In the 1950s and 1960s, many villagers left for the UK and other parts of the world.  This was to an extent affected by the immigration policy of the UK at the time.  There being little work to do in the village but plenty of money to be made elsewhere. The 1960s was also a time of riots and disruption in Hong Kong. Furthermore, many people feared the return of Hong Kong in 1997, so many people sent their children abroad, as they knew all about the Cultural Revolution and other happenings in the PRC just across the border.

So far, little development has taken place in Luk Keng, mainly because government had zoned the area mainly as agricultural and conservation.  This is despite that most of the land is owned by the villagers.  As a result, many villagers are very dissatisfied in that they are not allowed to develop and thus no houses can be built by which returning villagers can stay.  Some other opinions are that government has chosen the villagers' land to be maintained as a green area for the rest of Hong Kong, yet the government is not buying the land.  If the government wanted to keep it for environmental reasons then it should buy up the land from the villagers and use it as a public park.

Transportation
To get to Luk Keng, take the MTR train to Fanling Station and take the green minibus No.56K to Luk Keng terminus.

See also
 List of villages in Hong Kong

External links
 The Luk Keng Original People

Hak-kâ
Pet-khî (Hiông-kóng)

Lu̍k-Kiáng


Erika or Erica is a female given name.The pronunciation of this name is [ er-i-kuh ]. In Old Norse, it means "ever powerful" or "ruler of people". The name is very popular in Australia, the United States, Canada and Europe. There are many famous people with this name. As Erika, the name was used for tropical cyclones in the Atlantic basin. The name was retired after Tropical Storm Erika in 2015. This is a unique name (not in the top 1000 newborn names in the US in 2021).

People
 Érika Alcocer Luna (born 1974), Mexican singer, winner of the second generation of La Academia
 Erika Alexander (born 1969), American actress
 Erika Araki (born 1984), Japanese national volleyball team captain
 Erika Cremer (1900–1996), German physicist
 Erica Durance (born 1978), Canadian actress best known for her role as Lois Lane on Smallville
 Erika Heynatz (born 1976), Australian model, actress, singer and television personality
 Erika Kirpu (born 1992), Estonian épée fencer
 Erica Luttrell (born 1982), Canadian actress
 Erica Packer (born 1975), Australian singer and model
 Erika Pluhar (born 1939), Austrian actress, singer and author
 Erika Umeda (born 1991), Japanese singer and model, former member of Cute
 Erika Wendt (1917–2003), German WWII spy
 Erika Yazawa (born 1990), Japanese gravure model, actress and member of Idoling!!!
 Erika Slezak, American actress
 Erika Berger, German television presenter and journalist

References

Given names

Erika


George Adams Kaufmann, also George Adams and George von Kaufmann, (8 February 1894, Maryampol, Galicia, then part of the Austro-Hungarian Empire – 30 March 1963, Edgbaston, UK) was a British mathematician, translator and anthroposophist. He travelled widely, spoke several languages and translated many of Rudolf Steiner's lectures into English. Through his studies in theoretical physics, he contributed to the expansion and development of the natural sciences as extended by the concepts of anthroposophy.

Youth

His father, Georg von Kaufmann, a British subject of German descent, was a pioneer of the oil industry. His mother was born Kate Adams in England. Shortly after George's birth, the family moved to Solotwina in the foothills of the Carpathians. In 1897, when he was three years old, his parents divorced. His father retained custody of the children and it was only a short while before her death in 1935, that Adams saw his mother again.

The father married again – a young German woman, who created for George and his siblings a happy childhood. Educated by English governesses, he was raised to fluency in several languages, primarily English, German and Polish. From 1905, Adams attended Mill Hill School in England, travelling home alone to his family in Galicia. In 1912 he entered Christ's College, Cambridge to read Chemistry, completing his BA in 1915. He was president of Cambridge University Socialist Society in 1915.

