Goldy Gopher is the mascot for the University of Minnesota and the associated sports teams, known as the Golden Gophers, as well as the 2011, 2013, 2017, and 2018 UCA Mascot National Champion. During the year, Goldy makes over 1000 appearances and is at virtually all home games for University teams, usually wearing the appropriate sporting attire. The mascot is based on the thirteen-lined ground squirrel, colloquially referred to as a "gopher" in Minnesota.

Origins

Minnesota became known as the "Gopher State" in 1857, the result of a political cartoon ridiculing the $5 million Railroad Loan which helped open up the West. The cartoon portrayed shifty railroad barons as striped gophers pulling a railroad car carrying the Territorial Legislature toward the "Slough of Despond". The first U of M yearbook bearing the name "Gopher Annual" appeared in 1887.

Minnesota's athletic teams became widely known as the "Gophers" by the 1920s, but it was not until 1934 that Halsey Hall, great Minnesota sportswriter and broadcaster, dubbed Bernie Bierman's all-gold uniformed team "The Golden Gophers". Bierman had chosen the gold color because the football blended in with the uniforms.

The embodiment of the Gopher mascot came to life in 1952 when University of Minnesota assistant bandmaster Jerome Glass bought a fuzzy wool gopher suit with a papier-mâché head and asked one of the band members to climb into it.  "Goldy" Gopher (the first name seems to have appeared sometime in the 1960s) became a fixture within the University of Minnesota Marching Band and Pep Band, as each year a band member was chosen to don the suit for that season. Wherever these two bands performed, Goldy was there to glad-hand with the crowd, hug the little kids, torment the cheerleaders and generally add a friendly Minnesota flavor to the event.

During the early 1960s, Goldy was written into the football pre-game and halftime shows with a specific place to be. Limited visibility from within the suit made it difficult to see out, and any of the suit's wearers with glasses would fog up while trying to peer out the mouth hole, as the eyeholes were useless. One benefit during the cold games at Memorial Stadium in November was that Goldy Gopher was one of the few fans that stayed warm.

Attitude and attire

Each band member who was allowed the joy of being the Gopher developed an individual personality, a unique way of relating to the crowd. The mystique of Goldy Gopher became a tradition that absolutely prohibited removal of the head while in public, maintaining an illusion for the younger children that Goldy Gopher was a real live huggable animal.

From 1952 until 1990, the Gopher appearing at U of M sports events was a member of the Marching Band, and a symbiosis developed through the years that on more than one occasion kept Goldy out of trouble. With a propensity for attracting tail-pulling kids, Goldy relied on the band to save the gopher from their clutches. And when the opposing team's cheerleaders or band members managed to "kidnap" the unfortunate rodent (a Big Ten tradition), band members would come to the rescue.

In the late 1980s the U of M Athletic Department began to make use of Goldy at an ever-increasing number of events, and held University-wide tryouts to secure a number of students who could cover the busy schedule. The Athletic Department's Spirit Squad officially took charge of Goldy in 1992.

A signature move of Goldy's is head spinning, usually brought on by crowd chants of "Spin your head!", a tradition started at hockey games in the early 1990s.  This is often followed by chants of "Spin your body!", and occasionally "Spin your tail!", with Goldy abiding and spinning the respective body parts. 1990s hockey games also sometimes featured Goldy sledding down the entirety of the Mariucci Arena staircase, nearly 30 rows. The tradition has been reigned in since then for safety concerns, but Goldy can still be found sledding and snowboarding from reduced heights.

The style of the gopher suit changed many times through the years, sometimes by chance, sometimes by design. Until the early 1970s, the head was narrow and pointy-nosed, reminiscent of the real animal. Then in 1972, Goldy suddenly grew chubby cheeks and a wider, forward-looking face, almost cherubic in appearance. The gopher of the 1970s and early 1980s was comparable in appearance to a teddy bear, a favorite of children and grandmothers. For a brief period in 1985, a fierce-looking "mega-rodent" appeared, with a barrel chest, clown feet and sinister eyes. This look didn't last long, and Goldy soon again became a lovable, friendly character.

The students that portray Goldy maintain anonymity throughout their tenure. They are also recognized as student athletes due to their vigorous schedule and amount of work that goes into it. They are considered a part of the "Spirit Squad" at the University of Minnesota, which encompasses the cheerleading and dance teams.

Logo

The first official logo was made in the 1940s by sports merchandiser George Grooms, featuring a smiling "gopher" wearing a hat with the letter M on it. Grooms, while driving to the University of Minnesota from Iowa, stopped at a rest stop and sketched what he thought were gophers. He presented the drawing to U of M bookstore manager Harold Smith, who loved it. After the image was put into production, did it become realized that the animal depicted in the picture was actually a chipmunk.

In the 1950s, Goldy's look became more animated. In the 1960s and 1970s, Goldy became more slim and simplistic, and was often drawn wearing sporting equipment. In 1979, the University hired Bill Stein to draw a new look for Goldy, which consisted of the mascot waving and wearing a shirt. Some commented that this drawing of Goldy wasn't fierce enough as a college mascot, and in 1985, a new version of Goldy was drawn by Steve Wanvig, who was asked by the University to make a more aggressive look. This variation of Goldy was a buff gopher with a fierce expression; depicted to be wearing a sweater and charging. Students who preferred the old design formed a group called Save Our Wimp, who championed for the previous drawing's more mild design. Responding to the criticism, the University's athletics department asked Wanvig in 1986 to tone down Goldy, who was then drawn in the same style, but without huge muscles and with a friendlier expression. This version of Goldy has been the one used since.

National competitions

UCA Mascot National Championships
Goldy also competes in the UCA Mascot National Championships and regularly makes the top 3. Goldy's first win was in 2011  and followed up with championships in 2013, 2017, and 2018.

Capital One
Goldy was nominated to and made the 2004, 2007, and 2010 Capital One All-American Mascot Team. In 2007 Goldy finished second to Zippy from the University of Akron.

Goldy Gopher statue
Due to the contributions from students, faculty, family, alumni, and friends, the University of Minnesota's Student Union was able to fund the creation of an all bronze statue of Goldy the Gopher. This was a controversial issue for some in the university community because of the rising costs of tuition and the university's concurrent appeals to the state legislature for a tuition freeze. The goal of the statue, located in the front of Coffman Memorial Union, was to promote school spirit and start new traditions. The University of Minnesota Administration hopes the iconic symbol will help students interact with the spirit and new traditions involving Goldy the Gopher. The statue is  tall and made of bronze granite. Next to the statue is a solid granite "M" that is 63 inches in width, 24 Inches in depth, and 48 inches in height (160 x 61 x 122 cm). It was sculpted by Nicholas Legeros, who is a Minnesota graduate from the fine arts academy. He has sculpted many pieces for the Twin Cities Metro area. The total cost of the statue was $95,000 dollars.

On Monday, September 20, 2013, the Goldy statue was unveiled during the homecoming kickoff at noon - which happened to be Goldy Gopher's birthday. Governor Mark Dayton declared this day Goldy Gopher Day to create a new tradition for the students. Supposedly if someone was to rub Goldy's front teeth, it will bring them good luck.

References

External links

Big Ten Conference mascots
Minnesota Golden Gophers
Fictional gophers
Fictional characters from Minnesota
Anthropomorphic rodents
Rodent mascots

Goldy Gopher


Boston Film Festival (BFF) is an annual film festival held in Boston in the U.S. state of Massachusetts. It has been held annually since 1984, usually in early September.

The Boston Film Festival premiered such notable films as The Last Kiss, A Guide to Recognizing Your Saints, Renaissance, Deliver Us From Evil, Jesus Camp, The Ground Truth, The US vs. John Lennon, A Desperate Crossing, Kiss Kiss Bang Bang, Prime, North Country, and How to Start a Revolution.

Film Excellence Award

Orson Welles Cinema
It was preceded by the earlier Boston Film Festival, held in Cambridge at the Orson Welles Cinema in 1976.

It is often confused with the Boston International Film Festival, which is annually held in Boston as well.

External links
Boston Film Festival

Film festivals in Boston
Annual events in Boston
1984 establishments in Massachusetts

Boston Film Festival


Robert Winter (born c. 1960) is a German business theorist, Professor of business & information systems engineering at the University of St. Gallen, and director of its Institute of Information Management. He is known for his contributions in the field of Enterprise Architecture and Business Engineering.

Biography
Winter studied economics, business administration and business education at the Goethe University Frankfurt, where he received his PhD in 1989 and his Habilitation in 1995.

Winter started his academic career in 1984 as Associate Professor at Goethe University Frankfurt. In 1996 he moved to the University of St. Gallen, where he is appointed Professor at the School of Management (SoM), and director of its Institute of Information Management (Instituts für Wirtschaftsinformatik). Winter is Vice Editor-in-Chief of the Business & Information Systems Engineering Journal and associate editor of the European Journal of Information Systems, International Journal of Organizational Design and Engineering and MISQ Executive Journal.

His research interests are in the field of "Situational Method Engineering for Information Management, Enterprise Architecture Management, Enterprise Transformation Management, Health Network Engineering, Corporate Management Systems and Service Innovation & Engineering."

Publications
Winter authored and coauthored numerous publications. Books, a selection:
 Österle, Hubert, and Robert Winter. Business engineering. Springer Berlin Heidelberg, 2003.
 Robert Winter, J. Leon Zhao & Stephan Aier (eds.) Global perspectives on design science research : 5th international conference, DESRIST 2010, St. Gallen, Switzerland, June 4–5, 2010 : proceedings. Berlin : Springer, 2010.

Articles, a selection:
 Winter, Robert. "Modelle, techniken und werkzeuge im business engineering." Business Engineering. Springer Berlin Heidelberg, 2003. 87-118.
 Braun, Christian, and Robert Winter. "A comprehensive enterprise architecture metamodel and its implementation using a metamodeling platform." Desel, Jörg; Frank, Ulrich (2005): 24-25.
 Winter, Robert, and Ronny Fischer. "Essential layers, artifacts, and dependencies of enterprise architecture." Enterprise Distributed Object Computing Conference Workshops, 2006. EDOCW'06. 10th IEEE International. IEEE, 2006.
 Winter, Robert. "Organisational design and engineering: proposal of a conceptual framework and comparison of business engineering with other approaches." International Journal of Organisational Design and Engineering 1.1 (2010): 126-147.
 Loos, P., Lechtenbörger, J., Vossen, G., Zeier, A., Krüger, J., Müller, J., ... & Winter, R. (2011). "In-memory databases in business information systems." Business & Information Systems Engineering, 3(6), 389-395.

References

External links
 Robert Winter at the University of St. Gallen

Year of birth missing (living people)
Living people
German business theorists
Enterprise modelling experts
Goethe University Frankfurt alumni
Academic staff of the University of St. Gallen

Robert Winter (business theorist)


Centule I (Occitan: Centolh d'Astaragues) (died 1230 or 1233) was the Count of Astarac from 1174 or 1175 until his death.

He is recorded in a sirventes of Bertran de Born as having joined the alliance against Richard the Lion-Hearted in 1183. Bertran calls him E.n Centols. Centule raised a company of Gascon routiers along with Gaston VI of Béarn and sent them north under one Brunus (or Brenus) to aid Adhemar V of Limoges in besieging a church on the Gorre in February. The company was routed by Richard.

