Sir William Savile, 3rd Baronet of Thornhill (1612 – 24 January 1644) was an English politician who sat in the House of Commons between 1640 and 1642. He fought on the Royalist side in the English Civil War and was killed in action.

Savile was born at Thornhill, the son of Sir George Savile and Anne Wentworth, and the grandson of Sir George Savile, 1st Baronet. He inherited the baronetcy on the death of his brother George in 1626. Included in the family estates were the residences of Thornhill Hall, Rufford Abbey, and a house in York.   He was educated at University College, Oxford and  entered Gray's Inn in 1628. Wentworth selected him to be Deputy Lieutenant of the West Riding in 1633, and he was appointed to the council in the north in July 1636.

In April 1640, Savile was elected Member of Parliament for Yorkshire in the Short Parliament.  In parliament, he spoke against ship money and signed the petition against forced billeting, but he remained loyal to the king. He was defeated in the election of November 1640 and  was returned as MP for Old Sarum  in a by-election early in 1641. He gave evidence in  favour  of Strafford and supported him throughout the trial. He was himself committed to the Tower on 12 June for an unidentified offence and let out on 29 June after a reprimand from the Speaker.  Savile was with the king at Nottingham when the royal standard was raised on 22 August 1642. He was marked as a "suspicious man" and was disabled from sitting in the Commons by parliament.

Towards the end of 1642 Savile was placed in command at Leeds when Newcastle marched into the West Riding but on 23 January 1643 Fairfax captured the town after a fierce attack and Savile swam across the River Aire to escape. In May 1643 he was appointed governor of the town of Sheffield and of Sheffield Castle and then transferred to York. In October 1643 he was in command of the Royalist cavalry at the Battle of Winceby. He died at or near York fighting for the king in January 1644. He had converted Thornhill Hall into a garrison for the King's forces, and it was demolished by parliamentary forces after its capture by Cromwell.

Family
Savile married Anne, daughter of Thomas Coventry, 1st Baron Coventry, on 29 December 1629. She became celebrated as a heroine of the civil war when she was besieged by the Parliamentarians in Sheffield Castle. She gave a gallant and warlike defence to the battering from guns on all sides, in spite of her advanced pregnancy. Against her orders, the garrison eventually surrendered the crumbling castle and she gave birth the same night on 11 August 1644.

Sir William & Lady Anne had seven children:
Mary (b.1632)
George (b.1633) who succeeded William as the 4th Baronet and then later created Marquess of Halifax.
Anne (b.1634) married Thomas Windsor, 1st Earl of Plymouth
William (b.1635)
Margaret (b.1640)
Henry (b.1642)
Talbot (b.1644) born during the siege of Sheffield Castle

About eleven years after Savile's death, Anne married circa 1655 to Sir Thomas Chicheley and had two further sons.

References

|-

1612 births
1644 deaths
Baronets in the Baronetage of England
Cavaliers
People killed in the English Civil War
English military personnel killed in action
English MPs 1640 (April)
English MPs 1640–1648

Sir William Savile, 3rd Baronet


A yawn is a reflex. It involves a large, long taking in of air, the stretching of eardrums as the jaw opens wide, and last a (sometimes loud) breathing out. Pandiculation is the act of yawning and stretching simultaneously. It is easy to see when someone is yawning, but no-one knows what its function is.

Yawning is commonly associated with tiredness, stress, overwork, lack of stimulation and boredom. In humans, yawning is often triggered by others yawning (e.g. seeing a person yawning, talking to someone on the phone who is yawning) and is a typical example of positive feedback. This "infectious" yawning has also been observed in chimpanzees and dogs. Cats both yawn and stretch, though not necessarily at the same time.

Contagiousness
The yawn reflex has long been observed to be contagious. In 1508, Erasmus wrote, "One man's yawning makes another yawn.," and the French proverbialized the idea to "Un bon bâilleur en fait bâillier deux." ("One good gaper makes two others gape"). Often, if one person yawns, this may cause another person to "empathetically" yawn. Observing another person's yawning face (especially his/her eyes), even reading, or thinking about yawning, or looking at a yawning picture can cause a person to yawn.

The immediate cause for contagious yawning may be the mirror neurons in the frontal cortex of certain vertebrates, which, upon being exposed to a stimulus, activates the same regions in the brain. Mirror neurons have been proposed as a driving force for imitation which lies at the root of much human learning such as language acquisition. Yawning may be an offshoot of the same imitative impulse.

Reasons, functions
Charles Darwin argued, in The Expression of the Emotions in Man and Animals, that if a behaviour was present in many cultures, then it must be inherited (wholly or partly). All traits which appear in a wide range of animals must have some function which is supported (or was supported) by natural selection. In most cases the function is obvious, but with yawning we do not know what that function is. Suggestions have been made, but they do not seem to account for its widespread occurrence in mammals, and possibly in other vertebrates.

Other vertebrates
Because mammals have similar emotions, and can show their emotions very clearly, it is agreed that when they look as if they are yawning, it is yawning in every sense. The reasons for this are similar to the reasons why we think other humans feel the same as us when the show the same signs.

References

Ethology
Physiology

Yawn


In textual criticism, an archetype is a text that originates a textual tradition. By using a stemmatic approach, the textual critic tries to trace the oldest surviving manuscript and show the relationship it has to its ancestors. This makes it possible to compare changes made in different traditions branching off from the archetype, and develop an edition that reconstructs the text of the archetype as closely as possible.

An archetype should not be confused with the autograph, which is the first handwritten manuscript by an author. The archetype is also commonly mistaken to be the original text, although many would argue that it is impossible to locate an original text within a tradition where there may not be surviving evidence, and because the author and editors may have constructed several drafts and editions throughout the process, from the moment of birth of the author's idea until the publication of an edition of the work. On the other hand, an archetype could be the original, in the sense that it is not a copy, but the concrete surviving, unmodified text.

See also
 Exemplar (textual criticism)
 Urtext

References

Further reading
Bordalejo, Barbara: "The genealogy of texts: Manuscript traditions and textual traditions." Digital Scholarship in the Humanities (2016) 31 (3): 563–577. .

Textual criticism

Archetype (textual criticism)


The Sisi Chapel () is a Gothic Revival-style chapel located in the Sievering area of the Viennese district of Döbling near the Vienna Woods (Wienerwald).

History
The Sisi Chapel was built on the occasion of the marriage of Empress Elisabeth and Emperor Franz Joseph I of Austria on April 24, 1854, in Vienna. Johann Carl Freiherr von Sothen commissioned architect Johan A. Garben to design the chapel and construct it in Am Himmel, a popular recreational area between the Sievering area (Döbling district) and the Vienna Woods. The chapel was intended to serve both as a memorial to the historic event and a gravesite for Freiherr von Sothen and his wife Franziska. The chapel was erected between 1854 and 1856 according to the plans of Garben by the city builder Josef Kastan. The chapel was consecrated to the patron saints of the Imperial couple on July 31, 1856: Saint Elisabeth, Saint Francis of Assisi, and Saint Joseph.

In the 20th century, the chapel decayed as a result of atmospheric action, contaminant loads, and acts of war. To prevent vandalism, the altarpiece was dismantled. In 1997, the "Caucus Wood" acquired a large part of the Am Himmel area and purchased the chapel for 3,500 Euros from Caritas in 2002. The Caucus then initiated the renovation of the chapel as part of the overall revitalization of the area.

After several years of work, which required a total of 1.1 million Euros partially financed by the Vienna Old Town Preservation Fund, the chapel was completed in 2005. During the renovation, the inner room was reshaped to give a tangible experience of how nature and culture are interrelated. To accomplish this, a new glass roof was mounted. In addition, fourteen monitors recessed in the wall stage a kind of ordeal suffered by nature through the interventions of man.

References
 The information in this article is based on a translation of its German equivalent.

External links

 Am Himmel

Roman Catholic churches completed in 1856
19th-century Roman Catholic church buildings in Austria
Roman Catholic churches in Vienna
Buildings and structures in Döbling
Gothic Revival church buildings in Austria
Empress Elisabeth of Austria

Sisi Chapel


Schatzi is an American band from Oklahoma, based in Austin, Texas, formed in 1996 by Montez Williams, Christian Kyle, Jason Westbrook and Jason Altman.

Biography

Montez Williams, Christian Kyle, and Jason Westbrook met each other in Oklahoma, and played together in Brave New World. They moved on to start their own band, Blunderwheel that recorded one album, Roly Poly, and promptly moved to Austin, TX.  The album was released in 1993 in Austin by Humongous Fungus Records.  The band added drummer Jayson Altman and eventually changed the name to Schatzi in 1996.  This lineup recorded their first album, Joanie Loves Schatzi, also released by Humongous Fungus in 1998. Only 1000 copies of the album were made.  In 1998 the former Size 14 Bassist Robt Ptak played some shows with the band, during this time lead singer Christian Kyle was helping Ptak with songs for Ptaks solo project Artificial Joy

In 2000, with funding from the members of fellow Austin band Dynamite Hack, they recorded the Death Of The Alphabet EP with drummer Kyle Schneider and bassist Erick Sanger releasing it locally under Woppitzer Records. Their song "Death Of The Alphabet", that included back-up vocals by Adrianne Verhoeven of The Anniversary, received heavy airplay on Austin's KROX-FM.  This allowed them to get a spot in the KROX Christmas concert.   The band and its EP became the subject of major-label bidding in 2001, and they were ultimately signed by Mammoth Records, who re-released their EP (produced by Ed Rose) nationally. V. Marc Fort and Mark Ford joined on bass and drums, respectively, between the release of the two versions.

Four songs from Death Of The Alphabet made it onto their 2002 full-length album, Fifty Reasons To Explode. Released by Mammoth, Fifty Reasons to Explode reached #1 on the "Radio 200 Adds" chart of CMJ New Music Report in March 2002 and appeared on the magazine's "Radio 200" list for 11 weeks during that year, peaking at #20.  CMJ New Music Monthly called the album "well produced pop punk that has just as much in common with NOFX and Lagwagon as it does with Jimmy Eat World and Braid."  The Post and Courier'''s reviewer cited the record's "power pop gems and compared the band to Foo Fighters, Superdrag, The Ramones, and The Posies.

In 2003 they released a split EP with Motion City Soundtrack on Doghouse Records. That same year they recorded their third full-length, Snow Is For Saving Hearts in Lincoln, NE with producer Mike Mogis and featured Orenda Fink of Azure Ray on a few tracks.  The album was shelved by Hollywood Records after Mammoth Records was dissolved.  After the departure of Williams, the band continued touring through 2004. Their final show was in 2005 with Motion City Soundtrack in Austin.

