Within the work of the Austrian psychoanalyst Wilhelm Reich (1897–1957), orgastic potency is a human's natural ability to experience an orgasm with certain psychosomatic characteristics and resulting in full sexual gratification.

For Reich, "orgastic impotence" is an acquired fear of sexual excitation, resulting in the inability to find full sexual gratification (not to be confused with anorgasmia, the inability to reach orgasm). This always resulted in neurosis, according to Reich, because that person could never discharge all built-up libido, which Reich regarded as actual biological or bioelectric energy. According to Reich, "not a single neurotic individual possesses orgastic potency" and, inversely, all people free from neuroses have orgastic potency.

Reich coined the term orgastic potency in 1924 and described the concept in his 1927 book Die Funktion des Orgasmus, the manuscript of which he presented to Sigmund Freud on the latter's 70th birthday. Though Reich regarded his work as complementing Freud's original theory of anxiety neurosis, Freud was ambivalent in his reception. Freud's view was that there was no single cause of neurosis.

Reich continued to use the concept as a foundation of a person's psychosexual health in his later therapeutic methods, such as character analysis and vegetotherapy. During the period 1933–1937, he attempted to ground his orgasm theory in physiology, both theoretically and experimentally, as he published in the articles: The Orgasm as an Electrophysiological Discharge (1934), Sexuality and Anxiety: The Basic Antithesis of Vegetative Life (1934) and The Bioelectrical Function of Sexuality and Anxiety (1937).

Background

Reich developed his orgasm theory between 1921 and 1924 and it formed the basis for much of his later work, including the theory of character analysis. The starting point of Reich's orgasm theory was his clinical observation of genital disturbance in all neurotics, which he presented in November 1923, in the paper "Über Genitalität vom Standpunkt der psychoanalytischen Prognose und Therapie" ("Genitality from the viewpoint of psycho-analytic prognosis and therapy"). That presentation was met with a chilling silence, much hostility, and was partially discredited because Reich could not adequately define normal sexual health. In response, and after a further year of research, Reich introduced the concept "orgastic potency" at the 1924 Psycho-analytic Congress, Salzburg in the paper "Die therapeutische Bedeutung des Genitallibidos" ("Further Remarks on the Therapeutic Significance of Genital Libido").

In addition to his own patients' love lives, Reich had examined through interviews and case records of 200 patients seen at the Vienna Psychoanalytic Polyclinic. Reich was impressed by the depth and frequency of genital disturbances he observed. One example was a patient who had reported having a normal sex life, but on closer interviewing by Reich revealed not experiencing orgasm during intercourse and having thoughts of murdering her partner following the act. Such observations made Reich very suspicious of superficial reports about sexual experience. His analysis of these cases led Reich to three conclusions:
 Severe genital disturbance was present in all cases of neurosis,
 The severity of the genital disturbance correlated to the severity of the neurosis, and
 All patients who improved in therapy and remained symptom-free achieved a gratifying genital sex life.

This led Reich to establish criteria for satisfactory sexual intercourse. Based on interviews with people who appeared to have satisfactory sex lives, he described the sex act as being optimally satisfactory only if it follows a specific pattern. Orgastic potency is Reich's term for the ability to have this maximally fulfilling type of sexual experience, which in the Reichian view is limited to those who are free from neuroses and appears to be shared by all people free of neuroses.

Reich distinguished between complete release of accumulated sexual tensions in orgasm, resulting in the restoration of energy equilibrium, and orgastic impotence, in which the release of energy is incomplete. Reich argued that the inability of psychoneurotics to wholly discharge sexual energy caused a damming-up of sexual energy, providing in real-time the physiological 'energy stasis' underlying the neurosis, with the psyche merely providing the historical content of the neurosis, but which could not exist without the accompanying energy stasis.

Definitions
Reich's precise definition for the phrase "orgastic potency" changed over time as he changed his understanding of the phenomenon. He first described it in detail in his 1927 book Die Funktion Des Orgasmus. In the 1980 English translation of the book, Genitality in the Theory and Therapy of Neuroses, he defined orgastic potency as "the ability to achieve full resolution of existing sexual need-tension".

In his 1940 book Die Entdeckung des Orgons Erster Teil: Die Function des Orgasmus, published in English in 1942 as The Discovery of the Orgone, Volume 1: The Function of the Orgasm, he defined it as "the capacity to surrender to the flow of biological energy, free of any inhibitions; the capacity to discharge completely the dammed-up sexual excitation through involuntary, pleasurable convulsions of the body."

His last published definition of orgastic potency, which is repeated in his 1960 published Selected Writings, is "the capacity for complete surrender to the involuntary convulsion of the organism and complete discharge of the excitation at the acme of the genital embrace."

Reich related orgastic potency and orgastic impotence to a, respectively, healthy and unhealthy sexual experience for the adult. He described that the healthy experience has specific biological and psychological characteristics; is identical for men and women; is characterised by love and the ability to express it; full, deep, pleasurable breathing is present; deep, delicious current-like sensations run up and down the body shortly before orgasm; and involuntary muscular movements are present before climax. Moreover, Reich defined the healthy sexual experience exclusively in terms of the sexual union between male and female. The difference between the presence and absence of orgastic potency in the sexual encounter, as described by Reich, is summarised by Boadella as follows:

Recurrence in Reich's work
Reich expanded on the concept throughout his career. In his 1942 scientific autobiography The Discovery of Orgone, Vol. 1: The Function of the Orgasm, Reich provided the following summary of his findings regarding orgastic potency: it is an outcome of health, he argued, because full orgastic potency can only come about if a person is psychologically free of neurosis (pleasure anxiety absent), physically free from "body armor" (chronic muscular contraction absent), socially free from compulsive morality and duty as imposed by authoritarian and mechanistic ways of life, and has the natural ability to love. According to one source, Reich held that the vast majority of people do not meet these criteria and thus lack orgastic potency.

Character analysis
In Reichian psychology, the individual lacking orgastic potency is seen to have developed a neurotic psychosomatic "armor" that blocks the experience of pleasure. This is differentiated between the functionally identical "character armor" and "muscular armor". Muscular armor prevents the sexual climax from being experienced throughout the body. For example, forms of armoring are pulling back the pelvis or tightening the thigh and buttock muscles.

Reich used the terms "genital character" and "neurotic character" respectively to distinguish between two ideal character types: one with and one without orgastic potency. The genital character is the non-neurotic character structure, which is free from armor and, therefore, has the capacity of natural sexual and moral self-regulation, and experiences life as a fulfilment and unfolding of his or her natural tendencies and struggle to achieve objectives. The neurotic character operates under a principle of compulsive moral regulation due to chronic energy stasis. The neurotic character's work and life is permeated by struggle to suppress original and even more basic urges or tendencies. The various forms of neurotic character correspond to the equally many ways of suppressing such urges or tendencies that the human being in question considers to be dangerous or is ashamed of.

Therapeutic resolving of armor

The two goals of Reichian vegetotherapy are the attainment of orgastic potency (for sexual intercourse) and of the "orgasm reflex" during therapy. The orgasm reflex may be observed as waves of pleasure moving through the body, a series of spontaneous, involuntary movements, and signifies that the person is free of body armoring, entailing the ability to give and receive love in all its forms.

Prevention through social reform
The Invasion of Compulsory Sex-Morality, written in 1931, was Reich's first step in approaching the answer to the problem of mass neuroses in society, followed by The Mass Psychology of Fascism and The Sexual Revolution. The primary sociological issues with which Reich dealt included in particular the following three:
 How to prevent neurosis through correct upbringing and education.
 How to prevent sex-negative attitudes in society through sexual reform.
 How to prevent authoritarian repression through general social reform.

Bio-electric experiments
In 1934, Reich expanded his orgasm theory in the essay "Der Orgasmus als Elektro-physiologische Entladung" ("The Orgasm as an Electrophysiological Discharge"). Through clinical observations in his sex-counseling centers, Reich concluded that conceiving of the orgasm as only mechanical tension and relaxation could not explain why some experience gratification and others do not. Thus, based on the work of Friedrich Kraus and others, Reich proposed that the orgasm is a bio-electric discharge, and is part of what Reich termed the orgasm formula:
mechanical tension > bioelectric charge > bioelectric discharge > mechanical relaxation.

In 1934, Reich published the paper "Der Urgegensatz des Vegetatives Lebens" ("Sexuality and Anxiety: The Basic Antithesis of Vegetative Life"). The paper is a literature study in which Reich explored "the physiology of the autonomic nervous system, the chemistry of anxiety, the electro-physiology of the body fluids and the hydro-mechanics of plasma movements in protozoa". In conclusion, Reich proposed a functional psychosomatic antithesis between the parasympathetic and sympathetic nervous systems, captured respectively as pleasure or movement "towards the world", and anxiety or movement "away from the world". The corollary is the idea that bioelectric energy displayed an antithetic function: if it flows outward to the skin surface, causing a build-up of charge at the skin, it is experienced as pleasure; in contrast, if it flows inward, away from the skin surface, resulting in a lowering of charge at the skin, then it is experienced as an increase in central tension or anxiety.

Finally, in 1937 Reich published Experimentelle Ergebnisse über die elektrische Funktion von Sexualitat und Angst (The Bioelectrical Function of Sexuality and Anxiety) in which he thought he experimentally verified the existence of what he first termed the "libidinal economy". The report summarised two years of research into the reaction of the skin to states of pleasure and anxiety. His claimed findings included the following: normal skin has a constant, basic electrical charge of 40 milivolts that does not change with mood states; erogenous zones have a wandering potential that can at times be much higher (200 milivolts) or lower, depending on the mood states; change in potential does not depend on the mechanical nature of the stimulus, but on changes in the subject's sensation or emotion; and, erogenous zones can have mechanical tension (be tumescent) without changes in levels of the charge, e.g. as in the case of a "cold erection".

Orgone energy
A common misconception about Reich's later developed orgone energy accumulator is that he claimed it could provide orgastic potency to those sitting inside the device. As Reich put it, "The orgone accumulator, as has been clearly stated in the relevant publications (The Cancer Biopathy, etc.), cannot provide orgastic potency."

Reception

Academic and psychoanalytic reception
According to Myron Sharaf, Reich's view that the capacity to unite tender and sensuous feelings is important for a healthy love relationship was not a new concept. Freud had noted this as early as 1912. However, Sharaf states that the involuntary physical aspects of the full genital discharge in Reich's work were new. He called the concept orgastic potency and the manner in which Reich "connected a series of psychological, social, and biological findings with the presence or absence of this function" unique to Reich.

When Reich first introduced the orgasm theory at the psychoanalytic congress in Salzburg he was congratulated by Karl Abraham for successfully formulating the economic element of neurosis. However, Reich's presentation of the orgasm theory came exactly when psychoanalysis was moving away from the original Freudian instinct theory based on psychic energy. In his 1926 book Inhibitions, Symptoms, Anxiety Freud completely abandoned his earlier position and wrote: "Anxiety never arises from repressed libido."

