Macchietta (literally "little spot"; : macchiette or macchiettas) is a form of comedy act which was common in Italian theatre between the late 1800s and the second half of the 1900s.

Style
The "macchietta" consisted in comic musical monologues caricaturing stock characters. It was generally committed to the observation of reality, and it sketched characters featuring particular defects or manias, which were further deformed and exaggerated for comical and satirical effects. Every monologue had some music serving as backdrop for the whole performance and the acting was interspersed by brief couplets sung by the comedian.

History
Macchiette were performed in café-chantants, revues and avanspettacolo, and less frequently as part of more elaborate comedy plays. After a golden age between the late 1800s and early 1900s, the genre apparently went out of fashion around 1920, before being resurrected in an amended and updated form in the 1930s, mostly thanks to the duo formed by Gigi Pisano and Giuseppe Cioffi, who created a series of popular macchiette such as "Ciccio Formaggio", "Mazza Pezza e Pizzo" and "Datemi Elisabetta", which were successfully performed by the most popular comedians of the time.

Starting from the 1950s, the genre eventually declined and gradually disappeared together with the decline of avanspettacolo.

Actors

Nicola Maldacea was among the first actors to adopt the genre, and he is regarded as the figure who mostly helped to canonize the macchietta, if not its inventor. He himself regarded himself as the person who coined the term. Some of his macchiette had notable poets such as  Trilussa, Salvatore Di Giacomo and Libero Bovio as often uncredited authors.

Other well-known artists specialized in this form of entertainment were the Milan-based actor and playwright , the Neapolitans Raffaele Viviani and  (creator of the classical macchietta "La risata"), and the Roman Ettore Petrolini.

Further reading

References

macchietta
Theatre in Italy
Theatrical genres

Macchietta


Joseph Cassani (also spelt Casani, 26 November 1673 – 1750) was a Spanish Catholic historian.

Cassani was born in Madrid in 1673, entered the Society of Jesus on 16 November 1686, was still in active service of priestly functions in 1745, and died in 1750. He was one of the founders of the Academia de la Lengua española (Academy of the Spanish Language) at Madrid, and published a Diccionario de la Lengua Catellana (Catalan dictionary) there in 1726–1730, in six volumes. He was a very prolific writer. Among his works may be noted Admirable vida, singulares virtudes etc. del extçtico Varon P. Dionisio Rickel (Madrid, 1738), and Varones ilustres de la Compañia de Jesus Escual militar de fortificacion Tratado de la naturaleza y orígen de los cometas (Madrid, 1737).

He was a member of the Academia from 6 July 1713. Although he never visited America, he appealed particularly to Americans through his Historia de la Provincia de la Compañia de Jesus del Nueva Reyno de Granada en la América (Madrid, 1741), the only regular chronicle of the Jesuit Order in Colombia thus far extant. (Note: Fr. Cassani wrote the "Historia" in Venezuela.) The fact that Cassani was never in the New World detracts somewhat from the usefulness of this otherwise valuable history, as far as ethnologic and ethnographic data are concerned; but it does include data on the missions in the upper Orinoco basin. The work is exceedingly rare.

Sources

Sommervogel-de Backer, Bibl. des éscriv. de la c. de J.
Diccionario Hispano-americano
Salvç; Catçlogo de la Biblioteca de Salvç (Valencia, 1874)
Acosta, Compendia hist. del Descub. y Coloniz., de la Nueva Granada (Paris, 1848)
Brinton, The American Race (New York, 1891)

18th-century Spanish historians
17th-century Spanish Jesuits
Writers from Madrid
1673 births
1750 deaths
18th-century Spanish Jesuits

Joseph Cassani


"Revulsion" is the 73rd episode of Star Trek: Voyager, the fifth episode of the fourth season. This is focused on an EMH (Emergency Medical Hologram; The Doctor)-like hologram on another ship, which is dealt with mostly by the Doctor and B'Elanna. In addition, sub-plots run their course on Voyager with other characters. Guest star Leland Orser plays the EMH-like hologram Dejaren on a spaceship that is encountered by Voyager. Leland Orser had also played a character on Deep Space Nine.

The episode, in retrospect, was noted for a possible allusion to male sexual abuse via the hologram. In contrast to historical examples in Trek history, like Bajoran comfort women, the character of Dejaren has been compared to Gigolo Joe from Spielberg's 2001 film A.I. However, this may be too broad an interpretation of the episode noting a more basic horror film element.

The episode is noted as paying homage to the tradition of "trashy science fiction horror" vibe in the Star Trek universe as portrayed by episodes like "Phage", "Cathexis", "Faces", "Projections", "Persistence of Vision", "Cold Fire", "Prototype", "Meld", "The Thaw", "Macrocosm", "Alter Ego", "Coda", "Darkling", "Phantasms", "Dark Page", "Sub Rosa", "Masks", "Eye of the Beholder" or "Genesis". Star Trek has a history of dabbling in horror such as the technological failure of the transporter in Star Trek: The Motion Picture when its malfunction kills two members of the crew.

Plot
The crew is sitting in the mess hall for a celebration in honor of Tuvok, who is promoted to lieutenant commander. After the party Tom Paris catches up with B'Elanna Torres. The two haven't talked since the incident with the warp core three days before, and Tom decides to make a move. B'Elanna confirms that she meant what she said when she confessed her love for him, and Tom accepts this with a kiss.

Shortly after the party ends Voyager receives a distress call, sent by Dejaren — a hologram alone aboard a ship. His six flesh-and-blood crewmates have been killed and he requests assistance. The Doctor is eager to meet a fellow hologram and he and B'Elanna take off in a shuttle to meet the disabled ship. When they beam on board, all is quiet. Dejaren stalks them for a few moments while they try to establish what is wrong with the ship. When he comes face-to-face with the away team, he is nervous, suspicious, and distraught. Dejaren introduces himself as an "isomorph." He says his crew suddenly died of a virus and he doesn't know what to do next. B'Elanna gets to work trying to stabilize his matrix so he can stay visible.

Meanwhile back on Voyager Harry Kim has been assigned to work with Seven of Nine. She correctly notes that he seems "apprehensive" at the prospect. Despite his wariness of her frightening Borg behavior, he seems to be developing a bit of a crush on her, and he finds working closely with her unsettling. They manage to get their work done, but they are interrupted when Seven cuts her hand on a piece of equipment. Tom Paris, who has recently been recruited as the Doctor's new assistant, mends the cut in sickbay. He notices that Harry is growing fond of her, and advises him to keep his distance.

B'Elanna has some trouble with Dejaren, who is emotionally labile and unpredictable. One minute he giggles at her need to sustain herself by consuming food ("you nibble like a fish!"), and the next he unleashes an angry tirade about the disgust he feels toward "organics." B'Elanna excuses herself and catches up with the Doctor, insisting that they leave the ship and the disturbing hologram behind. The Doctor brushes her off, suggesting she be more patient with Dejaren, who is simply lonely and lacking in appropriate communication skills. B'Elanna doesn't buy it, and heads off to locate the hologram's main control center.

As B'Elanna explores other decks of the ship, Dejaren accosts the Doctor and pours out his feelings. He has felt like a slave to the organics, who are weak and unsanitary and require ridiculous amounts of maintenance and hygiene just to stay functional. He has grown to hate them and is glad he has the ship to himself. He begs the Doctor to come with him and teach him how to use the ship and be free of organics forever. The Doctor starts to realize why B'Elanna is uncomfortable around this angst-ridden isomorph.

B'Elanna finds the matrix controls. She also finds the bodies of the crew, who were not killed by a virus. They were violently murdered — by Dejaren himself. Before she can shut down the homicidal hologram he appears behind her and grabs her. He thrusts his hand into her body and grips her heart.

Back on Voyager Harry is trying to get closer to Seven. He asks her out to the holodeck. She has textbook knowledge of human behavior and immediately understands that he is attempting to spark romantic interaction between them. Seven, who believes romance is irrelevant, suggests they proceed directly to copulation, and directs him to remove his clothes. Thoroughly unnerved, the embarrassed Harry retreats.

While B'Elanna's Klingon physiological backups are keeping her alive despite Dejaren having perforated one of the ventricles of her heart, she is still in need of Voyager'''s sickbay. She and the Doctor try to disable the crazed isomorph. He makes a grab for the Doctor's mobile emitter, but B'Elanna manages to jolt him with a high-voltage cable, which destabilizes his matrix for good. They hurry off the ship. Safely back in Voyagers sickbay, the Doctor patches up B'Elanna.

 Cast commentary
Actress Jeri Ryan who plays Seven of Nine, said that "Revulsion" was one of her favorite episodes  along with "The Raven", "Hunters", "Prey", and the two-part "The Killing Game".

 Releases
This episode was released on VHS, paired "The Raven".

In 2017, the complete Star Trek: Voyager'' television series was released in a DVD box set with special features.

References

External links

Star Trek: Voyager (season 4) episodes
1997 American television episodes
Holography in television

Revulsion (Star Trek: Voyager)


Erle Elsworth Clippinger (1875–1939) was a professor of English and a scholar of children's literature in early 20th-century Indiana. He was one of the founding faculty members at Ball State University, where he chaired the English department for many years.

Early life and education
Clippinger was born on September 27, 1875, in Eau Claire, Michigan, to mother Mary Edna and father Henry G. Clippinger, who worked as a medical doctor. He graduated from Michigan State Normal College (now Eastern Michigan University) in 1900, and went on to the University of Michigan, where he earned a bachelor's degree in 1903 and a master's degree in 1904.  He also briefly attended graduate school at Harvard University.

Career and later life
He became an assistant professor at the Indiana State Normal School (now Indiana State University) in 1904. He moved to Ball State College in 1918, newly reopened after a previous school on the same site closed and the site was donated to the state of Indiana. He was the first teacher hired at the new school, and became head of its English department. He wrote the first catalog of the school's curriculum and, ignoring the Indiana government's requirement that the newly founded school focus only on preparing students to become primary-school teachers, developed a curriculum that covered both primary and secondary-level education. At Ball State, Clippinger was "an effective, challenging instructor" but had difficult relations with some other faculty members. He stepped down as department chair in 1932. He retired in 1937 and was awarded emeritus professor the same year.

Clippinger died on January 7, 1939, in Muncie, Indiana.

Books
Clippinger's published works include Children's Literature: A Textbook of Sources for Teachers and Teacher-Training Classes (with Charles Madison Curry, Rand McNally 1921), Illustrated Lessons in Composition and Rhetoric (Silver, Burdett, and Co. 1912), and the two volume text Written and Spoken English: A Course in Composition and Rhetoric  (Silver, Burdett, and Co. 1917).
Written and Spoken English was widely used as a high school textbook, and Children's Literature enjoyed a second edition in 1932.