Throughout their career they played and toured with the likes of The Get Up Kids, Motion City Soundtrack, Shiner, Superchunk, The Promise Ring, Hey Mercedes, Jimmy Eat World, At The Drive-In, Ultimate Fakebook, The Anniversary, Ozma, Cadillac Blindside, Seville among others.

Post-breakup
Schatzi played a reunion show in 2009 at Emo's in Austin, TX. Drummer Mark Ford continues to play in the band Magnet School (where he sings and plays guitar) and bass guitarist V. Marc Fort took on a full-time job at the Texas Music Office as a consultant, while continuing to play bass in the dream pop/rock band Paraguay. Christian is the owner of Orbit Salon (2000-present) and owner of White Light Realty.

In 2012, two reunion shows took place in Austin at The Parish on February 11 and Mohawk May 24.Snow Is For Saving Hearts was released Valentine's Day 2012 on the band's own Quadraphonic Records.

Members

Current
Christian Kyle – lead vocals, guitar (1996–present)
Montez Williams – vocals, guitar (1996–present)
V. Marc Fort – bass guitar (1998–1999 and 2001–present)
Kyle Schneider – drums (2013–present)
Davey McEathron – keyboards, guitar (2013–present)

DiscographyJoanie Loves Schatzi (1998)
"Death of the Alphabet" EP (2001)Fifty Reasons to Explode (2002)
Motion City Soundtrack/Schatzi split EP (2003)Snow is for Saving Hearts'' (2012)

References

External links
 Schatzi at Allmusic
 https://www.facebook.com/schatzirocks?sk=info
 http://schatzi.net/main.htm
 http://www.last.fm/music/Schatzi

Musical groups from Austin, Texas
Musical groups established in 1996
American pop music groups
1996 establishments in Oklahoma

Schatzi


Hugh Kingsmill Lunn (21 November 1889 – 15 May 1949), who dropped his surname for professional purposes, was a versatile British writer and journalist. The writers Arnold Lunn and Brian Lunn were his brothers.

Life
Hugh Kingsmill Lunn was born at Torrington Square, Bloomsbury, London, second son and second child of the three sons and one daughter of Sir Henry Simpson Lunn, founder of the travel agency Lunn Poly, and Mary Ethel, née Moore, daughter of a canon. He was educated at Harrow School and the University of Oxford. After graduating he worked for a brief period for Frank Harris, who edited the publication Hearth and Home in 1911/2, alongside Enid Bagnold; Kingsmill later wrote a debunking biography of Harris. He began fighting in the British Army in World War I in 1916, and was captured in France the next year. He was held as a prisoner of war at Mainz Citadel with, among others, J. Milton Hayes and Alec Waugh.

After the war he began to write, initially both science fiction and crime fiction. In the 1930s he was a contributor to the English Review; later he wrote a good deal of non-fiction for that periodical's successor, the English Review Magazine. His large output includes criticism, essays and biographies, parodies and humour, as well as novels, and he edited a number of anthologies. He is remembered for saying 'friends are God's apology for relations', with a notable flavour of Ambrose Bierce. The dictum was subsequently used by Richard Ingrams for the title of his memoir of Kingsmill's friendships with Hesketh Pearson and Malcolm Muggeridge, two intimate friends whom he influenced greatly.

Kingmill was literary editor of Punch from 1942 to 1944 and of the New English Review from 1945 to 1949. He married Eileen FitzGerald in 1915 and there was one daughter. The marriage broke up in 1927. Kingsmill married a second time in 1934 to Dorothy Vernon, and there were two daughters and a son. (She also had one son of her own). He died of cancer in Brighton in 1949.

Satire
Muggeridge drew a darker attitude from Kingsmill's sardonic wit. Dawnist was Kingsmill's word for those infected with unrealistic or utopian idealism – the enemy as far as he was concerned.

Kingsmill's parody of A. E. Housman's poetry has been recognised as definitive:
What still alive at twenty-two,
A clean, upstanding chap like you?
Sure, if your throat 'tis hard to slit,
Slit your girl's, and swing for it.

Like enough, you won't be glad,
When they come to hang you, lad:
But bacon's not the only thing
That's cured by hanging from a string.

So, when the spilt ink of the night
Spreads o'er the blotting-pad of light,
Lads whose job is still to do
Shall whet their knives, and think of you.

Housman himself said of this parody: "It's the best I have seen, and indeed, the only good one."

Anthologist
Despite his wide range as a novelist, biographer, essayist, and literary critic, Kingsmill is best known today as an anthologist. He compiled at least eight of his humorous and original anthologies (depending on how they are classified) between 1929 and 1955. The first, An Anthology of Invective and Abuse, was by far the most successful and remains the best known. Oswald Mosley was so enthusiastic about it that he forwarded a copy to Adolf Hitler. According to Hesketh Pearson in his preface to High Hill of the Muses (the last of the anthologies) "Kingsmill himself became a little restless when people praised his volume of vituperation."

Michael Holroyd judges The Worst of Love (1931), a collection of insincere writing, to be the funniest. It resembles the better known anthology The Stuffed Owl, compiled by D. B. Wyndham Lewis and Charles Lee, which was published the year before. Owing to his wide reading and good memory, Kingsmill could put together an anthology inside a month, which helped him meet pressing financial commitments. Two other works, The English Genius (1938) and Johnson Without Boswell (1940), take on aspects of the anthology form but include more original content.

Annotated list of works
The Will To Love (1919). Novel written under the name "Hugh Lunn". The character Ralph Parker is based on Frank Harris and Barbara on Enid Bagnold.
The Dawn's Delay (1924). Includes three short novels: 'W.J', 'The End of the World' and 'The Disintegration of a Politician'. Published at his own expense.
Blondel (1927). Novel, begun in 1925. Set in the period of Richard Coeur de Lion but not a historical novel: it's based on a love affair Kingsmill had with an Irish cousin in his teens.
Matthew Arnold (1928). Biography, written in an informal style (the subject referred to throughout as  "Matt"). Contains "a disproportionate degree of censure".
After Puritanism, 1850-1900 (1929). Four long essays on Dean Farrar, Samuel Butler, Frank Harris and W. T. Stead, linked by the idea that Puritanism did not fade away circa 1820 but remained alive during the Victorian era.
 An Anthology Of Invective And Abuse (1929). A collection of expressions of anger ranging from John Skelton to the war poet Geoffrey Howard (1889-1973). The most successful of his humorous and original anthologies.
The Return of William Shakespeare (1929, revised 1948). Novel in which Shakespeare is brought back to life for six weeks in the year 1943, and is able to read what his critics have written about him and react. Creative literary criticism.
Behind Both Lines (1930). Autobiographical. Entertaining and light-hearted war memoirs.
More Invective (1930). Anthology. A sequel to An Anthology of Invective and Abuse. A combined volume was published in 1944.
The Worst of Love (1931). Anthology collecting "numerous specimens of bad writing about love".
Frank Harris (1932). Biography. Holroyd calls this "most skilfully written and put together", but it has also been accused of being "hostile" and "malicious".
The Table of Truth (1933). Parodies originally published in The Bookman and The English Review. Includes P G Wodehouse and also the famous Housman parody (above).
Samuel Johnson (1933). His best biography (Holroyd), although "his love of Johnson sometimes softened the edge of his normally acute criticisms".
The Sentimental Journey (1934) Biography of Charles Dickens. Irked by G K Chesterton's portrayal of Dickens as a philanthropic and selfless social worker, Kingsmill's portrait is one of extreme and unrelieved severity. George Orwell described it as "the most brilliant ever written on Dickens", but "so unremittingly 'against' that it might give a misleading impression".
The Casanova Fable: A Satirical Revaluation (1934) with William Gerhardi. Kingsmill wrote the first biographical section, this time arguing against Havelock Ellis's picture of Casanova as "a free spirit, a wit and bold thinker".
What They Said at the Time (1935). Anthology.
Parents and Children (1936). Anthology.
Brave Old World (1936). Newspaper parodies, with Malcolm Muggeridge
A Pre-View of Next Year's News (1937). More newspaper parodies, with Malcolm Muggeridge
Skye High: The Record of a Tour Through Scotland in the Wake of the Samuel Johnson And James Boswell.(1937). The first of three travelogues written in collaboration with Hesketh Pearson
Made on Earth (1937). Anthology on marriage.
The English Genius: a survey of the English achievement and character (1938) As editor. New essays by W. R. Inge, Hilaire Belloc, Hesketh Pearson, William Gerhardi, E .S. P. Haynes, Douglas Woodruff, Charles Petrie, J. F. C. Fuller, Alfred Noyes, Rose Macaulay, Brian Lunn, Rebecca West, K. Hare, T. W. Earp.
D. H. Lawrence (1938). Kingsmill was unsympathetic to Lawrence. The biography's inadequacy "lies in Kingsmill's reluctance to linger for any length of time upon the positive nature and quality of Lawrence's genius".
Courage (1939). Anthology.
Johnson Without Boswell: A Contemporary Portrait of Samuel Johnson (editor) (1940). Presents a picture of Johnson from several contemporary sources outside of Boswell.
The Fall (1940). Generally regarded as Kingsnill's most satisfactory novel, an account of marital incompatibility with some autobiographical elements.
This Blessed Plot (1942) travelogue with Hesketh Pearson. A record of travel and conversations in England and Ireland.
The Poisoned Crown (1944) Essays on genealogies containing studies of Elizabeth, Cromwell, Napoleon and Lincoln, prefixed by a closely written chapter on The Genealogy of Hitler' ("one of the most brilliant [chapters] that he ever wrote" - Holroyd).
Talking of Dick Whittington (1947) travelogue, with Hesketh Pearson. One review suggested that they had invented the conversation travel book as a new art form.
The Progress of a Biographer (1949). Collection of literary criticism written since 1944.
The High Hill of the Muses (1955). Last completed anthology, published posthumously.
The Genius of Carlyle. Biography (unfinished).
The Best of Hugh Kingsmill: Selections from his Writings (1970) edited by Michael Holroyd.

References

Sources
 H. Pearson and M. Muggeridge. About Kingsmill (1951)
 ''Hugh Kingsmill: A Critical Biography (1964) Michael Holroyd

External links

 Michael Holroyd, "Hugh Kingsmill, forgotten writer", The Times Literary Supplement, 17 January 2007

1889 births
1949 deaths
People educated at Harrow School
Alumni of the University of Oxford
British Army soldiers
British Army personnel of World War I
World War I prisoners of war held by Germany
English male journalists
English humorists
English biographers
English science fiction writers
British World War I prisoners of war
20th-century British novelists
British male novelists
20th-century English male writers
Male biographers

Hugh Kingsmill


Patricia Adair Gowaty is an American evolutionary biologist. She received her B.A. in biology at Tulane University and her PhD in zoology at Clemson University in 1980. She is currently a Distinguished Professor at the University of California, Los Angeles.