Centule participated in the Reconquista in the Iberian Peninsula and was present at the great Battle of Las Navas de Tolosa in 1212.

Sources
Kastner, L. E. "Concerning Two Sirventes of Bertran de Born." Modern Philology, Vol. 29, No. 1. (Aug., 1931), pp. 1–9.

1233 deaths
Counts of Astarac
People of the Reconquista
Year of birth unknown

Centule I of Astarac


Daniel Douglas Eley OBE, FRS (1 October 1914 – 3 September 2015) was a British chemist and Professor of Physical Chemistry at the University of Nottingham. He is known for the Eley–Rideal mechanism in surface chemistry.

Biography
Eley obtained a BSc in Chemistry from the University of Manchester in 1934, and an MSc in 1935. He studied for a PhD with Michael Polanyi which he obtained in 1937, but then moved to St John's College, Cambridge where he undertook a second PhD with Eric Rideal which he obtained in 1940.

In 1945 he was appointed to a Lectureship in Colloid Science at the University of Bristol and was promoted to a Readership in Biophysical Chemistry in 1951. In 1954 he was appointed to be the first Professor of Physical Chemistry at the University of Nottingham. In 1961 he was made an Officer of the Order of the British Empire (OBE), and in 1964 he was elected as a Fellow of the Royal Society.

Academic career
Eley was instrumental in the development of the School of Chemistry at the University of Nottingham (formerly the Department of Chemistry). Together with Alan Johnson and Cliff Addison (Professors of Organic and Inorganic Chemistry, respectively) he oversaw the construction of a new Chemistry building in 1960.

Eley worked in a variety of areas including heterogeneous catalysis, organic semiconductors, molecular sieves, photochemistry and radiation chemistry, X-ray crystallography, equilibria in solution, colloids and interfaces and magnetic properties of materials. He maintained links with industry, and money from ICI was used to set up a Centre for Colloid Science in the Chemistry Department. He was a founder member of the British Biophysical Society. He ran a large research group and published over 250 papers, some of which have been highly cited and a number of which are single author. Eley retired in 1980, but continued to collaborate with colleagues in the department, and to publish articles.

Professor Eley worked with Sir Eric Rideal studying catalysts, especially the industrially-important reaction between hydrogen compounds containing carbon-carbon double bonds. These experiments led to the discovery of the mechanism for this reaction: the Eley–Rideal reaction. He also conducted work on DNA demonstrating that molecules of DNA can conduct electricity, important for understanding how DNA can be damaged. During this time he also tutored Rosalind Franklin.

In honour of his 90th birthday in 2004, the journal Nature presented him with a lifetime subscription. He celebrated his 100th birthday on 1 October 2014. On 29 October 2014, the University of Nottingham hosted an event in the School of Chemistry to mark his centenary, in which he was also presented with a certificate marking the 50th anniversary of his election to the Royal Society and a Royal Society of Chemistry blue plaque.

References

1914 births
2015 deaths
Alumni of the University of Manchester
Alumni of St John's College, Cambridge
British chemists
Fellows of the Royal Society
British centenarians
Men centenarians
Place of birth missing
Officers of the Order of the British Empire
Academics of the University of Nottingham
Academics of the University of Manchester Institute of Science and Technology

Dan Eley


Giovanna (Gigi) Fenster (born 1963/64) is a South African-born New Zealand author, creative writing teacher, and law lecturer.

Life
Fenster was born in South Africa to a Jewish family. Her father was a psychiatrist. One of five children, she describes her home as a "lively, entertaining, emotionally very generous household". She studied law in South Africa: most of her legal career has been in the construction industry, as an advisor and trainer on issues of construction law. After having two children, her concerns about raising them in a society with high levels of violence prompted her to move in 2001 to Wellington, New Zealand, where she became a legal policy analyst at the Commerce Commission.

Fenster still teaches contract law, as well as Creative Writing at Massey University in Wellington. She was one of the founders of the Write Where You Are collective, which supports writing in prisons, and teaches creative writing in Rimutaka Prison.

Fenster has two daughters, and in 2015 moved from Wellington to Ōtaki on New Zealand's Kāpiti Coast, where she lives with her partner.

Literary career
Fenster's writing career began with the encouragement of her younger sister, novelist Rahla Xenopoulos, who had just published her first book. Joining a writing group was for Fenster an antidote to the loneliness she felt after her move to New Zealand. She went on to do a master's degree in creative writing at the International Institute of Modern Letters at Victoria University of Wellington.

Fenster's first novel, The Intentions Book, was published by Victoria University Press in 2012, and was shortlisted in the Fiction category of the 2013 New Zealand Post Book Awards, and longlisted for the International IMPAC Dublin Literary Award and the Commonwealth Book Prize. In 2016 she was awarded a PhD in creative writing from Victoria University of Wellington, supervised by Damien Wilkins. Her PhD thesis was published as a work of creative non-fiction under the title Feverish: A Memoir by Victoria University Press in 2018: it explored creativity, fever, and identity.

Fenster's third novel, psychological thriller A Good Winter, was a manuscript she had written in 2016 but abandoned for years "because it refused to go where I wanted it to go." Encouraged by a friend, poet Mary Macpherson, she submitted it for the 2020 Michael Gifkins Prize for an Unpublished Novel, and won. The prize included a contract for world rights with Australian publisher Text Publishing, as well as a NZ$10,000 advance. A Good Winter was published in September 2021.

A Good Winter's protagonist, Olga, is an unreliable narrator and an unlikeable, bitter, and uncompromising character. When starting the novel, Fenster relates that she took the advice "First you find your characters. Then you put them up a tree. Then you throw stones at them", but the character of Olga was "throwing stones right back". As a portrait of a troubled, obsessed mind, Fenster said she wanted readers to feel "worried, anxious, incredibly tense…to both dread and look forward to the end." In March 2022 A Good Winter was one of four novels shortlisted for the Jann Medlicott Acorn Prize for Fiction in the Ockham New Zealand Book Awards, and convenor of judges Rob Kidd described it as "an unnerving and absorbing reading experience as the darkness closes in."

Works

 "Leaving Morris" (Sport 37, Winter 2009)
 "Buttons" (The International Literary Quarterly 16, 2011)
 "Preview" (Hue & Cry 6, 2012).

References

External links

 2016 PhD thesis Feverish: self-induced fever and the creative mind (Victoria University of Wellington)

Living people
1991 births
New Zealand women writers
New Zealand novelists
Academic staff of Massey University
International Institute of Modern Letters alumni
South African emigrants to New Zealand

Gigi Fenster


Unit 621, otherwise known as Egoz (, Yehidat Egoz. lit. "Nut"), is an elite Israel Defense Forces (IDF) commando unit specializing in guerrilla warfare, special reconnaissance, and direct action (military). It is a part of the IDF Central Command's 89th Brigade (commonly referred to as the commando brigade).

Prior to 2000, Egoz operated mainly in Lebanon, combating threats from Hezbollah. Following Israel's withdrawal from Southern Lebanon, the unit shifted the focus of its operations to the West Bank and the Gaza Strip.

Service in Egoz
Egoz recruits undergo basic and advanced infantry training with the Golani Brigade. Unit recruits then begin an intense 16-month training program to become Egoz special forces operators. One of the most rigorous and physically demanding training regimens in the Israel Defense Forces, Egoz prepares its soldiers for operations in multiple environments in and around Israel and the Palestinian Territories, including the West Bank and Gaza Strip, in addition to longer-range operations behind enemy lines in Lebanon and Syria. Egoz is a flexible and highly trained unit tasked with multiple missions that include irregular warfare, special reconnaissance, direct action, counter-terrorism and joint special operations. Egoz missions are executed in small teams and are highly classified. The IDF does not disclose information on the unit or the operations in which it takes part.

History

Unit Egoz was named after the 1956 special forces reconnaissance unit known as (Sayeret) Egoz. Following a friendly-fire incident, Sayeret Egoz was disbanded, and then restored in 1964, when it continued to operate under the Northern Command. In 1974 it was disbanded once more due to manpower shortages following the Yom Kippur War.

Founded as a special forces counter-guerrilla unit in 1995 in order to counter Hezbollah operations in Southern Lebanon, Egoz was initially made up of one platoon from the Paratrooper's 5135th Reconnaissance Battalion. The unit's first commander was Erez Zuckerman, who spent much of his military career as a soldier and officer in the Israeli naval commando unit otherwise known as Shayetet 13. As a result, much of the discipline and tactics come from Shayetet 13, and are the foundations upon which the unit was built. Zuckerman led the unit in a series of counter-guerrilla operations in South Lebanon that resulted in a high number of Hezbollah operatives killed. In September 1996 Zuckerman commanded a force from the unit in an operation at Sujud ridge. The force encountered and killed three Hezbollah operatives while suffering two dead and several injured soldiers. The unit is credited with killing sixteen guerrillas in 1996.

In the 2006 Lebanon War, five Egoz operators were killed and six wounded in the Battle of Maroun al-Ras, following a direct hit by an AT-3 Sagger anti-tank missile. An estimated 13 members of Hezbollah were killed.

In Operation Protective Edge, three members of Unit Egoz were killed during unit operations in the Gaza Strip. On 21 July 2014, in the Shuja'iyya neighborhood of Gaza City, Egoz forces engaged and neutralized ten Hamas militants, including one that detonated a suicide vest.

Training

Egoz training is split into multiple phases:
 4 months basic and advanced infantry training within the Golani Brigade
2 weeks Airborne School
 10 months advanced Commando brigade training pipeline.

At the completion of the first phase, recruits begin a specialized training regimen in the Commando Brigade. Each Egoz recruit goes through extensive background checks and interviews by Israeli intelligence to determine whether or not they should be screened out of the second phase of training. Those that continue training with the unit begin an intensive ten-month Egoz training program. The training program in Egoz is known to be one of the toughest in the IDF, as can be explained by the notably high drop rate of recruits.

The Egoz training program is designed to bring recruits to their mental and physical limits in order to prepare them for their operational service. Among other things, the recruits train in extensive long-range navigation/orienteering, camouflage, reconnaissance, counterterrorism, and various kinds of warfare and assaults. Egoz is one of a few units in the IDF that trains its recruits in long-range solo navigations. In addition to other highly classified unit-specific courses, every Egoz soldier completes the IDF commanders' course.

See also
 11th 'Yiftach' Brigade - reserve formation made up of mostly Egoz veterans

References

Military units and formations of Israel
Northern Command (Israel)
Special forces of Israel
Military counterterrorist organizations
Military units and formations established in 1956

Unit Egoz


Cape Colville is the northernmost point of the Coromandel Peninsula in New Zealand's North Island. It lies 85 kilometres north of Thames, and 70 kilometres northeast of the city of Auckland, on the other side of the Hauraki Gulf. The small settlements of Port Jackson and Fletcher Bay lie immediately to the west and east respectively of the cape.

Great Barrier Island lies to the north of Cape Colville, separated from it by  20 kilometre width of the Colville Channel. The tiny Channel Island lies between the two.

