Iuliu Hațieganu (April 14, 1885 – September 4, 1959) was a Romanian internist doctor particularly recognized for research done in the field of tuberculosis. He founded in Cluj a valuable school of internal medicine. Today, Cluj University of Medicine and Pharmacy bears his name. He was a member of the Romanian Academy and brother of politician Emil Hațieganu. He was also an architect, and his work was part of the architecture event in the art competition at the 1936 Summer Olympics.

Early life and studies

Iuliu Hațieganu was born on April 14, 1885, in the village of Magyarderzse, Kingdom of Hungary (today Dârja, Romania) in the Someș Valley, the fifth of 13 children of the Romanian Greek Catholic priest Hațieganu. He began studying at Balázsfalva (today Blaj, Romania), where he had as colleague the future bishop Iuliu Hossu, then studied at the Faculty of Medicine of Franz Joseph University. After completing his doctorate in 1910, he became assistant to professor Zsigmond Puryesz. Since 1914 he was known for performing a study on alimentary galactosury. In 1918, during the Great Union of December 1, Iuliu took part in the Great National Assembly of Alba Iulia, where he has urged his colleagues to hold a congress of Transylvanian Romanian doctors. The event was chaired by young doctor on January 29, 1919, in Sibiu.

His outstanding merits and Puryesz's vision helped Iuliu Hațieganu to become professor of medical clinic at the University of Cluj and first dean of the Faculty of Medicine between 1919 and 1920. In 1929, Professor Iuliu Hațieganu took over the Cluj branch of Transylvanian Association for Romanian Literature and Romanian People (ASTRA).

In the early '30s, he became rector of the University of Cluj, focusing his activity on the importance of a special role of physical education in institutions of higher education. His belief was so strong that in order to attract young people to embrace this bold idea, he organized thematic conferences, published a journal of education, built a sports park in Cluj, hired four physical education teachers. In 1935, Professor Hațieganu wrote: It turned out that physical education is the best method of education, that synergically contribute to strengthening of body and soul, to character building...

Hațieganu was very interested in medical research and humans, and to assist all, such that he provided patients free consultations and advice. He was so interested and experienced, that he could establish the diagnosis of a patient only if he saw how he moves and how he looks. Along with one of his students, Professor Ion Goia, Hațieganu developed pathological model theory of peasants and workers, these patients being hospitalized preferentially because they claim better teaching.

He was inspired by Hippocrates and Pasteur, and was appointed by Tudor Arghezi as "professor of the Romanian medicine".

Iuliu Hațieganu founded the University of Medicine and Pharmacy in Cluj, that exists today, and bears his name since 1993, and was a member of the Romanian Academy. He was well known for interest in the physical education, human health, the creation of the sports parks, but also because of research he has done on tuberculosis.

Basics of Transylvanian medicine
He was known since 1914 in the speciality literature through a study on alimentary galactosury, published in "Medical Journal" in Budapest. He was one of the university youth delegates to the Great National Assembly in Alba Iulia and upheld in the face of the Ruling Council of Transylvania the establishment of the University of Cluj. Subsequently, he will chair the first Congress of Physicians, where his friend, military doctor Iuliu Moldovan, appointed by the Ruling Council as secretary of public health problems, will report on the health status of the population in Transylvania, emphasizing the need to resume work at the Faculty of Medicine of Cluj.

At 34 years he held his first university lecture in Romanian language in Transylvania, "Catarrhal jaundice problem", through which he laid the foundations of medical higher education in Cluj. In the interwar period, the medicine in Cluj had the most beautiful and full-time results.

Along with Ion Goia, Iuliu Hațieganu gathered to desk outstanding specialists as Victor Papilian, Titu Vasiliu, Iacob Iacobovici, Constantin Ureche, Victor Babeș, Constantin Levaditi or Emil Racoviță. After the Second Vienna Award, Cluj clinics moved to Sibiu.

Professor Hațieganu, whose name it bears today the University of Medicine and Pharmacy, was a rare example. But, the great merit of Hațieganu is that he has managed to create an exceptional teaching staff, who went on to date the value of Romanian medicine. Strong personality, he quickly coalesced a team, which was transformed into a professional team of elite, both at desks and in clinics. From own funds, Hațieganu established between 1930 and 1932 in Cluj a park for youth sports. Iuliu Hațieganu Sports Park, on the shore of Someș River and with an area of 25 ha, was dedicated to the memory of his only child, dead at only 8 years. Currently, it's named after its founder.

The communist period and involvement in politics
With the establishment of communism, the new political situation affected both Hațieganu and his collaborators, many being dismissed under the pretext of so-called "popular judgments". Between April 29 and July 14, 1931, Iuliu Hațieganu was named Minister of State in Iorga Government. He was also appointed Minister of Health, but early resigned, inasmuch as it was rejected proposal to establish a portfolio of Physical Education.

References

1885 births
1972 deaths
People from Cluj County
Academic staff of Franz Joseph University
Academic staff of Babeș-Bolyai University
Rectors of Babeș-Bolyai University
Titular members of the Romanian Academy
Romanian Greek-Catholics
20th-century Romanian physicians
Members of the Romanian Cabinet
20th-century Romanian architects
Olympic competitors in art competitions

Iuliu Hațieganu


Repton is a video game originally developed by 16-year-old Briton Tim Tyler for the BBC Micro and Acorn Electron and released by Superior Software in 1985. The game spawned a series of follow up games which were released throughout the 1980s. The series sold around 125,000 copies between 1985 and 1990 with Repton 2 selling 35,000 itself. The games have since been remade for several modern systems, including iRepton for the iPhone / iPod Touch in 2010, and  Android Repton 1, Android Repton 2 and Android Repton 3 from 2016 to 2018.

The author was inspired by a review of the recently released Boulder Dash, but had never played the game. Compared with Boulder Dash, Repton is a much more calm and organized playing experience with the emphasis on puzzle-solving as opposed to arcade-style improvisation. This remained true as more types of object were added in the sequels.

Series overview

Repton

Repton, the titular protagonist, is moved around an underground maze in a quest to find all the diamonds (some are held in safes, their release being triggered by finding and collecting a key) within a time limit for each of several levels, while avoiding being trapped or killed by falling rocks and monsters hatched from eggs. The original Repton game was released in the summer of 1985 and has 12 levels, with passwords making it possible to jump directly to later levels. If passwords are employed, on completion of the final level the displayed message challenges the player to complete the game without using them. The new versions of Repton for the PC, iOS and Android introduce additional levels; and new Repton levels are also featured in Repton Spectacular, Repton's Mystic Challenge (for Repton 1) and Repton's Journeys (for Repton 2).

Repton 2
The sequel to the game, Repton 2, released for Christmas 1985 (release date 14 November 1985 ) is much bigger. It introduces several new features: spirits (that follow walls and objects to their left and must be guided into cages, turning them into diamonds) and skulls, both of which are fatal to Repton on collision. There are also jigsaw puzzle pieces to collect, which eventually spell out the message "Repton 2 is ended".  There are no levels as such in Repton 2: instead transporters move Repton between different screens which, subject to some restrictions, can be completed in any order desired.  The entire game is in effect one very large level without passwords, meaning that it must be completed in one attempt.  Finally, some screens also contain an exposed 'roof', where meteors (predictably fatal to Repton) fall from the sky.

Repton's requirements in Repton 2 are challenging: Repton must not only collect all diamonds (including those held in safes and behind cages), but also collect all earth, kill all the monsters, collect all puzzle pieces and use all transporters.  Once these substantial tasks have been accomplished, Repton must then negotiate the 'roof' of the entire width of the final screen, avoiding meteors falling from the sky in order to reach the starport and thus complete the game.  This part is particularly tricky, since the meteors fall in a random fashion, making it difficult for the gamer to guide Repton to safety.  This long list of requirements, coupled with the fact that the game must be completed in one attempt, is unique among the Repton series and makes Repton 2 by far the hardest Repton game to successfully complete.  Unfortunately a bug in the original version of Repton 2 meant that the game contained one diamond fewer than the stipulated number needed to finish the game, so completion of this first version is impossible. When Repton 2 was re-written for the PC, it introduced a 'save game' feature making it considerably easier to complete. In addition, brand new scenarios were included, effectively new games.

Repton 3
Repton 3, released 5 November 1986,  was developed by Matthew Atkinson at Superior's invitation since Tim Tyler was not interested in programming it—although he did design some of the levels for the new game. While the first two games had only taken a month each to program, Repton 3 took eight months. It reverts to the form of a series of time-limited, password-protected levels. A few new features were introduced: fungus (a substance that gradually spreads wherever it finds space and kills Repton on contact), time capsules (resetting the current level's time limit each time one is collected), crowns and a timebomb which must be defused to complete each level. The inclusion of the timebomb means that, as well as collecting all of the diamonds and crowns, the players have to plan their routes so as to finish up at the timebomb at the end of the level.