Gowaty is known for her many articles about human and animal behavior and evolution. She is author and editor of a book that seeks to combine feminist theory and Darwinian evolutionary biology. She has also written about the effects of and importance of rape in understanding human evolution. Her recent research has focused on the concept of reproductive compensation in population genetics.

In 2012 Gowaty and colleagues reported a precise replication of Angus Bateman's classic experiment on sexual selection in Drosophila. The study showed that Bateman's methodology was flawed. Once these flaws are accounted for, the experimental data did not support his conclusions.

Gowaty is married to biologist Stephen P. Hubbell, with whom she has co-authored many journal articles about ecology and evolutionary biology.

References

Living people
American women biologists
Year of birth missing (living people)
21st-century American women

Patricia Adair Gowaty


The Church of Santa Maria di Costantinopoli is a 16th-century Roman Catholic church located on the street of the same name in Naples, Italy, and located a block north of the Academy of Fine Arts of Naples.

History
Its name is allied to the cult of St Mary of Constantinople, the icon image of the virgin attributed originally to St Luke, which rose to prominence in 1527–1528, during one of the frequent attacks of plague afflicting the city. During this time, an elderly woman experienced an apparition of the Virgin who pleaded for the construction of a church where her image stood on a wall. Legend holds the image that was discovered prevented further outbreaks of the plague in Naples.

Construction began in 1575, and continued till completion in the first years of the 17th century under the intervention of the Dominican architect Giuseppe Nuvolo. The façade was completed in 1633. The design is generally conservative with a central linear nave and two aisles, each with five chapels.

The interior was decorated in stucco by Domenico Antonio Vaccaro; the vaulting uses gilded wood. The chapel entries have carved lintelpieces by Niccolò Tagliacozzi Canale (1728).

The first chapel on the right has an altarpiece of the Madonna of the Purity (17th century); the fourth chapel has a painting of the Martyrdom of St. Bartholemew (c. 1585) by the Flemish painter Aert Mytens. The high altar was designed in polychrome marble by Cosimo Fanzago. It frames the 15th-century fresco  of Santa Maria di Costantinopoli; above it is a relief of God the father and to the side are statues of saints Rocco and Sebastian.

The apse lunette was decorated by Belisario Corenzio with a fresco of the Virgin & John the Baptist pleading with the Trinity to liberate Naples from the plague. The arches hold images of prophets and sybils.

Sources

External links

17th-century Roman Catholic church buildings in Italy
16th-century Roman Catholic church buildings in Italy
Churches in Naples
Baroque architecture in Naples

Santa Maria di Costantinopoli


Canadian may refer to:

 Something of, from, or related to Canada, a country
Canadians are people identified with the country of Canada.

Canadian may also refer to:

Language

Canadian English
Canadian French

Geography
Canadian County, Oklahoma, United States
Canadian River, United States, the largest tributary of the Arkansas River, in the southwestern United States
Canadian Shield, a large craton in eastern and central Canada and adjacent portions of the United States
Canadian, Texas, United States, a city in Hemphill County

Buildings
First Canadian Place, Canada's tallest skyscraper

People and organizations
Petey Williams (nickname: Canadian Destroyer), a Canadian professional wrestler
Jason Reso (nickname: Canadian Rage or Christian Cage), a Canadian professional wrestler
Canadian Airlines, a defunct airline of Canada

Taxonomy
Canadian elderberry
Conyza canadensis (Canadian horseweed; also Canadian fleabane), a common species of Conyza, native throughout most of North America and Central America
Canadian honeysuckle, an arching shrub

Other uses
Canadian Club, a brand of whisky produced by Hiram Walker & Sons in Windsor, Ontario
Montreal Canadiens, an NHL hockey team based in Montreal

Related pages

Canadian (disambiguation)


A growler is an electrical device primarily used for testing a motor for shorted coils. A growler consists of a coil of wire wrapped around an iron core and connected to a source of alternating current. When placed on the armature or stator core of a motor the growler acts as the primary of a transformer and the armature coils act as the secondary. A "feeler", a thin strip of steel (hacksaw blade) can be used as the short detector.

Motor testing
The alternating magnetic flux set up by the growler passes through the windings of the armature coil, generating an alternating voltage in the coil. A short in the coil creates a closed circuit that will act like the secondary coil of a transformer, with the growler acting like the primary coil. This will induce an alternating current in the shorted armature that will in turn cause an alternating magnetic field to encircle the shorted armature coil. A flat, broad, flexible piece of metal containing iron is used to detect the magnetic field generated by a shorted armature. A hacksaw blade is commonly used as a feeler. The alternating magnetic field induced by a shorted armature is strong at the surface of the armature, and when the feeler is lightly touched to the iron core of an armature winding, small currents are induced in the feeler that generate a third alternating magnetic field surrounding the feeler.

With the growler energized, the feeler is moved from slot to slot. When the feeler is moved over a slot containing the shorted coil, the alternating magnetic field will alternately attract and release the feeler, causing it to vibrate in synch with the alternating current. A strong vibration of the feeler accompanied by a growling noise indicated that the coil is shorted.

Other uses
Along with the standard application the growler can be used:
 to test series and interpoles (commutating) fields from a DC motor
 to determine phasing and polarity in multiwinding armatures
 to test rotors in rotating frequency changers, as well as in wound rotors
 to test shorts between turns in taped coils before installation into an armature or a stator
 as a low voltage isolation transformer
 as a high voltage autotransformer bucking or boosting for numerous tests on various types of equipment
 for preheating or baking armatures and rotors.

References

Electrical test equipment
Electric transformers
Tools
Electric motors

Growler (electrical device)


An image is a visual representation of something. An image can be a two-dimensional (2D) representation, such as a drawing, painting, or photograph, or a three-dimensional (3D) object, such as a carving or sculpture. An image may be displayed through other media, including projection on a surface, activation of electronic signals, or digital displays. Two-dimensional images can be still or animated. Still, images can usually be reproduced through mechanical means, such as photography, printmaking or photocopying. Sometimes, three-dimensional images may also be animated (capable of passive or active motion).

The term has a technical meaning in some fields. In the context of signal processing, an image is a distributed amplitude of color(s). In optics, the term "image" may refer specifically to a 2D image.

A volatile image exists or is perceived only for a short period. This may be a reflection of an object by a mirror, a projection of a camera obscura, or a scene displayed on a cathode-ray tube.  A fixed image, also called a hard copy, is one that has been recorded on a material object, such as paper or textile by photography or any other digital process.

A mental image exists in an individual's mind as something one remembers or imagines.  The subject of an image need not be real; it may be an abstract concept, such as a graph, function, or imaginary entity. For an image to be understood, however, there must be a way of conveying that mental image through the words or visual productions of the individual subject.

Characteristics

Three-dimensional images
Aside from sculpture and other physical activities that can create three-dimensional images from solid material, some modern techniques, such as holography, can create three-dimensional images that are reproducible but intangible to human touch. Some photographic processes can now render the illusion of depth in an otherwise "flat" image, but "3-D photography" (stereoscopy) or "3-D film" are optical illusions that require special devices such as eyeglasses to create that illusion of depth.

Copies of 3-dimensional images have traditionally had to be crafted one at a time, usually by an individual or team of artisans.  In the modern age, the development of plastics and other technologies made it possible to create multiple copies of a 3-dimensional object with less effort; however, the advent and development of "3-D printing" have expanded that capability.

Two-dimensional images
A two-dimensional image does not have to use the entire visual system to be a visual representation. An example of this is a greyscale ("black and white") image, which uses the visual system's sensitivity to brightness across all wavelengths without taking into account different colors. A black-and-white visual representation of something is still an image, even though it does not fully use the visual system's capabilities.

On the other hand, some processes can be used to create visual representations of objects that are otherwise inaccessible to the human visual system. These include microscopy for the magnification of minute objects, telescopes that can observe objects at great distances, X-rays that can visually represent interior structures of the human body (among other objects), magnetic resonance imaging (MRI), positron emission tomography (PET scans), and others. Such processes often rely on the detection of electromagnetic radiation that occurs beyond the light spectrum visible to the human eye, converting such signals into recognizable images.

The word 'image' is also used in the broader sense of any two-dimensional figure such as a map, graph, pie chart, painting, or banner. In this wider sense, images can also be rendered manually, such as by drawing, the art of painting, or the graphic arts (such as lithography or etching), or rendered automatically by printing or computer graphics technology, or developed by a combination of methods.

Moving images
"Moving" two-dimensional images are actually illusions of movement perceived when still images are displayed in sequence, each image lasting less, and sometimes much less, than a fraction of a second. The traditional standard for the display of individual frames by a motion picture projector has been 24 frames per second (fps) since at least the commercial introduction of "talking pictures" in the late 1920s, which necessitated a standard for the synchronization of images and sounds. Even in electronic formats such as television and digital image displays, "motion" is actually the result of many individual lines giving the impression of continuous movement.

This phenomenon has often been described as "persistence of vision," a physiological effect of light impressions remaining on the retina of the eye for very brief periods. Even though the term is still sometimes used in popular discussions of movies, it is not a scientifically valid explanation. Other terms emphasize the complex cognitive operations of the brain and the human visual system. "Flicker fusion," the "phi phenomenon," and "beta movement" are among the terms that have replaced "persistence of vision," though no one term seems adequate to describe the process.

Cultural and other uses
Image-making seems to have been common to virtually all human cultures since at least the paleolithic era. Prehistoric examples of rock art—including cave paintings, petroglyphs, rock reliefs, and geoglyphs—have been found on every inhabited continent. Many of these images seem to have served various purposes: as a form of record-keeping; as an element of spiritual, religious, or magical practice; or even as a form of communication. Early writing systems, including hieroglyphics, ideographic writing, and even the Roman alphabet, owe their origins in some respects to pictorial representations.

Meaning and signification
Images of any type may convey different meanings and sensations for individual viewers, regardless of whether the image's creator intended those. An image may be taken simply as a more or less "accurate" copy of a person, place, thing, or event. It may represent an abstract concept, such as the political power of a ruler or ruling class, a practical or moral lesson, an object for spiritual or religious veneration, or an object—human or otherwise—to be desired. It may also be regarded for its purely aesthetic qualities, rarity, or monetary value. Such reactions can depend on the viewer's context. A religious image in a church may be regarded differently than the same image mounted in a museum. Some might view it simply as an object to be bought or sold. Viewers' reactions will also be guided or shaped by their education, class, race, and other contexts.

