Goomer is a fictional character and a comic book antihero who appears in some comic books series created since 1988 by the comic writer Ignacio (Nacho) Moreno and artist Ricardo Martinez for "El Pequeño País" Sunday newspaper, later published in other journals and adapted to an animated film, all in Spain.

Plot
Goomer is the satirical story of a chubby Earthman living on a distant planet inhabited by an intelligent civilization. In the Comic books are disclosed various types of ways of life, creepy characters and unknown life forms, but sometimes they are terribly innocent compared to the starring inhabitant from Earth. Its central character is Goomer, an Earthman Spanish expatriate who represents a working class Spanish picaro, with low academic level and a lot of chutzpah. Goomer is a carrier (space trucker) rascal, liar, coarse, short, paunchy and bald who lands on a planet where he decides to stay.

The space carrier Goomer decides in their new adoption planet to live without working at the expense of his Alien female partner.  That's what she believes is his girlfriend, she is a three-eyed alien called Elma constantly pimped by Goomer. She is relatively attractive but Goomer always prefers to try to seduce the younger sister of his girlfriend, much more attractive and youthful. The little sister is a college student. Goomer goes after other women and his dream is become polygamous. It also has a friend, an alien "Op", which when Goomer can not pimping his girlfriend Elma, he also tries to scrounge. Op later become polygamous but however, Op suffers the negative aspects of polygamy.

Other comic book characters are the parents of Elma, a female Space cockroach with which Goomer have an affair betraying to Elma and a male "Alien lift" with which Elma has in turn an affair. Elma's father has a personality very similar to Goomer while Elma's mother has a personality nearby Elma.

The Comic series, which began sporadically and just unbasted, it develops according to its consolidation a plot of tricks and deceptions used by the central characters, especially the disastrous relationship of the starring couple. It also shows the routine, monotonous, and conventional life on the planet and its absurd reality as a parody of terrestrial culture in Spain and Western popular culture. The series has changed its theme adapting it also to the different editorial lines of the different newspapers with different political orientation where it was published.

Media
Goomer is the work of Ricardo Martinez, Chilean born in 1956, draftsman, and Spanish Nacho Moreno, born in 1957, screenwriter. They are childhood friends from Vitoria. Goomer is the result of several years both working together in different projects who in 1987 were able to maintain continuity when publishing for the Sunday supplement of the newspaper "El País".
Goomer was published for the first time on April 10, 1988, at number 332, in "El pequeño País" passing in 1990 to the Sunday supplement of "El Mundo" and in 1992, to "El Jueves"
Goomer appeared in more than five hundred publications and this character came to play a movie. The cartoon has also been taken for material intended for practicing Spanish as a foreign language for Virtual Center "María Moliner" in the Ministry of Education in Brazil.

In 1999, an adaptations to animated movie was released, it entitled Goomer, directed by Jose Luis Feito and Carlos Varela prized with a "Goya award".

Awards and nominations
 2005 nominee in Haxtur award, International Comic Asturian.
 2000 Haxtur Award Nominee "Humor"
 2002 Haxtur Award Nominee "Humor"
 2011 Haxtur Award Nominee "Humor"

References

External links
Goomer 'Tebeosfera ";

Spanish comics adapted into films
Extraterrestrial superheroes
Fictional orphans
1988 comics debuts
Comics characters introduced in 1988
Spanish comics characters
Male characters in comics
Spanish comic strips
Satirical comics

Goomer


The AM-lira (Allied-Military Currency) was the currency issued in Italy by Allied Military Government for Occupied Territories (AMGOT) after the Allied invasion of Sicily in 1943. 100 AM-lire were worth 1 US dollar.

History
The Am-Allied Military Currency or lira was the currency that AMGOT put in circulation in Italy after the landing in Sicily on the night between 9 and 10 July 1943. The value was 100 "am-lire" for a U.S. dollar. Totally interchangeable with the normal Italian lira for military decision, it contributed to high inflation that hit Italy towards the end of World War II.

The study of paper money specific to Italy began in July 1942. The first issue (Series 1943) was printed by the Bureau of Engraving and Printing (BEP, who has also designed the banknotes) and the Forbes Lithograph Corporation (FLC); the value was written only in numeric digits and the Italian language. This was hurried rough. On July 13, 1943, on the banknotes were printed and written Lira or Lira issued in Italy, previously omitted so as not to betray the country to which the notes were intended. With the first series were issued of the denominations of 1 to 1,000 lire. The banknotes for 1, 2, 5 and 10 lire are a square shape, and the 50, 100, 500 and 1,000 lire have a rectangular shape, same general shape as the U.S. dollar. The second issue (Series 1943 A) was printed only by the FLC, and was added to the indication in letters (in Italian and English) of the value. Due to rampant inflation, they did not reissue the banknotes for 1 and 2 lire, which had become useless. For printing, lithography was chosen as the method with "high specific spectral ink" and paper materials like rags. All this should have made it very difficult to counterfeit. In fact, the falsification of Am-lire was a very large phenomenon; some were crude counterfeits, while others were hardly distinguishable even by experts. The reverse of all the banknotes read in English the Four Freedoms enshrined in the Four Freedoms speech: the freedom of speech, the freedom of religion, the freedom from want, and the freedom from fear. After 1946, they ceased to be the sole currency and were used along with normal notes, until June 3, 1950. In total, 917.7 million Am-lire were printed, a weight of 758 tons were shipped to Italy in 23,698 cases. The first shipment, seven tons of paper money, took place July 19, 1943, on two cargo planes, while the last delivery was made April 17, 1945.

References

External links

Ron Wise's Banknoteworld: Italy, Mirror site

Currencies introduced in 1943
Cent (currency)
Obsolete Italian currencies
Currency symbols
Economic history of World War II
Modern obsolete currencies

AM-Lira


Edward D. Hughes (October 23, 1927 – June 23, 2000) was an American football player and coach whose career spanned more than three decades.  His most prominent coaching position came in 1971 when he served as head coach of the National Football League (NFL)'s Houston Oilers.

Playing career
Hughes, a native of Buffalo, New York, played college football on both sides of the ball at the University of Tulsa, then was drafted in the tenth round of the 1954 NFL Draft by the Los Angeles Rams.  Playing primarily at defensive back, Hughes collected two interceptions during his rookie year, then helped the team reach the NFL Championship game in 1955.

On August 12, 1956, Hughes was traded along with running back Tommy McCormick to the New York Giants for a fourth round draft pick.  Hughes would play three seasons with his new team, helping them play twice in the NFL title game, including a convincing win over the Chicago Bears during his first season.

Coaching career
In 1959, Hughes entered the coaching ranks, returning to his alma mater in Tulsa for one season.  The following year, he joined Hank Stram's staff with the fledgling Dallas Texans of the new American Football League.  His three years in the Lone Star state as defensive backs coach were capped with the team's first championship, coming in a double overtime thriller over the Houston Oilers.

After the 1962 season, Hughes was hired as an assistant with another AFL team, the Denver Broncos, but spent only one season there before accepting a position with the Washington Redskins.  For four seasons, Hughes worked under two coaches, then left to become offensive coordinator for the San Francisco 49ers.  The move reunited Hughes with Dick Nolan, who not only was his former teammate with the Giants, but also his brother-in-law.

After the 49ers struggled during the 1968 and 1969 seasons, the team put it all together during Nolan and Hughes' third year, winning the NFC West Division while also leading the league in total offense.  The renewed success of the team was beneficial for Hughes, who accepted a five-year contract as head coach of the Oilers on January 21, 1971.

The lengthy contract would prove to be a mirage as Hughes lasted just one season in the position.  An indication of the season came in the opener when Houston was shut out 31-0 by the Cleveland Browns, and continued when Hughes fired two assistant coaches during the campaign.  The disarray concluded on December 22 when Hughes resigned after a strange power struggle in which Hughes asked that the team trainer be fired, while team owner Bud Adams insisted that the equipment manager (who Hughes had fired) be reinstated.

Almost two years later, one more example of the havoc surrounding the team surfaced when Oilers center Jerry Sturm indicated that he had been offered a bribe to affect the outcome of a game. Following Hughes' departure, the Oilers became the first (and to date, only) team to post consecutive one-win seasons since the AFL-NFL merger, going 1–13 in 1972 and 1973.

Hughes briefly worked in a trailer factory until a contract settlement was reached, then accepted the quarterbacks coach position with the St. Louis Cardinals on August 30, 1972.  When Cardinals' head coach Bob Hollway was fired after that season, Hughes found new employment on March 8, 1973, as offensive backfield coach of the Dallas Cowboys. Hughes' new boss, Tom Landry, had earlier played a role in his future when his 1956 retirement resulted in the Giants' trade for Hughes.

During his four seasons with the Cowboys, the team played in two NFC Championship games and competed in Super Bowl X against the Pittsburgh Steelers. Hughes left in 1977 to join Tommy Hudspeth's staff with the Detroit Lions, but the entire group was dismissed on January 9, 1978.

He re-joined Dick Nolan who had been named head coach of the New Orleans Saints in 1978. The reunion of Nolan and Hughes would last only three years, when an improved 1979 Saints team turned into the infamous "Aints" of 1980. That squad was symbolized by their loss to the 49ers on December 7 in which they blew a 28-point lead.

Hughes would spend the 1981 NFL season with the Philadelphia Eagles, then move on to become offensive coordinator of the Chicago Bears under new head coach Mike Ditka.  While the Bears would become known for their defensive prowess during this era, the offense still had the unparalleled exploits of running back Walter Payton.  The combination was enough to lead the Bears to a title in 1985, capped with a 46–10 victory over the New England Patriots in Super Bowl XX.

The Bears would go on to the postseason in each of the next three seasons, but Hughes resigned during the 1989 training camp after being demoted, then become quarterback coach of the Eagles midway through the season. In 1990, Hughes was hired as defensive coordinator at Lake Forest College. Hughes had his five children and ten grandchildren.

Head coaching record

References

1927 births
2000 deaths
American football cornerbacks
Dallas Cowboys coaches
Chicago Bears coaches
Dallas Texans (AFL) coaches
Denver Broncos coaches
Detroit Lions coaches
Houston Oilers coaches
Lake Forest Foresters football coaches
Los Angeles Rams players
NC State Wolfpack football players
New Orleans Saints coaches
New York Giants players
Philadelphia Eagles coaches
San Francisco 49ers coaches
St. Louis Cardinals (football) coaches
Tulsa Golden Hurricane football coaches
Tulsa Golden Hurricane football players
Washington Redskins coaches
Players of American football from Buffalo, New York
Sportspeople from Buffalo, New York
Houston Oilers head coaches
National Football League offensive coordinators

Ed Hughes


Space Bucks was a space trading simulation developed by Impressions Games and published by Sierra On-Line. The game focuses on the creation of a trade empire against several computer controlled opponents. Victory is achieved through a combination of infrastructure investments, the stock market, piracy, sabotage, and of course trade goods.