Freud was ambivalent in his reception. When Reich presented him the manuscript of Die Funktion des Orgasmus in May 1926, Freud replied, "That thick?" Later that year he wrote to Reich that the book was "valuable, rich in observation and thought", but in May 1928 wrote to Lou Andreas-Salomé: "We have here a Dr. Reich, a worthy but impetuous young man, passionately devoted to his hobby-horse, who now salutes in the genital orgasm the antidote to every neurosis. Perhaps he might learn from your analysis of K. to feel some respect for the complicated nature of the psyche."

Reich was strongly influenced by Freud's distinction between psychoneuroses and actual neuroses, the latter being considered of a physiological origin, and the related libido as the energy of an unconscious sexual instinct. However, Reich emphasised the libido theory exactly when it was being discarded by psychoanalysis. Freud had reasoned that sexual maladaption caused the active damming-up of "sexual stuff" and defined "actual neurosis" as anxiety based on dammed-up libido. However, Freud abandoned his view in the 1920s and postulated the never popularly accepted death instinct to explain the destructive behaviour that was earlier attributed to frustrated libido. Reich's view of the relationship between actual and psychoneuroses has not found its way into psychoanalytic thinking. However, it has the advantage of connecting psychopathology with physiology and, according to Charles Rycroft, this makes Reich the only psychoanalyst to provide any explanation as to why childhood pathogenic experiences (causing neuroses in classical psychoanalysis) do not disappear when neurotics leave their childhood environment.

Sharaf writes that the theory was immediately unpopular within psychoanalysis. Paul Federn, Reich's training assistant, and Hermann Nunberg were particularly opposed to it. The German psychiatrist Arthur Kronfeld (1886–1941) wrote a positive review of Die Funktion des Orgasmus in 1927: "In this extremely valuable and instructive work the author has really succeeded in broadening as well as deepening Freud's theory of sex and of the neuroses. He broadens it by clarifying for the first time the significance of the genital orgasm for the development and the whole structure of the neuroses; he deepens it by giving Freud's theory of the actual neuroses an exact psychological and physiological meaning. I do not hesitate to consider this work of Reich's the most valuable contribution since Freud's The Ego and the Id." The most prominent Freudian to make clinical use of the concept orgastic potency was Eduard E. Hitschmann (1871-1957), the Director of the Psychoanalytic Polyclinic.

Two further reactions to Reich's work in the psychoanalytic movement were either completely ignoring it or using the concept as if it was commonly accepted, but without referring to Reich as the source. As a result, the theme orgastic potency survived, but became divorced from the concepts in which Reich embedded it. For example Charles Berg (1892-1957), in his Clinical Psychology - A Case Book of the Neuroses and their Treatment (1948), uses Reich's sex economic theory of anxiety as his own, without attributing it to Reich. Erik Erikson was another psychoanalytic writer who partially adopted Reich's concept without acknowledgement. In his bestselling Childhood and Society, Erikson wrote: "Genitality, then, consists in the unobstructed capacity to develop an orgastic potency so free of pregenital interferences that the genital libido ... is expressed in heterosexual mutuality ... and with a convulsion-like discharge of tension from the whole body."

Otto Fenichel, in the classic textbook The Psychoanalytic Theory of Neuroses, uses aspects of Reich's orgasm theory but disguised that they were Reich's contribution, and furthermore he hid the conflicts in the psychoanalytic movement that were explicit in Reich's work. A major entry mainly based on Fenichel's work appeared in the 1953, 1970 Psychiatric Dictionary by L. Hinsie and R. Campbell: "Impotence, orgastic: The incapacity for achieving the orgasm or acme of satisfaction in the sexual act. Many neurotics cannot achieve adequate discharge of their sexual energy through the sexual act ... According to Fenichel, an important concomitant of orgastic impotence is that these patients are incapable of love."

, there are no peer-reviewed articles in the PubMed database that discuss the concept of orgastic potency or Reich's orgasm theory.

Reichian legacy
The two colleagues of Reich who build most on Reich's orgasm theory and orgastic potency are Danish psychiatrist Tage Philipson (1907-1961) and Alexander Lowen (1910-2008). They emphasised the importance of human relationship in orgastic functions.

Tage Philipson, in his 1952 book Kaerlighedslivet: Natur Eller Unnatur, studied natural and unnatural love-life. He wrote that "in healthy people sexuality and love will always be associated together. Sex will come from the heart and return to the heart ... the fully healthy person must be the person with completely free love feelings ... When this is the case other feelings will also be able to stream through the entire organism: hate, sorrow, anxiety, etc., and the orgasm, as the highest point of sexuality, will also be able to affect the entire organism."

Alexander Lowen, in his 1966 book Love and Orgasm, distinguishes between achieving orgasm in the Kinsey meaning of sexual performance, and the entering into a love relationship as a whole human, similar to Reich. Like Reich, Lowen considers the latter to be the expression of health, not a means to it.

Theodore Peter Wolfe (Theodor Peter Wolfensberger) (1902-1954), an American pioneer in psychosomatic medicine and later colleague of Reich, thought that anxiety was the cause of both neuroses and psychosomatic distortions. When reading Reich's Der Funktion des Orgasmus he found in it what he called the key to understanding the dynamics of this relationship.

In a review of Reich's sexual theories Elsworth Fredrick Baker (1903-1985), a psychiatrist and colleague of Reich, wrote that in particular Reich's sexual theories were commonly misinterpreted and misunderstood. While Reich was portrayed as advocating "a wild frantic promiscuity" to seek "mystical, ecstatic orgasm" that could cure all neuroses and physical ills, Baker continues, Reich in fact found that the healthy person needs less sexual activity and that the orgasm has a function to maintain health only for the healthy person.

Comparing definitions of orgasm
The concepts of the sexual acme used in the 1948 and 1953 Kinsey reports and the 1966 research by Masters and Johnson were different from the one used by Reich. Reich directly related orgastic potency with the total response system, the personality, contact-ability, total psychosomatic health of a person. In contrast, Kinsey and Masters and Johnson restricted their conclusions to phenomena that all sexual climaxes had in common. For example, Kinsey defined the male orgasm as "all cases of ejaculation" and the female orgasm as "the sudden and abrupt release ... from sexual tension, [excluding] the satisfaction that may result from sexual experience." In other words, Kinsey focusses on the physiology, anatomy and technique involved in inducing a discharge of tension. Therefore, Kinsey's usage of the term orgasm covers behaviour that in the Reichian typology ranges from orgastic potency to orgastic impotence. Furthermore, examples of physiological distinctions Reich made but which were not pursued by Kinsey and Masters and Johnson include the difference between local and total bodily responses, and between voluntary and involuntary movements.

Mature orgasm

In 1905, Freud developed the psychoanalytic distinction between clitoral and vaginal orgasm, with only the latter being identified with psychosexual maturity. This distinction has since been challenged among others on physiological grounds. For example, Masters and Johnson wrote: "Are clitoral and vaginal orgasms truly separate and anatomic entities? From a biological point of view the answer to this question is an unequivocal NO." However, a clinically  grounded qualitative distinction between psychosexual maturity and immaturity was only introduced with Reich's concept orgastic potency vs. orgastic impotence (instead of vaginal vs. clitoral). As Masters and Johnson focussed on phenomena shared by all sexual climaxes – ranging from what Reich categorised as orgastic potency to impotence – their finding has no direct relevance to or implications for Reich's distinction.

Works by Wilhelm Reich
Sexology
1921: "Der Koitus und die Geschlechter", Zeitschrift für Sexualwissenschaft 8. Republished in English in 1975 as "Coition and the Sexes", Early Writings, Vol. 1, New York: FSG: 73–85, .
1922: "Triebbegriffe von Forel bis Jung," Zeitschrift für Sexualwissenschaft 9. Republished in English in 1975 as "Drive and Libido Concepts from Forel to Jung" in Early Writings, Vol. 1, New York: FSG: 86–124, .
1923: "Zür Triebenergetik," Zeitschrift für Sexualwissenschaft 10. Republished in English in 1975 as "Concerning the Energy of Drives" in Early Writings, Vol. 1, New York: FSG: 143–157, .

Psychoanalysis
In the following articles Reich discussed the positive and negative therapeutic reactions of patients to changes in their genitality:
1922: "Über Spezifität der Onanieformen", Internationale Zeitschrift für Psychoanalyse 8. Republished in English in 1975 as "Concerning Specific Forms of Masturbation" in Early Writings, Vol. 1, New York: FSG: 125–132, .
1924: "Über Genitalität vom Standpunkt der psychoanalytischen Prognose und Therapie", Internationale Zeitschrift für Psychoanalyse 10. Republished in English in 1975 as "On Genitality: From the Standpoint of Psychoanalytic Prognosis and Therapy" in Early Writings, Vol. 1, New York: FSG: 158–179, .
1925: "Weitere Bemerkungen über die therapeutische Bedeutung der Genitallibido", Internationale Zeitschrift für Psychoanalyse 11. Republished in English in 1975 as "Further Remarks on the Therapeutic Significance of Genital Libido" in Early Writings, Vol. 1, New York: FSG: 199–221, .
1926: "Über die Quellen der neurotischen Angst (Beitrag zur Theorie der psychoanalytischen Therapie) [On the Sources of Neurotic Anxiety (A Contribution to the Theory of Psychoanalytic Therapy)]", Internationale Zeitschrift für Psychoanalyse 12, and International Journal for Psychoanalysis 7: 381–391.
1927: Die Funktion des Orgasmus: Zur Psychopathologie und zur Soziologie des Geschlechtslebens, Vienna: Internationale Psychoanalytische Verlag. Second, revised edition published in English in 1980 as Genitality in the Theory and Therapy of Neurosis, New York: FSG, .

Biology
In the following articles Reich explored whether the orgasm theory was rooted in physiology:
1934: "Der Orgasmus als Elektro-physiologische Entladung",  Zeitschrift für Politische Psychologie und Sexualökonomie 1: 29–43, Copenhagen. Republished in English in 1982 as "The Orgasm as an Electrophysiological Discharge", The Bioelectrical Investigation of Sexuality and Anxiety, New York: FSG: 3–20, .
1934: "Der Urgegensatz des Vegetatives Lebens", Zeitschrift für Politische Psychologie und Sexualökonomie 1: 125–142, Copenhagen. Republished in English in 1982 as "Sexuality and Anxiety: The Basic Antithesis of Vegetative Life", The Bioelectrical Investigation of Sexuality and Anxiety, New York: FSG: 21–70, .
1937: Experimentelle Ergebnisse über die elektrische Funktion von Sexualitat und Angst, Klinische und Experimentelle Berichte 4, Copenhagen: Sexpol Verlag. Republished in English in 1982 as "The Bioelectrical Function of Sexuality and Anxiety", The Bioelectrical Investigation of Sexuality and Anxiety, New York: FSG: 71–161, .

Synthesis
1942: The Discovery of the Orgone Vol. 1: The Function of the Orgasm, New York: Orgone Institute Press.