The study of emotional sensations and their relationship to the image falls into the categories of aesthetics and the philosophy of art. While such studies inevitably deal with issues of meaning, another approach to signification was suggested by the American philosopher, logician, and semiotician Charles Sanders Peirce.

"Images" are one type of the broad category of "signs" proposed by Peirce. Although his ideas are complex and have changed over time, the three categories of signs that he distinguished stand out:

 The "icon," which relates to an object by resemblance to some quality of the object. A painted or photographed portrait is an icon by virtue of its resemblance to the painting's or photograph's subject. A more abstract representation, such as a map or diagram, can also be an icon.
 The "index," which relates to an object by some real connection. For example, smoke may be an index of fire, or the temperature recorded on a thermometer may be an index of a patient's illness or health.
 The "symbol," which lacks direct resemblance or connection to an object but whose association is arbitrarily assigned by the creator or dictated by cultural and historical habit, convention, etc. The color red, for example, may connote rage, beauty, prosperity, political affiliation, or other meanings within a given culture or context. The Swedish film director Ingmar Bergman claimed that his use of the color in his 1972 film Cries and Whispers came from his personal visualization of the human soul.

A single image may exist in all three categories at the same time. The Statue of Liberty provides an example. While there have been countless two-dimensional and three-dimensional "reproductions" of the statue (i.e., "icons" themselves), the statue itself exists as

 an "icon" by virtue of its resemblance to a human woman (or, more specifically, previous representations of the Roman goddess Libertas or the female model used by the artist Frederic-Auguste Bartholdi).
 an "index" representing New York City or the United States of America in general due to its placement in New York Harbor, or with "immigration" from its proximity to the immigration center at Ellis Island.
 a "symbol" as a visualization of the abstract concept of "liberty" or "freedom" or even "opportunity" or "diversity".

Critiques of imagery
The nature of images, whether three-dimensional or two-dimensional, created for a specific purpose or only for aesthetic pleasure, has continued to provoke questions and even condemnation at different times and places. In his dialogue The Republic, the Greek philosopher Plato described our apparent reality as a copy of a higher order of universal forms. As copies of a higher reality, the things we perceive in the world, tangible or abstract, are inevitably imperfect. Book 7 of The Republic offers Plato's "Allegory of the Cave," where ordinary human life is compared to being a prisoner in a darkened cave who believes that shadows projected onto the cave's wall comprise actual reality. Since art is itself an imitation, it is a copy of that copy and all the more imperfect. Artistic images, then, not only misdirect human reason away from understanding the higher forms of true reality, but in imitating the bad behaviors of humans in depictions of the gods, they can corrupt individuals and society.

Echoes of such criticism have persisted across time, accelerating as image-making technologies have developed and expanded immensely since the invention of the daguerreotype and other photographic processes in the mid-19th century. By the late 20th century, works like John Berger's Ways of Seeing and Susan Sontag's On Photography questioned the hidden assumptions of power, race, sex, and class encoded in even realistic images and how those assumptions and how such images may implicate the viewer in the voyeuristic position of a (usually) male viewer. The documentary film scholar Bill Nichols has also studied how apparently "objective" photographs and films still encode assumptions about their subjects.

Images perpetuated in public education, media, and popular culture have a profound impact on the formation of such mental images:

Religious critiques
Despite, or perhaps because of, the widespread use of religious and spiritual imagery worldwide, the making of images and the depiction of gods or religious subjects has been subject to criticism, censorship, and criminal penalties. The Abrahamic religions (Judaism, Christianity, and Islam) all have had admonitions against the making of images, even though the extent of that proscription has varied with time, place, and sect or denomination of a given religion. In Judaism, one of the Ten Commandments given by God to Moses on Mount Sinai forbids the making of "any graven image, or any likeness [of any thing] that [is] in heaven above, or that [is] in the earth beneath, or that [is] in the water under earth." In Christian history, periods of iconoclasm (the destruction of images, especially those with religious meanings or connotations) have broken out from time to time and some sects and denominations have rejected or severely limited the use of religious imagery. Islam tends to discourage religious depictions, sometimes quite rigorously, and often extends that to other forms of realistic imagery, favoring calligraphy or geometric designs instead. Depending on time and place, photographs and broadcast images in Islamic societies may be less subject to outright prohibition. In any religion, restrictions on image-making are especially targeted to avoid the depictions of "false gods" in the form of idols. In recent time, militant extremist groups such as the Taliban and ISIS have destroyed centuries-old artifacts, especially those associated with other religions.

In culture
Whether or not one uses or disregards Peirce's categories of "signs," virtually all cultures have produced images and applied different meanings or applications to them. The loss of knowledge about the context and connection of an image to its object is likely to result in different perceptions and interpretations of the image and even of the original object itself.

Through human history, one dominant form of such images, whether two- or three-dimensional, has been in relation to religion and spirituality of different kinds. Such images, whether in the form of idols that are objects of worship or that represent some other spiritual state or quality, have a different status as artifacts when copies of such images sever links to the spiritual or supernatural. The German philosopher and essayist Walter Benjamin brought particular attention to this point in his 1935 essay "The Work of Art in the Age of Mechanical Reproduction."

Benjamin argues that the mechanical reproduction of images, which had accelerated through photographic processes in the previous one hundred years or so, inevitably degrades the "authenticity" or quasi-religious "aura" of the original object. An obvious example is Leonardo da Vinci's Mona Lisa, originally painted as a portrait, but much later, with its display as an art object, having a "cult" value as an example of artistic beauty. Following years of various reproductions of the painting, the portrait's "cult" status has little to do with its original subject or as an object of purely artistic veneration. It has become famous for being famous, while at the same time its recognizability has made it a subject to be copied, manipulated, satirized, or otherwise altered, in forms ranging from Marcel Duchamp's L.H.O.O.Q. to Andy Warhol's multiple silk-screened reproductions of the image. On the other hand, the development of "non-fungible tokens [NFTs]" which exist only in digital formats, have been touted as an attempt to create "authentic" or "unique" images that have a monetary value. This assumption has been widely debated.

Other considerations
The development of synthetic acoustic technologies and the creation of sound art have led to considering the possibilities of a sound-image made up of irreducible phonic substance beyond linguistic or musicological analysis.

Still or moving

A  is a single static image. This phrase is used in photography, visual media and the computer industry to emphasize that one is not talking about movies, or in very precise or pedantic technical writing such as a standard.

A  is typically a movie (film) or video, including digital video. It could also be an animated display such as a zoetrope.

A still frame is a still image derived from one frame of a moving one. In contrast, a film still is a photograph taken on the set of a movie or television program during production, used for promotional purposes.

In image processing, a picture function is a mathematical representation of a two-dimensional image as a function of two spatial variables. The function f(x,y) describes the intensity of the point at coordinates (x,y).

Literature

In literature, a "mental image" may be developed through words and phrases to which the senses respond. It is just picturing an image mentally, also called imagining hence imagery. It can both be figurative and literal.

See also
 Cinematography
 Computer-generated imagery
 Digital image
 Drawing
 Fine-art photography
 Graphics
 Image editing
 Imaging
 Painting
 Photograph
 Pictorial script
 Satellite image
 Visual arts

External links

References

Photography
Digital photography
Computer graphics
Graphic design
Vision

Image


The Northern Thai people or Tai Yuan  (, ), self-designation khon mu(e)ang (  meaning "people of the (cultivated) land" or "people of our community") are a Tai ethnic group, native to nine provinces in Northern Thailand, principally in the area of the former kingdom of Lan Na. As a Tai group, they are closely related to Tai Lü and Tai Khün with regards to common culture, language and history as well as to Thailand's dominant Thai ethnic group (in contrast referred to as Siamese or Central Thai). There are approximately 6 million Tai Yuan. Most of them live in Northern Thailand, with a small minority 29,442 (2005 census) living across the border in Bokeo Province of Laos. Their language is called Northern Thai, Lanna or Kham Mueang.

Exonym and endonym
Central Thai may call northern Thai people and their language Thai Yuan, probably derived from Sanskrit yavana meaning "stranger", which itself comes from the name of the Greek tribe of the Ionians. In everyday speech, "Tai" prefixed to some location is understood as meaning "Tai person" of that place. The British colonial rulers in neighbouring Burma referred to them as Siamese Shan, to distinguish them from the Shan proper, whom they called Burmese Shan.

The people of this ethnicity refer to themselves as khon muang, meaning "people of the (cultivated) land", "people of our community" or "society" (mueang is a central term in Tai languages having a broad meaning, essential to the social structure of Tai peoples). With this name, they historically identified themselves as the inhabitants of the alluvial plains, river valleys, and plateaus of their native area, where they lived in local communities called muang and cultivated rice on paddy fields. This distinguished them from the indigenous peoples of the area ("hill tribes"), like the Lua', who lived in the wooded mountains practicing slash-and-burn agriculture. Membership of the ethnicity was therefore defined by lifestyle rather than by genetics. At the same time, it was a term of dissociation from the Burmese and Siamese, who held suzerainty over the Lanna Kingdom for centuries and who were not "people of our muang".

For the same reasons, the own name of the khon muang for their language is kammuang or kham muang, in which kam means language or word; muang town, hence the meaning "town language," in contrast to those of the many hill tribe peoples in the surrounding mountainous areas.

Prior to their integration into Thailand, the Northern Thais were known as Lao phung dam, or black-bellied Lao, due to the tradition of tattooing their abdomens (phung), which contrasted with the Lao to their east who did not have this custom. According to Jit Bhumisak, a prominent Thai historian, Northern Thais consider themselves Tai-Thai and do not refer to themselves as Lao. This is reflected in various inscriptions where the term "Thai-Tai" is used to refer to themselves. The term Lao is seen as an insult by Northern Thais, as it is associated with a savage and uncivilized culture. Therefore, the use of the term Khon Muang is a way for Northern Thais to assert their distinct identity and cultural heritage, and to distance themselves from the negative connotations of the term Lao. Northern Thais also call Central Thais "Thai" and add the word "South" to refer to Southern Thais or "Southerners", indicating they see themselves and Central Thais as part of the larger Tai/Thai ethnic group. However, they do not use the term Tai/Thai to refer to other ethnicities that interact more closely with Lanna society, such as Tai Yai, Tai Khoen, Tai Lue people, reflecting the fact that they see themselves and these ethnic groups as distinct entities.

