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J int s " ▁– ▁New ▁York ▁Gi ants , ▁NFL ; ▁used ▁occasionally ▁by ▁local ▁media , ▁as ▁eye ▁dialect ▁for ▁the ▁team ' s ▁name . ▁Also ▁used ▁for ▁the ▁baseball ▁team ▁while ▁it ▁was ▁in ▁New ▁York . ▁ ▁" J ok eland ▁( F aders / Tra itors )" * ▁– ▁Las ▁Vegas ▁R aid ers , ▁by ▁det ract ors ▁ ▁" L amb s " ▁– ▁Los ▁Angeles ▁R ams , ▁NFL ; ▁a ▁l amb ▁being ▁a ▁soft , ▁c udd ly , ▁me ek ▁baby ▁sheep ▁( as ▁opposed ▁to ▁a ▁ram , ▁being ▁an ▁aggressive ▁full - g rown ▁male ▁sheep ); ▁rh ym ing ▁nick name ▁used ▁by ▁det ract ors ▁when ▁team ▁performs ▁poorly ▁ ▁" Mon sters ▁of ▁the ▁Mid way " ▁– ▁Chicago ▁B ears , ▁NFL ; ▁originally ▁applied ▁to ▁the ▁University ▁of ▁Chicago ▁" Mar oons ", ▁a ▁strong ▁( former ) ▁college ▁football ▁team ; ▁" M id way " ▁refers ▁to ▁the ▁Mid way ▁Pl ais ance , ▁a ▁long , ▁green ▁sw ath ▁of ▁bou lev ard ▁space ▁bord ering ▁the ▁southern ▁end ▁of ▁the ▁campus . ▁The ▁University ▁dis contin ued ▁its ▁football ▁program ▁in ▁ 1 9 3 9 , ▁and ▁the ▁B ears ▁adopted ▁the ▁nick name . ▁ ▁"' N in ers " ▁– ▁San ▁Francisco ▁ 4 9 ers , ▁NFL ; ▁ab bre vi ation ▁of ▁team ▁name ▁ ▁" The ▁Oil ers " ▁– ▁Tennessee ▁Tit ans , |
▁NFL ; ▁a ▁reference ▁of ▁the ▁team ' s ▁name ▁before ▁it ▁moved ▁to ▁Tennessee , ▁the ▁Houston ▁Oil ers ▁ ▁" The ▁Tennessee ▁Tit an ics " * ▁– ▁NFL , ▁reference ▁given ▁to ▁the ▁team ▁after ▁their ▁ 0 – 6 ▁start ▁in ▁ 2 0 0 9 ▁including ▁a ▁ 5 9 – 0 ▁loss ▁to ▁the ▁Patri ots , ▁this ▁after ▁going ▁ 1 3 – 3 ▁in ▁ 2 0 0 8 ▁ ▁" The ▁Pack " ▁– ▁Green ▁Bay ▁Pack ers , ▁NFL ; ▁ab bre vi ation ▁of ▁name , ▁and ▁a ▁play ▁on ▁the ▁collective ▁term ▁for ▁a ▁group ▁of ▁animals ▁such ▁as ▁dogs ▁or ▁w olves ▁ ▁" P ats " ▁– ▁New ▁England ▁Patri ots , ▁NFL ; ▁ab bre vi ation ▁of ▁team ▁name ▁ ▁" The ▁P ats ies " ▁– ▁New ▁England ▁Patri ots , ▁NFL ; ▁play ▁on ▁nick name ▁" P ats " ▁( ab ove ) ▁and ▁the ▁term ▁p ats y , ▁" a ▁person ▁who ▁is ▁easily ▁manip ulated ▁or ▁victim ized " ▁ ▁" The ▁Pot om ac ▁Dr ain age ▁Bas in ▁Ind igenous ▁Pers ons " ▁– ▁Washington ▁Red sk ins , ▁NFL ; ▁translation ▁of ▁team ▁name ▁into ▁polit ically ▁correct ▁terms , ▁popular ized ▁by ▁NFL ▁column ist ▁and ▁Washington , ▁D . C . ▁resident ▁Greg g ▁Easter bro ok ▁in ▁his ▁weekly ▁column ▁Tuesday ▁Morning ▁Quarter back . ▁ ▁" Se ag ull s " ▁– ▁Seattle ▁Se |
ah aw ks , ▁term ▁often ▁said ▁by ▁det ract ors ▁when ▁Se ah aw ks ▁are ▁playing ▁poorly . ▁ ▁" The ▁Silver ▁and ▁Black " ▁– ▁Las ▁Vegas ▁R aid ers , ▁NFL ; ▁from ▁the ▁colors ▁of ▁the ▁uniform s ▁ ▁" Sil ver ▁R ush " ▁– ▁Detroit ▁L ions ▁ ▁" S inners " ▁– ▁New ▁Orleans ▁S aints , ▁NFL ; ▁" s inner " ▁is ▁often ▁a ▁pa ired ▁opposite ▁of ▁" s aint "; ▁used ▁by ▁det ract ors , ▁but ▁also ▁as ▁a ▁result ▁of ▁New ▁Orleans ▁S aints ▁B ount y ▁Sc andal ▁ ▁"' S kins " ▁– ▁Washington ▁Red sk ins , ▁NFL ; ▁ab bre vi ation ▁of ▁team ▁name ▁ ▁"' St ill ers " ▁– ▁Pittsburgh ▁Steel ers , ▁NFL ; ▁how ▁native ▁Pittsburgh ers ▁( P icks berg ers ) ▁pron ounce ▁the ▁name ▁of ▁their ▁team ▁ ▁" T ennessee ▁Tra itors ▁" ▁* ▁– ▁Tennessee ▁Tit ans , ▁NFL ; ▁der is ive ▁nick name ▁of ▁the ▁former ▁Houston ▁Oil ers , ▁usually ▁aimed ▁at ▁owner ▁Bud ▁Adams ▁by ▁former ▁Oil ers ▁fans ▁ ▁" V ikes " ▁– ▁Minnesota ▁Vik ings , ▁NFL ; ▁ab bre vi ation ▁of ▁team ▁name ▁ ▁Canadian ▁football ▁▁ ▁" Al s " ▁– ▁Montreal ▁Al ou ettes , ▁C FL ; ▁ab bre vi ation ▁of ▁name ▁ ▁" Arg os " ▁– ▁Toronto ▁Arg on aut s , ▁C FL ; ▁ab bre vi ation ▁of |