Plot
In the year 2375, Humans share the galaxy with four other races, the Colikars, Tesarians, Secanii, and the Krec N'had. Your fledgling trading company, consisting of a single port and a single ship, must, by the year 2500, expand by any means necessary to become the dominant trade empire in the galaxy. Three computer opponents will be pursuing the same goal.

Gameplay
There are numerous mechanics for the player to utilize in order to achieve victory.

Ships
Ships do the heavy lifting in the game. Without ships, the goods produced at planets can't be transported and the highest level goods can't be manufactured due to a lack of the appropriate resources. At the start of the game only a few ship types are available. As the game progresses new, more advanced ship types become available.

Ships have several stats which determine its suitability for use. Range, Speed, Capacity, Efficiency, Drive, and Maintenance cost.

Planets
Planets generate all of the trade goods in the galaxy. These goods range from food, to passengers, to luxury goods. The higher in development a planet is, the more and the greater the variety of goods that are produced. Once the highest levels of development can be reached the most expensive, and thus profitable, goods can be manufactured.

To gain access to a planet, a bid must be made on a planet which does not already have a deal with another trade company. The player must open negotiations with such a planet and if their demands are agreed to, they will ally themselves with the players trade company. The demands include a monthly rent paid by the player, the delivery of a specified good at regular intervals, and an agreement to build a specified piece of infrastructure on the planet within a certain timeframe. The demand for monthly rent is made for every planet, with the other two demands being optional and dependent on the developmental level of the planet.

Planets have morale which can be modified by in-game factors. Investing in planetary infrastructure can often help improve the morale of a planet and ensure docking rights are not lost. Should a planet be lost to an unhappy local populace, the player must begin negotiations for docking rights again. The higher the developmental level of the planet, the more infrastructure will be needed to keep the planet happy.

Trade Goods
Trade goods include fuel, food, passengers, and exotic goods such as wine and weapons. Each race produces different high-end goods than it consumes.

Stock Market
Each trading company has stock which can be sold on the market for an infusion of cash. Buying out the competition, by accumulating a majority of their stock, is possible. Stock can be bought and sold throughout the game, making it possible to sell lots of stock early for an early boost and then buy it back when the other companies sell off the shares they own.

Piracy
Pirates can be hired to harass the competition. They can be paid to harass the player as well. When a pirate attacks there are only a couple of options, pay them off, try to run, or fight back. The correct action to take will depend heavily on the specific ship being threatened and the upgrades that it has been outfitted with.

Sabotage
Sabotage missions can be undertaken to hurt the competitions bottom line. Of course the competition can do the same to the player.

News Events
A very basic mechanic, News Events inform the player of all the important events such as new ships, engines, or weapon systems which have become available. Sudden changes in the markets may also be announced throughout the game, giving the player the chance to make a quick profit.

Critical reception
A reviewer for Next Generation focused on the lack of anything to do in the game besides bid for landing rights and choose cargo: "No cut-throat strategy for undermining the competition's prices, no sabotage of trading routes, no space battles - not even the occasional price war." He recommended that players get "much better" business sims such as Transport Tycoon or Capitalism instead, and gave it 1 out of 5 stars. World Village (Gamer's Zone) wrote "The plot was a little thin for my taste, but if reading the business section of the paper excites you, then this game would be a must for you. The main weakness that I see in this program is lack of originality. I see parts of Railroad Tycoon, Civilization, Sim City among others, as well as the obvious connection to Air bucks v1.2. Nothing wrong with recycling older programs, especially as hardware improvements allow the newer versions to make improvements on game performance. That is what happened with this game. Unfortunately, it has a rushed feeling and fails to capitalize on the improvements there were put in the game." Computer Gaming World said "If you love to create ornate moving sculptures that generate endless money but do very little else interesting, then SPACE BUCKS will have some appeal for you. Set at its hardest level, the game offers two or three hours of challenge before your empire grows to the point that nothing can really harm it and you simply sit around absorbing planets from your competitors and doing more and more unwieldy upgrades to your entire fleet. Other than that, it is pretty to look at, but definitely no AIR BUCKS in Space." Computer Games Magazine wrote "Dealing with manufacturing, the bank and stock market, and random events do add a few things (bowling pins and knives?), but there still aren't a lot of different things to do (as in, say, Sim City or Capitalism). Despite this, you have to watch these things very closely, and it is easy for things to go critical very quickly. At the beginner level I played (and quickly lost) four games before I'd gotten a business that was even barely stable (and I was at the bottom of the pack). Maybe I just don't have a nose for business, but my attention wasn't strongly held. Beginning business sim fans might get more out of Space Bucks than I did, but I suspect advanced gamers will want to stick with a more detailed game like Capitalism."

References

External links

1996 video games
Business simulation games
Simulation video games
Sierra Entertainment games
Video games developed in the United Kingdom
Windows games
Windows-only games
Impressions Games games
Single-player video games
Video games set in outer space

Space Bucks


The 22nd Daytime Emmy Awards were that were held on May 19, 1995, on NBC to commemorate excellence in daytime programming from the previous year (1994). The nominees were announced on March 29, 1995. Winners are in bold.

Outstanding Drama Series
All My Children
Days of Our Lives
General Hospital
The Young and the Restless

Outstanding Lead Actor
Peter Bergman (Jack Abbott, The Young and the Restless)
David Canary (Adam Chandler/Stuart Chandler, All My Children)
Justin Deas (Buzz Cooper, Guiding Light)
Brad Maule (Tony Jones, General Hospital)
Michael Zaslow (Roger Thorpe, Guiding Light)

Outstanding Lead Actress
Leslie Charleson (Monica Quartermaine, General Hospital)
Marj Dusay (Alexandra Spaulding, Guiding Light)
Maeve Kinkead (Vanessa Chamberlain, Guiding Light)
Susan Lucci (Erica Kane, All My Children)
Erika Slezak (Victoria Lord, One Life to Live)

Outstanding Supporting Actor
Keith Hamilton Cobb (Noah Keefer, All My Children)
Ian Buchanan (James Warwick, The Bold and the Beautiful)
Rick Hearst (Alan-Michael Spaulding, Guiding Light)
Roger Howarth (Todd Manning, One Life to Live)
Jerry verDorn (Ross Marler, Guiding Light)

Outstanding Supporting Actress
Jean Carol (Nadine Corley, Guiding Light)
Melina Kanakaredes (Eleni Andros, Guiding Light)
Sydney Penny (Julia Santos, All My Children)
Rena Sofer (Lois Cerullo, General Hospital)
Jacklyn Zeman (Bobbie Spencer, General Hospital)

Outstanding Younger Actor

Jason Biggs (Pete Wendall, As the World Turns)
Bryan Buffington (Bill Lewis, Guiding Light)
Jonathan Jackson (Lucky Spencer, General Hospital)
Tommy J. Michaels (Tim Dillon, All My Children)

Outstanding Younger Actress

Sarah Michelle Gellar (Kendall Hart, All My Children)
Kimberly McCullough (Robin Scorpio, General Hospital)
Rachel Miner (Michelle Bauer, Guiding Light)
Heather Tom (Victoria Newman, The Young and the Restless)

Outstanding Drama Series Writing Team

All My Children
General Hospital
One Life to Live
The Young and the Restless

Outstanding Drama Series Directing Team

All My Children
Another World
As the World Turns
One Life to Live
The Young and the Restless

Outstanding Game/Audience Participation Show

Jeopardy! (Columbia TriStar Television/KingWorld)
American Gladiators (Four Point Entertainment/Samuel Goldwyn TV)
Fourth Annual Rock N' Jock B-Ball Jam
The Price Is Right (Mark Goodson Productions/All American Television/Paramount Television/CBS)
Wheel of Fortune (Columbia TriStar Television/KingWorld)

Outstanding Game Show Host

Bob Barker (The Price Is Right)
Alex Trebek (Jeopardy!)

Outstanding Costume Design

Lois DeArmond (Adventures in Wonderland)
 Ann Marie Holdgruen, Laurent Linn, Carlo Yannuzzi, Larry Jameson, Mark Ruffin, Terry Roberson, Stephen Rotondaro, Edward G. Christie, Rollin Krewson, William Kellard, Mark Zeszotek, Connie Peterson, Peter MacKennan, Fred Buchholz, Goran Sparrman, and Tom Newby (Sesame Street)
Danajean Cicerchi (Where in the World Is Carmen Sandiego?)
Lois DeArmond, and Betsey Potter (Beakman's World)
Doug Enderle (Walt Disney World Very Merry Christmas Parade)
 Charles Chiodo, Stephen Chiodo, and Edward Chiodo (ABC Weekend Specials - "Crash the Curiousaurus")

Outstanding Children's Series

Linda Ellerbee, Rolfe Tessem, Murr LeBay, Bob Brienza, and Mark Lyons (Nick News with Linda Ellerbee)
 James McKenna, Hamilton McCulloch, Erren Gottlieb, and Elizabeth Brock (Bill Nye, the Science Guy)
Robert Heath, and Mark Waxman (Beakman's World)
Ed Wiseman, Cecily Truett, Larry Lancit, Stacey Raider, Orly Berger, Twila Liggett, Tony Buttino, LeVar Burton, and Jill Gluckson  (Reading Rainbow)
 Jay Rayvid, Lynn Kestinn-Sessler, Kate Taylor, Howard Lee, Howard J. Blumenthal, and Jonathan G. Meath (Where in the World Is Carmen Sandiego?)

