Composite construction is a generic term to describe any building construction involving multiple dissimilar materials.  Composite construction is often used in building aircraft, watercraft, and building construction. There are several reasons to use composite materials including increased strength, aesthetics, and environmental sustainability.

Structural engineering
In structural engineering, composite construction exists when two different materials are bound together so strongly that they act together as a single unit from a structural point of view.  When this occurs, it is called composite action.  One common example involves steel beams supporting concrete floor slabs.  If the beam is not connected firmly to the slab, then the slab transfers all of its weight to the beam and the slab contributes nothing to the load carrying capability of the beam.  However, if the slab is connected positively to the beam with studs, then a portion of the slab can be assumed to act compositely with the beam.  In effect, this composite creates a larger and stronger beam than would be provided by the steel beam alone.  The structural engineer may calculate a transformed section as one step in analyzing the load carry capability of the composite beam.

Ships
In 19th-century shipbuilding, composite construction was the use of an iron hull framework which was covered in timber planking to provide the water-tight skin of the hull. If properly insulated fastenings were used on the timber, the underwater hull could be covered with copper sheathing without the problem of galvanic corrosion. Copper sheathing prevented fouling and teredo worm, but could not be used on iron hulls. The iron framework of composite ships was less bulky and lighter than timber, so allowing more cargo in a hull of the same external shape. The weight saving was particularly significant. The strength and stiffness allowed sailing vessels to be driven hard as the accumulated straining of the hull did not produce the leaks that would develop in the older wooden built ships.

Composite hulls were used for the majority of the clippers built from the mid-1860s. Early experiments with the system started with a patent issued in 1839, under which the steamer Assam was built. Other patents followed, with differing methods of electrically insulating the iron frames and fastenings from the copper sheathing.

Surviving examples are , a steam and sail powered warship, and the clipper .

House building
A flitch beam is a simple form of composite construction sometimes used in North American light frame construction.  This occurs when a steel plate is sandwiched between two wood joists and bolted together.  A flitch beam can typically support heavier loads over a longer span than an all-wood beam of the same cross section.

Deck construction

Composite wood decking
The traditional decking material is pressure-treated wood. The current material many contractors choose to use is composite decking. This material is typically made from wood-plastic composite or Fiberglass Reinforced Plastic (FRP). Such materials do not warp, crack, or split and are as versatile as traditional pressure treated wood. Composite decking is made through several different processes, and there are a multitude of sizes, shapes, and strengths available. Depending on the type of composite selected the decking materials can be used for a number of other construction projects including fences and sheds.

Composite steel deck
In a composite steel deck, the dissimilar materials in question are steel and concrete. A composite steel deck combines the tensile strength of steel with the compressive strength of concrete to improve design efficiency and reduce the material necessary to cover a given area. Additionally, composite steel decks supported by composite steel joists can span greater distances between supporting elements and have reduced live load deflection in comparison to previous construction methods.

Cement-polymer composites
Cement-polymer composites are being developed and tested as a replacement for traditional cement. The traditional cement used as stucco rapidly deteriorates. The deterioration causes the material to easily crack due to thermo-processes becoming permeable to water and no longer structurally sound. The United States Environmental Protection Agency in conjunction with  Materials and Electrochemical Research Corporation tested a cement-polymer composite material consisting of crumb rubber made from recycled rubber tires and cement. It was found that 20% crumb rubber can be added to the cement mixture without affecting the appearance of the cement.  This new material was tested for strength and durability using American Society for Testing and Materials (ASTM International) standards.

See also
Structural analysis
Composite material
Reinforced concrete
Framing (construction)
Construction

References

Civil engineering
Construction
Building materials
Prestressed concrete construction

Composite construction


José Antonio Domínguez Bandera (born 10 August 1960), known professionally as Antonio Banderas (), is a Spanish actor and director. Known for his work in films of several genres, he has received various accolades, including a Cannes Film Festival Award and a European Film Award, in addition to nominations for an Academy Award, a Tony Award, two Primetime Emmy Awards, and five Golden Globe Awards.

Banderas made his film debut in Pedro Almodóvar's screwball comedy Labyrinth of Passion (1982). They've since collaborated on many films including Matador (1986), Law of Desire (1987), Women on the Verge of a Nervous Breakdown (1988), Tie Me Up! Tie Me Down! (1989), and The Skin I Live In (2011). For Almodóvar's 2019 film Pain and Glory, Banderas earned various accolades in the Best Actor category including the Cannes Film Festival Award, Goya Award, and nominations from the Academy Awards and Golden Globe Awards.

He's also known for films such as Philadelphia (1993), Interview with the Vampire (1994), Desperado (1995), Assassins (1995), Evita (1996), and The Mask of Zorro (1998). He also appeared in the first three films of the Spy Kids series (2001–2003) and provided the voice of Puss in Boots in the Shrek franchise (2004–present) starting with Shrek 2 (2004) and most recently Puss in Boots: The Last Wish (2022).

In 2003, Banderas made his US theater debut as Guido Contini in Nine, for which he was nominated for a Tony Award and won a Drama Desk Award. He received Primetime Emmy Award nominations for his roles in the television film And Starring Pancho Villa as Himself (2004) and the second season of Genius (2018); his portrayal of Pablo Picasso in the latter garnered him critical praise.

Early life
José Antonio Domínguez Bandera was born on 10 August 1960 in Málaga, to Civil Guard gendarme officer José Domínguez Prieto (1920–2008) and schoolteacher Ana Bandera Gallego (1933–2017). He has a younger brother named Francisco. As a little boy, Banderas wanted to become a professional football player until a broken foot sidelined his dreams at the age of 15. He showed a strong interest in the performing arts and formed part of the ARA Theatre-School run by Ángeles Rubio-Argüelles y Alessandri (wife of diplomat and filmmaker Edgar Neville) and the College of Dramatic Art, both in Málaga. His work in the theater and his performances on the streets eventually landed him a spot with the Spanish National Theatre.

Career

1980s
Banderas began his acting studies at the School of Dramatic Art in Málaga, and made his acting debut at a small theater in Málaga. He began working in small shops during Spain's post-dictatorial cultural movement known as the La Movida Madrileña.

While performing with the theater, Banderas caught the attention of Spanish director Pedro Almodóvar, who gave the young actor his film debut in Labyrinth of Passion. Five years later, he went on to appear in the director's Law of Desire (1987), making headlines with his performance as a gay man, which required him to engage in his first male-to-male onscreen kiss. After Banderas appeared in Almodóvar's 1986 Matador, the director cast him in his internationally acclaimed 1988 film, Women on the Verge of a Nervous Breakdown. The recognition Banderas gained for his role increased, years later, when he starred in Almodóvar's controversial Tie Me Up! Tie Me Down! (1989) as a mental patient who kidnaps a porn star (Victoria Abril) and keeps her tied up until she returns his love. His breakthrough role in Tie Me Up! Tie Me Down! helped spur him on to Hollywood. Almodóvar is credited for helping launch Banderas's international career, as he became a regular feature in his films throughout the 1980s.

1990s

In 1991, Madonna introduced Banderas to Hollywood. (He was an object of her desires in her pseudodocumentary film of one of her concert tours, Madonna: Truth or Dare.) The following year, still speaking minimal English, he began acting in U.S. films. Despite having to learn all his lines phonetically, Banderas still managed to turn in a critically praised performance as a struggling musician in his first American drama film, The Mambo Kings (1992).

Banderas then broke through to mainstream American audiences in the Jonathan Demme film Philadelphia (1993), as the life-long partner of lawyer Andrew Beckett (Tom Hanks), who has AIDS. The film's success earned Bandera's wide recognition, and the following year, he was given a role in Neil Jordan's high-profile adaptation of Anne Rice's Interview with the Vampire (1994), sharing the screen with Brad Pitt, Tom Cruise, and Kirsten Dunst. He appeared in several major Hollywood releases in 1995, including a starring role in the Robert Rodriguez-directed film Desperado and the antagonist on the action film Assassins, co-starred with Sylvester Stallone. In 1996, he starred alongside Madonna in Evita, an adaptation of the musical by Andrew Lloyd Webber and Tim Rice in which he played the narrator, Che, a role played by David Essex in the original 1978 West End production. He also had success with his role as the masked swordsman Zorro in the 1998 film The Mask of Zorro starring Anthony Hopkins and Catherine Zeta-Jones. In 1999, he starred in The 13th Warrior, a movie about a Muslim caught up in a war between the Northman and human-eating beasts.

2000s

In 2001, he collaborated with Robert Rodriguez who cast him in the first three movies of the Spy Kids franchise. He also starred in Michael Cristofer's Original Sin alongside Angelina Jolie the same year. In 2002, he starred in Brian De Palma's Femme Fatale opposite Rebecca Romijn and in Julie Taymor's Frida with Salma Hayek. In 2003, he starred in the last installment of the trilogy Once Upon a Time in Mexico (in which he appeared with Johnny Depp and Hayek). Banderas' debut as a director was the poorly received Crazy in Alabama (1999), starring his then wife Melanie Griffith.

In 2003, he returned to the musical genre, appearing to great acclaim in the Broadway revival of Maury Yeston's musical Nine, based on the film 8½, playing the prime role originated by Raul Julia. Banderas won both the Outer Critics Circle and Drama Desk awards, and was nominated for the Tony Award for best actor in a musical. His performance is preserved on the Broadway cast recording released by PS Classics. Later that year, he received the Rita Moreno HOLA Award for Excellence from the Hispanic Organization of Latin Actors (HOLA).

Banderas' voice role as Puss in Boots in Shrek 2, Shrek the Third, and the last film in the Shrek franchise, Shrek Forever After, helped make the character popular on the family film circuit. In 2005, he reprised his role as Zorro in The Legend of Zorro, though this was not as successful as The Mask of Zorro. In 2006, he starred in Take the Lead, a high-set movie in which he played a ballroom dancing teacher. That year, he directed his second film, El camino de los ingleses, based on the novel by Antonio Soler and also received the L.A. Latino International Film Festival's "Gabi" Lifetime Achievement Award on 14 October.

He received a star on the Hollywood Walk of Fame in 2005, the 2,294th person to do so; his star is located on the north side of the 6800 block of Hollywood Boulevard.

2010s

In 2011, the horror thriller The Skin I Live In marked the return of Banderas to Pedro Almodóvar, the Spanish director who launched his international career. The two had not worked together since 1990 (Tie Me Up! Tie Me Down!). In The Skin I Live In he breaks out of the "Latin Lover" mold from his Hollywood work and stars as a calculating revenge-seeking plastic surgeon following the rape of his daughter. According to the Associated Press Banderas' performance is among his strongest in recent memory. He again lent his voice to Puss in Boots, this time as the protagonist of the Shrek spin-off prequel, Puss in Boots. This film reunited Banderas with Salma Hayek for the sixth time.

In 2015, Banderas starred in The SpongeBob Movie: Sponge Out of Water as Burger Beard, the film's main antagonist.

In 2018, Banderas starred in the National Geographic limited series Genius: Picasso, as the noted sculptor and painter Pablo Picasso. For his performance he received a Primetime Emmy Award, Screen Actors Guild Award, and Golden Globe Award nomination. He also starred in the ensemble drama Life Itself (2018) which premiered at the Toronto International Film Festival.

