The Teledyne CAE J402 is a small turbojet engine. Several variants have been developed to power unmanned air vehicles such as missiles and target drones. Developed in the 1970s for the Harpoon anti-ship missile, the J402 was the first jet engine to be designed as a "wooden round", meaning that the engine had to be able to sit for long periods without maintenance or inspection and work right away.

Development and design
The J402 engine was designed for the Harpoon missile from the beginning. Its size and weight were dictated by the already-planned missile (just over 12 inches (30 cm) in diameter, about 100 lb (45 kg) in weight). The engine also had to be designed to be inexpensive; the military wanted to produce and store large quantities of the missile. To meet these requirements, Teledyne aerodynamically scaled their J69-T-406 turbojet to just 32% air capacity. This brought thrust and size down to the desired levels.

The J402-CA-400, the original Harpoon variant, was qualified in 1974 and proved to be extremely reliable, failing only twice in 131 flights through mid 1980. The J402-powered Harpoon had an excellent service record, including sinking two Libyan warships during the 1986 Gulf of Sidra incident. Through 1988, the oldest J402 engine fired in a Harpoon was over eleven years old, exceeding the original five year "wooden round" requirement.

The J402-CA-400 was a single-shaft engine, with one axial compressor stage and one centrifugal compressor stage. The compressed air was combusted in an annular combustor, and then passed through a single high-pressure turbine stage before being exhausted. Because the engine was designed for a one-time use missile, its service life was only one hour. The primary challenge of the "wooden round" requirement was to design the engine to be as reliable as possible. To that end, significant efforts were made to reduce the number of individual parts throughout the engine. For example, the rotor system of the J402 had 16 parts, while the J69 (the parent engine) had 149 parts for the same system. Another simplifying measure was to eliminate the standard gearbox. All the engine accessories, like the fuel pump and electrical alternator, ran directly off the rotor shaft. Engine starting was another reliability-critical function of the engine, and to accomplish that requirement, the J402 utilizes pyrotechnic cartridges to start the engine. Finally, the engine was among the first to feature a fully electronic analog fuel controller.

Soon after development of the -400 variant for the Harpoon began, Teledyne began work on a new variant, the J402-CA-700 for the new MQM-107 Streaker aerial target drone. These target drones were not "one-time-use" vehicles like the Harpoon missiles were, so the lifetime of the engine had to be extended from one hour to 15 hours. To accomplish this, the turbine temperature was reduced, as well as the rotational speeds. A new starter system was included to give the engine the ability to restart. The result was an engine that was slightly less powerful, at 640 lbf (2.8 kN) versus the -400's 660 lbf (2.9 kN), but had the required service life.

An additional variant, the J402-CA-702, was developed internally by the company. This variant added an additional axial compressor stage (bringing the total to two axial stages), which increased the engine length by only 4 in (10 cm), yet increased the thrust to 970 lbf (4.3 kN). The engine was later selected to power the MQM-107D, an improved version of the target drone. The addition of additional compressor stage increased the pressure ratio and overall airflow through the engine, and necessitated the development of a new turbine section. Teledyne designed and tested the new two stage axial compressor early in the J402's life (mid 1970s), but did not work on the new turbine (and subsequently the -702 variant of the engine) until nearly a decade later in the mid-1980s. The resulting engine was 45% more power than the -400/-700 variants, yet also had a 24% lower thrust specific fuel consumption (SFC).

The most recent variant of the J402 is the J402-CA-100, developed for the AGM-158 JASSM cruise missile. This derivative, like the -700, is based on the original -400 variant. The primary changes are an aerodynamically refined axial compressor and turbine section, resulting in a more fuel efficient engine at the same thrust levels as the -400.

Variants
J402-CA-100
 Variant of the engine used in the AGM-158 JASSM.

J402-CA-400
 Baseline model. Designed for the Harpoon anti-ship missile. Also used in the AGM-84E Standoff Land Attack Missile and AGM-84H/K SLAM-ER.

J402-CA-700
 First variant developed for target drone use (MQM-107 Streaker). Slightly de-rated version of the -400 variant to improve service life.

J402-CA-702
 More powerful variant. Include additional axial compressor stage. Used in the D variant of the MQM-107 Streaker.

Applications
 AGM-84E Standoff Land Attack Missile
 AGM-84H/K SLAM-ER
 AGM-158 JASSM
 Harpoon
 MQM-107 Streaker

Specifications (J402-CA-400)

See also

References

Notes

Bibliography

1970s turbojet engines
J402
Centrifugal-flow turbojet engines

Teledyne CAE J402


A people meter is an audience measurement tool used to measure the viewing habits of TV and cable audiences.

Meter
The People Meter is a 'box', about the size of a paperback book. The box is hooked up to each television set and is accompanied by a remote control unit. Each family member in a sample household is assigned a personal 'viewing button'. It identifies each household member's age and sex. If the TV is turned on and the viewer doesn't identify themselves, the meter flashes to remind them. Additional buttons on the People Meter enable guests to participate in the sample by recording their age, sex and viewing status into the system.

Another version of the device is small, about the size of a beeper, that plugs into the wall below or near each TV set in household. It monitors anything that comes on the TV and relays the information with the small Portable People Meter to narrow down who is watching what and when.

The device, known as a 'frequency-based meter', was invented by a British company called Audits of Great Britain (AGB). The successor company to AGB is TNS, which is active in 34 countries around the globe.

Originally, these meters identified the frequency of the channels - VHF or UHF - watched on the viewer's TV set. This system became obsolete when Direct to Home (DTH) satellite dish became popular and viewers started to get their own satellite decoders. In addition, this system doesn't measure digital broadcasts.

Before the People Meter advances, Nielsen used the diary method, which consisted of viewers physically recording the shows they watched. However, there were setbacks with the system. Lower-rated stations claimed the diary method was inaccurate and biased. They argued that because they had lower ratings, those who depended on memory for the diary method may only remember to track their favorite shows. Stations also argued that if it wasn't low ratings that skewed the diary method, it might also be the new variety of channels for viewers to choose from. Viewers may not be able to record everything they watch and there is no way of discovering the truth. Finally in 1986, Nielsen developed an electronic meter, People Meter, to solve the problem. The People Meter is an electronic method of television measurement that moved from active and diary-based to passive and meter-monitored. The meter also recorded real time simultaneously viewing, reducing memory bias.

Because Audits of Great Britain (AGB) had just entered the U.S. market executing similar technology, Nielsen felt the need to compete. Nielsen made a substantial technological advance before network-era norms entered crisis with transition to the national People Meter sample in 1987.  Although People Meters presented substantial improvements over the previous system, the alteration in audience measurement caused significant controversy. The method change costs stations whose audience had been overestimated. The end of the multi-channel transition was in large part due to the continuous changes in technology and distribution. Nielsen was at a disadvantage as their measuring techniques required burdensome adjustments. Luckily for Nielsen, the advances in advertising strategies, distribution windows, and ways people were using television made industry sectors interested in data about viewing behavior.

Local People Meter
Along with changing their counting methods, Nielsen also started emphasizing their sample in 2003 in reaction to census shifts and requests from some industry sectors. Nielsen's automated Local People Meter (LPM) technology was introduced in New York and Los Angeles. The LPM improved the method of measurement from active and diary-based to passive and meter-monitored.  More importantly, the LPM provides accurate measurements to particular local markets, verse a nationwide sample from the People meter. While diary-based surveys concentrated on quarterly "sweeps" periods, the industry has been pushed towards year-round measurement, due to the automated LPM system.

"Nielsen introduced the LPM as evidence of the rupturing of the network-era business model became broadly apparent, and apprehension about the future of the industry erupted on all sectors. LPM's more accurately reported full range of what programming viewers watched, including what was observed when channel surfing, in comparison to the diary method it replaced. It allowed Nielsen to maintain established measurement practices, but do them better".

"While Nielsen's LPM's presented next-day demographic analyses on television viewership in major cities, the devices led to accusations of undercounting minorities. A lot of controversy surrounding LPM's was driven by News Corporation-funded "Don't Count Us Out" alliance, which exploited activists' and legislators' foreseeable mindless reactions to any suggestion of racism" (Lowry, 2004).

Portable People Meter

Today there are new systems such as the Portable People Meter and 'Picture Matching' measuring the viewing habits of TV audiences.
In an effort to improve the accuracy of radio ratings, Arbitron and Nielsen Media Research are testing a "portable people meter" (PPM) for radio. This new device to be clipped to an individual's clothing. Radio stations encode an inaudible, unique signal as part of their broadcasts. The PPM "hears" this signal and records the station and the time spent listening. Such a device requires far less effort on the part of respondents.

See also
 Single-source data

References

Sources

 Lotz, Amanda D. "The Television Will Be Revolutionized." New York University Press. Retrieved April 16, 2011.
 Stoddard Jr., Laurence R. 'The History of People Meters. How we got where we are(and why)', Journal of Advertising Research,  Oct/Nov 87, Vol. 27 Issue 5.
 Lowry,Brian.  Variety: August 16–22, 2004, Vol 395 Issue 13, p 14-16, 2p.

External links
 http://onlinedatingpost.com/archives/2006/03/nielsen_tracking_box/ Blog post containing a picture of a "People meter"

Television technology
Audience measurement
Broadcasting
Market research
1986 introductions
1987 establishments in the United States
British inventions
American inventions

pt:People meter

People meter


Parakeet is a name for any small to medium-sized species of parrot, often with long tail feathers. Basically, it is a common term for a small parrot. Another term used in America for parakeets is conure.

Parakeets breed better in groups, but are usually fine breeding in pairs. Having other parakeets encourages a pair to breed, which is why breeding in groups is more successful. However, many breeders choose to breed in pairs because that way they know which parents produced any given birds. If the parakeet does lay eggs, it produces about six to eight.

Parakeet


Amoebidium  is a genus of unicellular, symbiotic eukaryotes in the Opisthokont group Mesomycetozoea, family Amoebidiidae. Amoebidium species attach to the exoskeleton of freshwater aquatic arthropods such as midge larvae and water fleas (Daphnia). The type species is Amoebidium parasiticum, which is also one of the only species to be cultured axenically.