Repton 3 includes a map editor along with the game, so that data files can be created with new maps and graphics for the levels. Three themed sets of such files were released as continuations of Repton 3, with the titles Around the World in 40 Screens (1987), The Life of Repton (1987) and Repton Thru Time (1988). These three titles use a slightly modified game engine, in which the algorithm for deciding on the direction spirits first move at the start of a level is improved. They all come with the same game editor as Repton 3.

Repton Infinity
Repton Infinity was released in 1988, by which time the BBC Micro's popularity as a games platform was beginning to wane. It was developed by Dave Acton and Dave Lawrence (who wrote the user-submitted program section *INFO in Acorn User magazine). It supplements the map editor and graphics editor with a powerful game logic editor which made it possible to alter the way all game objects behaved using a purpose-designed language called Reptol. Four different example games are included to demonstrate its flexibility:
 Repton 3 - Take 2, with a couple of small technical differences in gameplay from Repton 3;
 Repton 4, with imaginative new objects including photocopiers and moving jewels;
 Robbo, "a crazy robot in a strange topsy-turvy world", according to the game inlay; and
 Trakker, a chaotic game in which a bulldozer-driving protagonist must destroy various monsters by pushing fruit at them, and all scores are multiples of 17.

There was a long-running problem, infamous amongst owners of the B+, the updated BBC B with 64k,  when the newly released Repton Infinity ran on the original BBC B but refused to load on the updated B+. A string of unsuccessful replacements were issued before one that was compatible with both was eventually released.

EGO: Repton 4

A game marketed as EGO: Repton 4, was released for the Acorn Archimedes in 1992. It was designed by Richard Hanson and programmed by Gary Partis. This was actually an Archimedes conversion of an earlier Amiga/Atari ST game called Personality Crisis with the character of Repton added in. The game bears little relation to the rest of the Repton series, particularly in that contrary to the spirit of the original it relies on "secret" traps and passages which can only be discovered by walking onto them.  (The objects and objectives in all the previous Repton games are visible and there are no hidden secrets to be discovered, although in some advanced episodes - notably "OAP" in Life of Repton, "Oceans" in Around the World and "Future" in Repton Thru Time - some objects and enemies are invisible or appear very similar to desirable or innocuous objects.)

Repton: The Lost Realms
In 1988, teenage programmer Paras Sidapara submitted a game he called Repton 4 to Superior Software. As Superior were already working on Repton Infinity, it was not published, and was forgotten until 2008, when a copy was rediscovered. The game was re-programmed by Sarah Walker and rechristened The Lost Realms, to avoid confusion with the Repton 4 game included in Repton Infinity. It was launched in November 2010 by Retro Software, with Superior's permission. The game is similar in style to Repton 3, retaining the structure of separate, password-protected levels and the map and graphics editors. New features include balloons, "absorbency" doors (which can be opened when an "absorbalene" pill is collected, but each pill only allows a certain number of doors to be opened) and ice crystals (which, when collected, freeze any monsters on the level).

Music
The music for Repton is Black and White Rag, by George Botsford, which has been well known in Britain at least since its 1969 popularization as the theme tune to the long-running TV snooker programme Pot Black. The Scott Joplin intermezzo The Chrysanthemum is the music for Repton 2. The music for Repton 3 was composed specifically for the game by Paul Hughes and Peter Clarke. Repton Infinity features in-game music, on pressing the 'T' key, although it does not play at the same time as the sound effects during the game, and is turned off by default. It was composed especially for the game by David Acton.

Repton ports, clones and derivatives

Ports
The Repton games were closely associated with the BBC Micro and Acorn Electron but versions were released for other 8-bit computers. Superior Software had planned to launch Repton 3 with ports for the Commodore 64 and Amstrad CPC (as shown in pre-release press advertisements). The Amstrad version was never released but the C64 port did arrive in 1987. Ports of the first 3 Repton games were later developed for the ZX Spectrum and Repton and Repton 2 were released together as Repton Mania in 1989 (published using the joint Superior/Alligata name). This was not a success and the Spectrum Repton 3 was not released. In 1989 a version of Repton 3 featuring all expansion packs was also released for the BBC Micro's replacement, the 32-bit Acorn Archimedes. Its programmer, John Wallace, also produced a slightly expanded version of Repton 2 for the Acorn Archimedes which was released on the 1993 Play It Again Sam 2 compilation (which also included Zarch, Master Break and Arcpinball). None of these ports achieved the sales of the BBC originals.

In the late 1990s, Superior sub-licensed the games to ProAction who released a number of RISC OS ports for the Acorn Archimedes and RiscPC. John Wallace created new ports of Repton, Repton 2 and Repton 3. ProAction also released Desktop Repton which includes the 3 games (including the expansion games for Repton 3). These games were built from scratch by Darren Salt, and developed to run in a multi tasking window on the desktop.

There have been numerous ports of Repton 3, including a free version for Linux.

Under the name Superior Interactive, the original publishers re-released versions of Repton 1 (2003), Repton 2 (2004) and Repton 3, including all of the expansion games (2005), for Microsoft Windows. They also released a large pack of new levels for all three modern Repton ports named Repton Spectacular in 2010. Also in 2010, iRepton was released for the Apple iPhone / iPod Touch (ESZ Consulting / Superior Interactive). This has retro and enhanced graphics and sounds and new screens. On 7 October 2014 iRepton 3 was released for the iPad and iPhone, featuring the same level of graphic enhancements as iRepton 1, which also had an overhaul at the same time.

Clones

A deliberate clone called Ripton, extremely faithful apart from different level design and several humorous digs at the original game, was written by Kenton Price and submitted to A&B Computing but the magazine never dared to publish it. It is, however, now available at BBC software Internet sites.

There was also a PD clone for the ZX Spectrum called Riptoff, which included a level editor. It was developed by Rick O'Neill and Craig Hunter, and was released exclusively on a 1991 Your Sinclair covertape.

Derivatives
Because of Repton'''s ubiquity on the platform it became impossible not to compare to it any later commercial scrolling-map game for the BBC/Electron.  Later puzzle-based games such as Bonecruncher and Clogger might justifiably be said to be derivative of Repton, but this perception also encompassed arcade adventure/role-playing games presented in the four-way-scrolling format (the notable ones being Ravenskull and Pipeline) despite their different style involving unique objects and encounters and unexpected traps.

A non-scrolling 5-level type-in called Pitfall Pete written by Jonathan Temple was also described as "'Repton' style" when it was published by BEEBUG in 1986 and expanded to 15 levels in 1991.Repton's original author has written a public domain Java rocks-and-diamonds game, Rockz, which features elements in the vein of both Repton 2 and Boulder Dash.

A game called Mole Miner was released for Android devices in 2009 by Little Fluffy Toys Ltd. The game was designed by Kenton Price, who also wrote Ripton (see above). It builds on the rocks-and-diamonds genre typified by Repton, extending it with features such as explosives, sliding ice and wraparound, and includes a community level designer. Mole Miner contains 60 levels created by Michael S. Repton, the author of many levels in later Repton'' series games.

References

External links
 Superior Interactive
 Repton author's personal website
 Repton Resource Page

1985 video games
Rocks-and-diamonds games
Superior Software games
Acorn Archimedes games
BBC Micro and Acorn Electron games
Commodore 64 games
IOS games
Video games about reptiles
Video games developed in the United Kingdom
Windows games
ZX Spectrum games
Linux games

Repton (video game)


Harold Munro Fox  (; 28 September 1889 – 29 January 1967) was an English zoologist.

Education and early life
He was born Harold Munro Fuchs in Clapham, London, in 1889 to George Gotthilf Fuchs, a former captain in the Prussian Army, and Margaret Isabella Campbell Munro, daughter of Lieutenant Colonel Andrew Munro of the Yorkshire Regiment. However, his parents separated when he was just a few years old. Fox was educated at Brighton College and Gonville and Caius College, Cambridge, where he read for the Natural Sciences Tripos (1908–1911).

Career
After graduation he went to the Plymouth Laboratory of the Marine Biological Association of the United Kingdom (1911–1912), where he worked with Cresswell Shearer and Walter de Morgan on the genetics of sea urchin hybrids. After his year in Plymouth, he went to Naples, Italy, in 1912, where he worked on fertilisation at the Stazione Zoologica for ten months. In 1913 he was appointed lecturer in zoology at the Royal College of Science, London, by Ernest William MacBride.