Port Jackson
Port Jackson Bay, just to the south of the Cape, has been inhabited since at least the fifteenth century. At the south end of the Bay, at Port Jackson, a water-powered flax mill existed in 1901, when the population was 12. There is a camp site. New Zealand dotterel breed locally. Boneseed is a local weed. Dune restoration with spinifex was done from 2009 to 2011. There was much flooding in 2014.

See also
Moehau Range

References

Colville
Thames-Coromandel District
Rock formations of Waikato

Cape Colville


Jill Beck (born 1949) is an American dancer, scholar, administrator and educator. She served as the 15th president of Lawrence University from July 2004 to 2013. On February 2, 2012, Beck announced her intention to retire, and was succeeded by Mark Burstein.

Early life and education
A native of Worcester, Massachusetts, Beck received a B.A. in philosophy and art history from Clark University, an M.A. in history and music from McGill University, and a Ph.D. in theatre history and criticism from the City University of New York.

Career
As dean of the School of the Arts at the University of California, Irvine from 1995 to 2003, she instituted a strategic planning process and led a capital campaign that contributed to the school's endowment, facilities, educational mission, and outreach activities. Under her leadership, the school was named the Claire Trevor School of the Arts and undergraduate applications increased by more than 70 percent over four years.

During her tenure as dean, Beck founded the ArtsBridge outreach program in art education, with professor Keith Fowler as its initial administrative director. Now named ArtsBridge America, the program is an arts partnership between universities and the K-12 community. The program offers hands-on experiences in the arts to school-age children, placing university students in K-12 classrooms as instructors and mentors. Beck also established the da Vinci Research Center for Learning Through the Arts, an interdisciplinary center for research focused on learning across disciplines.

In 2000, Beck co-chaired an international conference entitled "Sciences for the Arts: Building a Coalition for Arts Education" that brought psychological and medical researchers together with artists and art educators.

Beck is both a scholar and a practitioner of dance and choreography and has written in the fields of dance history, theory, repertory, and technique, as well as directed ballet and modern dance repertory. In addition to holding an appointment as professor of dance at UCI, she has taught at the City College of New York and the Juilliard School. Beck was a founding member of the Alliance of Dance Notation Educators.

Recognition
Beck is a recipient of the Disney Corporation's Jack Linquist Award for Innovation, the American Red Cross's Clara Barton Award for humanitarian service in the arts, and the University of California, Irvine, Medal, the university's highest honor, for "visionary leadership in building community."

Personal life
Beck is married to Robert J. Beck.

References

1949 births
Living people
Clark University alumni
McGill University School of Music alumni
Presidents of Lawrence University
City College of New York faculty

Jill Beck


Timothy Jollie,  (c. 1659–1714), was a nonconformist minister and notable educator in the north of England.

Biography
Timothy Jollie, son of Thomas Jollie, was born at Altham, Accrington, Lancashire, about 1659. On 27 August 1673 he entered the dissenting academy of Richard Frankland at Rathmell, Yorkshire. He left it in December 1675 to study in London, where he became a member of the independent church at Girdlers' Hall, Basinghall Street, under George Griffith. In 1679 he was called to an independent church in a newly erected meeting-house at Snig Hall, Sheffield. He was ordained on 28 April 1681 by his father, with Oliver Heywood and two other ministers, at the house of Abel Yates in Sheffield. Heywood notes the occasion as remarkable, seeing that an independent church, with but two objectors, allowed their pastor to be ordained by presbyters. In 1682 Jollie was arrested under the Five Miles Act, fined £20, taken to York, and bound over to appear at the next assizes. Refusing then to take an oath of 'good behaviour,' he was imprisoned for six months in York Castle, where, in June 1683, he was visited by Heywood. He was released  on 1 October 1683.

Jollie's academy
From 1686 to 1689 Frankland had held his academy at Attercliffe, on the outskirts of Sheffield. On his return in July 1689 with the academy to Rathmell, Jollie started an independent academy at Attercliffe. The London Presbyterian fund sent him a few students, but none after 1696. By May 1700 he had sent out forty ministers, and had twenty-six in training. Not thirty names of his students are known, but the list includes Thomas Bradbury, Benjamin Grosvenor, D.D., William Harris, D.D. (1675?–1740), John Bowes (1690–1767), Lord Chancellor of Ireland, Thomas Secker (in 1708–9), archbishop of Canterbury, and Nicholas Saunderson, scientist and mathematician. Grosvenor commends the excellence of his discipline and the charm of his eloquence, and thinks that his exemplary character compensated for shortcomings in his learning. It appears that mathematical studies were prohibited 'as tending to scepticism and infidelity,' but many of the students 'by stealth made a considerable progress' in this department. After Jollie's death the academy was continued by John Wadsworth till 1718, and perhaps later.

Thomas Secker held a critical opinion of the Jollie's academy; according to the Encyclopædia Britannica Eleventh Edition he was frustrated by Jollie's poor teaching, famously remarking that he lost his knowledge of languages and that 'only the old Philosophy of the Schools was taught there: and that neither ably nor diligently. The morals also of many of the young Men were bad. I spent my time there idly & ill'.

Upper Chapel
In 1700 a new meeting-house, since known as the Upper Chapel, was built for Jollie at Sheffield, the old building being converted into an almshouse and school. His hearers formed the largest nonconformist congregation in Yorkshire. His letter to Heywood in 1701 shows that he shared Heywood's alarm at the rise of 'novellists', or innovators upon the orthodoxy of Calvinism. Harmony prevailed among his own flock, but there was an angry division immediately after his death, the great majority abandoning independence, but retaining the meeting-house.

Death, family
He died on Easter day, 28 March 1714, and was buried on 31 March in the graveyard at the Upper Chapel, where his tombstone bears a Latin inscription, which gives his age 'ætatis suæ 56.' His funeral sermon was preached by his assistant, John de la Rose.

He married Elizabeth (d 20 January 1709), daughter of James Fisher (d 1666), the ejected vicar of Sheffield, with whom he had two sons, Thomas and Timothy, both of whom became independent ministers.

Publications
He published:
 A Funeral Sermon for … Rev. Thomas Jollie''', 1704,
 A Memorial, or a Character of Mr. Thomas Whitaker'', 1712, (prefixed to a volume of Whitaker's sermons, edited by Jollie and Thomas Bradbury)

Notes

References

1659 births
1714 deaths
English Christian religious leaders
Dissenting academy tutors
English Dissenters
People from Accrington

Timothy Jollie


Édouard Riou (; 2 December 1833 – 27 January 1900) was a French illustrator who illustrated six novels by Jules Verne, as well as several other well-known works.

Life

Riou was born in 1833 in Saint-Servan, Ille-et-Vilaine, and studied under Charles-François Daubigny and Gustave Doré, graduating in 1859. Apart from supplying designs for wood-engravings, his artistic specialties included landscape painting and commemorative art (including works for the opening of the Suez Canal and the marriage of a daughter of the Czar).

His collaboration with Jules Verne started in 1865 with the publication of Verne's novel Five Weeks in a Balloon, and continued for a run of six novels in all:

Five Weeks in a Balloon (1865): 51 illustrations by Riou (40) and Henri de Montaut (5), unsigned (6), wood-engravings by Coste, Delaville, Dumont, Fournier, Hildibrand, Pannemaker, Prunaire
The Adventures of Captain Hatteras (1866): 259 illustrations by Riou (190) and Henri de Montaut (69), wood-engravings by Barbant, Cazat, Delaville, Dumont, Hildibrand, Joliet, Linton, Pannemaker, Pierdon, Pisan, Prunaire
Journey to the Center of the Earth (1867): 56 illustrations, wood-engravings by Pannemaker, Gauchard, Charles Maurand
The Children of Captain Grant (1868): 175 illustrations, wood-engravings by Delaville, Gauchard, Maurand, Pannemaker, Prunaire
Twenty Thousand Leagues Under the Sea (1871): 111 illustrations by Riou (24, the first eleven chapters) and Alphonse de Neuville (86), wood-engravings by Hildibrand
The Survivors of the Chancellor (1875): 45 illustrations by Riou (45) and Jules Férat (13), wood-engravings by Charles Barbant, Crosbie, Dumont, Hildibrand, Louis, Méaulle, Pannemaker

Regarding Riou's work for Twenty Thousand Leagues Under the Sea, Verne wrote in 1868: "I have received the drawings from Riou. I have several suggestions to make which I'll mention to him by return mail. I think he needs to make the people much smaller and the rooms much larger. And he needs to add much more detail...  By the way, it was an excellent idea to use Colonel Charras as the model for Captain Nemo. I should've thought of that."

The illustrator and Verne scholar Ron Miller has said: "I believe his work stylistically spans the transition between the illustrators of the early 19th century and those of the latter half—when the profession of professional illustrators became established. Some of the qualities that Riou carried over were the often cartoon-like depiction of characters and the use of numerous 'spot' illustrations."

Edmondo Marcucci wrote: "Riou's drawings are rich with light, and the traits of his characters have a vigorous expression. Riou succeeds in adapting himself artistically to the realistic reproduction of the many fantastic locales of the Vernian fictional geography: the mists and the glacial icepacks, the shadows inside the Earth's crust, the deserted and expansive beaches, and the many bodies of water and their movement... Everything is both ordered and evocative in Riou's work—his style might be called 'romantic realism.'"

Riou also illustrated Walter Scott's Ivanhoe (1880) and Waverley, Victor Hugo's Notre Dame de Paris, Louis Figuier's La terre avant le deluge (1863), Alexandre Dumas' The Count of Monte Cristo (1887). He became a member of the Legion of Honour.

Riou died in Paris on January 27, 1900.

See also
 Jules Férat (1819–1889)
 Léon Benett (1839–1917)
 Georges Roux (1850–1929)
 Émile-Antoine Bayard (1837–1891)
 Alphonse de Neuville (1835–1885)
 Paul-Dominique Philippoteaux (1846-1923)

Footnotes

References
 Arthur B. Evans: The Illustrators of Jules Verne's Voyages Extraordinaires. In Science-Fiction Studies, XXV:2 (July 1998): 241-70.
 Charles-Noël Martin: La Vie et l'oeuvre de Jules Verne (Paris: Michel de l'Ormeraie, 1978).
 André Bottin: Bibliographie des éditions illustrées des Voyages Extraordinaires de Jules Verne (Contes: Chez l'auteur, 1978).
 Edmondo Marcucci: Les Illustrations des Voyages Extraordinaires de Jules Verne (Bordeaux: Ed. Société Jules Verne, 1956).

External links

 Zvi Har'El's Jules Verne Collection

1833 births
1900 deaths
People from Ille-et-Vilaine
19th-century French painters
French male painters
French illustrators
Jules Verne

Édouard Riou


Sashegy (aka Sas-hegy, ; lit. "Eagle Hill") is a hill and neighbourhood in Budapest, Hungary. It is a green, upper middle class area in Buda with expensive family homes. Administratively Sashegy is divided between the 11th and the 12th districts of Budapest.

Maps
 The streets on Google Maps
 Near view on Google

The borders of Sashegy are: Hegyalja út from Dayka Gábor utca - Kálló esperes utca - Hegyalja út - Budaörsi út - Brassó út - Dayka Gábor utca until Hegyalja út.