Etymology
Derived from the word "amoeba" to refer to the amoeba-like dispersal cells formed during some stages of the life cycle.

Description
Amoebidium species are single-celled, cigar-shaped or tubular in vegetative growth form (= thallus), and attach to the exoskeleton of various freshwater arthropod hosts (Crustaecea or Insecta) by means of a secreted, glue-like basal holdfast. The thalli are coenocytic (i.e. lack divisions within the cell) and are unbranched. Sexual reproduction is unknown. Asexual reproduction may proceed along two different routes: 1) the entire content of the cell divides into elongated, uninucleate spores (known as sporangiospores or endospores) with the cell wall breaking apart to release the spores or 2) the entire content of the cell divides to produce teardrop-shaped, motile amoeboid cells that disperse for a short time, then encyst and produce spores from the cyst (called cystospores).

Species
There are currently five species that have been named and are differentiated based on the size and shape of the thalli, spores, and dispersal amoebae.  Amoebidium parasiticum is the most commonly encountered species in field collections, and appears to have a cosmopolitan distribution with collections from the Czech Republic, Denmark, England, France, Israel, Japan, the Philippines, Poland, Singapore, Spain, Tunisia, and the United States including Puerto Rico.  It has also been found in association with a variety of hosts including copepods, amphipods, isopods, mayfly nymphs, and black fly and midge larvae.  The other four species (A. appalachense, A. australiense, A. colluviei, and A. recticola) have been collected from limited geographic areas, but it is unclear whether these species truly have a limited distribution or if the observed distribution is an artifact of limited sampling.  For example, A. recticola has not been reported in the literature since 1920 and was originally collected from Daphnia living in a reptile tank at the Paris Museum, France.

Culturing
Amoebidium parasiticum was the first trichomycete (a group of microscopic fungi and protists found in symbiotic association with aquatic arthropods) to be obtained in axenic culture, allowing for detailed studies of its nutritional requirements, cell wall composition, and conditions that induce amoebagenesis (formation and release of the dispersal amoebae) as well as providing pure tissue for DNA extraction.  Several important characteristics were discovered from these studies.  Firstly, Amoebidium was originally tentatively placed within kingdom Fungi, but its actual relatedness to fungi was questioned due to the formation of amoeboid cells (a character not observed among fungi).  When the cell wall composition of A. parasiticum was analyzed, there was no chitin or cellulose detected, a result that supported the non-relatedness of Amoebidium to fungi.  Secondly, experimentation on the nutritional requirements of A. parasiticum lead to the development of various media recipes that enabled the culturing of other trichomycete species.  Thirdly, researchers had noted that amoebagenesis appeared to be triggered by ecdysis or death of the host arthropod based on their observations during dissections.  Experiments with A. parasiticum cultures supported these observations by showing that amoebagenesis could be induced by incubating Amoebidium thalli with a homogenate of the host (Daphnia) supplemented with various combinations of amino acids and vitamins.  Finally, collection of trichomycete DNA for molecular phylogenetic analysis is very challenging due to contaminating DNA from the host, bacteria, and other symbionts and food items residing in the host gut at the time of dissection.  Therefore, axenic cultures of trichomycetes are highly valuable for obtaining pure DNA samples.  As a result, the phylogenetic position of A. parasiticum was finally resolved in 2000 when molecular phylogenetic analyses showed that it clearly was not related to fungi, but instead belonged with a group of protists in the Mesomycetozoea (at the time referred to as the DRIP clade).  Amoebidium appalachense was also obtained in axenic culture, and subsequent molecular analyses supported its relationship with A. parasiticum and other Mesomycetozoea.

References

Ichthyosporean genera
Eukaryote genera

Amoebidium


The State Historical Society of Missouri, a private membership and state funded organization, is a comprehensive research facility located in Columbia, Missouri, specializing in the preservation and study of Missouri's cultural heritage.  Established in 1898 by the Missouri Press Association and made a trustee of the state in 1901, the Society is the official historical society of the state of Missouri and is located on the campus of the University of Missouri in Downtown Columbia, Missouri.  The Society publishes the quarterly Missouri Historical Review, the only scholarly academic journal produced in the state.

The Society engages in a number of outreach programs to bring Missouri's history to the public.  Such programs are the Missouri History in Performance theatre, the Missouri History Speakers' Bureau, and the Missouri Conference on History.  The collection of the Society, concerning pamphlets, books, and state publications, is over 460,000 items.  In addition, the Society has over 500,000 manuscript items, 2,900 maps, over 150,000 state archival records, and over 57,000 reels of microfilm.  In 2011, the Western Manuscript Collection, accessible in Columbia, Kansas City, Rolla, and St. Louis, Missouri, specializing in the preservation and collection of Missouri and Middle West history, was absorbed into the Society.

History
Establishing an official state historical society had been discussed a few years before its eventual founding in 1898 but did not gain substantial backing until the topic was raised at a January 1898 meeting of the Missouri Press Association.  Two of the chief supporters were Edwin W. Stephens, later first president of the Society, and Walter Williams, founder of the Missouri School of Journalism, and a third, Isidor Loeb, a member of the University of Missouri's history and political science faculty.  At the January meeting, the proposal met with support of the members and a committee was established to draw up a constitution and bylaws for a historical society that would serve the state of Missouri.  In this formative period of the Society's underpinnings, Stephens and Williams sought and received great support from the University of Missouri.  Such was the support, that the not yet formed Society was given space in present-day Jesse Hall.  Progress advanced quickly and only four months later, at the association's annual meeting on May 26, the Missouri Press Association voted to create the State Historical Society of Missouri, and named Stephens as its president, as well, Williams as its secretary.

The Society's leaders sought to see the formal adoption of the historical society by the state.  In just under a year, their lobbying efforts were awarded by the passage of a bill by the Fortieth General Assembly, signed into law on May 4, 1899, by Governor Lon Stephens, which established the Society as a trustee of the state.  However, the Society did not receive its first appropriation until 1901.  That amount was $4,500 dollars, intended to service the Society from 1901 to 1902.

The 1899 bill stated precisely the duties of the new state historical society:

Newspapers formed the nucleus of the Society's collection, because of the society's close relationship with editors.  Membership could be gained for such men by the annual donation of their papers, and after ten years, a lifetime membership granted.  Secretary Loeb quickly sought to expand the collection further, putting out a request to citizens of the state for all types of items, both public and private, and including "Indian relics."  The collection received a noted boost in 1901 by the donations of the new secretary, Francis Asbury Sampson, which consisted of nearly 2,000 books and just over 14,000 pamphlets.  Additionally, he convinced the Sedalia Natural History Society to donate an equally considerable collection of books and pamphlets, as well maps and charts.  In the same time period, the Society prepared an exhibit on the state's newspapers for the 1904 St. Louis World's Fair and began the first publications of the Missouri Historical Review.

The growing collection necessitated the need for more space to store it.  Slowly the society had expanded its presence in Jesse Hall, storing much of its collection in its basement, while taking over the first floor of the building.  By 1902, the Society had begun looking for the resources for a new facility, going so far as attempting to lobby library philanthropist Andrew Carnegie.  Just over a dozen years later in 1915, the Society moved into the newly built Ellis Library, its home ever since.

Shoemaker years
At approximately the same time, Floyd C. Shoemaker joined the Society and began a forty-five year career with the institution.  In his time, Shoemaker accomplished a number of milestones under the Society.  One such accomplishment was a campaign to establish the Society's membership as the largest in the nation, with the membership expanding from 1,285 in 1916 to 3,356 in 1936.  While the Great Depression did not seriously affect the Society, it did become involved in several ways with the New Deal programs.  For a couple years, it hired men from the National Youth Administration to assist in the moving books and newspapers.  As well as hiring women from the Civil Works Administration to complete needed tasks about the Society such as updating the Society's "Who's Who" files for the state and indexing selected newspapers.  The Society also assisted the Federal Writers' Project and the Works Progress Administration.

Joining Shoemaker at the Society in the same time period was George Mahan, who served as a trustee and as president.  Mahan's contributions included a post-mortem donation to allow the Society to purchase books for the Society's Mark Twain collection, as well as the payment for the Society for the establishment of twenty-nine roadside historical markers along United States highway 36 from St. Joseph to Hannibal.  The staff of the Society researched each marker and wrote their inscriptions.  The Society would expand the historic marker program over the next decades, planting them across the state.  Shoemaker also continued to expand the Society's collection, writing personal requests with some success.  In 1932, Shoemaker cataloged donations for that year consisting of, "1,207 books, 964 pamphlets, 1 painting, 86 photographs and negatives, 28 manuscript collections, 3 ledger books, 1 medal, 49 clippings, 4 sheets of music, and 4 poems," not including newspaper donations.

Shoemaker pushed for more publications from the Society, which ranged from books to newspaper weeklies.  From 1925 to 1939, the Society published a series of articles entitled, This Week in Missouri History, that appeared in at least one paper in 97 of the 114 counties across the state, including St. Louis.  Begun in 1922, the Society embarked on a twenty volume project that concluded in 1965, entitled The Messages and Proclamations of the Governors of the State of Missouri.  These volumes included biographical sketches, in addition to the documentation.  Shoemaker proudly considered the Missouri Historical Review as one of the finest such publications in the country at the time.

Center for Missouri Studies
On August 10, 2019, the 198th anniversary of Missouri's statehood, the Center for Missouri Studies opened in Columbia. The center is a large public facility built to replace Ellis Library as the headquarters of the State Historical Society of Missouri. It contains a vastly expanded gallery/collection display area, a library/reading room, classrooms, offices, open and closed stacks, microfilm rooms, art restoration lab, a large event room, and a gift shop. The Center for Missouri Studies is located on Elm Street on the University of Missouri campus in Downtown Columbia, across from Peace Park.