In 2019, Banderas starred in the Spanish film Pain and Glory (Dolor y gloria), directed by Pedro Almodóvar. The film centers around an aging film director played by Banderas who has a chronic illness and writer's block as he reflects on his life in flashbacks to his childhood. The film has been described as semi-autobiographical, according to Almodóvar. The film premiered at the 2019 Cannes Film Festival to critical acclaim. On 25 May 2019, Banderas won Cannes Film Festival Award for Best Actor for his role in the film. He was later nominated for his first ever Academy Award for Best Actor in a Leading Role for Pain and Glory. Also in 2019, Banderas starred in Steven Soderbergh's Netflix film The Laundromat alongside Meryl Streep, and Gary Oldman.

2020s
In 2020, he co-starred with Robert Downey Jr. in the fantasy adventure film Dolittle. In 2022, Banderas appeared as Santiago Moncada, the antagonist of the film Uncharted with Tom Holland and Mark Wahlberg. He also returned to work for DreamWorks Animation reprising his voice as Puss in Boots in the sequel Puss in Boots: The Last Wish. He also appeared in The Enforcer which filmed in Greece in 2022. In 2023, he appeared in Indiana Jones and the Dial of Destiny with Harrison Ford, Mads Mikkelsen, Phoebe Waller-Bridge, Toby Jones and John Rhys-Davies. He is set to portray Herod in Christmas musical film Journey to Bethlehem. In June 2023, it was announced that Banderas was cast in Paddington in Peru. He is reportedly playing Hunter Cabot, a dashing and intrepid riverboat captain who offers to help the Brown family on their Peruvian adventure. His daughter will be played by Carla Tous. Other co-stars include Hugh Bonneville, Emily Mortimer, Olivia Colman, and Jim Broadbent.

Personal life
A longtime supporter of Málaga CF, Banderas is also an officer (mayordomo de trono) of a Roman Catholic religious brotherhood in his hometown of Málaga and travels during Holy Week to take part in the processions, although he once described himself as an agnostic in an interview with People magazine.

In May 2010, Banderas received an honorary doctorate from the University of Málaga. He received an honorary degree from Dickinson College in 2000.

Banderas has always struggled with the pronunciation of certain English words, as he mentioned in a 2011 article with GQ magazine: "The word that really gets me is 'animals', I just can never say it properly, whenever it is in a film I have to get it changed for a synonym. In Zorro, I had a line changed from 'you look like a bunch of animals' to 'you look like a collection of beasts'. It worked much better, so I don't care."

In August 2015, Banderas enrolled in a fashion-design course at Central Saint Martins. As of 2016, Banderas resides in the United Kingdom in Cobham, Surrey.

Relationships

Banderas married Ana Leza in 1986 or 1988 (sources differ) and divorced in 1996. He met and began a relationship with American actress Melanie Griffith in 1995 while shooting Two Much. They married on 14 May 1996 in London. They have a daughter, Stella del Carmen Banderas (born 24 September 1996), who appeared onscreen with Griffith in Banderas' directorial debut Crazy in Alabama (1999). In 2002, the couple received the Stella Adler Angel Award for their extensive philanthropy. Griffith had a tattoo of Banderas' name on her right arm that has since been removed.

In June 2014, Banderas and Griffith released a statement announcing their intention to divorce "in a loving and friendly manner". According to the petition filed in the Los Angeles Superior Court, the couple had "irreconcilable differences" that led to their separation. The divorce became official in December 2015. Despite being divorced Banderas and Griffith remain close friends. His former stepdaughter Dakota Johnson has stated she considers Banderas part of the family, calling him a "bonus dad".

Banderas is currently dating Nicole Kimpel, a Dutch investment banker.  They have made public appearances such as the 2015 AFI Fest, 2019 Cannes International Film Festival, and the 2020 Academy Awards.

Health
In 2009, Banderas underwent surgery for a benign tumor in his back.

Speaking at the Málaga Film Festival in March 2017, Banderas revealed he had suffered from a heart attack on 26 January 2017, but said it "wasn't serious and hasn't caused any damages". Following that incident, he underwent heart surgery to insert three stents into his arteries. In a Fresh Air interview in September 2019, he recalled it as being life changing. He said, "It just gave me a perspective of who I was, and it just made the important things [go to] the surface. When I say this, people may just think that I'm crazy, but it's one of the best things that ever happened in my life."

Activism
In 1996, Banderas appeared among other figures of Spanish culture in a video supporting the Spanish Socialist Workers' Party lists in the general election.

In 2013, he called on Europe and the United States to emulate Hugo Chávez in Venezuela and nationalize big corporations as a solution to the global economic crisis.

In June 2015, Banderas demonstrated his support for Israel by taking part in a fund-raising event organized by Friends of the Israeli Defense Forces (FIDF), which raised $31m for Israeli soldiers.

Business activities

He has invested some of his film earnings in Andalusian products, which he promotes in Spain and the US. He owns 50% of a winery in Villalba de Duero, Burgos, Spain, called Anta Banderas, which produces red and rosé wines.

He performed a voice-over for a computer-animated bee which can be seen in the United States in television commercials for Nasonex, an allergy medication, and was seen in the 2007 Christmas advertising campaign for Marks & Spencer, a British retailer.

He is a veteran of the perfume industry. The actor has been working with fragrance and beauty multinational company Puig for over ten years becoming one of the brand's most successful representatives. Banderas and Puig have successfully promoted a number of fragrances so far – Diavolo, Diavolo for Women, Mediterraneo, Spirit, and Spirit for Women. After the success of Antonio for Men and Blue Seduction for Men in 2007, he launched his latest Blue Seduction for Women the following year.

Awards and honors

Banderas has received many award nominations throughout his career including an Academy Award nomination for Pain and Glory. He also received five Golden Globe Awards nominations for his work ranging from films to television. He has also received two Primetime Emmy Award nominations for his work on the television projects, And Starring Pancho Villa as Himself (2004), and Genius: Picasso (2018). He also received a Screen Actors Guild Award nomination for his performance as Pablo Picasso in Genius: Picasso. In 2003, he received a Tony Award nomination for Best Actor in a Musical for his performance in the Broadway musical production of Nine. That year he did however win the Drama Desk Award for Outstanding Actor in a Musical for his performance in Nine. In 2019, he won the Cannes Film Festival Award for Best Actor, the European Film Award for Best Actor, the Goya Award for Best Actor, and the New York Film Critics Circle Award for Best Actor for his performance in Almodovar's Pain and Glory.

See also

 List of actors with Hollywood Walk of Fame motion picture stars
 List of celebrities who own wineries and vineyards

References

External links

 Antonio Banderas appointed Goodwill Ambassador at Bay Ledger

1960 births
Living people
20th-century Spanish male actors
21st-century Spanish male actors
Audiobook narrators
Cannes Film Festival Award for Best Actor winners
Drama Desk Award winners
European Film Award for Best Actor winners
Griffith family
Actors from Málaga
Spanish businesspeople
Spanish expatriates in the United Kingdom
Spanish expatriates in the United States
Spanish film producers
Spanish male film actors
Spanish male musical theatre actors
Spanish male television actors
Spanish male voice actors
Spanish socialists
Theatre World Award winners

Antonio Banderas


Rodney Walker (1910–1986) was a midcentury American modern designer and builder who specialized in residential architecture in the Southern California area. He contributed three designs to Arts & Architecture magazine's Case Study House program during the late 1940s (Case Study House #16, #17, and #18). Many of his homes were photographed by Julius Shulman for Arts & Architecture magazine, Better Homes and Gardens, Architectural Record, Sunset, and the Los Angeles Times Home magazine.

Life and career
Rodney Walker was born in Ely, Nevada, on September 15, 1910. He attended Pasadena City College before transferring to University of California Los Angeles where he graduated with a degree in art. In 1937, Rodney and his wife Dorothea built their first house in West Los Angeles. Soon after, he went to work for Rudolph M. Schindler as a draftsman.

Over the next thirty years, Walker designed and built some 100 homes in Southern California. He designed numerous "case-study" homes, exploring the adaptability of new ideas in small houses. He was known for his ability to hold down construction costs.

From 1958, Walker lived in the 4,300-square-foot hilltop home in Ojai, California, that he had designed and built, and which he considered his masterpiece. After he discontinued home designing and contracting, he ran the Oaks hotel in Ojai for 15 years and operated a store in which he sold jewelry that he crafted. Walker died on June 18, 1986, at his home in Ojai. He was survived by his wife, Dorothea; sons, Bruce, Mark and Craig, as well as twin daughters, Ellen Langston and Lisa Kaufman.

Legacy
The Walker Residence went up for sale in September 2011 asking $3.995 million.

Between 2012 and 2014, actor Zac Efron lived in a Walker house in Hollywood Hills West which was originally designed for the Case Study Program; the home and was eventually built in 1947. The house was sold for $2.775 million in 2014.

References

1910 births
1986 deaths
Pasadena City College alumni
UCLA School of the Arts and Architecture alumni
20th-century American architects
People from Ely, Nevada

Rodney Walker (architect)


In computer networking, Teredo is a tunneling protocol used to give IPv6 connectivity to a computer with only an IPv4 connection. The IPv6 address block 2001:0::/32 is used with Teredo. Unlike similar protocols such as Protocol 41, Teredo works correctly if the IPv4 network has a network address translator (NAT). Teredo is available on Windows XP and later, and is enabled by default on Windows Vista to Windows 10 version 1709. It is also available on Linux and Unix, with a program called Miredo. Teredo was named after "Teredo navalis", commonly called a shipworm, which creates holes or tunnels in wooden ships.

A Teredo address might look like: 2001:0:4136:e378:8000:63bf:3fff:fdd2. This address has the Teredo server 126.96.36.199, the client IPv4 address 192.0.2.45, and the UDP port number 40000.

References

Internet protocols

Teredo tunneling


Second Polish Republic was name of Polish state from 1918 (end of WWI) through 1939 (start of WWII). When its borders were fixed in 1922 after several wars, it had borders with Czechoslovakia, Weimar Republic (Germany), Free City of Danzig, Latvia, Lithuania, Romania and Soviet Union. Józef Piłsudski was the leader during most of the state's existence.

Predecessors
 Austria-Hungary

 Kingdom of Poland (1916-1918)
 West Ukrainian National Republic
 Lemko-Rusyn Republic
 Komancza Republic
 Ukrainian People's Republic
 Galician Soviet Socialist Republic
 Kingdom of Galicia and Lodomeria
 Republic of Central Lithuania

Successors

 Polish Underground State
The Second Polish Republic, in 1939, was invaded by the Greater German Reich and the U.S.S.R. after refusing to make territorial changes towards Germany. Poland was then fully occupied by both countries 39 days later. It continued it's existence as the Polish Underground State until 1945 when Poland was released but made a communist, soviet, satellite state.

Poland

Second Polish Republic


Assamese literature () is the entire corpus of poetry, novels, short stories, plays, documents and other writings in the Assamese language. It also includes the literary works in the older forms of the language during its evolution to the contemporary form and its cultural heritage and tradition. The literary heritage of the Assamese language can be traced back to the  9–10th century in the Charyapada, where the earliest elements of the language can be discerned.

Banikanta Kakati divides the history of Assamese literature into three prominent eras—Early Assamese, Middle Assamese and Modern Assamese—which is generally accepted.