Name
The present-day name was given to the hill in 1847 when the geographical features of the Buda Hills were renamed by the initiative of Hungarian philologist Gábor Döbrentei. Sashegy is the translation of the former German name, Adlerberg. According to a popular legend a parade was held on 2 September 1686 by the victorious Christian armies after capturing Buda Castle from the Ottoman Turks. During the parade eagles flew from the hill nearby towards the castle.

Medieval Hungarian names were also recorded. At first the hill was called Királyhegy (lit. King's Hill) in the 13th century because Hungarian kings usually took a rest here during hunting trips. Later it became a church property under the names Paphegy, Baráthegy or Istenhegy (lit. Parson's Hill, Friar's Hill or God's Hill). The Ottomans called the hill Muhanek in the 16th and 17th century.

History
After the Ottoman occupation vineyards were planted on the lower slopes of the hill. German colonists played an important part in the rebirth of viticulture in the Buda Hills. During the 18-19th centuries Adlerberg, as it was then called, was part of the Buda-Sashegy Wine Region. According to the 1789 land register of Buda the vineyards on Adlerberg covered 0,6 km². The Buda-Sashegyi Kadarka wine, made from Black Kadarka, earned a reputation throughout Europe. The vineyards of Sashegy were destroyed in 1890 by the phylloxera. After the plague viticulture was supplanted by the production of stone-fruits. The lower slopes were planted with orchards, mainly peach-trees, while the rocky upper areas of the hill remained barren all times.

In the beginning of the 20th century a military complex was built at the foot of the hill (now Petőfi Barracks). The first great building on the hill itself was the college of the Congregation of Notre Dame de Sion, established in 1930. Suburbanization only began in the 1940s and 1950s when family homes were built in place of the old orchards. In 1944 concrete bunkers were built on the top of the hill, and many new villas were destroyed during the siege of Budapest in 1944-45. The present stock of houses mainly comes from the last decades of the 20th century. The natural upper areas were preserved with the establishment of the nature reserve in 1958. According to the 1990 census Sashegy had 9030 inhabitants (7969 in the 11th and 1061 in the 12th district part).

Streets
The process of suburbanization was accelerated by designation of new streets across the neighbourhood. The main roads around foot of the hill followed much older pathways like the old Sashegyi út (now Hegyalja út) which connected the valley under Gellért Hill with Farkasrét.

The majority of the new streets were established in the period between 1928 and 1941. The most important among them was Miasszonyunk útja (now Meredek utca), leading towards the college, in 1930.

Education
The only school in the neighbourhood is Arany János Elementary and Secondary School (1 Meredek utca, 12th District).  The huge, yellow Neo-Baroque building on the hillside was built in 1930 by the Congregation of Notre-Dame de Sion. It was originally a college of girls with French as the language of education. The school was secularized after the Communist takeover in 1948. The Arany János Elementary and Secondary School was established in 1954.

Nature Reserve
The Sas-hegy Nature Reserve belongs to the Danube-Ipoly National Park. The  area on the top of the hill was placed under protection in 1958. It was one of the first nature reserves of Hungary, protecting the limestone landscape and its special flora and fauna. The top of the hill is 257 m high and offers a scenic panorama towards Buda Castle, Gellért Hill and the districts of Buda. The park service maintains a visitor center and a 2350 m long circular trail, displaying the most important natural features of the reserve.

See also
 Naphegy
 Gellérthegy

References

External links

 Nature (Hungarian) A Duna–Ipoly Nemzeti Park honlapja
 http://natur.budapest.hu/text/sashegy.html
 http://www.vendegvaro.hu/34-41
 http://www.sashegy-vedo.hu/ Neighbourhood NGO

Neighbourhoods of Budapest
Újbuda
Hegyvidék
Buda Hills

Sashegy


Ōōkala (also spelled Ookala) is an unincorporated community on the island of Hawaii in Hawaii County, Hawaii, United States.  It lies along Hawaii Route 19 north of Hilo, the county seat of Hawaii County.  Its elevation is 371 feet (113 m), and it is located at  (20.0175000, -155.2872222).  Because the community has borne multiple names, the Board on Geographic Names officially designated it "Ōōkala" in 2000.  It has a post office with the ZIP code 96774.

The community was in the news after the Hawaii Department of Health warned that the gulch near the community had contaminated water. This was the result of waste from a nearby dairy draining into the water.  More recently the company, Big Island Dairy, has agreed to cease operations, to pay a fine and to remediate environmental concerns to prevent future waste water releases into nearby gulches by June 2019.

References

Unincorporated communities in Hawaii County, Hawaii
Populated places on Hawaii (island)
Unincorporated communities in Hawaii

ʻŌʻōkala, Hawaii


Deno J. Andrews (born 1971) is an American former professional three cushion billiards player, a tournament promoter, and a coach to some well-known pool champions.

In September 2005, Andrews became Tour Director for the International Pool Tour (IPT), a major professional pool tour at that time. He ran the inaugural IPT event, the King of the Hill Shootout, an invitational tournament of 42 players from around the world, including many of the Billiard Congress of America's living Hall of Famers. The tournament paid out US$1,000,000 in total prize money, with a prize of $200,000 for the first-place finisher, Efren Reyes.

In private life, Andrews is a collector of antique billiard artifacts.

References

External links
Video:IPT's Deno Andrews Discusses Mike Sigel and John Schmidt

American carom billiards players
Pool coaches, managers and promoters
1971 births
Living people

Deno Andrews


Orthodox Christianity, mair specificallie Eestren Orthodoxie, or Byzantine Orthodoxie (seperate from Oriental Orthodoxie) is ane o th thrie mein branch o Christianity, alang wi Roman Catholicism an Protestantism. Akin tae the pentarchy o th first yeirthoosan, the meinstreem or canonical Eestren Orthodox Kirk is ordert intae autocephalous kirks separate frae ane an ither. I the 21t yeirhunner, the number o meinstreem autocephalous kirks in seeventein, as weel as some autcephalous kirks unrecognisit bi the meinstreem anes. Autocephalous kirks chuise ther ane primate, an can hae authoritie ower ither kirks, some o whilk hae the status o "autonomous" meanin that they hae mair autonomy than eparchies.

Moony o they jurisdictions hae correspondon territories o ane or mair modren states. For example the Patriarchate o Moscow corresponds tae Roushie an sum o the ither former Soviet states. they can also incluid metropolis', bishoprics, parishes, monasteries, or ootleein metochions whilk correspond o diasporas that can be locaitit ootwi the kintra whaur the primate is originally, sometimes they overlap.

The spreed o Eestren Orthodoxie begin i th'eestren area o the Mediterranean Basin wiïn Greek culture. Theis communities hae common unnerstaunin, teachin an offices o muckle seemilaritie, wi a strang sense o seein themsels as ane [kirk]. Everie Eestren Orthodox Christian sees his or her year full o the liturgical calendar o the kirk o which they depend. Eestren Orthodoxie hauds the beleif that the Holie Spirit proceeds frae the Faither an rejects the Filioque clause: "an the son", which wis addit tae the Nicene Creed bi the Laitin Kirk, o th groonds that nae cooncil wis cried apon fer th'addition.

Orthodox Christianity


The NHL Research, Development and Orientation Camp is an annual two-day event held by the National Hockey League for the purpose of testing potential changes to the rules of the game of ice hockey, ranging from the subtle variety to the more drastic kind.

The event allows the NHL to experiment with potential changes to the game, while using top prospects for the NHL Entry Draft as guinea pigs in the on-ice experiments.

NHL commissioner Gary Bettman describes the event as "an opportunity to try new things, look at things, even if we never implement them".

References

National Hockey League
Research and development in North America


Alexa Alemanni is an American actress. She appeared as Allison, secretary to Don Draper on the AMC original series Mad Men (2007–2010).

Life and career
Alemanni is a graduate of Vassar College with a bachelor's degree in theatre performance. On stage, she has appeared in the William Shakespeare comedies The Merchant of Venice (Portia) and Twelfth Night (Viola). She played Helen of Troy in an international touring production of The Oresteia that performed both in Athens, Greece, and Milan. She also performed as part of the ensemble with the Comedy Central Theater.

In 2005, Alemanni made her first TV appearance on The West Wing in the episode "365 Days" as an intern for White House Chief of Staff Leo McGarry. Her other notable TV credit was appearing as Amy Deckerman, a murder victim in "Doubt", the third-season premiere episode of Criminal Minds.

She appeared in two small films that were shown at film festivals in 2008, La Milonga and Sanctuary, neither of which received a theatrical release.

Her first appearance on Mad Men was in the third episode of the first season, "The Marriage of Figaro". Alemanni appeared in three other episodes in the first season, but appeared only once in the second season. With her character having been installed as Don Draper's secretary, she appeared in 11 of the 13 episodes of season 3.

Alemanni was included among the cast of Mad Men as a winner at the 16th Screen Actors Guild Awards for Outstanding Performance by an Ensemble in a Drama Series. She was presented with an award along with other members of the cast.

Filmography

Film

Television

References

External links

American television actresses
Living people
Place of birth missing (living people)
Year of birth missing (living people)
Vassar College alumni
21st-century American actresses

Alexa Alemanni


Rotoscoping is an animation technique that animators use to trace over motion picture footage, frame by frame, to produce realistic action. Originally, live-action movie images were projected onto a glass panel and traced onto paper. This projection equipment is referred to as a rotoscope, developed by Austrian-American animator Max Fleischer. This device was eventually replaced by computers, but the process is still called rotoscoping.

In the visual effects industry, Rotoscoping is the technique of manually creating a matte for an element on a live-action plate so it may be composited over another background. Chroma key is more often used for this, as it is faster and requires less work, but Rotoscoping provides a higher level of accuracy and is often used in conjunction with Chroma-keying. It may also be used if the subject is not in front of a green (or blue) screen, or for practical or economic reasons.

Technique

Rotoscoping has often been used as a tool for visual effects in live-action movies. By tracing an object, the moviemaker creates a silhouette (called a matte) that can be used to extract that object from a scene for use on a different background. While blue- and green-screen techniques have made the process of layering subjects in scenes easier, rotoscoping still plays a large role in the production of visual effects imagery. Rotoscoping in the digital domain is often aided by motion-tracking and onion-skinning software. Rotoscoping is often used in the preparation of garbage mattes for other matte-pulling processes.

Rotoscoping has also been used to create a special visual effect (such as a glow, for example) that is guided by the matte or rotoscoped line. A classic use of traditional rotoscoping was in the original three Star Wars movies, where the production used it to create the glowing lightsaber effect with a matte based on sticks held by the actors. To achieve this, effects technicians traced a line over each frame with the prop, then enlarged each line and added the glow.

History

Predecessors
Eadweard Muybridge had some of his famous chronophotographic sequences painted on glass discs for the zoopraxiscope projector that he used in his popular lectures between 1880 and 1895. The first discs were painted on the glass in dark contours. Discs made between 1892 and 1894 had outlines drawn by Erwin Faber photographically printed on the disc and then colored by hand, but these discs were probably never used in the lectures.

By 1902, Nuremberg toy companies Gebrüder Bing and Ernst Plank were offering chromolithographed film loops for their toy kinematographs. The films were traced from live-action film footage.