Reception
Author Michael Carter, in his 2003 book Where Writing Begins: A PostModern Reconstruction, described Clippinger's Written and Spoken English as a "classic" that is "an early example" of writing textbooks centered on "correct written presentation and correct grammar".

Clippinger's book Written and Spoken English was "widely used in Chinese junior and senior colleges," wrote Xiaoye You in his book Writing in the Devil's Tongue: A History of English Composition in China.

References

External links

1875 births
1933 deaths
American children's writers
Ball State University faculty
University of Michigan alumni
Eastern Michigan University alumni
Indiana State University faculty
Educators from Michigan
19th-century American male writers

Erle Elsworth Clippinger


is a novella by the Japanese author Kenzaburō Ōe, first published in Japanese in 1972. It has been translated into English by John Nathan and was published in 1977 together with Teach Us to Outgrow Our Madness, Prize Stock and Aghwee the Sky Monster.  The work deals with themes of militarism and emperor-worship through the reminiscences of an unreliable narrator.

Plot summary

The novella is set in the summer of 1970.  It is narrated by a 35-year-old man (like all the characters he is not named) who is lying in hospital waiting to die of liver cancer, although the doctors do not believe that the cancer is real.  Early on in the novel, the narrator associates his cancer with the imperial symbols, calling it, "a flourishing bed of yellow hyacinth or possibly chrysanthemums bathed in a faint purple light".  He wears a pair of goggles with green cellophane lenses.  The story opens with a late-night encounter between the narrator and a "lunatic", resembling both the narrator's father and a Dharma, who appears at the end of his bed.  The lunatic asks the narrator what he is, to which he replies "I'm cancer" and throws his nostril clippers at the lunatic.

The remainder of the novel comprises the narrator's recollections of his childhood.  The main narrative is periodically interrupted by discussions between the narrator and "the acting executor of the will", who is transcribing the narrator's story. Looking forward to his death, the narrator sings the song, "Happy Days Are Here Again".  He fantasises about obtaining revenge on his hated mother by summoning her to attend his death, and in his narrative tries to recreate his earlier "Happy Days" of the latter years of the Second World War.

His first reminiscences, however, are of the immediate postwar years, in which he was ostracised by the other children for his poverty and "animal violence".   He was caught and humiliated by his mother while attempting to commit suicide. He also remembers that by the end of the war he had picked up that his mother's real father had been executed for participating in a revolt against the emperor in 1912.  She had then been adopted by a nationalist family working in China.  There she met her future husband, who brought her to the village.

The narrator's father was 'associated with the military', and was part of an anti-Tojo movement in the Kanto Army to promote General Ishiwara; after the plan failed, he returned to the village on New Year's Day 1943 and shut himself up in the storehouse.  There he wore the goggles later used by the narrator and used headphones to listen to a radio.  The narrator's parents broke off contact with one another after the father's son by his first marriage deserted from the Japanese army in Manchuria.  Both parents sent telegrams to contacts in the army: the mother to help her stepson escape, and the father to preserve the family honour by having him shot.  The son was shot. The mother claimed the ashes, and thereafter referred to her husband only as ano hito (あの人) — "that man", or "a certain party".

The narrator describes the time spent with his father in the storehouse after this breach as the first "Happy Days" of his life.  They culminated in an attempted revolt led by his father on 16 August 1945, the day after the end of the war.  The plan was to kill the emperor (to "accomplish what your father tried and failed to do", as the narrator's father said to his wife), and to blame the act on the Americans, thereby preventing the country's surrender.

The father takes his son with him and his co-conspirators as he leaves the valley.  The group sing the closing chorale from Bach's cantata Ich will den Kreuzstab gerne tragen, BWV 56, "Komm, o Tod, du Schlafes Bruder, Komm und führe mich nur fort" (Come, O death, brother of sleep, come and lead me forth). Another line from the same cantata is: "Da wischt mir die Tränen mein Heiland selbst ab" (My saviour himself shall wipe my tears away). The father tells his son that the words mean that the emperor will wipe their tears away.

The plot is a failure, and the conspirators are all killed (in the narrator's opinion, "very likely" by American agents in disguise).  At the moment of his father's death, he recalls that he saw, "high in the sky... a shining gold chrysanthemum against a vast background of purple light... the light from that flower irradiated his Happy Days".   By the time he reaches this part of the story, however, his mother has arrived at the hospital, and it is she who wipes away the tears he sheds.  She recalls that her son only survived the massacre of the conspirators because he had already run away.  The "acting executor of the will" agrees with the mother, and from her words it appears that she is the narrator's wife.

Confronted with his mother's version of events, the narrator retreats further into his own world. He wears a set of earphones as well as the goggles, and listens to a recording of the cantata while singing "Happy Days". He imagines himself back at the moment of his father's death, crawling towards a father figure so that, "his blood and his tears will be wiped away".

Response

John Nathan, in the introduction to his 1977 translation of the work, calls it, "Oe's most difficult and disturbing work to date". Like other commentators, he sees the novel as a response to, and parody of, the militarism of Yukio Mishima, whose failed coup and suicide had taken place in 1970, the same year in which Oe sets his story.  He ascribes its power to the tension between the "anger and longing" which he finds in the author's work.   Susan Napier expands on this interpretation, seeing the narrator as feeling the desire to escape from his adult responsibilities back into childhood, and feeling resentment towards his mother who prevents him from doing so.

The difficulty of the novel can be ascribed to a series of disruptive narrative techniques.  Episodes are related out of order, repeated and altered in each re-telling.  Oe also blurs the distinctions between the different characters, by the fluid use of pronouns and the omission of quotation marks.

Oe uses the discussions between the narrator and the executor (towards the end, including contributions from the narrator's mother) to include criticism of the main narrative within the story.  The executor asks about parts of the story omitted by the narrator, and suggests that he is hiding "unpleasant memories... creating the bloated feeling"   Her comments also prompt observations from the narrator on his own story: when she questions his continual use of the term "a certain party" instead of "father", he responds that, "To make someone sound like an imaginary figure can be a way of debasing him, but it can also be a way of exalting him into a kind of idol".  Michiko Wilson amplifies this latter point, arguing that this terminology furthers the identification of the father with the emperor, as he is traditionally not referred to by name.

The identification of the father with the emperor is only one of several archetypes which Wilson finds in the relationship between the father and the narrator: as well as emperor-subject, there are references to God-Christ and Don Quixote-Sancho Panza.  Beyond the obvious satirical intent, she argues that these overlapping references are part of Oe's strategy of defamiliarisation, through which the reader is forced to look at events through fresh eyes.   Another element of this strategy is the use of counter-intuitive contrasting pairs within the family: the small boy looks after his obese father; the mother tries to save her stepson, while the father tries to kill him; the son hates his mother, and (in the narrator's view) vice versa.

Napier argues that the satirical aspect of the work is not completely effective. She notes the difficulty of having one narrator recount both his own romantic delusion and the sordid reality which undermines it, and comments that, "by having one narrative voice encapsulating both, [Oe] creates an ambivalent final impression".

References

1972 novels
20th-century Japanese novels
Novels by Kenzaburō Ōe
Japanese novellas
Fiction set in 1970

The Day He Himself Shall Wipe My Tears Away


Pertransiit benefaciendo is a Latin phrase which means "He went about doing good". The first word may synonymously be spelled pertransivit. When spelled pertransit it means "He goes about" (present tense).

It is applied about one who has died, to show that they have done good in their life. It originates from the words of St. Peter to Cornelius the centurion when speaking of Jesus Christ. The quotation is from the Holy Bible, Acts 10:38.

34 Then Peter opened his mouth and said ...

38 How God anointed Jesus of Nazareth with the Holy Ghost and with power:
who went about doing good, and healing all that were oppressed of the devil;
for God was with him.

Latin
38 Iesum a Nazareth quomodo unxit eum Deus Spiritu Sancto et virtute
qui pertransivit benefaciendo et sanando omnes oppressos a diabolo
quoniam Deus erat cum illo.

The phrase is also found as Pertransivit benefaciendo, Per transiit benefaciendo, etc.

Examples

 St. Margaret of Scotland "Like the Divine Master on Whom she modelled her life it could be said of her pertransit benefaciendo — she walks through our Scottish story doing good."
 The motto of Bishop Getúlio Teixeira Guimarães, S.V.D., Prelate of the Roman Catholic Diocese of Cornélio Procópio, in GCatholic.org
 Obituary of Pierre Potain, M.D., Professor of Medicine in the University of Paris, in British Medical Journal 12 Jan 1901
 Memorial plaque to Caroline Agnes Drew, daughter of Joseph Drew, on the Drew family memorial at Melcombe Regis Cemetery - see image

Notes

References
 McRoberts, David Historical Essay on the life of St. Margaret of Scotland, Glasgow (1957)

Latin philosophical phrases
Vulgate Latin words and phrases

Pertransiit benefaciendo


Hotel Woodland is a historic hotel located in Woodland, California and designed by William Henry Weeks. The hotel is on the National Register of Historic Places, and is a contributing property of the Downtown Woodland Historic District.

History
In 1920 the idea of an upscale hotel in Woodland was discussed by a group of local businessmen, who then formed an investment group that offered stock ownership for this idea. This group approached W.H. Weeks with their preliminary plans after enough funds were raised to make the project seem possible.

The plans weren't carried out until 1928, however. At this point in Woodland's history, there were many tourists and visitors to the city, and this prosperity prompted the plans years earlier for an upscale hotel, to come to fruition. The hotel was developed by Weeks' Securities Corporation, a corporation Weeks had just started the same year, which had developed several other hotels in northern California. Around 50 local businesses also invested in the hotel, raising 10% of the $500,000 spent to construct the building. A site on the corner of Main and College Street was chosen, where just ten years earlier a hotel by the name of Byrns Hotel had been condemned and demolished. Hotel Woodland was thus made real. In the 25 years since his first project in Woodland, this would be Weeks' 14th project and last major work in the city.

The hotel was completed with four stories, 80 guest rooms, and was built reflecting a simplified California Churrigueresque style of Spanish Colonial Revival architecture. The Spanish Colonial Revival style of the building shows a simplified commercial version, but has more detailed Churrigueresque features like the "festively painted" moldings that are grouped together in the upper window of the central tower of the building. The building also shows off a clay tile roof and decorated spiral columns near the entryway. The building's lobby features  of cement floor, meant to appear like Mexican tile, wrought iron chandeliers and "beamed, stenciled ceilings". The ground floor also had a restaurant and a banquet room for social events.

Its elegance made it a spot for important community events and gatherings. Because of its visibility on Main Street, as well as its beauty, it was one of the buildings that contributed to the splendor of Downtown Woodland.