▁name ▁ ▁" The ▁Blue ▁and ▁Gold " ▁– ▁W inn ipe g ▁Blue ▁B om bers , ▁C FL ; ▁after ▁the ▁team ▁colours ▁ ▁" The ▁Bo at men " ▁– ▁Toronto ▁Arg on aut s , ▁C FL ; ▁in ▁reference ▁to ▁the ▁team ' s ▁foundation ▁by ▁the ▁Arg on aut ▁Row ing ▁Club ▁of ▁Toronto , ▁which ▁in ▁turn ▁was ▁derived ▁from ▁Jason ▁and ▁the ▁Arg on aut s , ▁myth ical ▁heroes ▁and ▁boat men ▁who ▁are ▁the ▁names ake ▁of ▁both ▁the ▁row ing ▁club ▁and ▁the ▁C FL ▁team ▁ ▁" B om bers " ▁– ▁W inn ipe g ▁Blue ▁B om bers , ▁C FL ; ▁ab bre vi ation ▁of ▁team ▁name ▁ ▁" The ▁Double ▁Blue " ▁– ▁Toronto ▁Arg on aut s , ▁C FL ; ▁in ▁reference ▁to ▁the ▁team ▁colours , ▁Oxford ▁blue ▁and ▁Cambridge ▁blue ▁ ▁" E sk s " ▁or ▁" E sk ies " ▁– ▁Ed mont on ▁E skim os , ▁C FL ; ▁ab bre vi ation ▁of ▁team ▁name ▁ ▁"' G ades " ▁– ▁Ott awa ▁Ren eg ades , ▁C FL ; ▁ab bre vi ation ▁of ▁team ▁name ▁ ▁" J olly ▁Green ▁Gi ants " ▁– ▁S ask at che wan ▁R ough rid ers ▁for ▁the ▁colour ▁of ▁the ▁team ' s ▁uniform s ▁and ▁size ▁of ▁the ▁players ▁ ▁" Le os " ▁– ▁BC ▁L ions , ▁C FL ; ▁" Le o " |
▁is ▁a ▁common ▁nick name ▁for ▁" l ion " ▁( from ▁Latin , ▁le o ) ▁ ▁" R ough ies ▁or ▁Green ▁R iders " ▁– ▁S ask at che wan ▁R ough rid ers , ▁C FL ; ▁Green ▁R iders ▁to ▁different iate ▁team ▁from ▁the ▁now ▁def unct ▁Ott awa ▁team ▁of ▁the ▁same ▁name . ▁R ough ies ▁- ▁ab bre vi ation ▁of ▁team ▁name ▁ ▁" St amps " ▁– ▁Cal g ary ▁St amped ers , ▁C FL ; ▁ab bre vi ation ▁of ▁team ▁name ▁ ▁" Tab b ies " ▁- ▁Hamilton ▁T iger - C ats ▁Tab by ▁is ▁a ▁type ▁of ▁domestic ▁cat ▁with ▁stri pes ▁ ▁" T i - c ats " ▁– ▁Hamilton ▁T iger - C ats , ▁C FL ; ▁teles cop ing ▁of ▁team ▁name ▁ ▁See ▁also ▁▁▁ ▁Nick name ▁ ▁List ▁of ▁NFL ▁nick names ▁ ▁List ▁of ▁baseball ▁nick names ▁ ▁List ▁of ▁basketball ▁nick names ▁ ▁List ▁of ▁hockey ▁nick names ▁ ▁List ▁of ▁athletes ▁by ▁nick name ▁ ▁L ists ▁of ▁nick names ▁– ▁nick name ▁list ▁articles ▁on ▁Wikipedia ▁ ▁American ▁football ▁ ▁Canadian ▁football ▁ ▁Re ferences ▁▁ ▁Nick names ▁Nick names ▁Category : N ick names ▁in ▁sports ▁Category : Can ad ian ▁football <0x0A> </s> ▁Washington ▁H od ges ▁Tim mer man ▁( May ▁ 2 9 , ▁ 1 8 3 2 ▁– ▁July ▁ 1 4 , ▁ 1 9 0 8 ) |
▁was ▁an ▁ ▁American ▁politician . ▁Between ▁ 1 8 9 3 ▁and ▁ 1 8 9 7 ▁he ▁was ▁the ▁ 6 1 st ▁Lieutenant ▁Governor ▁of ▁the ▁ ▁State ▁of ▁South ▁Carolina . ▁ ▁Career ▁ ▁Washington ▁Tim mer man ▁grew ▁up ▁in ▁Edge field ▁County . ▁After ▁subsequent ▁medical ▁studies ▁and ▁his ▁admission ▁as ▁a ▁doctor , ▁he ▁began ▁to ▁work ▁in ▁this ▁profession . ▁He ▁also ▁worked ▁as ▁a ▁farmer . ▁During ▁the ▁Civil ▁War ▁he ▁served ▁in ▁the ▁ ▁Confeder ate ▁Army , ▁where ▁he ▁rose ▁to ▁the ▁rank ▁of ▁captain . ▁Polit ically , ▁he ▁was ▁a ▁member ▁of ▁the ▁ ▁Democratic ▁Party . ▁He ▁served ▁in ▁both ▁the ▁House ▁of ▁Represent atives ▁of ▁South ▁Carolina ▁and ▁the ▁Senate ▁of ▁South ▁Carolina , ▁where ▁he ▁served ▁as ▁President ▁Pro ▁Temp ore . ▁▁ ▁Following ▁the ▁resign ation ▁of ▁Lieutenant ▁Governor ▁Eug ene ▁B . ▁Gary , ▁who ▁resigned ▁to ▁serve ▁as ▁a ▁justice ▁at ▁the ▁South ▁Carolina ▁Supreme ▁Court , ▁Tim mer man ▁was ▁forced ▁to ▁assume ▁the ▁vac ated ▁office ▁of ▁Lieutenant ▁Governor , ▁in ▁accordance ▁with ▁the ▁state ▁constitution ▁as ▁" Pres ident ▁Pro ▁Temp ore " ▁of ▁the ▁State ▁Senate . ▁He ▁was ▁later ▁officially ▁elected . ▁This ▁position ▁he ▁held ▁between ▁ 1 8 9 3 ▁and ▁ 1 8 9 8 . ▁He ▁was ▁a ▁deputy ▁to ▁the ▁ ▁Governor ▁and ▁F ormal ▁Chairman ▁of ▁the ▁Senate . ▁Until ▁ 1 8 9 4 ▁he ▁off ici ated ▁under ▁Governor ▁Benjamin ▁T |
ill man ▁and ▁then ▁under ▁his ▁success or ▁John ▁Gary ▁Evans . ▁In ▁ 1 8 9 5 ▁Tim mer man ▁participated ▁as ▁a ▁delegate ▁to ▁a ▁constitutional ▁convention ▁of ▁his ▁state . ▁He ▁was ▁also ▁twice ▁Secretary ▁of ▁State ▁of ▁South ▁Carolina ▁as ▁State ▁Tre as urer . ▁He ▁died ▁on ▁July ▁ 1 4 , ▁ 1 9 0 8 . ▁ ▁S ources ▁ ▁Re ferences ▁ ▁Category : South ▁Carolina ▁state ▁sen ators ▁Category : Members ▁of ▁the ▁South ▁Carolina ▁House ▁of ▁Represent atives ▁Category : L ie utenant ▁Govern ors ▁of ▁South ▁Carolina ▁Category : South ▁Carolina ▁Democrats ▁Category : ▁ 1 8 3 2 ▁birth s ▁Category : ▁ 1 9 0 8 ▁deaths <0x0A> </s> ▁The ▁Muse o ▁di ▁Pal azzo ▁M oc en igo ▁( aka ▁Pal azzo ▁M oc en igo ▁di ▁San ▁St ae ) ▁is ▁a ▁pal azzo ▁near ▁the ▁Church ▁of ▁San ▁St ae , ▁south ▁of ▁the ▁Grand ▁Canal ▁in ▁the ▁s est iere ▁of ▁Santa ▁Cro ce ▁in ▁Ven ice , ▁Italy . ▁It ▁is ▁now ▁a ▁museum ▁of ▁fab rics ▁and ▁cost umes , ▁run ▁by ▁the ▁F ond azione ▁Muse i ▁C iv ici ▁di ▁Venez ia . ▁ ▁Building ▁ ▁The ▁pal azzo ▁is ▁a ▁large ▁building ▁in ▁the ▁g oth ic ▁style . ▁It ▁was ▁re built ▁extens ively ▁at ▁the ▁start ▁of ▁the ▁ 1 7 th ▁century . ▁From ▁this ▁time , ▁the ▁pal azzo ▁was ▁the ▁residence ▁of ▁the ▁San ▁St ae |
