The Smiths of Glastonbury were two generations of women—a mother and her five daughters—residing in Glastonbury, Connecticut, in the late 18th and 19th century who were early champions of education, abolition, and women's rights. Kimberly Mansion, their former home on Main Street, is now a designated National Historic Landmark, and the family as a whole was inducted into the Connecticut Women's Hall of Fame in 1994.

The family
The mother of the family, Hannah Hadassah (Hickok) Smith (1767–1850), was married to a prosperous Nonconformist clergyman, Zephaniah Smith. Zephaniah left the ministry due to a religious dispute and became a farmer and lawyer in Glastonbury. Hannah was conversant in the classics and saw to it that her daughters were exceptionally well educated. The author of an early anti-slavery petition, she was an abolitionist who helped slaves escape through the Underground Railroad.

The five daughters were:
Hancy Zephinia Smith (1787–1871), an active abolitionist
Cyrinthia Sacretia Smith (1788–1864), a horticulturalist
Laurilla Aleroyla Smith (1789–1837), a teacher at Catharine Beecher's seminary
Julia Evelina Smith (1792–1886), a teacher at Emma Willard's school who became the first woman to translate the entire Bible from its original languages; a suffragist; and the author of a book, Abby Smith and Her Cows, about a suffrage-related tax battle with the Glastonbury authorities
Abby Hadassah Smith (1797–1878), a public speaker on suffrage and a protagonist in the tax battle detailed in her sister Julia's book

Unusually for the period, four of the daughters did not marry, while the fifth (Julia) married only at the age of 87.

Glastonbury's middle school, Smith Middle School, is named after the family.

See also
Julia E. Smith Parker Translation

References

American families
American suffragists
American women's rights activists
People from Glastonbury, Connecticut

Smiths of Glastonbury


Concord Art Association is a membership-based arts center in Concord, Massachusetts that conducts exhibits, lectures, classes, and tours. It was founded in 1917 by Elizabeth Wentworth Roberts and moved into its permanent location, the former John Ball House, in 1923. It has exhibited works of noted artists, such as Claude Monet, Mary Cassatt, John Singer Sargent, and Cecilia Beaux. Its current artist members work in a wide range of media.

History
The Concord Art Association was founded in 1917 by Elizabeth Wentworth Roberts. It is located within the John Ball House, built in 1753 or 1761, and on a site that was built in 1657. The house was an overnight stop on the Underground Railroad.

Roberts purchased the John Ball House next to the town center in 1922 and hired architect Lois Howe to remodel the residential building into the Concord Art Centre. Galleries were positioned on the first floor and the upper floors became open exhibition space. A sky-light was installed to provide natural light for the gallery. The steel reinforced building was completed in 1923. The grand opening was held on May 6, 1923, with sixty painters and eighteen sculptors from Europe and the United States in attendance. Among the noted artists were Claude Monet, Robert Henri, Mary Cassatt, and John Singer Sargent. It has exhibited the works of Mary Cassatt, Claude Monet, Cecilia Beaux, Rockwell Kent, John Singer Sargent, Daniel Chester French, and Childe Hassam.

In 1924, Concord Art Association inaugurated the bronze Medal of Honor, with an eagle on one side and a pine cone on the other, for meritorious works of art.

Mary Ogden Abbott was the president from 1942 to 1971.  She was the granddaughter of Charles Francis Adams Jr.

Overview
Concard Art Association holds up to 25 annual exhibits and conducts classes, lectures, and tours. It is a non-profit, membership-based organization. Its members include students, professionals, and educators who work in a variety of media. Supporters of the arts are also members of Concord Art.

References

External links

1917 establishments in Massachusetts
Arts organizations based in Massachusetts
Arts organizations established in 1917
Concord, Massachusetts

Concord Art Association


Lisa Harrison (born January 2, 1971) is a former American professional basketball player for the Phoenix Mercury in the Women's National Basketball Association (WNBA).

Early life
Born in Louisville, Kentucky, Harrison learned to play basketball from a young age. In 1989, she was named the Naismith Prep Player of the Year and High School Player of the Year while attending Southern High School, by Parade magazine.  She also was named 1989's Kentucky Miss Basketball.  In 1991, as a sophomore while attending the University of Tennessee, she was a member of their women's basketball team that won the NCAA Women's Division I Basketball Championship.

Professional career
After graduating from Tennessee in 1993, Lisa played one season (1998-1999) for the Columbus Quest of the American Basketball League and two seasons (1997–1999) for the Portland Power.

In the 1999 WNBA draft, she was selected by the Phoenix Mercury in the third round (34th pick overall).  In the WNBA, Lisa was once ranked eighth in free throw shooting accuracy at 86.4% in 2001.

Outside basketball
Harrison was inducted into the Kentucky High School Athletics Hall of Fame on September 10, 2001.  On September 12, 2006, Harrison was named an outreach coordinator for the athletic department at the University of Louisville.

References

External links

WNBA Player Profile
WNBA Article

1971 births
Living people
All-American college women's basketball players
American women's basketball players
Basketball players from Louisville, Kentucky
Columbus Quest players
Parade High School All-Americans (girls' basketball)
Phoenix Mercury draft picks
Phoenix Mercury players
Portland Power players
Small forwards
Southern High School (Kentucky) alumni
Tennessee Lady Volunteers basketball players

Lisa Harrison


The black rhinoceros (Diceros bicornis), is a species of rhinoceros. It lives in eastern and central Africa including Kenya, Tanzania, Cameroon, South Africa, Namibia, Zimbabwe, and Angola. The black rhinoceros is not actually black, but dark. It is a browser, with lips that help eating from low branches.

The other African rhinoceros is the white rhinoceros (Ceratotherium simum). The white rhinoceros is not white, but lighter coloured.

The black rhinoceros (Diceros bicornis), is a species of rhinoceros. It lives in eastern and central Africa including Kenya, Tanzania, Cameroon, South Africa, Namibia, Zimbabwe, and Angola. The black rhinoceros is not actually black, but dark. It is a browser, with lips that help eating from low branches.

The other African rhinoceros is the white rhinoceros (Ceratotherium simum). The white rhinoceros is not white, but lighter coloured.

Rhinoceros and oxpeckers

There is a type of bird called an oxpecker in English that likes to sit on the rhino's back and eat insects and other small animals that bite the rhino's skin.  Because the birds also peck at the rhinos' skins with their beaks and hurt it, scientists wondered why the rhinos do not shake the birds off their backs.  One team of scientists from California State University and Victoria University in Australia found that the black rhinoceros listens for the noises the oxpecker makes.  Rhinoceros cannot see well but oxpeckers can.  Oxpeckers make a noise when they see humans nearby that is different from their other noises.  The rhinos hear this noise and then either look for the human or run away.  The scientists performed an experiment: A human would slowly walk toward a rhino.  Rhinos without oxpeckers on their backs only noticed the human one out of five times, but rhinos with oxpeckers noticed the human every time and from much further away.  The scientists wondered if bringing flocks of oxpeckers to groups of rhinoceros without them would help the rhinos avoid human hunters.

The scientists had the idea for this experiment because the Swahili language word for oxpecker is "Askari wa kifaru," which means "the rhino's guard" in English.  One of the scientists said it was important to listen to indigenous peoples when studying things in the places where those people live. "We too often dismiss the importance of indigenous people and their observations," said ecologist Roan Plotz, who worked on this study. "While western science has been incredibly useful, there are many insights we can learn from indigenous communities."

Threats
Black rhinoceros is currently one of the endangered species and is on the verge of extinction in Africa.There has been approximately 96% decline in its population and one of the major causes for its extinction is habitat destruction and encroachment.

References

Mammals of Africa
Rhinoceroses

Black rhinoceros


John Samuel Vander Meer (November 2, 1914 – October 6, 1997) was an American professional baseball player. He played in Major League Baseball as a left-handed pitcher, most prominently as a member of the Cincinnati Reds where he became the only pitcher in Major League Baseball history to throw two consecutive no-hitters, and was a member of the 1940 World Series winning team. After the impressive start to his major league career, he experienced problems controlling the accuracy of his pitching, and his later career was marked by inconsistent performances.

Baseball career
Born in Prospect Park, New Jersey, he moved with his family to Midland Park, New Jersey in 1918.  He had an inauspicious start to his professional baseball career. He was signed by the Brooklyn Dodgers as an amateur free agent in 1933 and assigned to the Dayton Ducks. Dayton then sold his contract to a Boston Bees minor league affiliate, the Scranton Miners of the New York–Pennsylvania League. The Miners found his playing ability to be lacking and sent him to the Cincinnati Reds affiliate, the Nashville Volunteers, in a trade for Tiny Chaplin. From Nashville, he was sent to the Durham Bulls, where the Bulls manager and catcher, Johnny Gooch, was credited with helping control the wildness of Vander Meer's pitching. In 1936, he posted a record of 19 wins against six losses for Durham.

Vander Meer made his major league debut with the Cincinnati Reds on April 22, 1937, at the age of 22. He went 3–4 before being sent back to the minor leagues with the Syracuse Chiefs for most of the season when the Reds recalled him in September. The following year on June 11, 1938, Vander Meer pitched a no-hitter against the Boston Bees. Four days later against the Brooklyn Dodgers in what was the first night game ever held at Ebbets Field, he threw another no-hitter, becoming the only player in major league history to throw two straight no-hitters.

Vander Meer's performance earned him the role as the starting pitcher for the National League team in the 1938 All-Star game held at Cincinnati's Crosley Field. The American League team – having won four of the previous five All-Star games – was favored to win the game, but Vander Meer pitched three scoreless innings and allowed only one hit, as the National League went on to win 4–1. He ended the season with a 15–10 record and a 3.12 earned run average for the fourth place Reds. He might have won more games, but spent nearly a month in the hospital being treated for boils late in the season.

After his impressive rookie season, Vander Meer had a disappointing 1939 season, when he fell ill during spring training, and then suffered an injury when he slipped on a wet pitching mound in Pittsburgh. He posted a 5–9 record and an earned run average of 4.67. Early in the 1940 season, he began to experience problems controlling the accuracy of his pitches. In June, the Reds released him back to the minor leagues where he played for the Indianapolis Indians and went 6–4. He returned to the major leagues in September and posted a 3–1 record, including a win for pitching 12 innings against Philadelphia on September 18; a win that clinched the National League pennant for the Reds. Leading off the 13th inning, Vander Meer hit a double, advanced to third on a sacrifice bunt, stayed at third on an infield hit, then scored the winning run on a sacrifice fly. [Note: the Sacrifice Fly was not an official statistic in 1940, so the At Bat by Ival Goodman counted, as did his RBI]. In the 1940 World Series against the Detroit Tigers, Vander Meer made only one appearance when he entered Game 5 in the fifth inning with the Reds trailing 7–0. He pitched three scoreless innings as the Reds lost 8–0. The Reds went on to win the series in seven games. It would be the only post-season appearance of Vander Meer's career.

