St Mary's on the Sturt is an Anglican church on South Road, St Marys, Adelaide, South Australia.

History
The original St Mary's Anglican church was built of native timbers on donated land on the Onkaparinga Road midway between the Sturt and Brownhill Creek crossings.
The first service held there was conducted on 4 July 1841 by Rev. C. B. Howard, then took alternate Sundays with James Farrell.

It has been called the third Anglican church in the colony, the first being Trinity Church in 1836. St John's church on Halifax Street, the contender for second place, however, did not hold its first service until 24 October 1841.

The church was built by voluntary labour, of stringybark (possibly Eucalyptus obliqua or Eucalyptus baxteri) timber, on land donated by John Wickham Daw (c. 1797–1872), and all materials and furnishings were paid for by voluntary contributions. The name was chosen by Daw in recognition of his home parish St Mary Abbots of Kensington. England.

This structure was always intended to be temporary, and the foundation stone for a new building was laid at the present site, some 200 metres south of the original, on 27 October 1846 by Miss Fanny Conway.
The new building, designed by Moses Garlick (c. 1784–1859), father of architect Daniel Garlick, and built of stone donated by the Ayliffe family, was completed and on 12 September 1847 the first service was conducted by Rev. James Farrell and Rev. W. J. Woodcock.
The church was consecrated by Bishop Short on 11 March 1849. That same year transepts, chancel, bell tower (later raised to a height of ), vestry and porch were added. A vicarage was completed around the same time.
St James's church, Blakiston, which was never substantially modified, was opened on 26 April 1847 and consecrated in 1848.

The old building served as a schoolroom for many years and was demolished in 1928.

The village of St Mary's on the Sturt, which became the Adelaide suburb of St Marys was named after the church.

The church, its graveyard and its gates were listed on the South Australian Heritage Register on 14 August 1986 and on the now-defunct Register of the National Estate on 15 May 1990.

Ministers
For most of the history of the church, the incumbent also had charge of Christ Church, O'Halloran Hill also St. Judes, Brighton from around 1855–1865
W. J. Woodcock c. 1847
J. Fulford 1847–1851
John W. Schoales 1851–1854
Robert Strong 1854–1856
Astley Cooper 1857–1860; left for Yankalilla district
George Dove 1861–1862; left for Walkerville, where he served for nearly 50 years, made Archdeacon
Rev. W. Dacres Williams 1863–1867; died at St Mary's on 5 March 1867
Dr Richard Francis Burton (c. 1811 – 24 February 1874) 1867
Alfred Honner 1869–1872
J. Leslie Smith 1872–1874
John Bach 1875–1879 left for Tasmania after successfully suing a parishioner for libel
William George Robinson (c. 1853 – 1 December 1879) 1879
F. T. Whitington 1880–1882, later Archdeacon of Hobart,
C. H. Young 1882–1884
William Samuel Moore 1884–1900 buried in the churchyard
T. Worthington 1900–1903 returned to England
King William Pobjoy (c. 1853 – 1 December 1931) 1903–1919
C. J. Whitfield 1919–1920
S. T. Longman 1920–1925 returned to England
S. J. Bloyd 1925–1932, left for Blakiston
Thomas Hopkins 1932–1939
Andrew G. Hay 1940–

Churchyard
The remains of several notables have been interred at St Mary's:
Capt. Ray Boucaut (died 29 January 1872)
Eustace Reveley Mitford
A newspaper reference asserts one James Penn Boucaut, presumably the son of Sir James Penn Boucaut who died in 1873, and a Miss Woodcock, perhaps Gertrude May Woodcock, (died 1878) daughter of Alfred Charles Woodcock, was the second

References

External links
Anglican parish of St Marys website

1841 establishments in Australia
Anglican churches in South Australia
South Australian Heritage Register
South Australian places listed on the defunct Register of the National Estate
Churches in Adelaide

St Mary's on the Sturt


Commensurability is a concept in the philosophy of science. Scientific theories are described as commensurable if one can compare them to find out which is more accurate. If there is  no way  one can compare them to determine which is more accurate, they are incommensurable.

Behind this is the idea that it is possible to see the world in multiple ways, and that there is not one fair method to see which way is right. Some think that scientific traditions (or paradigms) can be incommensurable: it is not really possible to say which one is right. This idea has been defended by Thomas Kuhn. He wrote: when paradigms change, the world changes with them. Paul Feyerabend was another philosopher who said that incommensurability was possible in scientific topics. He wrote that it is important to remember this, because it means that it is possible to say things that are not scientific, but also not wrong. These ideas were mainly aimed at Karl Popper and his ideas on falsification.

Two theories may not be comparable if one cannot find a way to compare them and decide which is right.

In popular culture
The concept of incommensurability is dramatized in the 2006 movie Idiocracy, when U.S. Army scientist Joe Bauers attempts to explain before a full Cabinet meeting his theory that the nation's crops would be better irrigated with water rather than with a sports drink.

References

Philosophy of science

Commensurability


Dommeldange Castle () is located in Dommeldange, the most northerly quarter of Luxembourg City in the Grand Duchy of Luxembourg. Initially a private residence built for the owner of the local iron works, it is now the Embassy of the People's Republic of China.

History

The castle appears to have been built in the 17th century by Thomas Marchant, a forge operator, as a private residence. In 1870, Charles Collart, also a forge operator, lived there. In 1973, the castle was bought by the State of Luxembourg. It now houses the residence and headquarters of the Chinese Embassy.

See also
List of castles in Luxembourg

References

Castles in Luxembourg
Buildings and structures in Luxembourg City
Luxembourg
China

Dommeldange Castle


Laughter is a 1930 American pre-Code comedy film directed by Harry d'Abbadie d'Arrast and starring Nancy Carroll, Fredric March and Frank Morgan. It was shot at the Astoria Studios in New York.

The film was nominated for an Academy Award for Best Story.

A copy has been preserved at the Library of Congress.

In 1931, a German-language version called The Men Around Lucy was released starring Liane Haid and Lien Deyers. This film is considered lost.

Plot
Peggy is a Follies dancer who forsakes her life of carefree attachments in order to meet her goal of marrying a millionaire. Alas, her elderly husband, broker C. Mortimer Gibson, is a well-meaning bore, and soon Peggy begins seeking entertainment elsewhere.

A year after their marriage, three significant events occur almost simultaneously. Peggy's former boyfriend, Paul Lockridge, a composer and pianist who is in love with her and seems to have a funny quip for every occasion, returns from Paris. She reunites with him as he offers her his companionship as a diversion from her stuffy life. Also, Ralph Le Saint, a young devil-may-care sculptor who is still in love with Peggy, plans his suicide in a mood of bitterness, and Gibson's daughter, Marjorie, returns from schooling abroad. Marjorie is soon paired with Ralph, and the romance that develops between them is paralleled by the adult affair between Peggy and Paul.

Ralph and Marjorie's escapades result in considerable trouble for Mortimer, while Paul implores Peggy to go to Paris with him, declaring "You are rich--dirty rich. You are dying. You need laughter to make you clean," but she refuses. When Marjorie plans to elope with Ralph, Peggy exposes the sculptor as a fortune hunter; and, dejected, he commits suicide. As a result, Peggy confesses her unhappiness to Gibson, then joins Paul and laughter in Paris.

Reception
In 1998, Jonathan Rosenbaum of the Chicago Reader included the film in his unranked list of the best American films not included on the AFI Top 100.

References

External links

1930 films
1930 comedy films
American comedy films
1930s English-language films
Films with screenplays by Herman J. Mankiewicz
Paramount Pictures films
American black-and-white films
Films shot at Astoria Studios
Films directed by Harry d'Abbadie d'Arrast
1930s American films

Laughter (1930 film)


Cub (original title: Welp) is a 2014 Belgian horror film and the feature film directorial debut of Jonas Govaerts. Funds for Cub were partially raised through an IndieGoGo campaign and the film had its world premiere on 10 September 2014 at the Toronto International Film Festival. Filming took place during 2013 and stars Maurice Luijten as Sam, a young boy who goes on a camping trip with his fellow Cub Scouts, only to fall afoul of a bloodthirsty poacher.

Story
Sam (Maurice Luijten) is a twelve-year-old Cub Scout who is frequently bullied by fellow Scouts and pack leader Peter (Stef Aerts). Fellow pack leader Kris (Titus De Voodgt) and chef Jasmijn (Evelien Bosmans) try to keep Peter and the others from dominating Sam, but are not always successful. When some of the pack's bullying causes them to lose their way in the mountains during a trip, Peter and Kris try to keep things light by telling the campers a campfire story about Kai, a werewolf thought to be living in that very forest. Soon after, Sam runs into a feral boy (Gill Eeckelaert) that he believes to be the actual Kai. He tries to tell the others, but is ridiculed for actually believing in the stories and even Kris chalks it up to Sam's overactive imagination. However what they are unaware of is that Kai is the son of a nameless poacher (Jan Hammenecker), who has liberally seeded the forest with various elaborate and deadly traps. Rather than caring that the campers would get caught in the traps, the father and son delight in the idea and soon the campers find themselves running for their lives.