▁branch ▁of ▁the ▁M oc en igo ▁family , ▁one ▁of ▁the ▁most ▁important ▁Ven et ian ▁families . ▁Seven ▁members ▁of ▁the ▁family ▁were ▁Dog es ▁of ▁Ven ice . ▁ ▁Museum ▁ ▁The ▁ ▁Pal azzo ▁M oc en igo ▁was ▁be que at hed ▁to ▁the ▁city ▁of ▁Ven ice ▁by ▁Al v ise ▁Nicol ò ▁M oc en igo ▁in ▁ 1 9 4 5 . ▁He ▁was ▁the ▁last ▁desc endant ▁of ▁the ▁family ▁and ▁intended ▁the ▁pal azzo ▁to ▁be ▁used ▁" as ▁a ▁Gallery ▁of ▁Art , ▁to ▁supplement ▁Muse o ▁Cor rer ". ▁In ▁ 1 9 8 5 , ▁the ▁pal azzo ▁was ▁designated ▁as ▁the ▁Museum ▁and ▁Study ▁Centre ▁of ▁the ▁History ▁of ▁Fab rics ▁and ▁Cost umes . ▁The ▁museum ▁contains ▁collections ▁of ▁text iles ▁and ▁cost umes , ▁mainly ▁from ▁the ▁Cor rer , ▁G ug gen heim , ▁and ▁C ini ▁collections , ▁as ▁well ▁as ▁the ▁Pal azzo ▁Gr ass i . ▁Pal azzo ▁M oc en igo ▁also ▁has ▁a ▁library ▁on ▁the ▁first ▁floor ▁covering ▁the ▁history ▁of ▁cost umes , ▁fab rics , ▁and ▁fashion , ▁especially ▁from ▁the ▁ 1 8 th ▁century . ▁ ▁The ▁palace ▁was ▁fres co ed ▁by ▁ 1 8 th - century ▁artists ▁including ▁Gi amb att ista ▁Canal , ▁Giovanni ▁Sc aj aro , ▁and ▁Jac op o ▁Gu ar ana . ▁ ▁See ▁also ▁▁ ▁Pal az zi ▁M oc en igo ▁on ▁the ▁Grand ▁Canal ▁ |
▁Re ferences ▁ ▁Ex ternal ▁links ▁▁▁ ▁Museum ▁website ▁▁ ▁Category : M useum s ▁established ▁in ▁ 1 9 8 5 ▁M oc en igo ▁Category : M useum s ▁in ▁Ven ice ▁Category : F ashion ▁museum s ▁in ▁Italy ▁Category : Text ile ▁museum s <0x0A> </s> ▁Ul has n ag ar ▁V id han ▁Sab ha ▁constitu ency ▁is ▁one ▁of ▁the ▁ 2 8 8 ▁V id han ▁Sab ha ▁( Leg isl ative ▁Assembly ) ▁constitu encies ▁of ▁Mah ar as ht ra ▁state ▁in ▁western ▁India . ▁The ▁constitu ency ▁is ▁dominated ▁by ▁S ind hi ▁community . ▁ ▁Over view ▁Ul has n ag ar ▁constitu ency ▁is ▁one ▁of ▁the ▁ 1 8 ▁V id han ▁Sab ha ▁constitu encies ▁located ▁in ▁Th ane ▁district . ▁It ▁compris es ▁part ▁of ▁the ▁Ul has n ag ar ▁Municipal ▁Corporation ▁and ▁parts ▁of ▁Ul has n ag ar ▁and ▁Kal yan ▁te hs ils ▁of ▁the ▁district . ▁ ▁Ul ah sn ag ar ▁is ▁part ▁of ▁the ▁Kal yan ▁L ok ▁Sab ha ▁constitu ency ▁along ▁with ▁five ▁other ▁V id han ▁Sab ha ▁segments , ▁namely , ▁M umb ra - K al wa , ▁A mber n ath , ▁Kal yan ▁East , ▁Kal yan ▁R ural ▁and ▁D omb ival i ▁in ▁Th ane ▁district . ▁ ▁Members ▁of ▁Legisl ative ▁Assembly ▁ ▁E lection ▁results ▁ ▁Assembly ▁E lections ▁ 1 9 6 2 ▁ ▁Assembly ▁E lections ▁ 1 |
9 6 7 ▁ ▁Assembly ▁E lections ▁ 1 9 7 2 ▁ ▁Assembly ▁E lections ▁ 1 9 7 8 ▁ ▁Assembly ▁E lections ▁ 1 9 8 0 ▁ ▁Assembly ▁E lections ▁ 1 9 8 5 ▁ ▁Assembly ▁E lections ▁ 1 9 9 0 ▁ ▁Assembly ▁E lections ▁ 1 9 9 5 ▁ ▁Assembly ▁E lections ▁ 1 9 9 9 ▁ ▁Assembly ▁E lections ▁ 2 0 0 4 ▁ ▁Assembly ▁E lections ▁ 2 0 0 9 ▁ ▁Assembly ▁E lections ▁ 2 0 1 4 ▁ ▁Assembly ▁E lections ▁ 2 0 1 9 ▁ ▁See ▁also ▁ ▁Ul has n ag ar ▁▁ ▁List ▁of ▁constitu encies ▁of ▁Mah ar as ht ra ▁V id han ▁Sab ha ▁ ▁Re ferences ▁ ▁Category : Assembly ▁constitu encies ▁of ▁Th ane ▁district ▁Category : U l has n ag ar ▁Category : Assembly ▁constitu encies ▁of ▁Mah ar as ht ra <0x0A> </s> ▁St alk er ▁() ▁is ▁a ▁ 1 9 7 9 ▁Soviet ▁science ▁fiction ▁art ▁film ▁directed ▁by ▁And rei ▁T ark ov sky ▁with ▁a ▁screen play ▁written ▁by ▁Bor is ▁and ▁Ark ady ▁Str ug at sky , ▁lo os ely ▁based ▁on ▁their ▁ 1 9 7 2 ▁novel ▁Road side ▁Pic nic . ▁The ▁film ▁comb ines ▁elements ▁of ▁science ▁fiction ▁with ▁dramatic ▁philosoph ical ▁and ▁psychological ▁themes . ▁Modern ▁reviews ▁of ▁St alk er ▁have ▁been ▁highly ▁positive . ▁ ▁The ▁film ▁tells ▁the ▁story ▁of ▁an |