Outstanding Film Sound Mixing

Timothy J. Garrity, Timothy Borquez, Jim Hodson, Bill Koepnick, Melissa Ellis and Deb Adair (Aladdin)
Thomas Orsi and Don Summer (ABC Afterschool Specials:Boys Will Be Boys)
Timothy J. Borquez and Timothy J. Garrity (The Little Mermaid)
David John West, John Boyd and Todd Orr (The Tick)
John Asman, Walt Martin, David E. Fluhr and Sam Black (Trick of the Eye)
David John West, Kevin Patrick Burns, Todd Orr and John Boyd (Exosquad)

Outstanding Film Sound Editing

Alex Wilkinson, Charles Rychwalski, William Griggs, Kenneth Young, Melissa Ellis, Bill Koepnick, Greg LaPlante, Jennifer Mertens, Ray Leonard, Michael Geisler, John O. Robinson III, Marc S. Perlman Michael Gollom, Jim Hodson, Timothy J. Borquez, Phyllis Ginter, Robert Duran and Tom Jaeger (Aladdin)
Brian F. Mars, Charles Rychwalski, Michael Geisler, John O. Robinson III, Jennifer Mertens, Tom Jaeger and Greg LaPlante (The Little Mermaid)
David John West, Matthew West, Chris Fradkin, Rick Hinson, Mark Cleary and Susan Welsh (Exosquad)
Mark Cleary, Chris Fradkin, Rick Hinson and David John West (The Tick)
Matt Thorne, John Hegedes, Tom Maydeck, Robert Hargreaves, Russell Brower, Mark Keatts, J.J. George, Mike Dickeson and Daryl B. Kell (Batman: The Animated Series)

Outstanding Music Direction and Composition

Mark Watters, John Given, Harvey Cohen, Carl Johnson and Thomas Richard Sharp (Aladdin)
Jeff Moss, Christopher Cerf, Tony Geiss, Gail Sky King, Robby Merkin, Stephen Lawrence, Sarah Durkee, Dave Conner and Paul Jacobs (Sesame Street)
Don Sebesky (Allegra's Window)
Shirley Walker (Batman: The Animated Series)
Steven Bernstein and Richard Stone (Animaniacs)

Outstanding in Animation

Peter Gaffney, Jonathan Greenberg, Rachel Lipman, Paul Germain, Steve Socki, Howard E. Baker and Jim Duffy (Rugrats)
Robert Renzetti, Todd Frederiksen, Mark Saraceni, Tony Craig and Miles Thompson (2 Stupid Dogs)
Derdad Aghamalian, Ed Klautky, Craig Wilson, Sung Hwan Choi, Rae McCarson, Ted Blackman, Leonard Robledo, Rick Del Carmen, Richard Ziehler-Martin, Alex Stevens, Fedja Jovanovic, Bill Sienkiewicz, Joseph Dempsey, Kent Butterworth, Lin Zeng, Tom Nesbitt, Ray Shenusay, Sean Roche, Neil Hunter, John Schaeffer, Chuck Puntuvatana, Felipe Morell, Teri Shikasho, Doug Molitor, Eufronio R. Cruz, Keith Weesner, Moe Green, Hector Martinez, Fernando Tenedora and Junn Roca (Where on Earth Is Carmen Sandiego?)
Chris Battle, Jeff W. Smith, Cathy Malkasian, Igor Kovalyov, John Holmquist, Debbie Baber, Vadim Medzhibovskiy, Rumen Petkov, Zhenia Delioussine, Stephen Lawes, Bradley J. Gake, Alex Dilts, Anita Ziobro, Peter Gaffney, Jim Duffy, Kelly James, Dan Krall, Toni Vian, Sergey Shramkosky, Marcy Rubin, Andrei Svislotski, Ron Campbell, Jerry Richardson, David Litt, David Silverman, Steve Ressel and Craig Simmons (Aaahh!!! Real Monsters)
Rich Arons, Barry Caldwell, Michael Gerard, Alfred Gimeno, Dave Marshall, Jon McClenahan, Rusty Mills, Audu Paden, Greg Reyna, Lenord Robinson, Andrea Romano, Peter Hastings, Nicholas Hollander, John P. McCann, Tom Minton, Deanna Oliver, Randy Rogel, Paul Rugg, Tom Ruegger and Sherri Stoner (Animaniacs)

Outstanding Performer In An Animated Program

Lily Tomlin (Valerie Felicity Frizzle, The Magic School Bus)
Tim Curry (Skullmaster, Mighty Max)
Roscoe Lee Browne (Kingpin, Spider-Man: The Animated Series)
Rita Moreno (Carmen Sandiego, Where on Earth Is Carmen Sandiego?)
Ruby Dee (Grandmother, Whitewash)

Lifetime achievement award

 Ted Corday
 Betty Corday

References

External links

022
Daytime Emmy Awards

22nd Daytime Emmy Awards


Semiotics of the Kitchen is a feminist parody single-channel video and performance piece released in 1975 by Martha Rosler. The video, which runs six minutes, is considered a critique of the commodified versions of traditional women's roles in modern society.

Scenario
Featuring Rosler as a generic cooking show host, the camera observes as she presents an array of kitchen hand utensils, many of them outdated or strange. After identifying them, she demonstrates unproductive, and sometimes violent, uses for each. It uses a largely static camera and a plain set.

Letter by letter, Rosler navigates a culinary lexicon, using a different kitchen implement for each step along the way. She begins with an apron, which she ties around her waist, and, with deadpan humor, journeys through the alphabet, until the last few letters. For these, U, V, W, X, Y, and Z, the implements are dispensed with and Rosler's gestures and body become a signal system themselves. The Z replicates the mark of Zorro, a filmic reference. At the end of the entire work, the artist offers a shrug, somehow defusing the negative reading of the parody. The focus on linguistics, semiotics, and words is important, since Rosler intended the video to challenge "the familiar system of everyday kitchen meanings -- the securely understood signs of domestic industry and food production."

Meaning
A well-known feminist, Rosler remarked about this work that "when the woman speaks, she names her own oppression." The symbolic terminology of the kitchen, she hypothesized, transforms the woman into a sign of the system of food production and harnessed subjectivity. The video subject is an "anti-Julia Child," Rosler explains; she "replaces the domesticated 'meaning' of tools with a lexicon of rage and frustration." The work was intended, like all early video, to be shown on a television monitor, and thus it is no accident that some of the gestures represent a tossing or throwing of the imaginary contents of certain implements "outside the box" of television programming. It is not the production of food in and of itself that is Rosler's target but the taken-for-granted role of happy housewife and selfless producer that the tape intends to spotlight. Her gestures demonstrate frustration with the language of domesticity, as she uses the domestic space of the kitchen as a backdrop for resistance and change.

References

External links
 Video Data Bank includes a description of the video as well as a clip from it.

1975 films
1970s feminist films
1970s parody films
1975 short films
Cooking films
Performances
Semiotics
1975 comedy films
1970s English-language films

Semiotics of the Kitchen


The magnitude of a mathematical object is its size: a property by which it can be larger or smaller than other objects of the same kind.

In mathematical language one would say: It is an ordering of the class of objects to which it belongs.

The Ancient Greeks distinguished between several types of magnitude, including:
 (positive) fractions
 line segments (ordered by length)
 Plane figures (ordered by area)
 Solids (ordered by volume)
 Angles (ordered by angular magnitude)

They had proven that the first two could not be the same, or even isomorphic systems of magnitude. They did not consider negative magnitudes to be meaningful, and magnitude is still primarily used in contexts in which zero is either the lowest size, or less than all possible sizes.

Real numbers
The magnitude of a real number  is usually called the absolute value or modulus. It is written as , and is defined by:

This gives the number's distance from zero on the real number line. For example, the modulus of  is .

Vector
The magnitude of a vector  is called its norm, and is usually written as . It measures the length of the vector. For a three-dimensional vector , the norm can be calculated using the formula .

Practical math

A magnitude is never negative. When comparing magnitudes, it is often helpful to use a logarithmic scale. Real-world examples include the loudness of a sound (decibel), the brightness of a star, or the Richter scale of earthquake intensity.

Because magnitudes are often not linear, they usually cannot be added or subtracted in a meaningful way.

Related pages

 Order of magnitude

References

Mathematics

Magnitude (mathematics)


Edward Palmer (September 1, 1809 – November 3, 1889) was a Canadian politician born at Charlottetown, Prince Edward Island and resided in Prince Edward Island until his death. He is considered one of the Fathers of Canadian Confederation, despite his opposition to Confederation, as he was a delegate to both the Charlottetown and Québec Conferences.

Early life
Edward Palmer was the son of James Bardin Palmer, an Irish barrister who had come to the Island at the beginning of the nineteenth century, and Millicent Jones. He attended grammar school before becoming a law clerk in his father's law firm.  He was called to the bar in 1830 and thereafter he worked as a lawyer, land agent, land proprietor, politician, a judge, being appointed Queen's Counsel in 1873. He was a very active politician and later a judge. He married Isabella Tremain in 1846. He acted as a land agent and was a landed proprietor but, after experiencing long term conflict with his tenant farmers, he sold his substantial landholdings in 1870.

Political life
He was elected as member of the Prince Edward Island House of Assembly for Charlottetown and Quebec in 1835. He soon established himself as one of the leading Conservatives. He was often viewed as a champion of the status quo, being against responsible government, against union of the colonies of British North America, and against land reform. He was also much given to conflict in the assembly, frequently arguing with both George Coles and Edward Whelan. In 1849, Palmer became the leader of the Tories in the provincial assembly. In 1859, he became premier, only to be pushed from office by his colleague John Hamilton Gray in 1863. He was first appointed to the Legislative Council in 1860 and when that body became elective he retained his seat.

His views against Confederation placed him in direct opposition to John Hamilton Gray. Their conflict fractured the Tory party and damaged the union cause, eventually resulting in both Palmer and Gray resigning from Cabinet. Palmer, however, retained his position as attorney general.

Palmer remained ardently opposed to Confederation after 1864. He also opposed the "Better Terms" offer made by Canada in 1869. Instead, he favoured a free trade deal between Prince Edward Island and the United States. In 1872, Palmer changed parties and joined the Liberal, anti-Confederation government of Robert Poore Haythorne. When the financial burden of a railway project forced Prince Edward Island to the brink of economic collapse it was the Haythorne government, of which Palmer was a member, that sought the union with Canada in 1873. After Prince Edward Island joined the Confederation, Palmer became a Queens County judge and was later elevated to Chief Justice of Prince Edward Island, holding that title until his death.

References

External links
Biography at the Dictionary of Canadian Biography Online

1809 births
1889 deaths
Fathers of Confederation
Premiers of Prince Edward Island
Politicians from Charlottetown
Persons of National Historic Significance (Canada)
Progressive Conservative Party of Prince Edward Island leaders
Progressive Conservative Party of Prince Edward Island MLAs
Canadian King's Counsel
Colony of Prince Edward Island people
Attorneys General of the Colony of Prince Edward Island

Edward Palmer (Canadian politician)


Michael Softley (26 September 1939 – 1 September 2017) was an English singer-songwriter and guitarist. A figurehead during the British folk scene, Softley set up his own folk club, released three albums and worked with performers such as Mac MacLeod, Donovan, and Maddy Prior. Donovan covered two of Softley's songs ("Goldwatch Blues" and "The War Drags On") in 1965. Dave Berry also covered two of Softley's songs ("Walk Walk Talk Talk" and "I Love You Baby") in 1966.

Early life
Born at Danbury Palace Emergency Maternity Hospital, South Woodford, Softley grew up in Essex near Epping Forest. His mother was of Irish origin (from County Cork) and his father had East Anglian tinker roots, going back to a few generations. Softley first took up trombone in school and became interested in traditional jazz. He was later persuaded to become a singer by one of his school teachers, and this led to him listening to Big Bill Broonzy and promptly changed his attitude to music, to the extent of him buying a mail-order guitar and some tutorial books and teaching himself to play.