Cast
Stef Aerts as Peter
Evelien Bosmans as Jasmijn
Titus De Voogdt as Kris
Maurice Luijten as Sam
Gill Eeckelaert as Kai
Jan Hammenecker as Stroper/Poacher

Reception
Critical reception for Cub has been mixed, and the Belgian motion picture rating board received some criticism for giving the movie an "all ages" rating. The Scouts en Gidsen Vlaanderen, the Flemish Boy Scouts organization, issued a statement where they condemned the "all ages" rating and cautioned parents to not allow their children to view the film. The film's producers also expressed surprise at the rating and stated that they would not recommend Cub be viewed by anyone under the age of 14.

English language reviewers have written predominantly positive reviews for Cub, and Dread Central and Bloody Disgusting both praised it for its characters while stating that the film did have some weaknesses in its later half. Variety gave a mostly positive review, commenting that they would have liked to have seen more character building for the characters of the poacher, his son, and Sam but that Karakatsanis' overall filming technique was impressive.

Awards
Best Director at the Sitges Film Festival (2014, won)

References

External links

Belgian horror films
2010s Dutch-language films
Films set in Belgium
Belgian slasher films
Indiegogo-funded films
Scouting in popular culture

Cub (film)


Odes 1.23, also known as Ad Chloen ('To Chloe'), or by its incipit, Albi, ne doleas plus nimio memor, is one of the Odes of Horace. The poem is written in the fourth Asclepiadean metre, and is of uncertain date; not after 23 BC.

Summary

You shun me like a timid fawn (hinnuleus) that seeks its dam on the trackless mountain and trembles at the rustling bramble or the darting lizard (1–8). I am not a tiger or lion going to eat you. I'll do you no harm. Cease to cling to your mother. You are ripe for a mate (9–12).

Analysis
Clifford Herschel Moore (1902) thinks this poem is a study from a Greek original; possibly from Anacreon's verses, of which we have a fragment (no. 51), which includes the same comparison of the girl to a fawn: "Gently as a new-born fawn unweaned, which quivers from terror, when left in the wood by its antlered mother."

Reception
Cf. Dobson's roundel: "You shun me, Chloe, wild and shy, / As some stray fawn that seeks its mother". For difference between 1st century and 19th century feeling, cf. Landor's "Gracefully shy is yon Gazelle". Spenser, F. Q. 3.7.1: "Like as an hind forth singled from the herd, / That hath escaped from a ravenous beast, / Yet flies away of her own feet afeard; / And every leaf, that shaketh with the least / Murmur of wind, her terror hath increased."

References

Bibliography

Attribution:

Poetry by Horace
Love poems
Poems about animals
Deer and moose in popular culture

Odes 1.23


Tennessee Records was a mid-20th century United States based record label, headquartered in Nashville, Tennessee.

Tennessee mostly released country music, but the label's biggest hit was "Down Yonder", a ragtime piano performance by Del Wood in 1950. Other Tennessee Records performers included Edgar Clayton, Helen Carter, Roy Hall, Snooky Lanson and Mississippi Slim.

Tennessee Records (along with the Republic label) was owned by Alvin
and Reynolds Bubis. Legendary songwriter and producer Ted Jarrett was head of A&R. The labels were out of business by the mid-1950s when the three men went into partnership to start the Calvert-Champion-Cherokee group of labels. Those labels were defunct by 1960 and the Bubis Brothers got out of the music business. Ted Jarrett continued on with his Valdot, Poncello, Ref-O-Ree and Tee-Jaye labels, remaining active in the music business until his death in 2009. The Tennessee and Republic catalogs are now owned jointly by Bluesland Productions and SnailWorx/S. Cargo Productions.

See also
 List of record labels

External links
Tennessee Records on Internet Archive's Great 78 Project
 Tennessee - 78 RPM - Label Discography

Defunct record labels of the United States
American country music record labels

Tennessee Records


Marvel: Future Fight is a 2015 superhero-themed mobile video game developed by Netmarble Games.

Gameplay
Players assemble a team of iconic Marvel heroes and villains to engage in thrilling battles. The gameplay revolves around completing missions and quests across various storylines, battling against waves of enemies in real-time combat. Players can control their characters' movements and unleash powerful attacks using touch controls. The game features a diverse roster of over 200 Marvel characters, each with unique abilities and skills that can be upgraded and customized. Additionally, players can join alliances, participate in PvP battles, and compete in special events to earn rewards and strengthen their team.

Plot
The collapse of several dimensions prompts investigations from Thor, Black Bolt, and Black Panther. After battling alternative versions of themselves, they inform Nick Fury. Meanwhile, Captain America, Black Widow, and Iron Man defend Stark Tower from an attack by Ultron. In the attack, it is revealed that Stark Industries employee Jemma Simmons is kidnapped by Advanced Idea Mechanics (AIM). After she is saved, the heroes encounter alternative versions of many heroes and villains on a search for MODOK. They conclude A.I.M. has built a device to send people between dimensions.

MODOK is defeated and reveals he was researching Ultron by summoning his dimensional alternates before Red Skull stole the dimension transporter. After this event, SHIELD agents begin to be attacked by thugs with advanced weaponry. The group of heroes fight them off and chase after Red Skull and Hydra, who is defeated alongside Ultron. An interdimensional transference device opens between time, and the future versions of themselves appear. They too are defeated, and a dimensional split occurs. After that heroes defeat Inhumans and Loki and proceed on to meet Dr. Simmons.

Doctor Strange explains that Dr. Simmons and he have homed in on an energy signal similar to the convergence device lost in the battle against Ultron. The team believes that it is the Ultimates working to solve the problem of the dimensions collapsing. When they arrive at the Ultimates HQ - The Triskellion, they are confronted by the defense systems drones and a skeptical Black Panther who believes they are from another dimension. After overpowering Black Panther and assuring him of their identity they proceed on to meet Blue Marvel who is working on the device to seal the dimension rifts. Suddenly they realize that the Triskelion has gone in full lockdown. Anti-Man and another dangerous inmate, detained by the Ultimates had escaped containment. At this point the team is curious to know who the other inmate is, demanding answers they find it is Thanos, the Mad Titan. With the help of Jemma Simmons, the team comes up with a means to track Thanos's chronal signature.

With the addition of Carol Danvers, heroes pursue Thanos, but they are greeted by Anti-Man. Hearing Thanos's false promises to Anti-Man for a better future, Tony and Adam Brashear are able to piece together Thanos' true intentions. In order to please Death, he intends to use the convergence device to open a rift to the future and destroy reality using the unstable Anti-Man. The heroes are able to defeat and reason with Anti-Man, bringing him back under control. They then proceed to stop Thanos from opening the rift. A battle ensues and as they are about to beat Thanos, he manages to slip through the rift into an unknown point in the future. The team is forced to follow to stop Thanos from destroying the future.

Release

Marvel: Future Fight was released on April 30, 2015, for iOS and Android. It was developed by Netmarble Games, creators of titles such as Star Wars: Force Arena, Seven Knights, Raven (Evilbane in the U.S.) and Everybody's Marble. Marvel worked closely with Netmarble to establish the various character backgrounds, appearances and traits. The storyline for the game was penned by best-selling Marvel comics writer Peter David.

Marvel: Future Fight surpassed 50 million downloads two years after it first launched. 20 million of these downloads came from Asia, 10 million from North America and Europe, 6 million from South America and 2.9 million in the Middle East.

As of May 2018, the game had over 70million players.

References

External links

 Marvel: Future Fight on Marvel Comics

2015 video games
Android (operating system) games
Free online games
IOS games
Multiplayer and single-player video games
Role-playing video games
Superhero crossover video games
Video games based on Marvel Comics
Video games about parallel universes
Netmarble games
Video games developed in South Korea
Video games set in New York City

Marvel: Future Fight


Louis III (863/65 – 5 August 882) was King of West Francia (a precursor to the Kingdom of France) from 879 until his death in 882. He succeeded his father Louis the Stammerer, and ruled over West Francia in tandem with his brother Carloman II.  Louis controlled the northern part of West Francia (Neustria), including the capital of Paris, while Carloman controlled the southern portion (Aquitania).  Louis ruled from March 880 to 5 August 882, when he died and left the rest of West Francia to his brother. His short reign was profoundly influenced by his military success, including his defeating Vikings in August 881.

Early life
Louis was the eldest son of Louis the Stammerer and his first wife, Ansgarde of Burgundy, He was born while his father was King of Aquitaine and his grandfather Charles the Bald was ruling West Francia. Some doubts were raised about his legitimacy, mostly due to the fact that his parents had married secretly and Ansgarde was later repudiated at Charles' insistence.

When Charles died in 877, followed by Louis the Stammerer on 10 April 879, some Frankish nobles advocated electing Louis as the sole king, but another party favoured each brother ruling a separate part of the kingdom. In September 879, Louis and his brother, Carloman, were crowned at Ferrières Abbey.

Military success
On 2 February 880, Louis was defeated by the Viking Great Heathen Army at the Battle of Lüneburg Heath. In March 880 at Amiens, Louis and his brother divided their father's kingdom, with Louis receiving the northern and western part, called Neustria. The other brother received the southern and eastern part, and Duke Boso, one of Charles the Bald's most trusted lieutenants, renounced his allegiance to both brothers and was elected King of Provence.