▁expedition ▁led ▁by ▁a ▁figure ▁known ▁as ▁the ▁" St alk er " ▁( Alex ander ▁K aid an ov sky ), ▁who ▁takes ▁his ▁two ▁clients — a ▁mel anch olic ▁writer ▁( An at oly ▁Sol on its yn ) ▁seeking ▁inspiration , ▁and ▁a ▁professor ▁( N ik ol ai ▁Gr ink o ) ▁seeking ▁scientific ▁discovery — to ▁a ▁mysterious ▁restricted ▁site ▁known ▁simply ▁as ▁the ▁" Zone ", ▁where ▁there ▁supposed ly ▁exists ▁a ▁room ▁which ▁grants ▁a ▁person ' s ▁inn erm ost ▁desires . ▁The ▁tri o ▁travel ▁through ▁un n erv ing ▁areas ▁filled ▁with ▁the ▁debris ▁of ▁modern ▁society ▁while ▁engaging ▁in ▁many ▁arguments . ▁ ▁Title ▁The ▁meaning ▁of ▁the ▁word ▁" st alk " ▁was ▁derived ▁from ▁its ▁use ▁by ▁the ▁Str ug at sky ▁brothers ▁in ▁their ▁novel ▁Road side ▁Pic nic , ▁on ▁which ▁the ▁movie ▁is ▁based . ▁In ▁Road side ▁Pic nic , ▁" St alk er " ▁was ▁a ▁common ▁nick name ▁for ▁men ▁engaged ▁in ▁the ▁illegal ▁enterprise ▁of ▁prospect ing ▁for ▁and ▁sm ug gling ▁alien ▁art ifacts ▁out ▁of ▁the ▁" Zone ". ▁The ▁common ▁English ▁definition ▁of ▁the ▁term ▁" st alk ing " ▁was ▁also ▁cited ▁by ▁And rei ▁T ark ov sky . ▁In ▁the ▁film , ▁a ▁" st alk er " ▁is ▁a ▁professional ▁guide ▁to ▁the ▁Zone , ▁someone ▁having ▁the ▁ability ▁and ▁desire ▁to ▁cross ▁the ▁border ▁into ▁the ▁dangerous ▁and ▁for bidden ▁place ▁with ▁a ▁specific |
▁goal . ▁ ▁Plot ▁In ▁the ▁distant ▁future , ▁the ▁protagon ist ▁( Alex ander ▁K aid an ov sky ) ▁works ▁in ▁an ▁un named ▁location ▁as ▁a ▁" St alk er " ▁who ▁leads ▁people ▁through ▁the ▁" Zone ", ▁an ▁area ▁in ▁which ▁the ▁normal ▁laws ▁of ▁reality ▁do ▁not ▁apply ▁and ▁rem n ants ▁of ▁seemingly ▁extr ater rest rial ▁activity ▁lie ▁und ist urbed ▁among ▁its ▁ru ins . ▁The ▁Zone ▁contains ▁a ▁place ▁called ▁the ▁" Room ", ▁said ▁to ▁grant ▁the ▁wishes ▁of ▁anyone ▁who ▁steps ▁inside . ▁The ▁area ▁containing ▁the ▁Zone ▁is ▁sh rou ded ▁in ▁secre cy , ▁sealed ▁off ▁by ▁the ▁government ▁and ▁surrounded ▁by ▁o min ous ▁haz ards . ▁ ▁At ▁home ▁with ▁his ▁wife ▁and ▁daughter , ▁the ▁St alk er ' s ▁wife ▁( Al isa ▁Fre ind lich ) ▁beg s ▁him ▁not ▁to ▁go ▁into ▁the ▁Zone , ▁but ▁he ▁dismiss ively ▁reject s ▁her ▁ple as . ▁In ▁a ▁rund own ▁bar , ▁the ▁St alk er ▁meets ▁his ▁next ▁clients ▁for ▁a ▁trip ▁into ▁the ▁Zone , ▁the ▁Writer ▁( An at oly ▁Sol on its yn ) ▁and ▁the ▁Professor ▁( N ik ol ai ▁Gr ink o ). ▁ ▁They ▁ev ade ▁the ▁military ▁block ade ▁that ▁guards ▁the ▁Zone ▁by ▁following ▁a ▁train ▁inside ▁the ▁gate ▁and ▁ride ▁into ▁the ▁heart ▁of ▁the ▁Zone ▁on ▁a ▁railway ▁work ▁car . ▁The ▁St alk er ▁tells ▁his ▁clients ▁they ▁must ▁do ▁exactly |
▁as ▁he ▁says ▁to ▁survive ▁the ▁d angers ▁which ▁lie ▁ahead ▁and ▁explains ▁that ▁the ▁Zone ▁must ▁be ▁respected ▁and ▁the ▁straight est ▁path ▁is ▁not ▁always ▁the ▁short est ▁path . ▁The ▁St alk er ▁tests ▁for ▁various ▁" tr aps " ▁by ▁throwing ▁metal ▁nuts ▁tied ▁to ▁stri ps ▁of ▁cloth ▁ahead ▁of ▁them . ▁He ▁refers ▁to ▁a ▁previous ▁St alk er ▁named ▁" P or cup ine ", ▁who ▁had ▁led ▁his ▁brother ▁to ▁his ▁death ▁in ▁the ▁Zone , ▁visited ▁the ▁Room , ▁came ▁into ▁possession ▁of ▁a ▁large ▁sum ▁of ▁money , ▁and ▁shortly ▁afterwards ▁committed ▁suicide . ▁The ▁Writer ▁is ▁ske pt ical ▁of ▁any ▁real ▁danger , ▁but ▁the ▁Professor ▁generally ▁follows ▁the ▁St alk er ' s ▁advice . ▁ ▁As ▁they ▁travel , ▁the ▁three ▁men ▁discuss ▁their ▁reasons ▁for ▁wanting ▁to ▁visit ▁the ▁Room . ▁The ▁Writer ▁express es ▁his ▁fear ▁of ▁losing ▁his ▁inspiration . ▁The ▁Professor ▁seems ▁less ▁anxious , ▁though ▁he ▁ins ists ▁on ▁carrying ▁along ▁a ▁small ▁backpack . ▁The ▁Professor ▁adm its ▁he ▁hopes ▁to ▁win ▁a ▁Nob el ▁Prize ▁for ▁scientific ▁analysis ▁of ▁the ▁Zone . ▁The ▁St alk er ▁ins ists ▁he ▁has ▁no ▁mot ive ▁beyond ▁the ▁al tr u istic ▁aim ▁of ▁a iding ▁the ▁desperate ▁to ▁their ▁desires . ▁ ▁After ▁traveling ▁through ▁the ▁tunn els , ▁the ▁three ▁finally ▁reach ▁their ▁destination : ▁a ▁decay ed ▁and ▁decre pit ▁industrial ▁building . ▁In ▁a ▁small ▁an tech amber , ▁a ▁phone |