By the 1980s, the hotel had become dilapidated and worn. Main Street merchants and city residents all agreed that something had to be done to the building, either to demolish it or to renovate it. After much discussion over several years, the path of renovation for the hotel was chosen. Near the end of 1994 a non-profit organization and a local developer purchased the hotel for $925,000. They made $5.5 million in subsequent renovations to make the hotel livable. The hotel was converted into a place for low-income residents. The renovations were funded from local, state, and federal grants. The upper floors were planned for housing while the bottom floors were projected to have shops.

References

Hotel Woodland
Hotels established in 1928
Hotel buildings completed in 1928
Hotel buildings on the National Register of Historic Places in California
Hotel Woodland
Hotel Woodland
Hotel Woodland
Hotel Woodland

Hotel Woodland


Tamara Ivanovna Manina (; born 16 September 1934) is a retired Soviet Olympic gymnast and a sports scientist.

Biography
Her family lived in Petersburg (and later in Leningrad), but Manina was born in Petrozavodsk, where her father was on a long mission. During the German-Soviet War she was evacuated from besieged Leningrad into Tashkent. She returned into Leningrad in 1944 and began gymnastics at the Leningrad Young Pioneer Palace in the same year. She was called "Monia the Bird" by groupmates for her graceful and light vaults.

Competing as a junior, she won the all-around title at the USSR Nationals in 1953, and became a candidate for the USSR team. In the same year Manina debuted at the senior USSR Championships, placing 12th in the all-around. Between 1953 and 1964 Manina successfully competed in many national and international events.

One of Manina's most successful performances took place at the 1954 World Artistic Gymnastics Championships, where she earned several gold medals on vault, on the floor and in the team competition. At the 1956 Olympics she rivalled Ágnes Keleti, Larisa Latynina, and other strong competitors, and placed 6th in the all-around, but won silver medals on vault and balance beam. She also contributed to the team's gold and bronze medals. The USSR team won more gold medals than any other country at that year's Olympics. In one of her interviews Manina said, that the team had a warm welcome everywhere in the USSR: on their way by train from Vladivostok to Moscow they were met with flowers on each small station, people organized solemn meetings and made other arrangements to honor their visit.

Although in the event finals of the 1958 Worlds Manina, apart from the gold in the team competition, won a silver medal, on vault, she placed 3rd in the all-around to Latynina and Eva Bosáková. She missed the 1960 Summer Olympics due to an injury, but competed in the 1962 World Artistic Gymnastics Championships, contributing to the team's gold and winning the bronze on vault. At age 30 she went to the 1964 Summer Olympics and won the team's gold and silver on the balance beam. Finishing her competitive career, Manina seriously injured her ankle during the display competition in Vienna and was not able to continue training afterward. She coached the French national team in 1975 and has been an international judge since 1971.

Manina is also known for her scientific activities. Starting in 1958, she studied at the Leningrad State Institute of Fine Mechanics and Optics, and graduated in 1965.  She defended a dissertation for the Candidate of Science degree at the Lesgaft State Institute of Physical Culture in 1969 and taught at the gymnastics department of the institute until 1973. Since 1975 she has been a professor at the Saint Petersburg State Art-Industrial Academy. She has published more than 40 scientific, methodical and popular science books.

Tamara Manina lives and works in Saint Petersburg. She is married to Valery Lutkov, a sports medicine doctor, and has a son.

See also

List of top Olympic gymnastics medalists
List of top medalists at the World Artistic Gymnastics Championships
List of Olympic female gymnasts for the Soviet Union

References

External links

1934 births
Living people
People from Petrozavodsk
Soviet female artistic gymnasts
Gymnasts at the 1956 Summer Olympics
Gymnasts at the 1964 Summer Olympics
Olympic bronze medalists for the Soviet Union
Olympic gold medalists for the Soviet Union
Olympic silver medalists for the Soviet Union
Olympic gymnasts for the Soviet Union
Olympic medalists in gymnastics
World champion gymnasts
Medalists at the World Artistic Gymnastics Championships
Burevestnik (sports society) sportspeople
Sports scientists
Medalists at the 1964 Summer Olympics
Medalists at the 1956 Summer Olympics
Universiade medalists in gymnastics
Universiade bronze medalists for the Soviet Union
Medalists at the 1961 Summer Universiade

Tamara Manina


Biological thermodynamics (Thermodynamics of biological systems) is a science that explains the nature and general laws of thermodynamic processes occurring in living organisms as nonequilibrium thermodynamic systems that convert the energy of the Sun and food into other types of energy. The nonequilibrium thermodynamic state of living organisms is ensured by the continuous alternation of cycles of controlled biochemical reactions, accompanied by the release and absorption of energy, which provides them with the properties of phenotypic adaptation and a number of others.

History
In 1935, the first scientific work devoted to the thermodynamics of biological systems was published - the book of the Hungarian-Russian theoretical biologist Erwin S. Bauer (1890-1938) "Theoretical Biology"[]. E. Bauer formulated the "Universal Law of Biology" in the following edition: "All and only living systems are never in equilibrium and perform constant work at the expense of their free energy against the equilibrium required by the laws of physics and chemistry under existing external conditions". This law can be considered the 1st law of thermodynamics of biological systems.

In 1957, German-British physician and biochemist Hans Krebs   and British-American biochemist Hans Kornberg[] in the book "Energy Transformations in Living Matter" first described the thermodynamics of biochemical reactions. In their works, H. Krebs and Hans Kornberg showed how in living cells, as a result of biochemical reactions, adenosine triphosphate (ATP) is synthesized from food, which is the main source of energy of living organisms (the Krebs–Kornberg cycle).

In 2006, the Israeli-Russian scientist Boris Dobroborsky (1945) published the book "Thermodynamics of Biological Systems"[], in which the general principles of functioning of living organisms from the perspective of nonequilibrium thermodynamics were formulated for the first time and the nature and properties of their basic physiological functions were explained.

The main provisions of the theory of thermodynamics of biological systems
A living organism is a thermodynamic system of an active type (in which energy transformations occur), striving for a stable nonequilibrium thermodynamic state. The nonequilibrium thermodynamic state in plants is achieved by continuous alternation of phases of solar energy consumption as a result of photosynthesis and subsequent biochemical reactions, as a result of which adenosine triphosphate (ATP) is synthesized in the daytime, and the subsequent release of energy during the splitting of ATP mainly in the dark. Thus, one of the conditions for the existence of life on Earth is the alternation of light and dark time of day.

In animals, the processes of alternating cycles of biochemical reactions of ATP synthesis and cleavage occur automatically. Moreover, the processes of alternating cycles of biochemical reactions at the levels of organs, systems and the whole organism, for example, respiration, heart contractions and others occur with different periods and externally manifest themselves in the form of biorhythms. At the same time, the stability of the nonequilibrium thermodynamic state, optimal under certain conditions of vital activity, is provided by feedback systems through the regulation of biochemical reactions in accordance with the Lyapunov stability theory. This principle of vital activity was formulated by B. Dobroborsky in the form of the 2nd law of thermodynamics of biological systems in the following wording:

The stability of the nonequilibrium thermodynamic state of biological systems is ensured by the continuous alternation of phases of energy consumption and release through controlled reactions of synthesis and cleavage of ATP.

The following consequences follow from this law:

1. In living organisms, no process can occur continuously, but must alternate with the opposite direction: inhalation with exhalation, work with rest, wakefulness with sleep, synthesis with cleavage, etc.

2. The state of a living organism is never static, and all its physiological and energy parameters are always in a state of continuous fluctuations relative to the average values both in frequency and amplitude.

This principle of functioning of living organisms provides them with the properties of phenotypic adaptation and a number of others.

See also

 Bioenergetics
 Ecological energetics
 Harris-Benedict Equations
 Stress (biology)

References
1.    ^ Bauer E.S. (1935) "Theoretical Biology" M-L, VIEM Publishing House, 151 p. (Ru).

2.    ^ Alberty R (2004). "A short history of the thermodynamics of enzyme-catalyzed reactions". J Biol Chem. 279 (27): 27831–6. doi:10.1074/jbc.X400003200. PMID 15073189. Archived from the original on 2008-09-05. Retrieved 2007-03-04.

3.    ^ Dobroborsky B.S. (2006) "Thermodynamics of biological systems". St. Petersburg, Publishing House of the St. Petersburg State Medical Academy named after I.I. Mechnikov. 52 p. (Ru).

Closer Listening
Haynie, D. (2001). Biological Thermodynamics (textbook). Cambridge: Cambridge University Press.
Lehninger, A., Nelson, D., & Cox, M. (1993). Principles of Biochemistry, 2nd Ed (textbook). New York: Worth Publishers.
Alberty, Robert, A. (2006). Biochemical Thermodynamics: Applications of Mathematica (Methods of Biochemical Analysis), Wiley-Interscience.

External links
Cellular Thermodynamics - Wolfe, J. (2002), Encyclopedia of Life Sciences.
Bioenergetics

Thermodynamics
Thermodynamics

Biological thermodynamics


Irrealism is a philosophical position first advanced by Nelson Goodman in "Ways of Worldmaking", encompassing epistemology, metaphysics, and aesthetics.

Nelson Goodman's irrealism
Irrealism was initially motivated by the debate between phenomenalism and physicalism in epistemology. Rather than viewing either as prior to the other, Goodman described them both as alternative "world-versions", both useful in some circumstances, but neither capable of capturing the other in an entirely satisfactory way, a point he emphasizes with examples from psychology. He goes on to extend this epistemic pluralism to all areas of knowledge, from equivalent formal systems in mathematics (sometimes it is useful to think of points as primitives, sometimes it is more useful to consider lines the primitive) to alternative schools of art (for some paintings thinking in terms of representational accuracy is the most useful way of considering them, for others it is not). However, in line with his consideration of phenomenalism and physicalism, Goodman goes beyond saying merely that these are "world-versions" of the world, instead he describes worlds as "made by making such versions".

Metaphysically, Goodman's irrealism is distinct from anti-realism though the two concepts are frequently confused. "We are not speaking in terms of multiple possible alternatives to a single actual world but of multiple actual worlds." He makes no assertions regarding "the way the world is" and that there is no primary world-version i.e. "no true version compatible with all true versions." As Goodman says, "Not only motion, ... but even reality is relative." It follows that Goodman accepts many forms of realism and anti-realism without being troubled by the resulting contradictions.

Other irrealists

The artist Tristan Tondino writes, "Realism is an Irrealism. Reality is plurality - we partially create it, we must open our universes and our perceptions to all new versions that may promote the concept of human rights and expand its possibilities."

