Edward Armand Guggenheim FRS (11 August 1901 – 9 August 1970) was an English physical chemist, noted for his contributions to thermodynamics.

Life
Guggenheim was born in Manchester 11 August 1901, the son of Armand Guggenheim and Marguerite Bertha Simon. His father was Swiss, a naturalised British citizen. Guggenheim married Simone Ganzin (died 1954), in 1934 and Ruth Helen Aitkin, born Clarke, widow, in 1955. They had no children. He died in Reading, Berkshire 9 August 1970.

Education
Guggenheim was educated at Terra Nova School, Southport, Charterhouse School and Gonville and Caius College, Cambridge, where he obtained firsts in both the mathematics part 1 and chemistry part 2 triposes. Unable to gain a fellowship at the college, he went to Denmark where he studied under J. N. Brønsted at the University of Copenhagen.

Career
Returning to England, he found a place at University College, London where he wrote his first book, Modern Thermodynamics by the Methods of Willard Gibbs (1933), which "established his reputation and revolutionized the teaching of the subject". He was also a visiting professor of chemistry at Stanford University, and later became a reader in the chemical engineering department at Imperial College London. During World War II he worked on defence matters for the navy. In 1946 he was appointed professor of chemistry and head of department at Reading University, where he stayed until his retirement in 1966.

Publications
Guggenheim produced eleven books and more than 100 papers. His first book,Modern Thermodynamics by the Methods of Willard Gibbs (1933), was a 206-page, detailed study, with text, figures, index, and preface by F. G. Donnan, showing how the analytical thermodynamic methods developed by Willard Gibbs leads in a straightforward manner to relations such as phases, constants, solution, systems, and laws, that are unambiguous and exact. This book, together with Gilbert N. Lewis and Merle Randall's 1923 textbook Thermodynamics and the Free Energy of Chemical Substances, are said to be responsible for the inception of the modern science of chemical thermodynamics.

Other books included Statistical Thermodynamics with Ralph Fowler (1939), and Thermodynamics – an Advanced Treatment for Chemists and Physicists . In the preface to this book, he states that no thermodynamics book written before 1929 even attempts an account of any of the following matters:

 The modern definition of heat given by Max Born in 1921.
 The quantal theory of the entropy of gases and its experimental verification.
 Peter Debye's formulae for the activity coefficients of electrolytes.
 The use of electrochemical potentials of ions
 The application of thermodynamics to dielectrics and to paramagnetic substances.

Honours and awards
Guggenheim was elected a Fellow of the Royal Society in 1946. His nomination reads

In 1972, the E. A. Guggenheim Memorial Fund was established by friends and colleagues. The income from the fund is used to (a) award an annual prize and (b) to provide a biennial or triennial memorial lecture on some topic of chemistry or physics appropriate to the interests of Guggenheim.

The Guggenheim Medal was introduced in 2014 by the Institution of Chemical Engineers for significant contributions to research in thermodynamics and / or complex fluids. The first recipient (in 2015) was Professor George Jackson of Imperial College London.

See also
Guggenheim scheme
Stavermann–Guggenheim equation
Bromley equation
Entropy (energy dispersal)
Non-random two-liquid model
Specific ion interaction theory
Thermodynamic activity

References

1901 births
1970 deaths
People educated at Charterhouse School
Alumni of Gonville and Caius College, Cambridge
English chemists
Thermodynamicists
Academics of the University of Reading
Fellows of the Royal Society

Edward A. Guggenheim


Gimme the Loot is a 2012 American comedy film written and directed by Adam Leon. The film competed in the Un Certain Regard section at the 2012 Cannes Film Festival. It won the Grand Jury Prize at the SXSW Film Festival in 2012. It was released on March 22, 2013, in the U.S.

Cast
 Ty Hickson as Malcolm
 Tashiana Washington as Sophia
 Zoë Lescaze as Ginnie
 Meeko as Champion
 Sam Soghor as Lenny
 Joshua Rivera as Rico

Release
After premiering at SXSW, Gimme the Loot was picked up for distribution by IFC Films/Sundance Selects in the U.S. It was officially "presented" in its release by Oscar-winning filmmaker Jonathan Demme.

The movie made its international premiere at the Cannes Film Festival and went on to play at numerous festivals around the world, including the London Film Festival, Deauville American Film Festival, and the Los Angeles Film Festival. It was released theatrically in France by Diaphana in January 2013, IFC Films/Sundance Selects in the U.S. on March 22, 2013, and by Soda Pictures in the U.K. in May 2013.

Reception

Critical response
The film received positive reviews. Review aggregation website Rotten Tomatoes gives a score of 92% based on 64 reviews.
Metacritic, another review aggregation website, assigned the film a score of 81 out of 100, based on 27 reviews from mainstream critics.

Roger Ebert called it, "A remarkably natural and unaffected film about friendship between two high-spirited graffiti artists" and Peter Travers of Rolling Stone in his 3.5 star review said the movie is, "A fresh, funky jolt of filmmaking joy."

A.O. Scott of The New York Times wrote that, "Adam Leon's loose and rambunctious debut… has a lot to say about the contradictions of a place that is defined by both abundant opportunity and ferocious inequality. But the film makes its points in a lighthearted, street-smart vernacular, treating its protagonists not as embodiments of a social condition but rather as self-aware individuals who are, like teenagers everywhere, both smart and dumb. Their friendship — which is based above all on shared artistic ambitions — is a perfect comic pairing."

Other notable positive reviews included the Los Angeles Times, Christian Science Monitor, NPR, Entertainment Weekly, Chicago Tribune, The Wall Street Journal, and Chicago Sun-Times, whose Sheila O'Malley wrote, "Adam Leon has created something unique and current, with affectionate nods to New York films of the past."

Box office
Released on March 22, 2013, in the United States, Gimme the Loot opened to the highest per screen average in the country.

Accolades
Along with the winning the Grand Jury Prize at the 2012 SXSW Film Festival,  Gimme the Loot was nominated for Best First Feature and won the Someone to Watch Award for director Adam Leon at the 2013 Independent Spirit Awards.

Adam Leon received a Gotham Award nomination for Bingham Ray Breakthrough Director in 2013.

The film also won Best Director at the Sofia Film Festival and Best Feature at the Molodist Film Festival, with lead actor Ty Hickson receiving a Special Jury Mention.

References

External links

2012 films
2012 comedy films
American comedy films
Films shot in New York City
American independent films
2012 independent films
Films scored by Nicholas Britell
2010s English-language films
2010s American films

Gimme the Loot (film)


Ze'ev ( zeév), also spelled Zeev or Zev, is a  name of Hebrew origin which means wolf. The given name is a masculine form used among Ashkenazi Jews. It is a Biblical name, adapted from a reference to Benjamin in Genesis as a "wolf that raveneth".  It re-appeared in relatively recent times as a translation of the Yiddish name װאָלף "Volf" or "Wolf". The name "Wolf" (in German) was relatively common among Germans.

The Bible mentions a person directly named Ze'ev, one of the Midianite leaders defeated by the Judge Gideon (see Oreb and Zeeb). However, the identical modern name is not derived from this character, an ancient enemy whom later Jews had no reason to emulate.

The name Ze'ev or Zev may refer to:

People with the given name

Ze'ev
Ze'ev (caricaturist) (1923–2002), Israeli caricaturist
Ze'ev Aleksandrowicz (1905–1992), Israeli photographer
Zeev Aram (born 1931), British furniture and interior designer
Ze'ev Almog (born 1935), Israeli admiral
Ze'ev Ben-Haim (1907–2013), Israeli linguist
Zeev Ben-Zvi (1904–1952), Israeli sculptor
Ze'ev Bielski (born 1949), Israeli politician and diplomat
Ze'ev Boim (1943–2011), Israeli politician
Ze'ev Chafets (born 1947), American writer
Ze'ev Drori (born 1940), Israeli businessman
Ze'ev Elkin (born 1971), Israeli politician
Ze'ev Friedman (1944–1972), Israeli weightlifter
Ze'ev Haimovich (born 1983), Israeli football player
Ze'ev Herzog (born 1941), Israeli archaeologist
Ze'ev Jabotinsky (1880–1940), Russian Jewish leader
Ze'ev Maghen (born 1964), Israeli historian
Zeev Maoz (born 1945), American political scientist
Zeev Nehari (1915–1978), Israeli mathematician
Ze'ev Raban (1890–1970), Israeli artist
Zeev Rechter (1899–1960), Israeli architect
Zeev Reiss (1917–1996), Israeli scientist
Ze'ev Revach (born 1940), Israeli actor and comedian
Zeev Rudnick (born 1961), Israeli mathematician
Ze'ev Safrai (born 1948), Israeli historian
Ze'ev Schiff (1932–2007), Israeli journalist
Ze'ev Sherf (1904–1984), Israeli politician
Zeev Sternhell (1935-2020), Israeli historian
Ze'ev Wolf Kitzes (1685–1788), Polish rabbi
Ze'ev Zrizi (1916–2011), Israeli politician

Zev or Z'ev
Zev Aelony (1938–2009), American civil rights activist
Zev Asher (1963–2013), Canadian musician
Zev Braun (1928–2019), American film producer
Zev Buffman (1930–2020), American theater producer
Zev Golan, Israeli historian
Z'ev ben Shimon Halevi (1933–2020), English author born Warren Kenton
Zev Hirsch Bernstein (1847–1907), American writer
Zev Kurzberg, British & Israeli Military Official, Explorer & Philanthropist, (1972- to date)
Zev Siegl (born 1955), American businessman
Zev Sufott (1927–2014), Israeli diplomat
Zev Taublieb (born 1993), American soccer player
Zev Vilnay (1900–1988), Israeli geographer
Zev Wolfson (1928–2012), American businessman
Zev Yaroslavsky (born 1948), American politician

Zehev
Zehev Tadmor (born 1937), Israeli chemical engineer and president of the Technion-Israel Institute of Technology

People with the surname
Nissim Ze'ev (born 1951), Israeli politician
Oren Zeev (born 1964), technology investor

Fictional characters
Ze'ev Kesley, fictional character in The Lunar Chronicles fantasy novels

See also
Zev (disambiguation)
Ben-Zeev, a surname
Zev Wolf

Hebrew-language names
Hebrew masculine given names
Masculine given names
Jewish masculine given names

Ze'ev


The Hazara University is a public university located in Dhodial town, Mansehra District, Hazara Division, Pakistan. The University has three main faculties: Science, Arts and Humanities and Health Sciences. It offers BA, MA, MPhil and PhD study  programs.

The university was founded in 2002; It started work with very few resources and one small building for studies and a small administration block.