▁rings . ▁The ▁surprised ▁Professor ▁decides ▁to ▁use ▁the ▁phone ▁to ▁telephone ▁a ▁colle ague . ▁As ▁the ▁tri o ▁approach ▁the ▁Room , ▁the ▁Professor ▁reveals ▁his ▁true ▁intentions ▁in ▁undert aking ▁the ▁journey . ▁The ▁Professor ▁has ▁brought ▁a ▁ 2 0 - kil oton ▁bomb ▁with ▁him , ▁and ▁he ▁int ends ▁to ▁destroy ▁the ▁Room ▁to ▁prevent ▁its ▁use ▁by ▁evil ▁men . ▁The ▁three ▁men ▁enter ▁a ▁physical ▁and ▁ver bal ▁stand off ▁just ▁outside ▁the ▁Room ▁that ▁leaves ▁them ▁exhausted . ▁ ▁The ▁Writer ▁real izes ▁that ▁when ▁Por cup ine ▁met ▁his ▁goal , ▁despite ▁his ▁conscious ▁mot ives , ▁the ▁room ▁ful filled ▁Por cup ine ' s ▁secret ▁desire ▁for ▁wealth ▁rather ▁than ▁bring ▁back ▁his ▁brother ▁from ▁death . ▁This ▁prompt ed ▁the ▁guilt - rid den ▁Por cup ine ▁to ▁commit ▁suicide . ▁The ▁Writer ▁tells ▁them ▁that ▁no ▁one ▁in ▁the ▁whole ▁world ▁is ▁able ▁to ▁know ▁their ▁true ▁desires ▁and ▁as ▁such ▁it ▁is ▁impossible ▁to ▁use ▁the ▁Room ▁for ▁selfish ▁reasons . ▁The ▁Professor ▁gives ▁up ▁on ▁his ▁plan ▁of ▁destroying ▁the ▁Room . ▁Instead , ▁he ▁dis assemb les ▁his ▁bomb ▁and ▁sc at ters ▁its ▁pieces . ▁ ▁The ▁St alk er , ▁the ▁Writer , ▁and ▁the ▁Professor ▁are ▁met ▁back ▁at ▁the ▁bar ▁by ▁the ▁St alk er ' s ▁wife ▁and ▁daughter . ▁After ▁returning ▁home , ▁the ▁St alk er ▁tells ▁his ▁wife ▁how ▁humanity ▁has ▁lost ▁its ▁faith ▁and ▁belief ▁needed ▁for |
▁both ▁travers ing ▁the ▁Zone ▁and ▁living ▁a ▁good ▁life . ▁As ▁the ▁St alk er ▁sle eps , ▁his ▁wife ▁cont emplates ▁their ▁relationship ▁in ▁a ▁mon olog ue ▁delivered ▁directly ▁to ▁the ▁camera . ▁In ▁the ▁last ▁scene ▁" Mart y sh ka ", ▁the ▁couple ' s ▁de formed ▁daughter , ▁sits ▁alone ▁in ▁the ▁kitchen ▁reading ▁as ▁a ▁love ▁poem ▁by ▁F y od or ▁Ty ut che v ▁is ▁rec ited . ▁She ▁appears ▁to ▁use ▁psych ok ines is ▁to ▁push ▁three ▁drinking ▁glasses ▁across ▁the ▁table . ▁A ▁train ▁passes ▁by ▁where ▁the ▁St alk er ' s ▁family ▁lives ▁and ▁the ▁entire ▁apartment ▁sh akes . ▁ ▁Cast ▁ ▁Alexander ▁K aid an ov sky ▁as ▁the ▁stalk er ▁ ▁An at oly ▁Sol on its yn ▁as ▁the ▁writer ▁ ▁Al isa ▁Fre ind lich ▁as ▁the ▁stalk er ' s ▁wife ▁ ▁Nik ol ai ▁Gr ink o ▁as ▁the ▁Professor ▁( vo iced ▁by ▁Serge i ▁Y akov lev ) ▁ ▁Nat asha ▁A br am ova ▁as ▁Mart i š ka , ▁the ▁stalk er ' s ▁daughter ▁ ▁Fa ime ▁J urn o ▁as ▁the ▁writer ' s ▁girlfriend ▁ ▁E . ▁K ost in ▁as ▁Ly ug er , ▁the ▁ca fe ▁owner ▁ ▁Ray mo ▁R end i ▁as ▁the ▁patrol man ▁ ▁Vlad imir ▁Z am ans ky ▁as ▁the ▁voice ▁on ▁the ▁phone ▁conversation ▁with ▁the ▁Professor ▁ ▁Production ▁ ▁Writing ▁After ▁reading ▁the ▁novel , |
▁Road side ▁Pic nic , ▁by ▁Bor is ▁and ▁Ark ady ▁Str ug at sky , ▁T ark ov sky ▁initially ▁recommended ▁it ▁to ▁a ▁friend , ▁the ▁film ▁director ▁Mik h ail ▁Kal ato z ov , ▁thinking ▁Kal ato z ov ▁might ▁be ▁interested ▁in ▁ad ap ting ▁it ▁into ▁a ▁film . ▁Kal ato z ov ▁abandoned ▁the ▁project ▁when ▁he ▁could ▁not ▁obtain ▁the ▁rights ▁to ▁the ▁novel . ▁T ark ov sky ▁then ▁became ▁very ▁interested ▁in ▁ad ap ting ▁the ▁novel ▁and ▁expanding ▁its ▁concepts . ▁He ▁hoped ▁it ▁would ▁allow ▁him ▁to ▁make ▁a ▁film ▁which ▁con forms ▁to ▁the ▁classical ▁Arist ot el ian ▁unity ; ▁a ▁single ▁action , ▁on ▁a ▁single ▁location , ▁within ▁ 2 4 ▁hours ▁( single ▁point ▁in ▁time ). ▁ ▁T ark ov sky ▁viewed ▁the ▁idea ▁of ▁the ▁Zone ▁as ▁a ▁dramatic ▁tool ▁to ▁draw ▁out ▁the ▁personal ities ▁of ▁the ▁three ▁protagon ists , ▁particularly ▁the ▁psychological ▁damage ▁from ▁everything ▁that ▁happens ▁to ▁the ▁ideal istic ▁views ▁of ▁the ▁St alk er ▁as ▁he ▁finds ▁himself ▁unable ▁to ▁make ▁others ▁happy . ▁" This , ▁too , ▁is ▁what ▁St alk er ▁is ▁about : ▁the ▁hero ▁goes ▁through ▁moments ▁of ▁despair ▁when ▁his ▁faith ▁is ▁sh aken ; ▁but ▁every ▁time ▁he ▁comes ▁to ▁a ▁renew ed ▁sense ▁of ▁his ▁voc ation ▁to ▁serve ▁people ▁who ▁have ▁lost ▁their ▁hopes ▁and ▁ill usions ." ▁The ▁film ▁depart s ▁considerably ▁from ▁the ▁novel . ▁According ▁to |