In the summer of 880, Louis and Carloman marched against Boso and captured Mâcon and the northern part of Provence. They then proceeded to unite their forces with those of their cousin, Charles the Fat, then ruling East Francia and Kingdom of Italy, and unsuccessfully besieged Vienne from August to November 880.

In 881, Louis III and Carloman achieved a victory against the Vikings, whose invasions had been ongoing since his grandfather's reign, at the Battle of Saucourt-en-Vimeu. The king and his victory were so acclaimed that within a year of the battle, an anonymous poet celebrated it and the king for both his prowess and piety in a short poem Ludwigslied, composed in Old High German.

Death and legacy
Louis III, at the time of his great successes, was very young, at a mere 16 to 17 years of age. His colourful victories against the Vikings entertained the public, and he was loved by most of the Francian people. In Neustria, he was widely celebrated, and he was the most popular person in the realm.

Louis III died on 5 August 882, aged around 17, at Saint-Denis in the centre of his realm. He was chasing after a girl, who was retreating to her father's house, when he hit his head on the lintel of a low door and later died. Because Louis III had no children, his brother Carloman II became the sole king of West Francia, and the young king was buried in the royal mausoleum of the Basilica of Saint-Denis.

See also
 Charles VIII of France, another French king who died after hitting his head on a lintel.
Carloman II, the successor of Louis III.

References

Sources

Green, Dennis H. "The Ludwigslied and the Battle of Saucourt", in Judith Jesch (ed.), The Scandinavians from the Vendel Period to the Tenth Century (Oxford: Boydell Press, 2002), 281–302.
Fouracre, Paul. "The Context of the Old High German Ludwigslied", Medium Aevum, 46 (1985), 87–103.
MacLean, Simon. Kingship and Politics in the Late Ninth Century: Charles the Fat and the end of the Carolingian Empire. Cambridge: Cambridge University Press, 2003.

9th-century kings of West Francia
Frankish warriors
860s births
882 deaths

Year of birth uncertain
Deaths by horse-riding accident in France
Burials at the Basilica of Saint-Denis
Carolingian dynasty

Louis III of France


Los exitosos Pérez ("The Successful Perezes") is the adaptation for Mexico of the Argentine telenovela Los Exitosos Pells. It's a co-production of Endemol and Telefe. Mexican producer José Alberto Castro acts as it executive producer. With a mixed cast of mostly Mexican and Argentinian actors, and a few from other nationalities, it was filmed on location in Argentina, in exactly the same sets used in the original Argentinian counterpart. It was the last telenovela starred by genre star Verónica Castro.

Synopsis
Martín Pérez (Jaime Camil), an arrogant and manipulative man, is the most popular news anchorman of the country. He has been working for several years in the "Global News" channel, the number 1 news network, and is regarded as the most valuable asset of the channel. He is married with his co-anchor Sol (Ludwika Paleta), and although their marriage is just a publicity stunt, there is a general perception that it became an important factor of their popularity. As a couple they are known as "the successful Perez". Roberta Santos (Verónica Castro), owner of the competing "RS News" network, learns that Martin Perez will soon end his contract with Global News, and secretly makes a job offer to Martin, thinking that bringing him to her channel will tip the ratings in her favor.

Martin Perez tells his intentions to move to the competing network to the owner of Global News, Franco Arana (Rogelio Guerra), who in reaction engages in a heated dispute with the journalist. In a moment of rage, Franco pushes Martin, accidentally knocking him unconscious and leaving him in state of coma. Scared, worried, and believing that he killed the most famous man of the country, he leaves care of the situation to his right hand, Amanda Olivera (Paty Díaz) and leaves his office.

Coincidentally, during transit to his home, his car runs over Gonzalo Gonzalez (Jaime Camil), an actor and drama teacher who is physically almost identical to Martin, and Franco asks Gonzalo to supplant Martin in exchange of a large sum of money. Gonzalo accepts, pressed for a second mortgage, and after signing a contract that neither he nor his manager had read, he begins to replace Perez.

Gonzalo, with his new life as Martin discovers that the Perezes are a couple only in front of the cameras and in public appearances, but in private they have separated lives. Martin is gay and his partner is Tomas Arana (José Ron), son of the owner of the channel, while Sol (Ludwika Paleta) is having an affair with Diego Planes (Marco Méndez), a chronicler of Global News.
Meanwhile, Roberta Santos puzzled by Martin's unexpected change of heart sets her mind to uncovering the secrets that the Perezes are hiding, with the help of her personal assistant Joséfo (Gastón Ricaud),and her ultimate goal of bringing Martin to her network.

Gonzalo has to comply with his contract and avoid blowing up his cover as Martin at all extents even before Martin's gay partner Tomas. In the meantime, Gonzalo falls in love with Sol, but finds it impossible to approach her, because she has many resentments against Martin. Over time he has to struggle with his feelings toward Sol while maintaining appearances and covering himself from the suspicions of others, especially Roberta Santos', until the day that the real Martin Perez would wake out of the coma.

Cast
 Verónica Castro - Roberta Santos
 Rogelio Guerra - Franco Arana
 Ludwika Paleta - Soledad "Sol" Duarte de Pérez
 Jaime Camil - Martín Pérez / Gonzalo González
 José Ron - Tomás Arana
 Paty Díaz - Amanda Olivera
 Marco Méndez - Diego Planes
 Macaria - Rebeca Ramos
 Ana Martín - Renata Manzilla de la Cruz
 Susana González - Alessandra Rinaldi
 Víctor Laplace - Alfonso Duarte
 Tomy Dunster - Gonzalo Amor
 Mike Amigorena - Adrián Bravo
 África Zavala - Liliana Cortéz
 Dalilah Polanco - Daniela
 Pablo Valentín - Sergio Méndez
 Gastón Ricaud - Joséfo
 Mauricio Mejía - Charlie Díaz
 Iván Espeche - Ricardo
 David Chocarro - Nacho
 Santiago Ríos - Álvaro Chávez
 Gisela Van Lacke - Lola

References

Televisa telenovelas
2009 telenovelas
2009 Mexican television series debuts
2010 Mexican television series endings
Mexican LGBT-related television shows
Mexican television series based on Argentine television series
Spanish-language telenovelas
2000s LGBT-related drama television series
2010s LGBT-related drama television series

Los exitosos Pérez


Jowelle De Souza (born May 12, 1974) is a hairdresser and community organizer active in San Fernando, Trinidad and Tobago. She is well known for being an activist for gay and transgender rights and animal welfare. She is a successful business owner known for being the first transgender woman to sue the government for harassment.  Jowelle de Souza has since become involved in national politics, championing the revitalization of San Fernando. In February 2022, she was sworn in as the country's first openly trans Senator.

Legal biography
Police arrested De Souza and charged her with assault in March 1997 after she pushed a photographer. She said the photographer knew all about her past and was taking pictures of her without permission. De Souza said that after officer George took her to the police station, he and other male officers taunted her for hours about her sexuality. The men insisted on searching her, even though her identification and appearance indicated she was a woman. They eventually relented but insisted on having a female officer strip-search De Souza. "There was no legal right to search," she said. "I pushed (the photographer). I didn't assault him with a deadly weapon."

De Souza sought legal counsel, and hired prominent lawyers Lynette Maharaj. De Souza won the case and gave her awarded money to charity.

Political career

Early in 2015, Jowelle De Souza became a prominent part of the movement to establish a stronger independent presence in Trinidad and Tobago's political system.  In early 2015, she launched her campaign to represent San Fernando West as an independent Member of Parliament.  When asked by the Trinidad Express about some of her major issues of her platform, she responded, "I believe in equal opportunities for all: the disabled, the senior citizens, single mother, the impoverished."  When asked why she would run as an Independent De Souza answered, "I want to effectively represent the people without any biases or scenarios where others who may not be on the same page are pulling strings or controlling actions. You see, many people vote party and not person but the reality is you must vote for persons who can impartially assure the well-being of the country."  During her campaign, she has also publicly expressed concern for access to labor markets in the Greater San Fernando area and revitalization of its infrastructure and waterfront.  Despite the large swell of support De Souza has received in the San Fernando community, her political aspirations have been met with vocal disdain from the religious community in Trinidad and Tobago, whose objections focus primarily on her gender identity.

On February 15, 2022, De Souza became Trinidad and Tobago's first openly trans Senator. She was sworn to fill in for Senator Jayanti Lutchmedial.

Personal life
In 1993, at age 19 she underwent gender confirmation or sex reassignment surgery in Trinidad, the first person in Trinidad to have this surgery.  De Souza is an activist for animal rights, and encourages people to care for animals. De Souza was awarded the bronze Hummingbird Medal in 2014 for her work ensuring animal welfare.  Additionally, she has been involved in professional development workshops on updating techniques in the hair care industry in Trinidad.

References

1974 births
Living people
Transgender women politicians
Recipients of the Hummingbird Medal
Members of the Senate (Trinidad and Tobago)
21st-century Trinidad and Tobago women politicians
21st-century Trinidad and Tobago LGBT people
21st-century Trinidad and Tobago people
Trinidad and Tobago LGBT rights activists
Trinidad and Tobago people of Portuguese descent
Trinidad and Tobago transgender people

Jowelle de Souza


Dr. Cyril Andrew Ponnamperuma (Sinhala: ආචාර්ය සිරිල් ඇන්ඩෘ පොන්නම්පෙරුම) (16 October 1923 – 20 December 1994) was a Sri Lankan scientist in the fields of chemical evolution and the origin of life.