By 1959, Mick Softley had left his job and home and spent time travelling around Europe on his motorbike, with a friend, Mike Rippingale. He ended up in Paris, where he came into the company of musicians such as Clive Palmer, Ramblin' Jack Elliott, and Wizz Jones. Here he improved his guitar skills and spent time busking with friends until his return to England in the early 1960s. He set up a folk club at The Spinning Wheel in Hemel Hempstead.

Songs for Swingin' Survivors
Softley began singing in 'The Cock', a pub in St Albans, which was a hang out for beatniks and hippies and attracted musicians down from London. Informal sessions were common. This was where he met a young Donovan Leitch, to whom he taught cross-picking guitar techniques. (Leitch later cited Softley as a "major influence").

Donovan was soon snapped up by a record label and shot to stardom, but this enabled him to bring Softley to the attention of producers and record companies. His first release was the 1965 single "I'm So Confused", released by Immediate Records.

He went on to work with Peter Eden and Geoff Stephens, and his debut album Songs For Swinging Survivors, which was a purely folk record. The album featured only Softley and his acoustic guitar and includes the songs "The War Drags On" (covered by Donovan on his Universal Soldier EP), and Softley's own interpretations of Billie Holiday's "Strange Fruit", and Woody Guthrie's "The Plains of the Buffalo".

In 1964 he opened a folk club, in the Spinning Wheel restaurant in Hemel Hempstead. It was shut down by the police after only a year, however, for "various reasons", mainly health and safety; a very small basement room, with only one way in (and out). Softley did not look back on this time favourably claiming during production he had gone "through a lot of hells and no heavens, a terrifying amount of personal pain" to the extent that he quit the music business for over four years. During this time he survived as a market trader in Hemel Hempstead, fathered two children, in 1963 and 1964, and still played gigs frequently in folk clubs around the south east. He returned to life on the road in 1968. Due to contractual issues he never received any royalties in the later years.

Sunrise and Street Singer
After his absence, Softley returned with an electric group, Soft Cloud, Loud Earth. The group was soon trimmed down to a duo consisting of Softley and Mac MacLeod called Soft Cloud. They only performed a few times before they split up and Softley went on to pursue a solo career. Meeting Donovan again, he was persuaded to record for a second time. This time  Tony Cox was on board for production and Softley claimed that "everybody all along the line was really good. Totally different to what I'd been through five years before – No-one was trying to make a fast penny out of me, and they were prepared to let me do everything exactly how I wanted to". Softley recorded three albums during this period, which have a different tone from the first album, due to the variety of instruments and styles showcased on these albums, from upbeat rock ("Can You Hear Me Now?") and folk ("Goldwatch Blues") to eastern-inspired sitar pieces ("Love Colours") and skiffle ("Ragtime Mama"). In 1971 he performed on French television programme Grande Affiche.

Later years
Avoiding capitalising on the opportunity of stardom, Softley continued to travel and play for free, preferring to watch people enjoy his music than make money. He moved to County Fermanagh, Northern Ireland, in 1984, eventually settling in Enniskillen. He was a well recognised character in the town and he also performed occasionally at the Belfast Folk Festival. In later years he has concentrated on writing poetry, some of which has been published.

In 2011, Softley suffered a head injury after being knocked off his bicycle, and spent a considerable time in hospital recovering. In an effort to counter the unfounded rumours of his death, a Facebook page was set up and amassed a following of over 1,000 friends. In August 2011, an evening of entertainment featuring Softley's music and poetry was held in Cafe Merlot in Enniskillen, with all proceeds being donated to the brain injury unit at Altnagelvin Hospital.

Death
Softley died on 1 September 2017, aged 77.

Albums
Songs For Swingin' Survivors (1965), Columbia – reissued on CD in 2003 by Hux Records and as part of The Folk Eve Recordings CD (2014)
Sunrise (1970), CBS
Street Singer (1971), CBS
C'est la Fête à Malataverne (1971), Expression Spontanée – one track, "Time Machine" record live in French folk festival
Any Mother Doesn't Grumble (1972), CBS
Capital (1976), Doll Records
Mensa (1978), Doll Records
War Memorials (1985), Doll Records

Note: Sunrise and Street Singer were reissued as a two-CD set on BGO Records, 2009

References

External links
 Home.arcor.de
 Myspace site

1939 births
2017 deaths
English folk guitarists
English male guitarists
English male singer-songwriters
People from Woodford, London

Mick Softley


Bangalore (English pronunciation: ˈbæŋɡəlɔər, bæŋɡəˈlɔər), officially known as Bengaluru (), is the capital city of the Indian state of Karnataka. It is famous for its information technology industry and so it is called the Silicon Valley of India. Today, as a large and growing city, Bangalore has many of the most well-known colleges and research institutions in India.

Bangalore is more famous for its climatic conditions. The temperature is usually low compared to the other cities in Karnataka. This city was also known as the garden city because of the greenery it had.

Major Railway Stations

 North Bangalore: Yeshwantpur, KR Puram
 South Bangalore: KSR Railway Station
 East Bangalore: KR Puram, Whitefield
 West Bangalore: Yeshwantpur, JnanaBharathi Station, Kengeri

Major Bus Stands

 North Bangalore: KR Puram, Yelahanka, Chikkabanavara
 South Bangalore: Majestic, Jayanagar, Mysore Road Satellite Bus Stand, Kengeri Bus Stand
 East Bangalore: Sarjapur Road, Silk Board Junction, Marathalli, Whitefield
 West Bangalore: Yeshwantpur, Magadi Road, Vijaynagar, Rajajinagar, Malleshwaram, Chikkabanavara

Places to Live
For Jobseekers and Employees: Sarjapur Road, KR Puram, Hebbal, BTM Layout, Mahadevpura, HSR Sector 1 and 2, Electronic City, Marathalli, Hoskote.

For Families: Malleshwaram, Uttarahalli, Banashankari, Kanakapura Road, Jalahalli, K R Puram, Kengeri, Mathikere, RR Nagar, Bannerghatta Road

References

Bangalore


Lorenz Peter Elfred Freuchen (20 February 1886 – 2 September 1957) was a Danish explorer, author, journalist and anthropologist. He is notable for his role in Arctic exploration, namely the Thule Expeditions.

Personal life
Freuchen was born in Nykøbing Falster, Denmark, the son of Anne Petrine Frederikke (née Rasmussen; 1862–1945) and Lorentz Benzon Freuchen (1859–1927).
His father was a businessman. Freuchen was baptized in the local church. He attended the University of Copenhagen where for a time he studied medicine.

Freuchen was married three times. He was first married in 1911 to Navarana Mequpaluk (d. 1921), an Inuk woman who died in the Spanish Flu epidemic after bearing two children (a boy named Mequsaq Avataq Igimaqssusuktoranguapaluk (1916 – ) and a girl named Pipaluk Jette Tukuminguaq Kasaluk Palika (1918–1999)). His second marriage was to  (1881–1960), daughter of  (1847–1920), Danish businessman and director of Danmarks Nationalbank. The marriage started in 1924 and was dissolved in 1944. In 1945, he married Danish fashion illustrator, Dagmar Cohn (1907–1991).

Freuchen's grandson, Peter Ittinuar, was the first Inuk in Canada to be elected as an MP, and represented the electoral district of Nunatsiaq in the House of Commons of Canada from 1979 to 1984.

From 1926 to 1940, Freuchen owned the Danish island  in Nakskov Fjord. During this period he wrote several books and articles and entertained guests. At this time, Freuchen became heavily invested in socialism and anti-fascism. Since 2000, the uninhabited island has been a part of Nakskov Vildtreservat, a wildlife reserve.

Career
In 1906, he went on his first expedition to Greenland as a member of the Denmark expedition. Between 1910 and 1924, he undertook several expeditions, often with the noted Polar explorer Knud Rasmussen. He worked with Rasmussen in crossing the Greenland ice sheet. He spent many years in Thule, Greenland, living with the Polar Inuit. In 1935, Freuchen visited South Africa, and by the end of the decade, he had travelled to Siberia.

In 1910, Knud Rasmussen and Peter Freuchen established the Thule Trading Station at Cape York (Uummannaq), Greenland, as a trading base. The name Thule was chosen because it was the most northerly trading post in the world, literally the "Ultima Thule". Thule Trading Station became the home base for a series of seven expeditions, known as the Thule Expeditions, between 1912 and 1933.

The First Thule Expedition (1912, Rasmussen, Freuchen, Inukitsork, and Uvdloriark) aimed to test Robert Peary's claim that a channel divided Peary Land from Greenland. They proved this was not the case in a  journey across the inland ice that almost killed them. Clements Markham, president of the Royal Geographical Society, called the journey the "finest ever performed by dogs." Freuchen wrote personal accounts of this journey (and others) in Vagrant Viking (1953) and I Sailed with Rasmussen (1958). He states in Vagrant Viking that only one other dogsled trip across Greenland was ever successful. When he got stuck under an avalanche, he claims to have used his own feces to fashion a dagger with which he freed himself.

While in Denmark, Freuchen and Rasmussen held a series of lectures about their expeditions and the Inuit culture.

Freuchen's first wife, Mekupaluk, who took the name Navarana, accompanied him on several expeditions. When she died he wanted her buried in the old church graveyard in Upernavik. The church refused to perform the burial, because Navarana was not baptized, so Freuchen buried her himself. Knud Rasmussen later used the name Navarana for the lead role in the movie Palos Brudefærd which was filmed in East Greenland in 1933. Freuchen strongly criticized the Christian church which sent missionaries among the Inuit without understanding their culture and traditions.

When Freuchen returned to Denmark in the 1920s, he joined the Social Democrats and contributed with articles in the newspaper Politiken. From 1926 to 1932, he served as the editor-in-chief of a magazine, Ude og Hjemme, owned by the family of his second wife. He was also the leader of a movie company.

In 1932, Freuchen returned to Greenland. This time the expedition was financed by the American Metro-Goldwyn-Mayer film studios.

He was also employed by the film industry as a consultant and scriptwriter, specializing in Arctic-related scripts, most notably MGM's Oscar-winning Eskimo/Mala The Magnificent starring Ray Mala, and featuring Freuchen as Ship Captain. In 1956, he won the main prize on The $64,000 Question, an American TV quiz-show on the subject "The Seven Seas".

In 1938, he founded The Adventurer's Club of Denmark (Danish: Eventyrernes Klub), which still exists. They later honored his memory by planting an oak tree and creating an Eskimo cairn near the place where he left Denmark for Greenland in 1906. It is situated east of Langeliniebroen in central Copenhagen and not far from the statue of The Little Mermaid.

During World War II, Freuchen was actively involved with the Danish resistance movement against the occupation by Nazi Germany despite having lost a leg to frostbite in 1926. He openly claimed to be Jewish whenever he witnessed anti-semitism.
Freuchen was imprisoned by the Germans and sentenced to death, but he managed to escape and flee to Sweden. In 1945 he married Danish-Jewish designer Dagmar Freuchen-Gale.