▁an ▁interview ▁with ▁T ark ov sky ▁in ▁ 1 9 7 9 , ▁the ▁film ▁has ▁basically ▁nothing ▁in ▁common ▁with ▁the ▁novel ▁except ▁for ▁the ▁two ▁words ▁" St alk er " ▁and ▁" Zone ". ▁ ▁Yet , ▁several ▁similar ities ▁remain ▁between ▁the ▁novel ▁and ▁the ▁film . ▁In ▁both ▁works , ▁the ▁Zone ▁is ▁guard ed ▁by ▁a ▁police ▁or ▁military ▁guard , ▁apparently ▁authorized ▁to ▁use ▁deadly ▁force . ▁The ▁St alk er ▁in ▁both ▁works ▁tests ▁the ▁safety ▁of ▁his ▁path ▁by ▁toss ing ▁nuts ▁and ▁bol ts ▁tied ▁with ▁scrap s ▁of ▁cloth , ▁ver ifying ▁that ▁gravity ▁is ▁working ▁as ▁usual . ▁A ▁character ▁named ▁H edge h og / P or cup ine ▁is ▁a ▁ment or ▁to ▁St alk er . ▁In ▁the ▁novel , ▁frequent ▁visits ▁to ▁the ▁Zone ▁increase ▁the ▁likelihood ▁of ▁ab normal ities ▁in ▁the ▁visitor ' s ▁off spring . ▁In ▁the ▁book , ▁the ▁St alk er ' s ▁daughter ▁has ▁light ▁hair ▁all ▁over ▁her ▁body , ▁while ▁in ▁the ▁film ▁she ▁is ▁c rip pled . ▁Neither ▁in ▁the ▁novel ▁nor ▁in ▁the ▁film ▁do ▁the ▁women ▁enter ▁the ▁Zone . ▁Finally , ▁the ▁target ▁of ▁the ▁expedition ▁in ▁both ▁works ▁is ▁a ▁wish - gr ant ing ▁device . ▁ ▁In ▁Road side ▁Pic nic , ▁the ▁site ▁was ▁specifically ▁described ▁as ▁the ▁site ▁of ▁alien ▁visit ation ; ▁the ▁name ▁of ▁the ▁novel ▁der ives ▁from ▁a ▁met aphor ▁proposed ▁by ▁a |
▁character ▁who ▁comp ares ▁the ▁visit ▁to ▁a ▁road side ▁pic nic . ▁The ▁closing ▁mon olog ue ▁by ▁the ▁St alk er ' s ▁wife ▁at ▁the ▁end ▁of ▁the ▁film ▁has ▁no ▁equivalent ▁in ▁the ▁novel . ▁An ▁early ▁draft ▁of ▁the ▁screen play ▁was ▁published ▁as ▁a ▁novel ▁St alk er ▁that ▁diff ers ▁substant ially ▁from ▁the ▁finished ▁film . ▁ ▁Production ▁In ▁an ▁interview ▁on ▁the ▁M K 2 ▁DVD , ▁the ▁production ▁designer , ▁R ash it ▁Saf i ull in , ▁recalled ▁that ▁T ark ov sky ▁spent ▁a ▁year ▁shooting ▁a ▁version ▁of ▁the ▁outdoor ▁scenes ▁of ▁St alk er . ▁However , ▁when ▁the ▁crew ▁returned ▁to ▁Moscow , ▁they ▁found ▁that ▁all ▁of ▁the ▁film ▁had ▁been ▁impro per ly ▁developed ▁and ▁their ▁footage ▁was ▁unus able . ▁The ▁film ▁had ▁been ▁shot ▁on ▁new ▁K od ak ▁ 5 2 4 7 ▁stock ▁with ▁which ▁Soviet ▁labor ator ies ▁were ▁not ▁very ▁familiar . ▁Even ▁before ▁the ▁film ▁stock ▁problem ▁was ▁discovered , ▁relations ▁between ▁T ark ov sky ▁and ▁St alk ers ▁first ▁cin emat ographer , ▁Ge or gy ▁R er berg , ▁had ▁deter ior ated . ▁After ▁seeing ▁the ▁poorly ▁developed ▁material , ▁T ark ov sky ▁fired ▁R er berg . ▁By ▁the ▁time ▁the ▁film ▁stock ▁defect ▁was ▁discovered , ▁T ark ov sky ▁had ▁shot ▁all ▁the ▁outdoor ▁scenes ▁and ▁had ▁to ▁abandon ▁them . ▁Saf i ull in ▁cont ends ▁that ▁T ark ov |
sky ▁was ▁so ▁des pond ent ▁that ▁he ▁wanted ▁to ▁abandon ▁further ▁work ▁on ▁the ▁film . ▁ ▁After ▁the ▁loss ▁of ▁the ▁film ▁stock , ▁the ▁Soviet ▁film ▁boards ▁wanted ▁to ▁shut ▁the ▁film ▁down , ▁but ▁T ark ov sky ▁came ▁up ▁with ▁a ▁solution : ▁he ▁asked ▁to ▁be ▁allowed ▁to ▁make ▁a ▁two - part ▁film , ▁which ▁meant ▁additional ▁dead lines ▁and ▁more ▁funds . ▁T ark ov sky ▁ended ▁up ▁res h oot ing ▁almost ▁all ▁of ▁the ▁film ▁with ▁a ▁new ▁cin emat ographer , ▁Alexander ▁K ny az h insky . ▁According ▁to ▁Saf i ull in , ▁the ▁finished ▁version ▁of ▁St alk er ▁is ▁completely ▁different ▁from ▁the ▁one ▁T ark ov sky ▁originally ▁shot . ▁ ▁The ▁documentary ▁film ▁R er berg ▁and ▁T ark ov sky : ▁The ▁Re verse ▁Side ▁of ▁" St alk er " ▁by ▁I gor ▁May bor oda ▁offers ▁a ▁different ▁interpretation ▁of ▁the ▁relationship ▁between ▁R er berg ▁and ▁T ark ov sky . ▁R er berg ▁felt ▁that ▁T ark ov sky ▁was ▁not ▁ready ▁for ▁this ▁script . ▁He ▁told ▁T ark ov sky ▁to ▁re write ▁the ▁script ▁in ▁order ▁to ▁achieve ▁a ▁good ▁result . ▁T ark ov sky ▁ignored ▁him ▁and ▁continued ▁shooting . ▁After ▁several ▁arguments , ▁T ark ov sky ▁sent ▁R er berg ▁home . ▁Ult imately , ▁T ark ov sky ▁shot ▁St alk er ▁three ▁times , ▁consum ing ▁over ▁ ▁of ▁film . ▁People |