Ancient era: Literature of the beginning period, 950–1300 AD

 Charyapada
 Mantra Sahitya

Medieval era: 1300–1826 AD

 1st period: Pre-Shankari literature, 1300–1490 AD
 2nd period: Shankari literature, 1490–1700 AD
 3rd period: Post-Shankari literature, 1700–1826 AD

Modern era: 1826 AD–present

 1st period: Missionary literature, 1826–1870 AD
 2nd period: Hemchandra-Gunabhiram Barua's era, 1870–1890 AD
 3rd period: Romantic era or Bezbaruah's era, 1890–1940 AD
 4th period: Current period, 1940 AD–present

History

Old Assamese

The first reference to the language of Assam was found in the account of famous Chinese monk-cum-traveler Huen Tsang. He visited the Kamarupa Kingdom during the reign of Kumar Bhaskara Varman of Varman dynasty. While visiting Kamrupa in seventh century, Xuanzang noted that the language of the region was slightly different from the language of Middle India (Magadha). He was able to identify the phonetic differences evident in the region. Even though systematic errors in the Sanskrit of Kamarupa inscriptions portray an underlying Pakrit in the pre-12th century period, scarce examples of the language exist.  The Charyapadas, the Buddhist ballads of 8th-10th century some of whose composers were from Kamarupa and the language of which bear strong affinities with Assamese (besides Bengali, Maithili and Oriya), are considered the first examples of Assamese literature.  The spirit of the Charyapadas are found in later-day Deh-Bicaror Geet and other aphorisms; and some of the ragas found their way to the 15th-16th century Borgeets. In the 12th-14th century period the works of Ramai Pundit (Sunya Puran), Boru Chandidas (Krishna Kirtan), Sukur Mamud (Gopichandrar Gan), Durllava Mullik (Gobindachandrar Git) and Bhavani Das (Mainamatir Gan) bear strong grammatical relationship to Assamese; and their expressions and their use of adi-rasa are found in the later Panchali works of Mankar and Pitambar.  These works are claimed as examples of Bengali literature as well. After this period of shared legacy, a fully differentiated Assamese literature finally emerged in the 14th century.

Medieval era

Pre-Shankari literature (1300-1490 AD)
This period saw the flourishing of two kinds of literary activity: translations and adaptations, and choral songs.

Translations and adaptations
The earliest known Assamese writer of this period was Hema Saraswati, whose well known works include Prahlad Charita and Hara Gauri Samvada. The story of the Prahlad Charita is taken from the Vamana Purana and the Hara Gouri Samvada includes the myth of Hara-Gouri marriage, birth of Kartik etc. Kaviratna Saravati's Jayadratha-vadha; Rudra Kandali's Satyaki-pravesa are prominent works of this era. Harivara Vipra, a court poet of Kamata Kingdom, composed Vavruvahanar Yuddha (based on the Mahabharata), Lava-Kushar Yuddha (based on the Ramayana) and Tamradwajar Yudha. Though translated works, they contain local descriptions and embellishments, a feature that describes all translated work of this period. His Vavruvahanar Yuddha, for instance makes references to articles of the Ahom kingdom, which at that time was a small kingdom in the east, and describes the undivided Lakhimpur region, and in Lava-Kushar Yuddha he departs from the original and describes local customs for Rama and Sita's pumsavana ceremony.  All these works are associated with Durlabhanarayan of Kamata and his immediate successors.The major work from this period that left a lasting impression is Saptakanda Ramayana, composed by Madhava Kandali in verse, and recited in the court of a 14th-century Baraha king Mahamanikya (Mahamanikpha) who ruled either in the Nagaon or the Golaghat region.  In chronology, among vernacular translations of the original Sanskrit, Kandali's Ramayana comes after Kamban's (Tamil, 12th century), and ahead of Kirttivas' (Bengali, 15th century), Tulsidas' (Awadhi, 16th century), Balaram Das' (Oriya) etc. Thus the Saptakanda Ramayana becomes the first rendition of the Ramayana into an Indo-Aryan language in the Indian subcontinent. The literary language (as opposed to the colloquial Assamese) this work adopted became the standard literary language for much of the following periods, till the rise of new literature in the 19th century. That his work was a major influence can be inferred from Sankardeva's tribute to the "Opromadi Kobi/ অপ্ৰমাদী কবি" ("unerring predecessor poet").
The pada form of metrical verse (14 syllables in each verse with identical two syllables at the end of each foot in a couplet) became a standard in Assamese kavya works, something that continued till the modern times.  Though a translated work, it is infused with local color, and instead of the heroic, Kandali instead emphasized the homely issues of relationships etc. Among the two kinds of alamkara's, arthalankaras were used extensively, with similes and metaphors taken from the local milieu even though the original works are set in foreign lands; whereas the shabdalankara (alliteration etc.) were rarely used.

In the pre-shankari era, a renowned mathematician, Bakul Kayastha from Kamarupa Kingdom, compiled Kitabat Manjari(1434), which was a translation of the Līlāvatī by Bhāskara II into Assamese. Kitabat Manjari is a poetical treatise on Arithmetic, Surveying and Bookkeeping. The book teaches how accounts are to be kept under different heads and how stores belonging to the royal treasury are to be classified and entered into a stock book. The works of Bakul Kayastha were regarded as standards in his time to be followed by other Kayasthas in maintaining royal accounts.

Choral songs
Choral songs composed for a popular form of narration-performances called Oja-Pali, a precursor to theater and theatrical performances, came to be known as Panchali works. Though some of these works are contemporaneous to Sankardeva's, they hark back to older forms free of Sankardeva's influences and so are considered pre-Sankardeva literature.  The Oja-palis follow two different traditions: biyah-gowa which tells stories from the Mahabharata and Maroi, which tells stories on the snake goddess Manasa. The poets—Pitambar, Durgabar, Mankar and Sukavi Narayan—are well known for the compositions.

Shankari literature (1490-1700 AD)

In Assamese literature, the era of Shankardeva or Shankari era, incorporates the literary works that were produced mostly as pertinent to the Neo-Vaishnavite movement which propagated the Ekasarana Nama-Dharma. Sankardeva's contribution to Assamese literature is multidimensional and spread through different genres of literature. He is credited with building on past cultural relics and devising new forms of music (Borgeet), theatrical performance (Ankia Naat, Bhaona), dance (Sattriya), literary language (Brajavali). Sankardev produced a large body of work. Though there were others before him who wrote in the language of the common man, it was Sankardev who opened the floodgates and inspired others like Madhavdev to carry on where he left off. His magnum opus is the Kirtana-Ghosha which contains narrative verses glorifying Shri krishna, meant for community singing. His other prominent literary works include the rendering of eight books of the Bhagavata Purana including the Adi Dasama (Book X), Harishchandra-upakhyana, Bhakti-pradip, Nimi-navasiddha-samvada, Bhakti-ratnakara (Sanskrit verses, mostly from the Bhagavata, compiled into a book), Anadi-patana, Gunamala and many plays like Cihna Yatra, Rukmini haran, Patni prasad, Keli gopal, Kurukshetra yatra and Srirama vijaya.

Madhavdeva, a disciple of Sankardeva, has a large scale contribution to Assamese literature. His Magnum opus, Naam Ghosa is based chiefly on the Bhagavata Purana. The Naam-Ghosa is known by the name of Hajari Ghosa as well, as it contains one thousand verses (ghosas).His Guru Bhatima, a long poem of praise to his Guru Sankardev, is also popular. Bhakti-Ratnavali is another notable work, rendered by Madhavadeva from the original work by Visnupuri in Sanskrit. Other prominent works include Naam Maalikaa, Assamese rendering of the Adi Kanda of Valmiki's Ramayana, Janma Rahasya, 191 Borgeets and several plays.

After Sankardev and Madhavdev, several other writers emerged and contributed to Assamese literature. Ananta Kandali's Mahiravana Vadha, Harihara Yuddha, Vrttrasura Vadha, Kumara Harana and Sahasra Nama Vrttanta; Rama Saraswati's translation of the Mahabharata, Geeta Govinda and Vadha Kavyas; a part of Naam Ghosa by Ratnakar Kandali; Sridhar Kandali's Kumara Harana; Janmajatra, Nandutsav, Gopi-Uddhab Sambad and Sitar Patal Pravesh by Gopaldev; compilation of Kirtan Ghosha by Ramcharan Thakur; Nava Ghosha, Santasaar, Burha-Bhashya by Purushottam Thakur etc. are notable of the period.

Bhattadeva, another notable writer of this period, is acknowledged as the father of Assamese prose. Katha Bhagavata, Katha Gita, Bhaktiratnavali, Bhakti Viveka (Sanskrit) etc. are his prominent works. BhattadevBhattadeva's erudition in Sanskrit grammar and literature, and his command over the Bhagavata earned him the title of Bhagavata Bhattacharya.

Post-Shankari literature (1700-1826 AD)
Along with the expansion of power and border of the Ahom kingdom, literary works other than Neo-vaishnavite centric started gaining momentum in the 18th century. However the tradition of composing works based on Sanskrit scriptures still continued. Raghunath Mahanta was one of the most important figures of this period whose well known works include Katha-Ramayana, Adbhut Ramayana and Satrunjoy- all of them are based on the Ramayana. Kabiraj Chakravarti's translation of Brahma Vaivarta Purana and Shakuntala, Gitar Puthi of Kabiraj Chakravati mentions several songs themselves composed by the Ahom Rajas Rudra Singha and Siva Singha. Kavichandra Dwija's Dharma Purana, Bishnu Dev Goswami's Padma Purana, Putala Charitra by Borruchi, Ramchadra Borpatra's Hoigrib-Madhva Kahini, Acharya Dwija's Ananda-Lahari, Ruchinath Kandali's translation of Chandi Aakhyana are important works of this period. Among translation of texts related to practical knowledge include translation of Srihastha Muktavali on Dance and mudra by Suchand Ojha, translations of Kaamratna- Tantra, Bhaswati by Kaviraj Chakraborti. Hastividyarnava, commissioned under the patronage of king Siva Singha and translated by Sukumar Barkaith, is based on the Sanskrit text Gajendra-Chintamoni by Sambhunath. Books like Ghora Nidaan, Aswanidaan by Surjyakhari Daivajna were also compiled during this period.

Attached to the palace of the Ahom Kings there was a set of apartments for the preservation of royal manuscripts, records, letters despatches, and maps in charge of a high official named Gandbia Barua. There was another officer named Likhakar Barua literally the superintendent of scribes who supervised the work of an army of clerks and copyists.

Modern era

This is a period of the prose chronicles (Buranji) of the Ahom court. The Ahoms had brought with them an instinct for historical writings. In the Ahom court, historical chronicles were at first composed in their original Tai-Kadai language, but when the Ahom rulers adopted Assamese as the court language, historical chronicles began to be written in Assamese. From the beginning of the 17th century onwards, court chronicles were written in large numbers. These chronicles or buranjis, as they were called by the Ahoms, broke away from the style of the religious writers. The language is essentially modern except for slight alterations in grammar and spelling.

Effect of British rule
The British imposed Bengali in 1836 in Assam after the state was occupied and annexed with the Bengal Presidency. As a result of this language imposition, the progress of education in Assam remained not only slow but highly defected and a lot of Bengalis were imported and employed in the different schools of Assam. Writing of text books in Assamese for school children did not get any encouragement and Assamese literature naturally suffered in its growth. Due to a sustained campaign, Assamese was reinstated in 1873 as the state language. Since the initial printing and literary activity occurred in eastern Assam, the Eastern dialect was introduced in schools, courts, and offices and soon came to be formally recognized as the Standard Assamese. In recent times, with the growth of Guwahati as the political and commercial center of Assam, the Standard Assamese has moved away from its roots in the Eastern dialect.