As he related in Vagrant Viking, he was friends with the royal families of Scandinavia and other countries, and his movie work in New York City and Hollywood brought him into the 'royalty' of moving pictures and the political world of Washington, D.C.

Later years

Freuchen and his wife Dagmar lived in New York City, and maintained a second home in Noank, Connecticut.

The preface of his last work, Book of the Seven Seas, is dated 30 August 1957, in Noank. He died of a heart attack three days later at the Elmendorf Air Force Base in Anchorage, Alaska. After his death, his ashes were scattered on the famous table-shaped Mount Dundas outside of Thule.

Honours and awards
 Member, Royal Danish Geographical Society
 Fellow, American Geographical Society
 1921 – Hans Egede Medal from the Royal Danish Geographical Society

Freuchen Land in Greenland was named after him and Navarana Fjord was named after his first wife.

Literary prizes
 1938 – Sophus Michaëlis' Legat
 1954 – Herman Bangs Mindelegat
 1955 – Kaptajn H.C. Lundgreens Legat

Selected works

 Grønland, land og folk, 1927 (Travelbook) Freuchen's first book
 Storfanger, 1927 (Novel)
 Rømningsmand, 1928 (novel)
 Nordkaper, 1929 – The Sea Tyrant (novel)
 Ivalu, 1930 – Ivalu, the Eskimo Wife – suomennettu (novel)
 Knud Rasmussen. Mindeudgave. 3 vol, 1934 (Peter Freuchen, Therkel Mathiassen and Kaj Birket-Smith)
 Flugten til Sydamerika, 1935 (Memories)
 "Arctic Adventure: My Life in the Frozen North", Farrar & Rinehart, New York, Toronto, Copyright 1935.
 Min grønlandske ungdom, 1936 and 1953 (Memories)
 Nuoruuteni Grönlannissa (Memories)
 Min anden ungdom, 1938 (Memories)
 Sibiriske eventyr, 1939 (Memories)
 Diamantdronningen, 1941 (novel)
 Hvid mand, 1943 – White Man – Valkoinen mies eskimoiden parissa (novel)
 Eskimofortællinger, 1944 (novel)
 Solfjeld, 1944 (novel)
 Larions lov, 1948 – The Law of Larion (novel about the inland Indians along the Yukon river)
 Nigger-Dan, 1951 (novel, aka The Legend of Daniel Williams)
 I al frimodighed 1953 (Memories)
 "Ice Floes and Flaming Water", 1954
 I all uppriktighet", 1954 (Memories)
 Vagrant Viking, 1954 (Memories)
 Fremdeles frimodig, 1955
 Fortfarende uppriktig", 1956 og 1960 (Memories)
 Fangsmænd i Melville-bugten, 1956 – Pyyntimiehiä Melville lahdella (novel)
 Fra Thule til Rio, 1957 (Memories)
 "Peter Freuchen's Book of the Seven Seas", Julian Messner, Inc., New York, Copyright 1957.
 Peter Freuchens bog om de syv have, 1959 (Documentary)
 "The Arctic Year", G.P. Putnam's Sons, New York, Copyright 1958. (Peter Freuchen and Finn Salomonsen)
 "I Sailed with Rasmussen, 1958 (Documentary)
 Hvalfangerne, 1959 (novel)
 "Peter Freuchen's Adventures in the Arctic", Julian Messner, Inc., New York, Copyright 1960. (Edited by Dagmar Freuchen)
 Det arktiske år, 1961 – Arctic Year (Documentary)
 "Peter Freuchen's Book of the Eskimos", Peter Freuchen Estate. Cleveland Ohio, Copyright 1961.- (Edited by Dagmar Freuchen)
 Erindringer, 1963 – (Edited by Dagmar Freuchen)

 Biography
 Reid Mitenbuler, Wanderlust: An Eccentric Explorer, an Epic Journey, a Lost Age'', HarperCollins, 2023.

References

External links
 Peter Freuchen on litteraturpriser.dk (Danish)
 Peter Freuchen (Danish)
 Photograph of Peter Freuchen and Dagmar Freuchen (Irving Penn)
 Petri Liukkonen, Peter Freuchen, Authors' Calendar

1886 births
1957 deaths
20th-century anthropologists
20th-century Danish journalists
Anti-fascists
Danish amputees
Danish anthropologists
Danish emigrants to Greenland
Danish emigrants to the United States
Danish explorers
Danish polar explorers
Danish resistance members
Danish socialists
Danish travel writers
Greenlandic polar explorers
People from Nykøbing Falster
Scandinavian explorers of North America
Scientists with disabilities
University of Copenhagen alumni

Peter Freuchen


The Asian emerald cuckoo  is a species of cuckoo in the Cuculidae family.

It lives in Southeast Asia, in Bangladesh, Bhutan, Cambodia, China, India, Indonesia, Laos, Malaysia, Myanmar, Nepal, Sri Lanka, Thailand, and Vietnam. The Asian emerald cuckoo is a protected animal in Malaysia.
Its scientific name is Chrysococcyx maculatus.

This bird is not in the Cuculinae subfamily, and so it is not a nest parasite. They raise their own young, like most birds.  Emerald cuckoos lay eggs in a nest built by the parents.

Other websites
 Google search

Cuculiformes
Birds of Asia

Asian emerald cuckoo


On June 29, 2008, the XVIII World Congress on Safety and Health at Work signed the Seoul Declaration on Safety and Health at Work. The declaration included statements concerning national governments' responsibility for perpetuating a "national preventive safety and health culture", for improving their national safe-workplace performance systematically, and for providing a health standard with appropriate enforcement to protect workers. The declaration also listed responsibilities of employers, stated the rights of workers, and emphasized the importance of promoting a culture of safety.

The XVIII World Congress on Safety and Health at Work
Every three years, the International Labour Organization (ILO) and International Social Security Association (ISSA) organize a World Congress on Safety and Health at Work, bringing together government ministers, corporate leaders, health experts, and employer and worker representatives. The XVIII World Congress was sponsored by the Korea Occupational Safety and Health Agency (KOSHA) and convened from June 29, 2008 through July 2, 2008, in Seoul, South Korea. The Congress drew over 4,000 participants from 100 countries and resulted in the signing of the Seoul Declaration on Safety and Health at Work.

Groundwork for the Seoul Declaration
The genesis of the Seoul Declaration came with the first Safety and Health Summit. The approximately 50 representatives at the Summit signed a Declaration of Safety and Health at Work. This document outlined standards through which workers, employers, and governments could collaborate to reduce workplace accidents and disease. The work was subsequently expanded upon, resulting ultimately in the Seoul Declaration later that year.

Provisions of the Seoul Declaration
The Seoul Declaration recognizes worker safety as a basic human right and emphasizes workplace safety's positive impact on working conditions, productivity, and economic and social development. The declaration addresses government, employer, and worker responsibilities, and describes the commitment made by the document's signatories.

Government
The declaration urges governments to implement effective labor inspection systems that focus on improving national performance systematically.  It encourages governments to ratify of the ILO Promotional Framework for Occupational Safety and Health Convention, 2006 (No. 187).

Employers
The declaration pronounces the relationship between high safety and health standards at work and good business performance. Employers are encouraged to implement management systems to improve workplace safety and health and to guarantee that workers are consulted, trained, informed and involved in the process.

Worker responsibilities
The declaration calls upon workers to follow safety and health instructions and procedures, to properly use personal protective equipment, to participate in safety and health training, and to cooperate with their employer in adhering to measures related to their safety and health at work.

Signatories
In accepting the Seoul Declaration, signatories committed to promote a preventive safety and health culture and push workplace safety in their various national agendas. Additional they agreed to revisit the declaration and review its progress at the next meeting of the Congress.

References

External links
 Official Website of the Seoul Declaration on Safety and Health at Work

Occupational safety and health
2008 works


Johann Baptist Straub (1 June 1704 (baptism) – 15 July 1784) was a  German Rococo sculptor.

Biography
Straub was born in Wiesensteig, into a family of sculptors. His father Johann George Straub and his brothers Philipp Jakob, Joseph, and Johann Georg Straub were also sculptors, as was his nephew Franz Xaver Messerschmidt. J. B. Straub studied in Munich with the court sculptor Gabriel Luidl and then went to Vienna, where he worked from 1726 to 1734.

In 1734 Straub returned to Munich. In 1737 he was appointed by Elector Karl Albrecht from Bavaria as the court sculptor. In the same year Straub married a daughter of the court engraver, Franz Xaver Späth.

Straub worked primarily in Upper Bavarian churches and monasteries, frequently alongside some of the greatest Baroque artists of the day: the architect Johann Michael Fischer, the painter Johann Baptist Zimmermann, the Asam Brothers, the Tyrolian painter Johann Jacob Zeiller, and the stuccoists Franz Xaver and Johann Michael Feuchtmayer, among others. Usually Straub's figures are carved in simple white, with very little gold trim.

Important works by Straub are in the Residenz in Munich as well as in Schloss Nymphenburg. His best-known church works are the altars of the monastic churches of Andechs and Schäftlarn as well as St. Michael's Church in Berg am Laim, a borough of Munich.

Straub died in Munich, where his workshop was the most important of its day. The most famous artist to study there was Ignaz Günther.

Major works

Austria
Laxenburg—Schwarzspanierkirche Wien (pulpit) (1730)

Bavaria
Altomünster—Brigittine Monastery Church (altars in the lay nave, figures of apostles, upper high altar, altars in the choir) (1765–1769)
Andechs—Pilgrimage Church of the Annunciation (altars, figures of St. Elisabeth von Thüringen and St. Nicholas) (1750)
Bichl—Parish Church of St. George (high altar) (1752)
Dießen am Ammersee—Church of St. Maria (side altars and pulpit) (1739–1741)
Ettal—Benedictine Monastery Church (pulpit and side altars) (1757–1765)
Fürstenzell—Cistercian Monastery Church of the Ascension of the Blessed Virgin (altar and tabernacle) (1741)
Munich—Franciscan Monastery Church of St. Anna im Lehel (high altar tabernacle and pulpit) (1738–1739)
Munich—Dreifaltigkeitskirche (tabernacle relief) (1760)
Munich—Parish Church of St. Michael (high altar and side altars) (1743)
Munich—St. George in Bogenhausen (high altar) (1770–1773)
Oberaudorf—Kloster Reisach (side altars) (1748–1757)
Polling—Kloster Polling (high altar renovation) (1763)
Schäftlarn—Premonstratensian Monastery (pulpits and altars) (1755–1764)
Steingaden—Premonstratensian Monastery Church of St. John the Baptist (figures of founders on the pillars of the high altar) (1740)

More information

1704 births
1784 deaths
People from Göppingen (district)
German Baroque sculptors
German Roman Catholics
18th-century German sculptors
18th-century German male artists
German male sculptors
Rococo sculptors
Artists from Baden-Württemberg
Catholic sculptors

Johann Baptist Straub


Monopolies of knowledge arise when the ruling class maintains political power through control of key communications technologies. The Canadian economic historian Harold Innis developed the concept of monopolies of knowledge in his later writings on communications theories.