History

Origin

According to a shared legend amongst various Tai peoples, a possibly mythical king, Khun Borom Rachathiriat of Mueang Then begot several sons that settled and ruled other mueang, or city-states, across South-East Asia and southern China. Descended from ancient peoples known to the Chinese as the Yue and the Ai Lao, the Tai tribes began migrating into South-East Asia by the beginning of the 1st millennium, but large-scale migrations took place between the 7th and 13th centuries AD, especially from what is now Sipsongbanna, Yunnan Province and Guangxi. The possible reasons for Tai migration include pressures from Han Chinese expansion, Mongol invasions, suitable land for wet rice cultivation and the fall of states that the Tais inhabited. According to linguistic and other historical evidence, Tai-speaking tribes migrated southwestward to the modern territories of Laos and Thailand from Guangxi sometime between the 8th–10th centuries. The Tai assimilated or pushed out indigenous Austroasiatic Mon–Khmer peoples, and settled on the fringes of the Indianized kingdoms of the Mon and Khmer Empire. The blending of peoples and the influx of Indian philosophy, religion, language, culture and customs via and alongside some Austroasiatic element enriched the culture of the Tai peoples, but the Tais remained in contact with the other Tai mueang.

The presence of the Yuan in what is now northern Thailand has been documented since the 11th century. The core of their original settlement area lies in the basin of the Kok and Ing rivers in what is now Chiang Rai Province. Since the Yuan, like other Tai peoples, traditionally live from wet rice cultivation, they only settled in the river plains of northern Thailand, but not in the mountain ranges that run through it and make up three quarters of the area. They formed small-scale principalities (Mueang). The geography of the settlement area prevented the formation of larger communities.

Kingdom of Hiran
The Kingdom of Hiran was a state formed in the 7th century AD, in today's Northern Thailand. There are no written records of Hiran prior to the reign of King Mangrai, the founder and ruler of Lan na from 1296 to 1317. In the 8th century they founded the city of Yonok in the area of today's Chiang Saen district by subjugating the pre-existing Khmu and Lawa populations. After the city of Yonok was destroyed in an earthquake, the Tai Yuan rebuilt the city at Vieng Prueksa in present-day Mae Sai district (Chiang Rai Province), where they formed an elected monarchy. Vieng Prueksa came under the sphere of influence of the Lavo Kingdom, today's Lopburi, which was a vassal state of the Khmer state of Chenla. The king of Lavo forced the accession to the throne of Lawachangkarat, who became ruler of the new kingdom in 638 and changed the name of the capital to Hiran. Around the year 850, the seventh king of Hiran, Laokiang, had Yonok rebuilt on the current site of Chiang Saen, which took the name of Ngoenyang and became the new capital. From that moment on, the Kingdom of Hiran was called the Kingdom of Ngoenyang and expanded significantly, subsequently occupying the Laotian territories of Meuang Sua and Mueang Theng, today's Luang Prabang and Dien Bien Phu.

Independent state of Lan Na
Mangrai, the ruler of Mueang Ngoenyang, united a number of these principalities after his accession to the throne around 1259 and founded the city of Chiang Rai in 1263. Around 1292 he conquered the Mon kingdom of Hariphunchai, which until that time had dominated large parts of what is now northern Thailand in political, economic and cultural terms. This laid the foundation for the new kingdom of Lan Na ("One Million Rice Fields") when its capital, Mangrai, founded Chiang Mai in 1296. The remaining Mueang, which were dependent on Lan Na, retained their own dynasties and extensive autonomy, but had to swear loyalty to the king and pay tribute (mandala model). Lan Na was ethnically very heterogeneous and the Northern Thai did not constitute the majority of the population in large parts of their domain.

However, the different cultures converged, so the originally animist and illiterate Tai Yuan adopted their religion, Theravada Buddhism, and their writing system from the Mon of Hariphunchai (the Tai Tham script is developed from the Old Mon script). As a result, a common identity among the peoples of Lan Na became increasingly common in the 14th century, and the non-Tai peoples largely assimilated to the Tai Yuan. Anyone who integrated themselves into the communities in the river valleys and plains (Mueang) was regarded as Tai, regardless of ethnic origin, hence the self-designation Khon Mueang. Only the indigenous peoples such as the Lawa, who lived outside the Mueang in the highlands of the mountains and practiced slash-and-burn agriculture, were not included. They were grouped together by the Tai as kha. Ethnicity was defined less by descent than by way of life.

The Tai Yuan had very close ties with the Lao kingdom of Lan Xang. In 1546, Setthathirath, a Lao prince, was elected king of Lan Na. By the middle of the 15th century at the latest, they had the technology to manufacture and use cannons and fireworks rockets. The expansion of the sphere of influence of Lan Na reached a climax in the second half of the 15th century under King Tilok. The sphere of interest of Lan Na clashed with that of the central Thai kingdom of Ayutthaya, which resulted in several wars over the Mueang of Sukhothai, Phitsanulok and Kamphaeng Phet, that lied between the two kingdoms.

The first decades of the 16th century are considered to be the heyday of the Lan Na literature. The classical works of this time, however, were not written in the native language of the Tai Yuan, but in the scholarly language of Pali. At the same time, however, Ayutthaya was expanding north and Siamese troops penetrated deep into the Yuan-inhabited area of Lan Na. The fighting was extremely costly, and a number of high-ranking generals and nobles of the Yuan perished. In addition to the population losses of men of armed age as a result of the war, large parts of the population also fell victim to natural disasters and epidemics around 1520. This initiated the decline of Lan Na. In 1558, Lan Na came under the rule of the Burmese Taungoo dynasty (Kingdom of Ava).

As there was often a shortage of labor in pre-modern Southeast Asia, it was customary after wars to drag parts of the population of the defeated party to the area of the victor. In the 17th century, after the subjugation of Lan Na by the Burmese, some Tai Yuan were brought to their capital Ava. There they belonged to the category of royal servants and provided lacquerware. The Burmese control over the Tai Yuan increased the differences between them and the Siamese in Ayutthaya.

Nevertheless, after the fall of Ayutthaya, the Tai Yuan nobility of Lan Na entered into an alliance with King Taksin of Thonburi (the new Siamese kingdom) and, with his support, shook off Burmese supremacy in 1774. But this was immediately replaced by that of the Siamese (from 1782 under the Chakri dynasty and with the capital of Bangkok). After conquering Chiang Saen in 1804, the last Burmese outpost in what is now Thailand, the Siamese deported thousands of Tai Yuan residents to the Siamese heartland, the Chao Phraya Basin of central Thailand. As a result, a significant number of Tai Yuan still live in the provinces of Ratchaburi and Saraburi, where in the Sao Hai District an enclave with a Tai Yuan majority still exists.

Incorporation into Thailand and Thaification
Until the 19th century, Lan Na retained its own structure and autonomy in internal affairs within the Siamese dominion. Its inhabitants were considered western Lao (or "black-bellied Lao", due to the tradition of male Tai Yuan to tattoo themselves above the hips), but not as Siamese. The Tai Yuan also saw themselves more as relatives of the Lao than the Siamese of the central Thai lowlands. As recently as the 1980s, the government of the Lao People's Democratic Republic referred to the Tai Yuan-inhabited provinces of northern Thailand as their "lost territories". The Siamese King Rama V (Chulalongkorn) wrote in 1883 to his high commissioner in Chiang Mai about the Tai Yuan, which he called "Lao":

After Siam had to cede what is now Laos to France in 1893, the Thai government stopped designating the Lao and Tai Yuan living in Thailand as Lao in order not to justify further expansion of the French protectorate of Laos. Lan Na lost its independence in 1899, when the administrative reform under King Rama V (Chulalongkorn) introduced the centralized thesaphiban-system. Chulalongkorn's son Rama VI (Vajiravudh), who ruled from 1905, endeavored to turn the population of his empire into a nation and Thailand into a nation state. There was less and less differentiation between Siamese, Lao or Tai Yuan, instead there was increasing talk of the Thai nation. Vajiravudh strove to unite the different tribes under one dominant culture. During the Monthon reforms of the north region at the turn of the 20th century, the region of Lanna was assigned to Monthon Phayap () from the Sanskrit word for "northwest".

This policy of Thaification was intensified after the end of the absolute monarchy in 1932 and the takeover of power by Plaek Phibunsongkhram in 1938. Phibunsongkhram decreed in 1939 that from now on the country should only be named Thailand and its inhabitants only Thai. He forbade any ethnic or regional differentiation. The Lanna script was subsequently repressed in favor of the Thai alphabet. The use of the central Thai dialect was also promoted in the north in order to displace the Lanna language. As a result, many Thais cannot distinguish between citizenship (san-chat) and ethnicity or origin (chuea-chat). The Lanna script formerly in use by northern Thai people is also called Tai Tham script. Due to the effects of Thaification in the wake of Monthon reforms, few northern Thai can read or write it, as it no longer represents accurately the orthography of the spoken form.

Contemporary history
Despite the Thaification policies, the Tai Yuan have retained their own cultural identity (even if this is now mostly referred to as Northern Thai). The Tai Yuan have their own dance tradition, and a cuisine very different from that of central Thailand. Even if almost all residents of northern Thailand understand and can speak the standard Thai language (this is still compulsory in schools), most of them still speak the Northern Thai language at home. However, since 1985 the use of the language has declined. Since then, the younger generations have used the Northern Thai language less and less, so that the language was to be expected to disappear in the medium term.
On the other hand, there has been a renaissance of Lanna culture since the mid-1990s. Especially around the 700th anniversary of Chiang Mai in 1996, a great pride in its own history and tradition could be established. At Chiang Mai University in particular, a number of scholars are dedicated to researching traditions and cultivating cultural heritage. Since then, some Northern Thai women, mainly the middle and upper classes, have been wearing the classic dresses of the north again on special occasions, made of hand-made cotton. In many public institutions and government agencies it is customary to wear clothes made of traditional textiles on Fridays. There are regular performances of Lan Na music and dance, as well as demonstrations of traditional handicrafts. As an expression of the own regional character, signs with lettering in Lanna script are again being set up in some places.

Culture

Language

The Tai Yuan speak the Northern Thai language, also known as Kham Mueang and Lanna, which is, like Lao and Thai, one of the Tai languages. Northern Tai is similar to the Tai Lue language, which is mainly located in the south of Yunnan but also present in the northern areas of Vietnam, Thailand, Myanmar and Laos, and to the Khün language, located in the eastern part of the Shan State of Myanmar.

The Northern Tai language has its own writing system, the Tai Tham script, which is also called the Lanna script. The script is still taught to Lao Buddhist monks. After being banned from schools as part of the thaification process, the script has recently been rediscovered by the population. It is believed by the Tai Yuan that the script has divine powers, and tattoos and amulets written in Tai Tham are thought to possess particular powers.

