Óscar Arístides Renta Fiallo (22 July 1932 – 20 October 2014), known professionally as Oscar de la Renta, was a Dominican fashion designer. Born in Santo Domingo, he was trained by Cristóbal Balenciaga and Antonio del Castillo. De la Renta became internationally known in the 1960s as one of the couturiers who dressed Jacqueline Kennedy. He worked for Lanvin and Balmain. His eponymous fashion house has boutiques around the world including in Harrods of London and Madison Avenue in New York.

Early life
De la Renta, the youngest of seven children and the only boy in his family, was born in Santo Domingo, Dominican Republic, to a Dominican mother of distant Portuguese descent, Carmen María Antonia Fiallo and a Puerto Rican father, Óscar Avelino De La Renta, owner of an insurance company. The Fiallos, De la Renta's mother's family, were so embedded in Dominican society that they could count poets, scholars, and businessmen, as well as top army brass among their members. Their origin in the island can be traced back to the foundation of San Carlos de Tenerife in 1685 by Canarian settlers.

A maternal uncle, Luis Arístides Fiallo Cabral, was a doctor, lawyer, and architect, who received every degree the University of Santo Domingo could offer. Another maternal uncle, Fabio Fiallo, was a diplomat and poet. On his father's side, De la Renta's great-great grandfather José Ortíz de la Renta was the first mayor of Ponce, Puerto Rico, elected by popular vote and who had the distinction of serving as mayor eight times, the most ever for the city.

De la Renta was raised Catholic in a protective family. His mother died from complications of multiple sclerosis when he was 18.

At the age of 18, he went to study painting in Spain at the Royal Academy of San Fernando in Madrid. For extra money, he drew clothes for newspapers and fashion houses. After Francesca Lodge, the wife of John Davis Lodge, the U.S. Ambassador to Spain, saw some of his dress sketches, she commissioned de la Renta to design a gown for her daughter. The dress appeared on the cover of Life magazine that fall. He quickly became interested in the world of fashion design and began sketching for leading Spanish fashion houses, which soon led to an apprenticeship with Spain's most renowned couturier, Cristóbal Balenciaga. He considered Cristóbal Balenciaga his mentor. In 1961, de la Renta left Spain to join Antonio del Castillo as a couture assistant at Lanvin in Paris.

Career

In 1963, de la Renta turned to Diana Vreeland, the editor-in-chief of Vogue, for advice, saying that what he really wanted was to "get into ready to wear, because that's where the money is". Vreeland replied, "Then go to Arden because you will make your reputation faster. She is not a designer, so she will promote you. At the other place, you will always be eclipsed by the name of Dior." De la Renta proceeded to work for Arden for two years in New York City before he went to work for Jane Derby, an American fashion house. When Derby died in August 1965, de la Renta took over the label.

From 1993 to 2002, de la Renta designed the haute couture collection for the house of Balmain, becoming the first Dominican to design for a French couture house. In 2006, the Oscar de la Renta label diversified into bridal wear.

De la Renta's designs have been worn by a diverse group of distinguished women and celebrities. De la Renta's brand saw international wholesale growth beginning in 2003, under the direction of CEO Alex Bolen, from five to seventy-five locations. De la Renta's ready-to-wear designs are available in his retail stores, online, and with select wholesale partners worldwide.

In 2014, the George W. Bush Presidential Center hosted an exhibit titled "Oscar de la Renta: Five Decades of Style" which shared the designer's creations for Mrs. Bush and America's First Ladies.

Other enterprises
In 1977, de la Renta launched his fragrance, OSCAR, followed by an accessories line in 2001 and a homewares line in 2002. The new business venture included 100 home furnishings for Century Furniture featuring dining tables, upholstered chairs, and couches. In 2004, he added a less expensive line of clothing called O Oscar. De la Renta said he wanted to attract new customers whom he could not previously reach.

In 2006, de la Renta designed Tortuga Bay, a boutique hotel at Puntacana Resort and Club. The hotel is part of the luxury hotel collection, The Leading Hotels of the World.

Awards, honors, and philanthropic endeavors

Design awards
In 1967 and 1968, de la Renta won the Coty Award (the U.S. fashion industry "Oscars") and in 1973 was inducted into the Coty Hall of Fame.

From 1973 to 1976, and from 1986 to 1988, he served as President of the CFDA. He is also a two-time winner of the American Fashion Critic's Award and was inducted into the Fame in 1973.

De la Renta's talents received continual international recognition. Among them, he received the Council of Fashion Designers Designer of the Year Award in 2000 and in 2007 (tied with Proenza Schouler). In February 1990, he was honored with the CFDA Lifetime Achievement Award. King Juan Carlos of Spain bestowed de la Renta with two awards, the Gold Medal of Bellas Artes and the La Gran Cruz de la Orden del Mérito Civil. He was recognized by the French government with the Légion d'honneur as a Commandeur.

Other awards
Oscar de la Renta was named to the International Best Dressed List Hall of Fame in 1973.

The Dominican Republic honored him with the Order of Merit of Duarte, Sánchez and Mella and the Order of Christopher Columbus. De la Renta founded the Casa del Niño orphanage in La Romana He contributed extensively in the construction of a much needed school near his home at the Punta Cana Resort and Club in Punta Cana.

De la Renta held dual citizenship in the Dominican Republic and the United States. He was an Ambassador-at-Large of the Dominican Republic.

De la Renta served as a board member of the Metropolitan Opera, Carnegie Hall and WNET. He served on the boards of several charitable institutions such as New Yorkers for Children, the America's Society. He was chairman of the Queen Sofía Spanish Institute. He received an honorary degree from Hamilton College on 26 May 2013.

In February 2014, Oscar de la Renta recreated his entire Spring presentation, Designed for A Cure 2014 collection, to raise money for the Sylvester Comprehensive Cancer Center at the University of Miami Leonard M. Miller School of Medicine.

Honors
In 1991, de la Renta was the recipient of the Golden Plate Award of the American Academy of Achievement. In 2014, de la Renta was the recipient of the Carnegie Hall Medal of Excellence.
In 2017, de la Renta was honored by the United States Postal Service with an eleven stamp series, featuring a black and white photo of him and ten details from his fashion designs.

Personal life
In 1966, de la Renta became the third husband of Françoise de Langlade (1921–1983), an editor-in-chief of French Vogue who once worked for the fashion house of Elsa Schiaparelli. They were married until she died of cancer in 1983. After her death, de la Renta adopted a boy from the Dominican Republic and named him Moisés.

In 1990, the designer married Annette Engelhard (born 1939), daughter of Fritz Mannheimer and his wife Jane née Reiss, and adoptive daughter of her mother's second husband, Charles W. Engelhard, Jr. De la Renta had stepchildren from both marriages. His son-in-law Alex Bolen currently operates as Chief Executive Officer, and stepdaughter Eliza Bolen serves as Vice President of Licensing at Oscar de la Renta, LLC.

De la Renta was regarded as an unofficial ambassador of the Dominican Republic, his home country, and held a diplomatic passport. He had homes there in Casa de Campo and Punta Cana, in addition to his residence in Kent, Connecticut.

Later life and death
De la Renta was diagnosed with cancer in 2006. A year later at the CFDA "Fashion Talks" event, Executive Director Fern Mallis called him "The Sultan of Suave". At that event, he spoke of his cancer, saying:

De la Renta died of complications from cancer on October 20, 2014, at his home in Kent, Connecticut, at the age of 82.

See also
 List of people from the Dominican Republic
 List of fashion designers

References

External links

 Oscar de la Renta perfumes on Perfumes.com

1932 births
2014 deaths
American fashion businesspeople
American fashion designers
American people of Puerto Rican descent
American people of Canarian descent
Ballet designers
Dominican Republic fashion designers
Dominican Republic people of Canarian descent
Dominican Republic people of Puerto Rican descent
Dominican Republic people of Spanish descent
Dominican Republic emigrants to the United States
People from Santiago de los Caballeros
Deaths from cancer in Connecticut
People from Kent, Connecticut
People from Santo Domingo
Grand Officers of the Order of Christopher Columbus
Order of Merit of Duarte, Sánchez and Mella
High fashion brands
Carnegie Hall Medal of Excellence winners
People with acquired American citizenship

Oscar de la Renta


George Taro Sakato (February 19, 1921 – December 2, 2015) was a United States Army soldier.  He received the Medal of Honor because of his actions in World War II.

Early life
Sakato was born in Colton, California.  His parents were immigrants from Japan. He was a Nisei, which means that he was a second generation Japanese-American.
He graduated from Redlands High School in Redlands, California.

The Sakato family moved to Arizona during World War II to avoid internment.

Soldier
Sakato joined the US Army in March 1944.

He volunteered to be part of the all-Nisei 442nd Regimental Combat Team.  This army unit was mostly made up of Japanese Americans from Hawaii and the mainland.

For his actions in October 1944, Sakato was awarded the Army's second-highest decoration, the Distinguished Service Cross (DSC).  In the 1990s, there was a review of service records of Asian Americans who received the DSC during World War II.  Sakato's award was upgraded to the Medal of Honor. In a ceremony at the White House on June 21, 2000, he was presented with his medal by President Bill Clinton. Twenty-one other Asian Americans also received the medal during the ceremony, but only seven of them were still alive.

Medal of Honor citation

Sakato's Medal of Honor recognized his conduct in frontline fighting in northern France in 1944. He charged an enemy stronghold.  Then he took command of his platoon and led it in defense of the position.

The words of Sakato's citation explain:
Private George T. Sakato distinguished himself by extraordinary heroism in action on 29 October 1944, on hill 617 in the vicinity of Biffontaine, France. After his platoon had virtually destroyed two enemy defense lines, during which he personally killed five enemy soldiers and captured four, his unit was pinned down by heavy enemy fire. Disregarding the enemy fire, Private Sakato made a one-man rush that encouraged his platoon to charge and destroy the enemy strongpoint. While his platoon was reorganizing, he proved to be the inspiration of his squad in halting a counter-attack on the left flank during which his squad leader was killed. Taking charge of the squad, he continued his relentless tactics, using an enemy rifle and P-38 pistol to stop an organized enemy attack. During this entire action, he killed 12 and wounded two, personally captured four and assisted his platoon in taking 34 prisoners. By continuously ignoring enemy fire, and by his gallant courage and fighting spirit, he turned impending defeat into victory and helped his platoon complete its mission. Private Sakato's extraordinary heroism and devotion to duty are in keeping with the highest traditions of military service and reflect great credit on him, his unit, and the United States Army.

Death
Sakato died in Denver, Colorado on December 2, 2015 at the age of 94.

Related pages
 List of Medal of Honor recipients for World War II
 List of Asian American Medal of Honor recipients
 List of living Medal of Honor recipients

References

Other websites

 "Army Secretary Lionizes 22 World War II Heroes" at Defense.gov

1921 births
2015 deaths
Military people from California
United States Army Medal of Honor recipients
American people of World War II

George Sakato


Eugène Gigout (; 23 March 1844 – 9 December 1925) was a French organist and a composer, mostly of music for his own instrument.

Biography
Gigout was born in Nancy, and died in Paris. A pupil of Camille Saint-Saëns, he served as the organist of the French capital's Saint-Augustin Church for 62 years. He became widely known as a teacher and his output as a composer was considerable. Renowned as an expert improviser, he also founded his own music school. His nephew by marriage was Léon Boëllmann, another distinguished French composer and organist.