An example is given of ancient Egypt, where a complex writing system conferred a monopoly of knowledge on literate priests and scribes. Mastering the art of writing and reading required long periods of apprenticeship and instruction, confining knowledge to this powerful class. It is suggested that monopolies of knowledge gradually suppress new ways of thinking. Entrenched hierarchies become increasingly rigid and out of touch with social realities. Challenges to elite power are often likely to arise on the margins of society. The arts, for example, are often seen as a means of escape from the sterility of conformist thought.

In his later writings, Innis argued that industrialization and mass media had led to the mechanization of a culture in which more personal forms of oral communication were radically devalued. "Reading is quicker than listening," Innis wrote in 1948. "The printing press and the radio address the world instead of the individual."

We can look at the Internet as being a factor in creating knowledge monopolies. Those who have the skills to use the technology have the power to choose what information is communicated. The significance of the Internet in the creation of these monopolies, in more recent years, has been somewhat diminished due to increased knowledge and awareness of how to use the technology. At the same time, the ever-increasing complexity of digital technologies strengthens monopolies of knowledge, according to the New York Times:
[T]he Pentagon has commissioned military contractors to develop a highly classified replica of the Internet of the future. The goal is to simulate what it would take for adversaries to shut down the country's power stations, telecommunications and aviation systems, or freeze the financial markets — in an effort to build better defenses against such attacks, as well as a new generation of online weapons.

Wherever new media arise, so too do monopolies of knowledge concerning how to use the technologies to reinforce the power and control of elite groups.

Origins of the concept
When discussing the monopolies of knowledge, Innis focuses much of his concern on the United States, where he feared that mass-circulation newspapers and magazines along with privately owned broadcasting networks had undermined independent thought and local cultures and rendered audiences passive in the face of what he calls the "vast monopolies of communication". James W. Carey notes that Innis worried about the centralized control of information and entertainment by advertising-driven media. "The very existence of a commodity such as 'information' and an institution called 'media' make each other necessary," Carey writes. "More people spend more time dependent on the journalist, the publisher, and the program director. Every week they wait for Time [magazine]."

In order to fashion his concept of monopolies of knowledge, Innis drew on several fields of study, including economics, history, communications and technology.

Economics and the price system

In his 1938 essay, The Penetrative Powers of the Price System, Innis anticipates his later concept of monopolies of knowledge.  Although he does not precisely define what he means by the "price system", he does show how trade and technology shaped modern industrial economies. Innis suggests, for example, that the shift from coal and iron to oil and electricity had profound implications that no one in industrial societies could escape. He mentions the growth of cities with people living in large apartment buildings made possible by developments in electrical equipment on the one hand, and the dispersal of populations over wide metropolitan areas as a result of the automobile and paved roads, on the other.

The inhabitants of modern industrial societies even eat differently than their more rural forebears. "The demands of population in congested areas, under the direction of scientific work in nutrition," Innis writes, "have shifted from carbohydrates to vitamins or from wheat to dairy products, live-stock, fruits and vegetables." At the same time, he adds, city dwellers are influenced by cheap, mass-circulation newspapers which peddle political stereotypes along with department store ads. For Innis, the industrial economy monopolizes how people live, work, communicate and think.

History and classical studies

Innis's concept of monopolies of knowledge was also influenced by the scholar Solomon Gandz who published a lengthy paper in 1939 on the significance of the oral tradition in the development of civilizations. Gandz advanced the idea that the control of language in the oral tradition was grounded in religious institutions which ensured a civilization's continuity by preserving its traditions. At the same time, however, religious elites often shared their power with political elites who controlled the use of military force, thereby ensuring a civilization's success in conquering and holding territory.

Innis incorporated these ideas in his concept of time-biased and space-biased media. He argued that civilizations and empires flourished when there was a balance between time- and space-biased media. The triumph of one type of medium over the other, however, undermined stability demonstrating that unbalanced monopolies of knowledge could gradually lead to the decline and fall of civilizations and empires. Innis argued this was, in fact, happening to Western civilization which had become dangerously unbalanced partly because of the monopoly of knowledge exercised by space-biased communications technologies such as the daily newspaper. For Innis, the newspaper reflected an obsession with what he termed "present-mindedness". Newspapers and the news agencies that served them could transmit large amounts of information over long distances, but this speed of transmission and the emphasis on immediacy obliterated continuity and memory. "Time," Innis wrote, "has been cut into pieces the length of a day's newspaper." The advent of electronic media—radio and later, television—added more speed and immediacy contributing cumulatively to the erasure of cultural memory. Moreover, these space-biased media could be used by political elites to mobilize large populations—as in Nazi Germany—to support disastrous wars of conquest.

Significance of writing

Innis placed special emphasis on monopolies of knowledge that are based on the control of written media. "We can conveniently divide the history of the West into the writing and printing periods," he writes in Empire and Communications.

Writing

"The sword and the pen worked together," Innis writes. "The written record signed, sealed, and swiftly transmitted was essential to military power and the extension of government. Small communities were written into large states and states were consolidated into empire." Innis adds that the monarchies of Egypt and Persia as well as the Roman empire "were essentially products of writing."

Rome's adoption of papyrus facilitated the spread of writing and the growth of bureaucratic administration needed to govern vast territories. The efficiency of the alphabet strengthened monopolies of knowledge in a variety of ancient empires. Innis warns about the power of writing to create mental "grooves" which determine "the channels of thought of readers and later writers."

Printing and paper

Innis believed that the printing press was a decisive invention in the history of the West. Lewis Mumford pointed out that printing was "a completely mechanical achievement...the type for all future instruments of reproduction: for the printed sheet...was the first completely standardized product." Thus, for Innis, the printing press and the accompanying medium of paper ushered in not just the mechanization that would become characteristic of an industrial society based on mass production, but also the mechanization of knowledge itself. By that, Innis meant that printing led to the production of beliefs and practices that reinforced monopolies of knowledge characteristic of industrial culture.

An example of this can be seen in the large-scale production of newsprint in the 19th century that had far-reaching effects. Newsprint fostered the development of big newspaper plants that needed larger numbers of readers to deliver to big advertisers such as department stores. Department stores themselves reflected new ways of marketing to rising numbers of city dwellers. To attract more readers, newspaper proprietors began to run comics and to rely on the "excitement and sensationalism" of foreign wars. Such coverage influenced British and American foreign policies, sometimes disastrously.

Innis also warned that printed books could produce conformity of thought akin to the regimentation of workers in industrial factories. He repeats the Biblical commandment against worshiping graven images, but suggests that in our unconscious society, this prohibition is not interpreted to apply to the printed word.

According to William Kuhns, societies dominated by print media regard only printed knowledge as "essentially valid." Textbook publishers exert a huge influence on education at all levels while schools and universities refuse to accept knowledge in other than printed forms. "The monopoly of knowledge protects its own with wary vigilance," Kuhns writes. Or in Mumford's words, with the advent of the printed book, learning "became book-learning."

Paul Levinson writes that "[l]iteracy probably constitutes the most significant monopoly of knowledge in human history." He adds, however, that in open, democratic societies, public education systems are dedicated to breaking this monopoly by teaching students how to read and write, thereby giving them full access to printed knowledge.

See also
 Concentration of media ownership
 Gleichschaltung
 State media
 Harold Innis's communications theories
 Empire and Communications
 Epistemology
 Mass media
 Media studies

References

External links
"Monopolies of Knowledge" in Old Messengers, New Media: The Legacy of Innis and McLuhan, a virtual museum exhibition at Library and Archives Canada
"Monopolies of Knowledge in Canadian Communication Studies: The Case of Feminist Approaches" in The Canadian Journal of Communication, by Gertrude J. Robinson at McGill University
Levinson, Paul (1997) The Soft Edge: A Natural History and Future of the Information Revolution. Published by Routledge, New York.

Communication theory
Concentration of media ownership
Economics of intellectual property
Knowledge economy
Knowledge
Harold Innis

Monopolies of knowledge


Hezekiah Niles (October 10, 1777 – April 2, 1839), was an American editor and publisher of the Baltimore-based national weekly news magazine, Niles' Weekly Register (aka Niles' Register) and the Weekly Register.

Niles was born in Chester County, Pennsylvania, to a Quaker family, although his father quit the church to fight in the American Revolutionary War. In 1777, the family fled from Wilmington, Delaware, ahead of the British army to the home of James Jefferis on the east side of the Brandywine Creek near Jefferis' Ford. Niles later asserted in the Weekly Register that a Hessian mercenary threatened to bayonet his mother while pregnant with him.

The family returned to Wilmington and after the war his father rejoined the Quakers. At 17, Niles apprenticed with a Philadelphia printer for three years. He then worked in Wilmington for several years, attempting to establish a printing business that went bankrupt in 1801. In 1805 he published a short-lived literary magazine called the Apollo. Later in 1805, he moved to Baltimore, where until 1811 he edited a daily broadsheet, the Baltimore Evening Post, associated with the Democratic-Republican Party. In 1811, he issued the prospectus for the Weekly Register and had 1,500 subscribers before the first issue had been published.  His book Principles and acts of the Revolution in America was first published in 1822.

Niles edited and published the Weekly Register until 1836, making it into one of the most widely circulated magazines in the United States and himself into one of the most influential journalists of his day. The Niles' Weekly Register covered not only politics, but economics, science, technology, art, and literature.  In the Register's discourse of politics, Niles used what he called "magnanimous disputation", trying to present the arguments of both sides fairly and objectively, a policy which has made the paper an important source for the history of the period.

Later in life, Niles was afflicted by a paralytic condition and retired to Wilmington, Delaware, where he died in 1839.

Peacemaking efforts between the North and South
Hezekiah foresaw the possibility of the American Civil War as early as 1820, and published articles in the Register which suggested efforts the South could make in modernizing their economy to a form which was not fully dependent on slavery, publishing efforts which he hoped would help avoid conflict between the North and South. Southern states largely rejected these suggestions that sought to alter their economic dependence on slavery.

Legacy
Niles, Michigan and Niles, Ohio are named for him. Niles, Illinois may also be named for him, but circumstances are unclear concerning the naming of the surrounding township in 1850.