When the First World War broke out, he enlisted in the Royal Army Service Corps and served with the City of London Yeomanry in the Balkans, Egypt, Salonika (Thessaloniki), and Palestine. It was then when he changed his name from Fuchs to Fox by deed poll. While he was stationed in Egypt, he met his first wife, Léonie Thérèse Roger, the daughter of Henri Roger, a French people official of the Suez Canal Company. They married in 1917. After the war, Fox spent six months back in London working with MacBride again, and also worked at the Marine Biological Association again for some time. However, in 1919 he returned to Cairo on invitation by Edward Hindle to join his staff at the Cairo School of Medicine as lecturer (1919–1923). During this time he finished a thesis on the flagellate protozoan Bodo, the research on which he had begun at Plymouth, and presented it to Gonville and Caius College, Cambridge, to apply for fellowship. His application was accepted in 1920, but he took up the post only in 1923. In Cambridge, he and John Stanley Gardiner organised an expedition to study the fauna of the Suez Canal during 1924–1925.

In 1927, Fox was appointed head of the Department of Zoology and Comparative Anatomy at the University of Birmingham, a post he held until 1941. It was during his time in Birmingham that he and his wife became increasingly estranged from each other and eventually divorced. In 1931, Fox married his second wife, Natalia 'Natasha' Lvovna. He was Professor of Zoology, Bedford College, London, from 1941 to 1954. Because the college had moved from London to Cambridge due to the outbreak of World War II, he was able to work with his former colleagues from Gonville and Caius College again.

On retirement he moved to Queen Mary College, London as a research associate.

His research focused on researching marine invertebrates such as ostracod crustacea. He was elected a Fellow of the Royal Society in 1937 and won the society's Darwin Medal in 1966.

Fox died in St George's Hospital, London, on 29 January 1967.

References

1889 births
1967 deaths
Academics of Bedford College, London
Academics of Queen Mary University of London
Academics of the University of Birmingham
Alumni of Gonville and Caius College, Cambridge
British Army personnel of World War I
Fellows of the Royal Society
Fullerian Professors of Physiology
People educated at Brighton College
People from Clapham
Scientists from London
Royal Army Service Corps soldiers
City of London Yeomanry (Rough Riders) officers
20th-century British zoologists

Harold Munro Fox


Sir Richard Tetley Glazebrook  (18 September 1854 – 15 December 1935) was an English physicist.

Education and early career
Glazebrook was born in West Derby, Liverpool, Lancashire, the son of a surgeon. He was educated at Dulwich College until 1870, Liverpool College from 1870 to 1872, and Trinity College, Cambridge, from which he graduated in Mathematics in 1876 and of which he was elected a fellow in 1877. He studied physics under James Clerk Maxwell and Lord Rayleigh at the new Cavendish Laboratory and, in 1880, was appointed a demonstrator at the laboratory.

The following year (1881), he was also appointed a college lecturer in mathematics and physics and a university lecturer in mathematics. His research focused on electrical standards and aviation. When defining electrical standards for the unit of resistance, the British Science Association were trying to determine what length a mercury column should be, to express the absolute value of the Ohm. A number of different values had been obtained over the years and Glazebrook determined the value at 106.3 cm.

Despite skepticism of mercurial standards this was the International value agreed on later by the 1893 Chicago conference.

Later career

He hoped to succeed Rayleigh as Cavendish Professor of Physics in 1884, but was surprisingly (given that he was also Rayleigh's choice) passed over in favour of Sir J.J. Thomson, which was a great disappointment to him. He was, however, appointed Assistant Director of the Cavendish in 1891 and Bursar of Trinity College in 1895. In 1898, he was appointed Principal of University College, Liverpool.

In June 1899, however, he left to become first Director of the National Physical Laboratory (NPL) in Teddington. During the First World War, he chaired the government's Advisory Committee for Aeronautics, located at the NPL, under the presidency of John Strutt, Lord Rayleigh.

He held his post at the NPL until his retirement (largely due to friction with the Department of Scientific and Industrial Research) in 1919, successfully establishing the NPL as a world leader in physics research.

Retirement

Following his retirement, he moved back to Cambridge and edited the Dictionary of Applied Physics. From 1920 to 1923 he was Zaharoff Professor of Aviation and Director of the Department of Aeronautics at Imperial College, London. He remained on the General Board of the NPL and chaired the Executive Committee from 1925 to 1932.

Honours and awards

In 1882, he was elected a Fellow of the Royal Society (FRS) at the very young age of 28. He served as Vice-President of the Royal Society in 1919–1920 and 1924–1928, and as its Foreign Secretary from 1926 to 1929. He was awarded the Hughes Medal in 1909 and the Royal Medal in 1931.

He was also awarded the Albert Medal of the Royal Society of Arts in 1918, and the Gold Medal of the Royal Aeronautical Society in 1933.

He was President of the Physical Society, later the Institute of Physics, from 1903 to 1905, and president of the Institution of Electrical Engineers in 1906.

Glazebrook was appointed Companion of the Order of the Bath (CB) in 1910, was knighted in 1917, and appointed Knight Commander of the Order of the Bath (KCB) in the 1920 New Year War Honours and Knight Commander of the Royal Victorian Order (KCVO) in 1934.

Personal life

He married Frances Gertrude Atkinson of Leeds in 1883; they had a son and three daughters. He died at Limpsfield, Surrey, on 15 December 1935, aged 81.

Works
 A dictionary of applied physics (5 vols.) edited by Richard Glazebrook I. Mechanics, engineering, heat; II. Electricity; III. Meteorology, metrology; IV. Light, sound, radiology, aeronautics, metallurgy. General Index (London : Macmillan, 1922–1923)
 Mechanics Dynamics (Cambridge University Press, 1911)
 Mechanics Hydrostatics (Cambridge University Press, 1916)
 Physical optics (London, New York: Longmans, Green, 1886)
 Laws and properties of matter (London, K. Paul, Trench, Trübner & co., ltd., 1893)
 Heat: an elementary text-book, theoretical and practical, for colleges and schools (Cambridge University Press, 1894)
 Light, an elementary text-book, theoretical and practical (Cambridge University Press, 1912)
 Electricity and magnetism. An elementary text-book, theoretical and practical (Cambridge University Press, 1903)
 Practical physics (London, Longmans, 1889)
 James Clerk Maxwell and modern physics (New York: Macmillan, 1896)
 	Science And Industry	The Rede Lecture 1917 (Cambridge University Press)

Footnotes

External links
 Science and Society Picture Library at www.nmsi.ac.uk
 Glazebrook's descendants (genealogy).

1854 births
1935 deaths
People educated at Dulwich College
People educated at Liverpool College
Alumni of Trinity College, Cambridge
Fellows of Trinity College, Cambridge
Academics of the University of Cambridge
Academics of the University of Liverpool
Academics of Imperial College London
English physicists
Knights Commander of the Order of the Bath
Knights Commander of the Royal Victorian Order
Knights Bachelor
Fellows of the Royal Society
Royal Medal winners
Scientists from Liverpool
Members of HM Scientific Civil Service
Presidents of the Institute of Physics
Presidents of the Physical Society
Scientists of the National Physical Laboratory (United Kingdom)

Richard Glazebrook


Fate: Undiscovered Realms is an  action role-playing roguelike video game developed by WildTangent and released on July 17, 2008, as a stand-alone expansion to the 2005 PC game Fate. The retail version sold in stores includes the original game as well. It was followed by a second expansion, Fate: The Traitor Soul, in 2009.

Gameplay
Like Fate, FUR is a fantasy action role-playing game similar to Diablo and Diablo II. This type of game is also known as a dungeon crawler, where the player takes their character through progressively more difficult levels of a dungeon, fighting monsters, completing quests, collecting valuable items and gold, and improving the character's attributes and skills along the way. The dungeons in FUR are fully randomized for each level; the layout, treasures and monsters are all different each time you visit one. Users are given the option to import their character from Fate if they own the first game.

The game is advertised as having infinite dungeon levels, although this is not technically true: according to the publisher's website forum, at level 2,147,483,647 (2^31-1) the game runs into computing problems and the character can go no further.

Plot
The hero of the town of Grove has completed his quest and celebrates his victory. But during the festivities an unusual old man appears and convinces the hero to come with him, telling him that another great evil has arisen. The old man has tricked the hero, and opened the Book of Fate, gaining its powers. The hero must now stop this new foe by exploring the dungeons of Druantia, a realm of mossy forest and dry tunnels, and Typhon, a frozen tundra and arctic wasteland.