Early works and Fleischer's exclusivity
The rotoscope technique was invented by animator Max Fleischer in 1915, and used in his groundbreaking Out of the Inkwell animated series (1918–1927). It was known simply as the "Fleischer Process" on the early screen credits, and was essentially exclusive to Fleischer for several years. The live-movie reference for the character, later known as Koko the Clown, was performed by his brother (Dave Fleischer) dressed in a clown costume.

Conceived as a shortcut to animating, the rotoscope process proved time-consuming due to the precise and laborious nature of tracing. Rotoscoping is achieved by two methods, rear projection and front surface projection. In either case, the results can have slight deviations from the true line due to the separation of the projected image and the surface used for tracing. Misinterpretations of the forms cause the line to wiggle, and the roto tracings must be reworked over an animation disc, using the tracings as a guide where consistency and solidity are important.

Fleischer ceased to depend on the rotoscope for fluid action by 1924, when Dick Huemer became the animation director and brought his animation experience from his years on the Mutt and Jeff series. Fleischer returned to rotoscoping in the 1930s for referencing intricate dance movements in his Popeye and Betty Boop cartoons. The most notable of these are the dance routines originating from jazz performer Cab Calloway in Minnie the Moocher (1932), Snow-White (1933), and The Old Man of the Mountain (1933). In these examples, the roto tracing was used as a guide for timing and positioning, while the cartoon characters of different proportions were drawn to conform to those positions.

Fleischer's last applications of the rotoscope were for the realistic human animation required for the lead character—among others—in Gulliver's Travels (1939), and the human characters in his last feature, Mr. Bug Goes to Town (1941). His most effective use of rotoscoping was in the action-oriented film noir Superman series of the early 1940s, where realistic movement was achieved on a level unmatched by conventional cartoon animation.

Contemporary uses of the rotoscope and its inherent challenges have included surreal effects in music videos such as Elvis Costello's "Accidents Will Happen" (1978), Klaatu's "Routine Day" (1979), Lawrence Gowan's "A Criminal Mind" (1985), A-ha's "Take On Me" (1985), the live performance scenes in Dire Straits' "Money for Nothing" (1985), Kansas' "All I Wanted" (1986), and the animated TV series Delta State (2004).

Uses by other studios
Fleischer's patent expired by 1934, and other producers could then use rotoscoping freely. Walt Disney and his animators used the technique extensively in Snow White and the Seven Dwarfs in order to make the human characters' motions more realistic. The film went significantly over budget due to the complexity of the animation.

Leon Schlesinger Productions, which produced the Looney Tunes and Merrie Melodies cartoons for Warner Bros., occasionally used rotoscoping. The opening to the 1939 MGM cartoon "Petunia Natural Park" from The Captain and the Kids featured a rotoscoped version of MGM's mascot, Jackie the Lion.

Rotoscoping was used extensively in China's first animated feature film, Princess Iron Fan (1941), which was released under very difficult conditions during the Second Sino-Japanese War and World War II.

Rotoscoping was a popular technique in early animated films made in the Soviet Union. Most films produced with it were adaptations of folk tales or poems—for example, The Night Before Christmas or The Tale of the Fisherman and the Fish. Only during the early 1960s, after the "Khrushchev Thaw", did animators start to explore very different aesthetics.

The makers of the Beatles' Yellow Submarine used rotoscoping in the "Lucy in the Sky with Diamonds" sequence. Director Martin Scorsese used rotoscoping to remove a large chunk of cocaine hanging from Neil Young's nose in his rock documentary The Last Waltz.

Ralph Bakshi used rotoscoping extensively for his animated features Wizards (1977), The Lord of the Rings (1978), American Pop (1981), Fire and Ice (1983), and Cool World (1992). Bakshi first used rotoscoping because 20th Century Fox refused his request for a $50,000 budget increase to finish Wizards; he resorted to the rotoscope technique to finish the battle sequences.

Rotoscoping was also used in Tom Waits For No One (1979), a short film made by John Lamb, Heavy Metal (1981), What Have We Learned, Charlie Brown? (1983) and It's Flashbeagle, Charlie Brown (1984); the Dire Straits "Brothers in Arms" (1985), three of A-ha's music videos, "Take On Me" (1985), "The Sun Always Shines on T.V." (1985), and "Train of Thought" (1986); Don Bluth's The Secret of NIMH (1982), An American Tail (1986), Harry and the Hendersons (closing credits), The BFG (1989), Titan A.E. (2000); and Nina Paley's Sita Sings the Blues (2008).

In 1994, Smoking Car Productions invented a digital rotoscoping process to develop its critically acclaimed adventure video game The Last Express. The process was awarded , Digital Cartoon and Animation Process. The game was designed by Jordan Mechner, who had used rotoscoping extensively in his previous games Karateka and Prince of Persia.

During the mid-1990s, Bob Sabiston, an animator and computer scientist veteran of the Massachusetts Institute of Technology (MIT) Media Lab, developed a computer-assisted "interpolated rotoscoping" process, which he used to make his award-winning short movie "Snack and Drink". Director Richard Linklater subsequently employed Sabiston and his proprietary rotoscope software in the full-length feature movies Waking Life (2001) and A Scanner Darkly (2006). Linklater licensed the same proprietary rotoscoping process for the look of both movies. Linklater was the first director to use digital rotoscoping to create an entire feature movie. Additionally, a 2005–08 advertising campaign by Charles Schwab used Sabiston's rotoscoping work for a series of television commercials, with the tagline "Talk to Chuck". The Simpsons used rotoscope as a couch gag in the episode Barthood, with Lisa describing it as "a noble experiment that failed".

In 2013, the anime The Flowers of Evil used rotoscoping to produce a look that differed greatly from its manga source material. Viewers criticized the show's shortcuts in facial animation, its reuse of backgrounds, and the liberties it took with realism. Despite this, critics lauded the movie, and the website Anime News Network awarded it a perfect score for initial reactions.

In early 2015, an anime film titled The Case of Hana & Alice (animated prequel to the 2004 live-action film, Hana and Alice) was entirely animated with Rotoshop, but it was far better received than The Flowers of Evil, with critics praising its rotoscoping. In 2015, , a short-form horror anime series using rotoscoping, aired on Japanese TV.

Undone (2019–), an Amazon Prime original series, was created using the technique.

The Spine of Night (2021), a feature-length fantasy film directed by Philip Gelatt and Morgan Galen King was rotoscope animated. King's Gorgonaut Studios had previously rotoscope animated a series of short fantasy films.

See also

 Rotoshop, an image editing software employing interpolated rotoscoping
 Motion capture
 List of rotoscoped works

References

External links

Description of "Digital cartoon and animation process" (Digital rotoscoping) Patent

Audiovisual introductions in 1915
Animation techniques
Film and video technology

Rotoscoping


Erkanbald (died 17 August 1021) was the Abbot of Fulda from 997 and afterwards Archbishop of Mainz from 1011 until his death.

Erkanbald was a member of the family of the counts of Ölsburg and was thus related to Bernard III of Sommerescheburg, Bishop of Hildesheim. He supported the election of Henry IV, Duke of Bavaria, as King of Germany and was rewarded for it in 1011 when the ancient see of Mainz became vacant.

He apparently did not receive the Italian arch chancellery of his immediate predecessor Willigis from Henry II. Several times he appeared as Intervenient in the documents of the emperor, and he consecrated the bishops of Verden and Prague to his church province Mainz. In 1013/14 he took part in the procession to Rome, after which he supported the emperor in carrying out the reform in Fulda. He also supported the emperor in politics in Lower Lorraine and towards Poland.

On 4 June 2019, a sarcophagus was opened in the St. John's Church, Mainz, to gain more information on the early history of the diocese of Mainz. Unfortunately, there were no Bishop's ring or other episcopal insignia on the body. Whether it concerns the remains of cleric Erkanbald, buried in 1021, is being investigated further said research director Guido Faccani. The skeleton was very fragile and was severely affected by the covering with calcium oxide, with the exception of the feet.

In November 2019 a press conference unveiled that the investigations revealed that the body inside was Archbishop Erkanbald. Indications, according to the restorer Anja Bayer, were a chasuble made of blue-coloured silk, which ended with a gold border on the neck of the deceased. It consists of an unpatterned samit and is made from a piece of fabric according to a classic cut. From the shoulders to the hem the length of the garment is 124 cm. On the chasuble there was again a woolen fabric, which was a pallium. The garment nearest to the body is a silk Dalmatic or Tunicella. The fabric has zoomorphically decorated medallions, vertical borders and a slit on the side. The dead man also wore episcopal sandals. For the sandals the period from 980 to 1020 is considered the most probable dating. Bayer analyzed the elaborately crafted shoes together with Jutta Göpfrich, former head of restoration at the German Leather Museum. The goatskin shoes lay broken on the disintegrated foot bone. A sandal shape with star-shaped decorative seams is recognizable. They can be compared with the pontifical shoes of Gotthard of Hildesheim (†1038) and had to belong to a high ranking person. Only the highest clerics, especially bishops, were entitled to these pontifical vestments. Studies by anthropologist Carola Berszin showed that the 1.82 m tall, 40 to 60 year old man weighed about 70 kg and that he suffered from gout in his feet and ankylosing spondylitis. Why he lay upside down in the coffin is unclear. DNA investigations will be carried out in Bolzano.

Thus it is also proven that the today evangelical Johanniskirche was the first cathedral of the episcopal city of Mainz, in front of the later built today's Mainz Cathedral, which is bishop seat since 1036. That Erkanbald chose his official church for his burial is an extraordinary step in the burial tradition of the bishops and archbishops of Mainz. Up to his predecessor Willigis all were buried outside the city surrounded by walls.

References

Archbishops of Mainz
11th-century archbishops
1021 deaths
10th-century births
Year of birth unknown

Erkanbald


The Dutch Beauty Homer is a breed of fancy pigeon. Dutch Beauty Homers, along with other varieties of domesticated pigeons, are all descendants from the rock pigeon (Columba livia). This breed of pigeon is known for their characteristic grey feathers and red eyes. They emit a cooing noise typical of most pigeon species. The Dutch Beauty Homer is most famous for its use as mail carriers during World War II. In the modern era, Dutch Beauty Homer pigeons are collected and most notably seen in bird beauty pageant shows, where they are judged on plumage, shape, and general health.

See also
List of pigeon breeds

External links

Pigeon breeds

Dutch Beauty Homer


Edward Fowler (1632 – 26 August 1714) was an English churchman, Bishop of Gloucester from 1691 until his death.

Early life and education

He was born at Westerleigh, Gloucestershire, and was educated at Corpus Christi College, Oxford, later moving to Trinity College, Cambridge.

Writings

Fowler was suspected of Pelagian tendencies, and his earliest book was a Free Discourse in defence of The Practices of Certain Moderate Divines called Latitudinarians (1670). This supported Samuel Parker and his Discourse of Ecclesiastical Polity of 1669. It also took aim at Thomas Hobbes, by means of positions set out by Daniel Scargill, an apostate Hobbist.