The sociologist Nikolas Rose subscribes to irrealism in his Powers of Freedom, though his irrealism differs from Goodman's in being 'technical, not psychologistic, furthering Goodman's assertions of the human mind are only capable of a limited understanding and that it is a construct built upon itself."

Philosopher Jan Westerhoff discusses irrealism in his paper "The consequences of living in a virtual world generated by our brain"

Other forms of irrealism

The philosophical term may be used in more specific or arguably narrower senses, such as "colour irrealism".

See also

 Anti-realism
 Philosophical realism
 Simulated reality

Footnotes

References

External links

"On Star-Making" by Nelson Goodman.
 Goodman and Putnam on the Making of Worlds by Damian Cox
 An experimental test of non-local realism. Physics research paper in Nature which gives negative experimental results for certain classes of realism in the sense of physics.

Epistemological theories
Metaphysical theories
Theories of aesthetics
Philosophical realism

Irrealism (philosophy)


Shane Crothers (born 2 July 1973) is an Australian basketball player and former Australian rules footballer. He played with the Geelong Football Club in the Australian Football League (AFL), Port Adelaide in the SANFL and Geelong Supercats in the National Basketball League (NBL).

Crothers was drafted by Geelong from Geelong Football League club Grovedale with the 113th pick of the 1989 VFL draft. Unable to break into the team, Crothers joined the Geelong Supercats and made his NBL debut in 1991, playing in a side which included a young Shane Heal. He also played NBL in 1992 but left the following year when he was again drafted by Geelong to the AFL.

His AFL career consisted of just four games but he was a part of a strong team which made and lost the Grand Final in both seasons he was at the club; 1994 and 1995. Playing as a ruckman, Crothers had seven hit-outs and seven disposals on his league debut, against North Melbourne late in the 1994 AFL season. He played again the following round in a win over Fitzroy but didn't participate in the finals. His appearances in 1995 were limited to games against Collingwood and Richmond, the latter at the Melbourne Cricket Ground.

Crothers had become the second person, after Michael Parsons, to compete in both leagues.

After leaving the Cats, Crothers joined the Port Adelaide Football Club in 1996 and was named on the interchange bench in the Magpies' premiership win over Central District.

He also returned to basketball and competed with the West Adelaide Bearcats in the Central Australian Basketball League.

References

1973 births
Geelong Football Club players
Port Adelaide Magpies players
Grovedale Football Club players
Australian rules footballers from Victoria (state)
Australian men's basketball players
Geelong Supercats players
Living people

Shane Crothers


The North Bedford Historic District is a historic district roughly bounded by Summer, Parker, Pleasant and Kempton Streets in New Bedford, Massachusetts.  It encompasses a predominantly residential neighborhood north of downtown New Bedford which was developed primarily in the mid 19th-century.  It features a variety of worker housing of the period, as well as a number of higher quality houses built by businessmen.  The district was added to the National Register of Historic Places in 1979.

Description and history
The historic district is located just north of downtown New Bedford, and is roughly bounded by four significant traffic arteries: Kempton Street to the south, County Street to the west, Parker Street to the north, and Purchase Street (running just next to the city's downtown highway connector) to the east.  The area is about  in size, and has 400 primarily residential buildings.  Most of these are single-family wood frame residences, many of them in vernacular versions of styles popular between about 1820 and 1860.  Italianate features predominate, although earlier Greek Revival and later Second Empire and Queen Anne examples are also numerous.  A modest number of houses are more elaborate or stylistically formal; these were typically built for wealthier businessman or merchants.  There are two major non-residential properties: the St. Lawrence Church, and a state National Guard armory.

New Bedford was originally part of Dartmouth, and was separately incorporated in 1787.  By the early 19th century it was one of Massachusetts's major maritime ports, having surpassed Nantucket as the world's leading whaling port.  The North Bedford area developed residentially as the city center and waterfront area developed to serve this business, growing roughly from south to north.  The area's growth continued for a time after the whaling industry declined, as the city's waterfront areas were developed in the later 19th century with textile mills.  Areas on either side of the district, once also residential in character, were razed as part of urban redevelopment activities in the 1960s.

See also
National Register of Historic Places listings in New Bedford, Massachusetts

References

Historic districts in Bristol County, Massachusetts
National Register of Historic Places in New Bedford, Massachusetts
New Bedford, Massachusetts
Historic districts on the National Register of Historic Places in Massachusetts

North Bedford Historic District


A fetus or foetus is the stage that an organism goes through before it is born as a baby. In humans a fetus is the stage (time of development) after the embryonic stage, and begins during the third to eighth week of development after fertilization of the egg. The fetal stage lasts from 8 weeks after fertilization to birth. This stage can also take 9-12 weeks, if any mutations happen.

Biological reproduction

Fetus


Daytime television is a daypart that runs from 9:00 a.m. to 5:00 p.m. Eastern Time. It is after a breakfast/morning show program and before the early fringe of primetime.

This programming block features game shows like Let's Make a Deal and The Price is Right, soap operas like The Young and the Restless, The Bold and the Beautiful, General Hospital, and Days of Our Lives, and talk shows like The Talk, The Doctors and Dr. Phil. Some local affiliates air their local newscasts at noon Eastern Time and 11:00 a.m. Central Time.

Television genres

Daytime television


Edwin Calvin Newborn (April 27, 1933 – December 1, 2018) was an American jazz guitarist.

Career
He was the brother of pianist Phineas Newborn Jr. (1931–89), with whom he recorded between 1953 and 1958. They also formed an R&B band, with their father Phineas Newborn Sr. on drums and Tuff Green on bass. The group also included Willie Mitchell and Ben Branch.

The group was the house band at the Plantation Inn Club in West Memphis, Arkansas, from 1947 until 1951. The group recorded as B. B. King's band on his first recordings in 1949, and also the Sun Records sessions in 1950.

Newborn gave guitar lessons to Howlin' Wolf and was friends with Elvis Presley, who frequented his gig at the Plantation Inn Club two nights a week.  Presley also used to eat at the Newborns' house and browse their music store for gospel records.

The group left West Memphis in 1951 to tour with Jackie Brenston as the "Delta Cats" in support of the record "Rocket 88". It was considered by many to be the first rock and roll record ever recorded, and was the first Billboard number one record for Chess Records.

Following this he played with Earl Hines starting in 1959. In the early 1960s, he toured with Lionel Hampton, Jimmy Forrest, Wild Bill Davis, Al Grey, and Freddie Roach, along with fellow Memphis jazz players including Booker Little, George Coleman. Frank Strozier, and Louis Smith.  Newborn also worked with Ray Charles, Count Basie, Hank Crawford and David "Fathead" Newman. Since the 1970s Newborn had remained mostly in Memphis, Tennessee, where he played regularly in local clubs well into the 1990s. His 1980 album Centerpiece hit No. 35 on the U.S. Billboard jazz albums chart, but much of his earlier material was not reissued on CD until 2005.  He lived most recently in Jacksonville, Florida, and continued to perform throughout Northeast Florida until his death.

According to family members, Calvin Newborn died in Jacksonville on December 1, 2018, aged 85.

Discography

As leader
 Centerpiece with Hank Crawford (Buddah, 1980)
 From the Hip (Rooster [later known as 'Rooster Blues'], 1983)
 Up City! (Omnivarious Music, 1998; reissue: Yellow Dog, 2005)
 New Born (Yellow Dog, 2005)
 Clazz (Classical Jazz) with Kenny Levine (Omnifarious, 2011)

As sideman
With Phineas Newborn Jr.
 Here Is Phineas (Atlantic, 1956)
 Phineas' Rainbow (RCA Victor, 1957)
 While My Lady Sleeps (RCA Victor, 1957)
 Fabulous Phineas  (RCA Victor, 1958)
 A World of Piano! (Contemporary, 1962)

With others
 Hank Crawford, Midnight Ramble (Milestone, 1983)
 Lou Donaldson, Lou Donaldson at His Best (Cadet, 1967)
 Lou Donaldson, Ha' Mercy (Cadet, 1971)
 Jimmy Forrest, Sit Down and Relax with Jimmy Forrest (Prestige, 1961)
 Jimmy Forrest,  Soul Street (New Jazz, 1964)
 Al Grey, Having a Ball (Argo, 1963)
 Lionel Hampton, The Many Sides of Hamp (Glad-Hamp, 1961)
 Earl Hines, Earl's Pearls (MGM, 1960)
 Linda Hopkins, How Blue Can You Get (Palo Alto, 1986)
 Howlin' Wolf, Sings the Blues (Crown, 1962; reissue: Ace, 2004)
 Bobby Hutcherson, The Al Grey & Dave Burns Sessions (Lone Hill Jazz, 2004)
 B.B. King, King of the Blues (MCA, 1992)
 Booker Little, Booker Little 4 & Max Roach (United Artists, 1959)
 Freddie Roach, All That's Good (Blue Note, 1965)
 Sun Ra, Secrets of the Sun (El Saturn, 1965)
 Jimmy Witherspoon, Midnight Lady Called the Blues (Muse, 1986)

References

External links
Biography and reviews on All About Jazz
Calvin Newborn at Bandcamp

1933 births
2018 deaths
20th-century American guitarists
21st-century American guitarists
American jazz guitarists
Jazz-blues guitarists
Guitarists from Tennessee
American male guitarists
People from Whiteville, Tennessee
Yellow Dog Records artists
Jazz musicians from Tennessee
20th-century American male musicians
21st-century American male musicians
American male jazz musicians

Calvin Newborn


In particle physics, the hypothetical dilaton particle is a particle of a scalar field  that appears in theories with extra dimensions when the volume of the compactified dimensions varies.  It appears as a radion in Kaluza–Klein theory's compactifications of extra dimensions.  In Brans–Dicke theory of gravity, Newton's constant is not presumed to be constant but instead 1/G is replaced by a scalar field  and the associated particle is the dilaton.

Exposition
In Kaluza–Klein theories, after dimensional reduction, the effective Planck mass varies as some power of the volume of compactified space. This is why volume can turn out as a dilaton in the lower-dimensional effective theory.

Although string theory naturally incorporates Kaluza–Klein theory that first introduced the dilaton, perturbative string theories such as type I string theory, type II string theory, and heterotic string theory already contain the dilaton in the maximal number of 10 dimensions. However, M-theory in 11 dimensions does not include the dilaton in its spectrum unless compactified. The dilaton in type IIA string theory parallels the radion of M-theory compactified over a circle, and the dilaton in    string theory parallels the radion for the Hořava–Witten model. (For more on the M-theory origin of the dilaton, see Berman & Perry (2006).)

In string theory, there is also a dilaton in the worldsheet CFT – two-dimensional conformal field theory. The exponential of its vacuum expectation value determines the coupling constant  and the Euler characteristic  as  for compact worldsheets by the Gauss–Bonnet theorem, where the genus  counts the number of handles and thus the number of loops or string interactions described by a specific worldsheet.