In 1941, Vander Meer's performance improved somewhat with a 16–12 record and six shutouts while leading the league with 202 strikeouts. On June 6, 1941, in a game against Philadelphia, he allowed only one hit. Vander Meer later recalled that the only hit in the game could have been ruled an error, as shortstop Eddie Joost fielded the ground ball, then dropped it before throwing to first base. He earned his third All-Star selection in the 1942 All-Star Game, and once again threw three scoreless innings in a 3–1 loss to the American League. He finished the 1942 season with a career-high 18 wins against 12 losses and once again led the league in strikeouts. He posted a 15–16 record in 1943 for the second place Reds and led the league in strikeouts for a third consecutive year. On March 3, 1944, Vander Meer joined the United States Navy and was stationed at Sampson Naval Training Station in New York where he would play for the Navy baseball team. He was discharged from the Navy in December 1945, having lost two years of his major league career to his military service, but Vander Meer claimed that his extensive military play made him less wild as a pitcher, which his record partially supports.

The 31-year-old pitcher returned to play for the Reds in 1946 although he was not able to recapture his previous form. Vander Meer was an incidental witness when his Cincinnati teammate Ewell Blackwell almost duplicated his consecutive no-hit feat in 1947, by pitching a no-hitter against the Braves, then in his next appearance held the Dodgers without a hit until the ninth inning when he gave up two hits. He produced one more notable season in 1948 when he went 17–14, before his contract was sold to the Chicago Cubs in February 1950. After an ineffective year with the Cubs, he was released in March 1951 and was signed as a free agent by the Cleveland Indians. He appeared in only one game for the Indians on May 7, 1951, before being released on June 30, 1951, at the age of 36.

Vander Meer returned to the minor leagues where he played for five more seasons until the age of 40. In 1952, 14 years after his consecutive no-hitters, Vander Meer pitched a no-hitter for the Tulsa Oilers against the Beaumont Roughnecks in the Texas League.

Career statistics
A four-time All-Star, Vander Meer compiled a 119–121 record with 1,294 strikeouts and a 3.44 ERA in  innings over a 13-year Major League career. He had 29 career shutouts, ranking third on the Reds franchise list. His 1,251 strikeouts with the Reds were the team record at the time of his retirement in 1951. Along with Dizzy Dean (1932–1935), Warren Spahn (1949–1952), Randy Johnson  (1999–2002), Tim Lincecum (2008–2010), and Max Scherzer (2016–2018), Vander Meer is one of only six NL pitchers since 1930 to lead the league in strikeouts in three straight seasons (1941–1943).

Later life
After retiring as a player at the age of 40, Vander Meer became a minor league manager in the Cincinnati Reds organization for ten seasons before retiring in 1962. After his retirement from baseball, he worked for a brewing company. He was inducted as part of the inaugural class into the Cincinnati Reds Hall of Fame in 1958. He died of an abdominal aneurysm at his home in Tampa, Florida, on October 6, 1997, at the age of 82.

References

External links

1914 births
1997 deaths
American people of Dutch descent
Baseball players from New Jersey
Chicago Cubs players
Cincinnati Reds players
Cleveland Indians players
Dayton Ducks players
Daytona Beach Islanders players
Durham Bulls players
Indianapolis Indians players
Major League Baseball pitchers
Minor league baseball managers
Nashville Vols players
National League All-Stars
National League strikeout champions
Oakland Oaks (baseball) players
People from Midland Park, New Jersey
People from Prospect Park, New Jersey
Syracuse Chiefs managers
Syracuse Chiefs players
Tulsa Oilers (baseball) players

Johnny Vander Meer


The Royal Castle in Poznań () dates from 1249 and the reign of Przemysł I. Located in the Polish city of Poznań, it was largely destroyed during the Second World War but has since been partly rebuilt.

History and modern view
Construction of the castle was probably started by Przemysł I in 1249 on hill later called Góra Zamkowa (Castle Mountain, Latin mons castrenis), and now better known as Góra Przemysława (Hill of Przemysł (or Przemysław)). The first building was a habitable tower made of bricks with a well inside, and the rest of the hill was surrounded by a rampart with a palisade.  A small ducal residence was incorporated into the system of city walls in the late 13th century.

The son of Przemysł I, Przemysł II, hoping for reunification of Poland under his rule decided to build a larger castle, more proper for a king. In 1295 Przemysł became king of Poland, but he was assassinated a year later. The castle was not finished. Work started by Przemysł was continued by a branch of the Piasts from Głogów ruling in Greater Poland, and finished before 1337. The castle served as the residence of prince Casimir, then-governor of Greater Poland.

In 1337, the Royal Castle in Poznań was the largest castle in the Polish Kingdom, modelled after the palatium of Henry I the Bearded in Legnica. The castle consisted of a tower built by Przemysł I and a huge building (63,0 m x 17,5 m) with three levels and a basement. It is uncertain whether the castle's characteristic roof, consisting of four parts, existed at that time.

Basements served as prisons and for storage of wines, and on the ground floor there were charring rooms. Those two floors were covered by vaults. Two higher floors probably had wooden ceilings. On the edges of first floor were representative chambers, and between them were habitual rooms. The whole second floor was occupied by a chamber for 2000 guests. On the south end of the large building was a defense tower. Since the reign of Władysław I the Elbow-high the castle served as the residence of starosta generalny of Greater Poland. Later only one king, Władysław II Jagiełło, ordered some minor work in castle.

During the fire of Poznań in 1536 the castle also burned. It was rebuilt in the renaissance style by the governor of Greater Poland, Andrzej II Górka. In the next years the oldest part of castle was transformed into a kitchen. The castle was later destroyed during the Swedish invasion, sacked in 1704 by the armies of Russia and Saxony during Great Northern War, and in 1716 during Confederation of Tarnogród by the confederates. The castle was partially renovated in 1721, but it didn't stop the devastation. The last starosta generalny, Kazimierz Raczyński, rebuilt the remains of the medieval buildings into an archive (finished in 1783). In 1804, after he Second partition of Poland, Prussians demolished the southern part of the castle, replacing it by buildings which, together with Raczyński's archive served as the office of the local Regierungsbezirk. Later on the castle was also as a seat of the Court of Appeals and the State Archive (the castle served as an archive until 1939). During the battle for the Poznań Citadel, in February 1945, Przemysł Hill was in line of artillery fire, and the remaining part of the castle was demolished.

In the years 1959–1964 Raczyński's archive and part of Prussian building were rebuilt, and on base of the oldest tower stands a small pavilion called the Royal Kitchen (Kuchnia Królewska). Today the Castle holds a Museum of Utilitary Art (Muzeum Sztuki Użytkowej).

On 22 April 2002, a committee for rebuilding of the castle was founded. Still extant from previous construction are two-meter-wide supports from the thirteenth and fourteenth centuries, the inner walls of the basement and the western wall (up to 10 meters high) from the same period, and a slightly newer eastern wall (up to 7 or 8 meters high), now integrated into Raczyński's Building.  On the surviving part of the castle are three plaques:  the foundation plaque of Kazimierz Raczyński from 1783, one from 1993 marking the five-hundredth anniversary of homage of Grand Master of the Teutonic Order, Johann von Tiefen, and another plaque commemorating the seven-hundredth anniversary of the coronation of Przemysł II.

On 20 December 2010, work began on the total reconstruction of the demolished parts of the castle, and meticulous restoration of the surviving buildings.

Important events in the castle's history

1249 – wedding of Salomea, sister of Przemysł I and Conrad II of Głogów
1 July 1250 – on document for Cistercian Monastery in Obra as place of signing is noticed castro posnaniensi
1251 – wedding of Eufemia, the youngest sister of Przemysł I, and Władysław of Opole, duke of Opole and Racibórz
14 October 1257 – Przemysł II was born in the castle
1 September 1288 – Elisabeth Richeza of Poland was born in the castle
1309 – Henry III of Głogów, pretender for Polish crown, stayed in the castle
1329–1331 – castle serves as residence of Władysław I Łokietek
1337 – in the castle the peace treaty between Casimir III of Poland (Kazimierz Wielki) and John I of Bohemia was signed
1341 – wedding of Casimir III of Poland (Kazimierz Wielki) and Adelajda, daughter of Henry, Landgraf of Hesse
1343 – wedding of Bogislaw V, duke of Pomerania and Elizabeth of Silesia, daughter of Casimir III of Poland (Kazimierz Wielki)
1372 and 1373 – visits of Elisabeth of Poland, Queen of Hungary
1381 – visit of Louis I of Hungary
1386 – visit of Jadwiga of Poland and Władysław II Jagiełło
1424 – visit of Eric of Pomerania
1433 – wedding of Bogislaw IV, duke of Pomerania-Stolp (Słupsk) and Mary, daughter of Siemowit IV of Płock, duke of Masovia
 few visits of Casimir IV Jagiellon
29 May 1493 – homage of Johann von Tiefen to John I of Poland
few visits of Sigismund I the Old
1574 – visit of Henry de Valois
few visits of Sigismund III Vasa
few visits of Władysław IV Vasa
1657–1658 – John II Casimir of Poland stays in Castle for winter with Queen Louis Marie Gonzaga. During this visit in castle took place the war council with Stefan Czarniecki described in Dąbrowski's Mazurka by Józef Wybicki, that started his lawyer career in 1765 on this castle

Legends
According to legend, Przemysł Hill was created by dark powers. When Mieszko I was baptized, the Devil, angry, decided to sink the entire city of Poznań. He pulled out one of the hills near Gniezno, and, with a group of demons, tried to block the flow of the Warta. However, the evil forces started to celebrate their victory too early; their noisy behavior awoke the roosters, which began to crow. The devil and his demons were so scared that they left the hill on the bank of the Warta.

Another legend is connected with the mysterious murder of Ludgarda, wife of Przemysł II of Poland, probably strangled by servants in the bath or in her bedroom on 14 December 1283. The Duke was connected with this murder because The Duchess could not give him a son. The Foundation of the Female Monastery of Dominicans in Poznań, created near the end of 1238, was said to be Przemysł's reconciliation for this act. However, contemporary chronicles mention only unclear circumstances of Ludgarda's death. The first clear connection of Przemysł and this assassination is mentioned in the Chronicle of Oliwa, which is from the 14th century, and the chronicle of Ernst von Kirchberga, which dates to approximately 1370. Jan Długosz, in his chronicles, writes only about the fact that people were talking about this connection.