Influence of missionaries
The modern Assamese period began with the publication of the Bible in Assamese prose by the American Baptist missionaries in 1819. The currently prevalent standard Asamiya has its roots in the Sibsagar dialect of Eastern Assam. As mentioned in Bani Kanta Kakati's "Assamese, its Formation and Development" (1941, Published by Sree Khagendra Narayan Dutta Baruah, LBS Publications, G.N. Bordoloi Road, Gauhati-1, Assam, India) – "The Missionaries made Sibsagar in Eastern Assam the centre of their activities and used the dialect of Sibsagar for their literary purposes". The American Baptist Missionaries were the first to use this dialect in translating the Bible in 1813.

The missionaries established the first printing press in Sibsagar in 1836 and started using the local Asamiya dialect for writing purposes. In 1846 they started a monthly periodical called Arunodoi, and in 1848, Nathan Brown published the first book on Assamese grammar. The Missionaries published the first Assamese-English Dictionary compiled by M. Bronson in 1867.
One of the major contributions of the American Baptist missionaries to the Assamese language is the reintroduction of Assamese as the official language in Assam. In 1848 missionary Nathan Brown published a treatise on the Assamese language. This treatise gave a strong impetus towards reintroducing Assamese the official language in Assam. In his 1853 official report on the province of Assam, British official Moffat Mills wrote:

Beginning of modern literature

The period of modern literature began with the publication the Assamese journal Jonaki (জোনাকী) (1889), which introduced the short story form first by Lakshminath Bezbaroa.  Thus began the Jonaki period of Assamese literature. In 1894 Rajanikanta Bordoloi published the first Assamese novel Mirijiyori.

The modern Assamese literature has been enriched by the works of Jyoti Prasad Agarwalla, Birinchi Kumar Barua, Hem Barua, Atul Chandra Hazarika, Mafizuddin Ahmed Hazarika, Nalini Bala Devi, Navakanta Barua, Syed Abdul Malik, Mamoni Raisom Goswami, Bhabendra Nath Saikia, Homen Borgohain, Birendra Kumar Bhattacharya, D. K. Barooah, Nirupama Borgohain, Kanchan Baruah, Saurabh Kumar Chaliha and others. Moreover, as regards the spreading of Assamese literature outside Assam, the complete work of Jyoti Prasad Agarwala has been translated into Hindi to reach a wider audience by Devi Prasad Bagrodia. Bagrodia has also translated Shrimanta Shankardev's 'Gunamala' into Hindi.

In 1917 the Asam Sahitya Sabha was formed as a guardian of the Assamese society and the forum for the development of Assamese language and literature. Padmanath Gohain Baruah was the first president of the society.

Contemporary literature

Contemporary writers include Arupa Patangia Kalita, Parismita Singh, Monikuntala Bhattacharya, Mousumi Kondoli, Monalisa Saikia, Geetali Borah, Juri Borah Borgohain. Emerging trends are marked by experiments with post modernist literary technique and growing fascination of young writers with magic realism and surrealism. In the realm of literary criticism young literary critics Areendom Borkataki, Bhaskar Jyoti Nath, Debabhusan Borah are exploring different possibilities and ideas to meet the needs in literary criticism. Assamese literature is currently booming in Assamese-speaking world, with readership of Assamese books gradually increasing over the last decades. A huge success can be seen in North East book fair and Nagaon book fair, when selling of Assamese books increased then English books.

See also
 List of Assamese writers with their pen names
 Oxomiya Bhaxa Unnati Xadhini Xobha
 Assamese Short Story
 Assamese Poetry
 List of Assamese poets
 Indian literature
 List of Sahitya Akademi Award winners for Assamese
Assam Sahitya Sabha
Sadou Asom Lekhika Samaroh Samiti

Notes

References

Further reading

Studies

 Folktale collections

External links
Life and Works of Bhattadeva, the Father of Assamese Prose
Assamese proverbs, published 1896

Assamese language
Assamese fiction
Assamese novels
Assamese short story collections
Assamese-language books
Assamese-language culture
Assamese-language works
Assamese-language poets
Literature by language
Indian literature by language

Assamese literature


Hubert Marischka (27 August 1882 – 4 December 1959), brother of Ernst Marischka, was an Austrian operetta tenor, actor, film director and screenwriter.

Career
Marischka was born in Brunn am Gebirge, the son of Jiří (or Johann) Marischka, a supplier to the court of the Austro-Hungarian monarchy, and his wife Bertha. Hubert began work as a joiner but trained as a singer and in 1904 began a new career in operetta in the town theatre of St. Pölten in Der arme Jonathan by Karl Millöcker. He had his first success as a singer in Brno in 1906, as Danilo in Die lustige Witwe. On 27 July 1907 he sang at the premiere of the Der fidele Bauer by Leo Fall in Mannheim.

On 23 December 1908 he appeared on stage for the first time in Vienna at the Carltheater in Fall's Die geschiedene Frau. From then on he was particularly successful in the Theater an der Wien, where later he worked as director, mostly of operettas. In 1923 he rose to be director of the Theater an der Wien. On 28 February 1924 he was responsible for the premiere of the operetta Gräfin Mariza. At the end of the 1920s he sang at the Wiener Staatsoper in Eine Nacht in Venedig. For a time Marischka was also director of the Stadttheater Wien and of the Raimundtheater, director of the Papageno Music Publishers and a professor of operetta at the Akademie für Musik und darstellende Kunst.

Films
He made contact early on with the new medium of film, in which he worked as actor, director and screenwriter. His films are often of the Wiener Film genre. With Hans Moser he made such well-known films as Wir bitten zum Tanz (1941) and Der Herr Kanzleirat (1948).

Personal life

In 1907 he married Lizzy Léon (d. 1918), daughter of the librettist Viktor Léon. They had three children: Lisl Marischka, actress, 1908–1945, who married in 1933 Austrian baron Alfons von Gecmen-Waldeck; Viktor Marischka, born 1915; and the director Franz Marischka, born 1918. Hubert Marischka married as his second wife Lilian "Lilly" Karczag, daughter of the theatre director Wilhelm Karczag, and from this marriage had two more children, the director Georg Marischka, 1922–1999, and Tassilo Marischka, born 1928. This marriage ended in divorce. During World War II he was married for a short time to his third wife, Juliane. In 1946 he was married for the fourth and last time to the actress Trude Basch-Havel. Hubert Marischka died in Vienna, and is buried in the Hietzing Cemetery in Hietzing.

Filmography

1913: Die Feuerprobe (actor)
1913: Der Millionenonkel / Der Verschwender (actor, co-screenwriter, co-director)
1915: With Heart and Hand for the Fatherland (actor)
1915: Zwei Freunde (actor, co-director)
1915: Der Schusterprinz (screenwriter)
1915: Das erste Weib (director, screenwriter)
1916: On the Heights (actor)
1917: The Black Hand (actor)
1918: Wo die Lerche singt (actor, co-screenwriter)
1918: Der Tribut des Künstlers (short film; actor)
1918: Um ein Weib (actor, co-director)
1932: Countess Mariza (actor)
1935: Die ganze Welt dreht sich um Liebe / Liebesmelodie (screenwriter)
1939: Drunter und drüber (director, co-screenwriter)
1939: Hochzeitsreise zu dritt (director, co-screenwriter)
1939: Das Glück wohnt nebenan (director, co-screenwriter)
1940: Herzensfreud - Herzensleid (director, co-screenwriter)
1940: The Unfaithful Eckehart (director)
1941: Wir bitten zum Tanz (director)
1941: Oh diese Männer (director)
1942: Vienna Blood (1942) (co-screenwriter)
1943: The Master Detective (director)
1943: Drei tolle Mädels (director)
1943: A Man for My Wife (director)
1943: Ein Walzer mit dir (director, co-screenwriter)
1943: Alles aus Liebe (director, co-screenwriter)
1944: Ein Mann gehört ins Haus (director)
1947: Wiener Melodien (co-director)
1948: Der Herr Kanzleirat (director, screenwriter)
1950: Kissing Is No Sin (director, co-screenwriter)
1951: Stadtpark / Kleiner Peter, große Sorgen (director, co-screenwriter)
1951: Der fidele Bauer (co-screenwriter)
1951: The Csardas Princess (actor)
1951: City Park
1952: Knall and Fall as Imposters (director)
1952: The Land of Smiles (co-screenwriter)
1952: Rose of the Mountain (director, co-screenwriter)
1953: Die Perle von Tokay (director, co-screenwriter)
1955:  Let the Sun Shine Again (director)
1956: Love, Summer and Music (director, co-screenwriter)

External links

 Cyranos.ch: Hubert Marischka
 Photos of Hubert Marischka

1882 births
1959 deaths
People from Mödling District
Austrian male film actors
Austrian film directors
Austrian operatic tenors
Austrian male screenwriters
Austrian male stage actors
Austrian theatre directors
Austrian people of Czech descent
German-language film directors
20th-century Austrian male actors
20th-century Austrian male opera singers
20th-century Austrian screenwriters
20th-century Austrian male writers

Hubert Marischka


Deborah Lifchitz was a French Jewish expert on Semitic languages of Ethiopia, who worked at the Musée de l'Homme in Paris and took part in the Mission Dakar Djibouti in 1932-3. The Nazis imprisoned her in 1942; she was murdered in Auschwitz.

Deborah (Desirée) Lifchitz (at times spelled Lifschitz, Lifszyc or Livchitz) was born in Kharkiv, Russia in 1907. In 1919, following the October Revolution, her family left Kharkiv, first to Crimea and from there in 1920 to Warsaw. In 1927 Deborah left Poland for Paris, where she studied Oriental languages and specialized in the Semitic languages of Ethiopia. Upon her graduation she joined the Mission Dakar Djibouti to Africa. There she met with the Beta Israel (Jews of Ethiopia). After her return to Paris, Deborah received a position at the Africa department of the Musée de l'Homme in Paris and in 1935 she was member of Mission du Musée d'Ethnographie du Trocadero to French Sudan (Mali). From Mali she brought back two museum pieces of Dogon art currently displayed in the Louvre and the Quai Branly museums.
Deborah Lifchitz wrote one book and several articles, which are still considered milestones in the research of Ethiopian languages.
She received her French nationality in 1937. When the Nazis entered Paris, Deborah stayed in the city, and after losing her jobs because of the racial laws she was taken in by her colleague Michel Leiris. In February 1942 she was arrested by the French police, taken to French concentration camp, and from there to Auschwitz where she was murdered later that year. According to the testimony of Marcel Cohen she was gassed.
During her studies and work at the Musée de l'Homme, Deborah Lifchitz studied and collaborated with the greatest anthropologists and Africanists in Paris of the day, among them Michel Leiris, Wolf Leslau, Marcel Griaule, Marcel Mauss, Marcel Cohen, Paul Boyer, Paul Rivet, Georges Dumézil, Denise Paulme, with whom she wrote many articles, and more.

References
 Marianne Lemaire, Celles qui passent sans se rallier : la mission Paulme-Lifchitz, janvier-octobre 1935. Paris : LAHIC / DPRPS-Direction des patrimoines, 2014. Les Carnets de Bérose, 5. Édition électronique consultable par le lien :  http://www.berose.fr/spip.php?article595

External links
 Biography of Deborah Lifchitz on Encyclopedia Aethiopica, pages 567-8.