▁who ▁have ▁seen ▁both ▁the ▁first ▁version ▁shot ▁by ▁R er berg ▁( as ▁Director ▁of ▁Phot ography ) ▁and ▁the ▁final ▁the atr ical ▁release ▁say ▁that ▁they ▁are ▁almost ▁identical . ▁T ark ov sky ▁sent ▁home ▁other ▁crew ▁members ▁in ▁addition ▁to ▁R er berg ▁and ▁excluded ▁them ▁from ▁the ▁credits ▁as ▁well . ▁ ▁The ▁central ▁part ▁of ▁the ▁film , ▁in ▁which ▁the ▁characters ▁travel ▁within ▁the ▁Zone , ▁was ▁shot ▁in ▁a ▁few ▁days ▁at ▁two ▁desert ed ▁hydro ▁power ▁plants ▁on ▁the ▁J ä g ala ▁river ▁near ▁Tall inn , ▁Est onia . ▁The ▁shot ▁before ▁they ▁enter ▁the ▁Zone ▁is ▁an ▁old ▁Fl ora ▁chemical ▁factory ▁in ▁the ▁center ▁of ▁Tall inn , ▁next ▁to ▁the ▁old ▁Rot erm ann ▁salt ▁storage ▁( now ▁Museum ▁of ▁Est on ian ▁Architect ure ), ▁and ▁the ▁former ▁Tall inn ▁power ▁plant , ▁now ▁Tall inn ▁Creative ▁Hub ▁where ▁a ▁memorial ▁plate ▁of ▁the ▁film ▁was ▁set ▁up ▁in ▁ 2 0 0 8 . ▁Some ▁shots ▁within ▁the ▁Zone ▁were ▁fil med ▁in ▁Ma ard u , ▁next ▁to ▁the ▁I ru ▁power ▁plant , ▁while ▁the ▁shot ▁with ▁the ▁gates ▁to ▁the ▁Zone ▁was ▁fil med ▁in ▁Las nam ä e , ▁next ▁to ▁Pun ane ▁Street ▁behind ▁the ▁Id akes k us . ▁Other ▁shots ▁were ▁fil med ▁near ▁the ▁Tall inn – N ar va ▁highway ▁bridge ▁on ▁the ▁Pir ita ▁River . ▁ ▁Several ▁people ▁involved ▁in ▁the ▁film ▁production , ▁including |
▁T ark ov sky , ▁died ▁from ▁causes ▁that ▁some ▁crew ▁members ▁attributed ▁to ▁the ▁film ' s ▁long ▁shooting ▁schedule ▁in ▁toxic ▁locations . ▁Sound ▁designer ▁Vlad imir ▁Shar un ▁recalled : ▁ ▁Style ▁Like ▁T ark ov sky ' s ▁other ▁films , ▁St alk er ▁rel ies ▁on ▁long ▁takes ▁with ▁slow , ▁subtle ▁camera ▁movement , ▁reject ing ▁the ▁use ▁of ▁rapid ▁mont age . ▁The ▁film ▁contains ▁ 1 4 2 ▁shots ▁in ▁ 1 6 3 ▁minutes , ▁with ▁an ▁average ▁shot ▁length ▁of ▁more ▁than ▁one ▁minute ▁and ▁many ▁shots ▁lasting ▁for ▁more ▁than ▁four ▁minutes . ▁Almost ▁all ▁of ▁the ▁scenes ▁not ▁set ▁in ▁the ▁Zone ▁are ▁in ▁Sep ia ▁or ▁a ▁similar ▁high - contr ast ▁brown ▁mon och rome . ▁ ▁Sound track ▁ ▁The ▁St alk er ▁film ▁score ▁was ▁composed ▁by ▁Edu ard ▁Art emy ev , ▁who ▁had ▁also ▁composed ▁the ▁scores ▁for ▁T ark ov sky ' s ▁previous ▁films ▁Sol aris ▁and ▁The ▁Mir ror . ▁For ▁St alk er ▁Art emy ev ▁composed ▁and ▁recorded ▁two ▁different ▁versions ▁of ▁the ▁score . ▁The ▁first ▁score ▁was ▁done ▁with ▁an ▁or chestra ▁alone ▁but ▁was ▁rejected ▁by ▁T ark ov sky . ▁The ▁second ▁score ▁that ▁was ▁used ▁in ▁the ▁final ▁film ▁was ▁created ▁on ▁a ▁synt hes izer ▁along ▁with ▁traditional ▁instruments ▁that ▁were ▁manip ulated ▁using ▁sound ▁effects . ▁In ▁the ▁final ▁film ▁score ▁the ▁boundaries ▁between ▁music ▁and ▁sound ▁were ▁blur red , ▁as ▁natural |
▁sounds ▁and ▁music ▁interact ▁to ▁the ▁point ▁where ▁they ▁are ▁ind ist ingu ish able . ▁In ▁fact , ▁many ▁of ▁the ▁natural ▁sounds ▁were ▁not ▁production ▁sounds ▁but ▁were ▁created ▁by ▁Art emy ev ▁on ▁his ▁synt hes izer . ▁For ▁T ark ov sky ▁music ▁was ▁more ▁than ▁just ▁a ▁parallel ▁illustr ation ▁of ▁the ▁visual ▁image . ▁He ▁believed ▁that ▁music ▁dist orts ▁and ▁changes ▁the ▁emotional ▁tone ▁of ▁a ▁visual ▁image ▁while ▁not ▁changing ▁the ▁meaning . ▁He ▁also ▁believed ▁that ▁in ▁a ▁film ▁with ▁complete ▁theoretical ▁consistency ▁music ▁will ▁have ▁no ▁place ▁and ▁that ▁instead ▁music ▁is ▁replaced ▁by ▁sounds . ▁According ▁to ▁T ark ov sky , ▁he ▁aimed ▁at ▁this ▁consistency ▁and ▁moved ▁into ▁this ▁direction ▁in ▁St alk er ▁and ▁N ost al gh ia . ▁ ▁In ▁addition ▁to ▁the ▁original ▁mon oph onic ▁sound track , ▁the ▁Russian ▁Cin ema ▁Council ▁( R usc ico ) ▁created ▁an ▁alternative ▁ 5 . 1 ▁surround ▁sound ▁track ▁for ▁the ▁ 2 0 0 1 ▁DVD ▁release . ▁In ▁addition ▁to ▁rem ix ing ▁the ▁mon o ▁sound track , ▁music ▁and ▁sound ▁effects ▁were ▁removed ▁and ▁added ▁in ▁several ▁scenes . ▁Music ▁was ▁added ▁to ▁the ▁scene ▁where ▁the ▁three ▁are ▁traveling ▁to ▁the ▁Zone ▁on ▁a ▁motor ized ▁d rais ine . ▁In ▁the ▁opening ▁and ▁the ▁final ▁scene ▁Be eth oven ' s ▁N inth ▁Sym phony ▁was ▁removed ▁and ▁in ▁the ▁opening ▁scene ▁in ▁St alk er ' s ▁house ▁amb |