It has also been said that ghost of Ludgarda, seen as a White Lady, walked in the chambers and on the walls of the Royal Castle; under the walls was seen the Black Knight, who cried for the Duchess at her funeral.

See also
Castles in Poland
 Imperial Castle, Poznań

References
Jerzy Topolski Dzieje Poznania, Warszawa-Poznań 1988–, Państwowe Wydawnictwo Naukowe
Witold Gałka, O architekturze i plastyce dawnego Poznania do końca epoki baroku, Poznań 2001, Wydawnictwo Miejskie
Franciszek Jaśkowiek, Włodzimierz Łęcki, Poznań i okolice. Przewodnik, Warszawa 1983, Sport i Turystyka
Zbigniew Szymanowski, Marta Tomczyszyn, Poznań, Bielsko-Biała 1999, Pascal Publishing House

External links

Committee for the Rebuilding of the Royal Castle in Poznań

Buildings and structures completed in 1249
Buildings and structures completed in 1337
Buildings and structures in Poznań
Castles in Greater Poland Voivodeship
Residences of Polish monarchs
Rebuilt buildings and structures in Poland
Tourist attractions in Poznań

Royal Castle, Poznań


Júlio Afrânio Peixoto (December 17, 1876 – January 12, 1947) was a Brazilian physician, writer, politician, historian, university president, and pioneering eugenicist. He held many public offices, including Brazilian congressional representative from Bahia in the federal Câmara de Deputados (federal congressman) (1924–1930), first the president of the Universidade Federal do Rio de Janeiro, member of the Brazilian Cultural Center in the United States, president of the Academia Brasileira de Letras, and honorary doctorates from Coimbra University and the University of Lisbon, Portugal.

Biography
Born in Lençóis and raised in the backlands of Bahia, and schooled mostly at home, Afrânio Peixoto nevertheless graduated in medicine in Salvador, at Brazil's oldest medical school, in 1897, when he was only 21 years old. His work "Epilepsy and crime" attracted national and international attention. In 1902 he moved to the then-Brazilian capital, Rio de Janeiro, and became a public health inspector and the director of the local mental hospital (Hospital Nacional de Alienados, currently Hospital Juliano Moreira). In 1907 he began lecturing at the Faculdade de Medicina. He married Francisca de Faria, in 1912, and they had one child, a son, "Juquinha" ("Little Juca"), who was both mentally ill and of poor physical health and who died in 1942. The extent to which his son's disabilities may have influenced Afrânio's opinions as a eugenicist is still debated. Dr. Júlio Afrânio Peixoto died of prostate cancer in Rio de Janeiro on January 12, 1947, at 70 years of age.

Medicine

Afrânio Peixoto was a student and follower of Juliano Moreira, who initiated the scientific treatment of mental illness in Brazil and who invited his young protégé to Rio de Janeiro.

Afrânio Peixoto was active in many areas: mental health, public health, criminology, and workers' health. He was important in establishing the foundations of workers' health when he took the chair of forensic medicine in both the medical and law schools in Rio de Janeiro in 1907. From his pioneering studies of occupational risks and job-related accidents and diseases, many publications were released, and legal safety nets were finally established for Brazilian workers.

The only negative aspect of Afrânio Peixoto's highly successful career in medicine was his dispute with Brazilian parasitologist Carlos Chagas over the cause of what later became known as Chagas disease. Afrânio Peixoto used his influence and prestige to dispute Carlos Chagas' clinical and parasitological findings and to transfer credit for the discovery of the trypanosome to Oswaldo Cruz, much to the disadvantage of everyone concerned. Chagas disease is a chronic and debilitating parasitosis caused by a trypanosome that is vectored by a biting bug in rural areas. A commission of the Brazilian National Academy of Medicine reviewed the evidence and decided completely in favor of Carlos Chagas and against Afrânio Peixoto, whose real motive may have been professional resentment when he was passed over for the directorship of the Brazilian Department of Public Health in preference for his rival.

Literature

It is in his writings that Afrânio Peixoto lives on, although most of his vast and varied literary output is currently out of print in Brazil and has apparently not been translated. The Library of Congress online catalog  shows no English language translations and few modern editions in Portuguese (see: Peixoto, Afrânio). Other Brazilian literary figures of the first half of the twentieth century have fared better in the public's memory. The humorous short story The Alienist by Machado de Assis, for example, is required reading for many Brazilian university entrance exams, but students do not know that this could almost be a satire on Afrânio Peixoto and the Hospital Nacional de Alienados that he directed.

Afrânio Peixoto's principal works are: Rosa mística, drama (1900); Lufada sinistra, novel (1900); A esfinge, novel (1911); Maria Bonita, novel (1914); Minha terra e minha gente, history (1915); Poeira da estrada, literary criticism (1918); Trovas brasileiras (1919); José Bonifácio, o velho e o moço, biography (1920); Fruta do mato, novel (1920); Castro Alves, o poeta e o poema (1922); Bugrinha, novel (1922); Dicionário dos Lusíadas, linguistic dictionary (1924); Camões e o Brasil, essays (1926); Arte poética, essay (1925); As razões do coração, novel (1925); Uma mulher como as outras, novel (1928); História da literatura brasileira (1931); Panorama da literatura brasileira (1940); Pepitas, essays (1942); Collected works (1942); Literary works, ed. Jackson, 25 vols. (1944); Collected novels (1962). In addition to these, he published the commented works of other authors and numerous books on medicine, history, oratory, and literature.

In 2017, the Brazilian copyright on Afrânio Peixoto's works expires; after this, they can be distributed freely on the internet.

Political views

In his political views, amply expressed while he was living, Júlio Afrânio claimed to be on the side of whatever government is in power. During his lifetime Brazil had five constitutions and ranged from democracy to dictatorship under Getúlio Vargas. Afrânio was a leftist, but not a fanatical leftist. He was interested in human genetics and eugenics. He held now-discredited views on race, but he was never antisemitic. Júlio Afrânio Peixoto was also an atheist and a freemason.

See also
 Article on Afrânio Peixoto in the Portuguese language Wikipedia

References

 Joaquim A. César Mota, Eliane M. Teixeira Lopes, Silvana M. L. Cóser; Organized by Micael M. Herschmann and Carlos Alberto Messeder Pereira. A Invenção do Brasil Moderno. Rio de Janeiro: Rocco Publishing House.

External links
 Article on Afrânio Peixoto in the Biblioteca Virtual

Brazilian literary critics
Brazilian public health doctors
People associated with Federal University of Rio de Janeiro
1876 births
1947 deaths

Júlio Afrânio Peixoto


On Receiving an Account that his only Sister's Death was Inevitable was composed by Samuel Taylor Coleridge in 1794, and deals with the death of Coleridge's step-sister Ann (1791), as well as that of his brother Luke (1790). A later poem ('To a Friend'), was written for Coleridge's friend Charles Lamb and seeks to comfort him after the loss of his sister.

Background
After Coleridge's father died when he was young, he would often experience feelings of loneliness. He was distant from his mother, and his education at Christ's Hospital, London separated him from any of his relatives. However, while attending the school he did become close to his brothers George and Luke and sister Nancy. When Coleridge received notice of the death of his brother Luke in February 1790 and later of his sister Ann during March 1791 near the end of his school career, he decide to compose the sonnet "On Receiving an Account that his only Sister's Death was Inevitable". The poem was published over 40 years later in an edition of his works in 1834.

In December 1794, Coleridge composed a second poem that partially deals with the events of his sister's death. The poem, "To a Friend", was sent on 29 December to Lamb when Coleridge received notice that Lamb's sister was ill. Within the poem, Coleridge invokes the memory of his own sister in order to comfort his friend. The poem was sent along with his Religious Musings. "To a Friend" was published in Coleridge's 1796 edition of poems and later in the 1797 and 1803 editions.

Poem
"On Receiving an Account" is a "schoolboy sonnet" and begins:

Coleridge then uses the exclamation "ah", a standard in his poetry, in order to express feelings of regret:

The original manuscript of the poem contains a mistake of substituting "mother" instead of "father" when his mother was still alive and it was his father who was deceased. The lines were supposed to list those family members that have died, and the printed version was corrected to read:

To a Friend
Within "To a Friend", Coleridge describes his sister in motherly terms:

He continues with his description of her and her importance:

Themes
Like "On Receiving an Account", many of Coleridge's early poems deal with death and its many variations: Monody on the Death of Chatterton deals in part with Chatterton's suicide, "Destruction of the Bastile" deals with the French revolution and "Dura Navis" deals with fighting at sea and cannibalism. Although Coleridge mourns over his siblings and the suffering that comes when people die, he is equally concerned about his own suffering and his fear that he would go without being loved. This theme of suffering and lack of love appears in his other poems, including Dejection: An Ode.

The emphasis by Coleridge on his sister expresses both grief and his own isolation from others. In terms of relationships with siblings and sisters in general, Coleridge wrote a few other poems on the topic including "On Seeing a Youth Welcomed by his Sister" (1791) and a brief mention of his sister in "Frost At Midnight" (1798).

Critical response
Geoffrey Yarlott declares, "It is an inferior poem, interesting mainly because its final line contains his earliest premonition perhaps of his acute need for female affection and of what the loss of it meant." Similarly, Rosemary Ashton believes that the poem is "unremarkable as we might expect from an eighteen-year-old", and is interesting because the manuscript accidentally substituted "mother" for "father" .

Notes

References
 Ashton, Rosemary. The Life of Samuel Taylor Coleridge. Oxford: Blackwell, 1997.

 Kneale, J. Douglas. Romantic Aversions. Ithaca: McGill-Queen's Press, 1999.
 Mays, J. C. C. (editor). The Collected Works of Samuel Taylor Coleridge: Poetical Works I Vol I.I. Princeton: Princeton University Press, 2001.
 Paley, Morton. Coleridge's Later Poetry. Oxford: Oxford University Press, 2000.
 Papper, Emanuel and Nuland, Sherwin. Romance, Poetry, and Surgical Sleep. Westport: Greenwood, 1995.
 Yarlott, Geoffrey. Coleridge and the Abyssinian Maid. London: Methuen 1967.

Poetry by Samuel Taylor Coleridge
1794 poems
British poems

On Receiving an Account


20Q is an American game show based on the online artificial intelligence and handheld computer game of the same name. Licensed to and produced by Endemol USA, it premiered on June 13, 2009, during Big Saturday Night airing on GSN, and is hosted by Cat Deeley of So You Think You Can Dance with the voice of Mr. Q provided by Hal Sparks.