In this game, the town of Grove has been replaced with three new realms: the Outpost of Druantia, the Outpost of Typhon and the Temple of Fate. Each realm features new randomized dungeons, shopkeepers and non-player characters (NPCs). Each dungeon is only about half the size of the original dungeon in Fate. Players start in the Temple of Fate where they are given quests to enter and complete the dungeons of Typhon and Druantia. There are also two statues in the Temple: in specific levels the player will find missing equipment which they must then put on the corresponding statues. When all the missing clothing has been put back on, the statue will release a prize, and a potion which will turn the player's pet into the hero that the statue depicts. The statue will release the potion as many times as the player wants, but the prize is only released once. Once the first two realms have been completed, the player must return to the quest-givers in the Temple of Fate, whereupon a new dungeon is unlocked and the player tasked with defeating the lord of the dungeon and final boss in the game, Kaos. It is a mystery what happened to the evil old man from the introduction, but it is possible that Kaos and the old man are the same being.

Customizations
Like many other games in its class, Fate has an active modding community. The developers have released tools to aid in the creation of mods and over 10,000 mods exist in a community database. Mods for Fate range from simple potions and weapons to new spells and pets. The community has created tutorials for creating new weapons, armor, spells, monsters, and other such items. One pitfall of these activities is the stability of the game.

Fate: Undiscovered Realms introduces a new mod-inserting system, with which the user can just move/copy the mod folders into a specific folder called "REALMS" in which the realms from the base game are located too. All mods moved here can be manually removed and changed. The introduced system is more stable than the mod manager and manually modding. The number of mods does not increase loading times.

Reception
Fate: Undiscovered Realms received fairly positive reviews from critics, garnering a score of 7.0 from both GameSpot and IGN. In his review for GameSpot, Brett Todd praised the simple charm and addictive gameplay carried over from the original Fate but criticized the fact that only a few new features have been added, calling it more of an extension of the original rather than an expansion. IGN reviewer Jimmy Thang called it a solid addition to the hack and slash genre albeit one hindered by uninspired dungeon design.

References

External links
 Fate homepage

Role-playing video games
Action role-playing video games
Video games developed in the United States
Video games with gender-selectable protagonists
Video games using procedural generation
Windows games
Windows-only games
WildTangent games
2008 video games
Dungeon crawler video games
Encore Software games
Single-player video games

Fate: Undiscovered Realms


The Cyprus cat is a breed of cat.  These cats are thought to have first come from ancient Egypt or Palestine. They were brought to the island of Cyprus by St. Helen. These are now common domestic cats that live in homes or outside. Many of these cats still live all over Cyprus. But, a large number are now feral. This means they are not tame and they run wild.

History
A researcher, J.-D. Vigne and his group, might have discovered the oldest domestic cat, in Cyprus. In 2004, archaeologists working at a Neolithic site in southern Cyprus dug up carefully buried bones of a cat. It had been placed next to human bones and artifacts. "Examination showed that a small pit or grave had been deliberately dug out, and the body of the cat was placed in it, then rapidly covered." The cat skeleton is about 4,000 years older than any known Egyptian drawings or writings.

Cyprus cats were probably living in a Byzantine monastery in the fourth century. In legends, it is said that St. Helen brought hundreds of cats to get rid of poisonous snakes that were taking over the monastery. The monastery had two bells. One rang to call the cats for their food. The second one rang to send the cats out to the meadows to hunt snakes. Now, the monastery has very few cats that live there.

Behavior

Cyprus cats are strong, athletic and full of energy. They live both in the cool mountains and in hotter areas near the sea coasts. They can adapt to any climate or living space.

References

Cat breeds
Natural cat breeds

Cyprus cat


Dan Clifton (1865–1896?), known as Dynamite Dan or Dynamite Dick, was an American Old West outlaw and member of the Doolin Gang.

Clifton was a minor criminal wanted in the Oklahoma Territory for robbery, safecracking, and cattle rustling before joining the Doolin Gang in 1892. Upon joining the gang, Clifton took part in the remainder of the Doolin Gang's bank robberies, including the 1893 gunfight with law enforcement at Ingalls, Oklahoma, where three of his fingers were shot off. Following the gang's escape, and eventual disbandment, a bounty of $3,500 was placed on Clifton, who was becoming popularly known as the "most killed outlaw in America", as people would repeatedly turn in a corpse claiming the body as Clifton's, despite the fact the bodies had all 10 fingers, while others, who would randomly cut off three fingers, would often cut the wrong ones. Clifton was reportedly killed near Blackwell, Oklahoma, by Deputy US Marshal Chris Madsen in 1896. While the man in question was missing the correct fingers,  the outlaw killed was suspected to have actually been Buck McGregg. That is unlikely, though, as Clifton never surfaced again, and Madsen was said to have known Clifton.

Actor Buck Taylor was cast as Clifton under the nickname "Dynamite Dick", instead of "Dynamite Dan", in the 1981 film, Cattle Annie and Little Britches, a fictional portrayal of teenaged Oklahoma bandits.

References

Further reading
 Sifakis, Carl. Encyclopedia of American Crime, New York, Facts On File Inc., 1982

Outlaws of the American Old West
American bank robbers
1865 births
1896 deaths
Deaths by firearm in Oklahoma
People shot dead by law enforcement officers in the United States
People from Oklahoma Territory

Dan Clifton


Photo editing or image editing is the changing of images. These images can be digital photographs, illustrations, prints, or photographs on film). Traditional editing, such as airbrushing, is done by hand. Now photo editing is done by programs such as Photoshop, Gimp and Microsoft Paint.

Photo editing is done for many reasons. Many photos of models are edited to remove blemishes or make the model "better".  This is usually called retouching, airbrushing or Photoshopping, even if Photoshop or airbrushes are not used.  Other reasons to edit a photo include fixing errors (red eye, contrast, brightness, etc.), practical jokes, and to trick people. Photo editing is also used to make completely new images. Photo editing is sometimes called photo manipulation, a term which sounds negative.

History
The first known example of photo editing happened in the 1860s to a photo of President Abraham Lincoln. Before the invention of computers, people had to edit images by hand. Some editing was done by pasting photos together. People also used tools like ink, paint and airbrushes. Enlargers made bigger pictures, and allowed adjustments such as brightening or darkening different parts.

In the 1980s, photo editing computer programs for personal computers were made.  The first version of Adobe Photoshop was released in 1987.
In 2011 the first photo editing mobile apps were released on App Store Other apps have been made for other mobile operating systems. These apps allow editing and photo sharing by smartphone and tablet computer.

References

Photography

Photo editing


The Shorter Cambridge Medieval History is a two-volume history of medieval Europe by Charles Previté-Orton (1877–1947), prepared for publication by Philip Grierson, and published by Cambridge University Press in 1952. It is a condensed and revised version of The Cambridge Medieval History which was published in eight volumes between the World Wars and, unlike that work, was intended for a general audience.

The book was generally well received despite some criticism for being too heavy on facts and neglecting the non-political aspects of medieval history such as literature and art. Others felt that it was not as easy a read as had been promised. Reviewers agreed that it was more than a mere condensing of its parent, being almost completely new material from the pen of Previté-Orton that reflected the latest developments in medieval history in the 1940s rather than the views of twenty or thirty years earlier that formed the original work. There was disquiet, however, that even such a distinguished author as Previté-Orton could not be right all the time and that the inevitable generalising statements essential in such a condensed work might be mistaken for settled facts when much about medieval history remained uncertain.

Background
The history has its origins in the eight-volume Cambridge Medieval History which was published between the World Wars and of which Previté-Orton was one of the editors. In 1939, the Syndics of Cambridge University Press asked Previté-Orton to write a concise version of the earlier history which was a work of reference that in practice was too detailed and too long to be read in full. He had complete discretion to take and amend any part of the full history and to add any new material that he felt necessary. He completed the work before his death in 1947 but it was not ready for the printers, so the numismatist and historian Philip Grierson was given the task of making the final revisions prior to publication. As the work was intended for the general reader, maps and genealogical tables were added to aid understanding and Grierson split the longer chapters in Previté-Orton's manuscript to match the shorter chapters of the rest of the work.

Publication
The book was published by Cambridge University Press in two hardback volumes in 1952. It was reprinted with corrections in 1953, 1960, and 1962. There were two further reprints followed by the first paperback edition in 1975. A Readers Union book club edition was published in 1955. The book is currently out of print with the university press.

Content
The work contains 38 chapters, gathered into books of three or four chapters each, as well as an editorial note by Grierson, table of contents, 132 illustrations, 15 maps, 17 genealogical tables, retrospect, appendices, and an index, totalling over 1,100 pages. It covers the period from the end of the third century to the end of the fifteenth, spanning the collapse of the western Roman Empire and the "ruin" of the ancient civilisation, to the development of "conscious" nation states, the development of humanism and naturalism in the arts, the discovery of the New World and the eclipse of European commerce by an oceanic stage, preceded by the eventual collapse of the Eastern Roman Empire. The authors acknowledge the arbitrary nature of the periods chosen as being described as the Medieval period or Middle Ages, and the "crooked and perilous" road taken, but see the story, overall, as one of great progress.