See also
Body psychotherapy
Human sexual response cycle
Psychosexual development
Sexual dysfunction

Footnotes

References

.
.
.
. Quoted in .
.

.
.
.
.
.

.
.
. See here for a summary on Xiandos.info, archived from the original on 9 June 2012.

.
. Note: not to be confused with the 1942 The Function of the Orgasm, Volume I of The Discovery of the Orgone.
.
.
.
.

Further reading
.
.
.
.
.
.
.
.
.

External links

 Documentary "Man's Right to Know" (28 min) Wilhelm Reich Infant Trust. An introduction to the life and work of Wilhelm Reich.
 Documentary Who is Afraid of Wilhelm Reich ("Wer Hat Angst vor Wilhelm Reich") (1:34 hr), Antonin Svoboda in coproduction with Austrian TV.

Sexuality
Orgonomy
Developmental psychology
Orgasm
Sexual acts

de:Orgastische Potenz

Orgastic potency


Black Juice is the first collection of short stories by Australian writer Margo Lanagan. It was released in paperback by Allen and Unwin in 2004, and features the author's widely anthologised short story "Singing My Sister Down", which won the 2005 World Fantasy Award for Best Short Story.

The collection includes 10 original short stories by the author that fall into the fantasy, science fiction, horror and young adult genres. It won the 2004 Victorian Premier's Prize for Writing for Young Adults, and the 2005 World Fantasy Award for Best Collection.

Contents
 "Singing My Sister Down" – winner of World Fantasy Award, Ditmar Award, and Aurealis Award
 "My Lord's Man"
 "Red Nose Day"
 "Sweet Pippit"
 "House of the Many"
 "Wooden Bride"
 "Earthly Uses"
 "Perpetual Light"
 "Yowlinin"
 "Rite of Spring"

Awards

 2004 Victorian Premier's Prize for Writing for Young Adults – winner
 2004 Queensland Premier's Literary Awards — Best Young Adult Book – shortlisted
 2005 World Fantasy Award for Best Collection – winner
 2005 Ditmar Award Best Collected Work – winner
 2005 The Courier-Mail Book of the Year Award – shortlisted
 2005 New South Wales Premier's Literary Awards — Christina Stead Prize for Fiction – shortlisted
 2006 Michael L. Printz Award for Excellence in Young Adult Literature – honour book

Critical reception
 Colin Greenland in The Guardian called the stories "remarkable, luminous, mysterious", and concluded that "In Lanagan's hands the implications of words and phrases, the meanings folded into them, balloon out into landscapes as complex and interrelated and hence indeterminate as life itself: life in Indonesia or New South Wales, the past or the future or anywhere."

References

2004 short story collections
Fantasy short story collections
Horror short story collections
Science fiction short story collections
Australian short story collections
Allen & Unwin books

Black Juice


Rejected is a 2000 animated surrealist comedy short film directed by Don Hertzfeldt that was released in 2000. It was nominated for an Academy Award for Best Animated Short Film the following year at the 73rd Academy Awards, and received 27 awards from film festivals around the world.

Story

The film takes place over four segments and is initially introduced as a collection of unaired promo interstitials for the fictional "Family Learning Channel." The "advertisements" are surreal, feature non-human characters, are often gruesome, and have nothing to do with the product. The second section is introduced as a collection of rejected advertisements for the fictional "Johnson & Mills Corporation" and features the same surreal dark and absurd humour as the earlier section. The third section is introduced with an explanation that the animator had begun further rejecting the norms of animation and a single short is then shown which was apparently animated with Hertzfeld's left hand only. In this short, the audio is garbled and the characters speak only complete nonsense.

The fourth and final segment is introduced with a title card explaining that the "rejected" cartoons began falling apart. Various characters and elements from the earlier shorts then appear in disjointed succession as their world literally falls apart: Clouds and stars fall from the sky, killing characters; the paper the cartoons are drawn on crumples and destroys the animations; characters attempt to break out of the screen or are sucked in to holes in the page. A close up on a distorted, screaming character ends the short which abruptly cuts to end credits scored with dramatic classical music.

Production
Hertzfeldt's first film after graduating from college, Rejected was photographed on a 35mm rostrum camera he purchased in 1999.

Rejected features simple hand-drawn artwork, featuring mostly black pen animation on a white background with occasional use of color. As the film progresses and the fictionalized animator begins to fall apart, the drawings become more crude and the animation becomes more erratic. As the film concludes, the paper that the animation is drawn on begins to crumple and tear, and the characters are seen struggling to evade the destruction.

Besides the iconic Allegro ma non troppo from Beethoven's 9th that plays in the text introductions to each segment, a particular segment with the "Fluffy Guys" uses background music from the Swedish Christmas song Nu är det jul igen.

Inspiration

Although the film is fictional and Hertzfeldt has never done any advertising work, he did receive many offers to do television commercials after Billy's Balloon received international attention and acclaim. In appearances he would often tell the humorous story of how he was tempted to produce the worst possible cartoons he could come up with for the companies, run off with their money, and see if they would actually make it to air. Eventually this became the germ for Rejected'''s theme of a collection of cartoons so bad they were rejected by advertising agencies, leading to their creator's breakdown.

Hertzfeldt has never accepted "real" advertising work and has stated numerous times on his website and in public appearances that he never will, as he feels advertisements are "lies" and he does not want to lie to his audience.

Release
Exhibition historyRejected world-premiered at the San Diego Comic Convention in 2000. Between hundreds of film festival appearances, Rejected also toured North American theaters in 2000, 2001, and 2002 with Spike and Mike's Festival of Animation; in 2001 and 2002 again with a retrospective touring program of Hertzfeldt's and animator Bill Plympton's films called "The Don and Bill Show"; and returned to theaters once again in 2003 and 2004 with Hertzfeldt's own the Animation Show tour.

Released nationwide in theaters through the Spike and Mike's Festival of Animation in 2000, the short won 27 film festival awards and was nominated for an Oscar for Best Animated Short Film the following year.

In the early 2000s, pirated copies of Rejected turned the film into a viral sensation online, where it has been credited with shaping the surreal sense of humor of the early Internet.

In 2003, two of the "Fluffy Guy" characters reappeared in three Hertzfeldt cartoons created to introduce and book-end the first year of the Animation Show: Welcome to the Show, Intermission in the Third Dimension, and the End of the Show.Rejected was scheduled to air on Adult Swim in 2001 but was delayed for unknown reasons—it was rescheduled to air in November 2002 "uncut and commercial free", and was heavily promoted on the network that week. However, the short was pulled from the schedule at the last minute, for unknown reasons. Rumors about the reasons behind this highly unusual action have included: the film's brief use of the phrase "Sweet Jesus" ("Jesus" being a word allegedly not allowed on a Turner Network back then), and an anonymous high-ranking network executive simply not finding the short to be funny. Rejected has since aired without incident on the Cartoon Network in other countries as well as on other international television networks, but has to date never been broadcast on American television. However, a brief clip from the film has since aired on the Adult Swim anthology series Off the Air, 14 years later, in the episode Holes. The scene mentioned in the episode is the scene with the "fluffy guys" in which one announces that his "anus is bleeding."

In 2020, for the film's twentieth anniversary, Hertzfeldt appeared at the Austin Film Society for a rare 35mm screening and discussed the making of the cartoon and its impact.

DVD and Blu-ray
In 2001 Bitter Films released a limited edition DVD "single" of the short film. The DVD "single" featured a deleted scene as well as an audio commentary, and is now out of print.

In 2006, Rejected was remastered and restored for inclusion on the DVD, "Bitter Films Volume 1", a compilation of Don Hertzfeldt's short films from 1995–2005.  Special features on this DVD relating to Rejected included a new text commentary by Hertzfeldt (via closed-caption boxes), footage from the abandoned cartoon "the Spanky the Bear Show" that later evolved into a central scene in the film, original pencil tests, the 2001 audio commentary, and dozens of pages devoted to Hertzfeldt's original sketches, storyboards, notes, and deleted ideas from the film.

In 2015, the cartoon was remastered again, this time in high definition, for inclusion on the Blu-ray of It's Such a Beautiful Day.

A 35-second deleted scene from Rejected was only released on the 2001 DVD "single". In it, a father inquires into his son's desire to drink goat's blood. The scene appears to fit in with the "Johnson & Mills" portion of the original film, and is revealed to be an advertisement for cotton-swabs at the end.

LegacyRejected is now considered a cult classic and one of the most influential animated films ever made.

In 2009, Rejected was the only short film named as one of the "Films of the Decade" by Salon. In 2010, it was noted as one of the five "most innovative animated films of the past ten years" by The Huffington Post. Indiewire film critic Eric Kohn named Rejected one of the "10 best films of the 21st century" on his list for the BBC Culture poll in 2016.

In 2018 New York Magazine wrote, "If there is a single piece of media that inspired what we nebulously refer to as "Internet humor," it's probably Rejected.

In popular culture
 A fan of the film, quoting, "I am the Queen of France!" appeared on the Late Show with David Letterman.
 The alternate dimension scenes from the Aqua Teen Hunger Force episode "Broodwich" were an acknowledged homage to Don Hertzfeldt. Hertzfeldt's films, and Rejected in particular, were a strong early influence on Adult Swim writers and Aqua Teen creators Matt Maiellaro and Dave Willis.
 A 2013 episode of the Fine Brothers' web series YouTubers React featured Rejected.
The introduction section of the 2006 video game Prey features a crude scrawling in the room's bathroom that is a direct reference to the first sketch; "My spoon is too big."
 Musician Neil Cicierega's album Hip to the Javabean features a song titled "Consumer Whore", which is named after a line from the short film. The response line, "And how!" crosses over into the next track, "Between You and Me".
 In the first episode of the 26th season of The Simpsons, Clown in the Dumps, the opening couch gag was created by Don Hertzfeldt.  Rejected established the roots of a dystopia by consumerism style of satire through the guise of rejected advertisements; this short cuts directly to the point.  It depicts Homer using a time-traveling remote control to regress to his original 1987 character model, then accidentally going into a distant future incarnation of the show called The Sampsans where he and his family have evolved into grotesque, mindless, catchphrase-spouting mutants.  Carey Bodenheimer of CNN wrote: "[The Simpsons''] kicked off season 26 with a staggering, Don Hertzfeldt directed intro sequence."
In the Off the Air (TV series) episode "Holes", a cloud creature is bleeding from his anus.

See also
 Criticism of capitalism
 Surreal humour
 Independent animation
 Postmodernist animation
 Arthouse animation

References

External links

2000 short films
2000 animated films
2000 films
American animated short films
Short films directed by Don Hertzfeldt
Surrealist films
2000s animated short films
2000s English-language films
2000s American films
Postmodern films

Rejected


Auburn is a community in the Canadian province of Nova Scotia, located in Kings County, situated west of Aylesford. The second oldest Anglican church in Nova Scotia is situated there, consecrated in 1790 by Bishop Inglis. Modelled on Christopher Wren's London church designs, St. Marys Anglican Church is known as "The Little Wren Church". Complete with a Palladian window over the chancel, it most closely resembles St James's Church, Piccadilly.