Collections and exhibits

The Society houses a large collection of works by famed Missouri artists George Caleb Bingham and Thomas Hart Benton, in addition to other artists.  Overall, the Society possesses over four thousand pieces of artwork, including paintings, lithographs, sketches, and engravings. The editorial cartoon collection includes works by Daniel Fitzpatrick, S. J. Ray, Don Hesse, Tom Engelhardt, and renown Second World War artist, Bill Mauldin.  The Society also contains photography and map collections.

The State Historical Society of Missouri hosts changing exhibits of art and history drawn from its collections.  All exhibits and collections are open and fully accessible to the public.

George Caleb Bingham collection
One of the prominent artists of the Society's collection is George Caleb Bingham.  Though born in Virginia, Bingham grew up and lived in Missouri.  Famed for his depictions of everyday life on the rivers flowing through and along the state, as well for his portraiture, one of his most famous works is General Order No. 11.  A crown jewel of the Society's collection, the painting depicts the forced removal of Missourians from western counties during the Civil War by the general order of Union general Thomas Ewing.  The collection of Bingham's artwork owned by the Society represents one of the largest in the nation.

Jon Luvelli Collection
The Society has an established collection by international recognized street photographer Jon Luvelli. Luvelli's fine art photography has garnered worldwide recognition for his distinguished images of rural America townscapes. A native of Como, Italy, Luvelli was raised in a Mid-Missouri farm town. His work casts an aesthetic spotlight on contemporary life in the rural routes and small-town streets of the Show-Me State. Luvelli's work also conveys social messages, never shying away from the complicated subjects of racism, poverty, sexuality, abuse, and addiction.

Daniel Fitzpatrick Collection
Daniel R. Fitzpatrick is a two-time Pulitzer Prize-winning, editorial cartoonist for the St. Louis Post Dispatch has become one of the largest collections for the Society with over 1,500 original cartoon drawings. Social, political, and aesthetic attitudes shaped his artwork, with a special focus on the cartoons he created during the World War I era.

Libraries
The Society's Newspaper Library has the largest collection of Missouri state newspapers in the nation beginning with the very first newspaper published in 1808. Thousands of newspapers on microfilm are available to the public at the Society or via inter-library loan. The Society has at least one newspaper for each of Missouri's one hundred and fourteen counties. In 2008 the Society was chosen to participate in the National Digital Newspaper Program, a joint initiative sponsored by the Library of Congress and the National Endowment for the Humanities to digitize historically significant newspapers. Select newspapers from the Society collection between the years 1880 and 1922 appear on the Chronicling America website. The Society also has a collection of digital newspapers available through its own website.

The Society's Reference Library is home to over half a million volumes of published secondary sources on Missouri and the Middle West. Family histories, county histories, city directories, official state publications, church histories, scholarly journals, and genealogical indexes are among the many items that the public can consult. One of the Society's most notable collections is the J. Christian Bay Collection of Western Americana.

Western Historical Manuscript Collection
A joint collection held between the University of Missouri and the Society, the Western Historical Manuscript Collection (WHMC) is accessible at various locations throughout the state.  Each of the four locations offer different historical material; the WHMC in Kansas City, specializes in the history and culture of Kansas City; the WHMC collection located at the Missouri University of Science and Technology features material concerning the Ozark highland and southern Missouri; and likewise, the WHMC office in St. Louis focuses on collecting material relating to the history of St. Louis and its surrounding region.  The WHMC location in Columbia, Missouri, specializes on the history of the state from prior its establishment to the present, as well as, "the trans-Mississippi West: social and cultural, religious and educational, military and political, economic and legal, business and labor, urban and rural, ethnic, environmental, and many others."  The Columbia collection consists in part of diaries, letters, photographs, and other material, of Missourians ranging from farmers, bankers, and frontier pioneers.

In 2011, the Western Historical Manuscript Collection was absorbed into the State Historical Society and ceased to exist.  The manuscripts and collection of the Western Historical Manuscript Collection can be accessed at the Society's Research Center located in Ellis Library and at Society research centers in Kansas City, St. Louis, Rolla, Cape Girardeau, and Springfield.

Outreach
In an effort to bring history to the public, the Society operates a number of programs.  The Missouri History in Performance (MoHiP) is one such way.  Through MoHiP, playwrights craft performances concerning moments in Missouri history, often which use the talents of folk musicians Cathy Barton and Dave Para.  Often the playwrights draw upon 19th century plays, personal letters, and newspaper stories for reference.  Another avenue adopted by the Society to extend history to the public is the Missouri History Speakers' Bureau.  For nearly forty years, the Society, through the Bureau, has made available lecturers to groups and organizations throughout the state to speak on various moments in the state's history.  It is funded in part by the Missouri Humanities Council with assistance from the National Endowment for the Arts.  Annually, the Society holds the Missouri Conference on History, a multiple day event, in which lectures are given on Missouri related topics in history.  In addition, awards are presented to the best book, best journal article, and best graduate student paper concerning state history.

Publications
In addition to the programs described above, the Society reaches the public through the means of publishing the Missouri Historical Review, a quarterly newsletter to members titled the Missouri Times, and books.  The Missouri Historical Review, published since 1906, the Review publishes articles on Missouri history, as well as reviews of books concerning Missouri history.  The review is award-winning and published every four months. In 2006, the Society published a number of collections celebrating 100 years of the Review on specific topics, such as the Civil War in Missouri and Kansas City: America's Crossroads.

National History Day in Missouri
Since 1989, The State Historical Society of Missouri also sponsors National History Day in Missouri, the state contest for National History Day. More than 2,400 students across the state participate in the contest, with more than 500 moving on to state. 50-55 students from Missouri move on to the national contest in Washington, D.C. based on performance in one of five categories: documentary, exhibit, paper, performance/acting, and website.

Missouri Conference of History
The Missouri Conference of History brings together history teachers and professional historians to share results of research, exchange information of teaching and curriculum, to consider ways to promote interest in history and the welfare of the profession and to discuss other concerns common to all historians. The conference takes please yearly at the University of Missouri-Kansas City.

References

External links

State historical societies of the United States
History of Missouri
Art museums and galleries in Missouri
University museums in Missouri
Museums in Columbia, Missouri
Libraries in Columbia, Missouri
History museums in Missouri
Organizations based in Columbia, Missouri
Works Progress Administration in Missouri
M
University of Missouri campus
1898 establishments in Missouri

State Historical Society of Missouri


Folimage is a French animation studio, based in Bourg-lès-Valence, Drôme, France. It was founded in 1981 by Jacques-Rémy Girerd. The studio produces animation films for cinema and TV (short films, TV specials and series, feature films). In 1999, the company founded an animation school, La Poudrière, also in Valence. In 2009, Folimage and La Poudrière moved to  La Cartoucherie, a former munitions factory in Bourg-lès-Valence.

Filmography

Short length
 L'Eléphant et la baleine (The Elephant and the Whale, 1986), directed by Jacques-Rémy Girerd
 Le Petit cirque de toutes les couleurs (The Little Circus and Other Tales, 1986), directed by Jacques-Rémy Girerd
 Sculpture, sculptures (1988), directed by Jean-Loup Felicioli
 Amerlock (1988), directed by Jacques-Rémy Girerd
 Nos adieux au music-hall (Farewell Musical, 1989), directed by Laurent Pouvaret
 Le Wall (The Wall, 1992), directed by Jean-Loup Felicioli
 Histoire extraordinaire de Mme Veuve Kecskemet (Extraordinary story of Madame Veuve Kecskemet, 1994), directed by Bela Weisz
 Une Bonne journée (A Pleasant Day, 1994), directed by Matthias Bruhn
 Le Moine et le poisson (The Monk and the Fish, 1994), directed by Michaël Dudok de Wit.
 L'Abri (The Shelter, 1995), directed by Arnaud Pendrié
 Paroles en L'air (Winged Words, 1995), directed by Sylvain Vincendeau
 Le Grande Migration (The Great Migration, 1995), directed by Youri Tcherenkov
 Na kraju zemli (Au bout du monde in French, At the Ends of the Earth, 1999), directed by Konstantin Bronzit
 Histoire Tragique avec fin heureuse (Tragic Story with Happy Ending, 2005) directed by Regina Pessoa
 Les Conquérants (The Conquerors, 2011) directed by Tibor Bánóczki and Sarolta Szabó aka Domestic Infelicity

Medium length (TV Specials, 26')
 L'Enfant au grelot (Charlie's Christmas, 1998) directed by Jacques-Rémy Girerd.
 Patate et le jardin potager (Spud and the vegetable garden, 2000) directed by Damien Louche-Pelissier and Benoit Chieux
 L'Hiver de Léon (Leon in Wintertime, 2008) directed by Pierre-Luc Granjon and Pascal Le Nôtre
 Le Printemps de Mélie (Molly in Springtime, 2009) directed by Pierre-Luc Granjon

TV series
 Ariol: 78 episodes, directed by Emilie Sengelin and Amandine Fredon. Broadcasting on TF1 (French channel) in 2009/2010.
 Hilltop Hospital: 5 seasons of 10 episodes, directed by Pascal Le Nôtre
 My Little Planet: 2 seasons of 13 épisodes, directed by Jacques-Rémy Girerd
 Tidbits for Toddlers: 40 episodes, directed by Jacques-Rémy Girerd
 The Joy of Life: 20 episodes, directed by Jacques-Rémy Girerd
 My Donkey: 30 traditional French folksongs, directed by Pascal Le Nôtre
 Michel

Full-length Feature
 Raining Cats and Frogs (La Prophétie des grenouilles, 2003) directed by Jacques-Rémy Girerd.
 Mia and the Migoo (Mia et le Migou, 2008) directed by Jacques-Rémy Girerd. The film won in 2009 the European Film Award for Best European animated feature film (European Film Academy)
 A Cat in Paris (Une vie de chat, 2010) directed by Alain Gagnol and Jean-Loup Felicioli. Release date in French theaters : 2010 December, 15th. International distribution : Films Distribution, Paris . The film received in 2012 a nomination for Academy Award for Best Animated Feature Film.
 Aunt Hilda! (Tante Hilda!, 2014) directed by Jacques-Rémy Girerd.
 Phantom Boy (2015) directed by Alain Gagnol and Jean-Loup Felicioli. Release date in French theaters : 2015 October, 14th.