In Argentina, the name of the show is Flor de palabra; it is hosted by Florencia Pena and Richard Rubin of Beauty and the Geek.

Gameplay
The game is divided into four parts.

Preliminary game
The first part involves members of a randomly selected row of the studio audience. Mr. Q gives a category, and clues to the identity are revealed one at a time. The first contestant to come up with the correct answer qualifies to play the main game. Three qualifiers are determined in each preliminary round.

Main game
The three players then play the main game head-to-head. The computer gives a category, and then are given a choice of two questions. For example, if the category is Food and Drink, the questions would be "Is it caffeinated?" or "Is it served for breakfast?" A player in control asks either of the two questions, and if the answer is yes, that player retains control of the board; otherwise, s/he loses control. On each turn, after a question has been asked, the player can either choose a question that hasn't been played yet, or ask for a new pair of questions and ask one of those questions. If the player asks for 2 new questions she/he has to choose one of them. Or s/he can choose to attempt to come up with the correct answer. If correct, the player wins the game, $5,000, and a chance to play the semi-final round against the winner of the second main game; a wrong answer loses control.

Semi-final
In the semi-final round, the players compete one at a time in the same category, with one player (via coin toss) on stage, and the other player offstage in a soundproof isolation booth. The first player is given a category, and then a series of clues. Every few seconds (signaled by two short low-pitched beeps), another clue appears on the screen. The player's objective is to guess the subject using as few clues as possible. The other player then plays the same category, and tries to come up with the answer in fewer clues. The player that can figure out the subject with fewer clues wins a prize and goes to the end game.

End game
In the end game, the player is given selection of two categories, and the computer must play the game as the contestant asks questions from a provided list of 20. While the computer can attempt to answer at any time, the contestant is only given one chance to guess the answer. At a critical point in the game, the computer goes into "sleep mode" and the host asks the contestant if s/he has any idea what the answer is, after which Mr. Q. awakens from his "nap." If the player buzzes in with the right answer before the computer does, s/he wins $20,000; if the computer is wrong, the human contestant gets one chance to win; should s/he be incorrect or the computer comes up with the right answer first, nothing additional is won.

Pilot
The pilot was taped on August 16, 2008, with Joey Lawrence of Blossom fame, but Deeley replaced Lawrence due to a conflict.

Ken Jennings was featured as the "residential expert", who picked out the categories. The front game was played the same, except losers earned $1,000 for making it on stage, and the winner of the round won $20,000.

In addition, each contestant has a computerized scribble pad that shows the audience the answers they think the person, place, or object could be. The contestants would then buzz-in with their final answer.

Only one game is played; that player went on to the endgame, which was played the same, but before the round the player selected one of 25 balls, each having a covering concealing a number that, should the contestant win the round, would multiply the $20,000 won earlier, up to $500,000.

Finally, the "computer" had a female voice, and was referred to as "Debra-Q".

References

External links
 20Q.net Inc. site

Game Show Network original programming
2000s American game shows
2009 American television series debuts
2009 American television series endings
English-language television shows
Television series based on Internet-based works

20Q (game show)


Rupert Wildt (; June 25, 1905 – January 9, 1976) was an American astronomer.

He was born in Munich, Germany, and grew up in that country during World War I and its aftermath. In 1927 he was awarded a Ph.D. from the University of Berlin. He joined the University of Göttingen, specializing in the properties of atmospheres.

In 1932 he studied the spectra of Jupiter, and other outer planets, and identified certain absorption bands as belonging to the hydrogen-rich compounds of methane and ammonia. The composition appeared consistent with a composition similar to the sun and other stars.

Assuming that the atmosphere was composed of these gases, during the 1940s and 1950s he constructed a model of the structure of these planets. He believed the core of the planets is solid and composed of a mixture of rock and metal, covered by a thick outer shell of ice, overlaid by a dense atmosphere. His model is still widely accepted.

In 1934 he emigrated to the United States, and became a research assistant at Princeton University from 1937 until 1942. He then became an assistant professor at the University of Virginia until 1947, before joining the faculty of the Yale University.

In 1937 he proposed that the atmosphere of Venus was composed of a mist of formaldehyde. His observations of the atmosphere did not find any water at the time, but later balloon-based measurements did show water in the atmosphere and so his proposal was abandoned. In 1940, however, he also hypothesized that the carbon dioxide in the Venusian atmosphere trapped heat , a phenomenon later called the greenhouse effect.

In 1939 he demonstrated that the major source of optical opacity in the Sun's atmosphere is the H− ion, and thus the main source of visible light for the Sun and stars.

From 1965 until 1968 he was president of the Association of Universities for Research in Astronomy. In the period 1966-1968 he also held the post of the chairman of the department of astronomy at Yale, and from 1973 until his death he was professor emeritus. He died in Orleans, Massachusetts.

Awards and honors
 Awarded the Eddington Medal in 1966
 Asteroid 1953 Rupertwildt is named after him
 The crater Wildt on the Moon is named after him

References

1905 births
1976 deaths
20th-century German astronomers
20th-century American astronomers
Planetary scientists
Emigrants from Nazi Germany to the United States

Rupert Wildt


A chemise cagoule (, "cowl shirt") was a heavy nightshirt worn by pious Catholic men and women during the Middle Ages in order to permit a husband to impregnate his wife without having to endure any unnecessary physical contact with her.  The chemise cagoule covered all sexual areas, but left an opening for necessary contact.  Pious couples were expected to use chemise cagoules at every lovemaking session, and thus would never see each other naked.

A similar concept was allegedly employed in one or more unspecified Native American cultures as the "chastity blanket", an item of similar design held by tribal elders until requested for use by a man, according to anthropologist Gordon Rattray Taylor.

References

Physical restraint
Sexual abstinence and religion
Undergarments

Chemise cagoule


France 3  () is a French free-to-air public television channel and part of the France Télévisions group, which also includes France 2, France 4, France 5 and France Info.

It is made up of a network of regional television services providing daily news programming and around ten hours of entertainment and cultural programming produced for and about the regions each week (like ITV1). The channel also broadcasts various national programming and national and international news from Paris. The channel was known as France Régions 3 (FR3) until its official replacement by France 3 in September 1992.

Prior to the establishment of RFO, now Outre-Mer 1ère, it also broadcast to the various French overseas departments and territories.

History

La Troisième Chaîne Couleur (1972–1974)
On 22 March 1969, the government mentioned a plan to create a third national television channel. Jean-Louis Guillaud, attached to the Office of the President of the Republic, coordinated the preparatory studies for its launch from November 1969. This new national channel of the French Television Broadcasting Office (ORTF) was to be launched directly in color and to allow better exposure of the regional offices of the ORTF through many opt-outs and through the decentralized production of the channel's programmes. The ORTF implemented this project throughout 1972 in the form of a national and interregional channel in color, without advertising or continuity announcers (although out-of-vision announcers were later introduced), offering shorter evenings at different times compared to the other two channels, with a majority of cultural programs, and relying largely on the technical and editorial relays of its regional stations. To accomplish this, the Board is setting up several heavy production centers within its main regional stations to produce programming for the new channel. The most important are those of Télé Marseille-Provence, Télé-Lille and Télé-Lyon. The third channel thus responds to the main concern of reform law no. 72-5534 3 July 1972, on the status of the ORTF, which aims to introduce the decentralization of production and the devolution of decisions on programs the Office.

The third color channel (La Troisième Chaîne Couleur) of the ORTF started its operations on 31 December 1972, at 7 pm with its start-up theme, which was followed by the CEO of the ORTF, Arthur Conte, and the general manager of the channel, Jean-Louis Guillaud, who present their wishes to the French for this new channel and for the year to come, calling on the ORTF's regional television services and aspiring young staff to join the new network, and then followed by Jean Amadou welcoming the viewers to briefly explain to them what will distinguish this new channel from the two others, in particular in its colorful, dynamic design and the introduction of genre credits before each programme, to replace the announcers, and which are all the work of stylist Catherine Chaillet. Then, the first program, Jeunes années, a program for young people, was launched with the cartoon Roulotte, followed at 8:35 p.m. by the inaugural evening of the channel consisting of a variety show written by Maurice Horgues, Jean Amadou and Robert Rocca, directed by Dirk Sanders and produced by the Lille8 production center and whose national sponsor is the singer Anne-Marie David, chosen by the CEO of the Office.

The director general of the third color channel, Jean-Louis Guillaud, decides to make extensive use of the regional stations of the ORTF and young directors for the production of the programs, because the third channel intends to prove itself as a new channel regions and cinema, using state-of-the-art techniques and high-quality graphics. The original project, which planned to rely on the cultural and artistic actors of the regions within the framework of the long-awaited decentralization within the Office, in fact comes down to a simple deconcentration of resources of production, regional television remaining confined to the little space granted in the opt-outs of the national service.

For the first time, the candidates of the second round of the presidential election of 1974, Valéry Giscard d'Estaing and François Mitterrand, agree to confront each other verbally in a televised debate, arbitrated by Jacqueline Baudrier and Alain Duhamel and broadcast on 10 May 1974, simultaneously on the three ORTF television channels.

Audiovisual reform law no. 74-696 of 7 August 197410 abolished the ORTF and created seven independent bodies, including three national television program companies. It came into effect on 1 January 1975, and the third ORTF channel closed its antenna on 5 January 1975, at 9:40 p.m. to make way the next day for the new national program company France Regions 3 (FR3).

For lack of a complete network on this date of 5 January 1975, a good part of France has have known the programs of the ORTF's third channel. Throughout its run, broadcasts were restricted to three hours each evening and only reached a potential audience of 26% of the population – its transmissions primarily covered Paris, the Ile-de-France and Northern regions.

Autonomous from the state (1974–1999)
In 1974, the new President of the Republic Valéry Giscard d'Estaing asked his Prime Minister to present a communication on the French Television Broadcasting Office to the Council of Ministers on 3 July. Jacques Chirac then assures that "the new organization must be based on competition between autonomous units, fully responsible. It must ensure free and open information, must exclude any waste by relying on streamlined structures. The reports of the State and of the new autonomous units should be limited to the designation of its leaders". Law No. 74-696 7 August 1974, abolished the ORTF and created seven independent bodies, including three national television program companies, a national sound broadcasting company, two public industrial and commercial companies responsible for the production and broadcasting and a national audiovisual institute. The state monopoly is maintained and each of the companies is placed under the supervision of the Prime Minister. The Office's television director, Claude Contamine, was appointed by the Council of Ministers as president of the future national television program company to succeed the ORTF's third channel. The choice of a manager from the seraglio responds to the already well-defined face of the future third channel in the law of 7 August, article 10 of which specifies that "one of the national companies reserves a privileged place for the programming of films on television". This point is also clearly written into the specifications of the national program company France Régions 3, which makes it not only the channel aimed at the regions, but above all the channel of cinema and fiction in the broad sense, FR3 in front should devote more than half of its evenings to the airing of films and TV films. This new national television program company is also responsible for managing and developing the regional radio and television centers created by the Office (22 regional stations and 29 radio centers governed by 11 metropolitan directorates and a DOM-TOM directorate managing 9 stations in French overseas territories). We then count on the productions of the 22 regional stations, then equivalent to 35 minutes of regional television per day.