References

Communities in Kings County, Nova Scotia

Auburn, Nova Scotia


Neshat Jahandari is an Iranian pilot. She is the first female captain of a McDonnell Douglas MD-80 based in Tehran, Iran. She is the second Iranian woman to qualify as a commercial airline pilot.

She has flown 3000 thousand hours and is the youngest and only MD80 female captain of the Iranian airline. After qualifying as an airline captain, the company's video went viral.

Another fame wave came when she made history being the Captain of the first all-female-crew operating a flight from Tehran to the northeastern city of Mashhad.

The departing flight from the capital Tehran to Mashhad in northeast Iran was done with 160 passengers on Monday, and the return flight carried 171 passengers.

Captain Jahandari posted about the news on her Instagram page, describing it as a "historic event" in Iran's aviation industry.

Life story
Pilot Neshat Jahandari became Iran's first female certified captain in July 2019. Awarded four stripes, she is qualified to take full control of an aircraft, either on her own or supported by a copilot. In an industry still largely closed to women in the Islamic Republic, this is a significant achievement.

She began to work with Zagros Airlines in the field of flight safety and the review of Flight Data Monitoring. About three and a half years later, the company needed a pilot; she passed the test and was accepted with merit.

At the age of 17, she began her pilot training classes, and at the same time studied at the University. She received her degree in Aviation Flight Engineering Technology.

Due to her interest in this field, after receiving her license, she received all the flight-related documents for the airliners, such as the Commercial Pilot License and the Instrument Rating. Finally, her dream came true and she became a pilot.

Although, there is no that says that women cannot be pilots, it has never been easy for this to happen.

"When I entered the pilot school, many were surprised and said this is a male profession and is not suitable for me," she says.

"This strange behavior could be a hindrance to me, but I believed in it and I was doing my job. I believe that everyone who does his/her best in every field, will certainly enjoy its result. In today's world, as we have male professional chefs, we also have successful female mechanics engineers. Success has nothing to do with gender. Of course, it's natural to be surprised to see a female pilot," she noted.

References

1989 births
Living people
Iranian people
Pilots

Neshat Jahandari


The Tupolev Tu-14 (NATO reporting name: Bosun) (USAF/DOD reporting name: Type 35), was a Soviet twinjet light bomber derived from the Tupolev '73', the failed competitor to the Ilyushin Il-28 'Beagle'. It was used as a torpedo bomber by the mine-torpedo regiments of Soviet Naval Aviation between 1952–1959 and exported to the People's Republic of China.

Development
The Tu-14 had its origin in the three-engined '73' design which used a pair of Rolls-Royce Nene turbojets under the wings and a single Rolls-Royce Derwent V in the tail, in an installation much like that of the central engine of a Boeing 727. The availability of the Klimov VK-1, a more-powerful version of the Nene, allowed the RD-500, Soviet version of Derwent, to be deleted from the preliminary design, which was given the internal designation of "81". The other major change was the addition of a PSBN navigation radar which required a fifth crewmember to operate. This was rejected by the VVS and Tupolev reworked the design to eliminate the dorsal and ventral turrets and reduce the crew to only three, the pilot, a bombardier-navigator, and a tail gunner. It retained the two fixed  Nudelman-Rikhter NR-23 cannon in the fuselage nose, but the design of the fuselage was changed to give the gunner his own separate pressurized compartment and a KDU-81 tail turret armed with another pair of NR-23 guns.

Construction of the prototype began in August 1949, using components from the canceled Tu-73S prototypes, and was completed in October. The manufacturer's tests were conducted between 13 October 1949 and 21 January 1950. Its State acceptance trials lasted from 23 January to 27 May 1950 and it was accepted for production, provided that the problems with the KDU-81 turret were resolved and that ejection seats were provided for the pilot and gunner, a hot air deicing was to be fitted and the gun mount in the nose revised. The first five preproduction aircraft did not incorporate these changes as they were built using Tu-73S components, after the factory in Irkutsk had prematurely begun production of that bomber. One of these was sent to Moscow where it was evaluated by Soviet Naval Aviation for use as a torpedo bomber. The sixth aircraft did incorporate all these changes as well as the navigator's ejection seat requested by Naval Aviation, and it was evaluated in May 1951. It was recommended for production as the Tu-14T and entered service in 1952 with Naval Aviation.

About 150 were produced and served with the mine-torpedo regiments of Naval Aviation until 1959. It was given the NATO reporting name Bosun. After it was withdrawn from service, several were used for various test programs, including one evaluating ramjet engines. Up to 50 used Tu-14Ts were delivered to the Chinese People's Liberation Army Air Force although quantities and dates cannot be confirmed.

The second preproduction Tu-14 was converted into a day or night photographic reconnaissance aircraft with the OKB designation of "89". The conversion was fairly minor and involved an unpressurized central cabin that housed two automatic pivoting cameras, two fuel tanks and another camera fitted in the bomb bay and another camera for oblique photography was mounted in the aircraft's tail for the daylight photography role. All cameras and their viewports were electrically heated to prevent misting and icing at altitude. For night photography, the fuel tanks and camera in the bomb bay were removed and a variety of flash bombs were carried to illuminate the targets. In addition, the screen of the PSBN-M navigation radar could be photographed by a special camera and both the pilot and navigator could record their own observations using a voice recorder. However, the VVS had already decided to use the Il-28R reconnaissance version of the standard Il-28 by the time that the "89" first flew on 23 March 1951 and Tupolev decided not to submit it for State acceptance trials.

Variants
Tu-14 – Light bomber version (not accepted for service).
Tu-14R – Reconnaissance version (prototype only). Also known as Tu-89.
Tu-14T – Torpedo bomber version.
'81' - OKB designation of the Tu-14 2 × VK-1 prototype
'93' – OKB designation of the proposed derivative of the Tu-14T with VK-5 or VK-7 engines; not built.

Operators

Soviet Naval Aviation

People's Liberation Army Air Force

Specifications (Tu-14 / '89T')

See also

 English Electric Canberra
 Ilyushin Il-28
 Tupolev Tu-12

References

Bibliography

Tu-0014
1940s Soviet bomber aircraft
Twinjets
High-wing aircraft
Aircraft first flown in 1949

Tupolev Tu-14


Don't Give a Damn (), also known as Burger Cop in the United States, is a 1995 Hong Kong action film produced and directed by Sammo Hung and starring Hung, Yuen Biao, Takeshi Kaneshiro and Kathy Chow.

Plot
Police inspector Pierre Lau (Sammo Hung) and his young superior Tang Chuen-shek (Takeshi Kaneshiro) are ordered to cooperate with customs officer Rambo Wong (Yuen Biao) to foil a drug trade. During the operation, they arrest Nakamura, a major drug lord and seize the largest bulk of drugs since the start of Hong Kong. Japanese businessman Yamamoto (Kelvin Siu) is the mastermind of the Nakmura Organization. Due to the large amount of drugs being confiscated and with nothing left, Yamamoto desperately decides to order his underling Siu-lung (Collin Chou) to hire some thugs from America to help him snatch the drugs at the police station to destroy the evidence so Yamamoto would not face any charges and restore the collapse Nakamura Organization.

On the other hand, Yau Ching (Kathy Chow) and Pierre are like-minded colleagues, while May (Annabelle Lau), who has a secret crush on Pieree, is not his cup of tea. At the same time, Rambo has admired Pierre's subordinate, Anna (Eileen Tung), after their first meet and often forces Pierre to be their matchmaker.

In order to snatch the drugs from the police station, the thugs plant bombs in the station, forcing the officers to leave the building while they pose as SDU members and go snatch the drugs from the evidence room. However, they were penetrated by Shek  and after battling alongside Pierre against the thugs, the thugs managed to escape after one of the thugs Sean (Shawn Patrick Berry) was arrested.

After this, Yamamoto orders the thugs to leave Hong Kong, who refuse to do so since Bobby (Robert Samuels), Sean's older brother, refuses to leave without his brother. When Yamamoto's bodyguards attempt to kill them, the thugs managed to overpower them and kill them. The thugs then kidnap Ching and forces Pierre to free Ching, where he will get Ching and the drugs back in exchange for Sean. Pierre decides to take matters to his own hands and Rambo and Shek agrees to help him, while Yamamoto also decides to take back the drugs and kill the thugs.

Pierre confronts the thugs with holding Rambo, who is dressed and painted to resemble Sean, hostage to exchange for Ching and the drugs while Shek, also dressed and painted to resemble Sean, takes another route to rescue Ching. But hell breaks loose no so long later and Yamamoto also arrives with Siu-lung and two white bodyguards. After several long battles, where Pierre defeats Bobby, who was later killed by Lung, Pierre kills Lung and Yamamoto, while Rambo kills the two bodyguards with help of two thugs Timmy (Timmy Hung) and Cheung (Jimmy Hung), who decide to turn straight and be witnesses, and Shek engages in a gunfight with the thugs and bodyguards. In the end, Pierre is reunited with Ching.

Cast

Sammo Hung as Pierre Lau
Yuen Biao as Rambo Wong Yuk Man
Takeshi Kaneshiro as Inspector Tang Chuen-shek
Kathy Chow as Yau Ching
Eileen Tung as Anna
Annabelle Lau as May
Timmy Hung as Timmy
Collin Chou as Siu-lung
Jimmy Hung as Cheung
Kelvin Wong as Yamamoto
Dion Lam as Yamamoto's bodyguard
Eddie Maher as Yamamoto's bodyguard
Habby Heske as Yamamoto's bodyguard
Roy Filler as Yamamoto's bodyguard
Wong Chan as Commissioner Wong
Robert Samuels as Bobby
Shawn Patrick Berry as Sean
Charlie Wong as Charlie
Jackie Lee as Jackie
Yvonne Yung as Sun Flower (cameo)
Natalis Chan as Deranged cop (cameo)
Lau Kar-wing as Statement cop (cameo)
Bryan Leung as No-nonsense cop (cameo)
Melvin Wong as Rambo's superior officer (cameo)
Michael Miu as CID (cameo)
Tommy Wong as CID (cameo)
Wan Chi Keung as CID on the bus (cameo)
Wan Yeung-ming as CID on the bus (cameo)
Blackie Ko as Stupid robber on the bus (cameo)
Richard Ng as Old man on the bus (cameo)
Cheung Kwok-keung as Superman (cameo)
Chin Siu-ho as Spider Man (cameo)
Teddy Yip as Senior Officer Yip (cameo)
Wu Ma as Arrested hawker (cameo)
Peter Chan as Rapist at scrapyard (cameo)
Billy Lau as Fainted cop (cameo)
Wong Hoi-yiu
Simon Cheung

Production
Don't Give a Damn was originally set to be a reunion of the Three Brothers Jackie Chan, Sammo Hung and Yuen Biao, members of the Seven Little Fortunes who attended the China Drama Academy together, who had last appeared together in 1988's Dragons Forever. However, due to obligations on Rumble in the Bronx, Chan was forced to pull out and was replaced by Takeshi Kaneshiro.