In the beginning, the university had many problems and until 2004 or 2005 mostly boys joined it to study, very few women were allowed by their families to go there. This was because it was in a very conservative area where women were not encouraged to study. Slowly, more and more women started to join this university to get higher education. Today, there are almost around 3000 women studying here and they have changed the attitudes of local people a lot.

References

Colleges and universities in Pakistan
Mansehra District

Hazara University


Howard Staunton (1810 – 22 June 1874) was an English chess master. He was the world's strongest player from 1843 to 1851.p391 This is based on his 1843 match victory over the strongest French player, Saint-Amant. Staunton was the main organizer of the first international chess tournament in London 1851. It was organised to help celebrate the 1851 Exhibition at Hyde Park. These events helped to make London the world's leading chess centre. The winner of the tournament, Anderssen, then became recognised as the world's strongest player.

Staunton ran a chess column in the Illustrated London News from 1845 to his death in 1874. He edited the Chess Player's Chronicle, the first important chess magazine in English,p297 from 1841 to 1854. He won matches against all the top players of the 1840s.
"He wrote valuable books, particularly the Chess-player's handbook of 1847 which... became the standard reference book for English club players down to the end of the century".

In 1847 he entered a parallel career as a Shakespearean scholar. Ill health and his two writing careers led him to give up competitive chess after 1851. In 1858 attempts were made to organise a match between Staunton and Morphy, but they failed. Morphy's biographer alleged that Staunton misled Morphy to avoid the match, but Staunton said he had retired from serious play.

Staunton's understanding of positional (strategic) play was far ahead of his rivals. His chess articles and books were widely read, and encouraged the development of chess. His Chess-Player's Handbook (1847) was a standard text-book for decades. He played and popularised two of the most important modern openings, the Sicilian Defence, and the English Opening. Staunton was a controversial figure in his time, and his chess writings could be spiteful. There is no doubt that he was the supreme figure in the chess world of the mid-19th century. His books, and his writing for newspapers and magazines, had world-wide influence.

Life

Nothing is known about his early life. It is not even known whether 'Howard Staunton' was his name at birth. Staunton's birth certificate has never been found; he claimed 1810 as his year of birth. His parents and his place of birth are unknown.

On 23 July 1849 Staunton married Frances Carpenter Nethersole, who had eight children by a previous marriage.

In 1849 Nathaniel Cook registered a chess set design, and Jaques of London got the manufacturing rights. Staunton advertised the new set in his Illustrated London News chess column, pointing out that the pieces were easily identifiable, very stable, and good-looking. At the start, the label for each box was signed by Staunton in ink; later, his signature was printed on the Jacques label. He was paid by Jaques not just for his signature, but also for the plugs he put in the Illustrated London News. Each set sold brought him a fee. The design became popular, and 'Staunton pattern' sets been the standard for competitive events ever since.

First steps in chess

Staunton was twenty-six when he took a serious interest in chess. In 1838 he played many games with Captain Evans, the inventor of the Evans Gambit, and also lost a match against the German chess writer Aaron Alexandre. He had improved sufficiently by 1840 to win a match against the German master H.W. Popert. From May to December 1840 Staunton edited a chess column for the New Court Gazette. He then became chess editor of the magazine British Miscellany, and his chess column developed into a separate magazine, the Chess Player's Chronicle, which Staunton owned and edited until the early 1850s.

Early in 1843 Staunton prevailed in a long series of games against John Cochrane, a strong player. A little later that year he lost a short match (2½-3½) in London against the visiting French player Saint-Amant, who was the best French player at that time.

Staunton challenged Saint-Amant to a longer match to be played in Paris at the Café de la Régence for a stake of £100 (equivalent to about £75,000 today). Staunton took Thomas Worrall and Harry Wilson to Paris as his assistants; this is the first known case where seconds were used in a chess match. Staunton gained a seven-game lead but then struggled to keep it before winning the match 13-8 (eleven wins, four draws, and six losses) in December 1843.

Saint-Amant wanted a third match, but Staunton was initially unwilling as he had developed heart trouble during the second match. After a long, difficult negotiation, which he reported in the Chess Player's Chronicle, Staunton went to Paris intending to start their third match in October 1844, but he caught pneumonia while traveling and almost died; the match was postponed and never took place.

Several modern commentators regard Staunton as de facto World Champion after his match victory over Saint-Amant, although that title did not yet formally exist.

In 1845 Staunton began a chess column for the Illustrated London News, which became the most influential chess column in the world and which he continued for the rest of his life. Although his articles mostly focused on over-the-board play, a significant number featured correspondence chess. Some followed with enthusiasm the progress of promising youngsters, including Paul Morphy. Staunton produced over 1,400 weekly articles for the Illustrated London News.

The first chess match by electric telegraph took place in 1844, between Washington and Baltimore. In April 1845 Staunton and Captain Kennedy travelled to Gosport to play two games by telegraph against a group in London. Staunton took a long-term interest in this solution to the difficulties of travel, and reported telegraph games in the Illustrated London News. In 1871 his report of a telegraphic match between Sydney and Adelaide calculated that the 74 moves of the longest game had traveled a total of 220,000 miles (not much less than the distance between Earth and Moon).

In 1847 Staunton published his most famous work, The Chess-Player's Handbook, which is still in print. It contained over 300 pages of opening analysis, and almost 100 pages of endgame analysis. He still found time for two matches in 1846, comfortably beating two professionals.

London 1851

Staunton proposed and then took the lead in organizing the first ever international tournament in 1851. He thought the Great Exhibition of 1851 presented a unique opportunity, because the difficulties that blocked international participation would be greatly reduced.

The committee had also organized a 'London Provincial Tournament' for other British players, and promoted some of the entrants to play in the International Tournament to get the right number of players for a knock-out tournament.

The tournament was a success, but disappointing for Staunton personally; in the second round he was knocked out by Anderssen, who won the tournament convincingly; and in the play-off for third place Staunton was narrowly beaten by Elijah Williams. Perhaps Staunton over-stretched himself by acting as both a competitor and the Secretary of the organizing committee. In 1852 Staunton published his book The Chess Tournament, which recounted in detail the efforts required to make the London International Tournament happen and presented all the games with his comments on the play.

The London Chess Club, which had fallen out with Staunton and his colleagues, organized a tournament that was played a month later and had a multi-national set of players, many of whom had competed in Staunton's tournament. The result was the same – Anderssen won.

In the mid-1850s Staunton got a contract to edit the text of Shakespeare. This edition appeared in parts from 1857 to 1860; the work was praised in reviews.

Morphy

While Staunton was busy with the Shakespeare edition, he received a courteous letter from the New Orleans Chess Club, inviting him to that city to play Paul Morphy, who had won the first American Chess Congress. Staunton replied, thanking the Club and Morphy "for the honour implied in your selection of me as the opponent of such a champion". Staunton pointed out that he had not competed for several years and was working six days a week (on editing Shakespeare), and so he could not possibly travel across the Atlantic for a match. He also wrote in the Illustrated London News that he
"had been compelled, by laborious literary occupation, to abandon the practice of chess, beyond the indulgence of an occasional game... If Mr. Morphy – for whose skill we entertain the liveliest admiration – be desirous to win his spurs among the chess chivalry of Europe, he must take advantage of his purposed visit next year; he will then meet in this country, in France, in Germany and in Russia, many champions ... ready to test and do honor to his prowess".
Chess historian H.J.R. Murray wrote that Staunton's letter and article should have been interpreted as a courteous refusal of the offer, but that Morphy interpreted them differently, and one of the main reasons for his visit to Europe in 1858 was the hope of playing a match with Staunton.p415

Upon arriving in England in June 1858, Morphy promptly challenged Staunton to a match. At first, Staunton declined Morphy's offer saying that the challenge came too late. Morphy did not give up negotiations and urging Staunton to play. In early July Staunton agreed provided he was given time to get back into practice, and provided that he could manage all this without breaking the publication contract for his Shakespearean work. In early August, Morphy wrote asking Staunton when the match could occur, and Staunton asked again for a delay of some weeks. Just before Staunton left London for Birmingham, his old enemy George Walker published an article accusing him of trying to delay the match indefinitely, and Staunton received another letter from Morphy pressing him to name a date for the match. Staunton and Morphy met socially in Birmingham and, after a tense discussion, Staunton agreed to play in early November. In September the Illustrated London News printed both a complimentary full-page article about Morphy and a complimentary mention of him in its chess column. On 6 October 1858, while in Paris  Morphy wrote Staunton an open letter which was also circulated to several publications, in which Morphy complained about Staunton's conduct. Staunton replied on 9 October, re-stating the difficulties he faced, but now giving them as reasons to cancel the match. On 23 October, Staunton published his entire reply along with a partial copy of Morphy's open letter. The main criticism against Staunton was never his failure to play Morphy. As Lord Lyttleton put it in a letter to Morphy:
"In the general circumstances of the case, I conceive that Mr. Staunton was quite justified in declining the match... I cannot but think that... Mr. Staunton might have told you of this long before he did... It seems to me plain... that Mr. Staunton gave you every reason to suppose that he would be ready to play the match within no long time...."

Later life
Staunton continued writing the chess column in Illustrated London News until his death in 1874, greeting new developments with enthusiasm. In 1860 he published Chess Praxis, a supplement to his 1847 work The Chess Player's Handbook. The new book devoted 168 pages to presenting many of Morphy's games and praised the American's play. Five years later Staunton published Great Schools of England (1865), whose main subject was the history of major English public schools but which also presented some progressive ideas: learning can only take place successfully if the active interest of the student is engaged; corporal punishment is to be avoided and fagging should be abolished. Most of his later life was spent in writing about Shakespeare, including: a photo lithographic reproduction of the 1600 Much Ado about Nothing in 1864 and of the first folio of Shakespeare in 1866. He wrote articles on Unsuspected corruptions of Shakespeare's text, published from 1872 to his death. All these works were highly regarded at the time. When he died suddenly of heart disease, on 22 June 1874, he was at his desk writing one of these papers. At the same time he was also working on his last chess book, Chess: theory and practice, which was published posthumously in 1876.

A memorial plaque now hangs at his old residence of 117 Lansdowne Road, London W11. In 1997 a memorial stone bearing an engraving of a chess knight was raised over his grave at Kensal Green Cemetery in London, which had previously been unmarked and neglected.

References

1810 births
1874 deaths
British chess players
English writers

Howard Staunton


Kodiak Seamount is the oldest seamount in the Kodiak-Bowie Seamount chain, with an estimated age of 24 million years. It lies at the northernmost end of the chain and its flat-topped summit is strewn with fault lines. Like the rest of the Kodiak-Bowie seamounts, it was formed by the Bowie hotspot.