The 10 pièces pour orgue (composed 1890) include the Toccata in B minor, Gigout's best-known creation, which turns up as a frequent encore at organ recitals. Also fairly often played, and to be found in the same collection, is a Scherzo in E major. Other notable pieces by Gigout are Grand chœur dialogué (1881), and Marche religieuse. Gigout's works are now available on several commercial recordings.

His pupils included his nephew Boëllmann, Victoria Cartier, André Fleury, Henri Gagnon, André Marchal, André Messager, and Albert Roussel.

Selected compositions

Organ
 Six Pièces (1872, 1876, 1885)
 Trois Morceaux (1888)
 Cent Pièces brèves (1889)
 Dix Pièces (1889)
 Album grégorien, 2 volumes (1895)
 Trois Pièces (1896)
 Prélude et fugue (1897)
 Rapsodie sur des airs populaires du Canada (1898)
 L'Orgue d'église (1902)
 Poèmes mystiques (1903)
 Interludium (1906)
 70 Pièces (1911)
 Nouveau recueil de douze pièces (1912)
 Pièce jubilaire (1918)
 Cent Pièces nouvelles (1922)
 Dix Pièces (1923)
 Deux Pièces (1923)

Piano
 Staccato-Étude; Rêverie; Bagatelle (all 1868)
 Pièce symphonique; Caprice-Ballet; Fantaisie scolastique (all for piano 4-hands, 1879)
 Quatre Pièces (1886)
 Hymne à la France (1892)
 Sonata (1904)
 Trois Improvisations caractéristiques (1912)
 Aux escaldes (1926)

External links

Free scores at the Mutopia Project

1844 births
1925 deaths
19th-century classical composers
19th-century French composers
19th-century French male musicians
20th-century classical composers
20th-century French composers
20th-century French male musicians
Burials at Montmartre Cemetery
Composers for pipe organ
French classical organists
French male classical composers
French Romantic composers
French male organists
Musicians from Nancy, France
Pupils of Camille Saint-Saëns
Male classical organists

Eugène Gigout


Anatoliy Ryapolov (born 31 January 1997) is a Russian long jumper. Ryapolov has won gold medals at the 2013 World Youth Championships and at the 2014 Youth Olympic Games and at the 2015 European Junior Championships. At 2015 European Junior Championships Ryapolov won the gold medal with a personal best at 7.96 m.

In 2013 Ryapolov broke Russian youth record when he jumped 7.90 m. The previous record was 7.76 m, set by Igor Lozinskiy back in 1996. During the season Ryapolov jumped multiple times around 7.75 m or more but could not break the European Youth Record which is 7.98 m set by Jonathan Moore in 2001. In July 2013 Ryapolov won gold at the World Youth Championships and also became first ever Russian winner at that event at the World Youth Championships.

In September 2014 European athletics announced that their panel of experts had judged the Europeans who should be the nominees for the Golden Tracks awarded to the best European male and female Rising Stars in 2014. Anatoliy Ryapolov was one of the nominees alongside the likes of Adam Gemili, Wilhem Belocian and Konrad Bukowiecki. Most well known female nominees were Mariya Kuchina and Katarina Johnson-Thompson. At the end it was Gemili and Kuchina who were rewarded with the European Athletics Rising Star at the Golden Tracks ceremony in Baku.

Achievements

References

External links
 European Athletics profile

1997 births
Living people
Russian male long jumpers
Athletes (track and field) at the 2014 Summer Youth Olympics
Youth Olympic gold medalists for Russia
Youth Olympic gold medalists in athletics (track and field)
People from Armavir, Russia
Sportspeople from Krasnodar Krai

Anatoliy Ryapolov


아래 목록은 인체의 신경 목록이다.

위치 (Location)

 Structure of the nervous system
 Development of the nervous system
 The spinal cord or medulla spinalis
 The brain or encephalon
 The hindbrain or rhombencephalon
 The midbrain or mesencephalon
 The forebrain or prosencephalon
 Composition and central connections of the spinal nerves
 Pathways from the brain to the spinal cord
 The meninges of the brain and medulla spinalis
 The cerebrospinal fluid
 The cranial nerves
 The olfactory nerves
 The optic nerve
 The oculomotor nerve
 The trochlear nerve
 The trigeminal nerve
 The abducent nerve
 The facial nerve
 The vestibulocochlear nerve
 The glossopharyngeal nerve
 The vagus nerve
 The accessory nerve
 The hypoglossal nerve
 The spinal nerves
 The posterior divisions
 The anterior divisions
 The thoracic nerves
 The lumbosacral plexus
 The sacral and coccygeal nerves
 The sympathetic nerves
 The cephalic portion of the sympathetic system
 The cervical portion of the sympathetic system
 The thoracic portion of the sympathetic system
 The abdominal portion of the sympathetic system
 The pelvic portion of the sympathetic system
 The great plexuses of the sympathetic system

알파벳 순서 목록
 Abdominal aortic plexus
 Abducens nerves
 Accessory nerve
 Accessory obturator nerve
 Alderman's nerve
 Anococcygeal nerve
 Ansa cervicalis
 Anterior interosseous nerve
 Anterior superior alveolar nerve
 Auerbach's plexus
 Auriculotemporal nerve
 Axillary nerve
 Brachial plexus
 Buccal branch of the facial nerve
 Buccal nerve
 Cardiac plexus
 Cavernous nerves
 Cavernous plexus
 Celiac ganglia
 Cervical branch of the facial nerve
 Cervical plexus
 Chorda tympani
 Ciliary ganglion
 Coccygeal nerve
 Cochlear nerve
 Common fibular nerve
 Common palmar digital nerves of median nerve
 Deep branch of the radial nerve
 Deep fibular nerve
 Deep petrosal nerve
 Deep temporal nerves
 Diagonal band of Broca
 Digastric branch of facial nerve
 Dorsal branch of ulnar nerve
 Dorsal nerve of clitoris
 Dorsal nerve of the penis
 Dorsal scapular nerve
 Esophageal plexus
 Ethmoidal nerves
 External laryngeal nerve
 External nasal nerve
 Facial nerve
 Femoral nerve
 Frontal nerve
 Gastric plexuses
 Geniculate ganglion
 Genital branch of genitofemoral nerve
 Genitofemoral nerve
 Glossopharyngeal nerve
 Greater auricular nerve
 Greater occipital nerve
 Greater petrosal nerve
 Hepatic plexus
 Hypoglossal nerve
 Iliohypogastric nerve
 Ilioinguinal nerve
 Inferior alveolar nerve
 Inferior anal nerves
 Inferior cardiac nerve
 Inferior cervical ganglion
 Inferior gluteal nerve
 Inferior hypogastric plexus
 Inferior mesenteric plexus
 Inferior palpebral nerve
 Infraorbital nerve
 Infraorbital plexus
 Infratrochlear nerve
 Intercostal nerves
 Intercostobrachial nerve
 Intermediate cutaneous nerve
 Internal carotid plexus
 Internal laryngeal nerve
 Interneuron
 Jugular ganglion
 Lacrimal nerve
 Lateral cord
 Lateral cutaneous nerve of forearm
 Lateral cutaneous nerve of thigh
 Lateral pectoral nerve
 Lateral plantar nerve
 Lateral pterygoid nerve
 Lesser occipital nerve
 Lingual nerve
 Long ciliary nerves
 Long root of the ciliary ganglion
 Long thoracic nerve
 Lower subscapular nerve
 Lumbar nerves
 Lumbar plexus
 Lumbar splanchnic nerves
 Lumboinguinal nerve
 Lumbosacral plexus
 Lumbosacral trunk
 Mandibular nerve
 Marginal mandibular branch of facial nerve
 Masseteric nerve
 Maxillary nerve
 Medial cord
 Medial cutaneous nerve of arm
 Medial cutaneous nerve of forearm
 Medial cutaneous nerve
 Medial pectoral nerve
 Medial plantar nerve
 Medial pterygoid nerve
 Median nerve
 Meissner's plexus
 Mental nerve
 Middle cardiac nerve
 Middle cervical ganglion
 Middle meningeal nerve
 Motor nerve
 Muscular branches of the radial nerve
 Musculocutaneous nerve
 Mylohyoid nerve
 Nasociliary nerve
 Nasopalatine nerve
 Nerve of pterygoid canal
 Nerve to obturator internus
 Nerve to quadratus femoris
 Nerve to the Piriformis
 Nerve to the stapedius
 Nerve to the subclavius
 Nervus intermedius
 Nervus spinosus
 Nodose ganglion
 Obturator nerve
 Oculomotor nerve
 Olfactory nerve
 Ophthalmic nerve
 Optic nerve
 Otic ganglion
 Ovarian plexus
 Palatine nerves
 Palmar branch of the median nerve
 Palmar branch of ulnar nerve
 Pancreatic plexus
 Patellar plexus
 Pelvic splanchnic nerves
 Perforating cutaneous nerve
 Perineal branches of posterior femoral cutaneous nerve
 Perineal nerve
 Petrous ganglion
 Pharyngeal branch of vagus nerve
 Pharyngeal branches of glossopharyngeal nerve
 Pharyngeal nerve
 Pharyngeal plexus
 Phrenic nerve
 Phrenic plexus
 Posterior auricular nerve
 Posterior branch of spinal nerve
 Posterior cord
 Posterior cutaneous nerve of arm
 Posterior cutaneous nerve of forearm
 Posterior cutaneous nerve of thigh
 Posterior scrotal nerves
 Posterior superior alveolar nerve
 Proper palmar digital nerves of median nerve
 Prostatic plexus (nervous)
 Pterygopalatine ganglion
 Pudendal nerve
 Pudendal plexus
 Pulmonary branches of vagus nerve
 Radial nerve
 Recurrent laryngeal nerve
 Renal plexus
 Sacral plexus
 Sacral splanchnic nerves
 Saphenous nerve
 Sciatic nerve
 Semilunar ganglion
 Sensory nerve
 Short ciliary nerves
 Sphenopalatine nerves
 Splenic plexus
 Stylohyoid branch of facial nerve
 Subcostal nerve
 Submandibular ganglion
 Suboccipital nerve
 Superficial branch of the radial nerve
 Superficial fibular nerve
 Superior cardiac nerve
 Superior cervical ganglion
 Superior ganglion of glossopharyngeal nerve
 Superior ganglion of vagus nerve
 Superior gluteal nerve
 Superior hypogastric plexus
 Superior labial nerve
 Superior laryngeal nerve
 Superior lateral cutaneous nerve of arm
 Superior mesenteric plexus
 Superior rectal plexus
 Supraclavicular nerves
 Supraorbital nerve
 Suprarenal plexus
 Suprascapular nerve
 Supratrochlear nerve
 Sural nerve
 Sympathetic trunk
 Temporal branches of the facial nerve
 Third occipital nerve
 Thoracic aortic plexus
 Thoracic splanchnic nerves
 Thoraco-abdominal nerves
 Thoracodorsal nerve
 Tibial nerve
 Transverse cervical nerve
 Trigeminal nerve
 Trochlear nerve
 Tympanic nerve
 Ulnar nerve
 Upper subscapular nerve
 Uterovaginal plexus
 Vagus nerve
 Ventral ramus
 Vesical nervous plexus
 Vestibular nerve
 Vestibulocochlear nerve
 Zygomatic branches of facial nerve
 Zygomatic nerve
 Zygomaticofacial nerve
 Zygomaticotemporal nerve

연관된 주제
 인체 뼈 목록
 인체해부학
 인체 골격근 목록
 순환계통
 혈관
 인간 두뇌의 영역 목록

외부 링크
 List of nerves

신경
인체 해부학에 관한 목록

인체 신경 목록


Patrick Arthur Sheldon Hadley (5 March 1899 – 17 December 1973) was a British composer.