Box office
The film grossed HK$5,085,770 at the Hong Kong box office during its theatrical release from 17 February to 2 March 1995 in Hong Kong.

See also
Sammo Hung filmography
Yuen Biao filmography

References

External links

Don't Give a Damn at Hong Kong Cinemagic

1995 films
1995 action comedy films
1990s martial arts comedy films
1990s crime comedy films
Hong Kong action comedy films
Hong Kong martial arts comedy films
Hong Kong crime comedy films
Kung fu films
Gun fu films
Police detective films
1990s Cantonese-language films
Films directed by Sammo Hung
Films set in Hong Kong
Films shot in Hong Kong
1990s Hong Kong films

Don't Give a Damn


Sext, or Sixth Hour, is a canonical hour of the Divine Office of almost all the traditional Christian liturgies. It consists mainly of psalms and is held around noon. Its name comes from Latin and refers to the sixth hour of the day after dawn. With Terce, None and Compline it belongs to the so-called "Little Hours".

In Oriental Orthodox Christianity and Oriental Protestant Christianity, the office is prayed at 12 pm, being known as Sheth sho`in in the Syriac and Indian traditions; it is prayed facing the eastward direction of prayer by all members in these denominations, both clergy and laity, being one of the seven fixed prayer times.

History
The hora sexta of the Romans corresponded closely with our noon. Among the Jews it was already regarded, together with Terce and None, as an hour most favourable to prayer. The Acts of the Apostles state that St. Peter went up to the higher parts of the house to pray (). It was the middle of the day, also the usual hour of rest, and in consequence for devout men, an occasion to pray to God, as were the morning and evening hours.

From the time of the early Church, the practice of seven fixed prayer times have been taught; in Apostolic Tradition, Hippolytus instructed Christians to pray seven times a day "on rising, at the lighting of the evening lamp, at bedtime, at midnight" and "the third, sixth and ninth hours of the day, being hours associated with Christ's Passion." With respect to sixth hour prayer, Hippolytus wrote:

The Fathers of the Church dwell constantly on the symbolism of this hour. Noon is the hour when the sun is at its full, it is the image of Divine splendour, the plenitude of God, the time of grace; at the sixth hour Abraham received the three angels. We should pray at noon, says St. Ambrose, because that is the time when the Divine light is in its fullness. Origen, St. Augustine, and several others regard this hour as favourable to prayer. Lastly and above all, it was the hour when Christ was nailed to the Cross; this memory excelling all the others left a still visible trace in most of the liturgy of this hour. This scene from Good Friday is the background for Sext. "Lead us not into temptation" is the message of this hour. It is also a time to ask God to grant one health and peace of heart, as in the traditional hymn Rector Potens.

All these reasons and traditions, which indicate the sixth hour as a culminating point in the day, a sort of pause in the life of affairs, the hour of repast, could not but exercise an influence on Christians, inducing them to choose it as an hour of prayer. As early as the third century the hour of Sext was considered as important as Terce and None as an hour of prayer. The Didache, Clement of Alexandria, and Tertullian all speak of these three hours of prayer. Origen, the "Canons of Hippolytus", and St. Cyprian express the same tradition. It is therefore evident that the custom of prayer at the sixth hour was well established by the 3rd century. But probably most of these texts refer to private prayer.

In the 4th century the hour of Sext was widely established as a Canonical Hour. In his rule St. Basil made the sixth hour an hour of prayer for the monks.  St. John Cassian treats it as an hour of prayer generally recognized in his monasteries. But this does not mean that the observance of Sext, any more than Prime, Terce, None, or even the other Canonical Hours, was universal. Discipline on this point varied widely according to regions and Churches.

Western Office
Despite its antiquity the hour of Sext never had the importance of those of Matins, Lauds, and Vespers. It must have been of short duration. In the fourth and the following centuries the texts which speak of the compositions of this Office are far from uniform. John Cassian tells us that in Palestine three psalms were recited for Sext, as also for Terce and None. This number was adopted by the Rules of St. Benedict, St. Columbanus, St. Isidore, St. Fructuosus, and to a certain extent by the Roman Church. However, Cassian says that in some provinces three psalms were said at Terce, six at Sext, and nine at None. Others recited six psalms at each hour and this custom became general among the Gauls.

In the sixth century the Rule of St. Benedict gives the detailed composition of this Office. Sext, like Terce and None, was composed at most of three psalms, of which the choice was fixed, the Deus in adjutorium, a hymn, a lesson (capitulum), a versicle, the Kyrie Eleison, and the customary concluding prayer and dismissal. One of the most common hymns used at Sext is Rector Potens, Verax Deus.

The term siesta derives from the canonical hour Sext. The practice developed from a Benedictine institution which provided that between the hours of Sext and None, the monks were allowed a nap to catch up on the sleep lost while chanting the night hours.

Terce, Sext and None have an identical structure, each with three psalms or portions of psalms. These are followed by a short reading from Scripture, once referred to as a "little chapter" (capitulum), and by a versicle and response. The Lesser Litany (Kyrie and the Lord's Prayer) of Pius X's arrangement have now been omitted. In monastic life it is seen as a time for refreshment, reflection, and renewal.

The 1979 Book of Common Prayer's Order of Service for Noonday is based upon the traditional structure of the Little Offices. In the Episcopal monastic tradition, diurnum is a name for the midday service of the Divine Office, which is usually the second of four services. It is alternatively known as Sext.

Oriental Christianity

Syriac Orthodox Church, Indian Orthodox Church and Mar Thoma Syrian Church
In the Syriac Orthodox Church and Indian Orthodox Church (both of which are Oriental Orthodox Churches), as well as the Mar Thoma Syrian Church (an Oriental Protestant denomination), Sext is known as Sheth sho`in and is prayed at 12 pm using the Shehimo breviary.

Coptic Orthodox Church of Alexandria
In the Coptic Orthodox Church, an Oriental Orthodox denomination, the Sext is prayed at 12 pm using the Agpeya breviary.

Armenian Liturgy

The six hour in the Armenian Liturgy commemorates God the Father, and the sufferings and crucifixion of the Son of God.

Outline of the Service

Introduction:
"Blessed is our Lord Jesus Christ. Amen. Our Father..."; "Blessed is the Holy Father, true God. Amen."

Psalm 51: "Have mercy on me..."; "Glory...Now and always...Amen."; Hymn of the Sixth Hour: "The light of the sun was darkened... (Khawarets`aw lo3sn arewoum...)"; Exhortation: "At every hour this is my prayer...(Amenayn zhamou...)"; Proclamation: "Again and again in peace..."; Prayer: "Blessing and Glory to the Father...Now and always...Amen."

During the Great Fast:
The Prayer of John Mandakouni "With a sober mind... (Art`own mtawk`...)"; Proclamation: "That we may pass this hour...(Zzhams ev zarajakay...)"

Otherwise continue here:
Prayer: "Clothe us...(Zgets`o mez...)"

Psalm 79:8-9: "Do not remember...(mi yishea...)"; Proclamation: "For the sick...(Vasn hiwantats`...)"; Prayer, "Assuage the pains...(P`aratea zts`aws...)"; Prayer of Sarkawag Vardapet: "Remember, Lord your servants... (Hishea...)"; Prayer: "God, beneficent and full of mercy...(Barerar ev bazoumoghorm Astouats...)"

Psalm 41:1-4: "Blessed the one who considers...(Erani or khorhi...)"; Psalm 91: "The one who dwells in the most high...(Or bnakeanln...)"
"Glory to the Father...Now and always...Amen."; Proclamation: "Again and again in peace...Let us ask with faith...(Khndrests`ouk` havatov...)"; Prayer: "Father of mercies...(Hayr gt`out`eants`...)"

Then they said the prayer of Ephrem the Syrian with prostrations.

"Blessed is our Lord Jesus Christ. Amen. Our Father..."

Eastern Christian Office

In the Eastern Orthodox and Greek Catholic Churches the office of the Sixth Hour is normally read by a single Reader and has very little variation in it. Three fixed psalms are read at the Sixth Hour: Psalms 53, 54 and 90 (LXX). The only variable portions for most of the year are the Troparia (either one or two) and Kontakion of the Day.

During Great Lent a number of changes in the office take place. On Monday through Friday, after the three fixed psalms, the Reader says a  kathisma from the Psalter. The Troparion of the Day is replaced by special Lenten hymns that are chanted with prostrations. Then, a special Troparion of the Prophecy is chanted, which is particular to that specific day of Great Lent. This is followed by a Prokeimenon, a reading from Isaiah and another Prokeimenon. Then there may follow a reading from the Ladder of Divine Ascent. The Kontakion of the Day is replaced by special Lenten troparia. Near the end of the Hour, the Prayer of St. Ephraim is said, with prostrations.

During Holy Week, on Great Monday, Tuesday and Wednesday, the services are similar to those during Great Lent (including the reading of a kathisma), but instead of the normal Lenten hymns which replace the Kontakion, the Kontakion of the day (i.e., that day of Holy Week) is chanted. On Great Thursday and Saturday, the Little Hours are more like normal. On Great Friday, the Royal Hours are chanted.

During the Lesser Lenten seasons (Nativity Fast, Apostles' Fast and Dormition Fast) the Little Hours undergo changes similar to those during Great Lent, except the Lenten hymns are usually read instead of chanted, and there are no kathismata. In addition, on weekdays of the Lesser Fasts, an Inter-Hour (Greek: Mesorion) may be read immediately after each Hour (at least on the first day of the Fast). The Inter-Hours may also be read during Great Lent if there is to be no reading from the Ladder of Divine Ascent at the Little Hours. The Inter-Hours follow the same general outline as the Little Hours, except they are shorter.

Notes and references

See also
Canonical Hours

Liturgy of the Hours
Byzantine Rite
Little Hours

Sext


Rich Hope (born in Edmonton, Alberta) is a Canadian guitarist, singer-songwriter, and performer whose style is influenced by blues and rock. His album Rich Hope and His Evil Doers, was released by Maximum Jazz Records in 2005. Rich is represented by Turner Music and Events in Vancouver, British Columbia.

Career
Hope's first solo release was Good to Go in 1998. Afterwards, he joined the band John Ford and became one of their principal songwriters. John Ford released their self-titled debut in 1999, followed by a five-year tour across Canada. A second album with John Ford, Bullets for Dreamers, was released in 2003.

Hope's second release moved towards an electric country blues tone, which included songs such as Shake This Joint Around and My Love is a Bullet. He is often backed up by the band Evil Doers, but also does solo shows around Vancouver with the  Blue Rich Rangers.

External links
"Rich Hope"

Year of birth missing (living people)
Canadian country guitarists
Canadian male guitarists
Living people
Musicians from Edmonton

Rich Hope


Paul Oppenheim (June 17, 1885 – June 22, 1977) was a German chemist, philosopher, independent scholar and industrialist.