Law no. 74-696 7 August 1974, came into force on 1 January 1975, with the official birth of the three national television program companies Télévision française 1 (TF1), Antenne 2 (A2) and France Régions 3 (FR3), the national sound broadcasting company Radio France, the French Production Company (SFP), Télédiffusion de France (TDF) and the National Audiovisual Institute (INA).

On Monday 6 January 1975, at 6:55 pm, France Régions 3 begins its operations with a program schedule similar in all respects to that of the former third channel. The channel broadcasts only four hours of programs a day and devotes only five minutes to its inaugural broadcast this evening of 6 January to make way for the film Peau d'âne by Jacques Demy.

TDF activates the FR3 transmitters at 2 pm, a paradox because the channel then broadcasts both the target and its own programs. Until the arrival of a 24-hour broadcast, TDF will broadcast FIP as background music from 1975 to 2000 on network 3, then France Info until 2002.

FR3 programs are mainly devoted to cinema, debates and regional stalls. The cinema channel, FR3 participates as a co-producer and for a sum of 5,450,000 francs in the development of the seventh art. Following complaints from movie theater owners, who are concerned about unfair competition, Claude Contamine negotiates with the Film Industry Liaison Office (BLIC) to remove the movies from Friday, Saturday and Sunday evenings, as well as twelve film showings on Wednesday evenings while in return creating a film club slot on Sunday evenings in the second half of the evening. The agreement was finalized on 16 January 1976, and Cinéma de minuit was on the air two months later.

On 1 September 1975, an agreement was signed between the two national program companies FR3 and TF1 to allow the latter, which inherited the first black and white VHF network in 819 lines, to be able to broadcast its programs in color. FR3 agrees to make available the color broadcasting network to TF1 reserved for it for regular transmissions in the afternoon until the start of its own programs at 6 pm. In return, the agreement provides for TF1 to employ the regional production centers for FR33. The overseas station FR3-Comores became FR3 Mayotte on 14 December 1975, following the declaration of independence of the Federal Islamic Republic of the Comoros. With the gradual appearance of more specifically regional television content in 1976, the State very slowly undertook the administrative and economic regionalization of French territory, where regional stations gradually entered into this new framework.

FR3 must separate from its overseas broadcasting station of the French Territory of the Afars and Issas on 27 June 1977, following the declaration of independence of the Republic of Djibouti, although its still appeared highlighted in the channel's start-up sequence.

On the programming front, the network's first national news programme was introduced in 1978 in the form of Soir 3, a late night national and international bulletin. 21 October 1981, saw FR3 begin regular live coverage of ministers' questions in the National Assembly. Advertising was introduced to the network in January 1983. By September 1983, the twelve broadcasting centres around the country were airing an average of 3 hours per day of regional output. Popular programming on Saturday night included the first airings of the American soap opera Dynasty and a Disney Channel strand. National and regional news at peak time was integrated into a new nightly programme, 19|20, launched on 6 May 1986.

On 5 May 1981, the debate between Valéry Giscard d'Estaing and François Mitterrand for the second round of the presidential election, arbitrated by Jean Boissonnat and Michèle Cotta was broadcast simultaneously on TF1, Antenne 2 and FR3.

Although it had long denounced the grip of power on television, the left, which came to power on 10 May 1981, in turn used this habit of interventionism to appoint new presidents to head the national television program companies more won over to his ideas and who are themselves responsible for cleaning up their channel of broadcasts, journalists and presenters suspected of acquaintances with the former majority. Thus, journalist Guy Thomas was appointed president of FR3 on 24 June 1981. He appointed Serge Moati to program management with the idea of strengthening the cultural and regional character of the channel.

Law no. 82-652 29 July 1982, on audiovisual communication suppresses the State monopoly and recreates by decree no. 82-790 of 17 September 19824 the national color television company France Regions 3 which is now the High Authority for Audiovisual Communication, which draws up the specifications, monitors competition rules and appoints the channel's president. Guy Thomas is not confirmed in his post by the new supervisory authority which appoints André Holleaux in his place. Alongside the administrative decentralization law, the 1982 law provides for a large decentralization of radio and television. To do this, FR3 ceases to be the operator of the 29 regional radio centers which are transferred to Radio-France and also loses its overseas audiovisual activities in FR3 DOM-TOM to the benefit of the new national program company RFO which had to be created for this purpose.

Similarly, the text of the law provides for the creation of twelve regional television companies, with the same programming and management powers as the national company, with their own board of directors whose president would be appointed by the High Authority. The law also provides for an increase in the share of regional programs on the air, which must go from thirty-five minutes to one hour per day5, which requires an increase in the FR3 budget of approximately 220 million francs which, according to the direction of the chain, could be covered by the opening of the antenna to the publicity of mark whose income is estimated at 250 million francs. On 1 January 1983, the High Authority for Audiovisual Communication authorized brand advertising on the national FR3 network up to 250 million francs per year (i.e. 10% of the combined revenue of TF1 and Antenne 2), although the plan of decentralization in 1982 is slowed down by the authorities, in particular because of the poor results for the majority in the municipal elections of 1983. staff of the three public channels, which the license fee alone is no longer sufficient to finance. Regionalization is at the heart of the specifications set by the High Authority for the channel in 1984. It thus limits the number of film broadcasts per year to 170, identical to TF1 and Antenne 2, which means that FR3 its specificity as a cinema channel in favor of the future new private channel Canal+, leaving it only its regional specificity, and authorizes brand advertising on the regional antennas of FR3.

Plans to privatisation (1986–1989)
On 6 May 1986, FR3 changed its look and changed its program schedule by starting at 9 am, instead of 5 pm as it was until then, and by putting on the air a new local information program, with national and international headlines, named 19/20 created and presented by Henri Sannier with Ghislaine Ottenheimer. The in-vision announcers also made their appearance the same year.

In 1986, the then government of Jacques Chirac put forward the proposal of privatising one of the three public television companies. The original suggestion was to transform FR3 into a private body, however the final decision was that of TF1. The broadcasting authority at the time, the CNCL, appointed Rene Han to become programme controller of FR3, with the result that the networked programmes took an even more highbrow and cultural focus.

Changes to the schedule included a supplementary Friday night edition of  Thalassa- le magazine de la mer whilst an opera was televised every Wednesday night. Popular quiz show Questions pour un champion made its broadcasting début in November 1988. La Classe, an entertainment programme which replaced Les Jeux de 20 heures and followed 19|20, was also introduced. Having launched without using speakerines, the network introduced in-vision announcers in September 1987 and retained live continuity until 1993, a year after TF1 and France 2 had abandoned in-vision presentation.

Reaffirmation of the public sector (1989–1990)
At the turn of the decade, the French television landscape which had been previously dominated by the three public stations now consisted of a strong private sector in the form of TF1 and Canal+ and the now-fragmented public sector of Antenne 2 and FR3. In 1990, the State, through the Conseil Supérieure de l'Audiovisuel (CSA), decided to merge the separate public entities into a new corporation.

At the same time, FR3 was already closing down on Saturday afternoons to allow nine hours of airtime to the educational station La Sept, airing from 3 pm to midnight. The arrangement continued until 1992 when the launch of the Franco-German network Arte led to the broadcaster's demise. On FR3 itself, the network aired current affairs programming on Saturday mornings including Continentales and L'Eurojournal, both presented by Alex Taylor.

The public reunification (1990–2009)
On 7 September 1992, FR3 and Antenne 2 were reunified in the new France Télévisions entity and rebranded as France 3 and France 2 respectively. Their logos match to the French flag like TF1. In 1998, France 3 partnered with TPS to launch a satellite station called Régions.

Between 2000 and 2005, La Cinquième (now France 5), RFO (along with RFOsat, now France Ô) and France 4 joined France 2 and France 3 under the France Télévisions corporate identity.

Under the direction of France Télévisions chairman Patrick de Carolis and director of channels Patrice Duhamel, October 2006 saw the introduction of a new daily cultural programme called Ce soir (ou jamais!) presented by Frederic Taddei, marking a new, more cultural focus to the network's programming. The late night news programme Soir 3 was given a new, fixed timeslot of 11 pm.

At present (2009–present)
On 5 January 2009, all on-air advertising on France Télévisions, (including France 3) between 20:00 and 06:00 was eliminated, meaning the traditional start of primetime viewing in France of 20:45 was brought forward by ten minutes to 20:35.

With the establishment of digital terrestrial television, France 3 has seen its national audience share down to under 10%, behind M6.

Branding

Idents

1992–2002
On 7 September 1992, the new France 3 channel was given a logo designed by the Gédéon agency: the number "3" in blue with the word "France" inscribed in the upper part of the number. The jingles and trailers divide the screen into three equal horizontal bands, the upper two of which display the natural landscapes of France. This dressing remained on the air for eight years, the landscapes evolving over the seasons and the years. Only the trailers changed in 1998 to show animals and plants in extreme close-up. In 2000, the dressing develops smoothly: the three horizontal bands are no longer the same size (the one in the middle is smaller) and the landscapes are no longer only natural, but also urban.

2002–2018
On 7 January 2002, the France Télévisions group adopted a new visual identity designated by the Gédéon agency. France 3 has a new logo similar to the other channels: a blue trapezium with the number "3" written in white inside along the right side. However, the logo has a particularity: the number "3" is not written with the new font of the group but keeps that of the old logo. In the early of September 2003, the channel changed its look. The commercial jingles feature animals drawn in white pencil coming to life in natural landscapes with ambient music. These evolve with the seasons and in the spring of 2006, the animals are replaced by plants.

On 7 April 2008, the logo of France 3 changed with the addition of a 3D effect. While the 3D logo appears on air, the old 2D formula is still used for the channel's print publications. On 5 January 2009, France 3 got a new look designed by the Dream On agency. The advertising idents and jingles depict characters carrying out actions of daily life. To create a visual difference, they are placed in contemplative natural landscapes. On 5 September 2011, France 3 adopted a new look from the Gédéon agency. The screen is divided into 24 boxes representing the 24 regional newsrooms of the channel. Each box contains a different video extract, which juxtaposed form a single image representing a person in an action of daily life. This design is inspired by Dadaism and the work of photographer David Hockney.