References

External links

 Folimage on Facebook (official page)
 Folimage on Youtube
 Folimage on Dailymotion
 Company entry in the Big Cartoon DataBase

French animation studios
Film production companies of France
Mass media companies established in 1981
1981 establishments in France
French brands

Folimage


Sino-Korean vocabulary, or hanja-eo (hangul: 한자어, hanja: 漢子語) are Chinese loanwords in the Korean language. Like Japanese, Korean is unrelated to the Chinese language. Chinese is a Sino-Tibetan language while Korean is a language isolate (meaning that no known languages are related to it), but Chinese has influenced Korean so much that it made many changes to the Korean language. Chinese loanwords make up around 60% of the language's vocabulary, even though Koreans tend to use native Korean words a lot more in everyday speech. This is similar to how around 50% of English words come from Latin, French, or Greek, but English speakers tend to use native English words a lot more. Also similar to Japanese, Chinese serves as one the three main sources for Korean words, the other two being native Korean words and words from other foreign languages, especially English. When some Chinese loanwords changed meanings in Japanese, their meanings also changed in Korean because Korea was a Japanese colony at the time these words changed. Since Koreans were forced by law to speak Japanese and forbidden to speak Korean, the Chinese loanwords adopted the new Japanese meanings when Koreans were allowed to freely speak their own language again.

Since the Korean Peninsula split into two different countries, North Korea and South Korea, the different dialects developed very differently from each other.

South Korea
Today, South Koreans write using a mix of hangul (the native Korean alphabet) and hanja 漢子 (the Korean version of Chinese characters), although they write using the latter far less than Chinese and Japanese do. Since Chinese words often sound similar to each other even in Chinese, they also became homophones when they came into Korean, but since Korean lacks tones, they sound even more alike in Korean. South Koreans usually write only in hangul, but sometimes when a word has many homophones and the meaning of the word is unclear from context, Koreans sometimes write the word in hanja so that there is no confusion between words. For example, since the Korean word sudo (hanja: 수도) has many homophones and can have meanings like "spiritual discipline", "prisoner", "city of water, i.e. Venice or Suzhou", "paddy rice", "drain/rivers/path of surface water", "tunnel", or "capital city", so to avoid confusion about what sudo means, these words can be written by their hanja, which are 修道, 囚徒, 水都, 水稻, 水道, 隧道, and 首都. However, Koreans almost never write native Korean words in hanja. For example, native Korean words like Hananim (hangul: 하나님, hanja: 神, meaning: God), mul (hangul: 물, hanja: 水, meaning: water), mal (hangul: 말, hanja: 馬, meaning: horse), nara (hangul: 나라, hanja: 國, country), and saram (hangul: 사람, hanja: 人, meaning: person) will almost always be written in hangul, even though many of them can be written in hanja. This is different from Japanese, which often writes Chinese characters to represent both native Japanese words and Chinese loanwords.

North Korea
In North Korea, where Korean nationalism became very strong, hanja and many Chinese loanwords were abolished to "purify" the Korean language, or to get rid of words from other languages and use native words instead. Nowadays, when North Koreans write in Korean, they only write in hangul.

Korean names
Koreans usually have a one-word family name of Chinese origin and a two-word given name also of Chinese origin. Traditionally, one word in the given name would be the same as all the person's siblings, and the other would be unique to themselves. Examples include Park Geun-hye (hangul: 박근혜, hanja: 朴槿惠) and Kim Jong-un (hangul: 김정은, hanja: 金正恩). Some Koreans, however, have a two-word family name of Chinese origin, like Namgung (hangul: 남궁, hanja: 南宮) and a one-word given name of Chinese origin like in Namkung Do (hangul: 남궁도, hanja: 南宮道). In other cases, Koreans may have a one-word given name and a one-word family name. An example of this is Go Soo (hangul: 고수, hanja: 高洙). Nowadays, however, it has become more common for Koreans to have their given name be a native Korean word, like Haneul (hanja:한을, meaning: "Heaven"/"Sky"), Areum (hanja:아름, meaning: "Beauty"), Iseul (hanja:이슬 "Dew"), and Seulgi (hanja:슬기, meaning: "Wisdom"). On official documents, Koreans must write their names in hanja and hangul. For native Korean names, Koreans chose hanja that just have the same pronunciation as the word's syllables rather than hanja that have the same meaning.

References

Korean language
Chinese language

Sino-Korean vocabulary


The Legend of Zelda: Skyward Sword is a video game made in 2011 for the Wii. Unlike the other Legend of Zelda games, it focuses more on combat, keeping the role-playing and puzzle elements seen in earlier games. The story is connected with the rest of the Legend of Zelda series, and this game is about how the master sword was made. The player travels between two worlds: Skyloft, an area in the sky with floating islands which is the main area in the game, and Hyrule, which is located on the Earth. It makes use of the Wii MotionPlus add-on for the Wii Remote. The player uses the Wii Remote to swing Link's sword.

Link is the hero in this game. Zelda is Link's childhood friend, and the heroine in the story. Ghirahim: is the bad person who schemes to revive an ancient evil boss. In this game, you can go to four different "realms", such as the Faron Province, the Elden Province, and the Lanyuru Province, as well as Skyloft.

A limited edition bundle with a gold  Wii MotionPlus and a CD with orchestrated versions of the series' well-known music tracks was sold to mark the 25th anniversary of The Legend of Zelda.

A port, titled The Legend of Zelda: Skyward Sword HD, will be released worldwide for the Nintendo Switch on July 16, 2021.

Skyward Sword
2011 video games
2021 video games
Adventure games
Nintendo video games
Video games developed in Japan
Video games with time travel
Wii games
Nintendo Switch games

The Legend of Zelda: Skyward Sword


Almost no Polish literature remains before Christianisation in the 10th century. Polish literature was written in the Latin language during the Middle Ages (there are only several Polish language texts from that times).

The Polish language was accepted as equal to Latin after the Renaissance for literature.

Jan Kochanowski was a leading poet of European Renaissance literature in the 16th century.

Polish writers were inspired by Western European literature but they had their own ideas and trends too. Those trends were coming to Poland because of noble people's travells and political contacts but they were becoming popular some time later then in other countries.

Polish Baroque literature had to trends: elitary one (Jan Andrzej Morsztyn, Maciej Kazimierz Sarbiewski, Daniel Naborowski) and the other one, created by usual nobles (Jan Chryzostom Pasek).

In times of Enlightenment Polish literature was influenced by France. Poland-Lithuania was very weak country and needed political changes. Literature was mainly about society and state, not about love or religion.

In 19th century Poland was not independent. From 1822 to 1863 there was Romanticism in Polish literature. Romantic poets include Adam Mickiewicz who wrote Pan Tadeusz epic in 1834, Juliusz Słowacki and Zygmunt Krasiński.

After failed anti-Russian uprising in 1863 Romanticism ended in Poland.

Several Polish novelists have won the Nobel prize. Henryk Sienkiewicz won in 1905. He wrote dramatized versions of famous events in Polish history. Władysław Reymont won a Nobel prize in 1924. He wrote the novel Chłopi.

Stanisław Lem is famous science fiction author in the modern era. His Solaris novel was made twice into a feature film.

Poland
Poland

Polish literature


The Multnomah Community Ability Scale is a standardized mental health assessment which scores several different axes of functionality independently.  The test was originally developed in Multnomah County, Oregon, whose name it still bears.  The MCAS is a common tool in assessing progress on treatment goals, as it is more in-depth than the more simplified  GAF scale.

External links
Detailed explanation and instruction for the MCAS

Multnomah County, Oregon

Multnomah Community Ability Scale


Sanremo or San Remo (; , locally  ; ) is a city and comune on the Mediterranean coast of Liguria, in northwestern Italy. Founded in Roman times, it has a population of 55,000, and is known as a tourist destination on the Italian Riviera. It hosts numerous cultural events, such as the Sanremo Music Festival and the Milan–San Remo cycling classic.

Name

While it is often stated in modern folk stories that Sanremo is named after a legendary Saint Remus, the name of the city is actually a phonetic contraction of  ("Holy Hermitage of Saint Romulus"), which refers to Romulus of Genoa, the successor to Syrus of Genoa. In Ligurian, his name is .

The non-univerbated spelling San Remo features on ancient maps of Liguria and maps of the Republic of Genoa, Medieval Italy, the Kingdom of Sardinia, and the Kingdom of Italy; it was used in 1924 in official documents under Mussolini. This form of the name, now superseded by Sanremo both officially and in common usage, still appears on some road signs and, more rarely, in unofficial tourist information. It has been the most widely used form of the name in English at least since the 19th century.

History

Once the Roman settlement of Matutia or Villa Matutiana, Sanremo expanded in the early Middle Ages when the population moved to the high grounds.  The nobility built a castle and the walled village of La Pigna to protect the town from Saracen raids.

At first subjected to the countship of Ventimiglia, the community later passed under the dominion of the Genoese bishops.  In 1297 they sold it to the Doria and De Mari families. It became a free town in the second half of the 15th century, after which it expanded to the Pigna hill and at Saint Syrus Cathedral. The almost perfectly preserved old village remains.

Sanremo remained independent of the Genoese Republic.  In 1753, after 20 years of fierce conflicts, it rose against Genoese hegemonical attempts. At that time Genoa built the fortress of Santa Tecla, situated on the beach near the port. The fortress was used as a prison until 2002.  It is now used as a museum.

After the French domination and the Savoy restoration in 1814, Sanremo was annexed to the Kingdom of Sardinia. From the middle of the 18th century the town grew rapidly, in part due to the development of tourism, which saw the first grand hotels built and the town extended along the coast. The Empress "Sissi" of Austria, Empress Maria Alexandrovna of Russia, and Emperor Nicholas II of Russia vacationed in Sanremo, while Swedish chemist Alfred Nobel made it his permanent home.