The Design of Christianity, published in the following year, in which he laid stress on the moral design of revelation, was criticized by Richard Baxter in his How far Holiness is the Design of Christianity (1671) and by John Bunyan in his Defence of the Doctrine of Justification by Faith (1672).  Bunyan described the Design as "a mixture of Popery, Socinianism and Quakerism," an accusation to which Fowler replied in a scurrilous pamphlet entitled Dirt Wip'd Off. He also published, in 1693, Twenty-Eight Propositions, by which the Doctrine of the Trinity is endeavoured to be explained, challenging with some success the Socinian position.

Offices

He was successively rector of St. Mary the Virgin's Church, Northill, Bedfordshire (1656) and of All Hallows, Bread Street, London (1673), and in 1676 was elected a canon of Gloucester; his friend, Henry More, one of the Cambridge Platonists, resigned in his favour. In 1681 he became vicar of St Giles, Cripplegate, but after four years was suspended for being a Whig. When the Declaration of Indulgence was published in 1687 he successfully influenced the London clergy against reading it.

Bishopric

In 1691 he was consecrated Bishop of Gloucester and held the see until his death.

References

External links

Bishops of Gloucester
1632 births
1714 deaths
Alumni of Corpus Christi College, Oxford
People from Westerleigh
17th-century Church of England bishops
18th-century Church of England bishops
17th-century Anglican theologians
18th-century Anglican theologians

Edward Fowler (bishop)


Logan Central is a mixed-use suburb and the central business district and administrative centre of the City of Logan, Queensland, Australia. In the , Logan Central had a population of 5,945 people.

Geography
Once forming part of Woodridge, Logan Central is the official central business district of Logan City and is a major activity centre, with many shops and local businesses operating in the area, mostly along the Wembley Road corridor.  Major retailers include Coles, Woolworths and K-mart.

Woodridge railway station is located in Logan Central.  It is also well-serviced by a number of bus routes.

Climate
Logan Central experiences a humid subtropical climate (Köppen: Cfa, Trewartha: Cfal), with hot, muggy summers and mild winters.

History
Woodridge Provisional School opened on 20 May 1924 with 21 students and Miss Dorothy Tuke as the first teacher. In 1932 it relocated to the current site and became Woodridge State School.

Woodridge State School opened on 20 May 1924.

Woodridge Opportunity School opened on 1 January 1972. Circa 1997 it was renamed Logan City Special School.

Woodridge State High School opened on 1 February 1972.

In 1985 the intention was that Logan Central would consist only of the "Logan City Council Administration Centre and contiguous Council properties", but it was subsequently enlarged with land excised from both Woodridge and Kingston.

Demographics

In the , Logan Central had a population of 6,172 people, 49.6% female and 50.4% male. Most of the housing in the suburb is detached homes with around one quarter of residents living in a unit or apartment with more than half of the households renting. The median age of the Logan Central population was 32 years, 5 years below the national median of 37.  50.3% of people living in Logan Central were born in Australia. The other top responses for country of birth were New Zealand 9.6%, Burma 3.2%, England 2.5%, Samoa 2.5%, Philippines 1.5%.  59.7% of people spoke only English at home; the next most common languages were 5.4% Samoan, 1.6% Karen, 1.3% Kirundi (Rundi), 1.3% Burmese, 1.3% Arabic.

In the , Logan Central had a population of 5,945 people.

Education
Woodridge State School is a government primary (Prep-6) school for boys and girls at 113-131 Wembley Road (corner of Railway Parade, ). In 2018, the school had an enrolment of 751 students with 78 teachers (69 full-time equivalent) and 52 non-teaching staff (35 full-time equivalent). It includes a special education program and an intensive England language program.

Woodridge State High School is a government secondary (7-12) school for boys and girls at Wembley Road (). In 2018, the school had an enrolment of 1327 students with 130 teachers (126 full-time equivalent) and 58 non-teaching staff (46 full-time equivalent). It includes a special education program.

Logan City Special School is a special primary and secondary (Early Childhood-12) school for boys and girls at 133 Wembley Road (). In 2018, the school had an enrolment of 171 students with 43 teachers (40 full-time equivalent) and 45 non-teaching staff (30 full-time equivalent).
PLACE Positive Learning Centre  is a specific-purpose primary and secondary (5-10) school at Wembley Road (). A Positive Learning Centre accepts students who require intervention not possible in a conventional classroom and works towards reintegrating the students into a conventional classroom or towards vocational pathways.

Amenities

The suburb is also home to the Logan City Council offices, Logan Art Gallery, a public library, police station and the Logan Brothers Rugby League Football Club.  The art gallery opened in 1995.

The  Logan City Council operate the Logan Central Library at 26 Wilbur Street. The library opened in 2011.

Logan Gardens was built in 1980s and fifteen and a half hectares of land was procured from the Queensland Housing Commission in 1987 for further development of the green area. It has amenities, like car parking, children's playground and pathways. The Garden was utilised for hosting the Olympic Torch Relay's lighting of the cauldron in the year 2000.

Emmanuel Wesleyan Methodist (Burmese Mizo) Church meets at 16 Curry Street (); it is part of the Wesleyan Methodist Church of Australia.

References

External links

 Logan District Oral History, State Library of Queensland

Populated places established in 1986
1986 establishments in Australia
Central business districts in Queensland

Logan Central


Don (Donald) Blackman (September 1, 1953 – April 11, 2013) was an American jazz-funk pianist, singer, and songwriter. He performed with Parliament-Funkadelic; Earth, Wind and Fire; Louis Hayes; and Nicolas Dietz.

Biography
Blackman was born and raised in Jamaica, Queens, NY. A childhood neighbor was Charles McPherson, and while still a teenager he played in McPherson's ensemble with Sam Jones and Louis Hayes. At the beginning of the 1970s, he played with Parliament/Funkadelic, Earth, Wind and Fire, and Roy Ayers, before becoming a member of Lenny White's group Twennynine, for whom he penned songs such as "Peanut Butter" and "Morning Sunrise". He released his self-titled debut solo album in 1982 on Arista Records, including the songs "Holding You, Loving You", "Heart's Desire" and "Since You've Been Away So Long" that became minor hits in Europe.

Blackman also worked as a session musician, appearing on albums by Kurtis Blow (Kingdom Blow), Bernard Wright, Najee, David Sanborn, Lenny White, Roy Ayers, Sting (Brand New Day), World Saxophone Quartet, Janet Jackson's "That's the Way Love Goes" (Remix) and Wayman Tisdale. He wrote the composition "Haboglabotribin", which appeared on Bernard Wright's album Nard and was sampled by Snoop Dogg in the song "G'z and Hustlaz", Tupac Shakur's album R U Still Down? (Remember Me), and is a featured song in the video game Grand Theft Auto V. Other performances include lead vocals on "Morning Sunrise", written by Weldon Irvine, which was sampled on the track "Dear Summer" for Memphis Bleek's album 534 featuring Jay-Z, and "Holding You, Loving You", which appeared on Master P.'s album I Got The Hook Up.

On television, he scored and wrote music for commercials, TV shows, and movies, appearing on Fox Network's New York Undercover, producing and writing the theme song for Nickelodeon's show "Gullah Gullah Island", as well as producing songs for the MTV Network movie Joe's Apartment.

Death
Don Blackman died, aged 59, from cancer, on April 11, 2013. Blackman is survived by his son Kyle Blackman, who is a DJ in New York, NY, and daughter, jazz-funk singer Irene Blackman, who toured with Blackman throughout the years.

Discography
Don Blackman (Arista Records, 1982)
Listen (Expansion UK, 2002)
With C. I. Williams
When Alto Was King (Mapleshade, 1997)

With Lenny White
Presents The Adventures Of Astral Pirates (Elektra – 6E-121, 1978)
Streamline (Elektra – 6E-164, 1978)

References

Sources
[ Don Blackman] at Allmusic

External links
 – official site

Don Blackman – notice of death

1953 births
Musicians from Jamaica, Queens
American funk musicians
American jazz pianists
American male pianists
American session musicians
2013 deaths
GRP Records artists
Deaths from cancer in New York (state)
20th-century American pianists
Jazz musicians from New York (state)
20th-century American male musicians
American male jazz musicians

Don Blackman


Thomas M. Sleeper (February 16, 1956 – October 15, 2022) was an American composer and conductor. He was the Orchestra Conductor at Stetson University in DeLand, Florida from 1985 to 1993, and Director of Orchestral Activities and Conductor of the University of Miami Frost Symphony Orchestra until his retirement in 2018.  He was also the director of the Florida Youth Orchestra from 1993 to 2020.

History
Sleeper was born in Wagoner, Oklahoma, and was a member of the Cherokee Nation. He received his Bachelor of Music at the University of Texas, and subsequently received his Master of Music at Southern Methodist University, where he studied under Daryl F. Rauscher of the Dallas Symphony Orchestra and James Rives-Jones. From 1975 to 1978, while in Austin, Sleeper was active with an avant-garde group of composer/performers called "Fermata". As a member of "Fermata" he worked with composers such as Jerry Willingham, Jerry Hunt and Robert Xavier Rodriguez. In 1978 Sleeper was appointed Associate Conductor of the Dallas Civic Symphony. Following his conducting stint with the Dallas Civic Symphony, Sleeper began to compose many pieces of music including, but not limited to, operas, concerti, symphonies, solo and chamber music.

Sleeper was a frequent guest conductor all over the world and has performed with ensembles such as the Central Philharmonic of China (where he gave the Chinese premiere of Mahler's Symphony No. 5 in 1992), Argentina's San Juan Symphony Orchestra, and Bulgaria's Ruse State Philharmonic. In addition, he was named the Artistic Advisor of the China-Wuhan Symphony in 1993 where he gave the Chinese premiere of Brahms' 2nd Piano Concerto with soloist Justin Blasdale. Sleeper was an advocate of new music, and has commissioned and conducted the premieres of works of composers including Roberto Sierra, Thomas Ludwig, Henry Brant, Carlos Surinach, and Robert Xavier Rodriguez.  He later lived in Miami, Florida.

In April 2019, Sleeper was diagnosed with amyotrophic lateral sclerosis. He died due to complications from the disease on October 15, 2022, at the age of 66.