Bibliography
 W.H. Earle. "Niles' Register, 1811-1849:  Window on the World," Journal of the War of 1812 and the Era 1800 to 1840,  Fall, 1996 (volume I, no. 5). online version
 Kovarik, William, "To Avoid the Coming Storm: Hezekiah Niles Weekly Register as a Voice of North-South Moderation, 1811 - 1836," American Journalism, Summer, 1992. online version
 Kovarik, William, "Niles Register," Encyclopedia of American Journalism History" (Routledge, 2006). online version
 Luxon,  Norval. Niles Weekly Register: News Magazine of the Nineteenth Century (Louisiana State University Press, 1947)
 Stone, Richard G. Hezekiah Niles as an Economist, (Johns Hopkins Press, 1933)

References

External links
 Frederick N. Rasmussen Hezekiah Niles: A Patriotic News Magazine Editor in the 19th Century, Baltimore Sun, Sept. 4, 2011.
Biographical Sketch of Hezekiah Niles from The History of Chester County by Futhey and Cope (1881)
 Niles Weekly Register fulltext
 David D. Fowler, Niles' Florida.   A five-volume compilation of news articles, personal letters, and anecdotes from early 19th century Florida.   Thirty-eight years of Florida's history between 1811 and 1849 from the Niles' Weekly Register.
 Hezekiah Niles on Find a Grave
  Principles and Acts of the Revolution in America; or an attempt to collect and preserve some of the speeches, orations and proceedings, with sketches and remarks on men and things, and other fugitive or neglected pieces of the revolutionary period.

1777 births
1839 deaths
American Quakers
American publishers (people)
American newspaper editors
Businesspeople from Baltimore
People from Chester County, Pennsylvania
Writers from Philadelphia
Writers from Wilmington, Delaware
Journalists from Pennsylvania

Hezekiah Niles


St. Mary's Church of Gilberts is a historic church in Gilberts, Illinois. The Catholic church was built for the increasing population in the town in the late 19th century. The church is an excellent example of the rural Stick Style designs that some churches developed in the 1880s. It was listed on the National Register of Historic Places in 1992.

History
Gilberts, Illinois developed shortly after the construction of the Chicago and North Western Railroad in 1851. An early increase in the number of Catholic locals required the construction of a much larger Catholic church. A church (the second Gilberts church with the St. Mary's name) was demolished in 1882 to make room for a new one. The present St. Mary's Church of Gilberts was built later that year at a cost of $2,800, using some of the materials from the previous church. A local carpenter, Oliver Kelly, designed and built the church in the Stick Style. Uncertainty remains about how the church leaders decided on that style, but it may have been due to pattern books distributed to church leaders in the late 19th century. It was listed on the National Register of Historic Places on August 18, 1992.

Architecture
The church was built on the northwest corner of Mattesen St. and Union St. (now Galligan Rd.). The design of the church is consistent with rural interpretations of the Stick Style. The front of the one-story church faces the southeast. The rectangular frame structure features a steep gable roof but no steeple. This asphalt shingle roof is accentuated with dormers and window hoods and has wide eaves on either side. Large stained glass rose windows adorn the front and rear ends of the church, each with a large pointed arch above it and five smaller window arches below it. The front and two sides have additional stained glass windows with pointed arch openings. The front side had an additional quatrefoil window in the gable. Concrete steps with iron railings lead to the entrance, which features oak paneled double doors. Additional doorways are located on the east and north sides; the east doorway is the only entrance to the basement, which was built in the 1950s.

The interior resembles a simple basilica with a high nave, a vestibule, and low aisles. A stairway on the left leads to the choir loft. A second set of wooden doors separated the vestibule from the rest of the interior. The interior walls are covered with plaster in shades of yellow. Statues, the altar table, and the tabernacle were restored in 1990. The altar is painted white with gold trim. The floor is pine, covered with linoleum under the pews and with carpet and sanctuary.

Notes

Roman Catholic churches completed in 1882
19th-century Roman Catholic church buildings in the United States
Churches in the Roman Catholic Diocese of Rockford
National Register of Historic Places in Kane County, Illinois
Churches in Kane County, Illinois
Churches on the National Register of Historic Places in Illinois

St. Mary's Church of Gilberts


Michael Joseph Bulger (15 May 1867 – 20 July 1938) was an Irish rugby player, athlete and medical doctor. Along with his brothers, Daniel and Lawrence, he was prominent in the Irish sporting world in the late 19th century. Bulger achieved lasting fame for his role as one of the umpires involved in the disqualification of Dorando Pietri at the finish of the marathon at the 1908 London Olympics.

Family Background

The Bulger family were from Moore Street, Kilrush, County Clare, where their father, Daniel Scanlan Bulger (1831–1904), was a woolen merchant and draper and ran a loan office. Around 1880, the family moved to Dublin, where Daniel Scanlan Bulger became a member of the Dublin Stock Exchange and his sons were educated at Blackrock College and Trinity College Dublin.

Rugby career
Bulger played rugby union while at Blackrock and from there, in a rugby career which his younger brother Lawrence would later follow,
he represented Dublin University Football Club. It was while at Dublin University that Bulger was called up to play in his only international match, facing the first-ever New Zealand Native football team. Bulger was brought in at three quarters along with David Woods and Alfred Walpole, Walpole being the most experienced international with just a single cap. The game was lackluster for the main body of the match until the last third when the Natives took charge winning by four goals to one. After the loss, Bulger never played international rugby again, but this did not diminish his involvement in the game, as he represented Lansdowne Football Club while still a student. After completing his university education in Ireland, Bulger moved to London to set up a medical practice. A few years later Lawrence followed him to the capital, and the two brothers worked together in the same practice. In 1898 both brothers were founding members of London Irish.

1908 Olympic Marathon

 Dorando Pietri had trained hard for the 1908 Olympics in London. In a race in Carpi he ran  in 2 hours and 38 minutes, an extraordinary result for the times. The marathon, which took place on 24 July 1908, started with 56 competitors, including Pietri and fellow Italian Umberto Blasi. It began at 2:33pm. The weather was particularly hot by British summer standards. The London course measured ; the distance would later become the official marathon length from 1921.

Pietri began his race at a rather slow pace, but in the second half of the course began a powerful surge moving him into second position by the  mark, 4 minutes behind South African Charles Hefferon. When he knew that Hefferon was in crisis, Pietri further increased his pace, overtaking him at the  mark.

The effort took its toll and with only two kilometres to go, Pietri began to feel the effects of extreme fatigue and dehydration. When he entered the stadium, he took the wrong path and when umpires, including Michael Joseph Bulger, redirected him, he fell down for the first time. He got up with their help, in front of 75,000 spectators.

He fell four more times, and each time the umpires helped him up. In the end, though totally exhausted, he managed to finish the race in first place. Of his total time of 2h 54min 46s, ten minutes were needed for that last 350 metres. Second was American Johnny Hayes, with a time of 2h 55min 18s. The American team immediately lodged a complaint against the help Pietri received from the umpires. The complaint was accepted and Pietri was disqualified and removed from the final standings of the race, but almost immediately became an international celebrity. The images, if not the names, of Bulger and the others who helped him across the line became equally well known.

References

1867 births
1938 deaths
Rugby union players from County Clare
People from Kilrush
Ireland international rugby union players
Irish rugby union players
Irish general practitioners
Lansdowne Football Club players
Dublin University Football Club players
London Irish players
Alumni of Trinity College Dublin
Rugby union three-quarters
People educated at Blackrock College
Medical doctors from County Clare

Michael Joseph Bulger


Throughout most of the history of Poland, the banner of Poland was one of the main symbols of the Polish State, normally reserved for use by the head of state. Although its design changed with time, it was generally a heraldic banner, i.e., one based directly on the national coat of arms: a crowned White Eagle on a red field (Gules an eagle Argent crowned Or). The banner should not be confused with the flag of Poland, a white and red horizontal bicolor, officially adopted in 1919.

Derived from early flag-like objects, the Polish royal banner of arms dates as far back as the 11th century. A symbol of royal authority, it was used at coronations and in battles. In the interwar period, it was replaced with the Banner of the Republic of Poland, which was part of the presidential insignia. A national banner is not mentioned in the current (2007) regulations on Polish national symbols, although today's presidential jack is based directly on the pre-war design for the Banner of the Republic.

History

From stanica to chorągiew

The banner of Poland traces its origins to the ancient vexilloids known as stanice (pronounced ; singular: stanica), probably used at least as early as the 10th century. Although no specimens or images are preserved, a stanica was probably a cloth draped vertically from a horizontal crosspiece attached to a wooden pole or spear, resembling the Roman vexillum. It was both a religious and military symbol; the stanice were kept either inside or outside pagan temples in peacetime and were taken to war as military insignia.

With Poland's conversion to Christianity in the late 10th century, the pagan stanice were probably Christianized by replacing pagan symbols with Christian ones such as images of patron saints, or a Chi-Rho or dove symbolizing the Holy Spirit. In the year 1000, during his pilgrimage to the tomb of Saint Adalbert in Gniezno, the capital of Poland until about 1040, Emperor Otto III officially recognized Duke Boleslaus the Brave as King of Poland (see Congress of Gniezno), crowning him and presenting him with a replica of the Holy Lance, also known as Saint Maurice's Spear. This relic, together with the vexillum attached to it, was probably the first insignia of the nascent Kingdom of Poland, a symbol of King Boleslaus's rule, and of his allegiance to the Emperor. It remains unknown what images, if any, were painted or embroidered on the vexillum.

A royal banner was used as early as the reign of Boleslaus the Generous (r. 1076-1079). The earliest mention of a banner (, pronounced ) bearing the sign of an eagle is found in Wincenty Kadłubek's Chronicle which says that Duke Casimir the Just fought the Ruthenians in 1182 "under the sign of the victorious eagle". A seal of Duke Premislaus II from 1290 shows the ruler holding a banner emblazoned with a crowned eagle. Five years later, Premislaus was crowned King of Poland, and his crowned white eagle became the royal coat of arms of Poland. During the reign of King Ladislaus the Elbow-High (r. 1320–1333), the red cloth with the White Eagle was finally established as the Banner of the Kingdom of Poland (Polish: chorągiew Królestwa Polskiego). The orientation of the eagle on the banner varied; its head could point either upwards or towards the hoist. The actual rendering of the eagle changed with time according to new artistic styles.

The national banner was identical with that of Lesser Poland, the territory where Kraków, the capital of Poland until 1596, is located. It was therefore carried by the Standard-bearer of Kraków until that office was replaced by the Grand Standard-Bearer of the Crown of the Kingdom of Poland (Polish: chorąży wielki koronny, Latin: vexillifer regni).

Polish–Lithuanian union

One of the most famous standard-bearers of Kraków was Marcin of Wrocimowice (d. 1442) who carried the national banner in the Battle of Grunwald (Tannenberg) in 1410. The military unit (chorągiew) that went to the battle under that banner comprised the elite of Polish knights, including such chivalrous celebrities as Zawisza the Black, which is a clear sign that the banner, described by the chronicler Jan Długosz as "the great banner of Kraków Territory", was also the insignia of the entire kingdom. During the course of the battle, according to Długosz, the national banner slipped out of Marcin's hand and fell to the ground, but it was quickly picked up and saved from destruction by the Polish army's most valiant knights, which further motivated the Poles to strive for victory over the Teutonic Knights.