The San Remo conference, 19–26 April 1920, of the post-World War I Allied Supreme Council determined the allocation of Class "A" League of Nations mandates for administration of the former Ottoman-ruled lands of the Middle East by the victorious powers.  The most notable of these was the British Mandate of Palestine.

In 1972, the first public demonstration for the defense of the dignity and rights of gay people in Italy took place in Sanremo in protest against an international congress on sexual deviance organized by the Catholic-inspired Italian Center for Sexology.

Economy

Sanremo's Mediterranean climate and attractive seacoast setting on the Italian Riviera make it a popular tourist destination. Besides tourism, the city is active in the production of extra virgin-grade olive oil, whose regional "designation of origin" is protected (D.O.P., Denominazione di Origine Protetta).  It is one of the agricultural commodities in western Liguria and in particular within the province of Imperia. Sanremo is known as the City of Flowers (la Città dei Fiori), this being another important aspect of the economy of the city. The nearby towns of Arma di Taggia, Bordighera and Ospedaletti are also involved in the cultivation of flowers for the international flower market.

The Municipal Casino, built in 1905, is an example of Art Nouveau building. The Ariston Theatre offers annual series of concerts, operas and theatre plays. The Symphony Orchestra is one of twelve symphony orchestras recognized by the state of Italy; it performs some 120 concerts throughout the year, most in the Municipal Casino's Opera Theatre.

Transportation

The city is connected to Genoa and to Ventimiglia, the border city with France, by the A10 motorway, whose last part is also known as the Autostrada dei Fiori ("Motorway of Flowers"). It has a large number of elevated sections with viaducts that give a panoramic view of the coast. The A10 joins the French A8 highway at the border between Ventimiglia and Menton. Together these national routes are part of the European route E80. The A10 motorway is a toll road, and the A8 demands a toll in sections, and some sections are free of charge.  When travelling from Italy into France, one does not pay until after the towns of Menton and Monaco.

Other roads of importance are the SS1, the "Aurelia Bis", which connects Sanremo to Taggia. This is a non-toll bypass route. The coast road is the via Aurelia or SS1 and follows the route of a Roman road. This can be heavily congested when it passes through towns, as it has only one lane in either direction for most of way around Sanremo.  A trolleybus line along the via Aurelia links Sanremo with both Taggia and Ventimiglia.

The closest airport to Sanremo is in France, the Côte d'Azur International Airport in Nice, 45 minutes away by car. The railway connects the city to the other Ligurian cities like Imperia, Genoa and to Nice, Milan, Turin and Rome.

The railway line used to be along the coast, running close to the sea, and providing a view for travellers.  The line has been moved further north and underground, which allows for faster trains; Sanremo railway station was relocated next to the City Hall. The city has refurbished the old railway line and converted it into a bike route and pedestrian area. There are several bike hire kiosks along the route and a choice of beaches to visit in either direction from San Remo. The path stretches  between Ospedaletti in the west and San Lorenzo al Mare in the east.

Geography

Climate
Sanremo experiences a hot-summer Mediterranean climate (Köppen climate classification Csa).

Culture

Music festival

The Ariston Theatre hosts the celebrated annual Sanremo Music Festival, which has been held in the city since 1951. This festival inspired the Eurovision Song Contest, which started in 1956, and has often been used to select the Italian entry for the European contest. The internationally notable song "Nel blu, dipinto di blu", popularly known as "Volare", was performed at this festival for the first time by Domenico Modugno in 1958. The festival is so popular among Italians that it is often referred to simply as "Il Festival" (The Festival). Other events include the Tenco Prize (autumn), a song contest for authors dedicated to the memory of Luigi Tenco; the Flowers Parade in January/February in which every city of the Italian Riviera presents an original composition of flowers displayed on a Carnival/Mardi-Gras style moving car; and the summer Firework International Contest in the second week of August also called Ferragosto.

Cuisine
The culinary specialities of Sanremo and environs include Sardenara, Focaccia, Focaccia alle Cipolle, Torta Verde, Farinata and Taggiasca olives.

Gambling
The Sanremo Casino (Casino Municipale di Sanremo) opened in 1905 and has operated continuously since then with the exception of the years of World War II.  For much of its history, the casino was tolerated or granted exceptions to Italian gambling laws in order to allow the resort to compete with the casino towns in nearby France and Monaco.

Sanremo hosts an annual poker tournament as part of the European Poker Tour. The city is widely accepted as the origin of the five-card stud variant telesina.

Sports

The Rallye Sanremo is a rally competition that was part of the FIA World Rally Championship from 1973 to 2003, when it was replaced by Rally d'Italia Sardegna on the island of Sardinia, in hosting the Italian round of the WRC. It is now part of European Rally Championship. Formerly a mixed surface event (tarmac and gravel), the rally has later been an all-tarmac event and takes place around the mountains.

Sanremo is the finish of the classic Milan–San Remo cycle race. It is considered to be a "monument" – one of the five most important one-day races of the cycling season. Milan – San Remo is traditionally held in March and is one of the first major fixtures on the cycling season. At  long, it is the longest professional one-day race in cycling, giving the race a unique character.

The most important local football club is the Sanremese that has played also in Serie B and in Serie C.

Notable people
Italian tennis player Fabio Fognini was born in Sanremo.
The Venerable Giorgio Baldassarre Oppezzi, a monk who died in 1525, and whose body, it is claimed, was later discovered to be incorrupt, is buried here in the church of Santa Maria degli Angeli.
Italian singer Luigi Tenco died in Sanremo shortly after his performance at the 1967 Italian Song Festival.
Empress Maria Alexandrovna, consort of Alexander II of Russia, spent the winter of 1874 in Sanremo and as a gift to the city she donated the palms along the seaside walk of Corso Imperatrice (Empress Avenue).
Alfred Nobel bought a villa in Sanremo in 1891 and died there in 1896. Since 2002 it has housed a permanent exhibit on the most important discoveries of the 19th century including the research interests of Nobel himself. Sanremo continues to maintain its ties with Nobel, long after his death. Each 10 December (the date that Nobel died in 1896) large quantities of flowers sent by the province of Imperia, the city of Sanremo and the Board for Tourist Promotion of the Riviera dei fiori adorn the annual Nobel Prize Award Ceremony and Banquet in Stockholm.
Italian writer Italo Calvino spent his youth in Sanremo and many of his novels, including Il Barone Rampante, are reminiscent of his attachment to the city.
Edward James, British poet known for his patronage of the surrealist art movement, died in Sanremo on December 2, 1984.
Edward Lear, English artist, illustrator and writer known for his nonsense poetry and limericks, lived and died in Sanremo. His tombstone is in the Foce Cemetery.
The Italian actor and comedian Carlo Dapporto was born in Sanremo and became a household name in post-war Italy.
The Sicilian playwright and Nobel Prize winner Luigi Pirandello lived in Sanremo in 1933–34 and was appointed artistic director of the Casino.
The writer Tobias Smollett stayed a few days in Sanremo in 1765 and described it thus: "St. Remo is a pretty considerable town, well-built upon the declivity of a gently rolling hill...There is very little plain ground in this neighbourhood; but the hills are covered with oranges, lemons, pomegranates and olives....The women of St. Remo are much more handsome and better tempered than those of Provence." Travels Through France and Italy (1766).
Italian director and cinematographer Mario Bava was born in Sanremo in 1914.
Italian-born sculptor Giuseppe Moretti lived in Sanremo in his final years and died here in February 1935. Moretti designed the world's largest cast iron statue, of the Roman god Vulcan (56 ft or 17 m), which stands atop Red Mountain in Birmingham, Alabama (US). The statue is the symbol of the city.
Mehmed VI, the last Sultan of the Ottoman Empire, died in Sanremo on May 16, 1926.
Fausto Zonaro, last Court Painter to the Ottoman Empire, died in San Remo on the 19th of July 1929. He was buried with public honours in La Foce cemetery. On his gravestone, underneath an Ottoman tughra, it states that Zonaro was the court painter of the Ottoman Empire.
Juan Manuel Fangio won his first European Grand Prix in Sanremo-Ospedaletti in 1949.
Mohammad Ali Shah Qajar, Shah of Persia from 1907 to 1909, died in Sanremo on April 5, 1925.
Alex Liddi, who was born in Sanremo, became the first native Italian to play Major League Baseball, in 2011 with the Seattle Mariners.
Giovanni Ermiglia, Italian nonviolent activist.
Giotto Maraghini, Italian admiral (1882–1946).

Twin towns – sister cities

Sanremo is twinned with:
 Atami, Japan (1976)
 Helsingør, Denmark
 Karlskoga, Sweden

See also
Sanremo railway station
Sanremo railway station (1872)
U.S. Sanremese Calcio
Sanremo Festival

References

External links

 Sanremo official website
 Sanremo Festival
 Saint Sirus's Cathedral
 Video and events from Sanremo
 New Sanremo cycle path
 Sanremo images - old port and sanctuary
 All about the events in Sanremo

Cities and towns in Liguria
Coastal towns in Liguria
Italian Riviera
Seaside resorts in Italy
Spa towns in Italy

Sanremo


The year 1523 in science and technology included many events, some of which are listed here.

Publications
 Pietro Aron publishes Thoscanello de la musica in Venice, including the first description of quarter-comma meantone.
 Anthony Fitzherbert publishes The Boke of Surveyinge and Improvements and The Boke of Husbandrie (the first work on agriculture published in England).
 Thomas Linacre publishes his translation of Galen's De naturalibus facultatibus in London.
 Maximilianus Transylvanus publishes De Moluccis Insulis, the first account of the Magellan circumnavigation.

Births
Gabriele Falloppio, Italian anatomist and physician (died 1562)

16th century in science
1520s in science

1523 in science


The Vienna Volksoper (Volksoper or Vienna People's Opera) is an opera house in Vienna, Austria. It produces three hundred performances of twenty-five German language productions of opera, operetta, musicals, and ballet, during an annual season which runs from September through June.