Kodiak Seamount will eventually be destroyed by subduction by the Aleutian Trench once it is carried into the trench by the ongoing plate motion, although this will not fully occur for several million more years if the current rate of motion is maintained. Because of Kodiak Seamount's approach into the Aleutian Trench, it is literally cracking up under the stress. Although Kodiak is the oldest extant seamount in the Kodiak-Bowie chain, the adjacent lower slope contains transverse scars indicating earlier subduction of seamounts.

See also
Bowie Seamount

References

Guyots
Seamounts of the Pacific Ocean
Hotspot volcanoes

Kodiak Seamount


Pensi-la (Pensi Pass) is a mountain pass in the Ladakh union territory of India, which is known as the Gateway to Zanskar. Pensi La is  above sea level and connects the Suru Valley region to the Zanskar Valley region. The summit at this end of the Suru Valley, the only peak which can be seen, is  high, while the mountain to the north is . The pass is about 25 km from Rangdum Monastery.

Geography

To the west of Pensi La watershed flows the Suru River, an important tributary of the Indus, which it meets at Kargil. The Drang-Drung Glacier on the eastern flank of Pensi La is the source of Stod or Doda River, which flows into the Padum Valley, and joins with Tsarap Chu to form the Zanskar River.

"The descent from the Pensi La into the Stod Valley [in Zanskar] is steeper than the climb up from Rangdum Gompa, but not too difficult. The road winds about with many hairpin turns, which can be cut across on foot, to the river below. Wild rhubarb can be seen growing on the slopes. The generally used trekking route follows the road on the left bank of the Stod (or Doda). . . . The grass at the foot of the Pensi La furnishes a good pasturage and this is a fine camping spot."

 Pensi-La is also the gateway to Padum, the headquarters of Zanskar sub-division of Kargil district.  A 240 km road connecting Kargil town to Padum through the Pensi La is open between May and October.

Before the modern road was built, the pass, apparently, used to be open only three months of the year because of heavy snows.

References

 Janet Rizvi. (1996). Ladakh: Crossroads of High Asia. Second Edition. Oxford University Press, Delhi. .
 Schettler, Margaret & Rolf (1981). Kashmir, Ladakh & Zanskar. Lonely Planet Publications. South Yarra, Victoria, Australia. .

Mountain passes of Ladakh
Geography of Ladakh

Pensi La


The Bastille Day military parade is a French military parade in Paris. It traditionally takes place every July 14th in the morning, on the famous Champs-Élysées. It celebrate the attack against the Bastille, the beginning of the French Revolution and the first federation commemoration on 14, July 1790.

Organization
The units that parade that day, "descend" the Champs-Élysées, from the Arc de Triomphe to Place de la Concorde. Front of the Luxor Obelisk a large temporary official stand is assembled. It allows to welcome the President of the French Republic, members of the government, and all foreign guests.
The military parade was cut into several sequences, somewhat in the manner of a play.

Reviewing the troops

President of the French Republic leaves the Élysée Palace aboard his official car and joined the Arc de Triomphe, escorted by bikers of the Republican Guard. After that he boarded a military vehicle, his command car. From that moment, under the protocol, it fully embodies the role of "Chief of the Armies".
Thus he reviews the troops stationed on the right side of the avenue. Aboard his military vehicle he rejoind and its place in the official gallery.
A detachment of the Republican Guard makes military honors to the president.

Opening animation
An opening play then takes place. It usually lasts between 15 and 20 minutes. This is often the Band of the Republican Guard, accompanied by the choirs of the French army, and sometimes dancers and even a tenor. Usually musicians play La Marseillaise and the Chant des Partisans.

First flypast
The Bastille Day military parade begins really by the first flypast. The Alpha Jet of the famous Patrouille de France fly over Paris. They produce smokes of three colors, blue, white, and red, like of the Flag of France. Behind them marched combat aircraft, military transport aircraft, reconnaissance aircraft and training aircraft. These aircraft represent military and state components : French Air Force, French Navy, and French Sécurité Civile.
In 2015 the most represented were Dassault Mirage 2000, Dassault Rafale, Casa CN-235M, Airbus A400M Atlas, and Bombardier CL-415.

Troop parade
.

After it's the moment for the troops to make the parade. In first the military schools and behind them the regiments and formed units. In addition of soldiers and officers (of the French Army, the French Navy, and the French Air Force) firemen of the Paris Fire Brigade and Sécurité Civile, and policemen of the Gendarmerie Nationale and Police Nationale make the parade.

The troops parade always ends with the famous Légion Étrangère. This elite unit of the French army walks more slowly than other soldiers, so it goes last.

Seconde Flypast

Then comes the turn of the helicopters. From French Army, French Air Force, French Navy, Gendarmerie Nationale, and Sécurité Civile.
In 2015 it was NH90 Caïman, Eurocopter EC725 Caracal, Eurocopter EC665 Tigre, and Aérospatiale SA-342 Gazelle.

Vehicles parade
In first, it's motorcycles of the Gendarmerie Nationale and Police Nationale. And after armored military cars, tanks, troops trucks, and specialized vehicles are in Paris. At the end of vehicles parade it's red cars, ambulances and fire trucks of Paris Fire Brigade.

Cultural impact
The Bastille Day military parade is very famous in France. All years more than 15 000 peoples come in Paris to see it. It is broadcast in live by two TV channels : TF1 and France 2.

Military of France
Ceremonies

Bastille Day military parade


Shadow Lass (Tasmia Mallor) is a superheroine appearing in books published by DC Comics. She first appeared as a statue in Adventure Comics #354 (March 1967), and was created by Jim Shooter and Curt Swan. She was called Shadow Woman, was depicted as Caucasian, and as having been killed in action defending the science asteroid, in an Adult Legion story. Her official first appearance is Adventure Comics #365 (February 1968).

Fictional character biography
Tasmia Mallor originates from the planet Talok VIII, and possesses darkness-manipulating abilities, which she and her cousin Grev (Shadow Kid) received from their ancestors, whose spirits reside in a cave on Talok VIII (Talokians practice ancestor worship). As her ancestors before her from the past thousand years, Tasmia is the hereditary shadow champion of Talok VIII. Her 20th century ancestors, Lydea Mallor and Lyrissa Mallor, were also shadow champions and members of the interstellar police force L.E.G.I.O.N.

Her cousin Grev, who also wielded the shadow power thanks to his bloodline, went on to join the Legion Academy as Shadow Kid, though aware that he could never join the team while she was an active member (due to the LSH rules regarding duplication of powers), he hoped to be better prepared to protect Talok in Tasmia's absence.

Shadow Lass joined the Legion after her homeworld was invaded by the Fatal Five. She helped the Legion to defeat them. After joining, she became romantically involved with Lar Gand and eventually married him after he was mortally wounded fighting the Time Trapper as part of the conspiracy to avenge Superboy's death at the Trapper's hands. Their marriage was rocky for many years despite their strong feelings for each other, and Tasmia went into mourning when Gand died. The mourning was temporary, as he returned to her, inhabited briefly by the Time Trapper's essence, until a cataclysmic battle erased the Trapper from existence and completely rewrote reality.

1994 reboot

In 1994, after the Zero Hour event, the Legion of Superheroes continuity was restarted. In this storyline, Shadow Lass used the codename Umbra and exhibited a much more aggressive and businesslike attitude. While Umbra never became involved with the Post-ZH reimagining of Lar Gand, she did make several attempts to garner his attention, only to be rebuffed.

Empowerment
Tasmia Mallor was the latest in a long line of Shadow Champions of Talok VIII. At birth she was taken from her mother, the then-current Champion, in a bid to ensure that no single accident or attack could ever claim both of them, and saw her only seven times during her lifetime, all at solemn ceremonies in which they were forbidden to speak. As she grew up, she was raised by priests and was trained in combat and drilled in the order of her bloodline.

Finally, one day, her mother was killed in battle and she was brought before the leaders of Talok VIII's twelve tribes - the only time they would ever congregate peacefully - before entering the Shadow Cave, where she met the spirits of her mother and the other prior Champions. After they chastised her for never wondering how her mother died, she took to heart their counsel to protect Talok VIII (but not their warning against egocentrism) and they told her to Go In Power.

On leaving the cave, she found the inhabitants of Talok VIII on their knees, waiting for a sign - which she provided when she let the Shadows loose. After that, she became the Champion, using her position to give orders to leaders and priests, all in maintenance of the Old Ways. This lasted until the ship came.

The United Planets ship came in peace, proselytizing the benefits of U.P. membership. Sent to greet the "invaders", she understood none of it, and she set about dismantling the "hideous" ship and crew.  Despite their best efforts, she caused an explosion that caused the ship's landing gear to collapse. After that, the priests (who had already been harboring doubts about the "zealot") kept her drugged until UP entry negotiations were complete. Profoundly disturbed by the cultural influx and Talok's "captitulance", she was eventually "dismissed", and told to study the galaxy to "open her mind".

Legion
She eventually made her way to Earth, and entered the Legion tryouts and was accepted as Umbra, although her curt attitude irritated Sensor. As part of the Legion, she fought Mordru, and later played a key part in saving Wildfire - despite, after her initial fierce compassion, being disgusted at the thought of the forcible integration of his two original souls.

Blighted
Far later, the Blight enslaved most of Earth, including all but a few of the Legionnaires. Umbra was not among these escapees. When she was freed, she began to have a mental breakdown, prompted not only by the fact of her enslavement and what she'd been forced to do, but by the fact that the Blight's touching of her mind had meant that she'd enjoyed it. Shortly thereafter, she became one of the Legionnaires lost through a space rift and catapulted into another galaxy.

There, she became harder and colder than ever in lieu of breaking down completely and showing the fear that now guided her, while the voices of her ancestors from the shadow became faint and hard to understand. Then Saturn Girl tried to telepathically calm her, and it all went wrong - a telepathic matrix over a whole planet interfered with her powers, and the result left Saturn Girl in a coma, a shadow-creature fueled by Umbra and Saturn Girl's combined pain and fear loose on the ship - and an Umbra completely without pain or anxiety, leaving only anger and arrogant self-confidence.

She went down to the planet, where she began to fight Singularity (a Superman-like being), for whom the telepathic illusion which had caused the trouble was being maintained (to keep him from causing trouble on his race's real planet). When Ultra Boy and Monstress went down to get her, she began to fight them too. Finally, she was knocked out by Singularity while the Legion, having captured the shadow-creature and realized what it was, knocked out the illusion causing Singularity to go looking for his original planet. Then Brainiac 5 managed to restore Umbra and Saturn Girl's minds, and Umbra finally broke down in a crying heap.