Therefore, the dynamic variable coupling constant in string theory contrasts the quantum field theory where it is constant. As long as supersymmetry is unbroken, such scalar fields can take arbitrary values moduli). However, supersymmetry breaking usually creates a potential energy for the scalar fields and the scalar fields localize near a minimum whose position should in principle calculate in string theory.

The dilaton acts like a Brans–Dicke scalar, with the effective Planck scale depending upon both the string scale and the dilaton field.

In supersymmetry the superpartner of the dilaton or here the dilatino, combines with the axion to form a complex scalar field.

The dilaton in quantum gravity
The dilaton made its first appearance in Kaluza–Klein theory, a five-dimensional theory that combined gravitation and electromagnetism. It appears in string theory. However, it has become central to the lower-dimensional many-bodied gravity problem based on the field theoretic approach of Roman Jackiw. The impetus arose from the fact that complete analytical solutions for the metric of a covariant N-body system have proven elusive in general relativity. To simplify the problem, the number of dimensions was lowered to 1 + 1 – one spatial dimension and one temporal dimension. This model problem, known as R = T theory, as opposed to the general G = T theory, was amenable to exact solutions in terms of a generalization of the Lambert W function.  Also, the field equation governing the dilaton, derived from differential geometry, as the Schrödinger equation could be amenable to quantization.

This combines gravity, quantization, and even the electromagnetic interaction, promising ingredients of a fundamental physical theory. This outcome revealed a previously unknown and already existing natural link between general relativity and quantum mechanics. There lacks clarity in the generalization of this theory to 3 + 1 dimensions. However, a recent derivation in 3 + 1 dimensions under the right coordinate conditions  yields a formulation similar to the earlier 1 + 1, a dilaton field governed by the logarithmic Schrödinger equation that is seen in condensed matter physics and superfluids.  The field equations are amenable to such a generalization, as shown with the inclusion of a one-graviton process, and yield the correct Newtonian limit in d dimensions, but only with a dilaton.  Furthermore, some speculate on the view of the apparent resemblance between the dilaton and the Higgs boson.  However, there needs more experimentation to resolve the relationship between these two particles.  Finally, since this theory can combine gravitational, electromagnetic, and quantum effects, their coupling could potentially lead to a means of testing the theory through cosmology and experimentation.

Dilaton action
The dilaton-gravity action is

This is more general than Brans–Dicke in vacuum in that we have a dilaton potential.

See also
 CGHS model
 R = T model
 Quantum gravity

Citations

References

Hypothetical elementary particles
String theory
Supersymmetry

Dilaton


The Cathedral Church of St. Paul is the cathedral church of the Episcopal Diocese of Michigan. In 1824 its congregation formed as the first Episcopal and first Protestant church in the Michigan Territory.

Designed by architect Ralph Adams Cram and constructed in 1907, this building is located at 4800 Woodward Avenue in Midtown Detroit, Michigan, adjacent to the campus of Wayne State University. It was listed on the National Register of Historic Places in 1982.

History
The parish of St. Paul was founded in 1824, by the Rev. Richard Fish Cadle, as the first Episcopal and the first Protestant congregation in what was then Michigan Territory. The original site of St. Paul's church was on Woodward Avenue, between Congress and Larned. In 1851 the church moved to the corner of Congress at Shelby.

The funeral service for Henry Ford, the entrepreneur who catalyzed development of the automobile industry in Detroit, was held at Cathedral Church of St. Paul on Thursday, April 10, 1947. Mourners passed by at a rate of 5,000 each hour at the public viewing the day before at Ford's Greenfield Village in Dearborn. At the funeral service, 20,000 people stood outside the Cathedral Church of St. Paul in the rain with 600 inside. The funeral had attracted national attention and an estimated seven million people mourned his death.

Architecture
The current building, designed by renowned church architect Ralph Adams Cram, dates from 1907. It remains unfinished, the bell tower never having been completed. The church is built of limestone, using medieval construction techniques, with no supporting steel superstructure. The building boasts soaring, pointed arches, wide expanses of stained glass, and elaborate tracery, exemplary of Gothic architecture. It includes a large architectural installation of Pewabic Pottery. In 1912 it was designated as the cathedral of the diocese.

Significance
St. Paul's Cathedral is a fine example of the Late Gothic Revival, an architectural style popular in the early years of the 20th century. American architects of the mid-19th century imported and re-interpreted the English Gothic Revival style, based on the visually lush details of Medieval cathedrals. This was the period of the Oxford Movement in England, which also influenced Episcopal clergy and congregations in the United States to commission revivals of Medieval styles. American architects copied the "Gothic" elements and combined them with simple building plans to create an American architectural style known as "Victorian Gothic." The Fort Street Presbyterian Church, built in 1876 in Detroit, is a premier example of early Victorian Gothic architecture.

In contrast, in the early 20th century more American architects attended new schools at M.I.T. and Columbia, or traveled to France for training at the . These architects, including Ralph A. Cram, believed that Gothic architecture should be developed from, rather than simply copy, the architecture of Medieval churches. St. Paul's Cathedral is one of Cram's major early projects, one that defines his "Late Gothic Revival" style.

Present use
The current dean is the Very Reverend S. Scott Hunter, formerly Canon to the Ordinary of the Diocese of Michigan. The cathedral coordinates programming with the Detroit Cultural Center.

See also

List of the Episcopal cathedrals of the United States
List of cathedrals in the United States

References

Further reading

External links

Cathedral Church of St. Paul website

Churches in Detroit
Episcopal church buildings in Michigan
Paul Detroit
Woodward Avenue
Churches completed in 1908
20th-century Episcopal church buildings
Churches on the National Register of Historic Places in Michigan
Michigan State Historic Sites in Wayne County, Michigan
National Register of Historic Places in Detroit
Religious organizations established in 1824
1824 establishments in Michigan Territory
Ralph Adams Cram church buildings
Buildings with sculpture by Corrado Parducci
Gothic Revival church buildings in Michigan

Cathedral Church of St. Paul (Detroit)


Open House is a 2000 novel by U.S. author Elizabeth Berg.  It was an Oprah's Book Club selection in 2000.

Plot summary

Throughout the 20 years of her marriage, Samantha Morrow has been content with her life, though she knows it isn't perfect. She has a nice home, a great son, and a husband she loves. But everything is turned upside down when her husband, David, tells her he wants out of their marriage. His rapid departure on the heels of this announcement leaves Sam horribly shocked, utterly confused, and oddly obsessed with Martha Stewart. Her initial reaction is to go on a spending spree, charging thousands of dollars worth of merchandise at Tiffany's to her husband's credit card. But when reality sets in and her husband cuts her off, she realizes that if she wants to keep the house she loves and make a home for herself and her son, she's going to have to generate some income.

Her first solution to this dilemma is to find a couple of roommates. Between the finished portion of the basement and the extra bedroom upstairs, Sam figures she can take on two boarders and mitigate a large portion of the mortgage payment. She finds her first boarder quickly—the septuagenarian mother of an acquaintance—and is delighted. Lydia Fitch is quiet, clean, concerned, friendly, and more than eager to play grandmother to Sam's son, Travis. Which is just as well, since Sam's own mother doesn't quite fit the bill. In fact, Sam's mother has made a career out of dating since the death of her husband two decades ago and is now determined to fix Sam up as soon as possible—a plan with foreseeable disasters written all over it.

Sam's life is further complicated when she starts looking for a job, for other than a gig singing in a band years ago, she's never been employed. But then King, the gentle giant of a man who helps Lydia move in, puts Sam in touch with the employment agency he works for. Suddenly Sam is off on a variety of short-term jobs, everything from making change at a Laundromat, to working as a carpenter's helper. When she gets the devastating news that Lydia has decided to marry her longtime beau and move out, Sam takes on a second boarder for the basement space: a sullen, depressed college student.

Film adaptation
Based on a best-seller by Elizabeth Berg, this made-for-TV movie stars Christine Lahti as Samantha Morrow, a middle-class mom deserted by her shallow husband, David (Chris Potter). In order to keep a roof over her head—not to mention the head of her son, Travis (Mark Rendall) -- Samantha decides to take in boarders. Among these is a runaway teenager named Lavender Blue (Grace Lynn Kung) and a chubby working stiff named King (Daniel Baldwin). Also on hand are Samantha's down-to-earth mom (Eva Marie Saint) and cable-TV home-design expert Colin Cowie (as himself).

2000 American novels

Open House (novel)


Glorianna Davenport is a New York-born media maker.  A co-founder of the MIT Media Lab, Davenport directed the Interactive cinema research group from 1987–2004 and the Media Fabrics research group from 2004-2008. Davenport retired from the Massachusetts Institute of Technology in the Summer of 2008. From 2008 to the present, she has managed the transition of Tidmarsh Farms, a former 610 acre cranberry farm in Plymouth Massachusetts, into conservation and wetland restoration. In 2011, Davenport founded Living Observatory, a non-profit, learning collaborative that focuses on documenting and sharing the long term story of wetland restoration of former cranberry farms. In this work, Davenport returned as a visiting scientist at the MIT Media Lab where she works closely with the Responsive Environments Group.

Biography
A graduate of Mount Holyoke College in 1966, Davenport made documentary films in New York and Maine before becoming a lecturer at M.I.T's Film Section directed by cinema verite pioneer Richard Leacock in 1977.

In 1985, Davenport along with Richard Leacock facilitated the transition of M.I.T.s Film/Video Section into the Weisner Building as part of the new MIT Media Lab. With the retirement of Leacock in 1987, Davenport joined the faculty and founded the Interactive cinema group. At the time she wrote: "Interactive cinema reflects the longing of cinema to become something new, something more complex, something more intimate, as if in conversation with an audience."

In these years before the web, the challenge was to envision a computational form that was scalable and that bound compelling content with human interaction.  Davenport writes: "As cinema frees itself from the constraints of the inherently linear celluloid base, a new meta-cinema explodes the myth of the heroic by projecting itself into our everyday environments. The creation and sharing of cinema can happen anywhere, any time. As an improvisational learning partner, meta-cinema invites us to articulate new hypotheses, to sensorially augment our dialogs, to share multi-point of view stories, and to engage in sociable interchange between all people."

In 2008, Davenport retired from the MIT Media Lab in order to transition Tidmarsh Farms, a 610 acre cranberry farm into restoration and conservation.  From 2010-2016, she collaborated with over 22 partners on the Tidmarsh Farms Restoration Project, the largest freshwater, wetland restoration in Massachusetts. In 2011, she founded Living Observatory, a non-profit learning collaborative of scientists, engineers, artists and restoration specialists; the mission of Living Observatory is to tell the long term story of the wetland restoration of cranberry farmland, to advance science and the enhance public understanding of fresh water wetlands.