1907 births
1942 deaths
Writers from Warsaw
People from Kharkov Governorate
Linguists from France
Women linguists
Jewish women writers
Semiticists
White Russian emigrants to France
French civilians killed in World War II
French people who died in Auschwitz concentration camp
20th-century French women writers
French Jews who died in the Holocaust
20th-century linguists
Jewish linguists

Deborah Lifchitz


Pierre Culliford (; 25 June 1928 – 24 December 1992) was a Belgian comics writer and artist who worked under the pseudonym Peyo ().  His best-known works are the comic book series The Smurfs and Johan and Peewit, the latter in which the Smurfs first appeared.

Biography
Culliford was born in 1928 in the Belgian municipality Schaerbeek, and was the son of an English father and a Belgian mother. In 1952, Culliford married Nine Culliford. They have two children.

Career
Culliford took on the name "Peyo" early in his professional career, based on an English cousin's mispronunciation of Pierrot (a diminutive form of Pierre).

After working briefly at the Compagnie Belge d'Actualités (CBA), a small and short-lived Belgian animation studio, Peyo began making comic strips for daily newspapers such as Le Soir shortly after World War II.  At the beginning of the 1950s, he brought his character Johan to the magazine Spirou, whom he soon gave a companion, the diminutive Peewit; the strip soon became a staple of the weeklies.  Peyo introduced the Smurfs in the Johan and Peewit storyline The Magic Flute in 1958; the characters quickly supplanted Johan and Peewit in popularity and left them behind for their own series.

In 1960, Peyo founded a studio to accommodate his assistants such as François Walthéry, Gos, and  and created the series Steven Strong and .  Peyo's output diminished in the 1970s, at first due to the time he invested in The Smurfs and the Magic Flute (1976), a film adaptation of the Johan and Peewit story "La flûte à six schtroumpfs"; in the 1980s, he put in more time, despite recurring health problems, into an American adaptation of The Smurfs as an animated television series.  After the series concluded, he left his publisher Dupuis to found his own publishing house, Cartoon Creation, and a cartoon magazine, Schtroumpf!, which soon folded due to management problems.  He joined Le Lombard in 1992 but died a few months later.  Since his death, Peyo's children have continued to promote his work under the brand "Peyo".

Peyo began work, fresh from his coursework at the Académie Royale des Beaux-Arts in Brussels, at the  (CBA), a small Belgian animation studio, where he met a few of his future colleagues and co-celebrities, like André Franquin, Morris, and Eddy Paape. When the studio folded after the war, the other artists went to work for Dupuis, but Peyo, a few years younger than the others, was not accepted. He made his first comics for the newspaper La Dernière Heure (The Latest Hour), but also accepted many promotional drawing jobs for income. From 1949 to 1952, he drew Poussy, a gag-a-day comic about a cat, for Le Soir. For the same newspaper, he also created Johan.

In 1952, Franquin introduced Peyo to Spirou, a children's Franco-Belgian comics magazine published by Dupuis. Peyo wrote and drew a number of characters and storylines, including Pierrot, and Benoît Brisefer (translated into English as Steven Strong). But his favourite was Johan et Pirlouit (translated into English as Johan and Peewit), which was a continuation of the series Johan he had created earlier. He also continued Poussy in Spirou.

Set in the Middle Ages in Europe, Johan et Pirlouit stars a brave young page to the king, and his faithful, if boastful and cheating, dwarf sidekick. Johan rides off to defend the meek on his trusty horse, while Peewit gallops sporadically behind on his goat, named Biquette. The pair was driven by duty to their king and the courage to defend the underpowered. Peewit only appeared in the third adventure in 1954 but would stay for all later adventures.

Smurfs
The first Smurf appeared in Johan and Peewit on 23 October 1958 in the album La Flûte à Six Schtroumpfs (The Six Smurfed Flute). As the Smurfs became increasingly popular, Peyo started a studio in the early 1960s, where a number of talented comics artists started to work. Peyo himself supervised the work and worked primarily on Johan and Peewit, leaving the Smurfs to the studio. The most notable artists to come out of this studio were Walthéry, ,  (Gos), Derib, , and .

In 1959, the Smurfs got their own series, and in 1960, two more began: Steven Strong and Jacky and Célestin. Many authors of the Marcinelle school collaborated on the writing, or on the artwork, including Willy Maltaite (aka 'Will'), Yvan Delporte, and Roger Leloup. Peyo became more of a businessman and supervisor and was less involved in the actual creation of the comics. He let his son, Thierry Culliford, lead the studio, while his daughter Véronique was responsible for the merchandising (I.M.P.S. was established in 1985 by her).

The merchandising of the Smurfs began in 1959, with the PVC figurines as the most important aspect until the late 1970s. Then, with the success of The Smurfs records by Pierre Kartner, the Smurfs achieved more international success, with a new boom in toys and gadgets. Some of these reached the United States, where Hanna-Barbera created a Saturday morning animated series in 1981 for which Peyo served as story supervisor. Peyo's health began to fail. In 1989, after his partnership with Dupuis ended, he established Cartoon Creation to publish new Smurf stories. In late 1991, the company was forced to shut down due to mismanagement. The publishing rights were soon sold to Le Lombard.

Peyo died of a heart attack in Brussels on Christmas Eve 1992, at the age of 64. His studio still exists, and new stories for various series are regularly produced under his name.

In the 2011 film The Smurfs, Peyo was included in the plot as a researcher who studied the myths concerning the Smurfs, who were made to be real-life legendary creatures in the film's storyline.

Awards and honours
 He received the Youth Prize (9–12 years) award 1984 at the Angoulême International Comics Festival, France.
 The 50th anniversary of The Smurfs and the 80th anniversary of the birth of its creator was celebrated by issuing a high-value collectors' coin: the Belgian 5 euro 50th anniversary of The Smurfs commemorative coin, minted in 2008.

Bibliography
Only those comics Peyo collaborated on are listed here: the comics made in those series after his death can be found in the articles for each series. Artist and writers mentioned are only those officially credited: unnamed studio collaborators are not listed here.

Jacky and Célestin, 1960–1978: 10 stories in Le Soir, 4 albums by Dupuis: artwork by François Walthéry, Francis, Jo-El Azara and Mitteï, stories by Peyo, Gos, and Vicq
Johan and Peewit (Johan et Pirlouit), 1952–1970: 13 albums by Dupuis
Natacha, 1992: 1 album by Dupuis, artwork by Walthéry, story by Peyo
: 1991, 1 album by Cartoon Creation
Poussy, 1977–, 3 albums by Dupuis
The Smurfs (Les Schtroumpfs), 1959–, 17 albums by Dupuis: additional artwork by Alain Maury and Luc Parthoens, additional stories by Yvan Delporte, Gos, Thierry Culliford
Spirou et Fantasio, 1969, 1 album by Dupuis, artwork by André Franquin and Jidéhem, story by Peyo and Gos
Steven Strong (Benoît Brisefer), 1960–1978, 7 albums by Dupuis, additional artwork by Will, Walthéry, Marc Wasterlain and Albert Blesteau, additional stories by Yvan Delporte, Gos, and Blesteau

References

External links

 Peyo biography on Lambiek Comiclopedia, lambiek.net
 Peyo biography, dupuis.com
 Peyo biography The Smurfs official site

1928 births
1992 deaths
20th-century Belgian artists
20th-century Belgian writers
Académie Royale des Beaux-Arts alumni
Artists from Brussels
Belgian animators
Belgian comics artists
Belgian comics writers
Belgian illustrators
Belgian people of English descent
Belgian satirists
Hanna-Barbera people
Pseudonymous artists

Peyo


The Allen County Courthouse is an historic courthouse building located at the corner of North Main Street & East North Street in Lima, Ohio, United States. In 1974, it was added to the National Register of Historic Places.

History
Allen County was formed in 1820 and Lima was selected as the county seat. The first courthouse was a simple log structure consisting of two floors, a small hipped roof and a single chimney. The courthouse served the county until 1840 when the county realized the space was not adequate for the growing population. A contest was announced and seventeen bids were submitted. The contract was awarded to Orlando Boughton and was designed in the Classical Revival style. The amount was $13,325 and construction was underway.

The courthouse was two stories tall and was built out of brick and stone. Pilasters lined the facade between the long windows with dark shutters. The entrance was framed with four fluted Doric columns supporting a portico. A square drum rose from the roof and supported large rectangular windows capped with a dome ending in a weather vane. The tower contained a large bell which rang periodically through the years, including the 14th of April in 1865 in honor of the slain president, Abraham Lincoln.

The courthouse standing today is the county's third. It was built between 1881 and 1884 at a cost of $360,000 by architect George H. Maetzel. The courthouse was designed in the Second Empire style, popular at the time.

Exterior
The stone foundation is smooth sandstone. The ground floor has recessed rectangular windows. The southern center pavilion projects from the facade and is flanked by mansard-roofed towers which used to be topped with windows. A statue of an eagle once topped the pediment.

The main entrance is reached by a flight of stairs and a small landing leading to a story arch. The windows of the main floor are high rectangular panels, the windows on the floor above are high arched panes. Above the main entrance rises a pediment that was once topped by the statue of Justice.

The tower rises above the roof and consists of two bases stacked one on top the other. A dome with a four faced clock sits on the base. The dome narrows to a small spire.

In the 1990s the courthouse was remodeled and updated. At this time the new Justice Center was built next door. The two buildings are connected by an overhead walkway. The new addition was constructed in the same colors to match the courthouse and houses a jail, several courtrooms and the sheriff's administrative offices.

References

Further reading

Thrane, Susan W., County Courthouses of Ohio, Indiana University Press, Indianapolis, Indiana 2000
Marzulli, Lawrence J., The Development of Ohio's Counties and Their Historic Courthouses, Gray Printing Company, Fostoria, Ohio 1983
Stebbins, Clair, Ohio's Court Houses, Ohio State Bar Association, Columbus, Ohio 1980

National Register of Historic Places in Allen County, Ohio
County courthouses in Ohio
Buildings and structures in Lima, Ohio
Courthouses on the National Register of Historic Places in Ohio
Sandstone buildings in the United States
Second Empire architecture in Ohio
Clock towers in Ohio
Government buildings completed in 1884
1881 establishments in Ohio

Allen County Courthouse (Ohio)


Dot-matrix printers are printers for computers. A dot matrix printer creates characters by striking pins against ink ribbons. The print head moves back and forth on the paper like a typewriter and prints the image Each pin makes a dot, and combinations of dots form characters and pictures. This is much like a typewriter. Each character is made from a matrix of dots. These were used a lot in the 1970s to the 1990s. Today, dot matrix printers are not used by many people anymore. Most people use inkjet printers or laser printers now. They are still in use where forms (with multiple copies) need to be filled out. It is not advisable for office uses as it is an impact printer (make noise as the job is getting done). It prints information on a stationery paper

References

Printers

Dot matrix printing


Octavio Vázquez Rodríguez (born September 10, 1972) is a Galician-American New York-based composer of classical music.