Recovery
After this she finally began to heal from everything that had happened to her - until, after they managed to return to UP space, her power mysteriously cut out. To find out what had happened, she finally returned to Talok VIII for the first time since her dismissal. There she found a planet completely cloaked in shadow, and a shadow which knocked her out. Shadow Maven, one of the priests who had trained her, found her and told her that after her loss in the rift, they had believed her dead and managed to empower her "distant cousin Grev" with the shadows through the use of technology, and had him cloak the planet completely, withdrawing from the United Planets.

Angry at the thought that just as she had accepted the galaxy Talok had turned away from it, she went to confront Grev. The shadow gradually leeched back to her, until she split open the suit Grev used to control the shadow - and found a withered corpse inside, as he had been unable to withstand being a conduit for the Shadow, while the suit ran on its last programmed directives. She cast the shadow-cloak from the planet, and spent some time there before returning to the Legion.

2004 reboot

In 2004, the Legion continuity was again restarted. Shadow Lass has appeared in this reimagining, but little has been revealed about this version of the character. She is portrayed as a very aggressive warrior. At one point, she was in a relationship with Karate Kid, but they had broken up by the time the series started. She has been dating Ultra Boy.

When the Legion visited Talok VIII, they were surprised at the degree of favor Shadow Lass commanded, including a large banquet in her honor. Tasmia explained that if the Shadow Champion did not accept such gifts, people would see her as aloof. Nonetheless, this inspired Atom Girl to suggest Shadow Lass run for Legion leader on a hedonism platform.

Tasmia also has a friendly rivalry with Grev, who in this continuity is her brother, rather than cousin.

Post-Infinite Crisis: Retroboot Legion

The events of the Infinite Crisis miniseries have apparently restored a close analogue of the Pre-Crisis Legion to continuity, as seen in "The Lightning Saga" story arc in Justice League of America and Justice Society of America, and in the "Superman and the Legion of Super-Heroes" story arc in Action Comics.  Shadow Lass is included in their number, and is among the group of Legionnaires who help Superman defeat the villainous Justice League of Earth in the "Action Comics" storyline.

During the Justice League of Earth's xenophobic reign, Shadow Lass worked with Night Girl, Timber Wolf, and Lightning Lass to help thousands of extraterrestrials escape Earth via an "underground" interstellar portal zone. She also debuts a reworked version of her classic Grell-era bikini in the Action Comics arc.

Shadow Lass is shown prominently in the teaser image for the Final Crisis: Legion of 3 Worlds mini-series, using her powers to keep Mordru and Saturn Queen in the dark. In the story itself, she, Phantom Girl, and Lightning Lass rescue Mon-El from the Phantom Zone, where he had been imprisoned by Earth-Man and the villainous Justice League of Earth. Upon leaving the Zone, Mon-El once again suffers the effects of lead poisoning, but as in the past, is inoculated with an antidote created by Brainiac 5.

Recently in issue #2 of the new Legion comic, Shadow Lass appears to have broken up with Mon-El, with no reason truly given. In #5, she is seen in bed with the reformed xenophobe Earth-Man. When she found out that Mon-El was chosen to be a Green Lantern, she felt a bit uneasy about it. However Mon-El told her that even though he's part of the Corps, the Legion and Earth will always be his family.

In the "Watchmen" sequel "Doomsday Clock", Shadow Lass is among the Legion of Super-Heroes members that appear in the present after Doctor Manhattan undid the experiment that erased the Legion and the Justice Society of America.

Powers and abilities

Shadow Lass in all her incarnations can cast dark fields that block all light. These can either be complete, effectively rendering useless all light sources within the area, or hollow to allow the interior to be lit. She can also solidify these fields, to use as a more direct weapon.

She is also an expert hand-to-hand combatant, and can see in complete darkness (both her own and otherwise).

Equipment
As a member of the Legion of Super-Heroes, Shadow Lass is provided a Legion Flight Ring, which allows her to fly and protects her from the vacuum of space and other dangerous environments.

In other media

Television
Shadow Lass makes a cameo appearance in the Justice League Unlimited episode "Far From Home".

Film
 Shadow Lass makes a cameo appearance in Justice League vs. the Fatal Five.
 Shadow Lass appears in Legion of Super-Heroes, voiced by Victoria Grace. This version is a council member of the Legion Academy.

Miscellaneous

 Shadow Lass appears in Adventures in the DC Universe #10.
 Shadow Lass appears in the one-shot comic Batman '66 Meets the Legion of Super-Heroes.

References

External links
SHADOW LASS at the LEGION Collection
Cosmic Teams: Shadow Lass
A Hero History Of Shadow Lass

Characters created by Curt Swan
Characters created by Jim Shooter
Comics characters introduced in 1968
DC Comics aliens
DC Comics extraterrestrial superheroes
DC Comics female superheroes

Shadow Lass


A magician is an entertainer who does illusions and magic tricks by learning about the tricks of the mind and using them to his/her advantage; magicians will occasionally use props, such as a pack of cards.

The most famous magicians are:
 Harry Houdini
 David Copperfield
 Jean Eugène Robert-Houdin
 David Blaine
 P.C. Sorcar
 Doug Henning

Related pages
 List of magicians

Entertainment occupations

Magician


Cognitive science studies how people make their ideas and what makes thoughts logical. It is often seen as the result of several different scientific fields working together. These fields are psychology (a study of the mind), neuroscience (biological study of the brain), computer science (the creation of programs and computers), and linguistics (the study of language). It does not refer to the sum of all these disciplines. It refers to their intersection on specific problems.

Other websites

 Cognitive Science Society
 Cognitive Science Movie Index: A broad list of movies showcasing themes in the Cognitive Sciences
 List of leading thinkers in cognitive science
 Dr. Carl Stahmer's history page at the University of Santa Barbara

Interdisciplinary fields
Cognition

Cognitive science


The Armenian Taraz (, taraz;), also known as Armenian traditional clothing, reflects a rich cultural tradition. Wool and fur were utilized by the Armenians along with the cotton that was grown in the fertile valleys. During the Urartian period, silk imported from China was used by royalty. Later, the Armenians cultivated silkworms and produced their own silk.

The collection of Armenian women's costumes begins during the Urartu time period, wherein dresses were designed with creamy white silk, embroidered with gold thread. The costume was a replica of a medallion unearthed by archaeologists at Toprak Kale near Lake Van, which some 3,000 years ago was the site of the capital of the Kingdom of Urartu.

Overview
The Armenian national costume, having existed through long periods of historical development, was one of the signals of self-preservation for the Armenian culture. Being in an area at the crossroads of diverse eastern styles, Armenian dress is significant in not only borrowing but also often playing an influential role on neighboring nations.

The costume can be divided into two main regions: Western Armenians and Eastern Armenians. Which in turn are divided into separate subregions.

The costume of the Armenians of Western Armenia is mainly divided into two regions:

1. Areas of the Eastern Provinces: Taron (including Sasun), Bardzr Hayk, Vaspurakan, and Baghesh.

2. The regions of Sebastia, Kayseri, Cilicia in the western states, and Kharberd-Tigranakert in the south.

The first group kept closer to the traditions of the Armenian costume while in the second group, the influence of some Anatolian cultures are seen.

Eastern Armenian costume can be divided into three regions:

1. Syunik-Artsakh, Zangezur, and Ayrarat.

2. Goghtan (Agulis, Ordubad)

3. Gandzak, Gugark, Shirak, Javakhk.

Colors
The Armenian costume is dominated by the colors of the four elements: earth, water, air, and fire. According to the 14th-century Armenian philosopher Grigor Tatatsi, the Armenian costume is made to express the ancestral soil, the whiteness of the water, the red of the air, and the yellow of the fire. Apricot symbolizes prudence and common sense, red symbolizes courage and martyrdom, blue symbolizes heavenly justice, white symbolizes purity. Some of the techniques used in making these costumes have survived to this day and are actively used in the applied arts, however, there are techniques that have been lost. Each province of Armenia stands out with its costume. The famous centers of Armenian embroidery – Van-Vaspurakan, Karin, Shirak, Syunik-Artsakh, Cilicia – stand out with their rhythmic and stylistic description of ornaments, color combinations and composition.

Timeline

Ancient period: 900–600 BCE
The Urartians who were the predecessors to the Armenians wore a dress similar to that of Assyrians which consisted of short-sleeved tunics worn bare or with a shawl surrounding it. The Urartians decorated themselves with metal ornaments such as necklaces, bracelets, earrings, and pins. These metal ornaments were engraved with lion heads while necklaces of stone beads and long metal pins were draped across the body. Metal belts were an important part of the Urartian costume as well. The making of metal belts was considered an art form with magical scenes and animals being engraved into the belt in order to protect the wearer.

Classical period: 600 BCE – 600 CE
The traditional dress of Armenians underwent a significant shift following the emergence of the Kingdom of Armenia as a distinct political entity. Armenian men wore fitted trousers and a distinct hat known as the Phrygian cap. This later evolved into the balshik which is a flexible accessory that is worn by shepherds and religious leaders alike.

Medieval period: 600–1600 CE
Based on the works of Armenian manuscripts as well as images found on churches, coins, and khachkars, we can see that the Armenian elite wore clothing similar to that of Byzantine and Arab royalty, such as Turbans. Armenians held onto their unique traditions while also adopting from neighboring societies such as head coverings becoming commonplace for Armenian women.

19th century

In her 1836 novel titled The City of The Sultan; and Domestic Manners of the Turks, Julia Pardoe described the Armenian merchants she observed immediately upon disembarking in the port of Stamboul:

As I looked on the fine countenances, the noble figures, and the animated expression of the party, how did I deprecate their shaven heads, and the use of the frightful calpac, which I cannot more appropriately describe than by comparing it to the iron pots used in English kitchens, inverted! The graceful pelisse, however, almost makes amends for the monstrous head-gear, as its costly garniture of sable or marten-skin falls back, and reveals the robe of rich silk, and the cachemire shawl folded about the waist.

Pardoe also mentions they wore bejeweled rings and carried in their hands "pipes of almost countless cost."

Nowadays

Armenian traditional clothing started to fall out of use in the 1920s and was almost completely replaced by modern clothing by the 1960s. Today, Armenian traditional clothing is mostly used for dance performances where girls put on an arkhalig and long dress to simulate taraz while boys wear dark colored loose pants and a fitted jacket. In some areas of Armenia and Karabakh, elderly women still wear a short headscarf. Photo studios in Armenia allow for new generations to take pictures in traditional clothing and some women in recent times have begun to wear taraz again.

An annual festival celebrating Armenian traditional dress known as Taraz Fest is hosted every year in Yerevan and Stepanakert by the Teryan cultural center and consists of showcases of the cultural dress.