Biography
Cyril Ponnamperuma was born in Sri Lanka on 16 October 1923. After completing his early education with flying colours at St. Aloysius' College, Galle and subsequently at St. Joseph's College, Colombo, Ponnamperuma proceeded to India and in 1948 obtained a Bachelor of Arts degree in philosophy from the University of Madras.

Later he moved to the United Kingdom and enrolled at Birkbeck, University of London, where he obtained a Bachelor of Science degree in chemistry in 1959.
At the same time he had the opportunity to work with Professor J. D. Bernal, a pioneering scientist engaged in research on the origin of life. Afterwards he proceeded to the United States, where in 1962 he received a doctorate in chemistry from the University of California, Berkeley under the direction of the Nobel Laureate Melvin Calvin.

In 1962, he was honoured with a National Academy of Sciences resident associateship with NASA at Ames Research Center. In 1963 he joined NASA's Exobiology Division and take over the helm of the Chemical Evolution Division. He was selected as the principal investigator for analysis of lunar soil brought to Earth by Project Apollo.

Thereafter, he was closely involved with NASA in the Viking and Voyager programmes and was offered membership in both the Space Science Advisory Council and Life Sciences Advisory Council of NASA.

According to Arthur C. Clarke, "No other scientist of Sri Lankan origin was internationally known and respected as he was". He produced over 400 scientific publications and held a number of prestigious academic posts during his rather short lifespan.

His studies focused mainly towards the origin of life, but only after he was selected for the analysis of the Moon dust in the 'Apollo Programme' his name and photo appeared on the cover-pages of world class newspapers and magazines such as Time and Newsweek.

The "Third World Academy of Sciences" (TWAS) based in Trieste, Italy, elected him as its vice president in 1989 and appointed him chairman of the International Network of Science Centres in selected developing Countries. He contributed immensely to the Third World Foundation of North America as its chairman.

He was the first director of the "Arthur C. Clarke Centre for Modern Technologies" in Sri Lanka, and in 1984 was appointed science advisor to the president of Sri Lanka by the late president J. R. Jayewardene. He was so fortunate, indeed, as to be associated with many universities in the US and other countries. He served as a distinguished lecturer at the Soviet Academy of Sciences and the Chinese Academy of Sciences for a considerable period.

The Atomic Energy Commission of India offered him an assignment as a visiting professor in 1967. UNESCO appointed him for a period covering 1970–1971 as its director of the programme for the development of basic research in Sri Lanka. After that, in his endeavour to widen the horizon of knowledge of the fellow human beings the distinguished academic apex he selected was University of Maryland in the US. Since 1971 he provided his service to that university as a professor of chemistry as well as the director of the laboratory of chemical evolution.

His contribution to the development of international programmes of that university was acknowledged in deserved manner in January 1991, the first distinguished International Service Award was presented to him by that university. Among the many awards that Professor Ponnamperuma received one can mention the "Alexander Oparin Gold Medal" for the 'Best sustained Programme' on the origin of life awarded by the International Society for the study of the origin of life in 1980. In recognition of his service to Sri Lanka, he was conferred, "The Honour of Vidya Jyothy" at the 1990 National Day investiture ceremony by President Ranasinghe Premadasa.

The presence of this great son of Sri Lanka, was so conspicuous all over the world as to be nominated to the prestigious Pontical Academy of Sciences, a body represented by world-renowned scientists who excelled in the spheres of mathematical and experimental sciences.

The Academy of Creative Endeavors, Moscow, awarded him the Harold Urey Prize and the Academy Medal for his outstanding contribution to the study of the origin of life.

His participation in the Sri Lankan scientific arena began in 1984, when he became the science adviser to the late Sri Lanka President J. R. Jayewardena. Within a matter of months he was appointed Director of the Institute of Fundamental Studies. His country was fortunate to have a son so highly recognized in the world and so dedicated to many public causes. His organisational abilities and communication skills have been widely acknowledged.

He died soon after suffering a heart attack at the Laboratory of Chemical Evolution, University of Maryland USA.

The remains of Professor Cyril Ponnamperuma were flown to Colombo on 9 January 1995.

References

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1923 births
1994 deaths
NASA people
Alumni of Birkbeck, University of London
Sinhalese people
Sri Lankan chemists
Alumni of St. Aloysius' College, Galle
People from Galle
Ames Research Center
Vidya Jyothi

Cyril Ponnamperuma


Guido Cavalcanti (between 1250 and 1259 – August 1300) was an Italian poet. He was also a friend and intellectual influence on Dante Alighieri.

Historical background

Cavalcanti was born in Florence at a time when the comune was beginning its economic, political, intellectual and artistic ascendancy as one of the leading cities of the Renaissance. The disunited Italian peninsula was dominated by a political particularism that pitted city-states against one another, often with this factionalism contributing to the fractious and sometimes violent political environments of each comune. The domination of medieval religious interpretations of reality, morality and society was challenged by the rise of a new urban culture across Europe that gradually supplanted rural, local, ecclesiastical and feudal ways of thinking. There was an accompanying return to study, and to interpretation and emulation of the classics, known as a revival of antiquity. New secular and humanistic views laid the foundations for modern life in Western Civilization. As Jacob Burckhardt, Swiss historian and author of The Civilization of the Renaissance in Italy wrote, "It was not the revival of antiquity alone, but its union with the genius of the Italian people which achieved the conquest of the western world." In sum, Cavalcanti lived during and helped shape this time of great innovation that was spurred on by a desire to explore, create and experiment with new things.

The politics of Florence

Cavalcanti was the son of Cavalcante de' Cavalcanti, a Guelph whom Dante condemns to torment in the sixth circle of his Inferno, where the heretics are punished. Unlike Dante, Guido was an atheist. As Giovanni Boccaccio (Decameron, VI, 9) wrote during the generation after Cavalcanti's death, "Si diceva tralla gente volgare che queste sue speculazioni erano solo in cercare se trovar si potesse che Iddio non-fosse" (People commonly said his speculations were only in trying to find that God did not exist).

During his lifetime, Florence was politically torn by the struggle between the Guelphs and Ghibellines, factions supporting, respectively, the Pope and the Holy Roman Emperor in central and northern Italy during the 12th and 13th centuries. Although the struggle for power between the Papacy and the Holy Roman Empire had originally arisen with the Investiture Conflict of the 11th century, it was subsequently fed by a desire of either the Papacy or Holy Roman Emperor either to share in or to control the economic boom that was taking place in the leading cities of northern Italy during this time.

The division between Guelphs and Ghibellines was especially important in Florence, although the two sides frequently rebelled against each other and took power in many of the other northern Italian cities as well. Essentially the two sides were now fighting either against German influence (in the case of the Guelphs), or against the temporal power of the Pope (in the case of the Ghibellines). In Florence and elsewhere the Guelphs usually included merchants and burghers, while the Ghibellines tended to be noblemen.

Towards the end of the 13th century, the Guelphs had secured their control of Florence through their multiple victories over the Ghibellines, including the battle at Benevento in 1266, and at Campaldino and Caprona in 1289. In 1267, as part of a political reconciliation, Guido married Beatrice, the daughter of Ghibelline party leader Farinata degli Uberti. Their marriage union proved unsuccessful, as the feuds between Guelph and Ghibelline families persisted.

By 1293, a rebellion of middle-class Florentine merchants toppled both sides of noble families. Nobles were then forbidden to claim public office, until 1295, when they were offered eligibility to join Florence's guilds. As a member of the Cavalcanti family, Guido had claimed ancestry dating back to the German barons of Charlemagne's court. He refused to occupy a position as a merchant, as he felt it offensive to his station and his heritage.

By this time, the Guelphs began to fight among themselves. Guido Cavalcanti allied himself to the Cerchi, and outwardly expressed his disdain for his rival, Corso Donati. In 1300, Florence was divided into the Black Guelphs and the White Guelphs. The Blacks continued to support the Papacy, while the Whites were opposed to Papal influence.

In June 1300, the Florentines had become tired of brawling between the Ghibellines and the Guelphs. A council of judges, Dante Alighieri amongst them, exiled the leaders of both factions and their accomplices, including Cavalcanti. He was sent to Sarzana, where, after only a few months he decided to try to return to Florence. Guido Cavalcanti died of fever (probably malaria) in August of the same year on his journey home.

Guido's marriage to Beatrice degli Uberti should not be seen in the context of modern relationships where people marry each other for love, but rather in the context of his own age, when marriage was often motivated by business and/or political interests. As such, Guido's poetry, which dwells on love, should be seen as a philosophical exploration of love and not as that of a husband bound into and seeking satisfaction outside a marriage made for political purposes.

Dolce stil novo
Cavalcanti was a part of the Tuscan poetic movement known as the Dolce stil novo (Sweet New Style), whose members are referred to by their Tuscan name, the stilnovisti. The formative influences on the stilnovisti came from two main sources.