Biography

Patrick Sheldon Hadley was born on 5 March 1899 in Cambridge. His father, William Sheldon Hadley, was at that time a fellow of Pembroke College. His mother, Edith Jane, was the daughter of the Revd Robert Foster, chaplain to the Royal Hibernian Military School in Dublin.

Patrick attended St Ronan's Preparatory School (in Worthing, Sussex) and Winchester College (in Hampshire). However the First World War interrupted his education. He enlisted in the army and was commissioned as a second lieutenant in the Royal Field Artillery. He managed to survive unscathed until the last weeks of the war, when he received an injury necessitating the below-knee amputation of his right leg. This profoundly damaged his confidence and also caused him to perhaps drink more than was wise; he was in constant pain, for which alcohol provided some relief.

Patrick's elder brother Peyton Sheldon Hadley, a former pupil of Charterhouse School, who served in the infantry, was also wounded in the closing months of the War. He was invalided home to convalesce, but died of pneumonia that October. A memorial to Peyton is found in the Charterhouse School Chapel.

After the war Patrick went up to Pembroke College, Cambridge, where by now his father was Master. He was fortunate to study with both Charles Wood and the English composer Cyril Rootham. Hadley was awarded B.Mus. in 1922, and an MA in 1925. He then went to the Royal College of Music in London. Here he came under the influence of Ralph Vaughan Williams for composition and Adrian Boult and Malcolm Sargent for conducting. Eric Weatherell notes that Hadley's contemporaries at the RCM included Constant Lambert and Gordon Jacob. He won the Sullivan prize for composition: at that time the sum of 5 shillings.

He became a member of the RCM staff in 1925 and taught composition. He became acquainted with Frederick Delius (Eric Fenby describes the role played by Hadley in recovering the long-lost score of Delius's early opera Koanga), Ernest John Moeran, Sir Arnold Bax, William Walton, Alan Rawsthorne, and Herbert Howells.

During 1937–38, Hadley assisted his friend and former teacher Cyril Rootham (by then terminally ill) in completing his Second Symphony. Acting as amanuensis, Hadley and others took dictation and transcribed the entire sketch for the symphony and the orchestration of the first two movements. At Rootham's request, Hadley also completed the orchestration of the final movement after the composer's death in March 1938.

In 1938 Hadley was elected to a Fellowship at Gonville and Caius College in Cambridge and appointed as a lecturer in the music faculty. Much of his time was spent in mundane administrative activities, but there was still time available for composition. Some of his greatest works were written during and after the war.

During the Second World War he deputised for Boris Ord as conductor and musical director of the Cambridge University Music Society. There he introduced a number of important works, including Delius' Appalachia and A Song of the High Hills. He was keen to promote a wide range of music, including the formation of a Gilbert and Sullivan Society. Much of his time was spent in making arrangements for the use of the males in the choir. Sadly, few of these have survived. We know them only from programme notes and hearsay.

In 1946, he was elected to the Chair of Music at Cambridge University. He retained this post until his retirement in 1962. Some of the students taught by Hadley included Raymond Leppard, Sir David Lumsden, Patrick Gowers, Sir Philip Ledger, Peter le Huray and Richard Hey Lloyd.

In 1962, Hadley retired to Heacham in Norfolk, living in Shalcross, Wilton Road. He wished to pursue his interest in folk song collection. However, he latterly struggled with throat cancer and this caused many of his activities to be suspended. Patrick Hadley died, aged 74, on 17 December 1973 at King's Lynn.

Music

Patrick Hadley was influenced by the music of Frederick Delius and also to a certain extent folk music. But there were other non-musical influences in his life too: Ireland and Norfolk gave him a profound sense of landscape and location. His output was limited. He found the business of composing quite exhausting. Most people think of Hadley as composer of one or two church anthems: I Sing of a Maiden and the mildly exotic My Beloved spake. The catalogue shows a wide variety of musical forms: from a symphonic ballad to incidental music for Twelfth Night. However, there are no cycles of symphonies, concertos, or string quartets. He maintained throughout his a career a sense of the lyrical. Not for him was the experimental music of the Second Vienna School. He had an exceptional understanding of how to set words to music. Much of his music is meditative and quite inward looking.

As noted by Bernard Benoliel, in many ways Hadley is a link between Vaughan Williams and Benjamin Britten.  For example, the first movement of The Trees so High anticipates in some respects the opening movement of Vaughan Williams's Fifth Symphony, while the 'Taxal Woods' scene from The Hills has a sparely atmospheric, Britten-like quality.

Works
On 19 March 1925 Constant Lambert was the piano soloist at a College concert  for a performance of Hadley's Ephemera, a setting of W B Yeats for soprano, flute, oboe, string quartet and piano completed the year before. Ephemera was probably influenced by Peter Warlock's The Curlew (1920–22) and approaches the Celtic twilight mood of Warlock's piece, though it is less melancholic. Lambert conducted the work again in a version for soprano and small orchestra in a BBC broadcast on 18 December 1931. While Ephemera remained unpublished, another song of farewell scored for similar ensemble, Scene from The Woodlanders (1925, a setting of Thomas Hardy) is more assured and was accepted for publication by Hubert Foss at the Oxford University Press in 1926. Hadley continued to write works for solo voice and small ensemble throughout his career, such as Mariana (setting Tennyson) in 1937 and Lines from 'The Cenci''' (setting Shelley) in 1951.

One of Hadley's undoubted masterpieces is his Symphonic Ballad: The Trees So High, completed in 1931, and first performed in Cambridge the following year. It was at one stage described by Hadley as a 'symphony in A minor'. This work, for baritone, chorus, and full orchestra, uses the melodic framework of the Somerset folksong of that name. The work is in four movements, though it is only in the last movement that Hadley deploys the chorus and soloist, quoting the folksong explicitly in its entirety. Hadley likened his technique in this work to 'three independent brooks which flow into one stream at the beginning of the finale'. A shorter, but important, choral work, La Belle Dame sans merci followed in 1935.  This 'short masterpiece' sets the well-known poem by Keats and lasts approximately 10 minutes in performance.The Hills was completed in 1944 and is perhaps the finest of Hadley's cantatas, the other two being Fen and Flood and Connemara, both dating from the 1950s. The Hills has strong autobiographical links, dealing with the meeting, courtship and marriage of his parents, introduced retrospectively by the narrator (bass soloist) as he returns after his mother's death to the landscape where these events once took place. Hadley wrote: 'I lost my mother in 1940 and that set my mind to the Derbyshire hills where she met my father.' Many specific local place-names are quoted in the text.  As Christopher Palmer notes, the emotion which the composer is ever concerned to communicate is ecstasy.Fen and Flood was completed in 1955: its text both provides a history of the Norfolk Fens and commemorates the devastating floods that hit the North Norfolk coast on the night of 31 January 1953.  Originally performed in 1955 by reduced forces, including a male voice chorus, it was arranged by Vaughan Williams for fuller forces, including a mixed chorus, to increase the chances of the work being performed.  At the first performance of the expanded version in 1956 one of the soloists was Fred Calvert, the King's Lynn Superintendent of Police who had directed the emergency operations during the floods.  The text he sang was the words he used during the emergency!

Hadley wrote little for orchestra alone: purely instrumental music did not hold much attraction for him. Perhaps the gentlest introduction to Hadley is his short orchestral work One Morning in Spring, which was composed to celebrate Ralph Vaughan Williams' seventieth birthday in 1942. It is a fine example of an English tone poem. The early (1923) orchestral sketch Kinder Scout, a musical evocation of the distinctive Derbyshire peak, remained in manuscript, but was recorded for the first time in September 2019 by the BBC Philharmonic Orchestra, conducted by Rumon Gamba. It is strikingly scored, calling for cor anglais but no oboes.

Hadley's last major work was his Lenten Meditations (also known as A Lenten Cantata or A Cantata for Lent), which was completed in 1962.  This is a setting of Biblical texts, written for tenor and bass soloists, chorus and orchestra with organ.

Although Hadley was best of friends with Ralph Vaughan Williams, he was not so drawn into the folk song revival. Still, much of his music has subtle folk characteristics.

Many of the shorter works in the composer's output, such as anthems for liturgical use, were connected with the choir of Gonville and Caius College, Cambridge. He also made a number of arrangements of works in many different genres, from Verdi's Stabat Mater to Waltzing Matilda.

Recordings
 La Belle Dame sans merci: Neill Archer (tenor), Philharmonia Chorus, Philharmonia Orchestra, conducted by Matthias Bamert, 1992, reissued on CD as Chandos CHAN 241-22.
 Fen and Flood, arranged by Ralph Vaughan Williams for soloists, mixed chorus and orchestra: Mary Bevan (soprano), Leigh Melrose (baritone), Joyful Company of Singers, Bournemouth Symphony Orchestra, conducted by Paul Daniel, 2010, issued on Albion Records ALBCD 012.
 The Hills, Felicity Palmer (soprano), Robert Tear (tenor), Robert Lloyd (bass), Cambridge University Musical Society Chorus, London Philharmonic Orchestra conducted by Philip Ledger, 1975, reissued on CD as EMI CDM 5 67118 2.
 I sing of a maiden: Choir of King's College, Cambridge and Francis Grier (organ), conducted by Philip Ledger, 1975, reissued on CD as EMI CDM 5 67118 2.
 Kinder Scout. BBC Philharmonic conducted by Rumon Gamba, on British Tone Poems Volume 2, Chandos Records CHAN 10981, September 2019.
 Lenten Meditations (aka Cantata for Lent):  Neill Archer (tenor), Stephen Richardson (bass), Leslie Pearson (organ), Philharmonia Chorus, Philharmonia Orchestra, conducted by Matthias Bamert, 1992, reissued on CD as Chandos CHAN 241-22.
 My beloved spake: Choir of King's College, Cambridge and James Lancelot (organ), conducted by Sir David Willcocks, 1973, reissued on CD as EMI CDM 5 67118 2.
 One Morning in Spring: London Philharmonic Orchestra, conducted by Sir Adrian Boult, 1979, reissued on Lyrita SRCD 245.
 One Morning in Spring: Philharmonia Orchestra, conducted by Matthias Bamert, 1992, reissued on CD as Chandos CHAN 241-22.
 The Trees so High: David Wilson-Johnson (baritone), Philharmonia Chorus, Philharmonia Orchestra, conducted by Matthias Bamert, 1992, reissued on CD as Chandos CHAN 241-22.
 The Trees so High: Thomas Allen (baritone), Guildford Philharmonic Choir, New Philharmonia Orchestra, conducted by Vernon Handley, 1979, reissued on CD as Lyrita SRCD 238.