Projects
In 1979-81, Davenport, working with cinematographer Richard Leacock, filmed and edited "Remembering Niels Bohr: 1885-1962".

In 1982-1987, Davenport produced, co-filmed, edited and designed an interactive delivery system for her documentary "New Orleans in Transition: 1983-1986". Conceived of as an in-depth cinematic case study of urban change before during and after the 1984 Louisiana World Exposition, the interactive video disc version of the film as delivered on a Project Athena workstation in 1987 invited students to view the movie based on a particular story thread or character and allowed students to edit material from the film and place it into their written papers.

As her thinking about the form developed, Davenport designed "Workshop in Elastic Movie Time", a collaborative workshop in which students were asked to film a meaningful corpus of material and to develop interactive computational structure to present the content.  Davenport taught the workshop for 10 years at the MIT Media Laboratory as well as in several international venues.  In 1989, the class created "The Elastic Charles," an interactive portrait of the Charles River.  The Elastic Charles combined historical, thematic, ecological and other perspectives on the Charles River. A time-lapse journey on the river provided one interactive structure. Using a hyper-link tool developed by Hans Peter Brondmo, viewers could define media segments and place them as video tags on the appropriate portion of time-lapse journey along the banks of the Charles.creating in effect a cinematic cut-away. One memorable video clip was an interview with Charlie, a worker at the Charles River Locks, who comments on the quality of the water at that time.  The Elastic Charles was an early exploration of how video and computers together can create a new narrative and documentary medium.

In Wheel of Life, Davenport collaborated with Stanford Professor Larry Friedlander on a large-scale computer-enhanced theater space and narrative piece, which has become a model for augmented interactive spaces.

Most her most recent "Arc of Change" project, Davenport collaborates with scientists, engineers, artists and restoration practitioners, to bring the sights, sounds and environmental data from an evolving fresh water restoration to the public. Collaborators at the Responsive Environments Group include Brian Mayton, Gershon Dublon, Spencer Russell, Donald Haddad and Joe Paradiso.

References

External links
 Publication List
 Glorianna Davenport's website
 Living Observatory

Living people
Mount Holyoke College alumni
MIT Media Lab people
Year of birth missing (living people)

Glorianna Davenport


Uganda (Yuganda in Ugandan languages), wey ein official name be Republic of Uganda (Swahili: Jamhuri ya Uganda), be landlocked country for East Africa. De country de share border for east plus Kenya, then for north ein de share plus South Sudan, for west, plus de Democratic Republic of Congo, for south-west plus Rwanda, den for south plus Tanzania.

1962 establishments for Uganda insyd
1962 establishments for Africa insyd
Uganda
Countries for Africa insyd
East African countries
Countries den territories wer English be official language
Landlocked countries
Least developed countries
Member states of de African Union
Member states of de Commonwealth of Nations
Member states of de United Nations
Member states of de Organisation of Islamic Cooperation
Republics for de Commonwealth of Nations insyd
States den territories wey dem establish for 1962 insyd
Swahili-speaking countries den territories

Uganda


Polonium is a rare radioactive metalloid. It is chemical element 84 on the periodic table and its symbol is Po. It was discovered in 1898 by Marie and Pierre Curie.

Polonium is highly unstable, radioactive and toxic. This makes it difficult to handle. It can be dangerous, even in very small amounts. One gram of Po will self-heat to a temperature of about . It also vaporizes easily.

Polonium has 33 isotopes, and all of them are radioactive. It is a very rare element in nature because of its short half-life. It is a breakdown product of uranium, so it is found in uranium ores.

Polonium is also very important because it the main element of nuclear bombs.

References

Post-transition metals

Polonium


Bushey Heath was a proposed, but unbuilt, London Underground station in Bushey Heath, Hertfordshire, England. The planned location of the station was at the junction of the A41 and A411 roads.

History

Planning and construction

The station was the last of three planned by London Passenger Transport Board (LPTB) in 1935 for an extension of the Northern line from Edgware. It would have served as the new terminus of the line. There was debate about the name for the station, with West Elstree, Caldecote Hill, South Aldenham, Aldenham, Bushey Heath and Aldenham and Bushey and Aldenham being proposed. The previous station on the route would have been Elstree South to the east.

The extension was part of the Northern Heights project which was intended to electrify a number of steam-operated London and North Eastern Railway (LNER) branch lines and to incorporate them into the Northern line. Much of the land for the extension came from the purchase in 1922 by the LPTB's precursor the Underground Electric Railways Company of London of the unbuilt Watford and Edgware Railway (W&ER). The W&ER had planned an extension of the Edgware, Highgate and London Railway to Watford Junction via Bushey, but it had never raised the capital required and its powers to construct a line had expired in 1911. The specific route to Bushey Heath was approved by parliament in October 1937. The LPTB's principal purpose for the extension was to stimulate the development of new residential areas to increase passenger numbers. A secondary purpose was to provide a location suitable for a large new depot that was required to accommodate and maintain the new fleet of 1938 Stock trains to be used across the existing Northern line and the lines taken over from the LNER. The depot was to be constructed to the south of the running tracks between Bushey Heath and Elstree South with access from each end.

Bushey Heath station was to be located on the east side of the roundabout junction of Watford By-pass (A41) and Elstree Road (A411). The station would have had three tracks with two double-sided platforms. The arrangement placed the station entrance directly next to the roundabout preventing any later extension. The station was to be provided with a large bus station and car park. The LPTB planned to purchase the land on all four sides of the junction and proposed an extensive commercial development around the roundabout including a cinema, roadhouse and around 40 shops. As with Elstree South, the architect appointed to design the station was Charles Holden.

Construction work on the Northern Heights project began in the late 1930s but was suspended by the outbreak of the Second World War. Most of the work undertaken to that date had been carried out on the existing LNER branch tracks but work between Edgware and Bushey Heath had started in June 1939. The route of the line had been cleared and laid out and some earthworks and tunnelling carried out between Edgware and Elstree South.

Following the outbreak of war in Europe, work on the extension was suspended in September 1939 and was formally terminated in December of the same year as wartime funding restrictions would prevent completion. Construction of Bushey Heath station had not started when the Second World War began. During the war years, the LPTB-owned land was used for farming vegetables for staff canteens.

Work on designs for the station continued during the war to make changes required to account for Ministry of Transport plans to modify the roundabout to include an underpass. This moved the station from the east side of the roundabout to the north side with the lines running under Elstree Road. The revised arrangement would have allowed a continuation of the line beyond Bushey Heath.

Cancellation
The sites of all three new stations were in semi-rural locations and, as had happened elsewhere, it was intended that the opening of the new section of Underground line would stimulate the construction of new residential estates that the stations would then serve. After the war, however, new legislation was introduced with the intention of limiting the continuing expansion of urban areas into the surrounding countryside. This legislation created the Metropolitan Green Belt around London and the area designated included the area covered by the new Northern line extension. Without the possibility of constructing the new housing estates, the new line had no purpose and the plans for the extension were cancelled in 1950.

During the war, the depot buildings were used for the construction of Halifax bombers and the land owned by London Underground at Bushey was used for farming. After the abandonment of the extension plans, the depot buildings became Aldenham Bus Overhaul Works.

As a result of the breakup of London Transport Buses and the devolving of maintenance functions to the depots of individual bus companies, the overhaul works ceased operation in 1986. The premises stood derelict until 1997 when it was demolished and replaced with the Centennial Business Park.

Footage of the overhaul works in operation can be seen in the opening scenes of the 1963 film Summer Holiday starring Cliff Richard.

See also
 Edgware, Highgate and London Railway – LNER branch line taken over by London Underground as part of the Northern Heights project

Notes and references

Notes

References

Bibliography

External links
 London Transport Museum Photographic Archive

 Abandoned Tube Stations – Northern Heights: Edgware – Bushey Heath

Hertsmere
Proposed London Underground stations
Unbuilt Northern Heights extension stations
Charles Holden railway stations

Bushey Heath tube station


London Irish is a British sitcom that debuted in 2013 on Channel 4. It follows the antics of Conor, Bronagh, Packy and Niamh, four twenty-something Belfast expatriates living in London. It was created by Lisa McGee who would go on to write Derry Girls also for Channel 4.

Main cast
 Peter Campion as Patrick "Packy" Kennedy
 Sinéad Keenan as Bronagh Lynch
 Kerr Logan as Conor Lynch
 Kat Reagan as Niamh Rafferty
 Ardal O'Hanlon as Chris "Da" Lynch
 Tracey Lynch as "Ma" Lynch

Episode list

Episode 1

Packy bumps into Ryan, an old friend from home; a lovely polite fella whose hand got shot off during a hold-up at a garage where he worked with Packy, while covering Packy's shift.
Still feeling guilty about it, Packy decides to donate the proceeds of the pub quiz to Ryan's cause. And, of course, you'd think a good deed would lead to good things...

Episode 2

It's the morning after the night before... a wedding party. Bronagh wakes up wearing the bride's wedding dress, while Packy wakes up next to his crazy ex-girlfriend Steph.
Conor did something bad, but he can't for the life of him remember what. And when the gang hear that Dermot (a man they all hated) has died, Packy is determined to attend his wake because he's got his eye on the grieving girlfriend.

Episode 3

It's Halloween and there's a party to go to. Niamh can barely contain her excitement as she has been making costumes based on The Wizard of Oz for all of them.
Bronagh is in a foul mood because she's on a course of antibiotics and can't drink, plus her Ma and Da have sent their depressed, boring cousin Sean to London to help him get over his recent marital breakdown.

Episode 4

Conor pops out to get some fish and chips and returns seven days later with a Mexican woman, having been to Scotland and had a fight with Taggart.
Niamh has a new boyfriend, Martin, who won't compromise his devotion to God by having sex with her. But Niamh is determined to put that right, even if it means drastic action - or at least taking him to an art exhibition. Bronagh is desperate to attend Caoimhe Kavanagh's art exhibition too - especially since she hears that the former beauty and most popular girl from school is now fat.

Episode 5

It's the morning after St Patrick's Day and the gang wake up in a strange flat in East London. They have no idea how they got there or what happened last night, but half of Conor's Twix is missing, Packy's legs are hurting and the notorious Aoife McBride keeps calling him.

Episode 6

Bronagh and Packy experience what a nightmare families can be... Bronagh after a very long day with Conor and their Ma and Da attempting to experience all the excitement that London has to offer. Packy's brothers 'the twins' Matthew and Mark visit to ask for his help dealing with their younger brother Aidan who is now in London but seems to be spiralling out of control - most worryingly of all, he's started to wear an England football shirt.