 Volume I The Later Roman Empire to the Twelfth Century
Book I – The Later Roman Empire
Book II – The Break-up of the Empire
Book III – Byzantium and Islam
Book IV – The Dark Ages in the West
Book V – The Foundation of Western Europe
Book VI – The Twelfth Century

 Volume II The Twelfth Century to the Renaissance
Book VII – The Papacy at its Zenith and the Secular Kingdoms
Book VIII – The Leadership of France
Book IX – The Fourteenth Century
Book X – The End of the Middle Ages
Book XI – The Transition to Modern Times

Reception
H. R. Rothwell in Antiquity welcomed the two volumes as a masterful synthesis that represented the distillation of a lifetime of study and not simply a condensing of the earlier work. He applauded the ability of Previté-Orton to fully integrate the history of east and west, even managing to weave the history of Byzantium into the overall narrative, as the original Cambridge history had been unable to achieve, thus demonstrating that where one mind was able to tell a coherent tale, it was best so done. As an overall narrative, however, in which current historical debates were not addressed and without footnotes, Rothwell worried that the general reader might underestimate the extent to which the conclusions were still tentative and how many questions remained unanswered in medieval history.

Kenneth M. Setton, in Speculum, took a contrary view, seeing the book as not long enough to adequately treat the many subjects that it had to cover, having simultaneously too much political detail for its length and not enough for an adequate account, and neglecting cultural matters. Setton observed that although Previté-Orton had discretion to take as much of the original history as he wanted, he had rarely done so and the result was a work that reflected his own views and not those of the work he had edited. The style was brisk, scholarly, dry, and to the point, and the editing careful. Errors were few but not difficult to find, and some of the content was beginning to date. In contrast to Rothwell, Setton found the coverage of Byzantine history inadequate, but he also acknowledged the ambition and scope of the work and concluded by saying that it was yet another book that he wished he had written.

William Croft Dickinson in The Scottish Historical Review, also felt that the history was too heavy on facts, thus running the risk that, as Benedetto Croce had observed, it became chronicle rather than history, but appreciated the effort of the authors nonetheless in cramming a great deal into a small space, albeit by sacrificing any bibliography and any reference to the original authors on which they had drawn. The illustrations were exceptionally well chosen by S. H. Steinberg but the maps were less successful with bold divisions that did not well reflect the reality of the porous nature of national borders in the medieval period.

Martin R. P. McGuire, in The Catholic Historical Review, welcomed the creation of a coherent overall narrative that it was possible to read in full and appreciated the extensive revising that the authors had undertaken, making it a book reflecting the state of historical enquiry in the 1940s rather than the 1910s/20s of the original work. Like other reviewers, McGuire noted that the book was heavy on political and constitutional matters and light on cultural history such as literature.

Philip C. Sturges, in The Western Political Quarterly, felt that the claim that the book could appeal to the general reader was false as it was "too encyclopedic, too arid, too packed to admit of any sustained appreciation by the public." Like other reviewers, Sturges appreciated the illustrations, disliked the maps, and lamented the lack of a bibliography and footnotes. Even admitting Previté-Orton's sterling reputation, he felt that the reader should not be expected to take his opinions on faith, particularly in a work full of necessary summaries that must have involved the author's personal judgements. Despite this, he admired the masterful distillation of so much into so little, praising, for instance, the author's descriptions of Visigothic rulers "with an economy so exact that not a word is wasted and yet not an essential lineament is omitted." Despite its flaws, the book was more than a mere condensation of its parent.

See also
 The New Cambridge Medieval History
 The Oxford Illustrated History of Medieval Europe

References

Cambridge University Press books
1952 non-fiction books
History books about Europe
History books about the Middle Ages

The Shorter Cambridge Medieval History


In agriculture, Integrated Pest Management (IPM) is a pest control strategy. This strategy uses many different ways to deal with pests: natural predators and parasites, pest-resistant varieties of plants, cultural practices, biological controls, various physical techniques, and pesticides as a last resort.

It is an ecological approach that can reduce or eliminate the use of pesticides.

Related pages
Biological control

Agriculture

Integrated pest management


Yanta District (, pinyin:Yàntǎ Qū, meaning "Wild goose Tower District") is a District of Xi'an, it's in southern part of Xi'an. Area of it is 151.44km2, and as of November 2010, 1,178,529 people live in here. The name of Yanta District is come from Big Wild Goose Tower, a tower that builded in 652 A.D. It's famous in culture and tour. The district have many university.

History

In September 1954, Yanta District was set up. It was merge from Xi'an No.9 District, a part of Chang'an County, a part of Weiqu District and some other place.

In May 1960, some part of Xincheng District, Lianhu District and Beilin District was merged to Yanta District. But that was revoked in April 1962.

In September 1965, Yanta District was changed to Xi'an suburb toghter with Weiyang District, original Epang District and some other place. It's revoked in February 1980.

Political divisions

Yanta District is divided to 8 part:

 Xiaozhailu Subdistrict
 Dayanta Subdistrict
 Changyanpu Subdistrict
 Dianzicheng Subdistrict
 Dengjiapo Subdistrict
 Yuhuazhai Subdistrict
 Zhangbagou Subdistrict
 Qujiang Subdistrict

Shaanxi
Districts of China

Yanta District


Roberto Loreti (born 22 October 1947, in Rome), also known by stage name Robertino (a diminutive of Roberto), is an Italian singer, known mostly for songs he performed as a teenager.

Early years
He was born to a large family with eight other children. His family was poor, and when he was 10, his father fell sick and Robertino helped the family by delivering bakery products to restaurants. He enjoyed singing folk songs on his way and was noticed by people for his singing voice. After a request to perform at a wedding in a restaurant, Robertino was sought after by other restaurants who competed for his service.

Robertino was singing at Cafe Grand Italia where Neapolitan actor Totò and Danish TV producer Volmer Sørensen noticed him. Sørensen was vacationing in Rome with his wife, singer Grethe Sønck, who noticed the boy. Sørensen persuaded his father to sign a contract, which stated that the boy would sing till age 17, and became his producer. That led to performances on Danish TV shows, tours of Scandinavia and Europe. Robertino would spend months on tour, singing up to three concerts a day, until his voice started to change. He recorded an album while in Copenhagen, and later published several albums and appeared in movies.

Later
His voice eventually changed and became a baritenor. Loreti still travels through Europe, the US and Russia performing in concerts. In post-Soviet countries, he became friends with singers Muslim Magomayev (died in 2008), Tamara Sinyavskaya and Joseph Kobzon. Cosmonaut Valentina Tereshkova requested his records played while she was in space. Russian poet Yevgeny Yevtushenko wrote a poem titled "Robertino Loreti".

Alleged conspiracy to murder Loreti
Pietro Castelluzzo, 58, was arrested Thursday, February 25, 2010, by members of the Organized Crime Enforcement unit of the Toronto Police Service, in Toronto, Ontario, Canada, and charged with four counts of counselling to commit three murders, the target of one of which was Roberto Loreti. The suspect had known the singer for decades, and Loreti had stayed at Castelluzo family home in Toronto in the 1980s. It was at that time that Castelluzzo believed Loreti had slept with his wife. The murder was to take place while Loreti had an engagement at the Fallsview Casino, Niagara Falls, Ontario, the following weekend.

References

External links
 at Torna a Surriento
italian fan-club
Memorabilia

1947 births
Italian child singers
Living people
Italian male singers

Robertino Loreti


Julia Fischer (born 15 June 1983) is a German classical violinist and pianist. She teaches at the Munich University of Music and Performing Arts and performs up to 60 times per year.

Biography
Julia Fischer is of German-Slovak ancestry. Her parents met as students in Prague.  Her mother is Viera Fischer (née Krenková). Her father, Frank-Michael Fischer, a mathematician from East Germany, also moved from Eastern Saxony to West Germany in 1972. In addition to German, Fischer is also fluent in English and French.

Fischer started playing the violin before her fourth birthday and received her first lesson from Helge Thelen. A few months later, she began taking piano lessons from her mother. Fischer once said, "My mother is a pianist and I wanted to play the piano as well, but since my elder brother also played the piano, I thought it would be nice to learn another instrument. I agreed to try out the violin and stayed with it." Fischer also supports her mother's belief that musical education of any kind should include piano fundamentals to extend one's repertoire and knowledge of harmony, theory, and style.

At the age of eight, she began her formal violin education at the Leopold Mozart Conservatory in Augsburg, under the tutelage of Lydia Dubrowskaya. When she was nine years old, she was admitted to the Munich University of Music and Performing Arts, where she worked with Ana Chumachenco.