History

Foundation

The Volksoper was built in 1898 as the Kaiserjubiläum-Stadttheater (Kaiser's Jubilee Civic Theatre), originally producing only plays. Because of the very brief construction period (10 months) the first director Adam Müller-Gutenbrunn had to start with debts of 160,000 florins. After this inauspicious startup the Kaiserjubiläum-Stadttheater had to declare bankruptcy five years later in 1903.

Music theater from 1903 to 1950s
On 1 September 1903, Rainer Simons took over the house and renamed it the Kaiserjubiläum-Stadttheater - Volksoper (public opera). His intention was to continue the production of plays but also establish series of opera and operetta. The first Viennese performances of Tosca and Salome were given at the Volksoper in 1907 and 1910 respectively.  World-famous singers such as Maria Jeritza, Leo Slezak and Richard Tauber appeared there; the conductor Alexander Zemlinsky became the first bandmaster in 1906.

In the years up to and through the First World War the Volksoper attained a position as Vienna's second prestige opera house.  In 1919, Felix Weingartner became artistic director and principal conductor.  Hugo Gruder-Guntram succeeded Weingartner as artistic director.  After 1929, it focused on light opera, and under Gruder-Guntram undertook a number of summer tours to Abbazia in 1935, Cairo and Alexandria in 1937 and throughout Italy in 1938, with guest appearances from Richard Tauber.  After the Second World War, the Vienna Volksoper became the alternative venue to the devastated Vienna State Opera.  In 1955 the Volksoper returned to its former role of presenting opera, operetta, and musicals.

Recent history
In 1987, the Volksoper was shown in the James Bond movie The Living Daylights, doubling for a fictional "Ľudové konzervatorium" ("People's Conservatory" - direct translation of "Volksoper" into Slovak) in Bratislava, as Czechoslovakia was still under Communist rule at the time; the interior was however filmed at Sofiensaal. In the movie, KGB General Koskov, who is defecting to the West, is attending a performance, and Bond and his handler Saunders cover him from an apartment across the street (in real life across Währingerstraße, the building is a confectionery store "Zum süßen Eck").

From September 1991 to June 1996, the Vienna Volksoper was under a collective leadership with the Vienna State Opera. In 1999, the Volksoper became a 100% subsidiary of the Bundestheater-Holding.

Since 1 September 2007, Robert Meyer has headed the Volksoper as artistic director together with the business manager Christoph Ladstätter.  Meyer is scheduled to conclude his tenure in 2022.  In October 2020, the company announced the appointment of Lotte de Beer as its next artistic director, the first woman ever named to the post, effective 1 September 2022, with an initial contract of 5 years. In December 2020, the company announced the appointment of Omer Meir Wellber as its next music director, effective 1 September 2022, with an initial contract of 5 years.

Facts and figures

Seating

On three different levels there are 1261 seats and 72 standing room places as well as two places for wheelchairs.

Number of performances by year

Technical data
The orchestra pit is equipped with two electrically driven stage lifts, with a loading capacity of 500 kg/m2. It is adjustable in height from 0 to 2.65 meters below stage level.

The red velvet house curtain is hydraulically drawn and liftable. The gather velocity is 0.15 to 3.0 m/s, the lift velocity can be up to 2.0 m/s.

The stage is 17.2 meters wide and 19 meters deep and has a mechanic load capacity of 500 kg/m2. In the middle of the stage is a turnable and liftable circular platform, around which is a turnable ring platform with an external diameter of 15 meters. There are also 3 hand-operated person trap mechanisms.

Organisational structure
Since 1999 the Volksoper Vienna is a 100% subsidiary of the Bundestheater Holding AG (Federal theater holding AG) along with the Vienna State Opera and the Burgtheater (en: (Imperial) Court Theatre). The Bundestheater Holding AG is owned by the Republic of Austria.
The Holding also holds 51.1% of the Theaterservice Gmbh, which offers services in design and administrational matters. The remaining 48.9% are shared equally among the three theater houses (16.3% each).

Artistic directors
 Adam Müller-Guttenbrunn (1898–1903)
 Rainer Simons (1903–1917)
 Raoul Mader (1917–1919)
 Felix Weingartner (1919–1924)
 August Markowsky, Fritz Stiedry (1924)
 Hugo Gruder-Guntram, Leo Blech (1925)
 Hermann Frischler (1925–1928)
 Jakob Feldhammer, Otto Preminger (1929–1931)
 Leo Kraus (1931–1933)
 Karl Lustig-Prean, Jean Ernest (1934–1935)
 Alexander Kowalewsky (1935–1938)
 Anton Baumann (1938–1941)
 Oskar Joelli (1941–1944)
 Hermann Juch (1946–1955)
 Franz Salmhofer (1955–1963)
 Albert Moser (1963–1973)
 Karl Dönch (1973–1986)
 Eberhard Waechter (1987–1992)
 Ioan Holender (1992–1996)
 Klaus Bachler (1996–1999)
 Dominique Mentha (1999–2003)
 Rudolf Berger (2003–2007)
 Robert Meyer (2007–2022)
 Lotte de Beer (2022–present)

See also
Vienna State Opera
Burgtheater

References

External links

Official website, in English
Profile from Wien.info
website Bundestheater Holding Website der Bundestheater Holding, in English

Music venues completed in 1898
Opera houses in Vienna
Cultural venues in Vienna
Austrian opera companies
Buildings and structures in Alsergrund
1898 establishments in Austria
Theatres completed in 1898
19th-century architecture in Austria

Vienna Volksoper


The Fields of Ambrosia is a musical written by Joel Higgins and Martin Silvestri. It was performed in the George Street Playhouse in New Brunswick, New Jersey in 1993 and it was directed by Gregory Hurst, choreographed by Lynne Taylor-Corbett, staged by Hurst, and set design by Deborah Jasien. The cast included Christine Andreas as Gretchen Herzallerliebst, Higgins as Jonas Candide, Peter Samuel as Warden Brodsky, and Eddie Korbich as the mortician.

The 1996 production premiered at the Aldwych Theatre in London and was directed by Hurst again, with Mark Warman as musical director and a cast that included Andreas as Gretchen Herzallerliebst, Higgins as Jonas Candide, Michael Fenton Stevens as Doc, Mark Heenehan as Malcolm Piquant, Marc Joseph as Jimmy Crawford, and Roger Leach as Warden Brodsky. The show closed after only 23 performances.

The musical is based on the 1970 film The Traveling Executioner, The New York Times said The Fields of Ambrosia is a black comedy and contains violence, sex, romance, and sentiment. It takes place in a deep rural town in the American South in 1918.

Synopsis
ACT 1

A steamy summer morning in the rural deep South of 1918. A gang of prisoners works along the dusty roadway leading to Fairweather State Prison (Ball and Chain). Jonas Candide, an ex-carnival barker and con-man who is now employed as the state's official "travelling executioner" arrives at the prison with his electric chair (Hubbub). He has come to attend to his next "clients" Willie and Gretchen Herzallerliebst, brother and sister German immigrants who have been convicted of murder.

Upon arrival, Jonas learns from the warden that the woman has been granted a short stay while her lawyer tries to convince the Governor to commute her sentence. Proceeding with Willie's execution, Jonas demonstrates his unique approach to the job (The Fields of Ambrosia). But something goes wrong (How Could This Happen?). Happy to put the day's events behind him, Jonas treats Jimmy, the gawky, young town mortician who idolizes him, to a night of debauchery at the local whorehouse (Nuthin').

The next evening, to satisfy his curiosity, Jonas visits Gretchen Herzallediebst in her cell. He is smitten by her beauty and wit (Who Are You?). In return for her "favors", Jonas is persuaded to buy her some more time by hiding his chair and convincing the warden that it was stolen (Reasonable Man). Gretchen's lawyer, not satisfied with that, discovers the hiding place and disables the chair with a fireaxe.

Jonas must take the chair to the local fix-it shop for repair, where the sight of it creates quite a stir among the locals (Step Right Up). Unable to stay away, he visits Gretchen again and is seduced even further (Too Bad).

Jonas comes up with a plan to save Gretchen. When the chair is ready, he will proceed with her execution, but give her only enough voltage to knock her out. Meanwhile, he will have struck a deal with the dissolute prison doctor to pronounce her dead and persuaded Jimmy to carry her out like a cadaver with no one the wiser. Doc is reluctant, saying that it's too risky and won't work. Jonas demonstrates his theory on a prison rat (The Rat is Dead). The Doc finally agrees to play his part... for a five hundred dollar bribe! Jonas vows to somehow raise the money and free Gretchen (Step Right Up - reprise).

ACT 2

Gretchen takes her mandatory hour of exercise on the prison yard inside a huge, wire cage which protects her from the male prisoners (Hungry). Jonas arrives, and bribes the guard for a moment alone with Gretchen to let her know of his plan to save her (Continental Sunday).

Jonas springs into action to raise the money to pay Doc, He smuggles the town whores into the prison late at night and, posting Jimmy as a lookout, turns Doc's infirmary into an impromptu bordello. Doc stumbles in and seeing Jonas' resourcefulness, raises his asking price to a thousand! Jonas, wondering what the hell happened to his lookout, finds Jimmy completely distraught after being assaulted by some of the inmates (Alone). Moved by Jimmy's plight, Jonas makes him his new assistant.

Jonas gets into a high-stakes poker game (The Card Game) and wins the thousand, only to be jumped, beaten and robbed by the losers . Bruised, bloody and completely broke, Jonas returns to the prison to find Deputy Warden Piquant ready to string Gretchen up while the Warden is away at the county seat. By assuring him that the chair will be ready the next morning, Jonas gets him to relent (The Gallows).

With time running out, Gretchen urges Jonas to try the local bank for the money (Do It for Me). By whipping the bank's patrons into a patriotic fervor over war bonds, he convinces the manager to give him a loan (All in this Together). However, when the manager discovers that Jonas is an ex-con, he reneges . Jonas, in a panic, makes a play for the money. With the bank alarm ringing in his ears, he beats a hasty retreat back to the prison (the getaway) to spring Gretchen, but the escape attempt goes terribly wrong (The Breakout).