International broadcasters
In Australia, the series premiered on 12 April 2015 on BBC First.

References

External links

Channel 4 episode guide

2013 British television series debuts
Channel 4 sitcoms
English-language television shows
Television shows set in London
2013 British television series endings

London Irish (TV series)


The Divertimento No. 17 in D major, K. 334/320b was composed by Wolfgang Amadeus Mozart between 1779 and 1780 and was possibly composed for commemorating the graduation of a close friend of Mozart's, Georg Sigismund Robinig, from his law studies at the University of Salzburg in 1780. Lasting about 42 minutes, it is the longest of the divertimenti by Mozart.

The third movement (the first Menuetto) from the divertimento remains so popular that it is often referred to as Mozart's Minuet.

Instrumentation
This divertimento is scored for 2 violins, viola, double bass and 2 horns.

Movements
This divertimento consists of 6 movements:
Allegro (in D major and in sonata form)
Tema con variazioni (Andante) (in D minor, theme and 6 variations, fourth variation in D major)
Menuetto - Trio (in D major and in compound ternary form, trio in G major)
Adagio (in A major and in sonata form)
Menuetto - Trio I - Trio II (in D major and in rondo form, where the first trio is in D minor and the second trio is in B minor)
Rondo (Allegro) (in D major and in sonata rondo form)

In Kurt Sanderling's recording of this piece, both the Adagio and the second Menuetto are omitted.
In the recording with Florian Heyerick conducting the Kurpfälzisches Kammerorchester Mannheim, part of the Rondo is omitted.

See also
Divertimento No. 15 in B-flat major, K. 287

References

External links

Divertimento No. 17
Compositions in D major
1779 compositions
1780 compositions

Divertimento No. 17 (Mozart)


Ruth Ogden (Dec. 27, 1853–July 2, 1927) was the pen name of Fannie Ogden Ide, a late 19th century American children's book author.

Biography
Fannie Ogden was born in Brooklyn, New York, in 1853 to Abigail (Murphy) Ogden and Jonathan Ogden, a merchant. Her much older brother Robert became a wealthy businessman. Educated in private schools, she married Charles W. Ide in 1875. They had a daughter, Alice.

Under the pen name 'Ruth Ogden', she wrote popular children's books and also contributed stories and poems to magazines. Several of her books, such as A Loyal Little Red-Coat (1890) and Loyal Hearts and True (1899), are based in part on historical events. Critics often used the word "charming" to describe her books, and one critic praised her for "purity of tone, animation of spirit, and good English style".

Her books were illustrated by F.C. Gordon, George T. Tobin, H.A. Ogden, and W. Rainey, among others.

She died in Brooklyn in 1927.

Quote
Whether you happen to be four or five, or six, or seven, or even older than that, no doubt you know by this time that a great many things need to be learned in this world, everything, in fact, and never more things than at seven. At least, so thought little Tattine, and what troubled her the most was that some of the things seemed quite wrong, and yet no one was able to right them. (Tattine, opening sentences)

Books
His Little Royal Highness (1887)
A Loyal Little Red-Coat (1890)
A Little Queen of Hearts (1893)
Courage (1893)
Little Homespun (1897)
Tattine (1898)
Loyal Hearts and True (1899)
Friendship: The Good and Perfect Gift (1903; Christmas brochure)
Little Pierre and Big Peter (1915)

Notes and references

External links

1853 births
1927 deaths
American children's writers
19th-century American women writers
19th-century American writers
20th-century American writers
Writers from Brooklyn
Pseudonymous women writers
20th-century American women writers
19th-century pseudonymous writers
20th-century pseudonymous writers

Ruth Ogden


Charles Fleury, Sieur de Blancrocher (c. 1605 – November 1652) was a French lutenist. Known principally under the name Blancrocher (Blanrocher, Blancheroche), he was one of the leading performers of his day, active in Paris. Whether he composed or not is unknown; a single dance movement survives, attributed to him, in the so-called Manuscrit Vaudry de Saizenay. His name became well known in the late 20th century, for after his sudden death (he fell down a flight of stairs) as many as four major composers wrote tombeaux in his memory: lutenists Denis Gaultier and François Dufaut, and harpsichordists Louis Couperin and Johann Jakob Froberger. The latter witnessed Blancrocher's death, and the lutenist apparently died in Froberger's arms.

He was the son of Louis, Valet de chambre du roi, and Mathurine de Vallois (+1625). He left six children underage.
His son Charles married Anne de Franchere or de Fransure in 1633.

Tombeaux on Blancrocher's death
 Louis Couperin: Tombeau de Monsieur Blancrocher (in the Bauyn manuscript)
 François Dufaut: Tombeau de Monsieur Blancrocher
 Johann Jakob Froberger: FbWV 632 — Tombeau in C minor (Tombeau fait à Paris sur la mort de Monsieur Blancrocher)
 Denis Gaultier: Tombeau de Monsieur Blancrocher (also known as Andromède, an allemande in A major from La Rhetorique des dieux)

References

 La vie des musiciens de Paris sous Mazarin, p.127-129 by Catherine Massip 1976

1652 deaths
French lutenists
Year of birth uncertain

Charles Fleury


Chuck Oberstein (December 18, 1935 – May 8, 2002) was an American painter, best known for clown paintings.

Biography

Early life and education
Chuck Oberstein was born December 18, 1935 in Los Angeles, California. He graduated from Montebello High School.

Career
He was a jeweler in the family business and once worked at a diamond retail store, when he was encouraged to be an artist by a friend, and quit the same day.

Oberstein is widely regarded as the definitive clown painter. He was sometimes called "The Magician" for his unique superimposing of clown faces and was known for his sparkling tear drop on his sad clowns, especially the Wall Street Journal Clown. Oberstein also painted seascapes, horses, portraits, children, and various other subjects, at first doing landscapes and still life.

Chuck began in Europe and painted over 40 years.
He worked in both oil and acrylic, and used live models including many family members as themselves and as clowns.
His original art can be seen in prints, lithographs, posters, cards, figurines, and collector plates around the world.

He worked at the Disneyland art gallery, and also at Warner Brothers, quitting there after one day.

His favorite artist was Rembrandt.

At one point he joined the Army, creating murals for the buildings where he was stationed in England.

Chuck put the number 442 in his paintings, sometimes hidden and often obvious in reference to 442 Ackley St. Monterey Park, CA, the place where he first began to paint again after he returned from Europe. For many years he let collectors guess what the 442 was all about and loved not telling and just hearing their guesses.

Oberstein believed clowns represent freedom, because they will do anything. He was a vegetarian and loved jazz, playing the piano, weight lifting, running, golf, skiing, body surfing, dancing, sports, tennis, dogs and horses, family and friends. His whimsical clowns represent the many things he loved in life as well as a deep spiritual knowing that comes through his lighter clowns in his later years. His portraits are of masterpiece quality similar to Rembrandt's style although he painted fewer of these and they are not in print.

Marriage and children
Oberstein was married twice, first to Loretta Montrose Oberstein, then to Judy Oberstein. He had three children with Loretta: Teri, Chance and Rozy.

References

1935 births
2002 deaths
20th-century American painters
American male painters
21st-century American painters
21st-century American male artists
Painters from California
20th-century American male artists

Chuck Oberstein


14 and 15 King Street is the address of an historic warehouse building in King Street, Bristol, England. It was built around 1860 and is now occupied by a restaurant and offices.

The contemporary 32 King Street is of similar design. It has been designated by English Heritage as a grade IV listed building.

See also
 Grade II listed buildings in Bristol

References

Grade II listed buildings in Bristol

14 and 15 King Street, Bristol


Umbilicus schmidtii is a flowering plant in the family Crassulaceae. The species is endemic to Cape Verde. It is listed as endangered by the IUCN.

Description
Umbilicus schmidtii is an unbranched erect perennial herb up to 25 cm high, glabrous in all parts. Basal leaves orbicular, peltate, up to 6 cm in diameter, somewhat succulent, margin slightly crenate to almost entire, petioles long. Cauline leaves smaller, shortly petiolated to almost sessile. Inflorescence long many flowered terminal raceme. Calyx much shorter than the corolla. Corolla brownish yellow, tubular; lobes short, lanceolate, acuminate.

Related taxa
The species is fairy similar to the Mediterranean Umbilicus horizontalis and also resembles the African U. botryoides. The taxonomic significance of U. schmidtii is uncertain.

Distribution and ecology
Umbilicus scmidtii is a western hygrophyte occurring on Santo Antão, São Nicolau, Santiago and Fogo of the Cape Verde Islands. It is confined to small areas in the subhumid and humid zones, mainly between 800 m and 1600 m. The lower most records are 550 m on Fogo (Monte Palha, leg. Killian & Leyens) and at 600 m on Santo Antao (Sunding 1981) and the uppermost one at 2000 m on Fogo (Ormonde 1977). The plants grow on north to northeast facing, moist cliffs. Umbilicus schmidtii is infrequent even in suitable habitats and it is generally considered to be rare.

The genus
Umbilicus comprises 18 species of annual and perennial herbs with a characteristic foliage. The genus is distributed from the mid-Atlantic archipelagos, W Europe, the Mediterranean to Iran. It also occurs in some African mountains. In the Cape Verde Islands, the genus is represented by a single species described as endemic to the archipelago.

References

 ''The endemic vascular plants of the Cape Verde Islands, W Africa, Sommerfeltia 24, 1997,  C. Brochmann, Ø. H. Rustan, W. Lobin & N. Kilian, ,

External links
 http://botany.cz/cs/umbilicus-schmidtii/
 Plantas endémicas e arvores indígenas de Cabo Verde

schmidtii
Endemic flora of Cape Verde
Flora of Santo Antão, Cape Verde
Flora of São Nicolau, Cape Verde
Flora of Santiago, Cape Verde
Flora of Fogo, Cape Verde
Plants described in 1859

Umbilicus schmidtii


The Mianus River is a  river in Westchester County, New York, and Fairfield County, Connecticut, in the United States. It begins in the town of North Castle, New York (east of Armonk) in a series of ponds at about  altitude.  Flowing northeast into the town of Bedford, it abruptly turns south and passes through the Mianus River Gorge, a nature preserve, before entering Stamford, Connecticut, where it is dammed into the Mianus Reservoir, officially known as the Samuel J. Bargh Reservoir ( altitude) of the Greenwich Water Company.  From there, it flows south through Stamford and Greenwich into Long Island Sound, at sea level.

The river flows under the Mianus River Bridge, which is part of Interstate 95, U.S. Route 1, and the Mianus River Railroad Bridge which carries the New Haven Line of Metro-North Railroad. The Mianus flows through parks including the Mianus River State Park (straddling the Stamford/Greenwich border) and Mianus Glen, just to the north in Stamford, as well as Newman Mills Park in North Stamford.