Selected works
 Kinder Scout (1923), tone poem for orchestra
 Ephemera (1925), text Yeats, soprano and chamber ensemble
 Scene from The Woodlanders (1925) text Hardy, voice and chamber ensemble
 Lullaby (1929), song, text Richard Rowlands
 The Trees So High, symphonic ballad (1931), for baritone, chorus, and full orchestra
 String Quartet (1933)La Belle Dame sans merci (1935), text Keats, for tenor, chorus and orchestra
 I Sing of a Maiden (1936), short piece for chorus and organ
 The Solitary Reaper (1936), text Wordsworth, part song for unaccompanied choir
 Mariana (1937), text Tennyson, voice and chamber ensemble
 My Beloved Spake (1938), short piece for chorus and organ
 Antigone (1939), incidental music for voices and chamber ensemble
 One Morning in Spring (1942), for orchestra
 The Travellers (1942), text Alan Pryce-Jones, cantata for soprano, chorus and orchestra
 The Hills (1944), cantata for soloists, chorus and orchestra
 Lines from 'The Cenci' (1951), text Shelley, voice and chamber ensemble
 Agamemnon (1953), incidental music for voices and chamber ensemble
 Fen and Flood (1955), cantata for chorus and orchestra
 Connemara (1958), cantata for soprano, tenor, baritone, chorus and orchestra
 Cantata for Lent'' (1962), for tenor and bass soloists, chorus and orchestra with organ.

References

Notes

Sources

 Benoliel, Bernard. Booklet, Chandos CD CHAN 241-22 (2005)
 Connock, Stephen.  Booklet, Albion Records ALBCD 012 (2011)

 Mann, William. Booklet, Lyrita CD SRCD 238 (2007), originally written for 1979 Lyrita LP issue
 Palmer, Christopher.  Booklet, EMI CD 5 67118 2 (1999), originally written for 1976 EMI Angel LP

1899 births
1973 deaths
Musicians from Cambridge
English classical composers
Alumni of the Royal College of Music
People educated at Winchester College
20th-century classical composers
Royal Field Artillery officers
British Army personnel of World War I
Alumni of Pembroke College, Cambridge
Academics of the Royal College of Music
Fellows of Gonville and Caius College, Cambridge
English male classical composers
20th-century English composers
Amanuenses
20th-century British male musicians
Professors of Music (Cambridge)
20th-century musicologists

Patrick Hadley


Konstantia (; , Gostolyubi, ) is a village in the Exaplatanos municipal unit of the Pella regional unit of Macedonia, Greece. It lies on the road to Foustani at an altitude of 180 meters.

History

Ancient history

In 1992 in the south of village an ancient cemetery was found dating from the Iron Age (1100–700 BC.) The cemetery consists of almost 40 graves. It is in the side of an ancient road that crosses west Paiko and connects Almopia with Bottiaio. East of the cemetery some remains of an old settlement are saved.
The discoveries from the interior of graves, departments of vessels, cupreous jewels and iron daggers allow the chronology of the findings at around 1100 to 700 BC.

Modern History and Population
The German sightseer Adolf Struck in 1898 presents Konstantia as a big village with 300 houses and two panes, inhabited exclusively by In 1900, Vasil Kanchov gathered and compiled statistics on demographics in the area and reported that the village of Gostolyubi was inhabited by about 1300  muslims.

The village was incorporated in the Greek territory after the First Balkan War. In 1920 the village numbered 1197 residents, exclusively Muslims.
Ottoman census of the year 1831 village son fatihan
Before the Balkan wars the village was known as Kosteloyp and was renamed Konstantia in 1925. After the great ethnic exchange and installation of Greek refugees the population reached 1144 in 1940. In the last demographic count of 2001, 759 residents where counted.

The refugees that came with the exchange to the village are mainly inhabitants from Pontus and more specific from the region of Kotyora. The rest are from Trabzon, Gialvalides from the region of Yalova, Tsoromlides from the region Çorum (Çoch oyroym = a lot of Greek) near Ankara and Achmetlides from the region Achmeten (Ak-ntag-meten = mine) also near Ankara. The refugees brought with them grails and pictures that are still saved in the village church.

The village of Konstantia had a dramatic role from the beginning of World War II until the end of Greek civil war. Fifty five men, women and children lost their life.
In 1947 the village was a victim of the civil war ferocity.  On 10 February, 33 people were killed during an attack from Dimokratikos Stratos Elladas. Many houses were also set of fire.

Administration history

Administrative changes from 1918 to 2006 :

09/07/1918 - Founding of Kosteloyp community. Kosteloyp settlement set as community seat.
09/07/1918 - Prodromos settlement is merged with Kosteloyp community.
09/07/1918 - Noboseltsi settlement is merged with Kosteloyp community.
14/04/1919 - Noboseltsi settlement is extracted by the Kosteloyp community and becomes seat of Noboseltsi community.
14/04/1919 - Prodromos settlement is extracted by the Kosteloyp community and gets merged with the Noboseltsi community.
24/07/1924 -  Muslims were exchanged from Kosteloyp to Turkey.
13/06/1925 - Kosteloyp settlement of Kosteloyp community is renamed to Konstanteia.
13/06/1925 - Kosteloyp community is renamed to Konstanteia's community.
16/10/1940 - Name of Konstanteia settlement of Konstanteia's community is corrected to Konstantia.
16/10/1940 - Name of Konstanteia's community is corrected to Konstantias community.
04/12/1997 - Community of Konstantia is suppressed to Municipality of Exaplatanos (Program I. Kapodistrias).

References

External links
 Municipality of Exaplatanos

Populated places in Pella (regional unit)
Almopia
Iron Age Greece
Iron Age sites in Europe

Konstantia


Jurgis Karnavičius (23 April 1884 – 22 December 1941) was a Lithuanian composer of classical music and a forerunner of the development of Lithuanian operatic works.

Biography
Karnavičius was born in Kaunas, Lithuania, which at the time was a part of the Russian Empire. After completing his basic education in his homeland, he began the study of Law in St. Petersburg, Russia.

Karnavičius's son, also named Jurgis Karnavičius (1912–2001), was a pianist and the long-time rector of the Lithuanian Academy of Music. His grandson, Jurgis Karnavičius (born 1957), is a concert pianist.

Music had always been his main interest, and he began to simultaneously study music theory and composition. This soon superseded his pursuit of a career in the legal profession. His primary instrument was the viola. Eventually he became a professor at the Conservatory of Music in the now renamed city of Leningrad. During this period he began experimenting with his own theories of musical composition and began writing his own works.

In 1927, Karnavičius returned to Lithuania, which had only regained its independence as a sovereign nation less than ten years earlier. In addition to teaching at the Conservatory of Music in Kaunas, he opted to play the viola with the orchestra of the State Opera for a number of years. Having a personal desire write a new opera himself, and under the influence of the renewed national pride released by Lithuania's regaining its independence, Karnavičius began to write his first opera, Gražina (opera), which premiered on February 16, 1933 as the first Lithuanian national opera in the independent state. It had incorporated more than forty melodies borrowed from Lithuanian folk songs, and was a popular success. It is considered among the first of the "Lithuanian National Operas". This was followed in 1937 by the opera Radvila Perkūnas about the Lithuanian nobleman Krzysztof Mikołaj Radziwiłł.

Selected works
Stage
 Gražuolė (Beauty; La Bellote), Ballet in 1 act, Op.17 (1927); libretto by Pavel Petrov
 Gražina (opera), Opera in 4 acts (1932); libretto by Kazys Inčiūra after poem by Adam Mickiewicz
 Radvila Perkūnas, Opera in 4 acts, 7 scenes (1936); libretto by Balys Sruoga
 Barocco, Ballet in 1 act (1938); libretto by Lesley Blanch
 Apsišaukėlis (The Impostor), Ballet in 1 act (1940); libretto by Helene France
 Jaunimas žaidžia (Youth at Play; Jeunesse s'amuse), Ballet in 1 act (1940); libretto by the composer

Orchestral
 Džigūnas, Lithuanian Dance
 Groteskas (Grotesque), Lithuanian Dance
 Tema su variacijomis (Theme with Variations) (1912)
 Ulalumė, Symphonic Poem, Op.8 (1917)
 Lietuviškoji fantazija (Lithuanian Fantasy), Op.15 (1925)
 Ovalus portretas (The Oval Portrait), Symphonic Poem, Op.18 (1927)

 Chamber music
 String Quartet in F major
 Variations on the Lithuanian Folk Song "Siuntė mane motinėlė" for violin and piano (1907)
 String Quartet No.1, Op.1 (1913)
 2 Romance-Caprices for violin solo, Op.4 (1915)
 String Quartet No.2, Op.6 (1917, published 1928)
 Poema for cello and piano (1917)
 String Quartet No.3, Op.10 (1922)
 String Quartet No.4 (1925)
 Lietuviškoji fantazija (Lithuanian Fantasy) for string quartet, Op.15 (1925)

Piano
 Piano Sonata (1909)
 Variacijos originalia tema (Variations on Original Theme) (1910)
 Šokis (Dance) (1916)
 Lopšinė (Lullaby) (1929)

Vocal
 Gluosnį linguoja (Swinging Willow) for voice and viola (1916); words by Konstantin Balmont
 Serenada (Serenade) for voice and viola (1916); words by Afanasy Fet
 Žiedlapėliai putokšlio (Milkwort Petals) for voice and viola (1916); words by Konstantin Balmont
 Daina (Song) for voice and viola (published 1924); words by Percy Bysshe Shelley
 To for voice and viola (published 1924); words by Percy Bysshe Shelley
 2 Romances after Alexander Pushkin, Op.7 (published 1924)

References

External links
 Jurgis Karnavičius biography and list of works

1884 births
1941 deaths
Lithuanian classical composers
Classical violists
Lithuanian classical musicians
Lithuanian violists
Lithuanian opera composers
Musicians from Kaunas
Academic staff of the Lithuanian Academy of Music and Theatre
Male classical composers
20th-century classical composers
20th-century male musicians
20th-century violists
Opera composers from the Russian Empire

Jurgis Karnavičius (composer)


Saintes-Maries is the subject of a series of paintings that Vincent van Gogh made in 1888.  When Van Gogh lived in Arles, he took a trip to Saintes-Maries-de-la-Mer on the Mediterranean Sea, where he made several paintings of the seascape and town.

Saintes-Maries-de-la-Mer
In June 1888, Van Gogh took a 30-mile stagecoach trip from Arles to the sea-side fishing village of Saintes-Maries-de-la-Mer on the coast of the Mediterranean Sea.  Van Gogh's week-long trip was taken to recover from his health problems and make some seaside paintings and drawings.  At that time, Saintes-Maries was a small fishing village with under a hundred homes.

Seaside
In just a few days, he made two paintings of the sea, one of the village and nine drawings.  One of the paintings was Van Gogh Museum's Fishing Boats on the Beach at Saintes-Maries-de-la-Mer (F413), which he described to his brother, Theo: "I made the drawing of the boats when I left very early in the morning, and I am now working on a painting based on it, a size 30 canvas with more sea and sky on the right. It was before the boats hastened out; I had watched them every morning, but as they leave very early I didn't have time to paint them."  Some of the work on the painting was finished in the studio, such as capturing the light in the sand, sea and sky.