Biography
Oppenheim was born in Frankfurt am Main. After studying natural sciences and chemistry at the University of Freiburg, he earned his doctorate in chemistry and philosophy. He was active in the chemical industry (IG Farben) until 1933, when he emigrated to Brussels. His father, the Frankfurt gem dealer Nathan Moritz Oppenheim (1848–1933), and his mother took their life together in 1933. In 1939, Oppenheim and his family emigrated to the US, where he worked as a private scholar in Princeton. He and his wife Gabrielle Oppenheim-Errera hosted Sunday luncheons there for intellectuals and artists. Albert Einstein was his great friend and they took regular Sunday morning walks together.

After the beginning of Nazi rule in Germany, he gave several persecuted scientists such as Carl Gustav Hempel and Kurt Grelling financial resources and assistance to escape from Germany.

He published with Hempel and Grelling on philosophy and philosophy of science, including Gestalt psychology. Oppenheim is co-founder of the so-called Hempel-Oppenheim schema (Deductive-nomological model) .

Publications
Hempel, CG and Oppenheim, P.: "The type concept in light of the new logic. Theoretical studies on the constitution and psychology research.
Kurt Grelling and Paul Oppenheim, "The Gestalt concept in light of the new logic," cognition 7 (1937/38), 211–225 [Engl. Translation: 1988.1].
Kurt Grelling and Paul Oppenheim, Supplementary Remarks on the Concept of Gestalt, "cognition 7 (1937/38), 357–359 [Reprinted: 1988.2].
Kurt Grelling and Paul Oppenheim, "Concerning the Structure of Wholes", Philosophy of Science 6 (1939), 487–488.
Kurt Grelling and Paul Oppenheim, Logical Analysis of "Gestalt" as "Functional Whole" [Paper sent in for the Fifth International Congress for the Unity of Science (Cambridge, Mass., 1939)], TS, 8 p. [by Carl G . Hempel, Princeton, reprint: 1988.3, 1999.1].
 Paul Oppenheim and Nicholas Rescher, "Logical Analysis of Gestalt Concepts", British Journal for the Philosophy of Science, vol. 6 (1955), pp. 89–106.
Paul Oppenheim and Hilary Putnam : "The Unity of Science as a Working Hypothesis". In: Minnesota Studies in the Philosophy of Science, 1958

References

Philosophers of science
1885 births
1977 deaths

Paul Oppenheim


"A Dozen Roses (You Remind Me)" is a song by American singer Monica taken from her fifth studio album The Makings of Me (2006). It was written by rapper-producer Missy Elliott and Corte Ellis, with production helmed by the former along with David "Davey Boy" Lindsey and Cliff Jones. Similar to songs that Monica used to record with Elliott for her previous album, After the Storm (2003), the mid-tempo love song draws from the genres from R&B, hip hop, neo soul, as well as quiet storm and contains elements of 1960s Motown soul music. Built around a sample of the 1972 recording "The Makings of You" as written and performed by Curtis Mayfield, its lyrics detail a woman's admiration for a man.

The song was released as the album's second single in the United States on September 5, 2006. It garnered generally positive reviews by music critics who compared it to R. Kelly's "You Remind Me of Something" (1995) and praised Elliott's nostalgic, cozy and unpretentious production. "A Dozen Roses (You Remind Me)" peaked at number 48 on the US Billboard Hot R&B/Hip-Hop Songs chart, on which it became the singer's lowest-charting singles since 1999's "Street Symphony". The music video for "A Dozen Roses (You Remind Me)", directed Chris Robinson, was filmed in October 2006 and depicts a meet cute between two lovers.

Background
"A Dozen Roses (You Remind Me)" was composed by rapper Missy Elliott and singer-songwriter Corte Ellis and is one out of three songs the former contributed to The Makings of Me. Production was handled by Elliott along with Cliff Jones, and David "Davey Boy" Lindsey. The song samples Curtis Mayfield's 1972 record "The Makings of You". Due to the sample, he received co-writing credits on the track. Lyrically, it has the female protagonist singing about finding love and passion with her man. She compares him to a pair of Gucci shoes, a Bentley Coupe, and Abercrombie jeans, among other household objects, borrowing from R. Kelly's 2003 song "Ignition (Remix)" ("You remind of these things; something like R. Kelly singing 'bout a Jeep.").

Speaking of her work with Elliott, Monica described "A Dozen Roses (You Remind Me)" as a prime example of Elliott's ability to "bring the old side of music [...] to the new side of things", referring to the rapper's idea to combinate music by the likes "of Gladys Knight, and Curtis Mayfield" with contemporary beats. Monica called the track one of her personal favorites on the album, and added: "I think the honesty of the record is what will hopefully help people gravitate to it. I don't want to do anything contrived. I want people to know I've been through the same situations as them and that's why I share so many of my personal experiences. In the process, I've still been able to live my dreams, and I want people to see that side of it."

Reception

On May 26, 2006, an early version of "A Dozen Roses (You Remind Me)", featuring a significantly different beginning from the one on The Makings of Me, was leaked onto the internet via Rate the Music, a website that asks people's opinions on new tracks from various artists. Upon its release, "A Dozen Roses (You Remind Me)" received generally mixed to positive reviews by music critics. Mark Edward Nero from About.com called it "one of the best songs" off The Makings of Me and described it as "a lush, feel-good, midtempo track." He felt it problematic, however, that the song was "a direct thematic clone of R. Kelly's 'You Remind Me of Something'." Allmusic's Andy Kellman ranked the song among the standout tracks on the album and called it "practically a replay of the similarly nostalgia-tinted 'So Gone,' albeit a welcomed one." Ryan Dombal  of Entertainment Weekly praised the song's "hints at mature contentment" and "cozy" nature. Boise magazine's Michael Butler declared it "sentimental without being pretentious."

The single was serviced on September 28, 2006 to urban radios in the United States. "A Dozen Roses" debuted at number 73 on the Billboard Hot R&B/Hip-Hop Songs chart. The song charted only on the Billboards Hot R&B/Hip-Hop Songs chart at number 48, missing the Billboard Hot 100.

Music video
The music video for "A Dozen Roses (You Remind Me)" was filmed by American director Chris Robinson, who also shot Monica's videos to "All Eyez on Me", "So Gone" and "Knock Knock". It was recorded in Los Angeles, California in October 2006 amid a promotional tour in support of the album's release. Actor Jamie Hector appeared as Monica's love interest in the video. Tracked by BET's documentary series Access Granted, it premiered on November 15, 2006 following its making of episode.

Formats and track listings

Promo CD single
 "A Dozen Roses (You Remind Me)" (Radio Edit) –  3:56
 "A Dozen Roses (You Remind Me)" (Instrumental) – 3:56
 "A Dozen Roses (You Remind Me)" (Call Out Hook) – 0:16
 "Everytime tha Beat Drop" (Photo Gallery)

Vinyl single
 "A Dozen Roses (You Remind Me)" (Radio Mix) – 3:52
 "A Dozen Roses (You Remind Me)" (Instrumental) – 3:53
 "A Dozen Roses (You Remind Me)" (Radio Mix) – 3:53
 "A Dozen Roses (You Remind Me)" (Radio Mix Acapella) – 3:45

Credits and personnel
Credits adapted from the liner notes of The Makings of Me.

Monica Arnold — vocals
Missy Elliott — production, additional vocals
Cliff Jones — co-production

Dave Kutch — mastering
David "Davey Box" Lindsey — co-production
 Paul J. Falcone — audio mixing

Charts

References

2006 singles
Monica (singer) songs
Music videos directed by Chris Robinson (director)
Songs written by Curtis Mayfield
Songs written by Missy Elliott

A Dozen Roses (You Remind Me)


The Palacio de Lecumberri is a large building, formerly a prison, in the northeast of Mexico City, Mexico, which now houses the General National Archive (Archivo General de la Nación).
Known in popular culture as The Black Palace of Lecumberri, it served as a penitentiary from 1900 to 1976. It was inaugurated by President Porfirio Díaz. The building was decommissioned as a prison in 1976 and turned over to the country's National Archive in 1980. The National Archive is one of the oldest historical archives in the Americas.

Location, design and use

.

Palacio de Lecumberri is located at the North East border of Mexico City's Federal District. The building was used as a prison from 1900–1976, and as the Country's National Archive from 1980 onwards.

The prison was mainly constructed to contain major political advisers of the opposing side, or other criminals to the nation from the time of operation. Construction began in 1888.

The inspiration and design of the Palacio is by Miguel S. Macedo, who was later imprisoned there for several months during the Mexican Revolution. The design is said to have been based on that of Jeremy Bentham's Panopticon.
This design allows for a single guard to observe all the prisoners without them being able to tell when the guard is looking; they therefore act as though they are always being watched.

The prison was built to hold 800 men, 180 women and 400 children. It had 804 cells, workshops,
a nursery, cooking and baking workshops. There was also an area of government, a section dedicated to medical and waiting rooms.

Living conditions

The Diary of Lecumberri by Colombian Poet Álvaro Mutis,  describes his time thereafter being imprisoned in 1958. The living conditions within the prison were very dangerous due to the inmates' treatment
by the guards or staff. Torture and beatings were common. Corruption was also present within the prison system.

Inmates

The majority of the early inmates were political threats to Porfirio Díaz and his administration. During the Mexico 68 student protests and the Dirty War of the 1970s it held left wing political prisoners.

There were a few notable people imprisoned there over the years including: David Alfaro Siqueiros, Juan Gabriel, Roberto "Anulfo" Villegas,  Heberto Castillo, Trotsky's murderer Ramón Mercader, Gregorio Cárdenas Hernández and José Revueltas.

During La decena trágica in 1913, President Francisco I. Madero and Vice President José María Pino Suárez were murdered while en route to  Lecumberri.

Throughout its 76-year use as a prison, only two people escaped alive. The first, Pancho Villa, was a general of the Mexican Revolution who made his escape in 1912. The second was Dwight Worker, an American convicted of smuggling cocaine. With the aid of his then-wife, Worker escaped on December 17, 1975, disguised as a woman. They later authored a book about their experiences entitled Escape ().

National Archives

The Archivo General de la Nación (General Archive of the Nation) is charged by the Mexican state to
"be the governing body of the national archives and the central consultative entity of the Federal Executive." The writer Edmundo O'Gorman was its general director from 1938 until 1952. It is considered the most important among its class in the Americas and one of the most important in the entire world. In November 1976 the Prison was decommissioned on the order of President Luis Echeverría and turned over to the National Archive in 1980.

The archive houses millions of pages of the country's documentary heritage. Former prison cells are now used as record repositories and the corridors between them are used as galleries in which researchers can sit and read. In June 2002, 60,000 secret police files held within the archives were opened to the public by President Vicente Fox. The files document the government's actions during the Dirty War.

See also
 Architecture of Mexico
 History of Mexico City

References

External links
Archivo General de la Nación (General Archive of the Nation)

1900 in Mexico
1980 in Mexico
Palaces in Mexico
Buildings and structures in Mexico City
Porfiriato
Modern Mexico
Defunct prisons in Mexico

Palacio de Lecumberri


Aimable-Jean-Jacques Pélissier, 1st Duc de Malakoff (6 November 179422 May 1864), was a Marshal of France. He served in Algeria where he became widely known for his cruel conduct and extermination of entire tribes. He also served elsewhere, and as a general commanded the French forces in the Crimean War.