Preoccupied with problems of social reform, he rejected all manner of violence, remaining a conscientious objector throughout the First World War – a "militant revolutionary" as he described himself. He was imprisoned after refusing to serve with other conscientious objectors in the Non-Combatant Corps and was only released in 1919, after a hunger strike. The atomistic and materialistic thoughts of his time failed to satisfy him, causing him to seek for alternatives in the work of Alfred North Whitehead and Bertrand Russell. On questioning Russell on how to reach satisfactory conclusions in theoretical physics without the hypothesis of the atom, Russell encouraged him to study projective geometry. Following this advice, Adams began to concern himself primarily with mathematics and theoretical physics. He heard lectures by G. H. Hardy and began to research projective, non-Euclidean geometry.

Encounter with anthroposophy

In 1914 he had encountered Rudolf Steiner's "Occult Science" and become a member of the Emerson Group in London in 1916. During his time as conscientious objector he had come to know Mary Fox, a Quaker and in 1920 they married.

His interest in Steiner's ideas on social reform and his intention to translate the book The Threefold Social Order (GA 23) caused him to visit Steiner together with Ethel Bowen Wedgwood in Dornach, Switzerland. Steiner advised him to become involved in some form of social work, something Adams could readily accept amid the social collapse in Central and Eastern Europe following the war. He went on several journeys to Poland as part of the English and American Quaker organisation.

In 1920 he took part in the inauguration of the first Goetheanum building. On his return to England, he cooperated with some friends on spreading the ideas of Social threefolding as well as the anthroposophical ideas of Steiner. His wife Mary Adams began her work as librarian and translator for the Anthroposophical Society in London that she was to carry for many years. In addition, Adams was the free verbal translator of around 110 lectures of Steiner into English. He went on to translate many of Steiner's written works, often with Mary Adams.

He was often in Dornach during these times and experienced the burning of the first Goetheanum on New Year's Eve 1922/23 and was part of the Christmas Foundation meeting of the General Anthroposophical Society in 1923/24. In 1924 he became one of the Goetheanum-Speakers authorised by Steiner.

Research and work

While working as a free co-worker of the Anthroposophical Society in Britain as lecturer and workshop holder after 1925, Adams turned again to the study of the natural sciences and mathematics, concentrating particularly on projective geometry and working with Elisabeth Vreede, leader of the Section for Mathematics and Astronomy at the Goetheanum. At the beginning of the 1930s, Adams published a series of articles and essays about projective, synthetic geometry and its relationship to physics, to Goethe's theory of metamorphosis and to anthroposophical spiritual science, particularly the pioneering work "Of Etheric Space" in the magazine Natura of the Goetheanum's Medical Section. Here for the first time is mentioned the concept of "counter-space", as Steiner indicated in the third of his courses on the Natural Sciences (GA 323), explained by means of non-Euclidean geometry. Some years later Louis Locher was to discover the same thing independently of Adams. From that time on the conceptual development of the idea of counter-space in its relation to normal spatial thinking became the focal point of Adams' further scientific research. In 1933 the comprehensive work Space and the Light of the Creation – Synthetic Geometry in the light of Spiritual Science appeared, which was an overview of the spiritual scientific meaning of synthetic geometry.

When Elisabeth Vreede and Ita Wegman were dismissed from the executive of the General Anthroposophical Society in Dornach, a number of other prominent members of the German, Dutch and British Societies were expelled, including Adams. This brought to an end his cooperation with the Mathematical/Astronomical Section. When the Chairman of the Anthroposophical Society in Great Britain, D. N. Dunlop, died in May 1935, Adams took over as general secretary. In this task, Olive Whicher became his closest co-worker, and he introduced her to projective geometry.

Wartime years

At the outbreak of the Second World War, Adams volunteered as interpreter in a prisoner of war camp. His close ties to Germany were soon the subject of investigation and he was dismissed after six months. He changed his name at this point from George Kaufmann to George Adams, taking the maiden name of his mother. In the following years Adams was one of the monitors of the Polish broadcasting corporation in the service of the BBC and he learnt several additional Slavic languages. Much of his free time was spent in the British Library studying the development of modern mathematical sciences to augment them with his thoughts about counter-space.