Religion

The Tai Yuan have practiced Theravada Buddhism for several centuries. Chiang Mai is historically one of the places where Lanna sacred art has developed the most, with ancient temples and Buddha sculptures. In Laos, religious practices have returned to normal after the obstacles posed by the communist government in the first years after the seizure of power in 1975. Traditionally the Tai Yuan, like most Tai peoples, have remained clinging to their animist roots. Small sanctuaries dedicated to this belief scattered throughout the territory are still frequented by devotees who ask for the protection of the spirits. Many of the private gardens also have a spirit house which is stocked daily with votive offerings.

A widespread cult among the Tai Yuan is that of the spirit of Chao Luang Kham Daeng, which is passed down through two legends. The first describes him as a human being sent by the god Indra to become king and teach Buddhist precepts to his subjects. In this capacity he founded the city Lanna, became its ruler and on his death he was placed by the citizens of Chiang Mai at the helm of the protective spirits of the city. The second legend reports that Chao Luang Kham Daeng is the lord of the ogres who guard the treasure of the sacred cave of Chiang Dao. It is assumed that the second legend comes from the tradition of the Lawa people, the people that had settled in the Chiang Mai area before its foundation and the arrival of the Tai Yuan.

See also
 Jinakalamali
 Kham Mueang
 Lan Na
 Lanna script
 Shan people
 Tai people
 Thai people
 Sibsongbanna

References

Further reading

Yuan
Yuan

Northern Thai people


The Christopher C. Layman Law Office is a historic commercial building in the village of Woodville in the northern part of the U.S. state of Ohio.  Built in the late nineteenth century, it has been used for multiple purposes, and it has been designated a historic site.

A native of the Canton of Bern in Switzerland, Christopher Layman settled in Ohio in 1847 at the age of two.  Throughout the Civil War, he fought in the Army of the Tennessee; after discharge in 1865, he enrolled at the University of Michigan Law School.  Following his graduation, he practiced law in Michigan for a time before beginning practice in Columbus, Ohio in 1882.  Before long, he moved to Woodville, where he opened the village's first law firm in 1884.  After six years of practicing, he arranged for the erection of the current structure.

Built in 1890 in the Italianate style of architecture, Layman's law office is a brick building with a foundation of limestone plus various sandstone elements.  Rather than the grand construction found in many Italianate buildings, the Layman Law Office is a modest commercial structure.  Here Layman fulfilled many responsibilities: besides serving as the village's first lawyer, he held office as a justice of the peace and became an agent for multiple insurance companies.

Upon Layman's death, his will specified that the property be devised to the local public school district.  From 1924 to 1964 the building served as the office of Dr. Chester Egger, Woodville's general practitioner and surgeon.  Since that time, it has reverted to its original use; the office is used by John S. Spore and Associates, a law firm.  In 1986, the property was listed on the National Register of Historic Places, qualifying both because of its architectural significance and because of its connection to Layman, who was considered a leading local citizen.

References

External links
Owner's website

Commercial buildings completed in 1890
Buildings and structures in Sandusky County, Ohio
Commercial buildings on the National Register of Historic Places in Ohio
Italianate architecture in Ohio
Legal history of Ohio
National Register of Historic Places in Sandusky County, Ohio
Law offices
1890 establishments in Ohio

Christopher C. Layman Law Office


Nomexy () is a commune in the Vosges department in Grand Est in northeastern France.

Inhabitants are called Nomexéens.

Geography
The commune is positioned on the left bank of the Moselle, directly upstream of its confluence with the little Avière, and across the Moselle from the cantonal capital, Châtel-sur-Moselle. It is  downstream from Épinal.

The commune contains the Canal de l'Est (also called the canal des Vosges), notable for including 93 locks in the 123 kilometres over which it twists and turns and rises and falls between the Moselle near to Nancy, and the river Saône: while crossing the Nomexy commune, the canal runs directly beside the Moselle. The canal remains popular with leisure and recreational users, though the transport of merchandise for which it was constructed during the nineteenth century has been taken over by the Route Nationale RN57 which during the closing years of the twentieth century was upgraded to quasi-autoroute quality from Nancy in the north to Remiremont en route to the Bussang Pass and Mulhouse to the south-east. The road skirts the village of Nomexy on its western side:  the village has not one but two access point to the road, shared by means of a bridge across the Moselle with Châtel-sur-Moselle.

The northern part of the commune comprises a 70 hectare Industrial Zone which is an employment magnet for the surrounding area, and includes a number of small and artisanal businesses as well as larger firms including the substantial INNOTHERA textiles and fibres business.   There is also a considerable level of commuting to one or other of the many industrial zones on the edges of the small towns that are strung along the Moselle in the Épinal region.   Nevertheless, between 1968 and 2006 the population of Nomexy declined by more than 20%, which is part of a larger pattern of migration from the villages to the cities that characterised France as industrialisation accelerated during the second half of the twentieth century.

Although the eastern part of the commune, on the river bank, is relatively flat, on its western and southern sides the wooded hills rise up to 90 meters above the level of the river.   Overall roughly 40% of the commune's territory is wooded, while nearer the river the land is either built up or used for agriculture.

Neighbouring communes are Portieux to the north, Châtel-sur-Moselle in the east, Vaxoncourt to the south-east, Igney in the south, Frizon to the south-west and Vincey in the West.

History
There is a record of the watermill on the Avière River having already existed in 1263 when it belonged to the Priory of Aubiey.   In the nineteenth century the mill was purchased by a member of the Mathurin family:  this was a family of millers that had come from the Vendée, probably driven east by the brutal repression which followed a failed counter-revolution in the 1790s.  The mill is now part of a modern flour mill, still owned by the family that acquired it more than a century ago.

The Abbé Constant Olivier, historian and priest, published a history of Nomexy entitled "Nomexy et le prieuré d'Aubiey" in 1900.

See also
Communes of the Vosges department

References

Communes of Vosges (department)

Nomexy


A hemistich (; via Latin from Greek , from  "half" and  "verse") is a half-line of verse, followed and preceded by a caesura, that makes up a single overall prosodic or verse unit.  In Latin and Greek poetry, the hemistich is generally confined to drama.  In Greek tragedy, characters exchanging clipped dialogue to suggest rapidity and drama would speak in hemistichs (in hemistichomythia).  The Roman poet Virgil employed hemistichs in the Aeneid to indicate great duress in his characters, where they were incapable of forming complete lines due to emotional or physical pain, but more likely he never finished the poem.

In neo-classicism, the hemistich was frowned upon (e.g. by John Dryden), but Germanic poetry employed the hemistich as a basic component of verse.  In Old English and Old Norse poetry, each line of alliterative verse was divided into an "a-verse" and "b-verse" hemistich with a strong caesura between.  In Beowulf, there are only five basic types of hemistich, with some used only as initial hemistichs and some only as secondary hemistichs.  Furthermore, Middle English poetry also employed the hemistich as a coherent unit of verse, with both the Pearl Poet and Layamon using a regularized set of principles for which metrical (as well as alliterative) forms were allowed in which hemistich position.

In Arabic and Persian poetry, a line of verse almost invariably consists of two hemistichs of equal length, forming a couplet. In some kinds of Persian and Arabic poetry, known as mathnawi or masnavi, the two hemistichs of a line rhyme with the scheme aa, bb, cc, dd, etc. In other kinds, such as the ruba'i, qasida, or ghazal, the rhyme scheme is aa, ba, ca, da, and so on with the same rhyme used for the second hemistich of every couplet.

Notes

References
 Brogan, T. V. F., Roger A. Hornsby, and Thomas Cable.  "Hemistich."  In Alex Preminger and T.V.F. Brogan, eds. The New Princeton Encyclopedia of Poetry and Poetics.  Princeton, New Jersey: Princeton UP, 1993.  514.

Poetic rhythm
Poetic forms

Hemistich


The Diderot effect is a phenomenon from sociology, which was named after Denis Diderot, who first described it in an essay. In the essay, Diderot talked about a robe he used to wear in the bathroom: The old robe was a little shabby, but useful. When he was given a new robe, the new robe was more shiny, and nicer, but it did not fit well with the other clothes.

Regrets on Parting with My Old Dressing Gown: I was absolute master of my old dressing gown," Diderot writes, "but I have become a slave to my new one … Beware of the contamination of sudden wealth. The poor man may take his ease without thinking of appearances, but the rich man is always under a strain.

So, the Diderot effect describes that people often show a tendency to buy more goods after they bought one item. It is said that they do this to restore the general perception they had about their belongings.

References

Sociology
Economic theories

Diderot effect


Paul Richard Sawyer (born 26 December 1979) is an English cricketer.  Sawyer is a left-handed batsman who bowls leg break.  He was born in High Wycombe, Buckinghamshire.

Sawyer made his debut for Buckinghamshire in the 1997 Minor Counties Championship against Staffordshire.  Stanway has played Minor counties cricket for Buckinghamshire from 1997 to present, which includes 52 Minor Counties Championship matches and 22 MCCA Knockout Trophy matches.  In 1997, he made his List A debut against Essex in the NatWest Trophy.  He played 10 further List A matches for Buckinghamshire, the last coming against Lancashire in the 2005 Cheltenham & Gloucester Trophy.  In his 10 List A matches, he took scored 196 runs at a batting average of 24.50, with a single half century high score which came against Suffolk in the 2003 Cheltenham & Gloucester Trophy.  With the ball he took 3 wickets at a bowling average of 19.33, with best figures of 2/55.

He has also played Second XI cricket for the Middlesex Second XI, the Worcestershire Second XI and the Northamptonshire Second XI.

References

External links
Paul Sawyer at ESPNcricinfo
Paul Sawyer at CricketArchive

1979 births
Living people
Cricketers from High Wycombe
English cricketers
Buckinghamshire cricketers

Paul Sawyer


Acacia brownii, commonly known as heath wattle, is an erect or spreading shrub which is endemic to eastern Australia.

Description
It typically grows to a height  in height and has glabrous to sparsely haired branchlets with  subulate stipules that around  high. Like most Acacias it has phyllodes instead of true leaves, the rigid, terete phyllodes that are  in length and  wide. The globular yellow flowerheads with a diameter of  and containing 12 to 30 flowers appear singly in the leaf axils from August to November. Following flowering curved flat, seed pods form that are  long and  wide.

Taxonomy
The species was first formally described by Robert Brown in 1813 as Acacia acicularis, but that name had already been applied to a different species. In 1817 Poiret published Mimosa brownei as a replacement name. The current name was published by botanist Ernst Gottlieb von Steudel in 1821 as part of the work Phanerogams. Nomenclator Botanicus, citing Brown's species, but not Poiret's. It was reclassified as Racosperma brownii by Leslie Pedley in 1987 then transferred back to genus Acacia in 2006. Other synonyms include; Acacia acicularis , Acacia pugioniformis , Mimosa brownei, Acacia brownei and Acacia ulicifolia var. brownii.
It is similar in appearance and closely related to Acacia ulicifolia, of which it was once thought to have been a variety.