When she was twelve years old she played Beethoven's Violin Concerto for the first time in her mother's home town in East Slovakia, and later played it again with Yehudi Menuhin in Vienna. Beethoven was also her mother's and brother's favourite composer. Fischer's parents divorced when she was thirteen. As a teenager she was inspired by Glenn Gould, Evgeny Kissin, and Maxim Vengerov.

Competitions
Two competitions defined Fischer's early career as a professional violinist. The most prestigious competition Fischer won was the 1995 International Yehudi Menuhin Violin Competition, which took place in Folkestone under the supervision of Yehudi Menuhin.

Her performance earned her first prize in the junior category as well as all of the special prizes, including the Bach prize for the best solo performance of the composer's work.

Music journalist Edward Greenfield said, "I first heard Julia Fischer in 1995 as a 12-year-old in the Yehudi Menuhin Violin Competition. Not only did she win outright in the junior category, but she was manifestly more inspired than anyone in the senior category."

Her teacher in Munich, Ana Chumachenco, kept Fischer down to earth by making her practise difficult pieces of Sarasate. In 1996, she won another major contest, the Eighth Eurovision Competition for Young Instrumentalists in Lisbon, which was broadcast in 22 countries.

Career

Solo artist
Fischer started her career early, although she attended school (the Gymnasium) up to the age of 19, learning mathematics and physics as well as music, and passed the Abitur in spring 2002. She has been giving concerts since she was 11 and started teaching as a violin professor at 23.

Fischer has worked with many internationally acclaimed conductors, such as Simon Rattle, Lorin Maazel, Christoph Eschenbach, Yakov Kreizberg, Yuri Temirkanov, Sir Neville Marriner, David Zinman, Zdeněk Mácal, Jun Märkl, Ruben Gazarian, Marek Janowski, Herbert Blomstedt, and Michael Tilson Thomas. She has also worked with a variety of top German, American, British, Polish, French, Italian, Swiss, Dutch, Norwegian, Russian, Japanese, Czech, and Slovak orchestras.

She has performed in most European countries, the United States, Brazil and Japan. Her concerts have been broadcast on TV and radio in every major European country and many have been featured on U.S., Japanese, and Australian radio stations.

Lorin Maazel as mentor
Lorin Maazel, chief conductor of the Munich-based Bavarian Radio Symphony Orchestra from 1993 to 2002, was Fischer's mentor since 1997. He used to perform in a concert with Fischer at least once a year. Maazel made Fischer perform as a soloist with the Bavarian Radio Symphony Orchestra first at the Bad Kissingen festival and then, in March 2000, in Munich, where the competition was fierce.

Carnegie Hall debut
2003 was a pivotal year in Fischer's career, including her Carnegie Hall debut, when she received standing ovations for her performance of Brahms' Double Concerto with Lorin Maazel and the Bavarian Radio Symphony Orchestra.

In 2003 Fischer also performed for the first time with the Berlin Philharmonic under Lorin Maazel as well as with the London Symphony Orchestra. Despite the added complication of the programme change two weeks before the concert, from the Beethoven violin concerto to the Bartók violin concerto, which Fischer had never played before, she mastered it.

Following numerous performances in the U.S. over the previous six years, in 2003 Fischer also performed with the New York Philharmonic under the baton of Lorin Maazel, playing the Sibelius Violin Concerto in New York's Lincoln Center, as well as the Mendelssohn Violin concerto in Vail, Colorado.

She has toured with Sir Neville Marriner and the Academy of St Martin in the Fields, Herbert Blomstedt and the Leipzig Gewandhaus Orchestra, the Royal Philharmonic Orchestra and the Dresden Philharmonic.

In 2006, Fischer was appointed as a professor at the Frankfurt University of Music and Performing Arts. She was Germany's youngest professor at the time. In fall of 2011, Fischer took over her former teacher Ana Chumachenco's chair at the Munich University of Music and Performing Arts.

At the 2011 Salzburg Easter Festival, Fischer played the violin concerto of Alban Berg with Simon Rattle and the Berlin Philharmonic. In May 2013 she performed for the first time with the Vienna Philharmonic under Esa-Pekka Salonen, playing the violin concertos of Esa-Pekka Salonen and Ludwig van Beethoven.

At the Proms
When Fischer played the Dvořák violin concerto with David Zinman and the Tonhalle-Orchester Zürich at the BBC Proms on 21 July 2014, the concerto was recorded and received excellent reviews:"Julia Fischer turns in a splendid account of the Dvořák violin concerto. She plays with her usual fine sense for judicious tempos, a wide range of imaginatively applied dynamics, beautiful intonation, and spectacular technique. She is very poetic in the lovely second movement and in the outer panels she plays with a true dynamism, catching all the drama and joy in the music. [...] I cited Fischer's technique above: you may well watch and listen in awe to her incredibly subtle and utterly dazzling encore performance of the finale of the Hindemith Solo Violin Sonata in G minor."

The Beethoven violin concerto
In the 2018–2019 concert season Fischer played the Beethoven violin concerto with Michael Tilson Thomas and the London Symphony Orchestra in London on 30 May 2019.

Awards
Fisher was selected as one of 16 Violinists of the Century, alongside Jascha Heifetz and Yehudi Menuhin, for the 20-CD box set of the Sueddeutsche Zeitung in 2006. She was nominated Gramophone Classical Music Awards 2007 Artist of the year, succeeding Martha Argerich (1999) and preceding Hilary Hahn (2008).

Soloist on the violin and piano
Fischer is a soloist who can expertly play both the violin part and the piano part of sonatas. Practicing both parts of Beethoven sonatas is the way her musical education began at the age of 4. This approach has enhanced her understanding of the harmony and style of the works she plays as a violinist.

She stopped practicing the piano for a few months while she was preparing for the Menuhin Competition in 1995 where she won 1st prize in the junior category.

On 1 January 2008, Fischer had her public debut as a pianist, performing Edvard Grieg's Piano Concerto in A minor with the Junge Deutsche Philharmonie at the Alte Oper, Frankfurt. The concert was conducted by Matthias Pintscher, who stepped in for Sir Neville Marriner. On the same occasion, she also performed the Violin Concerto No. 3 in B minor by Camille Saint-Saëns. Fischer performed this concert once more in Saint Petersburg on 4 January 2008.

Fischer about performing
Fischer once said: "What is helpful for a career is that it is always about the music and not about the career. As soon as a young musician decides for certain reasons to have a career instead of using musical reasons, I can guarantee that it will be – if it will be at all – a short career. I truly believe that if someone wants to spend his professional life with music, he will – either as a soloist, orchestra member, teacher, concert promoter, or agent – in the end, it is unimportant. One should choose to become a musician because one believes that the world needs music and without music, the emotional life of human beings is going to die. Everything else will come with dedication and hard work."

In an interview in May 2006, she said the Beethoven violin concerto is probably the concerto she likes most. Her mother taught Fischer and her brother to play the piano just for the love of classical music. The jury of the 2006 BBC Music Magazine Awards said, "There are many recordings of Bach's works for solo violin but rarely do they reach such breathtaking heights of musicianship as this one. Julia Fischer is an incredible technician and soulful musician who does not let an ounce of ego come between the music and the listener."

In 2010, a critic for the Guardian wrote: "Although still in her mid-20s, she has been playing Bach for nearly two decades, in a daily act of private worship. [...] Fischer's full-blooded sound still allows for breathtaking precision: with her perfect understanding of the even rhythm and mounting tension at the work's core, she held the audience in a vise-like grip."

"On a concert stage, performing music by Bach, Schubert or Sibelius, the superb young German violinist Julia Fischer is the picture of focus and discipline. Offstage, she's just the same." (Joshua Kosman about Julia Fischer 3 June 2009)

Chamber music
In 2011, Fischer founded the Fischer quartet with Alexander Sitkovetsky (violin), Nils Mönkemeyer (viola), and Benjamin Nyffenegger (cello). The quartet went on tour in early 2018 with stops in Leipzig, London, Luxembourg, Munich and Zürich. Music partners in chamber music are Daniel Müller-Schott (cello), Milana Chernyavska, Yulianna Avdeeva, and Igor Levit (piano).

Repertoire
The composers Fischer spent the most time with are Beethoven, Bach, Dvořák, Schubert and Brahms. Her active repertoire spans from Bach to Penderecki, from Vivaldi to Shostakovich, containing over 40 works with orchestra and about 60 works of chamber music. She is known for her performance of Bach's work, winning the Bach prize at the 1995 Menuhin competition and the 2006 BBC Music Magazine Awards Best Newcomer for the CD Johann Sebastian Bach, Sonatas and Partitas for solo violin (BWV 1001–1006).