Another seascape Van Gogh made was The Sea at Les Saintes-Maries-de-la-Mer (F415) in which he sought to capture light's effect on the sea.  He wrote that the "Mediterranean Sea is a mackerel color: in other words, changeable – you do not always know whether it is green or purple, you do not always know if it is blue, as the next moment the ever-changing sheen has assumed a pink or a gray tint."  The setting includes fishing boats returning to the village. To emphasize contrast to the color green in the painting, Van Gogh signs his name in large bright red letters.

Fishing Boats at Saintes-Maries-de-la-Mer (F1433) is one of Van Gogh's reed pen drawings of Saint-Maries which he based on his painting The Sea at Les Saintes-Maries-de-la-Mer (F415).  The fluid movements of Van Gogh's pen bring an energy to the drawing, not intended to be a mimetic copy.  Both his choice of the reed pen and the "placement of tiered-patterned strokes" reflect the influence of Japanese prints.  He brings life to the painting through technique.  The Pointillist dotted sky accentuates the clouds.  Whitecaps are evoked by the vertical lines and horizontal lines portray the calmer sea in the distance.

Seascape at Saintes-Maries (Fishing Boats at Sea) was painted six years after Van Gogh wrote that he wished to paint a seaside painting of sand, sea and sky.  In this painting the combination of a high horizon and boats close to the top edge of the frame, draw the audience in to the choppy sea in the foreground and center of the picture.  He also made three drawings of this composition.

Town
In the painting View of Saintes-Maries (F416), Van Gogh painted rows of what is likely lavender from the foreground to the town of Saintes-Maries in the center of the frame, thereby drawing the viewer into the painting.  A wall encloses the town in which a large church becomes the focal point.  The painting takes upon a three-dimensional appearance, starting with relief-like layers of blue paint in the sky.  Finer brushstrokes were used on the field and town buildings.

The Philadelphia Museum of Art owns a drawing that Van Gogh made titled The Road at Saintes-Maries.  It is also known as Cottages in Saintes-Maries (F1436).

See also
 List of works by Vincent van Gogh

References

Bibliography
 Beaujean, D (2000). Van Gogh: Life and Work. Cologne: Konemann. .

1888 paintings
Series of paintings by Vincent van Gogh
Paintings of Arles by Vincent van Gogh
Maritime paintings
Paintings in the Hermitage Museum
Paintings in the Pushkin Museum
Saintes-Maries-de-la-Mer

Saintes-Maries (Van Gogh series)


In aerodynamics, the pitching moment on an airfoil is the moment (or torque) produced by the aerodynamic force on the airfoil if that aerodynamic force is considered to be applied, not at the center of pressure, but at the aerodynamic center of the airfoil.  The pitching moment on the wing of an airplane is part of the total moment that must be balanced using the lift on the horizontal stabilizer. More generally, a pitching moment is any moment acting on the pitch axis of a moving body.

The lift on an airfoil is a distributed force that can be said to act at a point called the center of pressure.  However, as angle of attack changes on a cambered airfoil, there is movement of the center of pressure forward and aft.  This makes analysis difficult when attempting to use the concept of the center of pressure.  One of the remarkable properties of a cambered airfoil is that, even though the center of pressure moves forward and aft, if the lift is imagined to act at a point called the aerodynamic center, the moment of the lift force changes in proportion to the square of the airspeed.  If the moment is divided by the dynamic pressure, the area and chord of the airfoil, the result is known as the pitching moment coefficient. This coefficient changes only a little over the operating range of angle of attack of the airfoil.

The moment coefficient for a whole airplane is not the same as that of its wing.  The figure on the right shows the variation of moment with AoA for a stable airplane.  The negative slope for positive α indicates stability in pitch. The combination of the two concepts of aerodynamic center and pitching moment coefficient make it relatively simple to analyse some of the flight characteristics of an aircraft.

Measurement
The aerodynamic center of an airfoil is usually close to 25% of the chord behind the leading edge of the airfoil.  When making tests on a model airfoil, such as in a wind-tunnel, if the force sensor is not aligned with the quarter-chord of the airfoil, but offset by a distance x, the pitching moment about the quarter-chord point,  is given by

where the indicated values of D and L are the drag and lift on the model, as measured by the force sensor.

Coefficient
The pitching moment coefficient is important in the study of the longitudinal static stability of aircraft and missiles.

The pitching moment coefficient  is defined as follows

where M is the pitching moment, q is the dynamic pressure, S is the wing area, and c is the length of the chord of the airfoil.
 is a dimensionless coefficient so consistent units must be used for M, q, S and c.

Pitching moment coefficient is fundamental to the definition of aerodynamic center of an airfoil.  The aerodynamic center is defined to be the point on the chord line of the airfoil at which the pitching moment coefficient does not vary with angle of attack, or at least does not vary significantly over the operating range of angle of attack of the airfoil.

In the case of a symmetric airfoil, the lift force acts through one point for all angles of attack, and the center of pressure does not move as it does in a cambered airfoil.  Consequently, the pitching moment coefficient about this point for a symmetric airfoil is zero.

The pitching moment is, by convention, considered to be positive when it acts to pitch the airfoil in the nose-up direction.  Conventional cambered airfoils supported at the aerodynamic center pitch nose-down so the pitching moment coefficient of these airfoils is negative.

See also

 Aircraft flight mechanics
 Flight dynamics
 Longitudinal static stability
 Neutral point
 Lift coefficient
 Drag coefficient

References

Bibliography
 L. J. Clancy (1975), Aerodynamics, Pitman Publishing Limited, London,
 Piercy, N.A.V (1943) Aerodynamics, pages 384–386, English Universities Press. London
 Low-Speed Stability Retrieved on 2008-07-18

Aerodynamics
Aerospace engineering
Gliding technology

Pitching moment


Argentinisches Tageblatt () was a German-language weekly newspaper published every Friday in Buenos Aires, Argentina. It was last published on January 13, 2023.

History
The newspaper was founded by a Swiss immigrant from Bern, Johann Alemann, and his son, Moritz, in 1878. It was first published as the Argentinisches Wochenblatt. Together with his other sons, Theodor and Ernst, Alemann then inaugurated a daily newspaper, Argentinisches Tageblatt, in 1889. The weekly Wochenblatt appeared as a weekend section of the newspaper until 1967. In 1981, despite its name, the Argentinisches Tageblatt was changed to a weekly newspaper.

The Argentinisches Tageblatt was one of the many newspapers banned by the Nazis during the period of the Third Reich. Possession of the paper was forbidden throughout the territory of the Third Reich while Hitler was in power, due to the progressive stance adopted by editor-in-chief Ernesto Alemann.

After the military coup of 1976 the publication supported the new authorities. An editorial called for "night and fog actions" in which opponents of the regime should disappear. Roberto Alemann, the son of the publisher, was appointed minister for economy by the military and was thus part of the regime, under which 30,000 people died between 1976 and 1983.

Roberto Alemann has been running the Tageblatt since the death of Ernesto Alemann in 1982. After Roberto's death in 2020, his brother Juan Alemann took over.

References
Sources
 Sebastian Schöpp: Das 'Argentinische Tageblatt' 1933 bis 1945. Ein Forum der antinationalsozialistischen Emigration. Wissenschaftlicher Verlag, Berlin, 1996, .
 Peter Bussemeyer: 50 Jahre Argentinisches Tageblatt. Werden und Aufstieg einer Auslanddeutschen Zeitung. Buenos Aires, 1939.
Footnotes

External links
 Official website

European-Argentine culture in Buenos Aires
Daily newspapers published in Argentina
German-language newspapers published in South America
Newspapers established in 1878
Argentina–Germany relations
German-Argentine culture
Mass media in Buenos Aires
Swiss Argentine

Argentinisches Tageblatt


In Computer graphics, the term color depth is used to specify the amount of color used. Usually it is measured in bits per pixel. One bit can represent two different values. It is known as monochrome or black and white. 16 bit color depth is known as "high color", 24
bits per pixel are known as truecolor. There are also systems with color depths of 30, 36, or 48 bits per pixel. The RGB color model uses 8 bits per pixel, for a total of 24 bits. There may be an extra Alpha channel, with another 8 bits (so a total of 32 bits). Phase Alternating Line, a standard for televisions uses 32 bits per pixel, with a YUV color space.

Gallery

Computer graphics

Color depth


Before the decipherment of cuneiform text, knowledge of the history of the ancient Mesopotamia was mostly dependent upon classical authorities and the Hebrew Bible. These testimonies were scanty and confused for times predating the 7th century BCE. Had the native history of Berossus survived, this may not have been the case; all that is known of the Chaldaean historian's work, however, is derived from quotations in Josephus, Ptolemy, Eusebius, Jerome  and George Syncellus.

Classical Greece
The account of Babylon given by Herodotus is not that of an eye-witness and not very extensive.  In his Histories he mentions that he will devote a whole section to the history of Assyria, but this promise was unfulfilled, or perhaps the book has been lost.  Herodotus' opinions are disputed by Ctesias, who, however, has mistaken mythology for history, and Greek romance owed to him its Ninus and Semiramis, its Ninyas and Sardanapalus. Xenophon's account in the Anabasis gives information on the Achaemenid Empire of his time.

Hellenistic era

Berossus
The authenticity of his list of 10 antediluvian kings who reigned for 120 sari or 432,000 years, has been partially confirmed by the inscriptions; but his 8 postdiluvian dynasties are difficult to reconcile with the monuments, and the numbers associated with them are probably corrupt. It is different with the 7th and 8th dynasties as given by Ptolemy in the Canon of Kings in his Almagest, which prove to have been recorded faithfully:

 Nabonassar (747 BC) 14 years
 Nadios (Nabu-nadin-zeri)
 Khinziros (Nabu-mukin-zeri) and Poros (Pul)
 Ilulaeos (Ululayu)
 Mardokempados (Marduk-apal-iddina II) 12
 Arkeanos (Sargon II)
 Interregnum
 Hagisa 1 month
 Belibos (702 BC) 3 years (Bel-ibni)
 Assaranadios (Ashur-nadin-shumi)
 Regebelos- (Nergal-ushezib) ..year
 Mesesimordakos (Mushezib-Marduk), 4 years
 Interregnum
 Asaridinos (Esarhaddon), 13 years
 Saosdukhinos (Shamash-shum-ukin), 20 years
 Sineladanos (Kandalanu), 22 years

Roman era

See also

Assyriology

References

Ancient Near East

Mesopotamia in Classical literature


Janty Yates (born 1950) is a British costume designer for film and television. In 2001, she won the Academy Award for Best Costume Design for Gladiator (2000). She has also received nominations for BAFTA Awards, Satellite Awards, and Saturn Awards. She is a frequent collaborator with English director Ridley Scott, having worked with him fourteen times .

Career
Janty Yates worked in the fashion industry prior to her career in film and television. Yates' first credited work was in the wardrobe department on the 1981 film Quest for Fire. Her first credited role as a costume designer was for the 1993 British comedy Bad Behaviour, and she worked on a further six films in that role for the rest of the decade.