France 3 regularly sets up temporary covers for events or special periods. Each summer, the channel offers a specific look. In 2013, the jingles feature wild animals with human behavior animated in 3D in photo-realistic settings. In 2014 and then 2015, new animals are staged. These idents have a certain public success (in particular the famous marmots, regularly acclaimed) and have been rewarded several times by professionals in the sector. From 31 December 2012, to 13 January 2013, and from 29 June – 11 August 2013, France 3 broadcasts jingles designed by the Demoiselles agency to mark its 40th anniversary. A logo is also created from the old logo of France Régions 3. On 4 January 2016, France 3 put its logo back in 2D. The 3D logo is still a small used.

2018–present
On 8 December 2017, France Télévisions unveiled the new logos of its channels, which have been on the air since 29 January 2018.

On 29 January 2018, during a replay of the game (Le Grand Slam), a trailer and the new logo appeared at the end. This new logo is born during a coming next for the Ludo program block. Jingles pubs (Winter version) will appear from regional and local broadcasts such as 9:50 in the morning and Ludo, meanwhile, has new credits, a new look, and a new logo.

Logos

Mission
France 3 is a general entertainment channel whose mission is to deliver domestic and regional programming, offering cultural and educational advantages. Its local and regional vocation has been assured by its new mission statement. (" Elle doit privileger l'information décentralisée et les événements régionaux ") Translated it reads:

'It must promote local news and regional events and to introduce and familiarise the different regions of France and Europe and "to give space to our lively spectacles".'

Headquarters
France 3 was originally based at 13–15 rue Cognacq-Jay in Paris, which housed the television services of the former Office de Radiodiffusion Télévision Française (ORTF).

Since TF1 became independent from the ORTF, FR3 was based at the Maison de la Radio in the 16th arrondissement of Paris with its editorial base located at 28 Cours Albert 1er in the 8th arrondissement.

In 1998, France 3 moved to a new base at 7 Esplanade Henri de France in the 15th arrondissement. This also houses the rest of France Télévisions' operations. The headquarters are accessible by taking RER Line C to Boulevard Victor.

Programming

France 3 has fewer audience constraints compared to sister channel France 2, with the latter being the flagship public channel. This allows France 3 to concentrate on specialist and cultural programming.

It offered three information sessions per day until 25 August 2019, and offers since 26 August 2019, and the stop of Soir 3 (replaced by the 11 p.m. of France Info) two information sessions per day, which include regional and local news editions. It also offers several weather reports per day.

Every morning, France 3 airs the children's programming block Okoo. While France 5 broadcasts pre-school programmes, France 3 targets the older age range. (Okoo airs every day on France 4.)

On 2 September 2020, France Ô ceased to be broadcast, since 31 August 2020, to replace certain missions of the channel, France 3 broadcasts two programs on the overseas territories every morning (Outre-mer le mag, Outre mer l'info).

Newscasts (Journal télévisé)
There are three weekday newscasts broadcast as part of the channel's schedule:

Current

Ici 12/13
 is broadcast every day between 12:00 and 12:50 CET.

A typical edition of Ici 12/13 consists of regional, national and international news headlines at 12:00 followed by an Outre-Mer bulletin from the studios of RFO Paris at 12:15. The regional opt-out bulletins (midi-pile) air at noon, followed by the all edition regional news from 12:25–12:50 CET.

Ici 19/20
 France 3's flagship evening news programming block, Ici 19/20, airs nightly between 19:00 and 19:55 CET.

A typical edition of Ici 19/20 opens with a short summary of the national, regional and international headlines. This is then followed by an opt-out for either regional news or local features, with the main regional news airing after this at 19:00. The all edition regional news concludes the programming block at 19:30.

Previously, a 15-minute programme, launched in July 2010 called 18:30 Aujourd'hui opened the 19/20 news sequence, presenting the leading news stories from France 3's regional news bureaux. It was cancelled in September 2011, with the regional round-up moving to the 12/13 news programme.

Former

Soir/3
Soir 3, broadcast every night at 22:30 CET, is the network's late night news programme, presented by Francis Letellier (ad interim) on weeknights and Sandrine Aramon at weekends.

On 5 January 2009, the programme began to incorporate a 5-minute regional news opt-out as part of a revamp of France 3's schedule to accommodate the end of prime-time advertising.

On 26 August 2019, the program was moved to Franceinfo due to cost cutting and was renamed to . The concept of the program remains "grand JT du soir de France Télévisions".

Entertainment
One of France 3's most well-known programmes is , a recurring soap opera based in the fictional neighbourhood of Mistral, Marseille. The show has garnered critical acclaim within France and commands one of the highest viewing figures for the channel.

Quiz shows make up an important part of the channel's schedule. Word and numbers game Des chiffres et des lettres and general knowledge show Questions pour un Champion both make regular appearances in the daytime.

Other well-known programmes are personality talk show Vie privée, vie publique, (Private life, public life), Thalassa, a programme about all things concerning the sea, magazine show Des racines et des ailes and children's science show C'est pas sorcier. Cookery and home-improvement shows also feature, with Côté Cuisine, Côté Jardin and A Table!. Live music shows also feature weekly. Taratata focuses on rock music, whilst Chabada rediscovers forgotten French pop songs. A selection of these programmes are also broadcast internationally, via TV5Monde.

Other children programmes are Les Minikeums, the first long-running programmes that introduces the marionettes. Until 1 April 2002, , one of the first children's programs produced entirely in computer-generated images, and the show presented by Theo and Luna, two virtual characters. Then after 30 August 2004, , the show presented by the three robotic animated characters, Truc, Truque, and Truk, and , and later Ludo, the second and third long-running programmes, which there's only some voice announcers.

Acquired programming
Amongst the acquired programmes screened by France 3, British dramas feature prominently. The popular detective dramas A Touch of Frost, Lewis, Inspector George Gently, and Midsomer Murders are shown and have different title names, such as Inspecteur Frost, Inspecteur Lewis, and Inspecteur Barnaby.

Information regarding climate change in weather forecasts
In February 2023, 2 state TV channels, France 2 and France 3 have begun to enter information regarding climate change in their weather forecasts. This will make the forecasts 1.5-2 minutes longer. The climate related information will rely on experts. The channels will also provide information about climate change and the ways stopping it to their workers. In France, except in case of breaking news they will ask reporters to take the train instead of a plane.

Regional structure

From its historical origins, the Third Channel has used regional editorial and production centres which were developed since 1963 and owned by the ORTF.

From 1992 to 2010, France 3 had 13 regional directorates: France 3 Alsace, France 3 Aquitaine, France 3 Bourgogne Franche-Comté, France 3 Corse, France 3 Limousin Poitou-Charentes, France 3 Lorraine Champagne-Ardenne, France 3 Méditerranée, France 3 Nord-Pas-de-Calais Picardie, France 3 Normandie, France 3 Ouest, France 3 Paris Île-de-France Centre, France 3 Rhône-Alpes Auvergne, and France 3 Sud. They were associated with 12 so-called "outlying" centers and were supported by several local newsrooms producing television news.

The regional centres are often grouped in two levels – two half-hour news programmes and a short late night bulletin are produced and broadcast each day (in many cases, separate bulletins are produced for various parts of the region). The centres also produce shorter, more localised news bulletins for broadcast within 19|20. For example, France 3 Nord Pas-de-Calais Picardie produces localised bulletins for Côte d'Opale, Lille Métropole and Picardy. Various sport, features, current affairs and entertainment programming produced for and about the regions are also broadcast.

13 regional stations make up the network. Between them, the stations provide 24 sub-regional services, whose broadcast areas approximately match the 22 former metropolitan régions of France (the exceptions being that Provence-Alpes-Côte d'Azur and Rhône-Alpes are sub-divided into two). Each sub-regional news service emanates from a distinct centre of production. In addition, the stations provide 42 more localised news opt-outs.

Since 4 January 2010, a new organization of the regional network of France 3 has been implemented as part of the reform of the France Télévisions group into a single company. The network has 24 local branches responsible for producing regional and local programs, particularly news. They are united under four governance hubs that manage finance, human resources, and logistics: France 3 Nord-Est (based in Strasbourg), France 3 Nord-Ouest (based in Rennes); France 3 Sud-Ouest (based in Bordeaux) and France 3 Sud (based in Marseille). Corsica has its territorial management in Ajaccio.

In 2013, regional drop-outs accounted for 9.6% of the France 3 airtime or 3 hours per day. They're present in the 12/13 and 19/20 television news, as well as in several time slots of the program schedule: two hours in the morning on weekdays, half an hour on Saturday morning, and one hour in the afternoon, half an hour on Sunday afternoons, and once a month on Fridays in the second half of the evening.

The channel reorganized on 1 January 2017, to adapt to the territorial reform: "We want to double the regional offer of France 3, by 2020", announced at the end of 2016 Yannick Letranchant, Deputy Director.

On 27 September 2017, the regional and local editions of France 3 went on strike.

From 5 February 2018, one week after the new identity of France Télévisions, the news journals will have new opening credits, new decor, and new drop-outs and hang-ups for the regions and locals of France 3.

Exceptionally, from mid-March to mid-May 2020, all the regional journals were pooled into 11 specific entities to respond to the pooling of regions and reduction of staff in trays due to national confinement: Auvergne-Rhône-Alpes (Alpes, Auvergne, and Rhône-Alpes), Bourgogne-Franche-Comté (Bourgogne and Franche-Comté), Corsica, Grand-Est (Alsace, Champagne-Ardennes, and Lorraine), Hauts-de-France (Nord Pas-de-Calais and Picardie), Ile-de-France, Normandie (combining Caen and Rouen sector, two Normandy editions formerly Basse and Haute Normandy respectively), Nouvelle-Aquitaine (Aquitaine, Limousin, and Poitou-Charentes), Occitanie (Languedoc-Roussillon and Midi-Pyrénées), Provence-Alpes Côte d'Azur (Provence-Alpes and Côte d'Azur), and a special entity that does not usually exist called Grand-Ouest (grouping only during periods of pooling the Bretagne editions, Centre-Val-de-Loire and Pays de la Loire). This pooling resumed for 4 weeks from Saturday, 3 April 2021, at noon, thus temporarily eliminating all the usual local editions, as well as the local editions created in 2020 and 2021 (respectively at 11:53 a.m., 6:53 p.m. for local editions on weekdays and 6:30 p.m. on weekdays). Shared information also resumes from Saturday, 8 January 2022, until Sunday, 30 January 2022.