After the war, he was given a scholarship by the British Anthroposophical Society at Rudolf Steiner House to investigate with Whicher the geometric principles underlying the world of plants. It had been unclear where the corresponding projective counterpart of the infinite plane of Euclidean space, the infinite midpoint of the non-Euclidean space (called by Locher the "absolute midpoint") was to be found in the plant world. In 1947, Adams expressed the idea that such a midpoint did not just exist, but that there was one to be found in every bud. This idea was connected with that of the lemniscatory correlation between space and counter-space and further researched by Whicher and himself. In 1949 and 1952, two books appeared with the titles: The Living Plant and the Science of Physical and Ethereal Space and The Plant between Sun and Earth.

The Goethean Science Institute

In 1947, at the request of his friends Fried Geuter and Michael Wilson of Sunfield Homes in Clent near Birmingham, Whicher and he moved to Clent, where they founded the Goethean science Foundation with Wilson to undertake scientific research. The peaceful countryside and a secure financial base provided an ideal environment for the work that followed.

Shortly before this, in 1946, Adams had made contact with the Goetheanum and its Mathematical-Astronomical Section under the provisional guidance of Louis Locher. He wished, despite their differences, to work together on common issues. He again participated actively in many conferences and discussions at the Goetheanum and in Germany. He also took up contact again with Georg Unger, who went on to found the Mathematisch-Physicalisches Institut in 1956, where Adams reported regularly on his work. Unger visited Clent for common research gatherings.

Collaboration with Unger, Leroi and Schwenk

Adams began his research on rigid body statics and dynamics in mechanics from the point of view of space and counter-space on the basis of projective linear geometry. The results were published in the late 1950s in the magazine Mathematisch-Physikalische Korrespondenz edited by Unger and appeared in book form in 1996. Based on the groundwork done by a number of mathematicians like Felix Klein, Arthur Cayley, William K. Clifford and Eduard Study, Adams pursued the idea of counter-space into the concrete details of rigid body statics and dynamics (in non-Euclidean spaces). Peter Gschwind was to build on this research and lead it into the sphere of Quantum physics.

Adams and Unger also began to collaborate with Alexandre Leroi and Theodor Schwenk, leading to the establishment of the Instituts für Strömungsforschung in Herrischried in the Black Forest. During the last years of his life, Adams expended a lot of his energy on this project, desiring to test the efficacy of his ideas on space and counter-space into the realm of technology. He worked out specific planes (W-planes) and with John Wilkes built models for the self-purification and re-enlivening of water through special forms. He often worked in Herrischried with Whicher, following with interest the research of Leroi and Schwenk.

After a light stroke in August 1959, Adams divided his time between the Black Forest and England devoting much time to the translation of works of Steiner.

He is reported to have combined several polarities in character: on the one hand multilingual and worldly, he tended on the other to be shy and strangely innocent; a clear thinker schooled in mathematics, chemistry and physics, his relationship to nature was rather more introspective and religious; he allowed himself to be incarcerated for his convictions, while in his relationships he showed extreme modesty, humour and never allowed his knowledge to become overbearing.

Books

Fruits of Anthroposophy, London 1922
Christ and the Earth, London 1927
Synthetische Geometrie, Goethesche Metamorphosenlehre und Mathematische Physik, in: Mathesis, Stuttgart 1931
The Anthroposophical Movement, London 1932
Von dem ätherischen Raume, in: Na 1932–33, Nr. 5/6
Space and the Light of the Creation, London 1933
Christ in the Power of Memory and the Power of Love, East Grinstead 1938
The Mysteries of the Rose-Cross, East Grinstead 1955, London
Physical and Ethereal Spaces, London 1965,
Universal Forces in Mechanics, London 1977
Grundfragen der Naturwissenschaft, Stuttgart 1979
Lemniscatory Ruled Surface in Space and Counterspace, Rudolf Steiner Press (March 1979)