Men's clothing

Eastern Armenia

The basis of the Armenian men's body clothing was the lower shirt and pants. They were sewn from homemade canvas at home. The most common was the traditional tunic-shaped men's shirt – Shapik () made of two cloths.
In an Armenian family, men's clothes, especially the head of the house, were paid special attention, as men judged the family as a whole by their appearance.

The overall fashion of the Eastern Armenian costume was Caucasian, close to similar clothing worn by neighboring peoples in the Caucasus such as Azerbaijanis, Georgians, Dagestanis, and Chechens, among others.

Belt clothes
Men's body pants – Vartik (; also votashor, tuban or pohan) differed from women's in that they did not have an applied decorative border at the bottom of the ankle; their pants were tucked into knitted socks and windings. A cap and vartic of traditional cut were worn in Armenia by men of all ages, from young boys to the elderly.

Ballovars – shalvar () were worn over the body pants. They were sewn from homemade rough-shaft fabric painted black, less often dark blue or brown in the same fabric as the vartic.

Outerwear

The basis of outer shoulder clothing in Eastern Armenia was Arkhalugh and Chukha. Arkhalugh-type clothing has a centuries-old tradition among Armenians, as evidenced by images on tombstones and medieval miniatures. It was widespread and worn by the entire male population, starting from boys aged 10–12. Arkhalugh was sewn from purchased fabrics (satin, eraser, chintz, shawl), black, blue, brown tones, lined. Its decoration was a galun ribbon in the tone of the main material, which was covered with a collar, chest incision, hem and sleeves. In wealthy families, such as in the merchant class of Yerevan, along with the ribbon, a silk cord was added.

Arkhalugh () – a long, tight, waist-jacket made of fabrics including silk, satin, cloth, cashmere and velvet, depending on the social status of its owner. It was usually girded with a silver belt, less often with a belt or a leather belt with false silver buttons.

With a number of similarities to the Arkhalugh, the Chukha () had a wider functional purpose. The Chukha is a male humeral outerwear with layers and gathers that was detachable at the waist. It was made of cloth, tirma, and homespun textiles. Outerwear served not only as warm clothes, but as clothing for special occasions. Most chukhas were decorated with a bandolier for gazyr cartridges on both sides of the coat, although Armenians would seldom wear the chukha with the cartridges inserted. The right to wear a chukha symbolized a certain socio-age status, as a rule, it was worn from the age of majority (from 15 to 20 years). The Chukhas were dressed in a mushtak or burka, and later as an urban influence. Sheepskin fur coat or mushtak as clothes were worn by the wealthy, mainly of the older generation.

Some Eastern Armenian men additionally chose to wear a dagger, known as a Khanchal (Armenian: Խանչալ) or Dashuyn (Armenian: Դաշույն) over either the Chukha or the Arkhalugh. It was suspended from either a leather or silver belt and hung diagonally across the man's waist. Such daggers were widespread throughout the Caucasus region, including Armenia. However, due to the lack of the strong warrior culture that was present in the areas north of Armenia, the dagger was a far less ubiquitous part of a man's outfit in Armenia than it was elsewhere in the region.

Burka (, aitsenakach) was the only cape in traditional Armenian costume. Armenians wore two types of burqa: fur and felt. Fur burka was made of goat wool, with fur outside, using long-pile fur. Felt burka and in some areas fur (Lori) was worn by shepherds. This was often complete with a Bashlyk, a type of hood which was suspended from the back of the Burka and worn over the Papakh to protect against rain.

The men's clothing complex also included a leather belt, which was worn over the arkhalugh. The leather belt had a silver buckle and false ornaments engraved with plant ornaments.

Men's wedding clothes, which were both festive and culturally significant, were distinguished by the fact that the arkhalugh was made of more expensive fabric, the chukha and shoelaces were red (this color was considered to be a guardian), and the belt was silver, which they received during the wedding from the bride's parents. This type of clothing of Karabakh men was also common among other Eastern Armenians, in particular in Syunik, Gogthan, as well as in Lori.

 Headgear
The standard headgear of Eastern Armenians was a fur hat – Papakh (), sewn from sheep's skins. Papakhs came in a variety of different shapes and sizes, with men of different regions and villages having different preferences. Generally speaking, men from Southern Armenia and Karabakh preferred a taller and more cylindrical style of papakh, while men from Northern Armenia usually wore one that was low and wide. The most expensive and prestigious was considered to be made from Bukhara sheep wool, which was worn by representatives of the wealthy classes, especially in cities. In these cities, very high, close to cylindrical, hats were worn complete with a chuhka with folding sleeves. The headgear and hat, in particular, were the embodiment of the honor and dignity of an Armenian man. Throwing his papakha on the ground was equated to his shame and dishonor. According to traditional etiquette, in certain situations, the man was supposed to take off his hat at the entrance to church, during funerals, when meeting highly revered and respected people, etc.

Western Armenia

Traditional Armenian clothing from Western Armenia was generally standard throughout despite regional differences and had a similar silhouette, bright color scheme that was distinguished by colorfulness, and an abundance of embroidery.

Men's bodywear had a similar cut to the East Armenian wear. However, the body shirt was distinguished by a side section of the gate. The body pants – vartik, were covered without a step wedge, but with a wide insert strip of fabric, as a result of which the width of such pants was often almost equal to their length. They were made of woolen multicolored threads.

The traditional clothing of some Western Armenian provinces, namely those around lake Van, was a regional form of dress rather than an ethnic one, as many neighboring peoples such as Kurds also dressed in a similar fashion. However, as Armenians had a virtual monopoly on weaving and dress-making in the region, coupled with the fact that Armenians were the oldest living inhabitants of the area, it is likely that it was adopted from Armenians by the neighboring peoples.

Outerwear
The gate and long sleeves of the upper shirt, Ishlik, were sewn with geometric patterns of red threads. In a number of regions such as in (Vaspurakan and Turuberan), the sleeve of the shirt ended with a long hanging piece – jalahiki. The shirt was worn with a kind of vest, a spruce (tree) with open breasts, from under which the shirt's embroidered breasts were clearly visible. Such a vest was a characteristic component of the traditional men's suit only in Western Armenia.

From above, a short, waist-to-waisted woolen jacket was worn on the top – a batchkon, a one-piece-sleeved salt, often quilted. The wealthy Armenians chose the thinnest, especially Shatakh cloth, mostly of domestic and local handicrafts, and tried to sew all parts of the suit from one fabric".

On top of the top were worn short (up to the waist) swing clothes with short sleeves – Kazakhik made of goat fur or felt aba. The goat's jacket, covered with braids at the edges and with bundles of fur on its shoulders, was worn mainly by wealthy villagers.

The outer warm clothes also included a long straight "Juppa". In wealthier families, the juppa was quilted and lined. It was preferred to be worn by mature men. In winter, in some, mainly mountainous regions (Sasun), wide fur coats made of sheepskin were worn, without a belt.

The belt as an indispensable part of men's suit in most regions Western Armenia was distinguished by its originality. The colored patterned belt was "rather a bandage around the waist. A long, wide shawl, knitted or woven, folded in width in several layers, was wrapped twice or more around the waist. The deep folds of the belt served as a kind of pocket for a handkerchief, kisset, wallet. For such a belt, you could plug both a long tube and a knife with a handle, and if necessary a dagger".

The silver belt was an accessory of the city costume, it was worn in Karin, Kars, Van and other centers of highly developed craftsmanship production. Citizens, artisans, and wealthy peasants alike had belts made of massive silver plaques.

Headgear
 The headgear in Western Armenia consisted of hats of various shapes (spherical, conical), felt, wool knitted and woven, which were usually worn in addition to the handkerchief. They had regional differences in the materials used to manufacture it as well as the style and color scheme of the ornament. A felt white cone-shaped hat was widespread – koloz with a pointed or rounded top.

The widespread arakhchi, also known as arakhchin (), was a truncated skull cap, knitted from wool or embroidered in single youth with multicolored woolen thread, with a predominance of red. The way this traditional headdress was worn was a marker of its owner's marital condition, just as in Eastern Armenia, the right to wear an arakhicki belonged to a married man.

Hamshen
The Hamshen province of Armenia had its own unique costume, sharing many similarities with the Caucasian costume found in Eastern Armenia. It was generally close to similar clothing worn by the neighboring Laz, Adjarian and Pontic Greek peoples. By the end of the 19th century, this costume included an undershirt, a top cover shirt, an Arkhalukh, and a short Chukha which reached a little below the waist. Hamshen Armenians traditionally wore very wide and long pants, however by the end of the 19th century this was replaced by a thinner pair of trousers called zipkas, worn with a pair of high boots. A wool or silk belt, 4–5 meters long, was tied over the trousers.

In winter, many villagers wore a Kepenek, a felt outercoat similar to the Burka, except with a hood to cover the head. As everyday headwear, men wore a Bashlyk made of silk or wool which was tied around the head to form a headband. Men who owned arms completed their outfit with a series of firearms accessories, a knife, and a Khanchal dagger.

Women's clothing

Eastern Armenia
At the beginning of the 20th century, women's clothing, unlike men's clothing, still preserved its traditional complexes in historical and ethnographic regions. Women's clothing of eastern and western Armenians was more homogeneous than men's clothing. The main difference was the abundance of embroidery and jewelry in a women's suit from Western Armenia as opposed to Eastern Armenia.

Clothes
In Eastern Armenia, women wore a long red shirt – halav made of cotton fabric with oblique wedges on the sides, long straight sleeves with a gusset and a straight incision of the gate. This shirt was worn mainly by girls and young women. Long body pants were sewn from the same red fabric as the shirt, on a white lining and waist held on hold with the help of honjang.

Holiday pants were sewn in silk red fabric on a white fabric lining. The lower ends of the pants collected from the ankles were to be visible from under the outerwear, so this part was sewn from more expensive and beautiful fabric and sewn (in Yerevan and Ararat) with gold embroidery or decorated (Syunik, Artsakh) with a strip of black velvet with gold-plated braid. In the women's complex of the provinces Syunik and Artsakh, an important part was the upper shirt – virvi khalav () made of red silk or calico with round gate and chest incision with black velvet or satin, as well as sewn silver small jewelry.

Outerwear

In the early 20th century, women's outerwear differed in great variety among Armenians. Its basis in Eastern Armenia was a long swing dress – arkhalugh with one-piece front shelves and a trimmed back, an elegant long neckline on the chest, fastened only at the waist. They sewed arkhalughs from sitz, satin or silk, usually blue, green or purple colors, lined in thin cotton vatina, lined with longitudinal lines and vertical lines on the sleeves. It was necessary to have two dresses: everyday dresses made of cotton and festive dresses made of expensive silk fabric.