The Mianus Fault runs near the river, pushing rock on the east side down, relative to the west side.

Mianus is a corruption of Mayanno, an Indian chieftain. Mianus has frequently been noted on lists of unusual place names.

See also

List of rivers of Connecticut
List of rivers of New York
Mianus River Gorge

References

External links
Mianus River Gorge Preserve
Mianus River Watershed Council

Rivers of New York (state)
Greenwich, Connecticut
Geography of Stamford, Connecticut
Connecticut placenames of Native American origin
Rivers of Fairfield County, Connecticut
Long Island Sound
Rivers of Connecticut
Rivers of Westchester County, New York

Mianus River


The Joint State Political Directorate (JSPD) (OGPU; ) was the intelligence and state security service and secret police of the Soviet Union from 1923 to 1934.

The OGPU was formed from the State Political Directorate of the Russian Soviet Federative Socialist Republic one year after the founding of the Soviet Union and responsible to the Council of People's Commissars. The agency operated inside and outside the Soviet Union, persecuting political criminals and opponents of the Bolsheviks such as White émigrés, Soviet dissidents, and anti-communists. The OGPU was based in the Lubyanka Building in Moscow and headed by Felix Dzerzhinsky until his death in 1926, and then by Vyacheslav Menzhinsky, until it was reincorporated as the Main Directorate of State Security (GUGB) of the NKVD in 1934.

History

Founding
Following the formation of the Soviet Union in December 1922, the ruling Russian Communist Party (Bolsheviks) saw the need for a unified intelligence service to exercise control over state security throughout the new union. At the time, the State Political Directorate (GPU) served as the secret police for the Russian Soviet Federative Socialist Republic (RSFSR) and was successor to the Cheka. It was responsible to the Council of People's Commissars, which functioned as the highest executive body of the Soviet Union after the formation.

On 15 November 1923, the GPU was dissolved and reformed into the Joint State Political Directorate (OGPU) with its jurisdiction covering the entirety of the Soviet Union. Its official full name was the Joint State Political Directorate under the Council of People's Commissars of the USSR (Объединённое государственное политическое управление при СНК СССР, Obyedinyonnoye gosudarstvennoye politicheskoye upravleniye pri SNK SSSR), though the name is also translated as the All-Union State Political Administration and Unified State Political Directorate. Felix Dzerzhinsky, the chairman of the State Political Directorate and the Cheka, was appointed as the OGPU's first chief.

Operations

The OGPU, like the GPU before it, was in theory supposed to operate with more restraint than the Cheka, which had orchestrated the Red Terror from 1918 to 1922. Unlike the Cheka, the OGPU could not shoot "counter-revolutionaries" at will, and most suspected political criminals had to be brought before a judge. The OGPU's powers increased greatly in 1926, when the  was amended to include Article 58, a section on anti-state terrorism. The provisions were vaguely written and very broadly interpreted. Even before then, OGPU had set up tribunals to try the most exceptional cases of terrorism, usually without calling any witnesses. In time, the OGPU's de facto powers grew even greater than those of the Cheka. The OGPU achieved perhaps its most spectacular success with the Trust Operation of 1924–1925. OGPU agents contacted White émigrés and anti-communists in Western Europe and pretended to represent a large group, known as "the Trust", working to overthrow the communist régime. Exiled Russians gave "the Trust" large sums of money and supplies, as did foreign intelligence agencies. Soviet agents finally succeeded in luring one of the leading anti-communist operators, Sidney Reilly, into Russia to meet with the Trust. Once in the Soviet Union in September 1925, Reilly was arrested and executed. The Trust was then dissolved, having become a huge propaganda success. Dzerzhinsky died in 1926 and was succeeded as chief of the OGPU by deputy chairman Vyacheslav Menzhinsky.

From 1927 to 1929, the OGPU engaged in intensive investigations of an opposition coup d'etat. Soviet leader Joseph Stalin issued a public decree that any and all opposition views should be considered dangerous and gave the OGPU the authority to seek out "hostile elements." That led in March 1928 to the Shakhty Trial, which saw the prosecution of a group of supposed industrial saboteurs allegedly involved in a hostile conspiracy. That would be the first of many trials during Stalin's rule. The OGPU planned and set up the Gulag system, and also became the Soviet government's arm for the persecution of the Russian Orthodox Church, the Greek Catholics, the Roman Catholic Church, Islam and other religious organizations, in an operation headed by Yevgeny Tuchkov. The OGPU was also the principal secret police agency responsible for the detection, arrest, and liquidation of anarchists and other dissident left-wing factions in the early Soviet Union. It also enforced the Dekulakization campaigns during the First Five-Year Plan through extrajudicial special troikas of local OGPU agents, Communist Party officials, and state procurators with the authority to sentence suspects to exile or death without a formal trial in the Soviet judicial system. OGPU troops took part in Soviet invasion of Xinjiang.

Dissolution
Menzhinsky's health had deteriorated rapidly during his directorship of the OGPU and Stalin tended to deal with his first deputy, Genrikh Yagoda, who essentially took over as head in the late 1920s. Menzhinsky spent his last years as an invalid until his death in May 1934, for which Yagoda would later be blamed in the Trial of the Twenty One.

In July 1934, two months after Menzhinsky's death, the OGPU was dissolved and reincorporated into the People's Commissariat for Internal Affairs (NKVD), the newly created interior ministry of the Soviet Union, becoming its Main Directorate of State Security (GUGB) under the leadership of Yagoda. The OGPU would later be transformed into the more widely known Committee for State Security (KGB) in 1954.

See also

 Chronology of Soviet secret police agencies
 Eastern Bloc politics

References

Law enforcement agencies of the Soviet Union
Soviet intelligence agencies
Defunct law enforcement agencies of Russia
Defunct intelligence agencies
National security institutions
Law enforcement in communist states
Political repression in the Soviet Union
Secret police
.
1923 establishments in Russia
1923 establishments in the Soviet Union
1934 disestablishments in the Soviet Union
Government agencies established in 1923
Government agencies disestablished in 1934

Joint State Political Directorate


The Cathedral of Christ the King in Atlanta, Georgia (United States) is the mother-church for the one million members of the Catholic Archdiocese of Atlanta.  The cathedral is located at what is popularly called "Jesus Junction" on Peachtree Road, between East Wesley Road and Peachtree Road, in Atlanta's uptown Buckhead district. At present, the parish is one of the ten largest congregations in the United States, with over 5,500 families. Christ the King School also occupies the property, with an enrollment of approximately 600 students.

History
The parish of Christ the King was established in 1936.  The congregation purchased approximately four acres of land for $35,000 and held early masses in the mansion that occupied the site. To construct the current cathedral, the parish demolished this structure and purchased adjacent land from the Ku Klux Klan which previously served as its headquarters.

Architect Henry D. Dagit, Jr., designed the sanctuary in the Gothic Revival (French Neo-Gothic) style with touches of Art Deco in the interior, especially on the stone reredos. The stained glass windows (restored in 2015-16 by Daprato Rigali Studios) were originally works of the Willet Stained Glass Studios of Philadelphia.  A 1939 issue of Architectural Record called it the "Most Beautiful Building in Atlanta".

On January 5, 1937, when Pope Pius XI proclaimed that the Diocese of Savannah, organized in 1850, would now be known as the Diocese of Savannah-Atlanta. Christ the King parish became the Co-Cathedral with the Cathedral of St. John the Baptist in Savannah.

On July 2, 1956, Pope Pius XII split the Savannah-Atlanta Diocese to create the Diocese of Atlanta. The Co-Cathedral became cathedral of the new diocese, and Francis Edward Hyland became its first bishop.

Construction of the school began in 1936, and it opened October 31, 1937, under the administration of the Grey Nuns of the Sacred Heart, with a blessing by Savannah Bishop Gerald O'Hara.  In 1940, the school added a high school curriculum which operated until 1958, when students transferred to the newly formed St. Pius X Catholic High School.

Like many churches all over the world, the Cathedral faced many challenges during the COVID-19 pandemic of 2020. They were forced to cancel many services and masses for a few months, and suspend others for even longer, such as the youth choir ministries, which are still not reinstated.

Mass and Services Schedule

Ministries
As both the mother church of an Archdiocese and a large-sized parish, the Cathedral offers many regularly-meeting ministries. Those ministries include, but are not limited to:

Children's: Recreation (ie. Parish Soccer, Basketball, Volleyball programs), Altar Serving, and Children's Choirs

Adult Ministries: 20/30 Somethings, Adoration Guardians, Bible Study, Rosary Group, Women's Club, Men's Club, Knights of Columbus, Prayer Chain

Liturgical: Flower Guild, Lectors, Extraordinary Ministers of Holy Communion, Ushers, Wedding Guild

Choirs: Cathedral Choir, School Nova Choir, Cathedral Evening Ensemble Choir, Summer Ensemble, Hispanic Choir, Middle School Boys and Girls Choirs

Outreach: Funeral Ministry, Sandwich/Snack Bag Making Team (MUST Ministries), Baking Team, St. Vincent de Paul Society

See also

List of Catholic cathedrals in the United States
List of cathedrals in the United States

References

External links

 Roman Catholic Archdiocese of Atlanta
 Cathedral of Christ the King: Photo Gallery by The Catholic Photographer

Christ the King Atlanta
Christ the King Atlanta
Christian organizations established in 1936
Roman Catholic churches completed in 1939
Roman Catholic Archdiocese of Atlanta
Roman Catholic churches in Atlanta
Gothic Revival church buildings in Georgia (U.S. state)
1939 establishments in Georgia (U.S. state)
20th-century Roman Catholic church buildings in the United States

Cathedral of Christ the King (Atlanta)


Seco Herrerano is an alcoholic beverage distilled from sugar cane. It is distilled three times. It is traditionally used straight or in mixed drinks as a replacement for rum or vodka. It is a clear liquor that is sold at 35 percent alcohol by volume (70 US proof). Seco Herrerano is made by the Varela family who invented the Seco in 1908, is the most widely available and popular of all brands. Varela Hermanos produces more than a million cases of Seco every year and it is sold to more than 65 countries around the world.

Seco Herrerano can be mixed with almost anything, from tropical fruits to liquors. One of the more famous drinks made with seco is "Chichita Panamá", made with grapefruit and pineapple juice.  On the Atlantic side of the country, Seco Herrerano is drunk even with milk (colloquially known as "seco con vaca") and coconut milk.

Other names
 Seco
 Nueve Letras
 Vuelve Loco

References

External links
Varelahermanos.com

Rums
Panamanian brands
Panamanian cuisine

Seco Herrerano