With Olive Whicher

The Living Plant and the Science of Physical and Ethereal Space, Stourbridge 1949;
The Plant between Sun and Earth, Clent 1952, London 21980;

Further reading
 Unger, G.: George Adams, in: MaK 1963, Nr. 40;
 Unger, G.: George Adams, in: N 1963, Nr. 15;
 Götte, F.: Ein Gedenkblatt für George Adams, in: MaD 1963, Nr. 66;
 Whicher, O.: The Life and Work of George Adams: an Introduction, in: GBl 1964;
 Whicher, O.: George Adams. Ein Geistsucher in unserer Zeit, Dornach 1973;
 Gschwind, P.: Zum Nachlass von G. Adams, in: MaK 1981, Nr. 121;
 Unger, G.: Zum 100. Geburtstag von George Adams, in: N 1994, Nr. 28;
 Ziegler, R.: Bibliographie von G. Adams, in: Adams, Dornach 31996;
 Ziegler, R.: Biographien und Bibliographien, Dornach 2001.

Locations of estate and archives

 Adams House, 20 Freshfild Bank, Forest Row, Sussex RH18 5HG, England;
 Peter Gschwind, Benedikt- Hugi-Weg 18, CH–4143 Dornach;
 Archiv am Goetheanum, Dornach;
 Archiv der Rudolf Steiner-Nachlassverwaltung, Dornach;
 Freie Hochschule für Waldorfpädagogik, Mannheim.

References

1894 births
1963 deaths
Anthroposophists
British mathematicians
People educated at Mill Hill School
Alumni of Christ's College, Cambridge
Emigrants from Austria-Hungary to the United Kingdom

George Adams Kaufmann


Marcelo de Mattos Terra or simply Marcelo Mattos (born 10 February 1984 in Indiaporã, São Paulo) is a Brazilian football defensive midfielder who plays for Bangu.

He is known for his positioning, tight marking of the opposing player and the ability to bring the ball forward to other offensive players.

Career
Marcelo was born in Brazil where he began at Mirassol a third division club in Brazil he then left for FC Tokyo in the J1 League. After exceptional performances he transferred to Associação Desportiva São Caetano where he then left for Sport Club Corinthians Paulista. At Corinthians, Marcelo established himself where he excelled alongside Carlos Tevez and Javier Mascherano being dubbed the team of the year after the trio won the Championship.

He was part of the Brazilian team that played at the FIFA U-17 World Championship 2001. At that time he was with Mirassol and impressed so much that FC Tokyo signed him.

Marcelo Mattos has signed for Greek team Panathinaikos for 3 million euros on 6 July 2007 in a 4-year deal.
In July 2008, Panathinaikos acquired the 85% of the players ownership for a fee of 3 million Euros. The rest of the player's percentage belongs to his agent, Pini Zahavi.

On 26 August 2009 Corinthians announced a one-year loan deal with Panathinaikos.

On 20 July 2010 he was announced as a player of Botafogo.
On 3 July 2011 he was sold to Botafogo for 1 million Euros

Club statistics

Honours

Club
São Caetano
Campeonato Paulista: 2004

Corinthians
Campeonato Brasileiro Série A: 2005

Botafogo
Campeonato Carioca: 2013

Individual
 Campeonato Brasileiro Série A Team of the Year: 2005
 Bola de Prata: 2005

Footnotes

External links
sambafoot
placar

1984 births
Living people
Footballers from São Paulo (state)
Brazilian men's footballers
Brazilian people of Italian descent
Brazilian expatriate men's footballers
Men's association football midfielders
Associação Desportiva São Caetano players
Sport Club Corinthians Paulista players
Botafogo de Futebol e Regatas players
FC Tokyo players
Oita Trinita players
Expatriate men's footballers in Greece
Expatriate men's footballers in Japan
Mirassol Futebol Clube players
Panathinaikos F.C. players
J1 League players
J2 League players
Campeonato Brasileiro Série A players
Super League Greece players
Santa Cruz Futebol Clube players

Marcelo Mattos