The clothes for the exit were a dress – mintana (), worn on solemn occasions on top of the arkhalig of the same cut, but without side seams.

An integral part of traditional women's clothing was the belt. In the Ararat Valley, especially in the urban environment of Yerevan, the complex of women's clothing included a fabric silk belt with two long curtain rods embroidered with silk and gold threads. Syunik and Artsakh also used a leather belt with a large silver buckle and sewn silver plates made in the technique of engraving, filigree and black.

Headgear
The most characteristic and complex part of Eastern Armenian taraz was a women's headdress. Before a woman was married, the hair was freely released back with several pigtails and tied to the head with a handkerchief. After marriage, the Armenian woman was to "tie her head", i.e. they put on a special "towagon" on her head – palti (Nagorno-Karabakh, Syunik), pali, poli (Meghri, Agulis), baspind (Yerevan, Ashtarak). Underneath it, a ribbon with coins (silver, very rich – with gold) or with special hangers was tied on the forehead, and silver balls hung on both sides of the face through the whiskey or interspersed with coral. The nose and mouth were tightly tied first with a white and then with a colored (red, green) handkerchief.

Due to Islamic influences, many Armenian women wore a Chador when going outside per the rules of the dominant Persian or Turkish cultural norms.

Western Armenia

The western Armenian variety of women's clothing was distinguished by a bright color scheme and rich decorative design. The bodywork in cut was similar to that of Eastern Armenia, with the only difference being that the shirts were sewn from white cotton fabric.

Outerwear

Western Armenian women wore a swinging one-piece dress – ant'ari. On top of the "antari" on solemn occasions, as well as in the cold season, a dress – juppa, was worn. This dress could be festive (burgundy, purple, blue velvet or silk, colored woolen fabric in stripes) and everyday (made of dark blue cloth).

A distinctive feature of traditional women's clothing in Western Armenia was the apron – mezar. Made of cotton or expensive (velvet, cloth) fabrics, abundantly decorated (especially wedding), it was a necessary part of the outfit: as in the east it was "shameful" to go out with an open chin, so here it was "shameful" to appear without an apron. The classic version of it is a red cloth apron in a set of Karin-Shirak's clothes with exquisite sewing and braid, which was tied to the "antari".

With such an apron, the open chest of the dress was covered with an embroidered bib – "krckal" rectangular or trapezoidal shape made of silk, velvet or woolen fabric, in girls and young women decorated with rich embroidery along the gate and on the chest, and "'juppa" was replaced by a jacket – "salta"" or "kurtik". This swing short (to the waist) jacket was made of purple, blue, burgundy velvet or green, blue silk fabric. The jacket was festive clothes and struck by the beauty of patterned embroidery. Warm outerwear, in particular in Vaspurakan, was dalma, a kind of long coat made of black cloth lined. This swinging, waist-fitting and braided with braided gold and silk threads, the cut was similar to a "juppa". It was mainly worn by girls and young women.

Headgear

The women's headgear stood out for its special wealth and beauty. The girls braided their hair in numerous braids (up to 40), of which the front braids were thrown forward on the chest and with the help of silver chains were placed on the back. Experienced braiders skillfully braided woolen threads in the color of the hair, decorating them with silver balls and brushes. Decorated with silver jewelry and felt hat in the shape of a fezka without a brush, it was hung on chains in the front by a number of newcomers, leaves, chains, amulets. The temples had hanging hangers – eresnots. In many areas, a silver flat with minted flowers, images of angels, and sunlight, among others, was sewn on the felt from above.

When she got married, the woman put on a red hat made of the thinnest felt, with a long brush of purple or blue twisted silk threads of 40 cm long, in the southern regions – "kotik", in Karina Shirak "vard" (literally rose).

All this elegant colorful complex was complemented by a lot of jewelry: necklaces, pendants, bracelets, rings, as well as a silver or gold-plated belt with a massive buckle of amazingly fine jewelry. Most of them were the property of wealthy Armenian women, especially in the trade and crafts environment in many cities of Western Armenia and Transcaucasia.

Footwear

Since ancient times, footwear has been an integral part of traditional Armenian clothing. Men's and women's shoes (knitted socks and the actual shoes) were largely identical. Knitted patterned socks – Jorabs and gulpas, which, along with men's leggings, were known as early as the Urartian period and occupied an important place in Armenian footwear. In traditional everyday life, male and female patterned jorabs were knitted densely from the wool of a particular region. They could be monochromatic or multi-colored, with each region having its own favorite pattern and color. In the Ottoman Empire, Armenians and Jews were required to wear blue or purple shoes to denote their status as minorities. Later, Armenians had to wear red shoes to indicate to the Ottomans that they were Armenian. They were widely used not only in everyday life, but also had ritual significance. Socks were part of the girl's dowry, and were one of the main objects of gift exchange at weddings and christenings. They were widespread throughout Armenia and remained in many areas until the 1960s.

See also
Armenian culture
Armenian dance

Gallery

References

Notes

Further reading
Chopoorian, Greg. "Continuity and Adaptation: The Changing Tale of Armenian Clothing." Medieval History Magazine, 13 (September 2004): 29–35
Derzon, Manoog. Village of Parchanj General History (1600–1937). Boston: Baikar Press, 1938.
Hai Guin Society of Tehran. The Costumes of Armenian Women. Tehran: International Communicators, 1976.
Lind-Sinanian, Gary. Armenian Folk Costumes, A Coloring Book for Children. Watertown, Ma: Armenian Library and Museum, 2004.
Micklewight, Nancy. "Late-Nineteenth-Century Ottoman Wedding Costumes as Indicators of Social Change." Muqarnas, 6 (1989): 161–174.
Scarce, Jennifer. Women's Costume of the Near and Middle East. London: St. Edmundsbury Press, 2003.

Armenian clothing
Culture of Armenia
Folk costumes

Armenian dress


A ranch is a farm for raising cows, horses, sheep or other livestock. Most ranches are large, but they can be any size. The word ranch is from the Spanish word "rancho". It is used in American and Canadian English. People who use a ranch are called ranchers.

A ranch may be on private or public land. The desert areas of the western United States have many ranches, because there is much land that is not very good for crops. There are also many in desert areas of Australia, where they are called stations. Someone who takes care of the livestock may be called a stockman or cowboy.

Related pages
Agriculture

Ranch


Joseph W. Brown (November 26, 1793 – December 9, 1880) was an American businessman, soldier, and politician.

Brown was born in Bucks County, Pennsylvania, on November 26, 1793, and moved to Michigan in 1824.

Brown was the brother of major general Jacob Brown, the founder of Brownville, New York. General Brown (and wife Cornelia), along with his brother-in-law Musgrove Evans (and wife Abi), their cousin Austin Wing and a dozen or so pioneers founded the town of Tecumseh, Michigan in 1824. General Joseph Brown died in 1880 at his daughter's home in Toledo, Ohio.

From Tecumseh, General Brown ran a stage coach line which operated under the Western Stage Company and ran from Detroit through Ypsilanti, Saline, Tecumseh, Jonesville, White Pigeon, Niles, and Michigan City ending in Chicago – a total trip of just 4½ days (which frequently took six).

The route of Brown's stage line between Saline and Jonesville – stopping in Tecumseh – was anything but the most direct. However, it required that the passengers have an overnight stay in Tecumseh where Brown also owned and operated a large Inn called the Peninsular House.

General Brown was involved in the Toledo War, having been appointed to protect the disputed area between Ohio and Michigan by then Michigan Governor Stevens T. Mason. In the spring of 1835 the tensions between Ohio and Michigan escalated when it was reported to that a survey party had encroached on Michigan territory and was camped south of Adrian at Phillips Corners. On April 26, 1835 Deputy Sheriff, Colonel William McNair of Tecumseh led a party to intercept the survey group from Ohio. General Brown went along with the essentially civilian group as "special agent of the Territory to watch the Ohio situation" his official title per gubernatorial appointment.

Shots were fired but it was never clear if they were directed at the Ohio group or if they were for effect to flush them out of the cabins in which they were spending their Sabbath. Some Ohio "invaders" escaped while about a dozen were captured. These were escorted back to Adrian where all but one were released. Engineer, Colonel Fletcher, was retained to "test the validity of the arrest." Colonel Fletcher spent some months in custody in Tecumseh. Benjamin Baxter's account of the events, found in Clara Waldron's One Hundred Years, a Country Town, states that Fletcher was:

a genial gentleman not suffering apparently from his term of incarceration, but sometimes subjecting us to the inconvenience of hunting him up when we had occasion to use the jail for some counterfeiter or horse thief, as he was likely to be found out riding with one of the sheriff's lovely daughters, having taken the jail keys with him.

Later in 1835 General Brown would lead a large group of soldiers to Toledo to protect the rights of the Territory of Michigan. In his memoirs, also quoted in Clara Waldron's book, Dr. M. A. Patterson says of Brown:

As a commander of the Michigan forces in the Black Hawk War, he had acquitted himself to the entire satisfaction of the territorial and national authorities. As commander of the Toledo expedition, he performed his duties equally well and secured all that was desired of the expedition, which was to prevent the Executive of Ohio from trampling upon the rights of the people of Michigan.

It is suggested that General Brown's "moderation and good sense helped prevent possible bloodshed."

Brown served as the first judge in Lenawee County in 1826, and on July 1, 1839, he was appointed to replace Seba Murphy on the Board of Regents of the University of Michigan, though he attended only one meeting before resigning the office himself.

He died in Tecumseh on December 9, 1880.

References

 Waldron, Clara. One Hundred Years, a Country Town. Tecumseh, Michigan: Tecumseh Area Historical Society, 1968. Fifth Printing, 2007.
 Kuipers, Kern and Payeur, Amanda, Tecumseh: The First Century. Chicago: Arcadia Publishing, 2006.

1793 births
1880 deaths
United States Army generals
American people of English descent
Regents of the University of Michigan

Joseph W. Brown


Special Needs is a dark comedy/satire about three reality TV producers creating show about people with physical and mental disabilities. The film was written, produced, and directed by Isaak James, who also starred.

Critical response
DVD Talk rated it "highly recommended", calling it "an instant candidate for independent comedy of the year ". Variety called it "a rip-roaring good time" that succeeded with a subject that could have been disastrous. Blogcritics found it "tastelessly hilarious".  French site Horreur.com was a bit more measured in its praise, suggesting a mixture of laughter and gritting of teeth as an appropriate reaction but awarded a rating of 5/6.

Release
It was an official selection at the Calgary International Film Festival and Westwood International Film Festival. It was released on DVD by Troma.