First, there was the poetry of the troubadour and trobairitz, who began the tradition of courtly love, known by its then contemporary term, as fin'amor in the ducal and princely courts of Aquitaine, Provence, Champagne and ducal Burgundy, at the end of the eleventh century. Based on the Occitan language of south France, this courtly poetry, which was a part of Occitan literature, spread throughout all European cultivated circles in the 12th and 13th centuries. (Many of its poets can be found here in this list of troubadours and trobairitz.)

Second, there was the poetry of the Sicilian School, which was a small community of Sicilian, and to a lesser extent, mainland Italian poets gathered around Frederick II, most of them belonging to his court, the Magna Curia. Headed by Giacomo da Lentini, they produced more than 300 poems of courtly love between 1230 and 1266, the experiment being continued after Frederick's death by his son, Manfredi. This school included Enzio, king of Sardinia, Pier delle Vigne, Inghilfredi, Stefano Protonotaro, Guido and Odo delle Colonne, Rinaldo d'Aquino, Giacomino Pugliese, Arrigo Testa, Mazzeo Ricco, Perceval Doria, and Frederick II himself.

The poets of Stilnovismo included the early forerunner Guido Guinizelli, Guido Cavalcanti and Dante, plus Cino da Pistoia, Lapo Gianni, Gianni Alfani, and Dino Frescobaldi. Far from being a derivative school of poetry that mimicked its French and Sicilian poetic ancestors, Stilnovismo brought an originality to and completely transformed the poetry of courtly love in that: 1) It was an urban poetry of the Tuscan commune, not of an aristocratic court. 2) It explored the philosophical, spiritual, psychological and social effects of love. 3) It championed the Tuscan vernacular. 4) It did all this while expressing the heart and mind of the poet in original verse that utilized the sonnet, ballata and canzone forms of poetry. Cavalcanti was a central part of this accomplishment.

Early poetry

In one of his earlier poems, Guido transforms the imagery of fin'amor, with its beautiful ladies and armed knights, into an idea that love has a philosophical component related to human intelligence and moral purity by equating it with a wise heart. He then proceeds to create a series of images of nature's serene beauty, which he then explains are all transcended by his lady's beauty, grace and noble heart; i.e., her emotions that are pure, based on wisdom, something he is incapable of.

In this simple, but beautiful sonnet, we have, then, both something emblematic of the best poetry of the Dolce stil novo, while at the same an example of Cavalcanti's poetic idiom that is at once powerful, persuasive and, here, mellifluous.

The crowning achievement of Cavalcanti's poetic youth is his canzone Io non pensava che lo cor giammai in which he embodies his philosophical thoughts in a vernacular masterpiece. An analysis of two passages from this fifty-six-line poem reveals his core ideas on love.

Influenced by Averroës, the twelfth-century Islamic philosopher who commented on Aristotle, Cavalcanti saw humans with three basic capacities: the vegetative, which humans held in common with plants; the sensitive, which man shared with animals; and, the intellectual, which distinguished humans from the two lower forms. Averroës maintained that the proper goal of humanity was the cultivation of the intellect according to reason. Further, Averroës maintained that the intellect was part of a universal consciousness that came into the body at birth and returned to the universal consciousness after death. As such, it meant there was no afterlife, and, as well, the thing that gives an individual his or her identity was not the intellect, but the sensitive faculty, the appetites and desires of the body. Hence, the goal for Averroës and Cavalcanti was the perfection of the sensitive capacity through reason in order to achieve a balance between the body's physical desires and the intellect. This balance was considered the buon perfetto, the "good perfection." Guido thought this balance could not be achieved, which is why he speaks of "tormented laments" that makes his soul cry, that make his eyes dead, so he can feel "neither peace nor even rest in the place where I found love and my Lady."

This passage explains the conflict between the sensitive and intellectual, as Guido's heart shivers as his "our lowly minds couldn't sustain what our intellects saw." All this is driven by the lofty beauty of his lady.

Poetic maturity

Cavalcanti is best remembered for belonging to that small but influential group of Tuscan poets that started what is now known as Dolce Stil Novo, to which he contributed the following (note: translations provided in parentheses do not match the titles by which are widely known in English manuals but are meant to be a more literal rendering of the Italian originals): "Rosa fresca novella" (New, Fresh Rose), "Avete in vo' li fior e la verdura" (You Are Flowers in the Meadow), "Biltà di donna" (A Woman's Beauty), Chi è questa che vèn (Who's This Lady That Comes My Way), "Li mie' foll'occhi" (My Crazy Eyes), "L'anima Mia" (My Soul), "Guido Orlandi", "Da più a uno" (From Many to One), "In un boschetto" (In A Grove), "Per ch'io no spero" (Because I Do Not Hope), "Voi che per gli occhi mi passaste il core" (see below), and "Donna me prega" (A Lady Asks Me), a masterpiece of lyric verse and a small treatise on his philosophy of love. Starting from the model provided by the  French troubadours, they took Italian poetry a step further and inaugurated the volgare illustre, that higher standard of Italian language that survives almost unchanged to the present day. The founder of this school, Guido Guinizzelli, a law professor at Bologna's University wrote the first poem of this kind, a poem whose importance does not so much lie in its literary merits but in outlining what would be the fundamentals of the Stil Novo program, which was further perfected by a second generation of poets, including Dante, Cino da Pistoia, Lapo Gianni, and Guido himself. As Dante wrote in his De Vulgari Eloquentia, I, XIII, 4:

"Sed quanquam fere omne Tusci in suo turpiloquio sint obtusi, nunnullos vulgaris excellentiam cognovisse sentimus, scilicit Guidonem, Lapum, et unum alium, Florentinos et Cynum Pistoriensem (...) ("Although most Tuscans are overwhelmed by their bad language, we judge that some have known the excellence of the vernacular, namely Guido, Lapo and another [i.e: Dante himself], all from Florence, and Cino da Pistoia".

Scholars have commented on the Dolce stil novo with Dante as probably the most spiritual and platonic in his portrayal of Beatrice (Vita Nuova), but Cino da Pistoia is able to write poetry in which "there is a remarkable psychological interest in love, a more tangible presence of the woman, who loses the abstract aura of Guinizzelli and Guido's verse" (Giudice-Bruni), and Guido Cavalcanti interprets love as a source of torment and despair in the surrendering of self to the beloved. An example in kind, and one of Guido's most widely read lyrics is a sonnet entitled Voi che per gli occhi mi passaste il core (Transl. You, Whose Look Pierced through My Heart), dedicated, to his beloved Monna (lady) Vanna:

Although there are many poems that exemplify Cavalcanti's poetic maturity, Certe mie rime a te mandar vogliendo is unparalleled in its originality, for here Guido adapts his medium of love to speak of his inner psychological state and the uncertainty of Dante's reaction in this example of occasional poetry. This is creativity at its highest, for Cavalcanti transforms the medium into a unique response to a real-world problem.

Guido tells Dante how desire, how "wanting" has ruined his heart. He dramatically reinforces his condition through the appearance of Love—the medieval and Renaissance view of Love as Cupid matured into a grown man—in the guise of death, as if Guido is indeed on the verge of leaving this world. Love then warns him not to send this poem to Dante, who is not ready to deal with Guido's condition, given the depth of friendship Dante feels for him. Love also acknowledges that what he makes humanity suffer is "unjust,"  In sum, because of the love he has felt in life, Guido is ruined, and because of the depth of friendship Dante holds for him, Guido fears he may be ruined as well, seeing him in such a state.

Poetic masterpiece "Donna me prega"

Through his study of Averroës, and perhaps due to his native temperament, Cavalcanti held the pessimistic view that humans were limited in the sort of ultimate attainment they could achieve. The intellect could never be brought into harmony based on reason with bodily desires.

The crowning achievement of Guido's poetic career is his masterpiece, the philosophical canzone Donna me prega (A lady asks me). It is a full-fledged treatise of his personal thoughts and beliefs on love. Through it, he transforms all that came before him and influenced him:  courtly love, the troubadours, the Sicilian School and his peers of the Dolce stil novo.

Guido says he was prompted to write it by his mistress, according to a formula very widespread in the tradition of love poetry. As such, Guido's doctrine draws on the greatest medieval poets or scholars, such as Chrétien de Troyes and Brunetto Latini. There are several hints to the Roman de la Rose, then considered the "Bible" of courtly love. For example, in the famous line "a man who does not experience it [love] cannot picture it", a common axiom variously quoted from the troubadours to Dante's Vita Nuova. "Donna me prega", a remarkable anatomy of love, is divided into five stanzas of fourteen variously rhymed lines of eleven syllables each. The subject is divided into eight chapters dealing with

Where love is located in the human body
What causes it
What his faculties (virtues) are
His power (what it can do or cause)
His essence (what it is made of)
His motions (or alterations it causes in the human body or mind)
What makes us call it love
The possibility of probing its effects using our sight.

In short, the sensitive, like the rational soul is located in the brain, but does not produce love feelings unless the eyes meet those of a particular woman who has an exclusive affinity to him. This complies with Aristotle's theory of cause and effect, whereby no effect can proceed from an object if the object has not the potential to accomplish it. When a woman's look meets the eyes of a man, the potential for love grows into passion, a spirit or fluid that possesses all his faculties. Such a passion needs more and more love to satisfy its ever-growing appetite, until (when desire outstrips human limits) he is led to insanity and death.