Notable works
Einstein's Inconsistency, a series of eight operas that get progressively shorter (roughly following a reverse Fibonacci series) and may be recombined in any order or number creating a new overall structure. Composed 2014.
Symphony No. 5 "chamber symphony", premiered April 2015 at the University of Miami Frost School of Music, Gary Green, conductor.
Symphony No. 4, premiered October 2015 with the Meadows Symphony Orchestra, Paul Phillips, conductor.
Sonata for Piano and Alto Saxophone (Seven Deadly Sins), 2014, written for pianist Santiago Rodriguez and saxophonist Dale Underwood. Premiered December 7, 2014.
Symphony No. 3 "ex nihilo", premiered February 2014 by the United States Navy Band, Captain Brian O. Walden, conductor. The work is dedicated to Dr. William Hipp, Dean Emeritus of the Frost School of Music.
Hetaera esmeralda, 2014, written for Greek pianist/conductor Zoe Zeniodi. Premiere by Zeniodi with the Alhambra Orchestra, April 30, 2014, with the composer conducting.
Symphony No. 2 "Little Leylie", premiered in November 2012 in Dania, Florida, by the Florida Youth Orchestra.
Thomas Ludwig Violin Concerto, premiered by Thomas Sleeper with the Miami University Symphony Orchestra.
Violin Concerto No. 2, written for UK violinist Hugo Ticciati and Greek conductor Zoe Zeniodi. Premiered  in the Casa dei Mezzo Music Festival on Crete, June 2013.
Concerto for Flute and  Flute Orchestra,  commissioned by Trudy Kane and the Frost Flute Orchestra. Premiered in November 2012 in Miami, Florida, with Trudy Kane, soloist, and Andrés Jiamie, conductor.
Concerto for Violin and Orchestra, "Hypnagogia", for violin and orchestra, commissioned by the Greater Miami Youth Orchestra. Premiered in March 2012 in Miami, Florida, with Huifang Chen, soloist and Andrés Jiamie, conductor. The work was later recorded with the Brno Philharmonic and soloist Huifang Chen.
PARALLAX for euphonium and wind ensemble, written for and premiered by Timothy Shade, Wichita, Kansas, September 2011.
Parallages, for solo piano, written for Greek pianist Zoe Zeniodi. Premiered in the Casa dei Mezzo Music Festival on Crete, June 25, 2011.
Through a Glass Darkly for soprano and orchestra, written for soprano Irini Kyriakidou, conductor Zoe Zeniodi and the Broward Symphony Orchestra. Premiered in Bailey Hall on February 26, 2011. Recorded by the United States Navy Band, Brian O. Walden, conductor, in 2012.
Concerto for Alto Saxophone and Orchestra, written for and premiered by Dale Underwood with the Florida Youth Orchestra, Zoe Zeniodi, conductor, in Bailey Hall, November 2010, and in the chamber version for 9 instruments with Ensemble 21 under the direction of Zoe Zeniodi, February 23, 2011. Recorded by the United States Navy Band, Brian O. Walden, conductor, in 2012.
XENIA for tenor and orchestra, based on texts by Jane Alison from her novel The Love-Artist. Premiered by John Duykers and the Frost Symphony Orchestra with conductor Zoe Zeniodi in Gusman Hall on February 20, 2010.
Translucence for trombone and orchestra, premiered by Timothy Conner and the Frost Symphony Orchestra with conductor Zoe Zeniodi in Gusman Hall on March 7, 2009.
String Quartet No. 3, written for and premiered by the Delray String Quartet, February 2009.
The Sisters Antipodes, a short opera written in conjunction with Australian author Jane Alison and visual artist Sherri Tan, premiered November 2009.
Concerto for Cello and Orchestra, premiered by Jillian Bloom at Carnegie Hall on March 23, 2008. The work was later recorded by Jennifer Culp with the Brno Philharmonic.
Concerto for Trumpet, premiered by Craig Morris, former principal trumpet of the Chicago Symphony Orchestra.
String Quartet No. 2, "Bergonzi", written for the Bergonzi String Quartet.
Aceldama: Field of Blood, an opera performed throughout the world.
Symphony No. 1, premiered and recorded by the Meadows Symphony Orchestra in Dallas, Paul Phillips, conductor.
Concerto for Bassoon and Orchestra, written for bassoonist Kathryn Sleeper.
Adagio for Orchestra
Piano Concerto No. 2, premiered by pianist Justin Blasdale.
One Water, documentary film score
The Silver Mirror, documentary film score

Discography
Thomas Sleeper: Through a Glass Darkly: Adagio from Symphony No. 1, Through a Glass Darkly, Finale from The Silver Mirror, Symphony No. 4,  Uroboros Music, 2016, Thomas M. Sleeper (composer)
Sleeper: Four Concerti, Albany Records, 2014 (TROY 1475), Thomas M. Sleeper (composer)
Thomas Sleeper: Music for Flute: Concerto for Flute and Flute Orchestra, Four miniatures for Bassoon and Flute, Xandre,  Uroboros Music, 2013, Thomas M. Sleeper (composer)
Sleeper: Symphony No. 1, XENIA, Six Arias for Cello and Orchestra,  Albany Records, 2010 (TROY 1212), Thomas M. Sleeper (composer)
Maslanka, Sleeper: Reflections: Concerto for Trumpet, Naxos Records, 2007, Thomas M. Sleeper (composer)
Rodríguez: Works For Chorus and Orchestra, Albany Records, 2001, Thomas M. Sleeper (conductor)
Surinach: Symphonic Melismas, Double Concerto, etc., Centaur Records, 1996 (conductor)
Aceldama, Albany Records (composer, conductor)
Ticheli, Van Der Slice, Sleeper: Orchestral Works, Albany Records (composer, conductor)
Works of Finzi, Brahms, R. Strauss, Centaur Records (conductor)

References

External links
 Thomas M. Sleeper

1956 births
2022 deaths
University of Miami faculty
Cherokee Nation musicians
American male classical composers
American classical composers
People from Wagoner, Oklahoma
Deaths from motor neuron disease
Musicians from Oklahoma
University of Texas alumni
Southern Methodist University alumni
American male conductors (music)
20th-century American composers
20th-century classical composers
20th-century American conductors (music)
21st-century American composers
21st-century classical composers
21st-century American conductors (music)
Native American composers
20th-century American male musicians
21st-century American male musicians
20th-century Native Americans
21st-century Native Americans

Thomas Sleeper


Mathilda, or Matilda, is the second long work of fiction of Mary Shelley, written between August 1819 and February 1820 and first published posthumously in 1959. It deals with common Romantic themes of incest and suicide. The narrative deals with a father's incestuous love for his daughter.

Background

The act of writing this novella distracted Mary Shelley from her grief after the deaths of her one-year-old daughter Clara at Venice in September 1818 and her three-year-old son William in June 1819 in Rome. These losses plunged Mary Shelley into a depression that distanced her emotionally and sexually from Percy Shelley and left her, as he put it, "on the hearth of pale despair".

Plot
Narrating from her deathbed, Mathilda, a young woman barely in her twenties, writes her story as a way of explaining her actions to her friend, Woodville.  Her narration follows her lonely upbringing and climaxes at a point when her unnamed father confesses his incestuous love for her. This is then followed by his suicide by drowning and her ultimate demise; her relationship with the gifted young poet, Woodville, fails to reverse Matilda's emotional withdrawal or prevent her lonely death.

The novella begins with readers becoming aware that this story is being narrated in the first person, by Mathilda, and that this narration is meant for a specific audience in answer to a question asked prior to the novella's beginning: "You have often asked me the cause of my solitary life; my tears; and above all of my impenetrable and unkind silence." Readers quickly learn that Mathilda is on her deathbed and this is the only reason she is exposing what seems to be a dark secret.

Mathilda's narrative first explores the relationship between her mother and father, and how they knew each other growing up. Mathilda's mother, Diana, and her father were childhood friends; Mathilda's father found solace in Diana after the death of his own mother and the two married not long after.  Mathilda, as narrator, notes that Diana changed Mathilda's father making him more tender and less fickle.  However, Mathilda was born a little more than a year after their marriage and Diana died a few days after her birth, causing her father to sink into a deep depression. His sister, Mathilda's aunt, came to England to stay with them and help care for Mathilda, but Mathilda's father, unable to even look at his daughter, left about a month after his wife's death and Mathilda was raised by her aunt.

Mathilda tells Woodville that her upbringing, while cold on the part of her aunt, was never neglectful; she learned to occupy her time with books and jaunts around her aunt's estate in Loch Lomond, Scotland.  On Mathilda's sixteenth birthday her aunt received a letter from Mathilda's father expressing his desire to see his daughter.  Mathilda describes their first three months in each other's company as being blissful, but this ended first when Mathilda's aunt dies and then, after the two return to London, upon Mathilda's father's expression of his love for her.

Leading up to the moment of revelation, Mathilda was courted by suitors which, she noticed, drew dark moods from her father. This darkness ensued causing Mathilda to plot a way of bringing back the father she once knew.  She asked him to accompany her on a walk through the woods that surrounded them and, on this walk, she expressed her concerns and her wishes to restore their relationship.  Her father accused her of being "presumptuous and very rash." However, this did not stop her and he eventually confessed his incestuous desire regarding her.  Mathilda's father fainted and she retreated back to their home.  Her father left her a note the next morning explaining that he would leave her and she understood that his actual intent was to commit suicide. Mathilda followed him, but was too late to stop him from drowning himself.

For some time after his death, Mathilda returned to society as she became sick in her attempts to stop her father.  She realized, though, that she could not remain in this society and she faked her own death to ensure that no one would come looking for her. Mathilda re-established herself in a solitary house in the heath. She has a maid who came to care for the house every few days, but other than that she had no human interaction until Woodville also established residence in the heath about two years after she chose to reside there.

Woodville was mourning the loss of his betrothed, Elinor, and a poet.  He and Mathilda struck a friendship; Woodville often asked Mathilda why she never smiled but she would not go into much detail regarding this. One day, Mathilda suggested to Woodville that they end their mutual sorrows together and commit suicide. Woodville talked Mathilda out of this decision, but soon after had to leave the heath to care for his ailing mother.  Mathilda contemplates her future after his departure, and while walking through the heath, gets lost and ends up sleeping outside for a night. It rains while she sleeps outside and, after she makes her way back to her home, she becomes extremely sick.

It is in this state that Mathilda decides to write out her story to Woodville as a way of explaining to him her darker countenance, even though she recognizes that she does not have much longer to live.

Criticism

Commentators have often read the text as autobiographical, with the three central characters standing for Mary Shelley, William Godwin (her father), and Percy Shelley (her husband). There is no firm evidence, however, that the storyline itself is autobiographical. Analysis of Mathilda'''s first draft, titled "The Fields of Fancy", reveals that Mary Shelley took as her starting point Mary Wollstonecraft's unfinished "The Cave of Fancy", in which a small girl's mother dies in a shipwreck. Like Mary Shelley herself, Mathilda idealises her lost mother. According to editor Janet Todd, the absence of the mother from the last pages of the novella suggests that Mathilda's death renders her one with her mother, enabling a union with the dead father. Critic Pamela Clemit resists a purely autobiographical reading and argues that Mathilda is an artfully crafted novella, deploying confessional and unreliable narrations in the style of her father, as well as the device of the pursuit used by Godwin in his Caleb Williams and by Mary Shelley in Frankenstein. The novella's 1959 editor, Elizabeth Nitchie, noted its faults of "verbosity, loose plotting, somewhat stereotyped and extravagant characterization" but praised a "feeling for character and situation and phrasing that is often vigorous and precise".

The story may be seen as a metaphor for what happens when a woman, ignorant of all consequences, follows her own heart while dependent on her male benefactor.Mathilda has also been seen as an example of redefining female Gothic narratives. An important characteristic of this redefined genre often includes female narrators having more control over the story than was common at the time. According to Kathleen A. Miller, "Although Shelley's novella appears to relate a conventional female gothic narrative of a young woman victimized by her father's incestuous desire, it leaves open the possibility that, in fact, it is Mathilda, rather than her father, who wields control over the novel's gothic script." This potentially allows for Mathilda to be viewed as a positive role model in nineteenth-century literature as she overcomes paternal authority and refuses to conform to commonly accepted practices regarding female characters in literature of the time. This redefinition occurs in various ways: Mathilda's refusal to name her father, her voice being the primary source of information provided to readers, and a lack of the novella ending in marriage which was the typical motif for female gothic literature.