References

External links
 Special Needs at Internet Movie Database
 Special Needs – at the Troma Entertainment movie database
 Special Needs at Official Movie Website

2006 films
Troma Entertainment films
2006 black comedy films
2006 comedy films

Special Needs (film)


Mount Merapi (Gunung Merapi in Indonesian) is a volcano in Indonesia. It is on the island of Java. It is conical in shape.  It is the most active volcano of Indonesia. In Indonesian, the name means mountain of fire. The volcano has been descovered by Mr Morris in 1754

2006 earthquake

In 2006, scientists believed that the volcano would erupt soon. An earthquake occurred in that region on May 27, 2006, and killed about 6,200 people. On June 6, super hot gas and ash poured down the mountain. These hot gases are known as a pyroclastic flow. Two people were killed, and 15,000 people rushed to safety.

2010 eruption

On 25 October 2010 the Indonesian government warned villagers living near the mountain to move to safer ground. Officials said hundreds of volcanic earthquakes had been recorded on the mountain over the weekend of 23–24 October, and that the magma had risen to about 1 kilometre (3,300 ft) below the surface due to the seismic activity. People living within a 20 km (12.5 mile) zone were told they must leave.

On the afternoon of 25 October 2010 lava erupted from the southern and south-eastern slopes  of Mount Merapi. Many more followed over the next two weeks. There were also pyroclastic flows.

After the recovery of more bodies, an official in disaster management said the death toll reached 273 up to 18 November.

References

Volcanoes of Indonesia

Mount Merapi


The Altiplano (Spanish for "high plain"), Collao (Quechua and Aymara: Qullaw, meaning "place of the Qulla") or Andean Plateau, is the largest high plateau on Earth outside Tibet. It is in South America. Most of the Altiplano is in Bolivia. Its northern parts are in Peru, and its southwestern parts are in Chile.

There are many cities on the Altiplano. These include El Alto, La Paz, Oruro, and Puno. The northeastern part of the Altiplano is more humid than the southwestern part. The southwestern part has several salares (salt flats) because of its aridity. At the Bolivia–Peru border lies Lake Titicaca. This lake is the largest lake in South America.

Many pre-Columbian cultures come from the Altiplano. These include the Chiripa, Tiawanaku and the Inca Empire. Spain conquered the region in the 16th century.

Today, major economic activities in the Altiplano include mining, llama and vicuña herding, and services (in its cities). Many tourists visit the region.
Plateaus
Ecoregions
Geography of South America
Geography of Bolivia
Geography of Chile
Geography of Peru
Geography of Argentina

Altiplano


Richard Andrew John Townsley (born 24 June 1952 in Castleford, Yorkshire, England) is an English first-class cricketer,  who played two first-class matches for Yorkshire County Cricket Club in 1974 and 1975, and five List A one day matches in 1975.  Townsley also played for the Yorkshire Second XI from 1972 to 1975, and the Yorkshire Under-25s from 1972 to 1976.

A left-handed batsman, Townsley scored 22 first-class runs, with his best score being 12 against Sussex, at an average of 5.50, and he took one catch.  He scored 81 runs in one day games, with a best of 34 against Somerset.  A right arm medium bowler, he failed to take a wicket in either form of the game, conceding 62 runs in one day cricket.

References

External links
Cricinfo Profile

1952 births
Living people
Yorkshire cricketers
Cricketers from Castleford
English cricketers
Oxfordshire cricketers
English cricketers of 1969 to 2000

Andrew Townsley


The Imperial Cross (, German: Reichskreuz) is part of the Imperial Regalia of the Holy Roman Empire. It served as the container for the two "Great Relics of Christ" (Perveniens Reilquias magna Christi, Großen Reliquien Christi): the Holy Lance in its horizontal arms and the reliquary of the True Cross in the lower shaft. It is thus the original reliquary of the Imperial relics. The Imperial cross is kept in the Imperial Treasury in the Hofburg.
It has been suggested that the cross was probably created some time around 1024–25 or 1030 in Lotharingia. A somewhat earlier creation as a commission of Conrad's predecessor Henry II (1002–1024) is also found in scholarly literature.

An older base was replaced with the current gilt silver base of the cross in 1350 in Prague at the command of Charles IV. In addition he had new reliquaries made for the relics which had hitherto been stored inside the Imperial Cross.

Description
The cross has an oak core which is coated on the outside with gold leaf and with red leather on the inside. It measures 77 by 70 centimetres. The beams are 9 centimetres wide for most of their length and 12 cm wide at the ends of the beams.

The front of the cross is decorated with pearls and gemstones in high mountings (Crux gemmata). The reverse, decorated in the niello technique, depicts the Agnus Dei (Lamb of God) at the centre of the cross, surrounded by the twelve Apostles and the symbols of the Four Evangelists at the cross' four ends.

Because it was created as a reliquary, several parts of the front side can lift off, which reveals openings through which the relics can be reached. The openings are lined with dark red material and are an exact fit for the Holy Lance and the reliquary of the True Cross. The dimensions of the cross result from these relics. There are other small, rectangular openings as well; whether these are for documents or other smaller relics is unknown.

The following inscription runs around the sides:
ECCE : CRVCEM : DOMINI : FVGIAT : PARS : HOSTIS : INIQVI : † HINC : CHVONRADI : TIBI : CEDANT : OMNES : INIMICI :
Lo! May the hostile faction of evil flee the cross of the Lord † Thus may all of the evil ones surrender to you, Chuonrad.

"Chuonrad" refers to Conrad II, in whose reign the cross was probably made. It is not known whether he  commissioned the cross. Viewing the cross as a symbol of victory rather than an instrument of suffering is typical of the High Middle Ages and occurs often in Romanesque art. It is, therefore, also a symbol of the Imperial claim to universal rule.

The base of the cross is a later addition, made of gilt silver with a wooden core and decorated with four enamelled coats of arms. The shields on the front and back show the single-headed, right-facing Imperial Eagle, while the silver Bohemian lion is shown on a red background on the two sides. This base is 17.3 cm high and 29.2 x 22 cm wide.

Bibliography
 Hermann Fillitz. Die Insignien und Kleinodien des Heiligen Römischen Reiches. Wien und München 1954
 Gesellschaft für staufische Geschichte (Ed.), Die Reichskleinodien, Herrschaftszeichen des Heiligen Römischen Reiches. Göppingen 1997
 Jan Keupp, Hans Reither, Peter Pohlit, Katharina Schober, Stefan Weinfurter (Eds.), "… die keyserlichen zeychen …" Die Reichskleinodien – Herrschaftszeichen des Heiligen Römischen Reiches, Regensburg 2009, .
 Sabine Haag (Ed.), Meisterwerke der Weltlichen Schatzkammer, Kunsthistorisches Museum, Wien, 2009, .

External links

11th-century sculptures
Imperial Regalia of the Holy Roman Empire
Crux gemmata
Hohenstaufen
Ottonian sculptures

Imperial Cross


Social ontology is a domain-specific branch of ontology, the philosophical study of being and existence, which studies the nature and properties of the social world. Social ontology deals with examining the various entities in the world arising from social interaction.

Notable contemporary philosophers who study social ontology include John Searle, Margaret Gilbert, Amie Thomasson, Tony Lawson and Ruth Millikan.

Definition
General ontology has a number of subfields, domain-specific or regional ontologies. Social ontology is such a domain-specific subfield, which should include the basic entities, properties and kinds studied by the social sciences. There are two kinds of social entities: social individuals and social complexes or collectives.

According to Lynne Rudder Baker, taking "social community" as a primitive, we can characterize a social property as a property the instantiation of which requires the existence of a social community. Typically, for human beings that means a linguistic community. Social ontology at a time t contains all the instantiated social properties that are irreducible and ineliminable at that time. This will comprise the social properties that are primary kinds that are instantiated at t and the entities (individual or complex) that have those social properties as their primary-kind properties.

References

External links

 Social ontology in the Stanford Encyclopedia of Philosophy

social ontology
ontology
Philosophy of social science

Social ontology


Vox populi is a 2008 Dutch political satire comedy film written and directed by Eddy Terstall. The lead roles are played by Tom Jansen, Tara Elders, and Johnny de Mol. Ton Kas won a Golden Calf Award for Best Supporting Actor.

Together with Simon in 2004 and SEXtet in 2007, it is part of a trilogy about contemporary Dutch society. It received mainly average reviews.

Plot
Jos Fransen (Jansen) is a veteran politician experiencing a midlife crisis. He's the leader of the left-wing party Rood-Groen (Red-Green), but the party hasn't been polling well lately. His daughter Zoë (Elders) starts dating military police officer Sjef (De Mol). Sjef's father Nico (Kas) is an authentic Amsterdam car salesman who hates politicians. Through the eyes of Sjef and Nico, Jos is starting to get a feel of how "the people" look at politics. Inspired by Sjef, Nico, and Sjef's Yugoslav brother-in-law Savo, Jos Fransen starts including more populist ideas into his, previously, politically correct party and starts rising in the opinion polls. This all much to the chagrin of his elitist fellow party members.

Cast
 Tom Jansen as Jos Fransen
 Johnny de Mol as Sjef
 Esmarel Gasman as Nina
 Tara Elders as Zoë
 Bata Miodrag Milojevic as Savo
 Femke Lakerveld as Mira
 Ton Kas as Nico
 Marion van Thijn as Geesje
 Beppie Melissen as Gees
 Hilde Van Mieghem as Peggy

External links

References

2008 films
2008 comedy films
Dutch comedy films
Dutch satirical films
Dutch political satire films
Films directed by Eddy Terstall
Midlife crisis films
2000s Dutch-language films

Vox populi (film)


, or "floating drop," is one of the traditional forty throws of Judo as developed by Jigoro Kano. It belongs to the fourth group, Dai Yonkyo, of the traditional throwing list, Gokyo-no-Nagewaza , of Kodokan Judo. It is also part of the current 67 Throws of Kodokan Judo.  The technique is categorized as a hand technique, Te-waza.

Technical description

In free fight and tournaments, this throw is rarely done in his basic form, as seen in Kata. When uke is off balance the pulling hand at the sleeve of tori guides Uke towards the ground, without an additional force and help from legs or hips, making in 100% a hand technique(Te-Waza).

In yaku soku geiko, randori of free fighting variations can be seen by pulling at the lapels. Often they are counters to actions of Uke. When Uke overcommits in hipthrows (goshi-waza), Tori can defend by stepping to the side (tai sabaki) to avoid the throw and during that action Tori can pull at the sleeves or lapel (depending the side of grip and side of the tai sabaki), further breaking the balance of Uke, enforcing the kuzushi (losing of balance) and guiding Uke to the ground. Same principle is used in Uchi Mata Sukachi.