Distribution
The species occurs on sandy or clay loam in dry sclerophyll forest, woodland or heath in southern and eastern Victoria, New South Wales and Queensland. It is found throughout the Great Dividing Range from around the Grampians in Victoria in the south through New South Wales and up to around Burra Burri in Queensland.

See also
 List of Acacia species

References

brownii
Flora of New South Wales
Flora of Queensland
Flora of Victoria (state)
Fabales of Australia
Plants described in 1821

Acacia brownii


Mike Barrett (born 1968), also known as "MB", is a former television play-by-play announcer for the Portland Trail Blazers of the National Basketball Association, the Portland Thunder of the Arena Football League, and the Portland Fire of the WNBA. Barrett was the television voice of the Trail Blazers from 2003 to 2016.

Biography

Early years

Mike Barrett was born in 1968 in Idaho, the son of a high school basketball coach, Duane Barrett. He grew up as a fan of the only professional major league team in his home state of Oregon, the Portland Trail Blazers, regularly attending games with his father.

Following his graduation from West Albany High School, Barrett attended Oregon State University (OSU), located about 10 miles away in neighboring Corvallis, Oregon. He graduated from OSU in 1991 with a degree in journalism.

Broadcasting career

After graduating from Oregon State University, Barrett went to work for radio station KUIK-AM 1360 in Hillsboro calling high school basketball games. He became sports director at KXL-AM 750 in Portland, then the flagship station of the Trail Blazers, in 1992. While at KXL Barrett anchored the station's morning and afternoon sportscasts as well as working as a sideline reporter for University of Oregon football broadcasts.

In 1999, he was hired by the Portland Trail Blazers as radio studio host and editor of the Blazers' official magazine, Rip City Magazine. The next year, he went to work as a radio and television play-by-play announcer for the WNBA's Portland Fire, a role which he continued until the team disbanded in 2003.

Barrett was named the play-by-play announcer for the Trail Blazers for the 2003–04 season, working for the first two years next to Steve "Snapper" Jones. From the 2005–06 season he was joined by analyst Mike Rice on Blazers' telecasts, an assignment which often caused him to assume the role of straight man for his loquacious and unrestrained broadcast partner. Barrett has said of his partner:
"Rice is good, he's a character, and you strip away some of that cartoon character, and I'm so lucky to work with him. I think his calls are probably as memorable as anything I say. I like to give him that room.  Some of the traditional broadcasters really want their own space, who get upset when their analyst gets in and steps on their call. I'm not into that. I want to be there to fill in the blanks and to provide some information and entertainment."

In addition to calling the play-by-play, Barrett and Rice frequently appeared on a weekly radio and television show, Trail Blazers Courtside.

Barrett also wrote voluminously for his blog on the Blazers' website, offering game reviews and a behind-the-scenes perspective on the team. Barrett recalled the origins of his on-line publication in a 2008 interview:
"The funny thing is that when the blog started at Summer League like 3 or 4 years ago, they said write some stuff for training camp, and that was kind of strange, but then they saw I could write in a real conversational way, that involved people. It was one of those odd things that you stumble into and all of a sudden you've created a lot of work for yourself.  It's not a bad thing it's a good thing.
"It takes a lot of time, as you know. To do something like that and to maintain it — I moderate 95% of the comments, I see them all, I put the picture up, I do the headline, it's like my own little newspaper.  And that's pretty cool for somebody who was into journalism anyway. Writing has always been pretty easy. To sit down to write after a game or after an event, positive or negative news, it's almost my way of going home and unwinding and reliving it. I think a lot of writers would say that. That's my way of going home and coming down from the high of the night.
"I get wordy, I get long, I start writing. They tell me, 'just write a paragraph,' and I said, 'I get going, I can't.' The next thing I know I'm at 2,000 words. I've enjoyed sitting down after my kids and wife go to bed, sit down, and process through some things. It helps me remember the game better, it helps me realize it, the next time we play somebody, I remember not only the game but the blog. I can go back and review it if I want to."

Family

Mike Barrett lives with his wife, Shelly, in Wilsonville, Oregon. The couple have two children, a son named Jack and a daughter named Gabby.

Footnotes

Further reading

 Mike Tokito, "Mike Barrett is a Link Between Trail Blazers and Fans in Portland and Beyond: Media Mike Check," The Oregonian, Oct. 28, 2014; updated Nov. 3, 2014.

External links
 Mike Barrett Official Blog. Retrieved October 6, 2009.
 Ben Golliver, "Interview with Mike Barrett," BlazersEdge.com, August 24, 27, 31, 2008. Part One. Part Two. Part Three.

1968 births
Portland Trail Blazers announcers
Oregon State University alumni
Living people
National Basketball Association broadcasters
Oregon Ducks football announcers
People from Albany, Oregon
People from Tualatin, Oregon
Women's National Basketball Association announcers

Mike Barrett (sportscaster)


The Campus was a passenger train operated by Amtrak between Chicago and Champaign, Illinois. The Chicago-Champaign corridor already saw two trains daily: the Shawnee (Chicago-Carbondale) and the Panama Limited (Chicago-New Orleans). The Campus made a round-trip Friday and Sunday, serving the University of Illinois at Urbana–Champaign. A second train, the Illini, made a Friday trip. The Campus first appeared on the November 14, 1971, timetable, the first timetable Amtrak issued with its own numbers. Amtrak discontinued the Campus and Illini on March 5, 1972. Both trains had used Central Station, which Amtrak was abandoning; Amtrak judged that the additional 35–40 minutes necessary to serve Union Station made the schedule impractical. The Campus was the last passenger train to use Central Station.

References

Former Amtrak routes
Passenger rail transportation in Illinois
Railway services introduced in 1971
Railway services discontinued in 1972

Campus (train)


Sharpe's Regiment is a British television drama, the ninth of a series that follows the career of Richard Sharpe, a British soldier during the Napoleonic Wars. This episode is based on the 1986 novel of the same name by Bernard Cornwell.

Plot

It is 1813. The First Battalion of the South Essex Regiment has suffered terrible losses in the fighting in Spain and the entire regiment is in danger of being disbanded as a result. Major Sharpe (Sean Bean) and Sergeant Major Harper (Daragh O'Malley) are sent back to England to find out why replacements have not been sent. Sharpe is told that the Second Battalion of the South Essex is drawing pay for over 700 soldiers, but when he arrives at the Second Battalion's barracks, he finds only eleven men, even though there is regular recruiting for the regiment. Sharpe is determined to get to the bottom of things.

During an audience with the dimwitted Prince Regent (Julian Fellowes), Sharpe is introduced to Lord Fenner (Nicholas Farrell), the man responsible for the regiment's troubles. Fenner insists that the Second Battalion exists only on paper as a means of paying troops who have been scattered for various reasons until they can be placed into a proper unit. Fenner sends Lady Anne Camoynes (Caroline Langrishe) to sleep with Sharpe and ascertain his intentions. When he finds out, he sends assassins to solve his potential problem, but Sharpe and Harper dispose of them instead. Their bodies are tossed into a river, and Sharpe sees to it that rumours are spread that it was he and Harper who have been killed.

Meanwhile, the two men "enlist" in the Second Battalion to find out what happens to the recruits. They are trained by the brutal and effete Lieutenant Colonel Girdwood (Mark Lambert) and then auctioned off to other regiments by Sharpe's old enemy, Sir Henry Simmerson (Michael Cochrane), with Fenner getting a kickback. Simmerson's niece, Jane Gibbons (Abigail Cruttenden), helps Sharpe and Harper escape afterwards.

Sharpe goes to Horse Guards to see the Commander-in-Chief of the Army, the Duke of York, but learns that the Duke is not in London. Sharpe sees his old friend, Sir William Lawford, in whom he confides. Lawford, on his own initiative, approaches Fenner and proposes a solution—the South Essex gets its men and Sharpe is given command of a rifle battalion and sent to North America. Lady Camoynes overhears and contacts Sharpe. She tells him that he needs proof of the sales and tells him that she wants to ruin Fenner, who gets sexual favors from her as a way of paying off the debts of her late husband, whom Fenner ruined.

Sharpe and Harper return to Girdwood's training camp and take over, placing Girdwood under arrest, but they are unable to find any paperwork documenting the sales. Sharpe instructs Harper to complete the necessary paperwork, officially making the recruits part of the South Essex.

Girdwood escapes and goes to Simmerson's estate, where he collects the incriminating paperwork, and then heads to Simmerson's London house. Sharpe arrives at Simmerson's house too late to stop Girdwood, but he sees an invitation to a party hosted by the Prince Regent. Sharpe also learns from Jane that Simmerson regularly beats her (her father was a lowly saddler), and Sharpe rashly proposes marriage as a way of enabling her to escape Simmerson's abuse. Jane agrees to try to steal the paperwork from Simmerson's house. Sharpe forms up the recruits of the Second Battalion and takes them to London, where they march in on the Prince Regent's party, with Sharpe bearing the eagle he took at Talavera. The Prince gleefully claims them as his own, making the regiment the Prince of Wales' Own Volunteers, instead of the South Essex.

Sharpe confronts Lord Fenner, but does not have any proof, as Simmerson gave the paperwork to Fenner, who ordered it burnt. Just in time, Lady Camoynes shows up with ledgers—which she saved from the fire—detailing the crimes and uses them for blackmail for herself and for Sharpe. Simmerson, due to his influential friends, once more escapes prosecution. To shelter Jane from Simmerson's wrath, Sharpe becomes engaged to her.

Thanks to Lady Camoyne's blackmail of Fenner, Sharpe gets the men he came for and goes back to fight in Spain, saving the regiment from being deleted from the army list. The regiment is now under the command of Colonel Girdwood, which Sharpe also specifically requested. In Spain, Girdwood has a close encounter with a French artillery round during an attack on the French border and suffers a mental breakdown as a result. He is invalided home, and Sharpe takes command of the Prince of Wales' Own Volunteers, leading them on to victory.