Biography

Born in Santiago de Compostela (Galicia, Spain), Vázquez spontaneously started writing music at age 7. Not knowing how to notate music at that age, he created his own system. At age 12 he became music director at St. Peter's church in Lugo.  In 1989 he moved to Madrid, where he studied at the Adolfo Salazar Conservatory and the Madrid Royal Conservatory, taking degrees in piano, collaborative piano, and theory. While in Madrid he also worked as assistant conductor to Oscar Gershensohn and pursued graduate studies in conducting and musicology. After winning the prestigious Barrié de la Maza Foundation Scholarship, he went on to study composition at the Peabody Institute in Baltimore, and afterwards obtained his doctorate from the University of Maryland, College Park, where he was on a full Fellowship. Since 1999 he resides in New York City.

He is primarily interested in the "...emotional impact [of his music] and direct communication with the listener".  His music has been described as "...a burning torch for the next century" by Mark Greenfest, of the New Music Connoisseur, and noted for its neo-romantic qualities, as well as its tonal, polytonal and atonal instances. Well known for his contrapuntal technique and use of classical and romantic forms, his doctoral dissertation piece "Hermes" exemplifies the post-modern attributes of his music, amalgamating formal structures of prelude and fugue, theme and variations, and sonata form, while thematically all the material is derived from a 5-note chord, first presented as Ab-C-D#-E-G. Another significant aspect of Vázquez's music is its reflection of his Galician identity. A notable example is "Widows of the Living and of the Dead" (2014), a concerto for gaita (Galician bagpipe) and orchestra. Commissioned by Cristina Pato with support from New Music USA, the piece is "an ode to Galicia's history of women upholding Galician society" following the massive emigration suffered during most of the 19th and 20th centuries, and "dedicated to all women throughout history".

Collaborators include musicians such as Rossen Milanov, Eric Jacobsen, Víctor Pablo Pérez, Dmitri Berlinsky, Ilya and Leonid Finkelshteyn, Johnny Gandelsman, Daniel Gaisford, Eldar Nebolsin, Gintaras Janusevicius, the Flatiron Trio, the Monument Piano Trio, the Verdehr Trio, the Poulenc Trio, Viacheslav Dinerchtein, Julian Gargiulo, and Grammy Award winner Cristina Pato, and artists such as Olivia Kim, Luis Alvarez Roure, and photographer Katya Chilingiri.

Dr. Vázquez teaches at Nazareth University, where he directs the Composition Program.

List of works

Orchestral
Memento  (1998), winner of the Andres Gaos International Competition, premiered by the Royal Philharmonic Orchestra of Galicia
Lethe (1999), based on the "Guernica" Piano Trio, premiered by Carlos Kalmar and the Galicia Symphony Orchestra
Hermes (2004), commissioned and premiered by the Royal Philharmonic Orchestra of Galicia and conductor Maximino Zumalave
Styx (2005), commissioned and premiered by the Galicia Symphony Orchestra and conductor Hansjörg Schellenberger
Piano Concerto (2007), commissioned and premiered by the Galicia Symphony Orchestra, with soloist Cristina Pato
Eleusis (2009), commissioned by AEOS and Fundación Autor and premiered by the RTVE Symphony Orchestra conducted by Adrian Leaper
Tropos, Violin Concerto (2010), commissioned by the Xacobeo Classics Festival 2010 and premiered by the Royal Philharmonic Orchestra of Galicia, with soloist Amaury Coeytaux
Ewiges blaues Licht (2011), commissioned and premiered by the Galicia Symphony Orchestra and conductor Víctor Pablo Pérez
Ewiges Licht II (2013), a major revision of the former, commissioned and premiered by the Real Filharmonia de Galicia and conductor Paul Daniel
Penelope (2014), for choir and orchestra, commissioned by the Galician Cultural Council and premiered by Solo Voces, Collegium Compostellanum, and the Real Filharmonia de Galicia conducted by Maximino Zumalave
Elas (2014), for Galician gaita and orchestra, commissioned by Cristina Pato and New Music USA and premiered by Cristina Pato and the Sphinx Symphony Orchestra conducted by Andrew Grams
Widows of the Living and of the Dead (2014), for Galician gaita and orchestra, commissioned by Cristina Pato and New Music USA and premiered by Cristina Pato and the Real Filharmonia de Galicia conducted by Paul Daniel
Gaude (2016), for choir and baroque orchestra, commissioned by Stefan Plewniak & Il Giardino d'Amore
Magnificat (2020), for soprano, organ, choir and orchestra, commissioned by the Church of St. Thomas the Apostle of West Hartford, CT with support from the Marjorie Jolidon Fund of the Greater Hartford chapter of the American Guild of Organists
Migrant (2021), for violin and string orchestra, commissioned by the Society for New Music with support from the National Endowment for the Arts
Māyā (Illusions) (2022), commissioned by the Royal Philharmonic Orchestra of Galicia

Chamber
Sonata for Violin and Piano No. 1 (1990)
Sonata for Viola and Piano No. 1 (1992)
Sonata for Violin and Piano No. 2 (1993)
Trio for Clarinet, Cello and Piano (1994)
Suite for Bassoon and Piano (1996)
Septet (1996)
String Quartet No. 3 (1997), premiered at Merkin Hall
Sonata for Viola and Piano No. 2 (2002), diploma at the Prokofiev International Competition, premiered at Carnegie Hall in 2003
Galician Folk Dances (2003), for violin and piano, commissioned by the COAHSI
Trio for Flute, Viola and Cello (2003), premiered at Carnegie Hall in 2003
Trio for Violin, Cello and Piano, 'Guernica''' (1999, 2006) commissioned by the Guernica Project Inc. and premiered by the Flatiron TrioSonata for Clarinet and Piano (2009), commissioned and premiered by Enrique Pérez Piquer and the Via Stellae Festival 2010MusicScapes (2011), commissioned by Katya ChilingiriBalkanika (2011), commissioned with support from the Secretary of Culture of SpainNGC 6611 (2012), Honorable Mention in Hilary Hahn's "In 27 Pieces: The Hilary Hahn Encores' Contest"Trio for Oboe, Bassoon and Piano (2012), commissioned and premiered by the Poulenc Trio with support from New Music USATrio for Violin, Clarinet and Piano (2012), commissioned and premiered by the Verdehr Trio and Michigan State UniversityThree Departures for alto sax and piano (2016), commissioned by the New York chapter of the Music Teachers National AssociationSonata for Alto Saxophone and Piano (2016)Pentagrammon for wind quintet (2016), commissioned and premiered by the Airas Ensemble with support from Nazareth UniversityWinterzug for horn, tuba and piano (2016), commissioned and premiered by the Eastern Standard TrioWhat A Circus for horn, tuba and piano (2017), commissioned by the Eastern Standard Trio with support from the Meir Rimon Commissioning Assistance Program of the International Horn SocietyAlchemical Birds for reed quintet (2018), commissioned by the I-Park Foundation 2018 Composers + Musicians Collaborative Residency for the Akropolis Reed QuintetFierce for cello and piano (2018), commissioned by Tribeca New MusicMeus Benqueridos Irmáns / My Beloved Brethren for violin, gaita and piano (2019), commissioned by Cristina Pato.Piano Quintet (2021), commissioned by the Aspen Music Festival for the American String Quartet

SoloSonatina for Piano (1994)Prelude and Fugue for Guitar (1999)Nineteen Preludes for Piano (2001)Galician Folk Dances for piano (2003)Variations on a Theme by Mozart for violin (2008)Nostos for Guitar (2009), commissioned by Adam Levin and the Fulbright CommissionPercée for Violin (2011), commissioned by Roberto Alonso TrilloDouble I for Violin (2015), commissioned by Roberto Alonso TrilloThree Galician Pieces for piano (2015), first prize in the Galician Folk Songs international competitionGalician Fancy for piano (2019), written for pianist and activist Isabel Perez Dobarro

VocalThree Cantigas (1994), to poems by Airas Nunes, Garcia de Andrade, Eanes de CotomSemente for Mixed Choir (1995), poem by Emilio Pita (from Jacobusland)  But a Breath for Mixed Choir (1995), first prize in the Kromatika International CompetitionTempestad, Amanece, for voice and piano trio (2002), poems by Ilia GalánLieder to Poems by Goethe, for bass, bass clarinet and piano (2005)Lieder to Poems by Rosalía de Castro, for voice and piano (2013)Penelope (2014), for choir and orchestra, commissioned by the Galician Cultural Council and premiered by Solo Voces, Collegium Compostellanum, and the Real Filharmonia de Galicia conducted by Maximino ZumalaveTwo Songs to Poems by Neira Vilas, for voice and piano (2015) Gaude (2016), for choir and baroque orchestra, commissioned by Stefan Plewniak & Il Giardino d'AmoreAbout Light (2019), for choir, commissioned, premiered and recorded by Cantabile Choir

Recordings
 Widows of the Living and of the Dead, Cristina Pato, Paul Daniel, Royal Galician Philharmonic, 2021 ODRADEK
 Zeitgeist, Verdehr Trio, 2021 Blue Griffin
 Alchemical Birds, Akropolis Reed Quintet, Birds EP, 2020 AKROPOLIS
 Nostos, Adam Levin, NAXOS
 Galician Folk Dances, Three Galician Pieces, Javier Otero Neira, Landra Music
 Songs to Poems by Rosalia, Joaquin Pixan, Andante Productions
 Soas, Cristina Pato & Rosa Cedron, Fol Music
 Percee, Roberto Alonso Trillo, Ouvirmos
 Clarinet Sonata, Leiva & Amoedo, Ouvirmos
 Prelude and Fugue, Michael Nicolella: Ten Years Passed, Gale Recordings
 'Guernica' Trio, Flatiron Trio, Bohemia Music
 Trio for oboe, bassoon and piano'', Poulenc Trio, 2016, Delos (Naxos)

Notes
 MundoClasico.com (2007)
 Nazareth College (2014)

References

Fernandez, Rosa Maria. "La composición contemporánea gallega en Estados Unidos. Octavio Vázquez." Recerca Musicològica, no. 20-21 (2014): 355-374.
Kelly, Justin. "Galician Bagpiper Cristina Pato to Join CSO for U.S. Premiere of 'Widows of the Living and of the Dead.'" The Chautauquan Daily. Chautauqua Institution, August 8, 2018. https://chqdaily.com/2018/08/galician-bagpiper-cristina-pato-to-join-cso-for-u-s-premiere-of-widows-of-the-living-and-of-the-dead/.
Pfeil, Luke. "Creation." American Record Guide 79 no. 6 (2016): 175-176. https://delosmusic.com/american-record-guide-praise-for-octavio-vazquezs-triptych/.
Tremblay, Brenda. "Rochester Composer Pursues 'Irrational' Passion for Music." WXXI-FM. WXXI-FM, January 25, 2018.									 https://www.classical915.org/post/rochester-composer-pursues-irrational-passion-music.
"Trio (2012)." Verdehr. Verdehr Trio, 2013. http://www.verdehr.com/notes-VazquezTrio.pdf.
Vazquez Rodriguez, Octavio. "Hermes: Original Music for Symphony Orchestra." DMA diss., University of Maryland, 2004.