In 2000, her work on Ridley Scott's Gladiator earned her her first career awards, including the Academy Award for Best Costume Design, and the Las Vegas Film Critics Society award for Best Costume Design, as well as nominations for a BAFTA Award for Best Costume Design and Satellite Award for Best Costume Design. In 2005, she received Best Costume Design nominations from the Costume Designers Guild and Satellite Awards for the 2004 period film De-Lovely. The following year she received her first Goya Award nomination and her third Satellite award nomination for Best Costume Design for Kingdom of Heaven.

In 2006, Yates was one of 120 people invited to join the Academy of Motion Picture Arts and Sciences.

Yates is a frequent collaborator with Scott, having worked on thirteen films with him in addition to Gladiator, including: Hannibal (2001); Kingdom of Heaven (2005); American Gangster (2007); Body of Lies (2008); Robin Hood (2010), for which she received a Saturn Award nomination and her fourth Satellite Award nomination; Prometheus (2012), Exodus: Gods and Kings (2014),  and The Martian (2015). Her most recent films with Scott include the epic historical drama film The Last Duel and the biographical crime drama film House of Gucci'', both released in 2021.

Filmography

Awards and nominations

References

External links

Living people
Best Costume Design Academy Award winners
British costume designers
Women costume designers
1950 births

Janty Yates


Arundel Gate is one of the main thoroughfares in Sheffield, England. It is located in the Heart of the City area of Sheffield City Centre. Arundel Gate also features a fifteen-stand bus station, including a ticket office building, completed in 2005.

Arundel Gate is  long, running through the eastern side of the city centre. It starts as a continuation of the Eyre Street dual carriageway from the Furnival Square roundabout where it meets Furnival Gate and Furnival Street. Arundel Gate initially heads northeast as a dual carriageway, before turning north at Hallam Square and becoming a single carriageway. Continuing northwards, Arundel Gate becomes a dual carriageway again shortly before terminating at Castle Square, the junction with High Street, continuing onwards as Angel Street.

Two conservation areas have been designated by Sheffield City Council in the areas surrounding Arundel Gate. These are the City Centre Conservation Area which covers an area of  on the western side of Arundel Gate, and the Cultural Industries Quarter Convervation Area on the eastern side of the road.

Notable buildings

A number of Sheffield's most prominent landmarks are located along Arundel Gate. St Paul's Tower, the tallest building in the city at  tall, and the adjacent "Cheesegrater" car park were both completed in 2011, fronting onto Arundel Gate as part of the St Paul's Place redevelopment. The Millennium Gallery, opened in 2001, also features an entrance onto Arundel Gate. Tudor Square is located next to Arundel Gate near its northern end; the square includes the Crucible Theatre, the venue for the annual World Snooker Championship, as well as the Central Library, Lyceum Theatre, Studio Theatre and Winter Gardens.

Opposite Tudor Square is a large brutalist structure built into the steep hillside between Arundel Gate and Pond Street in the 1970s. The structure is home to the O2 Academy Sheffield, a music venue which opened in 2008; it had previously been the Roxy's nightclub. Next to the O2 Academy is Odeon Sheffield, a seven-screen cinema opened on the site of the former Fiesta nightclub in 1992. In December 2018, the Odeon was reopened as an Odeon Luxe cinema after a refurbishment. A small underground nightclub, Tank, is located next to the cinema. Running underneath the entire O2 Academy and Odeon structure is a multi-storey car park, accessed from the top via an underpass from Arundel Gate or from the bottom on Flat Street, opposite Sheffield Interchange; it is operated by National Car Parks.

Hallam Square is a pedestrianised public square adjoining onto Arundel Gate to the south of the brutalist complex mentioned above. Several buildings of Sheffield Hallam University's City Campus front onto Arundel Gate around Hallam Square, leading down Howard Street.

Arundel Gate Interchange

Arundel Gate Interchange is a linear bus station located along both sides of Arundel Gate at its northern end, between Castle Square and Hallam Square. It is one of two Travel South Yorkshire Interchanges located in Sheffield City Centre, along with the main bus station at Sheffield Interchange located  to the east on Pond Street. As well as Sheffield Interchange, further onward connections are available from Castle Square tram stop on the Sheffield Supertram network, located at the northern end of Arundel Gate; and from Sheffield station, located beyond Sheffield Interchange.

As well as fifteen roadside bus stops, there is a small Travel South Yorkshire ticket office building located at 30 Arundel Gate, in the middle of the triangle junction between Arundel Gate, Norfolk Street and Milk Street. It is a small triangular building constructed primarily of a blue metal frame with large floor-to-ceiling windows, located directly next to the Crucible Theatre. The ticket office was opened in 2005, originally featuring staffed ticket desks and paper timetable stands. As of 2021, the staffed ticket desks remain, although the paper timetables have now been replaced by automated electronic ticket machines for issuing products onto Travel South Yorkshire smartcards; paper timetables are no longer produced. The ticket office is staffed from 07:00 to 19:00 from Monday to Saturday, and does not open on Sundays. There is also a free-to-use disability-accessible public toilet located on the outside of the building which is available to use 24 hours a day.

A refurbishment project to link Arundel Gate Interchange and Sheffield Interchange commenced in 2018 and was completed in 2020. The project featured the demolition of a row of shops on Arundel Gate, the pedestrianisation of Esperanto Place and Fitzalan Square and widening of pedestrian walkways along Flat Street and Pond Street, and the creation of a new pedestrian link between the cul-de-sac of Esperanto Place and Arundel Gate at the site of the demolished shop buildings. This project created a new high-quality walkway between the two bus stations.

In response to the COVID-19 pandemic in the United Kingdom, temporary changes were made to Arundel Gate Interchange in order to allow for more effective social distancing at peak times. To reduce overcrowding at existing bus stops, two new bus stops were opened on the southbound side of Arundel Gate. These new bus stops were numbered AG123 and AG124; this temporary numbering scheme in the hundreds follows on from other temporary bus stops installed across Sheffield City Centre in response to the pandemic, rather than the numbering system of the existing permanent bus stops at Arundel Gate. Additionally, the roadway at Arundel Gate was reduced from three lanes wide in the northbound direction to two, allowing the pavement to be widened to increase available pedestrian space at the existing bus stops.

Services
Bus stops AG1 to AG8 and AG11 are located on the northbound side of Arundel Gate; all of the others are located on the southbound side of the road, including temporary bus stops AG123 and AG124.

, the stand allocation is:

Gallery

See also
Heart of the City, Sheffield

References

Bus transport in Sheffield
Sheffield
Sheffield City Centre

Arundel Gate


Gerhard Bondzin (29 July 1930 – 20 March 2014) was a German painter and printmaker. From 1946 to 1948, he made toys and ceramics in Sonnenberg. From 1948 to 1951, he studied painting with Hans Hoffmann Lederer at the University of Architecture and Fine Arts Weimar.

Bondzin entered the SED in 1953. He served as a member of the SED 1969 to 1984. From 1969 until the dissolution of the Academy of Arts in Berlin in 1993, he was a full member of the academy.

Bondzin died on 20 March 2014, aged 83.

References

1930 births
2014 deaths
German painters

Gerhard Bondzin


Bruce Vogel (born December 24, 1958) is a Minnesota politician and former member of the Minnesota House of Representatives representing District 13B, which included portions of Kandiyohi County in the west central part of the state, including the cities of Willmar, New London, Spicer, Atwater, Pennock, Kandiyohi, Prinsburg, Lake Lillian, Blomkest and Raymond.

A Republican, he was elected in the 2010 general election, unseating Democrat Al Juhnke, and assumed office on January 4, 2011.  He was defeated in the 2012 general election by Democratic-Farmer-Labor Party member Mary Sawatzky. While in the legislature he served on the Agriculture and Rural Development Policy and Finance, Higher Education Policy and Finance, Judiciary Policy and Finance, and Transportation Policy and Finance committees.
Vogel travelled to the US Capitol 1/6/21 to take part in President Trump's rally to stop the peaceful transition of power.

References

External links

 Rep. Vogel Web Page
 Project Votesmart - Rep. Bruce Vogel Profile
 Bruce Vogel Campaign Web Site

Living people
1958 births
People from Slayton, Minnesota
People from Willmar, Minnesota
Republican Party members of the Minnesota House of Representatives
21st-century American politicians

Bruce Vogel


The Critique of Practical Reason () is the second of Immanuel Kant's three critiques, published in 1788.  It follows on from Kant's first critique, the Critique of Pure Reason and deals with his moral philosophy. While Kant had already published one significant work in moral philosophy, the Groundwork of the Metaphysic of Morals (1785), the Critique of Practical Reason was intended to both cover a wider scope and place his ethical views within the larger framework of his system of critical philosophy.

The second Critique exercised a decisive influence over the subsequent development of the field of ethics and moral philosophy, beginning with Johann Gottlieb Fichte's Doctrine of Science and becoming, during the 20th century, the principal reference point for deontological moral philosophy.

Preface and introduction
Kant sketches out here what is to follow. Most of these two chapters focus on comparing the situation of theoretical and of practical reason and therefore discusses how the Critique of Practical Reason compares to the Critique of Pure Reason.

The first Critique, "of Pure Reason", was a criticism of the pretensions of those who use pure theoretical reason, who claim to attain metaphysical truths beyond the ken of applied reasoning. The conclusion was that pure theoretical reason must be restrained, because it produces confused arguments when applied outside of its appropriate sphere. However, the Critique of Practical Reason is not a critique of pure practical reason, but rather a defense of it as being capable of grounding behavior superior to that grounded by desire-based practical reasoning. It is actually a critique, then, of the pretensions of applied practical reason.

Kant informs us that while the first Critique concluded that God, freedom, and immortality are unknowable on theoretic grounds, the second Critique will mitigate the scope of this claim. Freedom is revealed by the actuality of practical life because it is revealed by the moral law. God and immortality are also knowable, but practical reason now requires belief in these postulates of reason. Kant once again invites his dissatisfied critics to actually provide a proof of God's existence and shows that this is impossible because the various arguments (ontological, cosmological and teleological) for God's existence all depend essentially on the idea that existence is a predicate inherent to the concepts to which it is applied.

Kant insists that the Critique can stand alone from the earlier Groundwork of the Metaphysics of Morals, although it addresses some criticisms leveled at that work. This work will proceed at a higher level of abstraction.

While valid criticisms of the Groundwork are to be addressed, Kant dismisses many criticisms that he finds unhelpful. He suggests that many of the defects that reviewers have found in his arguments are in fact only in their brains, which are too lazy to grasp his ethical system as a whole. As to those who accuse him of writing incomprehensible jargon, he challenges them to find more suitable language for his ideas or to prove that they are really meaningless. He reassures the reader that the second Critique will be more accessible than the first.

Last, a sketch of the second Critique is then presented in the Introduction. It is modeled on the first Critique: the Analytic will investigate the operations of the faculty in question; the Dialectic will investigate how this faculty can be led astray; and the Doctrine of Method will discuss the questions of moral education.

Analytic: Chapter One
Practical reason is the faculty for determining the will, which operates by applying a general principle of action to one's particular situation. For Kant, a principle can be either a mere maxim if it is based on the agent's desires or a law if it applies universally. Any principle that presupposes a previous desire for some object in the agent always presupposes that the agent is the sort of person who would be interested in that particular object. Anything that an agent is interested in can only be contingent, however, and never necessary. Therefore, it cannot be a law.