Biography
Pélissier was born at Maromme (Seine Inférieure), of a family of prosperous artisans, his father being employed in a powder-magazine. After attending the military college of La Flèche and the special school of St Cyr, he entered the army in 1815 as second-lieutenant in an artillery regiment. Brilliant examination results in 1819 secured his appointment to the staff. He served as aide-de-camp in the Spanish campaign of 1823, and in the Morea expedition 1828–1829. In 1830, he took part in the expedition to Algeria, and on his return was promoted to the rank of chef d'escadron.

After some years of staff service in Paris, he was again sent to Algeria as chief of staff of the province of Oran with the rank of lieutenant-colonel, and remained there until the Crimean War, taking a leading part in many important operations.  However, the severity of his conduct in suffocating the whole Ouled Riah tribe in the Dahra or Dahna caves, near Mostaganem, where they had taken refuge (18 June 1845), aroused such indignation in Europe that Marshal Soult, the minister of war, publicly expressed his regret; but Marshal Bugeaud, the governor-general of Algeria, not only approved, but secured for Pélissier the rank of général de brigade (Brigadier-General), which he held until 1850, when he was promoted to général de division (Major-General). In 1852 he successfully commanded the Siege of Laghouat.

After the battles of October and November 1854 before Sevastopol, Pélissier was sent to the Crimea, where on 16 May 1855 he succeeded Marshal Canrobert as commander-in-chief of the French forces before the Siege of Sevastopol. His command was marked by relentless pressure of the enemy and unalterable determination to conduct the campaign without interference from Paris. His perseverance was crowned with success in the storming of the Tower of Malakoff on 8 September which ended the Siege of Sevastopol, crowning the Anglo-French Crimean War against Russia with victory. On the 12th he was promoted to marshal. On his return to Paris he was named senator, created Duke of Malakoff (22 July 1856; the only other victory title awarded by Napoleon III, also ducal, was for the victory by Patrice de MacMahon in the battle of Magenta, in the Italian campaign), and rewarded with a grant of 100,000 francs per annum.

From March 1858 to May 1859, he was French ambassador in London, but was recalled to take command of the army of observation on the Rhine. In the same year, he became Grand Chancellor of the Legion of Honour. In 1860, he was appointed Governor-General of unruly colony of Algeria.

His Excellency the Duke died there in 1864, when the dukedom became extinct.

Honours
 : Baton of Maréchal de France
 : Grand Chancelier and Grand Croix of the Legion of Honour
 : Médaille militaire
 : Order of Saint Louis
 : Laureate Cross of Saint Ferdinand
 : Honorary Grand Cross of the Order of the Bath (military division), 12 November 1855
 : Crimea Medal
 : Grand Cordon of the Order of Leopold
 : Grand Cordon of the Military Order of Savoy
 : Sardinian Crimea Medal
 : Order of Christ
 : Grand Cordon of the Order of Glory
 : Grand Cordon of the Order of the Medjidie

See also
 List of Ambassadors of France to the United Kingdom

References

Heraldica.org- Napoleonic heraldry

Popular culture
In 1855, Stephen Glover wrote The Duke of Malakoff's March.

1794 births
1864 deaths
Aimable Pelissier
Marshals of France
French military personnel of the Crimean War
French senators of the Second Empire
École Spéciale Militaire de Saint-Cyr alumni
Grand Chancellors of the Legion of Honour
Ambassadors of France to the United Kingdom
19th-century French diplomats
Dukes of the Second French Empire
Honorary Knights Grand Cross of the Order of the Bath
Governors general of Algeria

Aimable Pélissier


Human tower is a performance variation of gymnastic formation. Together with the human pyramid, it is exhibited frequently at the climax of the performance. In gymnastics, human tower is the highest and largest mounting. On the shoulder of the components of the base layer, put the feet of components of the second floor. In the same way, the components of higher floors are accumulated. The mounting is performed in sitting postulate. After the conclusion of the mounting, the tower stands up from lower floor to upper ones.

As a general term, the expression human tower is often confused with human pyramid. This item shows the human tower of gymnastic formation.

See also
 Castell
 Muixeranga
 Human pyramid

References

 浜田靖一 『イラストで見る組体操・組立体操』 (Gymnastic Formation shown by illustrations). Daishûkan Publisher, Japan, 1996, 305p.. (In Japanese)

Gymnastics

Human tower (gymnastic formation)


Josephine Maria Logan, known as Lillie (sometimes Lily) (October 2, 1843 — 1923) was an American painter and instructor, active for many years in Richmond, Virginia. She has been described as "probably Richmond's most esteemed teacher of art" in the late nineteenth century.

Life
Logan was born at Melbrook plantation in Charleston, South Carolina. One of fifteen children born to George William Logan and Anna D'Oyley Glover Logan, she was the niece of physician Thomas Muldrup Logan and a sister of the Confederate General of the same name. At the outbreak of the American Civil War her family moved from Charleston to Columbia in an attempt to preserve their property from destruction; however, when William Tecumseh Sherman burned the town, their house was one of those destroyed during the raid. Logan went on to study art, traveling to Rome in 1882 and remaining until 1888; her instructor there was Giuseppe Ferrari. Upon moving to Richmond, Logan began teaching her classes in the Allan House, Moldavia, which had been the boyhood home of Edgar Allan Poe. In 1894 she opened a new studio at 410 West Franklin Street. In 1904 she went to North Carolina, where she lived for a time before returning to Richmond, where she died. Logan's pupils included Edyth Carter Beveridge, Adele Goodman Clark, and Nora Houston. Some of her work may be found in the collection of The Valentine.

References

1843 births
1923 deaths
American women painters
19th-century American painters
19th-century American women artists
20th-century American painters
20th-century American women artists
Artists from Charleston, South Carolina
Artists from Richmond, Virginia
Painters from South Carolina
Painters from Virginia

Lillie Logan


Architectural revivalism is the use of elements that echo the style of a previous architectural era that have or had fallen into disuse or abeyance between their heyday and period of revival. Revivalism, in a narrower sense, refers to the period of- and movement within- Western architectural history during which a succession of antecedent and remenescent styles were taken to by architects, roughly from the late 18th century, and which was itself succeeded by Modernism. Notable revival styles include Neoclassical architecture (a revival of Classical architecture), and Gothic Revival (a revival of Gothic architecture). Revivalism is related to historicism.

Western architecture of the 19th century, including Victorian architecture, is an example of Revivalism.

History

19th-early 20th centuries

The idea that architecture might represent the glory of kingdoms can be traced to the dawn of civilisation, but the notion that architecture can bear the stamp of national character is a modern idea, that appeared in the historical and philosophical writing of the 18th century and was given political currency in the wake of the French Revolution. As the map of Europe was repeatedly changing, architecture was used to grant the aura of a glorious past to even the most recent of nations. In addition to the credo of universal Classicism, two new, and often contradictory, attitudes on historical styles existed in the early 19th century. Pluralism promoted the simultaneous use of the expanded range of style, while Revivalism held that a single historical model was appropriate for modern architecture. Associations between styles and building types appeared, for example: Egyptian for prisons, Gothic for churches, or Renaissance Revival for banks and exchanges. These choices were the result of other associations: the pharaohs with death and eternity, the Middle Ages with Christianity, or the Medici family with the rise of banking and modern commerce.

Whether their choice was Classical, medieval, or Renaissance, all Revivalists shared the strategy of advocating a particular style based on national history, one of the great enterprises of historians in the early 19th century. Only one historic period  was claimed to be the only one capable of providing models grounded in national traditions, institutions, or values. Issues of style became matters of state.

The most well-known Revivalist style is the Gothic Revival one, that appeared in the mid-18th century in the houses of a number of wealthy antiquarians in England, a notable example being the Strawberry Hill House. German Romantic writers and architects were the first to promote Gothic as a powerful expression of national character, and in turn use it as a symbol of national identity in territories still divided. Johann Gottfried Herder posed the question 'Why should we always imitate foreigners, as if we were Greeks or Romans?'.

Present
Modern-day revival styles are frequently placed under the heading of New Classical architecture. Revivalism is not to be confused with complementary architecture, which looks to the previous architectural styles as means of architectural continuity.

Styles
Mixed

Eclecticism – Conscious mixing of disparate historical styles
 Historicism or Historism – mixed revivals that can include several older styles, combined with new elements
 Indo-Saracenic architecture (revival of Indian architecture and Islamic architecture)
Mediterranean Revival architecture (revival of Italian Renaissance architecture and Spanish Baroque architecture)
 New Classical Architecture – an umbrella term for modern-day architecture following pre-modernist principles
 Russian Revival architecture – generic term for a number of different movements within Russian architecture that arose in second quarter of the 19th century.
 Traditionalist School – revival of different regional traditional styles
 Vernacular architecture – umbrella term for regional architecture traditions continuing through the eras, also used and cited in revival architecture

Ancient Revival

 Egyptian Revival architecture (revival of Ancient Egyptian architecture)
 Mycenaean Revival architecture (revival of Mycenaean Greek architecture)
 Renaissance architecture (earlier revival of Classical architecture)
 Neoclassical architecture (later revival of Classical architecture)
Palladian architecture
Louis XVI style
Federal architecture
Jeffersonian architecture
Empire style
Regency architecture
Beaux-Arts architecture (also in the City Beautiful movement)

Russian neoclassical revival
Greek Revival architecture and Neo-Grec (revivals of Ancient Greek architecture)

Medieval Revival

 Byzantine Revival architecture (revival of Byzantine architecture)
 Bristol Byzantine
 Russo-Byzantine architecture
 Romanian Revival
 Serbo-Byzantine revival
 Romanesque Revival architecture (revival of Romanesque architecture)
Romanesque Revival Architecture in the United Kingdom
 Richardsonian Romanesque
 Gothic Revival architecture (revival of Gothic architecture)
 Carpenter Gothic
 Collegiate Gothic
 High Victorian Gothic
 Scots Baronial Style architecture
 Neo-Manueline (revival of Manueline)
 Moorish Revival architecture (revival of Moorish architecture)
 Neo-Mudéjar
Tudor Revival architecture (revival of Tudor Style architecture)
Black-and-white Revival architecture

Renaissance Revival
 Renaissance Revival architecture (revival of Renaissance architecture)
 Italianate architecture
 Palazzo style architecture – revival based on Italian Palazzo
 Mediterranean Revival architecture (revival of Italian Renaissance architecture & Spanish Renaissance architecture)
 Palladian Revival architecture (revival of Palladian architecture)
 Châteauesque (revival of French Renaissance architecture)
 Jacobethan (revival of Jacobean architecture and Elizabethan architecture)
 Stile Umbertino (revival of Italian Renaissance architecture)

Baroque Revival
 Baroque Revival architecture (revival of Baroque architecture)
 Dutch Revival architecture (revival of Dutch Baroque architecture)
 Spanish Revival architecture (revival of Spanish Baroque architecture)
 Edwardian Baroque architecture
 Stalinist baroque
 English Baroque
 California Churrigueresque (revival of Churrigueresque and Mexican Baroque)

Other revival
Neo Art Deco (revival of Art Deco architecture)
Cape Cod Revival (revival of Cape Cod)
Dutch Colonial Revival architecture (revival of Dutch Colonial architecture)
Georgian Revival architecture (revival of Georgian architecture)
Colonial Revival architecture (revival of American Colonial architecture)
Mayan Revival architecture (revival of Maya architecture)
Pueblo Revival Style architecture (revival of Puebloan traditional architecture)
Spanish Colonial Revival architecture (revival of Spanish Colonial architecture)
Mission Revival Style architecture (revival of the architecture of the California missions)
 Territorial Revival architecture (revival of Territorial architecture)

References

Further reading
 Scott Trafton (2004), Egypt Land: Race and Nineteenth-Century American Egyptomania, Duke University Press, . p. 142.