Some news reports sourced from France 3 Ouest were aired by Channel Television for the now-defunct weekly news programme Rendezvous Dimanche. In Belgium, local programming from France 3 Nord Pas-de-Calais Picardie has been known to receive twice the number of viewers than in its intended coverage area.

Ici 19/20 local opt-outs
Within the main Ici 19/20 programming block and depending on where the viewer receives France 3 via terrestrial transmitters, local opt-out bulletins (some live, some pre-recorded) concentrating on specific  are aired. The ten-minute opt-outs air at around 1845 CET before the main regional news.

Notes
 France 3 Alsace also airs a daily bulletin in the Alsatian language () as part of the Ici 12/13 lunchtime news block.
 France 3 Bourgogne Franche-Comté airs a daily pan-regional magazine show, , instead of local news bulletins.
 The  regional opt-out on France 3 Corse is in the Corsican language.
 France 3 Picardie airs a daily pan-regional discussion show, , instead of local news bulletins.
 France 3 Bretagne also airs a daily bulletin in the Breton language () in the Iroise area as part of the Ici 12/13 lunchtime news block.
 France 3 Paris Île-de-France airs additional pan-regional news coverage during this timeslot.
 France 3 Languedoc-Roussillon also airs bulletins in the Occitan language () and Catalan language () as part of Ici 19/20 on Saturdays.

Regional languages
France 3 also produces and airs programmes regionally for the various regional languages of France. Outside of regional news bulletins, France 3 also airs general interest programmes in the target language.

Occitan
Regional programming in the Occitan language started sporadically, with 15 minutes daily of news reports. After audience protests, by 1982 the time devoted to the language rose to over 3 hours weekly.
Viure al Pais (Living in the Country) – Magazine show in Catalan or Occitan aired on France 3 Sud.
Punt de vista (Point of View) – France 3 Aquitaine, France 3 Languedoc-Roussillon
Vaqui – Magazine programme broadcast on France 3 Provence-Alpes

Basque

Breton
Programmes in the Breton language started with a daily news bulletin from predecessor RTF Télé-Bretagne.
Red an Amzer – weekly current affairs programme, broadcast on Sundays
Te ha Me (From You to Me) – Interview programme, broadcast on Saturday mornings
Mouchig-Dall – Children's programme, broadcast on Wednesdays
Son da zont (Song Coming Up) – Saturday morning music programme, showcasing music in Breton.
Istorioù Breizh

Corsican
Despite having special status as a semi-autonomous region, only 40 minutes per week are devoted to the Corsican language. The first programme in Corsican was in 1966 and was a weekly poetry reading from a Corsican-language school.

 Soir 3 Édition Corse – nightly news opt-out.

Alsatian
Since the creation of its predecessor RTF Télé-Strasbourg, there have been sporadic programmes in the Alsatian language. By 1974 there was a weekly show of 45 minutes, in 1989 Rund Um, a magazine programme aired its first episode. After the merger of France 2 and France 3 into France Télévisions, France 3 Alsace has financed an Alsatian version of animated series Tintin.

 A Gueter – cookery show, airs Saturday mornings.
 Lade ùff – Regional arts and culture show, shown Saturday mornings.
 Gsuntheim – airs Sunday mornings.

Organization

Directors
Chairmen and chief executive officers:
Jean-Louis Guillaud: 31 December 1972 – 31 December 1974
Claude Contamine:  1 January 1975 – June 1981
Guy Thomas: June 1981 – 09/1982
André Holleaux: 09/1982 – 21 October 1985
Janine Langlois-Glandier: 21 October 1985 – 12/1986
René Han: 12/1986 – 10 August 1989
Philippe Guilhaume (joint chairmanship A2/FR3): 10 August 1989 – 19 December 1990
Hervé Bourges (joint chairmanship A2/FR3): 19 December 1990 – 7 September 1992

General managers:
 Philippe Levrier
 Rémy Pflimlin
 Geneviève Giard: since September 2005

Presenters/Hosts

Jean-Michel Blier
Marlène Blin
Laurence Bobillier
Lionel Cottu
Nathalie Simon
Florence Klein
Jean-Marc Souami
Gérald Dahan
Frédéric Taddéї
Marie Drucker
Mireille Dumas
Jean-Sébastien Fernandes
Magali Forestier
Marc-Olivier Fogiel
Franz-Olivier Giesbert
Yann Gonon
Jamy Gourmaud
Frédéric Courant
Sabine Quindou
Martin Igier
Serge July
Hélène Laurca
Yves Lecoq
Julien Lepers
Francis Letellier
Stéphane Lippert
Élise Lucet
Catherine Matausch
Nagui
Christine Ockrent
Georges Pernoud
Tania Young
Patrick de Carolis
Daniela Lumbroso
Christophe Poullain
Audrey Pulvar
Florian Ringuédé
Laurent Romejko
Anne Sinclair
Henri Sannier
Mathieu Lartau
Gérard Holtz
Laurent Luyat

References

External links

France 3
03
Television channels and stations established in 1972
French-language television stations
Television stations in France

France 3


A series finale is the last installment of a television series. These terms refer to an intentionally planned ending, rather than one in which the series is unexpectedly cancelled after the last episode is produced. Episodes labeled "series finale," or ones leading up to it, often include remarkable events in the overall series story arc. An extended length episode, or television or theatrical film may serve as the series finale. The finale may also be used as a device to create a spin-off series.

Related pages
 Season finale

Other websites
 TV Series Finale - site devoted to final episodes and life after the shows

Television series

Series finale


Paul Ferrier (29 March 1843 - September 1920) was a French dramatist, who also provided libretti for several composers, especially Varney and Serpette.

Ferrier was born in Montpellier.  He had already produced several comedies when in 1873 he secured real success with two short pieces, Chez l'avocat and Les Incendies de Massoulard. Others of his numerous plays are Les Compensations (1876); L'Art de tramper les femmes (1890), with Émile de Najac.

One of Ferrier's biggest successes was the production with Fabrice Carré of Josephine vendue par ses sœurs (1886), an opera bouffée with music by Victor Roger. His opera libretti include La Marocaine (1879), music of Jacques Offenbach; Le Chevalier d'Harmental (1896) after the play of Alexandre Dumas, père, for the music of André Messager; La Fille de Tabarin (1901), with Victorien Sardou, music of Gabriel Pierné.

Ferrier died in Nouan-le-Fuzelier (Loir-et-Cher), at age 77.

Artistic works

Plays
 Chez l'avocat, 1873.
 Les incendies de Massoulard, 1873.
 Les compensations, 1876.
 L'art de tramper les femmes, with Emile de Najac, 1890.

Operas
 Josephine vendue par ses sœurs, with Fabrice Carré, music by Victor Roger, 1886.
 La Marocaine, music by Jacques Offenbach, 1879.
 Le chevalier d'Harmental, 1896, music by André Messager, after the play of Alexandre Dumas, père.
 La fille de Tabarin, 1901, music by Gabriel Pierné.
 La vie mondaine (with Émile de Najac), opéra bouffe, premiere 13 February 1885, Paris, Nouveautés. Music by Charles Lecocq .
 Miousic, opérette, premiere 22 March 1914, Paris, Olympia. Music by Reynaldo Hahn, Charles Lecocq and André Messager.

References

1843 births
1920 deaths
19th-century French dramatists and playwrights
French opera librettists
Writers from Montpellier
20th-century French dramatists and playwrights

Paul Ferrier


The Global Program on Fisheries (PROFISH) is a global program on sustainable fisheries established by the World Bank in 2005. It has been set up in conjunction with key donors and stakeholders to meet the challenge of a growing crisis in the world fisheries sector.

The World Bank characterises this crisis in the following way:
"Increasing population pressures, growing demand for fish and failures of governance are leading to unsustainable levels of exploitation of living aquatic resources and destruction of aquatic ecosystems. In many developing countries the sustainable benefits are in decline, perpetuating a spiral into poverty for many small-scale fishers and communities dependent on fishing."

PROFISH is a programming and funding partnership between key fishery sector donors, international financial institutions, developing countries, stakeholder organizations, and international agencies. PROFISH currently receives financial and in-kind support from Iceland, France, Norway, Finland, Japan, FAO, World Bank, International Union for Conservation of Nature (IUCN) and WorldFish Center.

As of November 2018, the PROFISH trust fund is now part of the World Bank's Program for the Blue Economy (PROBLUE) umbrella program.

Objectives
The overall objective of PROFISH is "to improve sustainable livelihoods in the fisheries sector and to make concrete progress towards meeting the goals of the WSSD's goals in fisheries".

The specific objectives are to strengthen governance of the world's marine fisheries by:
(i) improving the quality of investments made by both public and private sectors;
(ii) assisting countries and regions to establish roadmaps to achieve effective sector governance and reform using improved fisheries management tools; and
(iii) aligning donor interventions

It is intended that PROFISH would improve sustainable livelihoods in the fisheries sector and to make concrete progress towards meeting the 2002 fisheries goals of the World Summit on Sustainable Development through three complementary activities:
(i) ensuring sustainable fisheries initiatives are included in national plans and poverty reduction strategies;
(ii) building national and regional consensus on pro-poor sustainable fisheries initiatives and priority activities to implement the Code of Conduct for Responsible Fisheries; and
(iii) aligning and enhancing international assistance on fisheries and sustainable use of aquatic ecosystems and catalyzing implementation of agreed initiatives.

Recent Studies
A recent joint publication by the World Bank and the FAO, entitled The Sunken Billions: The Economic Justification for Fisheries Reform, concludes that global marine capture fisheries are an underperforming global asset and shows that the difference between the potential and actual net economic benefits from marine fisheries is in the order of $50 billion per year. This is equivalent to more than half the value of the global seafood trade. The cumulative economic loss to the global economy over the last three decades is estimated to be in the order of two trillion dollars. In many countries the catching operations are buoyed up by subsidies, so that the global fishery economy to the point of landing (the harvest sub-sector), is in deficit.

References

International environmental organizations
Fisheries conservation organizations
World Bank

PROFISH


John Lafayette Riker (August 15, 1824 – May 31, 1862) was an American attorney and an officer in the Union Army during the American Civil War. He was killed in action at the Battle of Fair Oaks during the Peninsula Campaign.

Early life
John L. Riker was born in Manhattan in New York City. His father, James Riker (Sr.) was a merchant, landowner and, at one stage, a New York City alderman. His mother, Elizabeth Van Arsdale, was the daughter of Captain John Van Arsdale of Revolutionary War and Evacuation Day fame. John Lafayette was the younger brother of James Riker, the New York genealogist who wrote A Brief History of the Riker Family, from Their First Emigration to This Country in the Year 1638, to the Present Time (1851), History of Harlem (1881) and Evacuation Day, 1783, with Recollections of Capt. John Van Arsdale, of the Veteran Corps of Artillery (1883).