To say, for example, that the law is to serve God means that the law is dependent on interest in God. This cannot be the basis for any universal moral law. To say that the law is to seek the greatest happiness of the greatest number or the greatest good, always presupposes some interest in the greatest happiness, the greatest number, the greatest good, and so on. Kant concludes that the source of the nomological character of the moral law derives not from its content but from its form alone. The content of the universal moral law, the categorical imperative, must be nothing over and above the law's form, otherwise it will be dependent on the desires that the law's possessor has. The only law whose content consists in its form, according to Kant, is the statement:

Kant then argues that a will which acts on the practical law is a will which is acting on the idea of the form of law, an idea of reason which has nothing to do with the senses. Hence the moral will is independent of the world of the senses, the world where it might be constrained by one's contingent desires. The will is therefore fundamentally free. The converse also applies: if the will is free, then it must be governed by a rule, but a rule whose content does not restrict the freedom of the will. The only appropriate rule is the rule whose content is equivalent to its form, the categorical imperative. To follow the practical law is to be autonomous, whereas to follow any of the other types of contingent laws (or hypothetical imperatives) is to be heteronomous and therefore unfree. The moral law expresses the positive content of freedom, while being free from influence expresses its negative content.

Furthermore, we are conscious of the operation of the moral law on us and it is through this consciousness that we are conscious of our freedom and not through any kind of special faculty. Though our actions are normally determined by the calculations of "self-love", we realize that we can ignore such contingencies when moral duty is at stake. Consciousness of the moral law as such is a priori and unanalysable.

Kant ends this chapter by discussing Hume's denial of the claim that the concept of causation possesses any objective validity. Hume argues that we can never see one event cause another, only the constant conjunction of events. Kant suggests that if Hume's view were universally accepted, then he, Kant, could not have distinguished causality as being both conditioned and objectively valid. Thus he would lack the necessary empty conception of unconditioned causation necessary to prevent the conflating of the phenomenal and noumenal worlds. Since we are autonomous, Kant subsequently claims that we can know something about the noumenal world as unconditioned, namely that we are in it and play a causal role as unconditioned moral agents. This standpoint, however, remains exclusively practical. Consequently, his views advanced do not challenge our limited theoretical knowledge of the things in themselves; theoretical speculation on the noumenal world is avoided.

Analytic: Chapter Two
Kant begins by explaining how, for practical reason, every motive has an intended effect on the world, whose realization is the production of its object. In contrast, the concept of an object of pure practical reason is one whose possibility is distinguished from impossibility in virtue of its capacity to be brought about by a willing of the necessary action independently of one's material conditions for doing so. When it is desire that is driving us, we first examine the possibilities that the world leaves open to us, selecting some effect at which we wish to aim. Acting on the practical moral law does not work in this way. The only possible object of the practical law is the Good, since the Good is always an appropriate object for the practical law.

It is necessary to avoid the danger of understanding the practical law simply as the law that tells us to pursue the good, and try to understand the Good as that at which the practical law aims. If we do not understand the good in terms of the practical law, then we need some other analysis by which to understand it. The only alternative is to mistakenly understand the Good as the pursuit of pleasure and evil as the production of pain to oneself.

This sort of confusion between the Good and pleasure
also arises when we confuse the concepts of good versus evil with the concepts of good versus bad. The good, when contrasted with the bad, is really just pleasure. But this is not the case with the good, in the sense of morally good. A morally good person may suffer from a painful disease (bad), but he does not therefore become a bad (evil) person. If a morally bad person is punished for his crimes, it may be bad (painful) for him, but good and just in the moral sense.

The error of all past philosophical investigations into morality is that they have attempted to define the moral in terms of the good rather than the other way around. In this way, they have all fallen victim to the same error of confusing pleasure with morality. If one desires the good, one will act to satisfy that desire, that is in order to produce pleasure.

The moral law, in Kant's view, is equivalent to the idea of freedom. Since the noumenal cannot be perceived, we can only know that something is morally right by intellectually considering whether a certain action that we wish to commit could be universally performed.  Kant calls the idea that we can know what is right or wrong only through abstract reflection moral rationalism. This is to be contrasted with two alternative, mistaken approaches to moral epistemology: moral empiricism, which takes moral good and evil to be something we can apprehend from the world and moral mysticism, which takes morality to be a matter of sensing some supernatural property, such as the approbation of God. Although both positions are mistaken and harmful, according to Kant, moral empiricism is much more so because it is equivalent to the theory that the morally right is nothing more than the pursuit of pleasure.

In this chapter, Kant makes his clearest and most explicit formulation of the position he adopts with respect to the question of the fundamental nature of morality. Kant's position is that moral goodness, which consists in following the rule of the categorical imperative, is more basic to ethics than good consequences, and that it is the right motivations—an obligation to duty—which is criterial for defining a person as good. Hence, Kant is a deontologist, in the terminology of contemporary philosophy, particularly that of analytic philosophy. He also takes a position on the important question of how we can distinguish what is right from what is wrong. Kant believes that we can never really be sure when we have witnessed a moral act, since the moral rightness of an act consists of its being caused in the right way from the noumenal world, which is by definition unknowable. Hence, he is a moral rationalist.

Dialectic: Chapter One
Pure reason, in both its theoretical and practical forms, faces a fundamental problem. Most things in the phenomenal realm of experience are conditional (i.e. they depend on something else) but pure reason always seeks for the unconditional. The problem is that the unconditional, according to Kant, is only to be found in the noumenal world. Pure reason, when it attempts to reach beyond its limits into the unconditional realm of the noumenon is bound to fail and the result is the creation of antinomies of reason.

Antinomies are conflicting statements both of which appear to be validated by reason. Kant exposed several such antinomies of speculative reason in the first Critique. In the second Critique, he finds an antinomy of pure practical reason whose resolution is necessary in order to further our knowledge.

In this case, the antinomy consists in the fact that the object of pure practical reason must be the highest good (Summum bonum). Good actions depend on the highest good to make them worthwhile. However, assuming the existence of a highest good leads to paradox and assuming the non-existence of a highest good also leads to paradox.

Dialectic: Chapter Two
Kant posits two different senses of "the highest good." On one sense, it refers to that which is always good and which is required for all other goods. This sense is equivalent to "dutifulness". In another sense, it refers to the best of good states, even if part of that state is only contingently good. In this latter sense, the highest good combines virtuousness with happiness.

The highest good is the object of pure practical reason, so we cannot use the latter unless we believe that the former is achievable. However, virtue obviously does not necessarily lead to happiness in this world and vice versa. To aim at one is not to aim at the other and it seems to be a matter of chance whether the rest of the world will fill in the gap by rewarding us for our virtuous behavior.

But Kant's solution is to point out that we do not only exist phenomenally but also noumenally. Though we may not be rewarded with happiness in the phenomenal world, we may still be rewarded in an afterlife which can be posited as existing in the noumenal world. Since it is pure practical reason, and not just the maxims of impure desire-based practical reason, which demands the existence of such an afterlife, immortality, union with God and so on, then these things must be necessary for the faculty of reason as a whole and therefore they command assent.

The highest good requires the highest level of virtue.  We can know by self-examination that such virtue does not exist in us now, nor is it likely to exist in the foreseeable future. In fact, the only way in which the fallible human will can become similar to the holy will is for it to take an eternity to achieve perfection. Therefore, we can postulate the existence of immortality. If we do not postulate it,  we will be led to either soften the demands of morality in order to make them achievable here and now or we will make the absurd demand on ourselves that we must achieve the holy will now.

The highest good also requires the highest level of happiness, in order to reward the highest level of virtue. We therefore need to postulate that there is an omniscient God who can order the world justly and reward us for our virtue.

Doctrine of method
In the first Critique, the Doctrine of Method plans out the scientific study of the principles of pure theoretical reason. Here, however, the Doctrine of Method will instead be a discussion of how the principles of practical reason can be brought to bear on real life. In other words, the Doctrine of Method in the second Critique is fundamentally concerned with moral education: the question of how we can make people live and act morally.

Kant has shown that truly moral behavior requires more than just the outward show of good behavior; it also requires the right inner motivations. The cynic or utilitarian might be doubtful as to whether it is truly possible for human beings to act out of an "obligation to duty." In his view, even if we could produce a simulacrum of a moral society, it would all be an enormous theater of hypocrisy, since everyone would inwardly, privately continue to pursue his or her own advantage. Moreover, this outward show of morality would not be stable, but dependent on its continuing to be to the advantage of each individual. Fortunately, Kant believes, such doubts are misguided.

Almost any time there is a social gathering of some sort, the conversation will include gossip and argumentation which entails moral judgments and evaluations about the rightness or wrongness of the actions of others. Even people who normally do not enjoy intricate arguments tend to reason acutely and with great attention to detail when they are caught about in the justification or condemnation of their next-door neighbors' behavior.

Moral education should exploit this natural human tendency for moral evaluation by presenting the students with historical examples of good and evil actions. Through debating and discussing the worth of these examples on a case-by-case basis, the students will be given the opportunity to experience for themselves the admiration we feel for moral goodness and the disapproval that we feel for moral evil.

However, it is necessary to select the right sorts of examples in order to demonstrate genuine moral goodness. And here, Kant says, we are liable to error in two ways. The first type of error consists in trying to attract students into being moral by providing them examples in which morality and self-love coincide. The second type of error consists in trying to emotionally arouse the students about morality by providing examples of extraordinary moral heroism, above what morality normally requires. The examples we choose should stress simple dutifulness.

The first of these methods, argues Kant, is destined to fail because students will not come to understand the unconditional nature of duty. The examples will also not be very inspiring. When we see extraordinary self-sacrifice in the name of following a principle we are inspired and moved. But when we see someone following a principle with hardly any sacrifice or cost to himself, we are not equally impressed.

The second method will also fail because it appeals to the emotions rather than to reason. It is only reason that can produce long-lasting change in a person's character. This method also leads students to associate morality with the impossible theatrics of melodrama, and therefore to disdain the everyday obligations they should be fulfilling as boring and useless.

Kant ends the second Critique on a hopeful note about the future of ethics. The wonders of both the physical and the ethical worlds are not far for us to find: to feel awe, we should only look upward to the stars or inward to the moral law which we carry around within us. The study of the physical world was dormant for centuries and wrapped in superstition before the physical sciences actually came into existence. We are allowed to hope that soon the moral sciences will replace superstition with knowledge about ethics.

Referencing
The A numbers used as standard references refer to the page numbers of the original (1788) German edition.

References

External links

 Critique of Practical Reason at the Encyclopædia Britannica

  Immanuel Kant in Italia resources about the Critique of Practical Reason

 Bergande, W.: "Kant's Apathology of Compassion", in: L. Schreel (Ed.): Pathology and Aesthetics, Duesseldorf: Duesseldorf University Press, 2016

1788 non-fiction books
Books by Immanuel Kant
Ethics books
German non-fiction books

Critique of Practical Reason


Color-glass condensate (CGC) is a type of matter theorized to exist in atomic nuclei when they collide at near the speed of light. During such collision, one is sensitive to the gluons that have very small momenta, or more precisely a very small  Bjorken scaling variable.
The small momenta gluons dominate the description of the collision because their density is very large. This is because a high-momentum gluon is likely to split into smaller momentum gluons.
When the gluon density becomes large enough, gluon-gluon recombination puts a limit on how large the gluon density can be.  When gluon recombination balances gluon splitting, the density of gluons saturate, producing new and universal properties of hadronic matter. This state of saturated gluon matter is called the color-glass condensate.