Cast

 Sean Bean as Major Richard Sharpe
 Daragh O'Malley as Sergeant Major Patrick Harper
 Abigail Cruttenden as Jane Gibbons
 Michael Cochrane as Sir Henry Simmerson
 Nicholas Farrell as Lord Fenner
 Caroline Langrishe as Lady Anne Camonynes
 James Laurenson as Major General Ross
 Mark Lambert as Lieutenant Colonel Bartholomew Girdwood
 Julian Fellowes as the Prince Regent
 Norman Rossington as Sergeant Horatio Havercamp
 Benedict Taylor as Sir William Lawford
 John Savident as Major General Sir Barstan Maxwell
 John Tams as Rifleman Daniel Hagman
 Jason Salkey as Rifleman Harris
 Robert Patterson as Sergeant Lynch
 Julie T. Wallace as Maggie
 Alexander Armstrong as Rossendale
 Adam James as Captain Carline

Soundtrack
 "The Bold Fusilier" (a.k.a. "Marching through Rochester")

References

External links

 Sharpe's Regiment at SharpeFilm.com

1996 British television episodes
1990s historical films
1990s war films
Films based on British novels
Films based on historical novels
Films based on military novels
Napoleonic Wars films
Regiment
Cultural depictions of George IV
War television films
Fiction set in 1813
Films directed by Tom Clegg (director)

Sharpe's Regiment (TV programme)


Sardar Surjit Singh Randhawa (10 October 1951 – 6 January 1984) was an Indian field hockey player, who played for India men's national field hockey team at the 1976 Montreal Olympics. He was a full back and captain of India field hockey team. He got his training from DSP Ajit Singh Ahluwalia.

Early life and education
Born in Batala, Punjab, Singh studied in Guru Nanak School, Batala, and later at Lyallpur Khalsa College at Jalandhar, where he started playing university level hockey tournaments.

Career
After finishing college he joined the Punjab Police Force for a few years. He made his debut in the second Hockey World Cup in Amsterdam in 1973. He also played for India in the Munich Olympics in 1972, the 1974 and 1978 Asian Games, the 1976 Montreal Olympics, the Asian Games in Bangkok in 1978, and the 1982 World Cup held at Bombay. He was also the part of the winning team in 1975 Hockey World Cup in Kuala Lumpur. He was the first to score for India in the 1975 World Cup. He was included in the World Hockey XI in 1973 and the All-Star Hockey XI the next year. He was also the top scorer-both in the Esanda International hockey Tournament at Perth in Australia and the 1978 Asian Games. In his career he was able to score 4 Olympic goals. Initially he worked briefly with Indian Railways and Indian Airlines and finally with Punjab Police.

Personal life
His wife Chanchal Randhawa was also international field hockey player, who led India women's national field hockey team in the 1970s.
His Son Sarbrinder Singh Randhawa was a world-level Lawn Tennis Player, who represented India in various international tournaments across the world. He is also an Asian Games Runners up which were held in Indonesia.

Death and legacy
Surjit Singh died in a car accident in 1984 near Kartarpur in Jalandhar district after his retirement from the game. The hockey stadium in Jalandhar, the Surjit Hockey Stadium, is named after him. In 2000, with the persistent efforts of Surjit Singh's family, the ancestral village of Surit Singh was renamed after him. Initially it was called "Dakhla", but now it is known as "Surjit Singh Wala"

A hockey academy named after him is also being run by the Government of Punjab. In 1984, after his death, the Surjit Hockey Society was established in Jalandhar, and it organizes the annual Surjit Memorial Hockey Tournament in Jalandhar, every year, In 2007, with the efforts of Surjit Singh's family, a statue was installed in Batala to commemorate the legendary hockey player.

In 2012, in an effort to revive the sport in the state, Government of Punjab announced its decision to support the society. He was posthumously awarded the Arjuna Award  in 1998.

References

External links
 Surjit Singh Randhawa, Biography

1951 births
1984 deaths
Olympic field hockey players for India
Field hockey players at the 1976 Summer Olympics
Indian male field hockey players
Indian Sikhs
Road incident deaths in India
Recipients of the Arjuna Award
Asian Games silver medalists for India
Indian police officers
Asian Games medalists in field hockey
Field hockey players at the 1974 Asian Games
Field hockey players at the 1978 Asian Games
Field hockey players from Jalandhar
Medalists at the 1978 Asian Games
Medalists at the 1974 Asian Games

Surjit Singh Randhawa


The Eastern Origins of Western Civilisation, written by the political scientist John M. Hobson in 2004, is a book that argues against the historical theory of the rise of the West after 1492 as a "virgin birth", but rather as a product of Western interactions with a more technically and socially advanced Eastern civilization.

The text reinterprets Eurocentric ideas of Europe's contributions to world development. For example, it provides evidence that a complex system of global trade existed long before Mercantilist Europe, that social and economic theories in the Enlightenment came from encounters with new cultures rather than with Greek and Roman heritage, and that modern European hegemony resulted from situational advantages rather than from inherent superior traits.

Key ideas

 Many inventions critical to European progress were Chinese innovations.
 Europeans appropriated many Eastern resources such as land, labour and markets through imperialism.
 European powers did not create world trade, but rather used American silver to integrate into bustling Indian and Chinese markets.
 The belief that European hegemony derived from free trade, reasoned rule, and democracy is a patriotic myth. European powers won trading rights by force, and Britain developed the industrial revolution under harsh regulations.
 Cultural movements and ideas were spurred by contact with the outside world, particularly with the East.

Response

A reviewer for the Culture Mandala wrote Hobson's work "complements and builds on the insights of Frank, Braudel and others to illustrate in great detail both how substantial China's historical achievement has been and how much the West has distorted history to serve the purpose of its imperial civilizing mission".

John Hall of McGill University, writing in the English Historical Review, asserted that Hobson's work is prone to wild exaggerations and "tends to cite only those parts of an author's work that agree with his argument, and misses out whole realms of scholarship". Hobson, Hall continues, "tends to give us bad sociology," and his construct of Eurocentrism is "often a straw man." Hall remarks that Hobson makes "odd claims," such as asserting that "Adam Smith depended upon Chinese intellectual discoveries," and that Hobson's "general picture seems to fail".

See also
James Morris Blaut
Andre Gunder Frank
Samir Amin
Jack Goldstone
Roy Bin Wong
Jack Goody
Kenneth Pomeranz
Victor Lieberman
Janet Abu-Lughod
Angus Maddison

References

External links
Interview with John M. Hobson
"East and West," Book review by Carroll Quigley
"What the West Has Learned" Book review by Carroll Quigley

2004 non-fiction books
21st-century history books
Historical revisionism
History books about China
History books about Europe
Works about the theory of history


The Fighting Devil Dogs (1938) is a 12-chapter Republic movie serial starring Lee Powell and Herman Brix, the latter better known by his later stage name, Bruce Bennett. It was directed by William Witney and John English. While not often considered a great serial, as it contains much stock footage and two recap chapters, it is famous for its main villain, the Lightning—the first costumed supervillain. There is some speculation that George Lucas used the Lightning as a template for Darth Vader.

Plot
In Singapore, two Marine Lieutenants, Tom Grayson and Frank Corby, uncover the threat of a masked terrorist called the Lightning, who uses an arsenal of powerful lightning-based weaponry in his bid for world conquest. However, the battle becomes personal when the Lightning annihilates the officers' unit and later kills Lt. Grayson's father as he was helping the investigation of the weapon. Now, the marines have dedicated themselves to stopping the Lightning and bringing him to justice.

Cast
 Lee Powell as Lt Tom Grayson
 Herman Brix as Lt Frank Corby
 Eleanor Stewart as Janet Warfield
 Montagu Love as General White
 Hugh Sothern as Ben Warfield
 Sam Flint as Col Grayson
 Perry Ivins as Crenshaw
 Forrest Taylor as Benson
 John Picorri as Prof Gould

Production
The Fighting Devil Dogs was budgeted at $94,656 although the final negative cost was $92,569 (a $2,087, or 2.2%, under spend) making it one of only three pre-war Republic serials to be produced under budget. It was the cheapest Republic serial of 1938 and the second cheapest of all Republic serials. It has two recap chapters rather than the usual one (or sometimes none), in which the entire plot of the serial so far is repeated, and makes extensive use of stock footage. The cheapest Republic serial was The Vigilantes Are Coming (1936) at $87,655, while the next cheapest after The Fighting Devil Dogs is Undersea Kingdom (also 1936) at $99,222.

It was filmed between 10 March and 29 March 1938. The serial's production number was 793.

One of the directors, William Witney, believed this to be one of the worst of the serials he ever made.

The Lightning's Flying wing was taken from the earlier Dick Tracy serial. Aviation was one of the most popular serial genres of the early 1930s, along with Westerns and Jungle serials. Aviation films were even expected to displace Westerns as the most popular genre but science fiction took over instead. Writer Raymond William Stedman claims that the science fiction Flying Wing in this serial was the beginning of the process that killed interest in ordinary aviation.

Release

Theatrical
The Fighting Devil Dogs''' official release date is May 28, 1938, although this is actually the date the sixth chapter was made available to film exchanges.

A 69-minute feature film version, created by editing portions of the serial footage together, was released on January 29, 1943.

Television
In the early 1950s, The Fighting Devil Dogs was one of fourteen Republic serials edited to six 26½-minute episodes for TV syndication. Subsequently, it became one of twenty-six Republic serials edited into a TV-movie in 1966, each of which features ran 100 minutes. The title of this version was Torpedo of Doom.

Critical receptionThe Fighting Devil Dogs is, in Cline's opinion, one of the best mystery serials ever released, with a "colourful" mystery villain, "stirring" musical score and "magnificent" editing. He also notes that it is "apparently one of the least costly" serials ever released, with two recap chapters and stock footage taken from newsreels and earlier serial releases. He states that it should be included in "any list of the ten best sound serials of all."

Chapter titles
The Lightning Strikes (29 min 28s)The Mill of Disaster (15 min 56s)The Silenced Witness (15 min 50s)Cargo of Mystery (15 min 47s)Undersea Bandits (16 min 17s)The Torpedo of Doom (16 min 24s)The Phantom Killer (14 min 47s) - Recap chapter
Tides of Trickery (14 min 34s)Attack from the Skies (15 min 07s)In the Camp of the Enemy (14 min 29s)The Baited Trap (17 min 24s) - Recap chapter
Killer at Bay (17 min 39s)''
Source:

See also
 List of film serials by year
 List of film serials by studio

References

External links

  (1943 feature version)

1938 films
American aviation films
American black-and-white films
1930s English-language films
Republic Pictures film serials
Films directed by William Witney
Films directed by John English
1930s adventure films
Films about the United States Marine Corps
American adventure films
1930s American films
English-language adventure films

The Fighting Devil Dogs


The Nanny is a 1965 British horror movie directed by Seth Holt and based on the novel of the same name by Merriam Modell. It stars Bette Davis, Wendy Craig, Jill Bennett, James Villiers, Harry Fowler, Maurice Denham and was distributed by 20th Century Fox.

Other websites

1965 horror movies
British horror movies
Movies directed by Seth Holt
20th Century Fox movies

The Nanny (1965 movie)