John L. Riker is said to have been given his second name, "Lafayette", by his grandfather, John Van Arsdale, in honor of Gen. Lafayette, who had arrived at Staten Island on the day that Riker was born. Van Arsdale had served with Lafayette during the Revolutionary War and had met with him on August 16, 1824, the day after Riker's birth. Van Arsdale and the Veteran Corp of Artillery, of which he was a member, had received Gen. Lafayette at the Battery, on that day. Despite a lapse of forty-four years, Van Arsdale was recognized by Gen. Lafayette, which so pleased him that later that day when he visited his newborn grandson, he named him "John Lafayette".

Sometime in the 1840s Riker married his first cousin Anna E. Elder. Anna was the eldest daughter of Hannah E. Riker, who was the younger sister of his father, James. About 1848 Anna gave birth to Riker's first child, Anna E. Riker. A year or two later she gave birth to a son, John L. Riker Jr. In 1851 Riker's wife, Anna, died of "hysteria". The following year his father James Riker Sr. died and in 1854 his young son, John L. Riker Jr. died of congestion on the brain.

John L. Riker studied law and passed the New York state bar exam in 1860. He began the practice of law, but stopped shortly after the Civil War erupted and he answered President Abraham Lincoln's call to arms to put down the rebellion.

Civil War

Riker enlisted in the Union Army April 19, 1861, at Saltersville, New Jersey, where his regiment was soon to be encamped. He was appointed the colonel of a volunteer regiment, initially known as the Anderson Zouaves, that he had raised in New York under the auspices of Major Robert Anderson "the hero of Fort Sumter." Riker and his regiment left "Camp Astor", on his namesake Riker's Island, for Washington, D.C., on August 21, 1861, for service in what became the Army of the Potomac.

In early 1862 Riker was courtmartialled for creating a false roster, for extorting money from sutlers and for keeping a woman in his headquarters. However, he was found innocent of the charges, this despite the court having established that a woman, posing as soldier of the regiment, had in fact been with the regiment since it started recruiting in Union Square in 1861 and had spent time with Riker's daughter, Annie, in his headquarters at Tennallytown, DC.

Due to his court martial, Riker was unable to lead his regiment during the advance on Manassas in early March 1862, but was able to lead his men later that same month to Fortress Monroe, with the rest of the Army of the Potomac, as part of McClellan's Peninsula Campaign. Riker led his regiment into action at the Battle of Williamsburg and the Battle of Fair Oaks in May 1862.

Riker was killed in action at the head of his regiment on the right wing of the Federal line at the Battle of Fair Oaks on May 31, 1862. His last words were "Boys, we're surrounded—give them the cold steel!" Several officers of the regiment, including Lieutenant James H. Bradley, Riker's aide-de-camp, and, it is assumed, the regimental chaplain, John Harvey, accompanied the body back to New York City. At a meeting of the friends of Colonel Riker held on June 7, 1862, at the Everett House, New York, which was attended by, amongst others, George W. Morton, Ex-recorder Frederick A. Tallmadge, Mr. E. B. Wood of Kings County and several officers of the Anderson Zouaves, arrangements were made for his funeral. At the meeting Lieut. Bradley gave a long and interesting account of the part played by the regiment in the battle of Fair Oaks from which Riker's coolness under the most trying situations was evident. Bradley incidentally remarked that the Colonel was not struck while waving his sword, as he never drew his sword at all, but spent most of the time quietly smoking his cigar.

With Riker's death David John Nevin, lieutenant colonel of the regiment, was promoted to colonel, on the field, a position which became effective on June 20 and which he held until he was mustered out on June 29, 1864. The regiment's major Oscar Veniah Dayton, was in turn, promoted to lieutenant colonel.

Riker's body lay in state at the Governor's Room of New York's City Hall and on June 10 his body, along with that of Colonel  James Miller of the 81st Pennsylvania who had been killed in the same battle, was escorted by the New York State Militia (specifically the Fifth Regiment, a battalion of the Fifty-fifth Regiment, a troop of horse, a troop of Lancers and the Harlem Chasseurs), to Green-wood Cemetery, Brooklyn, where Riker's body was placed in a temporary vault while it awaited permanent interment.

While it is not certain, it is possible that prior to the war Riker was a fire fighter and a member of the Mechanics Hook & Ladder Company No 7, which had its headquarters on Third Ave and 126th Street, close to the Riker family home near the corner of Fifth Ave and 125th street, Harlem. It is known that a number of the recruits of the Anderson Zouaves were members of New York fire companies and representatives of the Mechanics Hook & Ladder Company No 7 attended his funeral in June 1862. A newspaper report says that Riker was an honorary member of the company, while another report says that when Riker left New York for the seat of war he wore a scarlet shirt under his Zouave jacket.

Honors
New York's Grand Army of the Republic Post #62 was chartered in May 1873 in his name.

Notes

References
New York Public Library
 Townsend, Thomas S., The Honors of the Empire State in the War of the Rebellion, New York: A. Lovell & Co., 1889.

External links
Photograph of Colonel Riker
Anderson Zouaves, Company "F"

1824 births
1862 deaths
Lawyers from Manhattan
Military personnel from Manhattan
People of New York (state) in the American Civil War
Burials at Green-Wood Cemetery
Union Army colonels
Union military personnel killed in the American Civil War

John Lafayette Riker


The Commerce Consulate of Buenos Aires was one of the most important institutions of the Viceroyalty of the Río de la Plata, along with the viceroy, the Cabildo and the religious ones.

The consulate was set up in 1794 at the request of local merchants. It was a collegial body which functioned as a commercial court (called the Court) and as a society of economic development (called Governing Board). The consulate was directly under command of the Spanish Crown, and it was directly governed by the rules dictated by the House of Trade in Seville.

It was largely a guild of merchants with powers delegated by the king in trade matters. It could settle lawsuits and claims brought by merchants and was financed by levying taxes. With the passing of the years it would increase the power of control over customs.

The Secretary of the consulate was required  to propose annually, through the reading of a Consular Report, ways to promote agriculture, encourage industry and protect the commerce of the region. Manuel Belgrano, Secretary of the Embassy since its inception, set for himself the goal to transform a poor and virgin region into a rich and prosperous one.

Manuel Belgrano and the Consulate
The first and only Secretary of the consulate, Manuel Belgrano, had to play with caution in assuming the leadership of that task the 3 June 1794. Having been designated as perpetual secretary of the consulate, he wrote the guidelines that would follow in its efforts of economic development, in a document which has survived. The ideals of the consulate and what could be achieved for the benefit of the viceroyalty, however, were far from desired.

He did not adopt a position of outright opposition, but a tone of education, which included frequent praise and prostrations to the king and the authorities. The criticism was always, therefore, about the contrast between the situation he complained about (apparently without accusing any person or body) and what the authorities had not done to ensure general welfare, making them therefore guilty of neglect or inaction. The date on which Belgrano became secretary, 3 June, was named Economist day in Buenos Aires in 2003.

References

Viceroyalty of the Río de la Plata
Economic history of Argentina
Defunct courts
Manuel Belgrano
Buildings and structures completed in 1794
1794 establishments in the Spanish Empire
Courts and tribunals established in 1794

Commerce Consulate of Buenos Aires


Un esposo para Estela (A Husband for Estela) is a Venezuelan telenovela written by Camilo Hernández based on an original story by Ángel del Cerro and produced by Venevisión in 2009. The telenovela was distributed internationally by Venevisión International.

Daniela Alvarado and Luis Gerónimo Abreu star as the protagonists while Carlota Sosa, Christina Dieckmann, Maria Antoineta Castillo and Carlos Julio Molina star as the antagonists. The telenovela was originally titled Vendaval de Amor before being changed to Un Esposo para Estela.

Plot
In the town of San Jacinto del Morichal, Estela Morales is a young orphan who owns a hacienda in ruins and buried in debt called "El Vendaval". Upon the death of her mother, Estela discovers she needs to get married in order to collect the inheritance her mother left. Desperate and seeking  to get the money as the only way of saving the farm, she places an advertisement in the newspaper seeking for suitable candidates for a husband. Among the many men who respond to the announcement is Adriano Alberti (Luis Gerónimo Abreu) who is  the heir of an international chain of  hotels. He is the candidate who knows or knew her.

A month ago, the two had met on the island of Curaçao during a masquerade party. She wanted to die, he wanted to forget. For one night, these two made love. The next day, the woman disappeared without a trace. Adriano woke up only to discover that an expensive necklace belonging to his family was no longer in the safe. Adriano decided to go to El Vendaval to recover the jewel he thinks Estela stole, but in reality he wants to prove that she is innocent.

Cast
Daniela Alvarado as Estela Morales
Luis Gerónimo Abreu as Adriano Alberti
Marcos Moreno as Feliciano Fundora
Violeta Alemán as Herminia Morales
María Antonieta Castillo as Maria Claudia Morales
Carlos Julio Molina "Trece as Romulo Guevara
Marjorie Magri as Clara Morales
Antonio Delli as José Carlos Guerrero
Bebsabé Duque as Cristina Vega
Sonia Villamizar as  Ornella Guerrero
Carlota Sosa as Lic. Ricarda Roldan de Norigea
Karl Hoffman as Mario Alberti
Stephanie Cayo as Rogeila Guerrero/ Patricia Alberti
Javier Valcárcel as German Urquiza
Verónica Ortiz as Elvira Domínguez
Martin Brassesco as Felipe Vega
Eulalia Siso as Aitana Alberti
Reina Hinojosa as Gilda Domínguez
Christian Mc Gaffney as Delfín Fundora
Greisy Mena as Malena Alberti
Erick Noriega as Pio Doce
Anahí as Roberta
Guillermo García as Dorian Delgado
Mauro Boccia as Dante Delgado
Ludwig Pineda as Emeterio Peréz
Christina Dieckmann as Jennifer Noriega Roldán
Jesús Miranda "El Chino" as El Purri
Adriana Prieto as Celeste
Alicia Plaza as Pricilla
Leopoldo Regnault
Amalia Laurens
Macarena Benitez
Melisa Alvarez
Regino Jiménez

Version
 La mujer del Vendaval with Ariadne Díaz and José Ron for Televisa.

References

External links

Un Esposo para Estela on Venevision.net
Un Esposo para Estela folletio at telenovelasmania

2009 telenovelas
2009 Venezuelan television series debuts
2010 Venezuelan television series endings
Spanish-language telenovelas
Venevisión telenovelas
Curaçao in fiction
Television shows set in Caracas

Un esposo para Estela