Instruments
Currently, Fischer plays a Guadagnini 1742 purchased in May 2004, and also a violin by Philipp Augustin 2011, which she has owned since 2012. For four years prior to that, she had been using a Stradivarius, the 1716 Booth, on loan from Nippon Music Foundation, an instrument that had previously belonged to another violinist, Iona Brown. She usually uses a Benoît Rolland bow, but sometimes a copy of the Heifetz Tourte by the Viennese maker Thomas Gerbeth for early Classical period music.

Fischer said in August 2010: "I played on an adult-sized violin (4/4) ever since I was ten years old. The quality of my instruments improved as time passed: Ventapane, Gagliano, and then Testore, up to a Guarneri del Gesù in 1998. However, I wasn't satisfied with that violin, and changed to a Stradivarius — the 1716 Booth, property of the Nippon Music Foundation — on which I played for four years, with which I was well pleased. However, I always wanted to have an instrument of my very own. Thus, six years ago, in London, I bought, with the advice of the concertmaster of the Academy of St. Martin in the Fields, who is one of my best friends, the 1742 Guadagnini."

Recordings

In fall 2004, the label Pentatone released Fischer's first CD: Russian violin concertos with Yakov Kreizberg and the Russian National Orchestra. It received rave reviews, climbing into the top five best-selling classical records in Germany within a few days and receiving an "Editor's Choice" from Gramophone in January 2005. Other critically acclaimed recordings include sonatas and partitas for solo violin of J. S. Bach, the Mozart violin concerto and the Tchaikovsky violin concerto. After five years with Pentatone, in 2009, Fischer signed a contract with Decca Classics.

She has published a number of acclaimed and awarded CDs for Pentatone (Russian violin concertos, the Solo Sonatas, and Partitas by Bach, the Mendelssohn Trios, the Mozart concertos, the Brahms Vc. and Double Concerto) as well as for Decca (Bach Violin concertos, Paganini 24 Caprices for Violin solo, Impressionistic music under the title 'Poème', and the Dvorak/Bruch combi Made in Switzerland) plus two DVDs (Vivaldi, The Four Seasons and her New Year's Concert 2008 in Frankfurt, where she soloed both on violin and piano).

Fischer about recording
About recording for Pentatone, Fischer once said: "I had offers from big companies but none appealed. You don't have to record. Yakov [Kreizberg] spoke to the people at Pentatone and to me and put us together. Pentatone more or less gave me carte blanche as to what I record and the musicians I work with are my choice; all these things were so important to me. I record to experience something and to help my playing and music-making. For the concerto CD, Yakov and I really talked about the pieces; I learnt so much by that."

According to Strings Magazine, "When Kreizberg asked her to record with the Russian National Orchestra, she said yes, but privately wondered whether it would come to pass, knowing that such impulsive recording plans often disappear into thin air. Still after their last performance in Philadelphia, Kreizberg already had the dates and suddenly Fischer, who had not even decided whether she wanted to start recording regularly, had a three-year, seven-CD contract with PentaTone, the new high-tech Dutch label headed by former Philips Classics executives, and one of the first labels to embrace the new SACD 5.1-channel surround-sound technology."

The article went on to say that "Although she still wavered, what decided her to sign on the dotted line was that all the concerto recordings would be conducted by Kreizberg."

Prizes and honors
Fischer has won five prizes for her violin playing and three prizes for her piano playing at Jugend musiziert.

She won all eight competitions she entered.

In 1997, Fischer was awarded the "Prix d'Espoir" by the Foundation of European Industry. She had the opportunity to play Mozart's own violin in the room in which he was born at Salzburg to honor the 250th anniversary of his birth.

 1995: 1st Prize at the international Yehudi Menuhin competition, in addition to a special prize, "Best Bach Solo-work".
 1996: Winner 8th Eurovision Competition for Young Instrumentalists in Lisbon
 1997: Prix d'Espoir the prize of the European music industry
 1997: Soloist prize of the festival "Mecklenburg-Western Pomerania"
 1998: EIG Music Award
 2000: Promotion prize Deutschlandfunk
 2005: ECHO Klassik Award for the CD Russian Violin Concertos
 2005: Winner of the Beethoven Ring
 2006: During the celebrations of Mozart's birthday in his hometown Salzburg, Fischer played on Mozart's violin (with Daniel Müller-Schott and Jonathan Gilad). About the event, she says: "During the first hour I couldn't play anything I wanted, because during the days of Mozart the violins were a lot shorter and I wasn't used to that".
 2006: "BBC Music Magazine Awards 2006 Best Newcomer" for the CD Johann Sebastian Bach, Sonatas and Partitas for solo violin (BWV 1001–1006).
 2007: The Classic FM Gramophone Awards Artist of the Year.
 2007: ECHO Klassik Award for the CD Tchaikovsky Violin Concerto
 2009: MIDEM Classical Award as "Instrumentalist of 2008".

Private life

Fischer is married and has two children. She lives in Gauting, a suburb of her home town of Munich.

Discography

References

External links

Julia Fischer's fan club
Julia Fischer's homepage
 Violinist Fischer juggles balance, discipline, article by Joshua Kosman, San Francisco Chronicle, 2009
 Julia Fischer's site at Universal Music
Julia Fischer's site at Pentatone Music
Julia Fischer's site at Decca Classics
Audio interview of Julia Fischer from May 2006  on the Baltimore Symphony Orchestra Musicians site, 7:48 min
Article featured in Strings magazine, May 2006, No. 139
 "Ich muss nicht sterben, um das zu spielen" Interview with Julia Fischer from 29 February 2008
 Julia Fischer playing Brahms Double Concerto, 33:54 min

1983 births
Living people
German classical violinists
German women violinists
German women academics
German classical pianists
German women pianists
Winners of Eurovision Young Musicians
Women classical violinists
Carpathian German people
German people of Slovak descent
20th-century German musicians
20th-century classical violinists
21st-century German musicians
21st-century classical violinists
21st-century classical pianists
Academic staff of the University of Music and Performing Arts Munich
20th-century German women
21st-century German women
20th-century women pianists
21st-century women pianists

Julia Fischer


The White House Acquisition Trust is a private, non-profit, tax-exempt fund established to finance the purchase of fine art and decorative arts for the White House, the official home and principal workplace of the president of the United States. The fund is funded by private donation, through individual citizens and corporations. The trust is administered by the White House Historical Association.

In May 2006 the White House Acquisition Trust reported net assets of $8,485,245 on IRS Form 990.

See also
 Art in the White House
 White House Endowment Trust
 White House Historical Association
 Committee for the Preservation of the White House

References
 Clinton, Hillary Rodham. An Invitation to the White House: At Home with History. Simon & Schuster: 2000. .
 Garrett, Wendell. Our Changing White House. Northeastern University Press: 1995. .

External links
White House Historical Association decorative arts timeline

White House
White House Executive Residence Operations

White House Acquisition Trust


Georg Meistermann (June 16, 1911 – June 12, 1990) was a German painter and draftsman who was also famous for his stained glass windows in the whole of Europe.

From 1930, Meistermann studied art at the Kunstakademie Düsseldorf under Werner Heuser, Heinrich Nauen and Ewald Mataré, but in 1933 the Nazis condemned this sort of art, and he could not continue his studies. Therefore, he worked as an independent painter and art teacher in Solingen for some years.

Influenced by late Cubism and Alfred Manessier, he created abstract paintings, but he also produced portraits and wall paintings. Beginning in 1937 he made stained glass windows, immersing private, public and church rooms in colored light in an innovative manner, based on an interaction of color, form and line, for which he would become famous. "To bring the colour to floating, to detect meditative spaces and to conquer a depth of the painting directed towards transcendence has been his artistic programme." One example, installed in 1957, is to be found in Berlin's Kaiser-Friedrich-Gedächtniskirche. In 1976, he designed four windows for the Collegio Teutonico, Rome. Another important work is his new design for St. Gereon's Basilica, Cologne (1979-1986), which he called "my religious testament and climax of my lifework". The Stained Glass Association of America considers Meistermann "the most versatile German stained glass designer".

In 1953 the artist was appointed professor at the Städelschule, Frankfurt am Main. From 1955 to 1959 he hold a professorship at the Kunstakademie Düsseldorf, and from 1960 to 1976 he was a professor at the Staatliche Akademie der Bildenden Künste Karlsruhe. Among his students at the Düsseldorf Academy were Gotthard Graubner, Raimund Girke and HA Schult. Among his students at the Karlsruhe Academy were Gerold Bursian, Wolfgang Glöckler, Otto Mindhoff, K.J. Overkott and Hans-Günther van Look.