External links

Historicist architecture
Architectural history
Architectural styles

Revivalism (architecture)


Le baruffe chiozzotte (Brawling in Chioggia) is a play by the Italian playwright Carlo Goldoni, first performed at the Teatro San Luca in Venice in January 1762. It deals with the comic struggles between two groups of fishermen in the lagoon-mouth village of Chioggia brought on by the love affairs of the younger generation. Written in Venetian, the comedy is intensified by the presence of a hapless young Venetian official, who is helpless to enforce order on the sly inhabitants he is supposed to keep under control.

In modern times, the play was revived at the Piccolo Teatro di Milano in 1962, in a production by Giorgio Strehler emphasizing the humanity and realism of Goldoni's script over the conventionally farcical elements. In 1966 the production was filmed for Italian television.

A concert overture based on the play was composed by Leone Sinigaglia in 1907; it was a favorite of Arturo Toscanini. An operatic version by Franco Leoni also exists.

Roles
Master Toni (Antonio), owner of a fishing boat
Madam Pasqua, wife of Master Toni
Lucietta, young girl, sister of Master Toni
Titta-Nane (Giambattista), young fisherman
Beppe (Giuseppe), younger brother of Master Toni
Master Fortunato, fisherman
Madam Libera, wife of Master Fortunato
Orsetta (Orsolina), younger sister of Madam Libera
Checca (Francesca), another younger sister of Madam Libera
Master Vincenzo, fisherman
Toffolo (Cristoforo), boat owner
Isidoro, Adjunct of the Court Chancellor
The Court Bailiff
Canocchia, young man who sells pumpkin
Fishermen on Master Toni's boat
Servant of the Adjunct

Plot
While Toni and his men are still fishing, the women (Pasqua, Lucietta; Libera, Orsetta, and Checca) are sitting outside their houses talking. Toffolo, another boat owner, comes by and flirts with Lucietta (who is actually engaged to Titta-Nane), giving her some roast pumpkin, thereby exciting the jealousy of Checca. The men (Toni, Beppe and Titta-Nane) all get involved after they arrive and a fight starts with Toffolo's group. This is broken up by Vicenzo and his soldiers. The different sets of jealous Chioggia lovers quarrel amongst themselves, and Toffolo complains to the officials. The Adjunct Isidoro is sent to try to sort everything out. Eventually there is a happy ending and peace is restored. Lucietta marries Titta-Nane, Orsetta marries Beppe and Checca is married to Toffolo.

External links
Text in Italian/Venetian, retrieved 15 January 2010
Conversazioni Goldoniane – Le Baruffe Chiozzotte

References

Comedy plays
Plays by Carlo Goldoni
1762 plays

Le baruffe chiozzotte


Bankapura is a panchayat town in Haveri district in the state of Karnataka, India. It is in Shiggaon taluk, is just 2.5 km from the Pune-Bangalore national highway NH-4, 22 km from Haveri town. Bankapura is about 45 km from Hubli-Dharwad. An historical site, Bankapura is famous for the Nagareshwara temple, Bankapura fort, The Bankapura Peacock Sanctuary. Baada, the birthplace of Kanakadasa is near to Bankapura.

History

Under the Chalukyas, many temples were built here, but during the invasion of Ali Adilshahi in about 1565 most of the temples were destroyed. A fort, now in ruins, at Bankapura houses the Ranganatha Nagareshwara temple, which has 66 pillars carved out of grey stone. There is also a mosque in the fort. The place is of historical significance to Jains. Adipuran, a Jain religious text was composed here.
Bankapura fort (454 AD), was ruled by Kadamba of Banavasi, Gangas, Cholas, Rashtrakutas, Hoysalas, Chalukyas, Kings of Vijayanagar, Adilshahi of Bijapur, Hyder Ali and Tipu Sultan.
During the 9th century, Bankapura was named after Bankeyarasa (in 898 CE) who was a feudatory of Rashtrakoota king Amoghavarsha I.
In the 11th century the Kadambas took over, followed by the Hoysalas king Vishnuvardhana.

Invasion by the Bahamanis
In the 16th century, the Bahamanis attacked Bankapur and Mustapha Khan of Bijapur annexed the fortress after a pitched battle for more than a year. The Nawabs of Savanur and the Marathas ruled for a short duration before Hyder Ali and Tipu took possession. Later, Bankapura was ceded to the British.

Inscriptions

In the Nagareshwara temple, at the entrance to the mukhamantapa, there are large clear inscriptions written in old Kannada.

It is known from history that the great poet of Kannada literature, Ranna, visited Bankapur to meet Ajithsenacharya, who became his teacher.

Bankapur Fort

Inside the ruined Bankapura fort, conquered by the Bahamanis, there is a temple built by the Chalukyas known as Aravattaru Kambada Gudi. Bankapura is an important historical place where many battles were fought by a succession of rulers. In spite of the vandalism the Nagareshwara temple remains ornate.

Nagareshwar temple

The impressive Bankapur fort area has the eye catching 66 pillared Nagareshwar temple (locals call it as Aravattu Kambada Gudi - means 60 pillars temple in Kannada) was built (in a depression to conceal it from invaders) in the 11th century in Chalukya style (in a depression). There are many well carved pillars. The fort area comprises  of land of, which  is reserved for the popularly known Mayura Vana, the abode of the peacocks for three decades. As per the 16 inscriptions, has references to the history of this place, it was dedicated to Shiva. The temple also once it was a centre  for study and research on Jainism. During rule of Mustafa Khan the temple, the back corners of the temple hall completely damaged including number of carvings in the exterior wall panels
but the pillars, the artistic carvings and the ceiling designs are intact.

The peacock sanctuary

Bankapura is a conservation reserve for peacocks by the Government of India.

Demographics
 India census, Bankapura had a population of 20,264. Males constitute 53% of the population and females 47%. Bankapur has an average literacy rate of 59%, lower than the national average of 59.5%; with 58% of the males and 42% of females literate. 14% of the population is under 6 years of age.

External links

 Bankapura Fort on Google Maps

References

Chalukya dynasty
Western Chalukya Empire
Forts in Karnataka
Bird sanctuaries of Karnataka
Cities and towns in Haveri district

Bankapura


Linder's Field is a 3.6 hectare Local Nature Reserve in Buckhurst Hill in Essex. It is owned and managed by Epping Forest District Council.

Linder's Field is a surviving fragment of an ancient wood called Pluckett's Wood. It is named after its former owner, Charles Linder. In 1956 he granted the site to Chigwell Council (which later became Epping Forest Council) for 35 years, and in 1963 his family handed over the site permanently. It was designated a Local Nature Reserve in 2000.

The site has ancient woodland, scrub, grassland and ponds. The ponds have frogs, toads and newts, and bats forage in the hedgerows. Plants include bluebells and wood anemone. It also has a wildflower meadow which is an important habitat for many species of invertebrates, birds and mammals.

The main entrance is in Roebuck Lane.

References

Local Nature Reserves in Essex
Epping Forest District

Linder's Field


An insertion mount machine or inserter is a device used to insert the leads of electronic components through holes in printed circuit boards.

Machine configuration
An insertion mount machine often has a rotary table on a X- and Y-axis positioning system which moves the board to the necessary position for the component's insertion into the board. The machine can be configured to be standalone machine.

Axial insertion
An axial inserter takes axial leaded through-hole components from reels which are fed into dispensing heads that cut the parts onto a chain in the order of insertion; transferred from the sequence chain to the insertion chain, which brings the component underneath the insertion head which then cuts the leads of the component to the correct length for lead length and insertion span; bends the leads 90°; and inserts the component leads into the board while a clinch assembly underneath cuts and bends the leads towards each other.

Radial insertion
A radial inserter takes radial leaded through-hole components from a reels which are fed into dispensing heads that cut the component from the reel and place it onto the chain in sequence of the order of insertion. The component is brought to a component transfer assembly behind the insertion head and is transferred to the insertion head, then inserted into the board while a clinch assembly underneath cuts and bends the leads opposite to each other.

Dual in-line package insertion
A dual in-line (DIP) inserter takes integrated circuits from tubes which are loaded into magazines. A shuttle mechanism picks the needed component needed from the magazines and drops it into a transfer assembly. The insertion head picks the component from the transfer assembly and inserts the IC into the board while a clinch assembly underneath cuts and bends the leads either inward for sockets or outward for ICs.

Due to the transition from insertion mount technology (through-hole) to surface-mount technology of integrated circuits, these machines are no longer being newly manufactured.

Obsolete configurations
Axial inserters used to consist of a stand-alone sequencer machine which cut and sequenced the parts onto a reel. That reel was then transferred over to a standalone axial inserter to insert the components. This is all done on one machine today.

See also
Pick-and-place machine

References

Printed circuit board manufacturing

Insertion mount machine


In boxing, the term heavyweight is used for a specific group of people based on weight. Usually a heavyweight is a boxer who weighs more than 200 lbs (91kg). Below 200 is cruiserweight. A few organizations classify differently. In the late 20th century boxing organizations created many divisions so that fighters could fight people of the same size. This allows making more champions thus more profit. Most divisions only separate each other by few lbs. Before the 1960s there were 8 divisions.

The first heavyweight champion under modern rules was John L. Sullivan. Famous heavyweight champions have included Jack Dempsey, Joe Louis, Rocky Marciano, Muhammad Ali, Larry Holmes, Mike Tyson, Evander Holyfield, Vitali Klitshko, Tyson Fury and Lennox Lewis.

Boxing

Heavyweight


The WAGR U class was a single small side tank steam locomotive operated by the Western Australian Government Railways (WAGR) from 1904 to 1940.

The U class was built in 1903 by Vulcan Foundry of Newton-le-Willows, England with a crane that could lift up to three tons. It was numbered 7 and used exclusively at Midland Railway Workshops. In 1925 No. 7 was rebuilt with the crane being removed and fuel capacity increased. It continued in service until 1940 when it was withdrawn and scrapped.

Western Australian Government Railways locomotives

WAGR U class (1903)