External links
 Octavio Vazquez web site
 Octavio Vazquez profile at the Nazareth College of Rochester

21st-century classical composers
American male classical composers
American classical composers
Musicians from Galicia (Spain)
Spanish classical composers
1972 births
Living people
Peabody Institute alumni
21st-century American composers
People from Santiago de Compostela
21st-century American male musicians
Spanish male musicians
Nazareth University faculty

Octavio Vázquez


The Subaru Justy is a subcompact hatchback that has been sold by Japanese automobile manufacturer Subaru since 1984. Subaru manufactured the Justy from 1984 to 1994; since then it has sold rebadged versions of other vehicles under the Justy nameplate. The company introduced the latest iteration, a rebadged Daihatsu Boon (second generation), at the 2007 Frankfurt Motor Show with a 1.0 or 1.2-liter straight-three engine, front/four wheel drive, electronically controlled continuously variable transaxle, or a 5-speed manual transaxle. For the 2010 model year, the Justy was replaced with the Subaru Trezia. The Justy nameplate was revived in November 2016 as a rebadged Toyota Tank and its twin counterpart the Toyota Roomy and Daihatsu Thor.

First generation

Originally designed and manufactured in Japan, the Justy was introduced to Japan in 1984. The design was a widened and stretched version of the Rex kei car, still using the same doors and some other pressings. To Japanese buyers, it was longer and wider and had an engine larger than kei car dimension regulations outlined, while keeping the engine displacement just under 1000 cc to minimize the annual road tax obligation. The electronically controlled, continuously variable "ECVT" transmission was introduced in February 1987. Production of this model was limited to 500 per month due to limited supplies of steel bands from Van Doorne transmission, but as the Justy ECVT was not an unqualified success this was not a real problem. When supplies later increased, Subaru chose to use them for the smaller Rex instead. The Justy was originally available with a low or a high roof, although the flat roofed version was eventually allowed to wither away.

European and American versions followed in 1987 and all models received a restyling in 1989. In some countries, such as Sweden, the Justy was sold under the name Subaru Trendy. In some places it was also simply marketed as the 'J-series' in early years, J10 for 1.0 L versions and J12 for the later 1.2 L versions. In many markets the Justy was only sold with four-wheel-drive, as with much of the Subaru lineup. Intended to compete with Daihatsu's one-liter Charade, the Justy was presented with a one-liter engine. Somewhat underpowered, this was later complemented by a larger 1.2-liter which eventually became the only engine installed. In European catalyzed trim, this engine offered  at 5200 rpm.

In Taiwan, Subaru marketed a version of the Justy with a sedan-style body and an uprated  fuel injected EF12 engine called the Tutto. Taiwanese Subarus were assembled by their local partner Ta Ching.

United States
In the United States, only the Japanese manufactured models were sold and only from 1987 to 1994 with the 1.2 engine. Early models were all low-roof, a full switchover to the high roof came with the midcycle facelift for 1989. The Justy received 4WD as an option in 1988, and all models were equipped with Multi Port Fuel Injection late in 1991. For 1990, the automatic front two-point motorized passive seat belts we introduced for 3-door FWD models in the United States market only, while the manual front seat belts were retained on the 4WD models. A five-door model was also available from 1990 to 1994, and is only available with the 4WD system. A 1995 model was offered in Canada.

Norway
The Subaru Justy (they were registered as "Justy/Trendy" in Norway) was available from late 1984 with optional 4×4 and the EF10 engine. The 4×4 version came with a  version of the engine with a two barrel carburetor, while the FWD version only produced  with a single barrel carburetor. The 4×4 version had a factory top speed of  and could accelerate  in 16 seconds. Gear ratios were identical on the 1.0- and 1.2-liter versions. Stock tire dimensions on the 1.0-liter version where 145-SR-12 and the 1.2-liter version had 165-65-R-13. The turning circle was of  and the fuel tank was 35 liters.

Taiwan

Fuji Heavy Industries signed a long-term contract with Ta Ching Motor Co. in 1989 in Taiwan right after the Justy hatchback started production. Ta Ching Motor Co. later developed the Subaru Tutto notchback sedan unique to Taiwan based on the Justy hatchback.

Drivetrain
Initially, the Justy was equipped with a 1.0 or 1.2 liter EF three-cylinder engine and either a manual transmission or a continuously variable transmission with either front wheel drive or on-demand four wheel drive.  The CVT technology (a pushbelt system) was employed because with a conventional automatic transmission, performance would have been unacceptable due to the small 3-cylinder engine and due to driving conditions in Japan, where the speed limits realistically don't exceed  in urban areas, the Justy was an affordable choice. In North America, because of the long distances, the CVT was considered unreliable, but this has not been the case in other countries.

In 1989, the gear ratios changed, front brakes and outer axle shafts were made larger, the rear differential was reinforced and the front axle shafts were identical lengths thanks to an intermediate extension shaft.

The European Justy sold from 1994 to 2001 was a rebadged second generation Suzuki Cultus built in Hungary. It used a 1.3 SOHC 8V, G13BA Suzuki engine with a Suzuki 5-speed manual transmission and AWD via a viscous clutch as standard.

Gear ratios
1987–1988

1989–1994

Rebadged models
After 1994, rebadged models from other manufacturers carried the Justy nameplate:

 In 1994, Subaru introduced to the Europe market a rebadged second generation Suzuki Cultus carrying the Justy nameplate.  Manufactured at Suzuki's Esztergom, Hungary plant, these were available in 3 and 5 door models, both with full-time all wheel drive as standard.
 In 2004, a rebadged Suzuki Ignis carried the G3X Justy nameplate in Europe, this model is available with a Suzuki M13A or M15A engine, and also equipped as standard with AWD.
 In model year 2007 a rebadged Toyota Passo/Daihatsu Boon revived the Justy nameplate with the Toyota 1KR-FE 1.0 L engine. It was only available with front wheel drive, unlike previous Justy models since the first one in 1984 that had either optional or standard 4WD/AWD.
 In late 2016 a rebadged Toyota Roomy/Tank/Daihatsu Thor revived the Justy nameplate with the Toyota 1KR-FE 1.0 L engine.

References

1990s cars
2000s cars
2010s cars
All-wheel-drive vehicles
Cars introduced in 1984
Front-wheel-drive vehicles
Hatchbacks
OEM Suzuki vehicles
Justy
Subcompact cars
Vehicles with CVT transmission

Subaru Justy


Lesley Paea 'I'muli Vainikolo (born 4 May 1979) is a former professional rugby league and rugby union footballer. A dual code international, he has played for the New Zealand Kiwis in rugby league and England in rugby union.

He began his career playing rugby league in Australia for the Canberra Raiders of the National Rugby League and later in England for the Bradford Bulls of Super League. He then moved to English rugby union club Gloucester. In both codes, he has usually played as a .

Early life and career
Vainikolo was born on 4 May 1979 in Nukualofa, Tonga. He grew up in West Auckland, New Zealand playing rugby union but switched to rugby league as he explains, "I first got into rugby league when I was 11. One of my mates got me into it. His team were short on numbers and my mate asked if I wanted to play. I grew up playing union, so I had the basic skills. I played the game and absolutely loved it. And I've been hooked since." Vainikolo played for the Mangere East Hawks in the Auckland Rugby League competition. He represented Auckland in the 1997 Super League Challenge Cup. He represented the Junior Kiwis in 1998.

Vainkolo attended De La Salle College, Mangere East and holds the school's 100m record of 10.90s. Vainikolo ran the 100 metres in 10.6 seconds in qualifying for the 1998 World Junior Athletics Championships.

Rugby league

Canberra Raiders
Vainikolo had two big league heroes when he was younger – Allan Langer and Mal Meninga. So when Vainikolo received a call from Mal Meninga to join the Canberra Raiders, he had no hesitation. Thus, in 1998, Vainikolo began his professional rugby league career for the Canberra Raiders in the Australian National Rugby League competition. In his first season for the club, he was voted as the Canberra Raiders' rookie of the year. While playing for the Raiders, Vainikolo was dubbed by Australian rugby league commentator Peter Sterling as 'The Volcano'. The reason for this is because Sterling found the player's surname difficult to pronounce and shortened it to "Volcano" and he has been called this nickname ever since.
Vainikolo was selected for the New Zealand team to compete in the end of season 1999 Rugby League Tri-Nations tournament. In the final against Australia he played on the wing in the Kiwis' 22–20 loss.

Bradford Bulls
Vainikolo made his début in the 2002 World Club Challenge. As Super League VI champions, the Bulls played against 2001 NRL Premiers, the Newcastle Knights in January 2002. He played on the wing and scored a try in Bradford's victory. His first season with the club in 2002 was disrupted by injury. He scored only 13 tries in 24 appearances. Vainikolo played for Bradford Bulls on the wing in their 2002 Super League Grand Final loss against St. Helens. In his second season with the club he scored 28 tries in 32 appearances. Vainikolo played for Bradford on the wing in their 2003 Super League Grand Final victory against the Wigan Warriors.

Having won Super League VIII, Bradford played against 2003 NRL Premiers, the Penrith Panthers in the 2004 World Club Challenge. Vainikolo played on the wing, scoring a try in the Bulls' 22–4 victory. In the 2004 season he broke the Super League try scoring record by scoring 36 tries in only 26 appearances, including five hat-tricks. Vainikolo played for the Bradford Bulls on the wing and scored a try in their 2004 Super League Grand Final loss against the Leeds Rhinos.

Again in 2005, his season was disrupted with injury, although he still managed to score 34 tries in 23 appearances. During the 2005 rugby league season his contract was due to expire at the end of the season and Vainikolo received what he says was "a very big offer" from Gloucester Rugby Club, who play in the Guinness Premiership. However, Vainikolo declined the offer and decided to remain with the Bradford Bulls until the end of the 2009 Super League season. After signing the contract, Vainikolo's coach at the time, Brian Noble stated "Lesley is a world-class player and was in big demand from both union and league clubs. To manage to keep him in rugby league says a lot for the sport and also the Bradford Bulls." At the end of the 2005 season, Vainikolo had scored 112 tries in 105 appearances for the Bulls. He played for the Bradford Bulls on the wing, scoring aa try in their 2005 Super League Grand Final victory against the Leeds Rhinos.
As Super League champions Bradford faced NRL premiers Wests Tigers in the 2006 World Club Challenge. Vainikolo played on the wing in the Bulls' 30–10 victory.

On 15 May 2007, it was confirmed by Bradford Bulls that he was to leave the club and join rugby union side Gloucester. Vainikolo spoke about his move saying: "First and foremost I want to take this opportunity to thank everyone connected with Bradford Bulls – including my team-mates, the staff and all the supporters – for making the last five years so memorable. "Bradford is my home and I know I'll be back. I'm determined to go out on a high and want to contribute as much as possible over the next six weeks before I make the switch." His last match at Odsal was on 17 June 2007 against Hull FC, a 34–8 win.  Terry Newton took the limelight with four tries but Vainikolo was allowed a parting shot when he was given the chance to convert a last minute try from regular goal-kicker Paul Deacon; the first shot of his career and his only two-point score for Bradford Bulls. Vainikolo's last match in the Super League was against the Bulls' rivals the Leeds Rhinos at Headingley on 29 June 2007, he scored the opening try in a 38–14 win for the Bulls, leaving his Bradford Bulls career statistics at 152 games, 149 tries and 1 goal. In August 2007, he was named in Bradford's Team of the Century.

International rugby league career
Vainikolo made his first international appearance for the New Zealand in 1998. He has scored fourteen tries in twelve appearances for his nation, including nine tries in the 2000 Rugby League World Cup.

He was ruled out of both the 2005 and 2006 Rugby League Tri-Nations series through injury. He has had major surgery on his knees over recent years.