Several months later, the prison yard is packed with guards and witnesses as Jonas Candide is placed in the refurbished electric chair by Jimmy, the new executioner. Jimmy gets so excited as Jonas regales him with descriptions of the hereafter (The Fields of Ambrosia - reprise) that he revs the generator way too high. When Jimmy pulls the switch everything goes up in flame and smoke. As the smoke begins to clear, we glimpse an image of Gretchen and Jonas alone on stage, waltzing.

Song list
1996 Original Cast Recording
 Ball and Chain
 Hubbub
 The Fields of Ambrosia
 How Could This Happen?
 Nuthin'''
 Who are You?
 Reasonable Man Step Right Up Too Bad
 Scene: That Rat is Dead/Step Right Up (reprise)
 Hungry Continental Sunday
 Alone The Card Game Scene: The Gallows
 Do It For Me All in this Together Scene: The Getaway
 Scene: The Breakout
 The Fields of Ambrosia (reprise)

Reviews
Mike Gibb of Show Music said, "The score, courtesy of Martin Silvestri and Joel Higgins, is a joy, from the melodic and powerful titletrack through quality production numbers like 'Nuthin and 'Step Right Up' and that is without mentioning two of the most glorious duets you are likely to encounter in the form of 'Too Bad' and 'Continental Sunday'"

Paul Taylor of The Independent described "a reprehensibly enjoyable new musical", saying "Often very funny in its own right, the show has a number of moments where it seems to be tone deaf to its own ridiculousness."

References

External links

Black comedy plays
1993 musicals
Musicals based on films
Plays set in the 1910s
Musicals set in the United States
West End musicals
Southern United States in fiction

The Fields of Ambrosia


In medicine, an adverse effect is a harmful and undesired effect that results from a therapy like medication, chemotherapy, surgery or other intervention. An adverse effect may be called a "side-effect" (when it is less important than the therapeutic effect).

It may result from an unsuitable or incorrect dosage or procedure (which could be caused by medical error). Some adverse effects happen only at the beginning or a change of a treatment.  Medical error was the third most common cause of death in the United States in 2019.

Reporting systems
In many countries, adverse effects have to be reported and researched in clinical trials and included into the patient information accompanying medical devices and drugs for sale to the public.  This is called pharmacovigilance.

Related pages

 Toxicology

Other websites
 Patient Safety Network. An extremely useful site, with a glossary and articles on all kinds of threats to patient safety, including adverse effects, drug reactions, medical error, iatrogenesis, etc.
 Australian Adverse Drug Reactions Bulletin  - published bimonthly by ADRAC
 Drugs of Concern  DrugIntel.com site for tort lawyers with up-to-date information on drugs that cause severe adverse effects)
 Medication Errors a FDA site.
 Medical Product Safety Information. MedWatch, a useful page from Food and Drug Administration, listing safety alerts for drugs, biologics, devices and dietary supplements, recalls, market withdrawals, public health advisories, links to the VAERS and MAUDE databases, etc.)
 Medical Devices Safety National Library of Medicine (Medline Plus, useful lists of conventional drug and medical device articles and websites)
 When Medicine Hurts Instead of Helps  - A special report by the Alliance for Aging Research on ADRs.

References

Medicine

Adverse effect (medicine)


Dr. Julius Ritter von Wiesner (20 January 1838 – 9 October 1916) was a professor of botany at the University of Vienna, a specialist in the physiology and anatomy of plants.

In 1870 he became a professor at the forestry academy of Mariabrunn, and from 1873 to 1909, was a professor of plant anatomy and physiology at the University of Vienna, and at the same time (1866 to 1880) had a teaching position of technical commodity science at the Vienna University of Technology. At Vienna he founded the department of plant physiology (1873). During his career, he took part in scientific expeditions to Egypt, India, Java, Sumatra, North America and the Arctic.

His research included studies on phototropism in plants, on the formation of chlorophyll. and investigations involving the technological properties of plant raw materials.

Recognised as an accomplished botanist and author of German language books and papers — his 1881 work on the movement in plants was read and discussed by Charles Darwin — the genus Wiesneria commemorates his name.

Selected works
 Die Entstehung des Chlorophylls in der Pflanze, 1877 – The formation of chlorophyll in plants.
 Die Heliotropischen Erscheinungen im Pflanzenreiche, 1878 – The heliotropic phenomena in the plant kingdom.
 Das Bewegungsvermögen der Pflanzen : eine kritische Studie über das gleichnamige Werk von Charles Darwin nebst neuen Untersuchungen, 1881 – The power of movement in plants, a critical study of the homonymous work of Charles Darwin, together with new studies.
  Elemente der Wissenschaftlichen Botanik, 1881-84 (two volumes) – Elements of scientific botany.
 Die Rohstoffe des Pflanzenreiches, 1900-03 (two volumes) – Raw materials of the plant kingdom.

References

External links

1916 deaths
1838 births
20th-century Austrian botanists
University of Vienna alumni
19th-century Austrian botanists
Members of the Royal Society of Sciences in Uppsala

Julius Wiesner


Mark Spalding (born 1958) is an English actor from Birmingham.

He began acting in 1984. He is perhaps best known for his role as Chief Inspector Paul Stritch in the long running ITV drama The Bill. He has also played policemen in Fallen Angel, Hustle, Outnumbered and Prime Suspect. Other TV work has included Dalziel and Pascoe and Heartbeat, a variety of roles for the highly successful Guy Jenkins and Andy Hamilton comedy team in Drop the Dead Donkey, Lord of Misrule, Gobble, Jeffrey Archer, The Truth. He has also appeared in the films Sleepy Hollow and Tomorrow Never Dies. He also has appeared many times on the stage, in Lancaster, Manchester, Leeds, Chester, Keswick and the West End. Mark was a founder member of the Metro Theatre Company, a new writing company based in Sheffield in the 1980s.

Filmography

External links

1958 births
English male television actors
Living people

Mark Spalding


Dedric Lamar Ward (born September 29, 1974) is a former American football wide receiver in the National Football League (NFL) for the New York Jets, Miami Dolphins, Baltimore Ravens, New England Patriots and Dallas Cowboys. He also was an assistant coach in the National Football League. He played college football at University of Northern Iowa.

Early years
Ward attended Washington High School, where he played as a running back and wide receiver. He also practiced basketball.

He accepted a football scholarship from Division I-AA Northern Iowa University. He became a starter at wide receiver as a sophomore. As a junior, he caught 50 receptions for 1,283 yards and 15 touchdowns, leading the nation with 116.4 receiving yards per game.

As a senior, he posted 70 receptions for 1,556 yards and 17 touchdowns. On special teams, he averaged 11.1 yards per punt return, with 2 touchdowns. He returned 2 kickoffs (one for 45 yards). Against Illinois State University, he set a school record with 247 receiving yards, while also scoring 3 touchdowns.

Ward finished his career as the school's and conference's All-time leading wide receiver with 176 receptions for 3,876 yards (second in Division I-AA history to Jerry Rice), 41 touchdown receptions (second in school history) and 304 career points. He was the only player in Gateway Football Conference history to produce 3 consecutive seasons of over 1,000 yards, leading the conference each year. He had a mark of 27 consecutive games with a reception and also blocked 2 punts.

He was a part of the track team, placing third in the 55 metres with a time of 6.33 seconds at the Gateway Indoor Championships his senior season. He set a school record in the 200 metres with a time of 20.86 seconds.

In 2010, he was inducted into the University of Northern Iowa Athletics Hall of Fame.

Professional career

New York Jets
Ward was selected by the New York Jets in the third round (88th overall) of the 1997 NFL Draft, because his special teams production reminded head coach Bill Parcells of David Meggett.

In 1998, he started 4 games, recording 25 receptions for 477 yards and 4 touchdowns, with a 19.1-yard average. He had a career-high 71-yard touchdown reception in the AFC East division clinching win against the Buffalo Bills. He had 5 receptions for 61 yards in the AFC Championship game against the Denver Broncos.

In 1999, when Wayne Chrebet broke a bone in his foot in preseason, he became the No. 2 receiver for the first five games of the regular season. He ended up starting 10 games as the team's deep threat, collecting 22 receptions for 325 yards and 3 touchdowns, while averaging 7.6 yards on 38 punt returns.

In 2000, he became a full-time starter after Keyshawn Johnson was traded to the Tampa Bay Buccaneers. He had a breakout year, posting 16 starts, 54 receptions (fourth on the team) for 801 yards (third on the team) and 3 touchdowns. He returned 27 punts for a 7.9-yard average. Against the Baltimore Ravens, he had 8 receptions for 147 yards and one touchdown.

Miami Dolphins
On April 18, 2001, he was signed as a free agent by the Miami Dolphins. In August, he suffered a left foot stress fracture and missed a month. He was a backup behind Oronde Gadsden, appearing in 13 games (one start), with 21 receptions (13 for first down conversions) and 209 yards.

In 2002, he appeared in 16 games, returning 16 punts with 10.6-yard average and making 19 receptions for 172 yards. He was released in a salary-cap move on February 26, 2003.

New England Patriots (first stint)
On May 22, 2003, he was signed as a free agent by the New England Patriots, reuniting with offensive coordinator Charlie Weis, who had the same role with the Jets. On August 31, he was released after being passed on the depth chart by David Patten.

Baltimore Ravens
On October 6, 2003, he was signed by the Baltimore Ravens as a free agent, to be used to return punts. He appeared in 3 games and was declared inactive in 3 contests. He was released on November 18.

New England Patriots (second stint)
On November 20, 2003, he was signed as a free agent by the New England Patriots to add depth to the wide receiver position. He appeared in 4 games and was declared inactive in 2 contests. He played in each postseason game playing a part of the Super Bowl XXXVIII winning team. He was targeted by Tom Brady 4 times in the three postseason games making one catch for 22 yards in the Patriots divisional round win over the Titans.