Similar techniques, variants, and aliases
English aliases:
 floating drop

Similar techniques:
sumi otoshi: backwards oriented
Uchi mata sukachi: a counter to uchi mata in a similar way to the execution of Uki otoshi.

Judo technique
Throw (grappling)

Uki otoshi


Ugola is a genus of fungi in the Lyophyllaceae family. The genus was first described scientifically by the French naturalist Michel Adanson in his 1763 Familles des Plantes. The three fungi in the genus are anamorphs of species of Asterophora, a genus of fungi that are parasitic on other mushrooms.

References

External links

Agaricales genera
Lyophyllaceae

Ugola


Fiat Professional is the brand name and subsidiary of Stellantis which manufactures light commercial vehicles and their passenger variants. It was launched on 17 April 2007 and replaced the Fiat Veicoli Commerciali division. Fiat Professional is present in the EMEA and Asia-Pacific regions; the Fiat Automobiles brand is used in the Latin America region. The Fiat Ducato and the Fiat Doblò are rebadged as the Ram ProMaster and Ram ProMaster City respectively for sale in Canada and the US.

Current products
 Fiat Panda Van

The Fiat Panda Van is a panel van version of Fiat's city car.

 Fiat Fiorino

The Fiat Fiorino is a panel van. Its MPV version is sold as Fiat Qubo, under the Fiat brand. The design and investment for this model were shared with PSA Peugeot Citroën whose brands Peugeot and Citroën sell their own version of this model.

 Fiat Doblò

The Fiat Doblò is a panel van and leisure activity vehicle produced in three generations since 2001, with the first two generations produced at Tofaş. It was first unveiled at the Paris Motor Show in 2000. Opel then launched a rebadged version, named the Combo. In North America, the second-generation facelift model was called the Ram ProMaster City, manufactured from 2015 to 2023. The third generation is based on the Citroën Berlingo.

Fiat Scudo

The Fiat Scudo is an intermediate sized van produced at the joint venture Sevel Nord factory; now in its third generation, it was first introduced in 1994. It is a rebadged Citroën Jumpy.

 Fiat Ducato

The Fiat Ducato is a large van produced at the joint venture Sevel factories in Italy and Brazil, and since 2008 also under licence in Yelabuga (Russia) by Russian automobile company Sollers JSC (formerly Severstal Auto). Versions of the van are also sold by Citroën and Peugeot as the Jumper (Relay in the United Kingdom) and Boxer, respectively. Since 2013, the Ducato has been produced by Stellantis North America in Mexico as the Ram ProMaster. Following Groupe PSA's acquisition of the Opel and Vauxhall brands and its subsequent merger with FCA to form Stellantis, the Ducato is rebadged as the Movano under those two brands since 2021.

 Fiat Strada

The Fiat Strada is a supermini coupé utility, based on Fiat's "world car" project, the Palio. It is produced in Betim, Minas Gerais, Brazil and exported to the European Union. In 2015, Ram Trucks launched a rebadged version exclusively for the Mexican market, named the Ram 700.

Discontinued products

 Fiat Punto Van

The Fiat Punto Van is a panel van version of Fiat's supermini.

 Fiat Fullback

The Fiat Fullback was a medium-sized pickup, a rebadged version of the fifth generation Mitsubishi Triton. It was produced in Thailand from 2016 to 2019 through a joint venture of Fiat Chrysler Automobiles and Mitsubishi Motors and was exported to Europe and Middle East.

Fiat Talento

The Fiat Talento was an intermediate sized van produced at the Sandouville Renault Factory; though it is known to be a rebadged Renault Trafic, it was produced from July 2016 to 2020. It replaces the old model of the Scudo. Now it has been replaced by the new generation of the Scudo, which is a rebadged Citroën Jumpy.

Other vehicles

Many other Fiat vehicles have been sold as LCVs by Fiat Professional without being proper panel vans, such as the Fiat Seicento/600 Van, the Fiat Multipla Van, the Fiat Bravo Van or the Fiat 500L Pro.

Gallery

See also
Ram Trucks: Stellantis' light to medium duty commercial vehicle brand marketed primarily in North America.

References

External links

Vehicle manufacturing companies established in 2007
Italian companies established in 2007
Fiat
Italian brands
Commercial vehicles

Fiat Professional


Taddeo Manfredi (1431 – c. 1486) was Lord of Imola from 1448 until 1473. As a condottiere (mercenary leader), he was commander in the Florentine (1443–1448 and 1452) and Neapolitan (1448–1452) armies.

After inheriting the seigniory of Imola after the death of his father, Guidantonio Manfredi, he struggled long with his uncle Astorre II Manfredi, who held Faenza. The two reconciled in 1463, but the war resumed four years later. In 1467, after having been besieged in Imola by Alessandro and Costanzo Sforza, he fought in the Battle of Molinella.

In 1471, his son Guidoriccio rebelled against him, and Manfredi was imprisoned under the authority of the Milanese general Roberto da Sanseverino. In 1472, he was freed, but the city rebelled against him. The following year, he sold the city for 40,000 ducats to Cardinal Pietro Riario, who ceded it to Girolamo Riario. In 1482, he fought against the latter and was declared rebel by the Pope.

References

1431 births
1480s deaths
15th-century condottieri
Taddeo
Lords of Imola

Taddeo Manfredi


Tamahagane {tah-mah-ha-ga-neh} is a high quality metal (steel) made in the Japanese tradition. The word tama  means "round and precious", like a gem or jewel. The word hagane means  "steel". On the market, it costs 50 times more than ordinary steel. Tamahagane steel is used to make Japanese swords, knives, and other kinds of tools.

Good tamahagane contains around 1% of carbon and should not go over 1.5%.

Production
Tamahagane is made of iron sand (called satetsu in Japanese). There are 2 main types of iron sands: akome satetsu and masa satetsu. Akome is of lower quality and masa is of better quality. The man who leads the team at the TATARA is called the murage. Depending on the desired result, the murage mixes one or more types of sands.

The iron sand is put in a clay tub (furnace) called a tatara. The clay tub measures about 4 feet tall, 12 feet long, and 4 feet wide. The tub is then dried and heated. The clay tub is heated to a high temperature, about 1000 ºC (1.832 ºF). Then, it is filled with charcoal and iron sand to start the direct reduction process.

The process of making tamahagane continues for 36 to 72 hours, depending on how many people work and how much metal is to be obtained. The iron sand is added every 10 minutes, alternately with a regular amount of charcoal.

When the liquid slag is drawn out and the process is finished, the clay tub is broken and the KERA (raw iron block) is removed. The best steel with highest carbon content is near the vents of the blower system, because this is the where the reduction process is strongest. The quality of tamahagane is determined by its breaking structure, but it is important to knowe that there are different types of TAMAHAGANE needed to forge a sword blade.

Related pages
Japanese sword schools
Katana

Metals
Japanese swords

Tamahagane


Eli Herschel Wallach (December 7, 1915 – June 24, 2014) was an American movie, television, voice, and stage actor who gained fame during the late 1950s. For his performance as Silva Vacarro in Baby Doll, he won a BAFTA Award for Best Newcomer, an Honorary Academy Award, an Emmy Award, a Tony Award, and a Golden Globe Award nomination.

Early life
Wallach was born on December 7, 1915 in Red Hook, Brooklyn, New York and studied at the University of Texas at Austin, City College of New York, and at the Neighborhood Playhouse School of Theatre.

Career
Wallach's famous roles are Tuco in The Good, the Bad and the Ugly, Calvera in The Magnificent Seven, and as Mr. Freeze in Batman. Other roles includes; Don Altobello in The Godfather Part III, Cotton Weinberger in The Two Jakes, and Arthur Abbott in The Holiday. He is still an active actor even in his nineties and being in films as in Wall Street: Money Never Sleeps and in The Ghost Writer.

Personal life
Wallach was married to Anne Jackson since 1948. They had three children. His great nephew was movie critic A. O. Scott. Wallach lived in East Hampton, New York.

Wallach, during a set of a movie he was in, accidentally drank from a bottle of acid that a technician had carelessly placed next to his soda bottle. He spat it out quickly, but was angry because his vocal cords could have been damaged if he had swallowed any of it.

Death
Wallach died at his home in New York City, New York from natural causes on June 24, 2014, aged 98.

References

Other websites

Actors from New York City
American movie actors
American stage actors
American television actors
American voice actors
American radio actors
Academy Award winning actors
Tony Award winning actors
Emmy Award winning actors
BAFTA Award winners
1915 births
2014 deaths

Eli Wallach


The Seedhill Cricket Ground
is a small cricket stadium in the English town of Nelson, Lancashire. It is the home of Lancashire League cricket team Nelson Cricket Club. It is situated near to Seedhill Football Ground, the former home of North West Counties League Division One side Nelson F.C. and its home during its period in the Football League from 1921 to 1931, during which time it won the Third Division North title in 1922-23 and played in the then Second Division the following season.

The ground hosted nine of Lancashire's first-class matches (all in the County Championship) between 1925 and 1938.
In 2001 it staged its only List A game, when the Lancashire Cricket Board lost to the Yorkshire Cricket Board in the first round of the C&G Trophy.

Notes

References
 Seed Hill Ground, Nelson from CricketArchive
 Seed Hill Ground from Cricinfo

Cricket grounds in Lancashire
Buildings and structures in the Borough of Pendle
Nelson, Lancashire
Sport in the Borough of Pendle
Defunct football venues in England

Seedhill Cricket Ground


Frederick Joseph Cahill (16 July 1898 – 5 November 1980) was an Australian politician. He was a member of the New South Wales Legislative Assembly from 1941 until 1959 . He was a  member of the Labor Party (ALP).

Cahill was born in Ballina, New South Wales. He was the son of a timber feller and was  educated at Parramatta Marist High School and St Joseph's, Lochinvar. He initially worked as a journalist and moved to Young in 1923 as a reporter for the Young Daily Witness. He was the director of publicity for Newcastle City Council between 1934 and 1940. In 1934 he helped establish the New South Wales Country Rugby League. During World War 1, Cahill served with the Australian Imperial Forces and was wounded in France. In the Second World War he served with the Royal Australian Air Force until 1941. At the 1941 state election, Cahill was elected as the Labor Party member for Young defeating the sitting Country Party member Albert Reid. He remained the member for Young until he retired at the 1959 election. He did not hold ministerial or party office. Cahill was awarded an MBE and the French National Order of Merit.

References

1898 births
1980 deaths
Members of the New South Wales Legislative Assembly
Australian Labor Party members of the Parliament of New South Wales
20th-century Australian politicians

Fred Cahill