Rugby union

Gloucester Rugby
In 2007, Vainikolo signed a three-year deal with rugby union Premiership side Gloucester who finished top of the Aviva Premiership in 2006/07 season. Gloucester head coach, Dean Ryan, was delighted with the signing of Vainikolo. Vainikolo was the fourth Bradford Bulls Player to have joined rugby union in the last 6 years after Tevita Vaikona joined Saracens and Henry Paul and former teammate Karl Pryce who also joined Gloucester Rugby.

Vainikolo scored five tries on his début for Gloucester against Leeds Carnegie on 16 September 2007. He finished the 07-08 Season joint 4th top try scorer with Worcester wing Miles Benjamin with a total of 9 tries.

France
Vainikolo joined the French side La Rochelle on a two-and-a-half-year deal after leaving Gloucester Rugby at the end of the 2011/2012 season.
As of 2013, Vainikolo left La Rochelle as he previously played for Rugby Athletic Club Angerien in Saint-Jean-d'Angély in France, where they compete in Federale 1 the third highest competition in France.

Barbarians
Vainikolo was selected for the Barbarians squad and played 2 matches, against a Belgium XV in Brussels, when he scored a try, and against Ireland at Kingsholm Stadium, Gloucester.

International rugby union career
While still playing rugby league, Vainikolo played rugby sevens for Tonga at the 2002 Commonwealth Games.

As a union player, Vainikolo was eligible to play for Tonga by birth, New Zealand by parentage or England by residence. He applied for a British passport and was included in the English squad for the Six Nations Championships in 2008.

He made his début for England against Wales on 2 February 2008, while his second appearance came for England against Italy in Rome on 10 February 2008. He also played against France, also in the Six Nations on 23 February 2008, Scotland on 8 March 2008 and Ireland on 15 March 2008. In total he played five test matches and did not score a try.

He was dropped by Rob Andrew for the England tour of New Zealand, and was left out of Martin Johnson's Elite Squad for 2008–2009.

Assault charge
In 2009 Vainikolo was found not guilty after being accused of grievous bodily harm. On 18 December 2008 he was arrested and charged after being accused of assaulting a man in a fight outside a nightclub in Bath.

A spokesman for the Gloucester said Vainikolo had not been suspended and there was "no reason" for the star to miss the next match. The statement also said "Lesley vigorously contests this allegation and, as demonstrated this season, remains completely focused on his rugby and will not allow this matter to distract him". He appeared before the Magistrates Court on 2 January 2009, where he was found not guilty.

Match Fit
In 2022, he was in the Kiwis alumni team in the season 2 finale of Match Fit as a member of the multi-sport team. In 2023, Vanikolo participated in season 3 of Match Fit, where former rugby players return to play against the Australian counterparts. He joined in the first season that featured former rugby league stars. He revealed that he lost his brother from heart attack. His father also suffered from diabetes and asthma, while his mother died 2 years ago from complications of diabetes. His wife is Sienna and he has a 14 year old son, Kava. He also revealed that Sienna is battling cancer, but she recovered 2 months later. In episode 3: He scored a hat-trick against Ex-All Blacks and Sevens in Beach Rugby game.

Notes and references

External links
Baa-Baas win in Brussels
BBC Gloucestershire feature on Vainikolo signing
Lesley Vainikolo Official Player Profile
Vainikolo quits league for union
Vainikolo speaks of Gloucester Rugby switch joy
Gloucester Rugby profile
Sportinglife profile
England new boys – Lesley Vainikolo
Volcano to erupt
Team Of The Century
Rugby Athletic Club Amerien profile

1979 births
Living people
Sportspeople from Nukuʻalofa
Tongan rugby union players
Tonga international rugby sevens players
New Zealand rugby league players
New Zealand national rugby league team players
English rugby union players
England international rugby union players
New Zealand male rugby sevens players
Tongan emigrants to New Zealand
New Zealand expatriate sportspeople in France
New Zealand emigrants to England
New Zealand expatriate sportspeople in England
Tongan expatriate sportspeople in England
English people of Tongan descent
New Zealand sportspeople of Tongan descent
New Zealand rugby union players
Bradford Bulls players
Barbarian F.C. players
Mangere East Hawks players
Canberra Raiders players
Auckland rugby league team players
Gloucester Rugby players
Dual-code rugby internationals
Rugby sevens players at the 2002 Commonwealth Games
Commonwealth Games rugby sevens players for Tonga
Junior Kiwis players
Rugby league fullbacks
People educated at De La Salle College, Māngere East
New Zealand expatriate rugby union players
New Zealand expatriate rugby league players
Expatriate rugby union players in France
Rugby union players from Auckland
Rugby league players from Auckland
English expatriate rugby union players
Stade Rochelais players
English expatriate sportspeople in France
Rugby union centres
Rugby union wings

Lesley Vainikolo


Kate Carmichael (died October 17, 2001) was a Canadian business leader and politician who lived in Halifax, Nova Scotia.

Carmichael was elected to the Lunenburg County District School Board in 1988 and became its chair in 1990, serving until 1991 when she moved to Halifax. In 1994, was elected city alderman for Ward 2 – Halifax South End, but lost the seat in 1995 after the formation of the Halifax Regional Municipality.

In 1997, Carmichael made an unsuccessful run for the provincial legislature as candidate for the Nova Scotia Progressive Conservative Party in the Halifax Citadel by-election.

In September 2001, Carmichael was recognized by the Halifax Chamber of Commerce for her contributions to Halifax's downtown with their Special Award for Community Contribution.

As executive director of the Downtown Halifax Business Commission (1996–2001) she was instrumental in the revitalization of Downtown Halifax.

After being diagnosed with leukemia in 1999, Carmichael was featured in a number of articles and news stories. Though she was only given three months to live in 1999, she remained active and was very public with her illness and her struggle with the cancer and didn't shy away from talking about dying. Carmichael died on October 17, 2001, at the age of 51.

Posthumously, Carmichael was awarded a Doctorate of Fine Arts (honoris causa) from the Nova Scotia College of Art and Design in December 2001. She is also recognized by the Downtown Halifax Business Commission who hold a series of lectures on urban planning in her name: The Carmichael Lecture Series. A section of George Street, which runs up the centre of downtown Halifax terminating in a view of the Town Clock, was renamed Carmichael Street in her honour.

Further reading
Article: Living With Dying (Lynn Patterson, King's School of Journalism)
Article: Halifax businesses get tough on graffiti artists (CBC, May 15, 2000
 Article: Special blood donor clinic for a courageous woman (CBC, October 6, 2000)
News Release: Sorrow and Sympathy on Kate Carmichael's Passing (NS Premier's Office, October 18, 2001)
 Article: Street Fighter (The Coast, April 14, 2005)

References

External links
Downtown Halifax Business Commission

Year of birth missing
Canadian people of Scottish descent
People from Halifax, Nova Scotia
2001 deaths
Nova Scotia municipal councillors

Kate Carmichael


Cissa of Crowland was a saint in the medieval Fenlands. He was the successor of Guthlac as abbot of Crowland, and is mentioned in Felix' Vita Guthlaci. According to the Crowland Chronicle his tomb was next to Guthlac's, and like the tomb of Guthlac, was destroyed by the Scandinavians. His relics were translated to Thorney Abbey in the 10th-century.

Notes

References

External links

8th-century Christian saints
East Anglian saints
Mercian saints

Cissa of Crowland


was a Japanese firearms designer and career officer in the Imperial Japanese Army. He founded the Nambu Arms Manufacturing Company, a major manufacturer of Japanese military firearms during the period. He was awarded the Order of the Sacred Treasure (2nd class) in 1914. Because of his prolific firearms designs, Nambu has been described as the "John Browning of Japan."

Biography
Nambu was born as the younger son to a former samurai retainer of the Nabeshima clan, in Saga domain in 1869 (present-day Saga prefecture). His mother died soon after he was born, and as his father had financial difficulties, he was sent out to be raised by a local merchant. Through hard work and determination, he secured a place in the 2nd class of the Imperial Japanese Army Academy at the age of 20. At age 23, he was commissioned a lieutenant of artillery.

In 1897, Nambu was assigned to Tokyo Arsenal, where he was assigned to work under noted weapons designer Nariakira Arisaka on the Type 30 rifle project followed by the Type 26 revolver. He was then promoted to major and ordered to develop a semi automatic pistol for the Japanese military. This design, an 8mm pistol, was the earliest version of the famed Nambu pistol, and was completed in 1902. Nambu built a smaller and lighter 7mm version in 1907. The design was praised by then Army Minister Terauchi Masatake, but the Japanese army did not place it into production due to production costs. The larger version was eventually adopted by the Imperial Japanese Navy's Special Naval Landing Forces, and the smaller version was sold commercially to private customers.

The Type 14 pistol was an improved version of the 1902 version, similar in dimensions and performance. It was issued to non-commissioned officers, while commissioned officers were expected to purchase their own side arms; it became the most common sidearm in use. Most of the pistols were produced by the Tokyo Arsenal with a smaller number manufactured by the Tokio Gasu Denky.  Production of Type 14s lasted until the end of World War II in 1945.  Total production numbers are estimated at approximately 200,000 for all variants.

During Nambu's tour at the Army Rifle Manufacturing Plant (later renamed the Kokura Arsenal) he developed the Type 3 Heavy Machine Gun in 1914 and the Type 11 Light Machine Gun in 1922. In 1922, Nambu was promoted to lieutenant general and placed in charge of the Tokyo Artillery Arsenal. He reorganized the army arsenal system in 1923 and was named Commander of the Army Explosives Arsenal and Army Institute of Scientific research.  In 1924, he retired from active military service,

Nambu founded the Nambu Arms Manufacturing Company in Tokyo in 1927, with financial backing from the Okura zaibatsu . Nambu received many contracts from both the Japanese army and navy for side arms, light machine guns and heavy machine guns, and also for testing and evaluation of many foreign designs. This included the Type 92 Heavy Machine Gun, Type 94 8 mm Pistol, Type II machine pistol, Type 100 submachine gun and licensed production of the Type 99 Light Machine Gun.

At the end of World War II, Nambu announced that his company would cease all weapons production; however, his facilities were sequestered under the American occupation authorities and continued to produce equipment (under the name Shin-Chuō Industries) for the police and subsequently for the post-war Japanese National Safety Forces, the predecessor to the current Japanese Self-Defense Force. Nambu died in May 1949, and his company was absorbed into the Japanese precision equipment manufacturer Minebea Co.

Weapons
 Types A, B, and 14 Nambu Pistol
 Type 94 Nambu pistol
 Type 100 Nambu SMG
 Type 3 Nambu HMG
 Type 92 Nambu HMG
 Type 11 Nambu LMG
 Type 96 Nambu LMG
 Type 97 Nambu LMG
 Type 99 Nambu LMG
 Type 38 Arisaka rifle
 Type 44 Arisaka carbine
 Type 99 Arisaka rifle

References
Bishop, Chris (eds) The Encyclopedia of Weapons of World War II. Barnes & Nobel. 1998.
Chant, Chris, Small Arms of World War II. Zenith Press 2002.
Hogg, Ian. Greenhill Military Small Arms Databook. Greenhill Books. 1999.
Nila, Gary, Japanese Naval Aviation Uniforms and Equipment 1937-45 (Elite) Osprey Publishing 2002,

Notes

External links
Dragons of Fire.com
Japanese Nambu Pistols
Nambu World: A Brief History of Japanese Handguns

Firearm designers
People from Saga Prefecture
1869 births
1949 deaths
Japanese generals
Postwar Japan

Kijirō Nambu