Dallas Cowboys
On June 11, 2004, he was signed by the Dallas Cowboys as a free agent, reuniting with Bill Parcells who was also his head coach with the Jets. On June 24, he suffered a right broken foot while working out in the team's facility. On July 31, he returned to practice. He appeared in 8 games and was declared inactive in 7 contests. He made one reception for 5 yards, one carry for 11 rushing yards and returned 14 punts for an 8.1-yard average. He was released on December 31.

Ward played in 103 regular-season games (26 starts) during his NFL career with 167 receptions for 2,307 yards and 12 touchdowns, to go along with 123 punt returns for 1,026 yards.

Coaching career
Ward first served as wide receivers coach for Missouri State in 2006.  He was hired by the head coach Ken Whisenhunt and the Arizona Cardinals as offensive quality control coach on March 21, 2007. He was signed by the Kansas City Chiefs to be an offensive quality control coach for the 2009 season.

Personal life
He is currently teaching in high school. He has one son, Mason Ward, who lives with him in Cedar Rapids, Iowa.

References

1974 births
Living people
Players of American football from Cedar Rapids, Iowa
American football wide receivers
Northern Iowa Panthers football players
New York Jets players
Miami Dolphins players
Baltimore Ravens players
New England Patriots players
Dallas Cowboys players
Missouri State Bears football coaches
Arizona Cardinals coaches
Kansas City Chiefs coaches
Northern Iowa Panthers football coaches
High school football coaches in Iowa

Dedric Ward


Public transport in Szeged, Hungary is provided by two companies, SzKT (short for the Hungarian name of Public Transport Company of Szeged) and Volánbusz. The former company operates trams and trolley buses, while the latter operates buses. SzKT is owned by the city.

After the great flood of 1879 the existing omnibus transport was insufficient for the rapidly growing city's needs, so from July 1, 1884 horse trams were operated by a company which was the predecessor of SzKT. In 1885 there were more than 300,000 passengers.

Tram traffic started on October 1, 1908. The fare was quite expensive for the time. Until 1971 trams carried not only passengers but also goods. Development was hindered by World War I: several tram lines were abolished and two tram cars were sold to other cities. Usage of the tram service decreased.

As World War II did not cause major damage in infrastructure, traffic could start again immediately after the end of the war. On April 14, 1950 the company changed its name to the Szeged Street Railway Company (Szegedi Villamos Vasút Vállalat), which was changed again in 1955 to the Szeged Transport Company (Szegedi Közlekedési Vállalat). The company started its bus service around this time. Buses were planned to play a secondary role to the tram system, but they quickly became popular. On January 1, 1963 the operation of bus service was taken over by Tisza Volán, the county's bus company.

Trolleybus services started on April 29, 1979. Trams became less popular and most of the vehicles were becoming too for old continued use; in 1996 the city bought thirteen Tatra trams. SzKT also bought new trolley buses, in 2000 and 2001. In 2005 new Tatra trams were bought to replace the old FVVs.

Szeged has 38 bus lines, four tram and six trolley bus lines. The city is one of only four Hungarian cities with trams — the others being Budapest, Miskolc and Debrecen — and, alongside Budapest and Debrecen, one of only three with trolley buses. A Tram-train line to Hódmezővásárhely is under construction as of 2019 with a planned completion date of 2021.

External links
 SzKT official site
 Tisza Volán official site
 Szeged tram, trolley and bus map
 Pictures about public transport in the large Hungarian cities

Public transport companies in Hungary
Szeged
Szeged
Public transport in Hungary

cs:Tramvajová doprava v Szegedu

Public transport in Szeged


Emil Ruder (20 March 1914 – 13 March 1970) was a Swiss typographer and graphic designer, who with Armin Hofmann joined the faculty of the Schule für Gestaltung Basel (Basel School of Design). One of the main masters of Swiss design.

He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that consisted of philosophy, theory and a systematic practical methodology. He expressed lofty aspirations for graphic design, writing that part of its function was to promote 'the good and the beautiful in word and image and to open the way to the arts' (TM, November 1952 Issue). He was one of the major contributors to Swiss Style design. He taught that typography's purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.

Swiss Style

The Swiss Style (as a conditional continuation of International Typographic Style) was developed in Switzerland in the 1950s. This style was defined by the use of sans-serif typefaces, and employed a page grid for structure, producing asymmetrical layouts.
By the 1960s, the grid had become a routine procedure. The grid came to imply the style and methods of Swiss Graphic Design. Ruder demonstrated a grid of nine squares as the basis for different sizes of image. There are 24 possible positions and shapes of image.

Also stressed was the combination of typography and photography as a means of visual communication. The primary influential works were developed as posters, which were seen to be the most effective means of communication.

Early life
Emil Ruder was born in Zurich, Switzerland on March 20, 1914. Ruder was trained as a typesetter in Basel (1929-1933), and studied in Paris from 1938-1939. Ruder published a basic grammar of typography entitled, Typographie. The text was published in German, English and French, by Swiss publisher Arthur Niggli in 1967. The book helped spread and propagate the Swiss Style, and became a basic text for graphic design and typography programs in Europe and North America. In 1962 he helped to found the International Center for the Typographic Arts (ICTA) in New York.

Education and career
Ruder began his education in design at the age of fifteen when he took a compositor's apprenticeship.  By his late twenties, he began attending the Kunstgewerbeschule Zürich where the principles of Bauhaus and Tschichold's new typography were taught.

Ruder first began teaching in 1942 at the Allgemeine Gewerbeschule in the Swiss city of Basel. There, he was in charge of typography for trade students. He became the head of the Department of Apprentices in Applied arts by 1947. In 1947 Ruder met the artist-printer Armin Hofmann. Ruder and Hoffman began a long period of collaboration. Their teaching achieved an international reputation by the mid-1950s. By the mid-1960s their courses were maintaining lengthy waiting lists.
He was a contributing writer and editor for Typografische Monatsblätter (Typographic Monthly), which was a popular trade publication of the time. In 1946, his design was unsuccessful in the competition for the cover design of Typographische Monatsblätter.

During the post war years when, in almost every field of applied art, there was still no sign of transition to a new form of expression better fitted to the times, Emil Ruder was one of the first pioneers to discard all of the conventional rules of traditional typography and to establish new laws of composition more in accord with the modern era.
In spite of his bent for pictorial thinking, he was never tempted to indulge in merely playful designs in which the actual purpose of printing - legibility - would be lost.
Ruder's insistence that the primary aim of typography was communication did not exclude aesthetic effects. Contrast was one of his methods. He was essentially devoted to the craft of letterpress printing.

Typografische Monatsblätter

From 1946, Emil Ruder slowly emerged in Typografische Monatsblätter as an exponent of Modernism. Between 1957 and 1959 he contributed a series of four articles with the title 'Wesentliches' (Fundamentals):'The Plane', 'The Line', 'The Word' and 'Rhythm'. They formed the basis of his thinking, summed up in 1967 in the book Typography.

In 1952, Schweizer Graphische Mitteilungen (SGM) fused with Revue Suisse de I'Imprimerie and Typographische Monatsblätter into a single monthly publication known by the initials TM.Emil Ruder was among the chief figures in the new magazine, and was a key force in typographical thinking.

Three articles, in February 1952, established Ruder as a supporter of radical change. In January 1952, the first issue of the combined magazines retained Times as the text typeface; He introduced Monotype in the February issue that included his Bauhaus article.

Notable works
After twenty-five years of teaching, Ruder published a heavily illustrated book capturing his ideas, methods and approach. The book, Typographie: A Manual for Design, represents a critical reflection on Ruder's teaching and practice as well as a lifetime of accumulated knowledge. Other than publishing his book Typographie, he is known for his use of the grid system in Swiss Style design as well as his poster designs.

See also
Swiss Style (design)
International Typographic Style

References

External links
 Exhibition on Emil Ruder at print gallery in Tokyo

1914 births
1970 deaths
Swiss designers
Swiss graphic designers
Zurich University of the Arts alumni

Emil Ruder


Narrow Gauge Railway Museum in Wenecja (Polish Venice) near Żnin (Poland) is an open-air museum collecting and exhibiting steam locomotives, passenger and freight cars, trolleys, railwaymen's tools, signalling equipment, contents of an old waiting room, old maps. The Narrow Gauge Railway Museum in Wenecja is a department of the Muzeum Ziemi Pałuckiej (the Żnin's Museum of Pałuki Land) and was established in 1972 at a suggestion of enthusiasts of the Pałuki region, of which Żnin is considered the capital. The Museum has collected numerous steam locomotives. One of the oldest is the German one made by Orenstein & Koppel in Berlin in 1900. The Tx-1116 locomotive made by Henschel & Son (Kassel, 1918) and the Tx4-564 locomotive made by Hanomag (Hannover, 1923) are also very interesting. A real rarity is the Belgian locomotive No.2179 made by Les Ateliers Metallurgiques Nivelles with the unique wheel arrangement 4-6-2 ("Pacific"), and the only one which has steam brakes. There are also steam locomotives made in the First Polish Locomotive Plant in Chrzanów, including active Px38.

The Narrow Gauge Railway Museum in Wenecja is situated at the foot of the ruins of the medieval castle built in the 14th century by legendary Mikołaj Nałecz. Tourists can travel on the historic Żnińska Kolej Powiatowa, a  narrow gauge railway from Żnin via Wenecja to Biskupin which is famous for a reconstruction of the Lusatian culture settlement and the Archaeological Museum.

See also

 Biskupin
 Heritage railways
 Pałuki
 Wenecja
 Żnin

External links
The Narrow Gauge Railway Museum in Wenecja
The Museum of Pałuki Land
The Żnin Town Hall
The Archaeological Museum in Biskupin
The Żnin County
The Narrow Gauge Railway Company in Żnin
Kujawsko-Pomorskie Voivodship

600 mm gauge railways in Poland
Railway museums in Poland
Żnin County
Museums in Kuyavian-Pomeranian Voivodeship

Narrow Gauge Railway Museum in Wenecja