Publication

Mary Shelley sent the finished Mathilda to her father in England, to submit for publication. However, though Godwin admired aspects of the novella, he found the incest theme "disgusting and detestable" and failed to return the manuscript despite his daughter's repeated requests. In the light of Percy Shelley's later death by drowning, Mary Shelley came to regard the novella as ominous; she wrote of herself and Jane Williams "driving (like Mathilda) towards the sea to learn if we were to be for ever doomed to misery". The novella was published for the first time in 1959, edited by Elizabeth Nitchie from dispersed papers. It has become possibly Mary Shelley's best-known work after Frankenstein.

Footnotes

Bibliography
Allen, Graham. "Beyond Biographism: Mary Shelley's Matilda, Intertextuality, and the Wandering Subject". Romanticism 3.2 (1997): 170–84.
Bennett, Betty T., ed. Mary Shelley in her Times. Baltimore: Johns Hopkins University Press, 2003. .
Bennett, Betty T. "Mary Shelley's letters: the public/private self." The Cambridge Companion to Mary Shelley. Ed. Esther Schor. Cambridge: Cambridge University Press, 2003. .
Bennett, Betty T. Mary Wollstonecraft Shelley: An Introduction. Baltimore: Johns Hopkins University Press, 1998. .
Bunnell, Charlene. "Mathilda: Mary Shelley's Romantic Tragedy". Keats-Shelley Journal 46 (1997): 75–96.
Chatterjee, Ranita. "Filial Ties: Godwin's Deloraine and Mary Shelley's Writings". European Romantic Review 18.1 (2007): 29–41. Taylor & Frances Online
Chatterjee, Ranita. "Mathilda: Mary Shelley, William Godwin, and the Ideologies of Incest". Iconoclastic Departures: Mary Shelley after "Frankenstein": Essays in Honor of the Bicentenary of Mary Shelley's Birth. Eds. Syndy M. Conger, Frederick S. Frank, and Gregory O'Dea. Madison, NJ: Fairleigh Dickinson University Press, 1997.
Clemit, Pamela. "Frankenstein, Matilda, and the legacies of Godwin and Wollstonecraft." The Cambridge Companion to Mary Shelley. Ed. Esther Schor. Cambridge: Cambridge University Press, 2003. .
Clemit, Pamela. "From The Fields of Fancy to Matilda." Mary Shelley in her Times. Ed. Betty T. Bennett. Baltimore: Johns Hopkins University press, 2003. .
Davis, William. "Mathilda and the Ruin of Masculinity". European Romantic Review 13.2 (2002): 175–81
Edelman-Young, Diana. "'Kingdom of Shadows': Intimations of Desire in Mary Shelley's Mathilda". Keats-Shelley Journal 51 (2002): 116–44.
Ford, Susan Allen. "'A Name More Dear': Daughters, Fathers, and Desire in A Simple Story, The False Friend, and Mathilda". Re-Visioning Romanticism: British Women Writers, 1776–1837. Eds. Carol Shiner Wilson and Joel Haefner.  Philadelphia: University of Pennsylvania Press, 1994.
François, Anne-Lise and Daniel Mozes. "'Don't Say 'I Love You': Agency, Gender and Romanticism in Mary Shelley's Matilda". Mary Shelley's Fictions: From Frankenstein to Falkner. Ed. Michael Eberle-Sinatra and Nora Crook. New York: Macmillan; St. Martin's, 2000.
Garrett, Margaret Davenport. "Writing and Re-Writing Incest in Mary Shelley's Mathilda". Keats-Shelley Journal 45 (1996): 44–60.
Gillingham, Lauren. "Romancing Experience: The Seduction of Mary Shelley's Matilda". Studies in Romanticism 42.2 (2003): 251–69.
Harpold, Terence. "'Did You Get Mathilda from Papa?': Seduction Fantasy and the Circulation of Mary Shelley's Mathilda". Studies in Romanticism 29(1989): 49–67.
Himes, Audra Dibert. "'Knew Shame, and Knew Desire': Ambivalence as Structure in Mary Shelley's Mathilda". Iconoclastic Departures: Mary Shelley after "Frankenstein": Essays in Honor of the Bicentenary of Mary Shelley's Birth. Eds. Syndy M. Conger, Frederick S. Frank, and Gregory O'Dea. Madison, NJ: Fairleigh Dickinson University Press, 1997.
Knoepflmacher, U. C. "Thoughts on the Aggression of Daughters". The Endurance of "Frankenstein": Essays on Mary Shelley's Novel. Eds. U. C. Knoepflmacher and George Levine. Berkeley: University of California Press, 1979.
Mellor, Anne K. Mary Shelley: Her Life, her Fiction, Her Monsters. London: Routledge, 1990. .
Rajan, Tilottama. "Mary Shelley's Mathilda: Melancholy and the Political Economy of Romanticism". Studies in the Novel 26.2 (1994): 43–68.
Ready, Robert. "Dominion of Demeter: Mary Shelley's Mathilda". Keats-Shelley Journal 52 (2003): 94–110.
Shelley, Mary. The Journals of Mary Shelley, 1814–44. Ed. Paula R. Feldman and Diana Scott-Kilvert. Baltimore: Johns Hopkins University Press, 1995. .
Shelley, Mary. The Letters of Mary Wollstonecraft Shelley. Ed. Betty T. Bennett. 3 vols. Baltimore: Johns Hopkins University Press, 1980–83.
Shelley, Mary. Mathilda. Ed. Elizabeth Nitchie. Chapel Hill: University of North Carolina Press, 1959. OCLC 249434. Gutenberg copy, retrieved 16 February 2008.
Shelley, Mary. Matilda; with Mary and Maria, by Mary Wollstonecraft. Ed. Janet Todd. London: Penguin, 1992. .
Shelley, Mary. Selected Letters of Mary Wollstonecraft Shelley. Ed. Betty T. Bennett. Baltimore: Johns Hopkins University Press, 1995. .

External links
Mathilda from Project Gutenberg, with Mary Shelley's first draft, The Fields of Fancy'', and Elizabeth Nitchie's introduction and notes (1959).

1819 British novels
1959 British novels
Novels by Mary Shelley
Novels published posthumously
British novellas
Fiction about suicide

Mathilda (novella)


John Inglesant is a celebrated historical novel by Joseph Henry Shorthouse, published in 1881, and set mainly in the middle years of the 17th century.

The eponymous hero is an Anglican, despite being educated partly by Jesuits, and remains so, largely on the advice of his Jesuit mentor, despite strong temptations to convert to Roman Catholicism.  Even so, he finds himself involved in intrigues between the Roman Catholic Church and the High Church party of the Church of England, and becomes a courtier of Charles I.  He also spends some time at the Little Gidding community in Huntingdonshire, where he falls in love (the girl soon dies).  He fights on the Royalist side in the English Civil War, is wounded at the battle of Edgehill, and fights at Naseby.  As a result of his role in negotiations on the King's behalf in Ireland, he is tried and condemned for treason; he only narrowly escapes execution.  Soon afterwards his brother is murdered, and he pursues his brother's murderer to Italy, where among much else (including marriage) he observes a Papal Conclave as it elects a new Pope in Rome.

Despite all the above, this is a book of ideas, not action, and religious ideas at that. Every page of brisk activity or intrigue is usually followed by at least two more of debate on such topics as Arminianism, Quietism, the Papacy, and the like.  Even by the standards of its time, it is a wordy book, and at the opposite extreme from the preferred all-action mode of the 21st century.  It nonetheless has what might be described as a cult following.

Its subtitle ('John Inglesant: a romance') may also be misleading to modern readers; it implies free invention, not love interest, and the book has little or nothing in common with the romance novel of the present day.

References

The Edinburgh Review: Or Critical Journal, Volume 202 (1905)

External links

John Inglesant: a romance (eBook)
The Author of John Inglesant, dissertation.com/Universal Publishers

1881 British novels
Historical novels
Macmillan Publishers books
Novels set in the 17th century
Christian novels
Cultural depictions of Charles I of England

John Inglesant


The Model 1857 12-Pounder Napoleon Field Gun, officially called the "light 12-pounder gun" by the United States Army, was the most popular smoothbore cannon used during the American Civil War. The cannon was named after French president and emperor, Napoleon III, nephew of Napoleon Bonaparte.

History
The French Canon obusier de campagne de 12 cm, modèle 1853, also known as the Canon de l'Empereur, was a type of canon-obusier (shell cannon) or gun-howitzer developed in 1853 by the French army. It could fire ball, shell, canister or grapeshot which allowed it to replace all the earlier French cannons. It was of a cast bronze smoothbore design and could double as a howitzer. It was light enough to be pulled by a team of horses. At the same time it had enough firepower to destroy fortifications at a distance of a half-mile (805 meters). When it entered the service of Emperor Napoléon III it was named after him.

In 1857 the design was adopted by the U.S. Army as the light 12-pounder M1857. The Union made 1,156 units while the Confederacy made 501. Because they did not have the manufacturing capacity of the North, Confederates attempted to capture as many Union-made Napoleon 12-pounders as they could. The Confederate army also developed their own version. In 1863, General Robert E. Lee was so impressed by the M1857 that he had all six-pounders in the Army of Northern Virginia gathered up and sent to Richmond to be melted down and re-cast into 12-pounders. The Confederates kept producing 12-pounder Napoleons until the Union army captured the Ducktown copper mines near Chattanooga, Tennessee. This reduced Confederates bronze production. After that Confederate 1857s were cast of iron.

U.S. M1857
When first model 1857s were cast in Northern foundries they had two handles or "dolphins". After 1861 the dolphins were eliminated, the barrel was shortened from the French version, and it was made lighter. Like most cannons in use at the time, they were muzzleloading weapons. The Model 1857 12-pounder Napoleon with its bronze barrel made up 40% of the cannons on both sides. The U.S. version of the Napoleon could hit a target up to  away. However they were most accurate at closer ranges of about . It used a charge of  of black powder. The M1857 Napoleon fired a cannonball or canister shot at a speed of 1,440 feet per second (or 439 meters per second). The barrel had a bore of  in diameter and was  long. The barrel alone weighed . With its gun carriage it weighed  and was pulled by a team of six horses. The average gun crew was six men.

References

Other websites

American Civil War
Artillery


Polydipsia is excessive thirst or excess drinking. The word derives from the Greek πολυδίψιος (poludípsios) "very thirsty", which is gotten from πολύς (polús, "much, many") + δίψα (dípsa, "thirst"). Polydipsia is a symptom in many diseases. It also occurs as a weird behaviour in some animals, such as in birds.

Causes

Diabetes
Polydipsia can be a symptom of diabetes mellitus. It is seen in cases of poorly controlled diabetes. Diabetes insipidus can also cause polydipsia.

Other physiological causes
It can also be caused by a change in the osmolality of the extracellular fluids of the body, hypokalemia, decreased blood volume, and other conditions that create water deficiency.

Diagnosis
Polydipsia is a symptom and not a disease in itself. Polydipsia investigations at diagnosing diabetes insipidus and diabetes mellitus can be useful.

References

Symptoms

Polydipsia