With the establishment of a dynastic union with the Grand Duchy of Lithuania in 1386, it became customary to use two banners—Polish and Lithuanian—as equally important insignia of royal authority. In the mid-16th century, before the creation of the Polish–Lithuanian Commonwealth (real union) in 1569, a single banner for the entire entity also came into use. The Commonwealth banner was initially plain white emblazoned with the arms of the Commonwealth which combined the heraldic charges of Poland (White Eagle) and Lithuania (Pursuer). During the 17th century, the banner was often divided into three or four horizontal stripes of white and red, ending with swallowtails. Elective kings' dynastic arms were often placed in an inescutcheon. Variants with the White Eagle and the Pursuer placed side by side without an escutcheon directly in the field or with the Eagle on the obverse and the Pogonia on the reverse side of the banner were also used.

During royal coronations, however, separate banners for each of the two constituent nations of the Commonwealth were still used. Crown (i.e., Polish) and Lithuanian standard-bearers carried the furled banners in a procession to the royal cathedral where, shortly after the anointment and just before the crowning of the king-elect, they handed the banners to the primate who unfurled them and handed them to the kneeling king. The king would then stand up and give the unfurled banners back to the standard-bearers.

Time of partitions
Partitions of Poland at the end of the 18th century brought an end to the Polish–Lithuanian Commonwealth and Polish sovereignty. Nevertheless, succeeding puppet states often featured the Polish White Eagle or the colours white and red in their respective banners, notably the French Duchy of Warsaw and the German Grand Duchy of Posen. In 1815, the Congress of Vienna established a semi-autonomous Kingdom of Poland (known as the Congress Kingdom) under control of and in personal union with the Russian Empire. The Russian Tsars, who usurped the title of Polish kings, used a white royal banner emblazoned with the arms of the Congress Kingdom—a black double-headed Russian eagle with the White Eagle in an inescutcheon.

Interbellum

In August 1919, the Sejm (lower house of parliament) of the renascent Republic of Poland adopted a law defining the Banner of the Republic of Poland (chorągiew Rzeczypospolitej Polskiej). The banner was part of the insignia of the head of state—the State Leader (Naczelnik Państwa) and, later, President of the Republic. It was plain red emblazoned with the crowned White Eagle and bordered with a wężyk generalski, a wavy line used in the Polish military as a symbol of general's rank. It was modified on December 27, 1927, to reflect the adoption of a new official rendering of the national coat of arms.

As a symbol of presidential authority, the banner was carried or flown to mark the presence of the head of state and, at the same time, the commander-in-chief. It was flown on the president's official residence, and used as a car flag and instead of number plates on the president's vehicle. The banner was also used on special national occasions including the welcome ceremony for Ignacy Paderewski in Poznań in 1918 and Poland's wedding to the Baltic Sea in Puck in 1920. It also draped the coffins of Henryk Sienkiewicz in 1924, the Unknown Soldier in 1925, and Marshal Józef Piłsudski in 1935.

Second World War and People's Poland
Following the German-Soviet invasion of Poland in September 1939, President Ignacy Mościcki fled to Romania, taking the presidential insignia, including two specimens of the Banner of the Republic, with him. The banners were kept by the Polish government-in-exile in London until after the fall of Communism in Poland in 1989.

Meanwhile, the new Communist authorities at home used a modified version of the banner with a crownless White Eagle and a wider border. It was first used during the celebrations of the anniversary of the battle of Grunwald in 1945. Officially abandoned in 1955, the banner continued to be used in practice by the prime minister and, during the 1960s, by the Council of State, a collective head of state of the time.

Third Republic

On December 22, 1990, the last Polish president-in-exile, Ryszard Kaczorowski, handed the presidential insignia, including one of the banners rescued by Mościcki in 1939, to Lech Wałęsa, the first democratically elected president of post-war Poland. The ceremony, held at the Royal Castle in Warsaw was seen as a symbol of the Third Republic's continuity with the pre-war Second Republic. However, since legal regulations on national symbols did not recognize a national banner at that time, the banner brought by Kaczorowski did not become the presidential insignia again but was instead donated to the Royal Castle museum where it is now on display. The other of the two banners remains in the Sikorski Institute in London. Today, a kilim embroidered with the design of the pre-war Banner of the Republic is hanging in the Senate chamber, above the chair reserved for the President of Poland.

In 1996, the Minister of National Defense established a jack of the President of the Republic of Poland with the purpose of flying it on Polish Navy ships while the commander-in-chief is on board. The jack is identical in its design to the former Banner of the Republic of Poland. In 2005, the use of the presidential jack was extended to all branches of the Polish Armed Forces. It was first flown on land during a Constitution Day ceremony at the Tomb of the Unknown Soldier in Warsaw on May 3, 2005.

Gallery

See also
 Coat of arms of Poland
 Flag of Poland
 Jack of the President of the Republic of Poland

References

External links

Poland

National symbols of Poland

Banner of Poland


War of the Worlds 2: The Next Wave is a 2008 direct-to-DVD science fiction-action film by The Asylum, which premiered on Syfy on Tuesday March 18, 2008, directed by and starring C. Thomas Howell. The film was produced and distributed independently by The Asylum.

The film is a sequel to the film H. G. Wells' War of the Worlds, an adaptation of the 1898 H. G. Wells novel and mockbuster of the DreamWorks/Paramount adaptation of the same source. The film's tone and overall plot significantly differ from the first film and recycles elements from the novel.

The film is set two years after the initial alien invasion, following the remnants of the human race who launch an attack on the planet Mars to counter a second attack. C. Thomas Howell reprises his role as George Herbert.

Plot

George Herbert explains that despite years of searching for extraterrestrial life, mankind never expected the invasion which devastated human civilization into anarchy, and that the aliens were killed by a lack of immunity to the bacteria in the human blood they consumed. Two years later, a town is seen, populated with silent refugees including characters Shackleford and Sissy. Suddenly, three Tripods land in the city. People are struck by a Heat-Ray. Shackleford takes a sample of Sissy's blood, with which he injects himself.

In Washington, American society has not recovered from the invasion. George Herbert recognises a familiar disturbance on the radio, as the same heard during the first invasion and he reveals to Major Kramer and a team of scientists that his studies show that the aliens are creating a wormhole between Earth and Mars for another wave of attacks. A fleet of fighter jets, which appear to have deep-space flight capabilities, thereby raid the planet Mars. George returns home for his son Alex, only to find a Tripod outside his home, which abducts Alex. He escapes to an abandoned city and wakes the next morning to find a man named Pete running from a Tripod. George throws himself before the machine, and wakes inside the machine with Pete. Both escape with Sissy, while the Martians begin a second invasion, attacking London and Paris. Major Kramer leads the fleet of jets to chase the alien mothership back to Mars.

George, Pete, and Sissy find themselves in the town from the start of the film; where Shackleford reveals that the town is created by the Tripods for humans captured by Tripods to live on Mars. Shackleford wants to destroy the aliens in the same way bacteria did them in during the first invasion. Shackleford and Sissy are dying of a virus lethal to the Tripods, and he convinces George to inject his infected blood into himself. George and Pete are kidnapped again and arrive inside the mothership, where they find Alex in a cocoon. There, George injects his infected blood into a pod holding a brain telepathically connected to all of the Tripods, and thus deactivates the invasion. George, Pete, and Alex escape just as the mothership explodes. George survives the infection, and the humans celebrate while listening to the radio, which undergoes some static interference, indicating a third invasion, and the characters spend a few moments in silence before the film ends.

Cast
 C. Thomas Howell as George Herbert (a play on H.G. Wells' first two names, Herbert George)
 Christopher Reid as Peter Silverman
 Dashiell Howell as Alex Herbert
 Fred Griffith as Major Kramer

Reception

Blu-Ray.com gave the film 1.5 stars out of 5, finding that while it opens well, it quickly falls apart, becoming a jumbled mess.

Differences from the novel

War of the Worlds 2 is notably different in tone to its predecessor. While War of the Worlds kept relatively faithful to the novel with a focus on realism and humanity rather than the aliens themselves, War of the Worlds 2 features considerably more outlandish science-fiction elements, discarding the horror treatment of the first film for an action/adventure premise. The film's plot is mostly original, its characters entirely so, though it does feature elements from The War of the Worlds which were excluded from the first film.

 Unlike the novel, humans are shown as having considerable effect and competence in the fight against the aliens. The character of the Artilleryman entertains the possibility of taking down and studying a fighting-machine and building new ones with human pilots to repel the invaders. Humans are seen using jets which have been upgraded with the aliens' technology to fight against the invaders.
 The first film made effort to disguise the Martian heritage of the aliens (though director David Michael Latt confirmed that the aliens were indeed Martians). In War of the Worlds 2, it has become common-knowledge between events that the aliens originated from Mars - though instead of being launched straight from the planet like in the novel, their ships appear to be transported to near-earth space by a wormhole.
 In the novel, the Martians are seen abducting humans, carrying them and placing them in metal cages carried by the machines themselves. In War of the Worlds 2, the Tripods use a teleportation-gun to place their prisoners inside them.

Soundtrack

The film's music was composed by Ralph Reickermann, a former composer for The Asylum. The film features the single "You Came into my Life" which featured the vocals of singer John Brown Reese.

References

External links
 War of the Worlds 2: The Next Wave official site

2008 films
2008 direct-to-video films
2008 action films
2008 independent films
2008 science fiction action films
Alien invasions in films
American science fiction action films
American science fiction comedy films
American science fiction adventure films
Kaiju films
Mockbuster films
The Asylum films
Direct-to-video sequel films
American post-apocalyptic films
Films based on The War of the Worlds
Films directed by C. Thomas Howell
2000s English-language films
Syfy original films
2000s American films
Films with screenplays by Eric Forsberg

War of the Worlds 2: The Next Wave


Margareta Niculescu (4 January 1926 – 19 August 2018) was a Romanian artist, puppeteer, director, teacher and theater director. She was director of Tandarica Theatre of Bucharest. She was born in Iaşi, Romania.

From 2000 until 2004 she was president of the International Puppetry Association in Charleville-Mezieres, in Ardennes, and co-founded with Jacques Felix, the National School of Puppetry Arts in that city.

In 1978 she won the Erasmus Prize together with other noted puppeteers Yves Joly, Peter Schumann and the Napoli brothers.

Niculescu died on 19 August 2018 in Charleville-Mézières, France at the age of 92.

References

Artists
Romanian educators
Puppeteers
2018 deaths
1926 births

Margareta Niculescu