This highly philosophical canzone was extremely influential, and it was commented upon by authors including Dino del Garbo, pseudo-Giles, Giles of Rome, Marsilio Ficino, Pico della Mirandola, Iacopo Mini, and Fracesco de Vieri (see Enrico Fenzi, La canzone d'amore di Guido Cavalcanti e i suoi antichi commenti, Melangolo, 1999).

While this has very little to do with modern psychology, Guido's philosophy of spiritelli was part of the guiding principles of Arabic medicine, considered very advanced in Dante's time. The merit of such philosophy in Cavalcanti's verse is its ability to describe what goes through the poet's mind in a very detailed, personal manner, creating sensuous, autobiographic poetry. This is revolutionary compared to the rhetoric and academic-seeming manner of the Sicilian and Neo-Sicilian Schools that had preceded the Dolce Stil Novo and, perhaps, a sign of the changing times.

Mentions in Dante's Divine Comedy

Guido Cavalcanti indirectly appears twice in Dante's Divine Comedy. The first occurs in Inferno X, where Dante encounters the souls of heretics. They are condemned in the sixth circle of Hell, trapped inside burning tombs. Guido's father, Cavalcante de' Cavalcanti, is among these heretics, and proceeds to ask Dante about his son. Dante refers to Guido in the past tense, thus leading Cavalcante to believe that Guido is dead. Dante, later feeling guilty, asks Farinata degli Uberti, another heretic, to inform Cavalcante that Guido remains alive.

Guido's name arrives once more in Purgatory XI, mentioned by Oderisi da Gubbio to Dante on the terrace of pride. The former employs the fame of Guido Guinizelli, soon overpowered by that of Guido Cavalcanti, to justify the fleeting nature of fame in their larger discussion of vanity. Through Oderisi's words, Dante further asserts himself, as a poet, to be the next in line, replacing Guido in terms of public interest.

It has been suggested that Guido Cavalcanti's presence in Dante's Divine Comedy permeates further than Dante's two mentions of him by name. His cynical beliefs towards the subject of desire, demonstrated in Donna me prega with images of wrath and death, have been proposed as inspiration for Dante's contrapasso observed in Inferno V, where the carnal sinners are tossed uncontrollably by the winds of a never-ending storm. The difference between the two literary works, in their contexts, is in their treatment of love, since Guido believed that all love led to a loss of rationale. Dante, opposed to this belief, used Guido's definition for a perverted love instead, within the circle of lust.

Legacy

Cavalcanti is widely regarded as the first major poet of Italian literature: Dante sees in Guido his mentor; his meter, his language deeply inspire his work (cfr. De Vulgari Eloquentia), though Guido's esthetic materialism would be taken a step further to an entirely new spiritual, Christian vision of the gentler sex, as personified by Beatrice whose soul becomes Dante's guide to Paradise.

Guido's controversial personality and beliefs attracted the interest of Boccaccio, who made him one of the most famous heretical characters in his Decameron, helping popularise the belief about his atheism. Cavalcanti would be studied with perhaps more interest during the Renaissance, by such scholars as Luigi Pulci and Pico della Mirandola. By passing to Dante's study of the Italian language, Guido's style has influenced all those who, like cardinal Pietro Bembo, helped turn the volgare illustre into today's Italian language.

Cavalcanti was to become a strong influence on a number of writers associated with the development of Modernist poetry in English. This influence can be traced back to the appearance, in 1861, of Dante Gabriel Rossetti's The Early Italian Poets, which featured translations of works by both Cavalcanti and Dante.

The young Ezra Pound admired Rossetti and knew his Italian translations well, quoting extensively from them in his 1910 book The Spirit of Romance. In 1912, Pound published his own translations under the title The Sonnets and Ballate of Guido Cavalcanti and in 1932, he published the Italian poet's works as Rime. A reworked translation of Donna me prega formed the bulk of Canto XXXVI in Pound's long poem The Cantos. Pound's main focus was on Cavalcanti's philosophy of love and light, which he viewed as a continuing expression of a pagan, neo-platonic tradition stretching back through the troubadours and early medieval Latin lyrics to the world of pre-Christian polytheism. Pound also composed a three-act opera titled Cavalcanti at the request of Archie Harding, a producer at the BBC. Though never performed in his lifetime, excerpts are available on audio CD.

Pound's friend and fellow modernist T. S. Eliot used an adaptation of the opening line of Perch'i' no spero di tornar giammai ("Because I do not hope to turn again") to open his 1930 poem Ash Wednesday.

See also
 Italian literature

References

Bibliography
 Cavalcanti's Rime in original Italian available through Wikisource.
 Maria Corti, La felicità mentale. Nuove prospettive per Cavalcanti e Dante, Turin, Einaudi, 1983.
 Tobias Eisermann, Cavalcanti oder die Poetik der Negativität, Band 17 in Romanica et Comparatistica: Sprach- und literaturwissenschaftliche Studien, herausgegeben von Richard Baum und Willi Hirdt, Tübingen: Stauffenburg Verlag Brigitte Narr GmbH, 1992;
 Giudice, A. and Bruni, G. Problemi e scrittori della letteratura italiana. Turin, Paravia, 1973.
 Dante, Divina Commedia, ed. Natalino Sapegno. Florence, La Nuova Italia, 1982.
 AA.VV., Antologia della poesia italiana, ed C.Segre and C. Ossola. Turin, Einaudi, 1999
 Migliorini, B. Storia della lingua Italiana. Florence, Sansoni, 1987
 Dante, Vita Nuova. Milan, Garzanti, 1982.
 Guido Cavalcanti, The Complete Poems, edited and translated by Marc Cirigliano. New York, Italica Press, 1992;
Guido Cavalcanti, Complete Poems, translated by Anthony Mortimer. Oneworld Classics.

External links

 Some translations
 Alphabetical index of the rhymes

1250s births
1300 deaths
Characters in The Decameron
Italian atheists
Italian poets
Italian male poets
Sonneteers
Dante Alighieri
Occasional poets

Guido Cavalcanti


A natural resource is what people can use which comes from the natural environment. Examples of natural resources are air, water, wood, oil, wind energy, natural gas, iron, and coal.

The dividing line between natural resources and man-made resources is not clear-cut. Hydro-electric energy is not a natural resource because people use turbines to convert the energy from moving water. Petroleum and iron ores are natural, but need work to make them into usable refined oil and steel. Atomic energy comes from metallic nuclear fuel, like fissionable uranium and plutonium, but rocks need technical work to make them into these nuclear fuels.

Supply
We often say there are two sorts of natural resources: renewable resources and non-renewable resources.
A renewable resource is one that can be used again and again. For example, soil, sunlight and water are renewable resources. However, in some circumstances, even water is not renewable easily. Wood is a renewable resource, but it takes time to renew, and in some places, people use the land for something else. Soil, if it blows away, is not easy to renew.
A non-renewable resource is a resource that does not grow and come back or a resource that would take a very long time to come back. For example, coal is a non-renewable resource. When we use coal, there is less coal afterward.  The non-renewable resource can be used directly (for example, burning oil to cook), or we can find a renewable resource to use (for example, using wind energy to make electricity to cook).

Most natural resources are limited. This means they will eventually run out. A perpetual resource has a never-ending supply. Some examples of perpetual resources include solar energy, tidal energy, and wind energy. There may be a limit to how much can be taken in a given day or year, but that amount can be taken again next day or next year.
Non perpetual resources include Fossil fuels such as Petroleum, coal, etc. They have a limit of usage.

Some of the things influencing the supply of resources include whether it is able to be recycled, and the availability of suitable substitutes for the material. Non-renewable resources cannot be recycled. For example, fossil fuels cannot be recycled.

Demand
The demand for resources can change with new technology, new needs, and new economics (e.g. changes in cost of the resources). Some material can go completely out of use, if people do not want it any more. Demand of many natural resources is very high, but availability of some, such as precious metals, is very low.

Availability
Different places have different natural resources.  When people do not have a certain resource they need, they can either replace it with another resource, or trade with another country to get the resource.  People have sometimes fought to have them (for example, spices, water, arable farmland, gold, or petroleum).

When people do not have some resources, their quality of life can get lower.  So, people protect resources.  When they can not get clean water, people may become ill; if there is not enough wood, trees will be cut and the forest will disappear over time (deforestation); if there are not enough fish in a sea, people can die of starvation.  Renewable resources include crops, wind, hydroelectric power, fish, and sunlight.  Many people carefully save their natural resources so that others can use them in future.

References

Other websites
Earth's natural wealth

Economics
Factors of production

Natural resource


Ciboria amentacea, commonly known as the catkin cup, is a species of ascomycete fungus in the family Sclerotiniaceae. It is widespread in Europe and North America, where it grows on catkins of willow and alder. The species was first described by Giovanni Battista Balbis in 1804 as Peziza amentacea. Karl Wilhelm Gottlieb Leopold Fuckel transferred it to Ciboria in 1870.

References

External links

Fungi described in 1804
Fungi of Europe
Fungi of North America
Sclerotiniaceae

Ciboria amentacea


Zeyn al-Abedin Maraghei (; also Romanized as "Zeyn-al-'Ābedin Marāghe'i"; 1840 in Maragheh – 1910 in Istanbul) was a pioneer Iranian novelist and a social reformer. He is most known for the 1895 story of Travel Diary of Ebrahim Beg (sīyāhat nāmeh-ī Ebrāhīm-ī Beg). This work was critical in the development of novel writing in twentieth-century Iran, and played an important political role as well. The story was a criticism on Iran's political and social affairs. It was widely read in Iran and gained the interest of revolutionaries and reformers who made the Constitutional Revolution of 1906.