"Color" in the name "color-glass condensate" refers to a type of charge that quarks and gluons carry as a result of the strong nuclear force. The word "glass" is borrowed from the term for silica and other materials that are disordered and act like solids on short time scales but liquids on long time scales. In the CGC phase, the gluons themselves are disordered and do not change their positions rapidly. "Condensate" means that the gluons have a very high density.

The color-glass condensate describes an intrinsic property of matter that can only be observed under high-energy conditions such as those at RHIC, the Large Hadron Collider as well as the future Electron Ion Collider.

The color-glass condensate is important because it is proposed as a universal form of matter that describes the properties of all high-energy, strongly interacting particles. It has simple properties that follow from first principles in the theory of strong interactions, quantum chromodynamics. It has the potential to explain many unsolved problems such as how particles are produced in high-energy collisions, and the distribution of matter itself inside of these particles.

Researchers at CERN believe they have created color-glass condensates during collisions of protons with lead ions.  In these sorts of collisions, the standard outcome is that new particles are created and fly off in different directions. However, the Compact Muon Solenoid (CMS) team at the LHC found that in a sample of 2 million lead-proton collisions, some pairs of particles flew away from each other with their respective directions correlated.  This correlation of directions is the anomaly that might be caused by the existence of a color-glass condensate while the particles are colliding.

Erroneous description in term of hadronic pancakes or gluonic wall
The high density of gluon seen during the collision is often explained by contraction of the nucleus. Accordingly, this one would appear compressed along its direction of motion and as a result, the gluons inside the nucleus would appear to a stationary observer as a "gluonic wall" traveling near the speed of light. At very high energies, the density of the gluons in this wall would then increase greatly. However, this description is incorrect for two reasons:

Such description depends on the frame and therefore violates Lorentz invariance: a fundamental description of the structure of an object cannot depend on a choice of frame. A classical analogy would be if one would provide a fundamental description using fictitious forces such as the Coriolis force.
contraction is not observable in collision experiments due to the Penrose–Terrell effect.

A correct description of the collision can be given using light-front wave functions, which are frame-independent.

See also
 Glasma

References

"Background on color glass condensate". Brookhaven National Laboratory.
McLerran, Larry (April 26, 2001). "The Color Glass Condensate and Small x Physics: 4 Lectures".
Iancu, Edmond; Venugopalan, Raju (March 24, 2003). "The Color Glass Condensate and High Energy Scattering in QCD".
Weigert, Heribert (January 11, 2005). "Evolution at small x_bj: The Color Glass Condensate".
Riordon, James; Schewe, Phil; Stein, Ben (January 14, 2004). "Color Glass Condensate". aip.org.
Moskowitz, Clara (November 27, 2012). "Color-Glass Condensate: New State Of Matter May Have Been Created By Large Hadron Collider". HuffingtonPost.com
Trafton, Anne (November 27, 2012). "Lead-proton collisions yield surprising results". MITnews.

External links

Quantum chromodynamics
Nuclear physics

Color-glass condensate


Mohammad-Hussain Sarāhang ( - Sarāhang; 1924–1983) was an Afghan ghazal singer and an exponent of Indian classical music from Kabul, Afghanistan.

Career and education
Mohammad-Hussain Sarahang (née Mohammad-Hussain) was born in 1924 in the Kharabat area of Kabul, an old district known for producing some of the country's greatest musicians. He was the second oldest son of musician Ghulam Hussain, who taught his son the basics of music. Sarahang studied Indian classical music in the Patiala style of singing under Ashiq Ali Khan.

After 16 years, Sarahang returned to Kabul at the age of 25 (c. 1949). Sarahang typically performed various genres of classical and semi-classical music including khayal, thumri, tarana and ghazal. He usually sang the ghazals of Amir Khusrow and Abul Ma'āni Bedil, famous poets who wrote in Persian, as he was a Bedil Shenās (Bedil Expert).

At the age of 25 (c. 1949), Sarahang participated in a festival of music held at Kabul's Pamir Cinema. Amongst the participants were Qasim and Bade Ghulam Ali Khan. At this festival, Sarahang was awarded a Gold Medal. A few years later, the government of Afghanistan awarded him the title of Sarāhang.

Books
He wrote two books about classical music, Qānūn-e Tarab (The Law of Music) and Mūssīqī-e Rāg-hā (Music of Ragas). He has also created or composed several ragas including Hazra and Minamalee.

In addition he once also wrote articles for the Pashtun Ghag newspaper in Kabul.

Honors
He earned the following titles and degrees from various music schools of India:

 Degrees of Master, Doctor and Professor of Music from Kalakendra School of Music, Calcutta
 Title of "Koh-e Beland" (High Mountain of Music) from Chandigarh School of Music, Chandigarh
 Title of "Sar Taj-e Musiqee" (Top Crown of Music) from Central School of Music, Allahabad
 Title of "Baba-e Musiqee" (The Father of Music) in his final concert in New Delhi, 1979
 Title of "Sher-e Musiqee" (Lion of Music) in his last performance in Allahabad, 1982

Death
Upon his last trip to India in 1982, Sarahang fell ill and was hospitalized and ordered not to sing and to keep his talking to a minimum. Sarahang told his doctors he was feeling homesick and he would get better if he went back to Afghanistan. He returned to Afghanistan but disregarded the orders of his doctors and continued his performance. In 1983 he became ill again and was hospitalized in Kabul where he died from a heart attack.

Notes

External links
 A collection of some of his performances from North Indian Classical Archive

1924 births
1983 deaths
Pashtun male singers
Afghan musicians
Hindustani singers
Male ghazal singers
Afghan ghazal singers
Persian-language singers
20th-century Khyal singers
Classical music in Afghanistan
20th-century Afghan male singers

Mohammad Hussain Sarahang


Pterostylis caulescens is a plant in the orchid family Orchidaceae and is endemic to New Guinea. It was first formally described in 1946 by Louis Otho Williams from a specimen collected in the Rawlinson Range by Mary Strong Clemens. The description was published in the Harvard University Botanical Museum Leaflets. Williams noted that it was distinguished from other Pterostylis in New Guinea by its large stem leaves which are  long and  wide. He also noted that he was describing the plant from poor material but that the colour of the flower was "flesh pink". The specific epithet (caulescens) is derived from the Latin word caulis meaning "a stem", hence caulescent.

References

caulescens
Orchids of New Guinea
Plants described in 1946
Endemic flora of New Guinea

Pterostylis caulescens


The Sanjak of Gümülcine (Ottoman Turkish: Sancak-i Gümülcine, , ) was a second-level province (sanjak) of the Ottoman Empire in Thrace, forming part of the Adrianople Vilayet. Its capital was Gümülcine, modern Komotini in Greece.

History and administrative division
The sanjak of Gümülcine was created in 1878 out of the territory of the sanjaks of Gallipoli and Filibe (Plovdiv) from the Adrianople Vilayet, as well as parts of the sanjak of Drama of the Salonica Vilayet.

It comprised six sub-provinces or kazas, which were further subdivided into nahiyes:

 Kaza of Gümülcine (mod. Komotini): Seyh Cumaya, Kirli or Girli, Çakal, Celebiye, Şehir (Gümülcine urban area), Saphane, Yasi, Maronya, Kura-i Cedid
 Kaza of Sultan Yeri (mod. Krumovgrad): Ada, Tashli, Güve, Teke, Mestanlı
 Kaza of Ahi Çelebi (mod. Smoljan): Ismilan, Çitak, Karsili, Pasavik, Tozburun, Söğütçük
 Kaza of İskeçe (mod. Xanthi): Yenice, Sakar Kaya, Celepli, Cedid, Yassiören
 Kaza of Eğri Dere (mod. Ardino): Mesgulli, Küçük Viran, Davud, Hotaşlı and Dolastir, Rupçoz (retroceded by Bulgaria in 1886)
 Kaza of Dari Dere (mod. Zlatograd): Şahin, Ak Bunar

The sanjak survived until it was occupied by Bulgarian troops in the First Balkan War (1912–1913), after which it came under Bulgarian control. In 1919, after World War I, the southern portions came under Allied administration with the Treaty of Neuilly, and in 1920 they came under Greek control, forming the prefectures of Xanthi and Rhodope.

References

Sanjaks of the Ottoman Empire in Europe
Ottoman Greece
Ottoman period in the history of Bulgaria
History of Western Thrace
1878 establishments in the Ottoman Empire
Komotini
Ottoman Thrace
Adrianople vilayet
1912 disestablishments in the Ottoman Empire

Sanjak of Gümülcine


Astraeus hygrometricus, often known as the 'hygroscopic earthstar, the barometer earthstar, or the false earthstar, is a Diplocystaceae fungus. When closed, young specimens resemble a puffball. When mature, the mushroom takes on the distinctive earthstar form, which is caused by the outer layer of fruit body tissue splitting apart in a star-like pattern.

References

Mushrooms

Astraeus hygrometricus


The ragdoll is a cat breed. It is large, with blue eyes, and a semi-longhair soft and silky coat of fur. It is usually mostly white, with light to dark marks.

The ragdoll was first bred by an American breeder named Ann Baker from a Persian-like cat (without a pedigree) and a Birman cat with the Siamese colorpoint gene. It is similar in appearance to the Himalayan, which was bred directly from the Persian and Siamese.

The Ragdoll is gentle, easy going, and affectionate. The breed was named "Ragdoll" because they often go limp and relax like a rag or cloth doll when it is picked up. The original mother cat that the breed was created from was involved in a car accident, but contrary to popular belief, this is not why the breed goes limp when picked up (injuries from an accident are not passed on to offspring genetically).

Ragdoll is a breed that enjoys being around humans and it may follow its owner around the house. Due to its unique dog like characteristics and soft nature, the breed has gained lots of popularity. In fact, the breed became the most popular cat breed for three consecutive years, i.e., 2019,2020, and 2021, in one of the world's largest cat registries of pedigree cats- CFA.

The Ragdoll cat is a largest domestic cat breed. It has an overall relaxed and laid-back look with a medium-long coat that comes in a variety of colors and patterns. The fur is usually semi-long with a silky texture and tends to be lighter on the belly, legs, and tail. The eyes are round and wide set and come in various shades of blue, green or copper. The face is broad with distinct markings on the forehead, cheeks, chin, and nose bridge. The ears are large with rounded tips while the muzzle is somewhat square in shape. Its body shape can range from cobby to semi-foreign but typically has an overall muscular build. The Ragdoll cat is also known for its docile personality and gentle demeanor which adds to its appeal as a pet breed.

The breed typically weigh between 15 to 20 pounds, with females usually being on the smaller side of that range. They are the large breed of cat, so they have a strong and muscular body type which helps them to carry their larger size. Despite their size, Ragdolls are known for being calm and gentle cats which makes them great family pets. They also require minimal grooming due to their short coat, making them an ideal pet for those looking for an affectionate companion without the hassle of long term maintenance. With proper care and diet, Ragdoll cats can live up to 15 years or more.

References

Colorpoint cat breeds

Ragdoll