Meistermann participated at the documentas I (1955) and II (1959) in Kassel.

A devout Catholic, Meistermann worked for sacred rooms with great passion. With his art he wanted to praise the grace of God, looking for form-expressing solutions to glorify the Creator. However, he also criticized the Church, quarreling with those who thought they were in a position to claim special rights only because they administered the Christian faith: "I make propaganda for the Christian faith," he said, "but quite certainly, I do not make propaganda for the Church."

From 1967 to 1972, he was President of the German Artists Federation, requesting his colleagues in numerous papers and speeches to contribute their part to a more humane society.

In 1994, the Georg-Meistermann-Museum was opened in Wittlich.

References

20th-century German painters
20th-century German male artists
German male painters
1911 births
1990 deaths
People from Solingen
Grand Crosses with Star and Sash of the Order of Merit of the Federal Republic of Germany
Kunstakademie Düsseldorf alumni
Academic staff of Kunstakademie Düsseldorf
German contemporary artists

Georg Meistermann


The Barrack-Room Ballads are a series of songs and poems by Rudyard Kipling, dealing with the late-Victorian British Army and mostly written in a vernacular dialect. The series contains some of Kipling's best-known works, including the poems "Gunga Din", "Tommy", "Mandalay", and "Danny Deever", helping consolidate his early fame as a poet.

The first poems were published in the Scots Observer in the first half of 1890, and collected in Barrack-Room Ballads and Other Verses in 1892. Kipling later returned to the theme in a group of poems collected in The Seven Seas under the same title. A third group of vernacular Army poems from the Boer War, titled "Service Songs" and published in The Five Nations (1903), can be considered part of the Ballads, as can a number of other uncollected pieces.

Defining the canon

While two volumes of Kipling's poems are clearly labelled as "Barrack-Room Ballads", identifying which poems should be grouped in this way can be complex.

The main collection of the Ballads was published in the 1890s, in two volumes: Barrack-Room Ballads and Other Verses (1892, the first major publishing success for Methuen) and The Seven Seas (1896), sometimes published as The Seven Seas and Further Barrack-Room Ballads. In both books, they were collected into a specific section set aside from the other poems, and can be easily identified. (Barrack-Room Ballads and Other Verses has an introductory poem ("To T.A.") in Kipling's own voice, which is strictly not part of the set but is often collected with them.)

A third group of poems, published in 1903 in The Five Nations, continued the theme of military vernacular ballads; while they were titled "Service Songs", they fit well with the themes of the earlier ballads and are clearly connected.

Charles Carrington produced the first comprehensive volume of the Ballads in 1973, mainly drawn from these three collections but including five additional pieces not previously collected under the title. Three of these date from the same period: an untitled vernacular poem ("My girl she gave me the go onst") taken from a short story, The Courting of Dinah Shadd, in Life's Handicap (1891); Bobs (1893), a poem praising Lord Roberts; and The Absent-Minded Beggar (1899), a poem written to raise funds for the families of soldiers called up for the Boer War.

The remaining two date from the First World War; Carrington considered Epitaphs of the War, written in a first-person style, and Gethsemane, also in a soldier's voice, to meet his definition. Both were published in The Years Between (1919). Kipling wrote profusely on military themes during the war, but often from a more detached perspective than the first-person vernacular he had previously adopted.

Finally, there are some confusingly captioned pieces. Many of Kipling's short stories were introduced with a short fragment of poetry, sometimes from an existing poem and sometimes an incidental new piece. These were often identified "A Barrack-Room Ballad", though not all the poems they were taken from would otherwise be collected or classed this way. This includes pieces such as the introductory poem to My Lord the Elephant (from Many Inventions, 1899), later collected in Songs from Books but not identified as a Ballad. It is not clear if these were deliberately omitted by Carrington or if he explicitly chose not to include them.

The poems
 From Barrack-Room Ballads and Other Verses

 "Dedication: To T.A."
 "Danny Deever"
 "Tommy"
 "Fuzzy-Wuzzy"
 "Soldier, Soldier"
 "Screw-Guns"
 "Cells"
 "Gunga Din"
 "Oonts"
 "Loot"
 "Snarleyow"
 "The Widow at Windsor"
 "Belts"
 "The Young British Soldier"
 "Mandalay"
 "Troopin'
 "The Widow's Party"
 "Ford o' Kabul River"
 "Gentlemen-Rankers"
 "Route Marchin'
 "Shillin' a Day"

 From The Seven Seas

 "Back to the Army Again"
 "Birds of Prey" March
 "Soldier an' Sailor Too"
 "Sappers"
 "That Day"
 "The Men That Fought at Minden"
 "Cholera Camp"
 "The Ladies"
 "Bill 'Awkins"
 "The Mother Lodge"
 "Follow Me 'Ome"
 "The Sergeant's Weddin'
 "The Jacket"
 "The 'Eathen"
 "The Shut-Eye Sentry"
 "Mary, Pity Women!"
 "For to Admire"

 Uncollected

 Bobs
 "My girl she gave me the go onst..."

Reception

T. S. Eliot, in his essay on Kipling for his 1941 anthology A Choice of Kipling's Verse, writes that many writers have written verse without writing poetry, but that Kipling was unusual in that he did write poetry without setting out to do so. In Eliot's view, this makes Kipling a 'ballad-writer', and that was already, he thought, more difficult in 1941 than in Kipling's time, as people no longer had the music hall to inspire them. Eliot thought Kipling's ballads unusual, also, in that Kipling had been careful to make it possible to absorb each ballad's message on a single hearing. But, wrote Eliot, Kipling had more to offer than that: he had "a consummate gift of word, phrase, and rhythm", never repeated himself, and used short, simple stanzas and rhyming schemes. What is more

See also

 List of the works of Rudyard Kipling
 1892 in poetry
 1896 in poetry
 The Whiffenpoof Song (adapted from Gentlemen-Rankers)

References

Bibliography

 --- (1963) paperback edition, Faber and Faber

External links

Barrack-Room Ballads - Free e-book #2819 at Project Gutenberg

1892 books
1896 books
Methuen Publishing books

Barrack-Room Ballads


Space, in everyday language, is something that we all know. It is measured in the three dimensions of distance: length, width, and height.

In modern physics, space is a "boundless four-dimensional continuum" known as spacetime. Disagreement exists about whether it is an entity (something that actually exists). It may be just a relationship between entities, or part of a conceptual framework.

The standard space interval, called a metre (or meter), is defined as the distance traveled by light in a vacuum during a time interval of about 1/300,000,000 of a second.

Before Einstein's work on relativistic physics, time and space were viewed as independent dimensions. Einstein's discoveries have shown that due to relativity of motion space and time can be mathematically combined into space-time.

Notes

Physics
Philosophy of science

Space (physics)


Bechyně is a South Bohemian town in the Czech Republic. It lies 19 km southwest of Tabor in the forested landscape at the confluence of rivers Lužnice and stream Smutná. Bechyně was founded by Jan Lucemburský around the year 1323. Town now has about 6,000 inhabitants and is especially famous for spas and the production of ceramics. Well-preserved historic town centre is one of the most valuable urban conservation areas in the country since 1990.

Points of Interest

Castle Bechyně
In the 16th century, it had Peter Vok of Rožmberk rebuild from Gothic castle in representative Renaissance castle, where he later (in 1580) married Catherine of Ludanice.  During the summer season the castle is open to the public and guided exposures and serves as place for many of cultural events.

Monastery Virgin Mary Assumption Church
Church dominating the rock above the river Lužnice, was established in 1491, the original Augustinian monastery functioned here from first half of the 14th century. Part of the area is also a monastery garden with pleasant seating and beautiful views of the valley Lužnice.

Church of St. Matthew
Main dominant of Masaryk square. The church was founded between 13th and 14th century and gained current appearance after reconstruction in 1740. The tower of the church is open to the public in summer and provides views over the town.

"Bechyně rainbow"
"Bechyně rainbow" is a reinforced concrete arched bridge that was designed by Eduard Viktor. It was completed on 28 October 1928. "Bechyně rainbow" was the highest reinforced concrete arch bridge in the former Czechoslovakia, the height above the river 50 m, 90 m span arch and length 203.38 m. The bridge is used for road and rail transport and for walk as well. This bridge has become an icon of the town and was used in the official town logo.

Historic railroad Bechyně–Tábor
The railway route from Tábor to Bechyně was built as the first electrified railway in Austria Hungary, completed in 1903. The track originally ended before Bechyně at the old station. After completion of the bridge "Bechyně rainbow" was in 1928 extended up to the town.

References

Towns in the Czech Republic
14th-century establishments in Europe
South Bohemian Region

Bechyně