Life
Maraghei was born into a Sunni Kurdish family of merchants who, although were initially followers of Shafi'i Sunni school, later became Shias. He received schooling until the age of sixteen and then joined his father's trade and worked as a merchant. Facing troubles for agitating officials (of the  and  titles in particular), he left Iran for Tbilisi where he worked as a small merchant, at a time when Iranian workers were gradually moving to the city for work. He was eventually employed at the Iranian consulate, but the mismanagement caused him to leave. He then went to Russia and renounced his Iranian citizenship, which gave him a guilty conscience (he regained his Iranian citizenship later through a connection in Istanbul). Maraghei then took permanent residence in Istanbul where he became associated with Persian-language shams paper published in Istanbul and hablul matin published in Calcutta.

Travel Diary of Ebrahim Beg
The main character in the Travel Diary of Ebrahim Beg resembles the author himself. Ebrahim too is a merchant who lives outside the country of his birth, but has a mental and spiritual preoccupation with his homeland, and above all, he wants it to change and reform. Ebrahim lives in Egypt where his father took residence many years ago, and has a reputation as an honest merchant. He loves Iran so much that he refuses to speak Arabic. The image of his homeland Iran is conceived utopically. His love for Iran motivates him to travel there; but, he is also motivated by his father's will that instructs him to take time off from work and travel for several years recording his experiences. Before reaching Iran, Ebrahim is saddened when he sees miserable Iranians migrants doing the most difficult labor. His despair is only exacerbated when he reaches Iran. Ebrahim travels through many cities, and everyone suffers from the same problems: people are ignorant and self-centered; the clerics are deceitful, act for their own profit, and focus more on ritual purity than on the well-being of the nation; state officials (even in consulates abroad) take bribes, disregard the rule of law, assign jobs without regard for merit, and subordinate the nation's interests to colonial concessions. Then, there are infrastructural problems: no institutions exist to address widespread opium use that even has currency among the ulema, clean water is hard to come by and there are not adequate schools and health facilities.

In Tehran, Ebrahim seeks to meet officials and explain to them the poor conditions of the country so that they may act. But, his eloquent descriptions are futile: officials become irritated and ask him to go away. Because of their response (or lack thereof), he puts his suggestions into writing. His reforms include respect for freedom and independence, the advancement of nation's industries, promotion of culture, ending of colonial influence, and creation of a trade surplus.

See also
 Mirza Abdul'Rahim Talibov Tabrizi
 Persian Constitutional Revolution

References

Further reading

Maraghei, Zeyn al-Abedin
Maraghei, Zeyn al-Abedin
1840 births
1910 deaths
People from Maragheh
Iranian emigrants to the Ottoman Empire
19th-century Iranian writers
20th-century Iranian writers

Zeyn al-Abedin Maraghei


Aleksandr Fyodorovich Avdeyev (; 5 August 1916 – 12 August 1942) was a Soviet fighter ace of World War II with 13 victories claimed. He participated in the Soviet-Finnish War of 1939–1940 (Winter War). He was awarded the title of Hero of the Soviet Union on 10 February 1943.

Early life
He was born in the village of Bolshaya Talinka in Tambov Governorate. In the 1930s his family had to move to Lyublino (now a district of Moscow). There he has graduated from factory-and-workshop school and worked as a metalworker in a foundry. After work he attended an Air club in Podolsk.
In 1938 he joined the army and attended the Borisoglebsk Military Air College.

World War II

From the beginning of the German-Soviet War he served on the Leningrad Front with 153 IAP as a Leytenant and was later promoted to Starshiy Leytenant and Flight commander. In 1941 he claimed 7 victories in 189 missions. Piloting a Polikarpov I-153 biplane, he shot down a future high-scoring German ace Lt. Walter Nowotny of JG 54 over Saaremaa on 19 July 1941 in Bf 109 E-7 (W.Nr. 1137) "White 2" over Riga Bay. In that fight Avdeyev's plane was also shot down and he subsequently spent a month in hospital due to injuries sustained during the crash.

In August 1942 he served as a P-39 Airacobra pilot on the Voronezh Front. On 12 August 1942 he was the first Airacobra pilot who used a ramming attack to down an opponent. His victim was possibly Fw. Franz Schulte of 6./JG 77, an ace with 46 victories. Both pilots were later buried in Novaya Usman, a village near Voronezh.

Avdeyev was awarded the Order of Lenin, the Order of the Red Banner, the Order of the Red Star.

External links
Biography on the site "warheroes.ru

1916 births
1942 deaths
People from Tambovsky District, Tambov Oblast
People from Tambovsky Uyezd
Communist Party of the Soviet Union members
Soviet Air Force officers
Russian aviators
Soviet military personnel of the Winter War
Soviet World War II flying aces
Heroes of the Soviet Union
Recipients of the Order of Lenin
Recipients of the Order of the Red Banner
Recipients of the Order of the Red Star
Pilots who performed an aerial ramming
Soviet military personnel killed in World War II

Aleksandr Avdeyev (pilot)


See also Henry Balfour (MP for Fifeshire)

Henry Balfour FRS FRAI (11 April 1863 – 9 February 1939) was a British archaeologist, and the first curator of the Pitt Rivers Museum.

He was President of the Royal Anthropological Institute, Museums Association, Folklore Society, Royal Geographical Society, and a Fellow of the Royal Society.

Biography
Henry Balfour was born in 1863. He was the only son of Lewis Balfour (1833–1885), a silk broker from Croydon, and Sarah Walker Comber (1836–1916). His parents married on 28 July 1857. He had two older sisters: Edith Balfour (born c. 1859) and Marian Balfour (born c. 1860).

In 1887, Henry married Edith Marie Louise Wilkins, the only daughter of Robert Francis Wilkins of Kingswear, south Devon. They had one son, Lewis Balfour (1887–1974). The Balfours lived at 11 Norham Gardens, Oxford before moving to Langley Lodge, Headington, Oxford later in life. A few months after the death of his wife, Balfour died at his home in Headington, Oxford, on 9 February 1939.

Balfour was educated at Charterhouse and Trinity College, Oxford (matriculated 1881–graduated 1885), and took Honours Mods and later the final school of animal morphology in 1885. In 1884, the University of Oxford accepted the collection of ethnological and archaeological specimens made and arranged by General Augustus Pitt Rivers. Professor H. N. Moseley, in whose charge the Pitt Rivers Museum was placed by the University, invited Balfour, who was one of his students, to assist in the installation of the collection in the new museum building. Moseley had recognized the keen and alert intelligence of Balfour, his love of animals, and his skill as a draughtsman.

Balfour continued to work under Moseley's supervision until Moseley's death in 1891 when the responsibility devolved on Balfour. Balfour was appointed Curator in 1893 and continued in that position until his death. That a large and unique museum has grown up around the original nucleus of the Pitt Rivers collection is due to Balfour's erudition and devotion.

Specimens of the arts and crafts of various peoples had long been collected in museums and were regarded as little more than curiosities or trophies, but owing to the work of Colonel Lane-Fox they acquired a new significance. In 1851 Augustus H. Lane Fox (later Pitt Rivers) began to collect specimens of firearms to illustrate his recognition that every noteworthy advancement in the efficiency, not only of the weapon but also of every individual detail in its structure, was arrived at as a cumulative result of a succession of very slight modifications, each of which was but a trifling improvement upon the one immediately preceding it. He was led to believe that the same principle most probably governs the development of the other arts, appliances, and ideas of mankind. Forthwith he began to build the ethnological collection, though under the name of Pitt Rivers, which he assumed in 1880.

Unlike other collectors, there was invariably some principle of a theory that the objects he collected were designed to illustrate. The spoils of over twenty years of collecting were exhibited in 1874 in the Bethnal Green Museum. The collection was a revelation to students and was the first application of the theory of evolution to objects made by man. The validity of the general views of Colonel Lane Fox as to the evolution of the material arts of man was rapidly accepted by a large number of ethnologists and others.

As palaeontology is ancient zoology, so archaeology is ancient ethnology; by bringing together the archaeological and ethnological material, Pitt Rivers sought to make each elucidate the other. From the archaeological record, a sequence could be derived, but with many gaps. Rivers sought to fill these gaps from evidence derived from a study of the recent primitive peoples. The culture of the modern stone-age man he regarded as more or less direct survival from that of ancient stone-age man, arguing that much which is obscure in the culture of prehistoric times may be elucidated by reference to recent primitive peoples.

Balfour stated in his Presidential Address to the Somersetshire Archaeological and Natural History Society in 1919:

Arguing from the known to the unknown, ese modern survivals of early cultures have been used, as far as possible, to complete the picture of the life and industries of Prehistoric Man. From the combined material derived from ancient and modern times series were created to show, tentatively at any rate, how the more developed types of appliances were arrived at by successive slight improvements from their simple and generalized prototypes.

Incidentally these typological series serve to demonstrate the geographical distribution of particular arts, industries, and appliances, a matter which is becoming recognized as increasingly important, as affording valuable clues to the intricate problems of racial dispersal and migration routes, and as supplying evidence of the culture-contact between various peoples not necessarily related to one another.

Balfour went on to say, "In studying the development of human arts, it must not be supposed that progress was effected by a simple process of what is known as 'end-on' evolution, the successive morphological changes following one another in simple unilinear series".

Works
Although he only wrote one book, The Evolution of Decorative Art (1893), Balfour published numerous scholarly articles, often taking a specific type of object – from musical bows to fire-pistons or fishing-kites – and exploring its "evolutionary development" through history and across different cultures.

References

Attribution
 This article incorporates text from a publication now in the public domain:

External links

Archaeologists from London
1863 births
1939 deaths
People educated at Charterhouse School
Fellows of the Royal Society
Presidents of the Royal Geographical Society
People from Croydon
People associated with the Pitt Rivers Museum
Fellows of the Royal Anthropological Institute of Great Britain and Ireland
Presidents of the Royal Anthropological Institute of Great Britain and Ireland
Presidents of the Folklore Society

Henry Balfour


The Banner of Morocco ( ) is the emblem o the Kinrick of Morocco. It is reid hit a green five-pyntit star.

Fully reid Oreeginally, this historic emblem o the Alawite dynasty in power syne the seventeenth century haes been joined, sae as tae distinguish it frae the reid flags in uise in ither countries, a green pentagram in the center in 1915 three years efter Morocco became a french protectorate.

On 8 Mey 2010, a Moroccan banner wi a size of 60 meters squared is certified bi the Guinness Book of World Records as the lairgest banner in the warld iver, Your wecht is 20 tons,he wis made in Dakhla

History

In the seventeenth century, when Morocco wis unner the authority o the Alawite dynasty, your naitional banner sported a solit reid colour. The Sharifs of Mecca employed this colour as colour reference. The Moroccan banner will keep until the time o the Protectorate, shawin a similarity tae those of ither colonized nations. At the time o the Protectorate, the reid banner will be kept as a royal banner, but that o the naition will include a five-pyntit star bi the Dahir of 17 November 1915 signed bi Sultan Moulay Youssef.

Efter unthirldom, the pentagram is maintained, the five branches evoked the five pillars of Islam. Zakat, prayer an confession of faith in the leet. The pilgrimage tae the holy ceety of Mecca at least ance in life an fasting, forby kent as Ramadan, the complement. This is the best kent version that wis uised tae justify the chynge. The Moroccan naitional banner haed tae wait a lang time afore such a naitional banner float. It wis juist uised as an object representation o the naition on earth. It is anly when the Moroccan unthirldom wis proclaimed in 1956 that finally the banner floating in the air as a seembol o the kintra.

We find that star on the arms of Morocco, atween twa lions. The current banner of Morocco uisually wears green star symmetrical wi respect tae the vertical centerline. Whiles it occurs wi green star symmetrical relative tae the horizontal central axis an aw, the axial tip is then directed tae the floating portion. This variant wis seen in front o the royal mausoleum in Rabat.

Ither naitional banners

Relatit pages
 Seal o Solomon
 Coat o airms o Morocco
 Leet o Moroccan banners

References

External links

 Morocco Historical Flags, FOTW

Morocco
Naitional seembols o Morocco

Banner o Morocco


Western Ganga literature () refers to a body of writings created during the rule of the Western Ganga Dynasty, a dynasty that ruled the region historically known as Gangavadi (modern Southern Karnataka, India) between the 4th and 11th centuries. The period of their rule was an important time in the history of South Indian literature in general and Kannada literature in particular, though many of the writings are deemed extinct. Some of the most famous poets of Kannada language graced the courts of the Ganga kings. Court poets and royalty created eminent works in Kannada language and Sanskrit language that spanned such literary forms as prose, poetry, Hindu epics, Jain Tirthankaras (saints) and elephant management.

Kannada writings

The prose piece of Chavundaraya, who was a famous Ganga minister and army commander, known as Chavundaraya Purana (or Trishashtilakshana mahapurana) written in 978 CE, is an early existing work in the genre in Kannada and is a summary of the Sanskrit writings, Adipurana and Uttarapurana, written by Jinasena and Gunabhadra during the rule of Rashtrakuta Amoghavarsha I. The prose, composed in lucid Kannada, was meant mainly for the common man and avoided any reference to complicated elements of Jain doctrines and philosophy. In his writing, the influences of his predecessor Adikavi Pampa and contemporary Ranna are seen. The work narrates the legends of twenty-four Jain Tirthankaras, twelve Chakravarti's, nine Balabhadra's, nine Narayana's and nine Pratinarayana's – narrations on 63 Jain proponents in all.

This writing states that along with the Tirthankaras, their mothers were also worshipped, particularly by women. The worship of Vaishravana, the keeper of celestial treasure was for acquiring moral and religious merit (punya), the worship of Dharnendra was for acquiring sons and of Shridevi for warding off influences of evil deities (vairi devategal). The author eulogises his preceptor Ajitasena Munindra thus :"He removes the stain of karma and awakens the spirit of those close to him (aptavarga), he astonishes rival disputants and secures the goddess of liberation (mokshalakshmi) to those desiring it. O Bhavya, worship the lotus feet of Ajitasena Munindra with a pure mind".

The earliest known Kannada writer from this dynasty is King Durvinita of the 6th century. Kavirajamarga of 850 CE, refers to him as an early writer in Kannada prose. It is claimed that the name Durvinita is found only in Kavirajamarga and Western Ganga inscriptions prior to the Magadi inscription of 966. This according to historians is proof enough that the Durvinita mentioned in Kavirajamarga is the Western Ganga king.

Gunavarma I, the Kannada epic writer authored Shudraka and Harivamsha (also known as Neminatha Purana), the earliest known purana in Kannada, around 900 CE. His works are considered extinct but are found referenced in later years. He is known to have been patronised by King Ereganga Neetimarga II in late 9th century - early 10th century. In his writing Shudraka, the author has favourably compared his patron to King Shudraka of ancient times. The great Kannada poet Ranna (who was also a soldier by training), who along with Sri Ponna and Adikavi Pampa are considered the "three gems of Kannada literature" was patronised by Chavundaraya, the Ganga minister in his early literary days. Ranna's classic  Parashurama charite which is considered extinct may have been a eulogy of his patron who held such titles as Samara Parashurama. Ranna later went on to become the poet laureate of Western Chalukya Kings Tailapa II and Satyashraya.

Nagavarma I, a Brahmin scholar who came from Vengi in modern Andhra Pradesh (late 10th century) was also patronised by Chavundaraya. He wrote Chandombudhi (ocean of prosody) addressed to his wife. This is considered the earliest available Kannada writing in prosody. His other existing writing, Karnataka Kadambari written in sweet and flowing champu style (a composition written in a mixed prose-verse style) has found popularity with critics and is based on an earlier romance in Sanskrit by poet Bana. Gajashtaka  (a hundred verses) a work on elephant management, known to have been written by King Shivamara II around 800 CE, is now considered extinct. Other writers from the close of the 10th century whose names are known are Manasiga and Chandrabhatta.

Sanskrit writings
This was the age of classical Sanskrit literature. From the earliest times, Western Ganga kings showed a strong inclination towards the fine arts. King Madhava II (brother of King Vishnugopa) wrote a treatise Dattaka Sutravritti on an earlier work on erotics by a writer called Dattaka. To King Durvinita is ascribed the Sanskrit version of Vaddakatha, a commentary on Pāṇini's grammar called Sabdavathara and a commentary on the 15th chapter of a Sanskrit work called Kiratarjunneya by poet Bharavi (who was in King Durvinita's court). King Sripurusha wrote a treatise on elephants called Gajashastra and King Shivamara II is known to have written Gajamata Kalpana.

Hemasena, also known as Vidya Dhananjaya authored  Raghavapandaviya, a narration of the stories of Rama and the Pandavas simultaneously through puns. His pupil Vadeebhasimha wrote in prose Gayachintamani and Kshatrachudamini based on poet Banas Kadambari and minister Chavundaraya wrote Charitarasara.

Notes

References

Book

Web

Kannada literature
Literature of Karnataka
Indian literature
Western Ganga dynasty
 Kannada inscriptions

Western Ganga literature


Juan Valderrama Blanca (24 May 1916 – 12 April 2004), better known as Juanito Valderrama, was a Spanish flamenco and folk singer. Although he was known for singing copla, he always claimed to be a flamenco singer.

Born in Torredelcampo, Juanito's recording career began in 1935 and lasted more than 60 years. Among his most famous songs is "El emigrante", written in 1949, a ballad for the millions of displaced Spaniards who fled the country in the years after the Spanish Civil War. In 1960 he appeared in the film of the same name.

He was romantically and professionally partnered with singer and actress Dolores Abril from 1954 until his death in 2004. The couple had two children,  and Juana Dolores Valderrama, who both became singers.

Filmography

References

External links
Telegraph obituary
Juanito Valderrama's biography and discography

1916 births
2004 deaths
People from the Province of Jaén (Spain)
Singers from Andalusia
Flamenco singers
20th-century Spanish singers
20th-century Spanish male singers

Juanito Valderrama