ient ▁sounds ▁were ▁added , ▁changing ▁the ▁original ▁sound track , ▁in ▁which ▁this ▁scene ▁was ▁completely ▁silent ▁except ▁for ▁the ▁sound ▁of ▁a ▁train . ▁ ▁Film ▁score ▁ ▁Init ially , ▁T ark ov sky ▁had ▁no ▁clear ▁understanding ▁of ▁the ▁musical ▁atmosphere ▁of ▁the ▁final ▁film ▁and ▁only ▁an ▁approximate ▁idea ▁where ▁in ▁the ▁film ▁the ▁music ▁was ▁to ▁be . ▁Even ▁after ▁he ▁had ▁shot ▁all ▁the ▁material ▁he ▁continued ▁his ▁search ▁for ▁the ▁ideal ▁film ▁score , ▁wanting ▁a ▁combination ▁of ▁Ori ental ▁and ▁Western ▁music . ▁In ▁a ▁conversation ▁with ▁Art emy ev ▁he ▁explained ▁that ▁he ▁needed ▁music ▁that ▁reflects ▁the ▁idea ▁that ▁although ▁the ▁East ▁and ▁the ▁West ▁can ▁co exist , ▁they ▁are ▁not ▁able ▁to ▁understand ▁each ▁other . ▁One ▁of ▁T ark ov sky ' s ▁ideas ▁was ▁to ▁perform ▁Western ▁music ▁on ▁Ori ental ▁instruments , ▁or ▁vice ▁vers a , ▁performing ▁Ori ental ▁music ▁on ▁European ▁instruments . ▁Art emy ev ▁proposed ▁to ▁try ▁this ▁idea ▁with ▁the ▁mot et ▁Pul ch err ima ▁Rosa ▁by ▁an ▁anonymous ▁ 1 4 th ▁century ▁Italian ▁composer ▁dedicated ▁to ▁the ▁Virgin ▁Mary . ▁In ▁its ▁original ▁form ▁T ark ov sky ▁did ▁not ▁per ceive ▁the ▁mot et ▁as ▁suitable ▁for ▁the ▁film ▁and ▁asked ▁Art emy ev ▁to ▁give ▁it ▁an ▁Ori ental ▁sound . ▁Later , ▁T ark ov sky ▁proposed ▁to ▁invite ▁musicians ▁from ▁Armen ia ▁and ▁A zer ba ij an ▁and ▁to ▁let ▁them ▁impro v ise |
▁on ▁the ▁mel ody ▁of ▁the ▁mot et . ▁A ▁musician ▁was ▁invited ▁from ▁A zer ba ij an ▁who ▁played ▁the ▁main ▁mel ody ▁on ▁a ▁tar ▁based ▁on ▁m ugh am , ▁accompanied ▁by ▁or chestr al ▁background ▁music ▁written ▁by ▁Art emy ev . ▁T ark ov sky , ▁who , ▁unus ually ▁for ▁him , ▁attended ▁the ▁full ▁recording ▁session , ▁rejected ▁the ▁final ▁result ▁as ▁not ▁what ▁he ▁was ▁looking ▁for . ▁ ▁R eth inking ▁their ▁approach ▁they ▁finally ▁found ▁the ▁solution ▁in ▁a ▁theme ▁that ▁would ▁create ▁a ▁state ▁of ▁inner ▁calm ness ▁and ▁inner ▁satisfaction , ▁or ▁as ▁T ark ov sky ▁said ▁" space ▁frozen ▁in ▁a ▁dynamic ▁equilibrium ." ▁Art emy ev ▁knew ▁about ▁a ▁musical ▁piece ▁from ▁Indian ▁classical ▁music ▁where ▁a ▁prolong ed ▁and ▁un changed ▁background ▁tone ▁is ▁performed ▁on ▁a ▁tamb ura . ▁As ▁this ▁gave ▁Art emy ev ▁the ▁impression ▁of ▁frozen ▁space , ▁he ▁used ▁this ▁inspiration ▁and ▁created ▁a ▁background ▁tone ▁on ▁his ▁synt hes izer ▁similar ▁to ▁the ▁background ▁tone ▁performed ▁on ▁the ▁tamb ura . ▁The ▁tar ▁then ▁impro vised ▁on ▁the ▁background ▁sound , ▁together ▁with ▁a ▁fl ute ▁as ▁a ▁European , ▁Western ▁instrument . ▁To ▁mask ▁the ▁obvious ▁combination ▁of ▁European ▁and ▁Ori ental ▁instruments ▁he ▁passed ▁the ▁fore ground ▁music ▁through ▁the ▁effect ▁channels ▁of ▁his ▁SY N TH I ▁ 1 0 0 ▁synt hes izer . ▁These ▁effects ▁included ▁mod ulating ▁the ▁sound ▁of ▁the ▁fl ute ▁and |
▁lower ing ▁the ▁speed ▁of ▁the ▁tar , ▁so ▁that ▁what ▁Art emy ev ▁called ▁" the ▁life ▁of ▁one ▁string " ▁could ▁be ▁heard . ▁T ark ov sky ▁was ▁amaz ed ▁by ▁the ▁result , ▁especially ▁lik ing ▁the ▁sound ▁of ▁the ▁tar , ▁and ▁used ▁the ▁theme ▁without ▁any ▁alter ations ▁in ▁the ▁film . ▁ ▁Sound ▁design ▁The ▁title ▁sequence ▁is ▁accompanied ▁by ▁Art emy ev ' s ▁main ▁theme . ▁The ▁opening ▁sequence ▁of ▁the ▁film ▁showing ▁St alk er ' s ▁room ▁is ▁mostly ▁silent . ▁Period ically ▁one ▁he ars ▁what ▁could ▁be ▁a ▁train . ▁The ▁sound ▁becomes ▁lou der ▁and ▁clear er ▁over ▁time ▁until ▁the ▁sound ▁and ▁the ▁vibr ations ▁of ▁objects ▁in ▁the ▁room ▁give ▁a ▁sense ▁of ▁a ▁train ' s ▁passing ▁by ▁without ▁the ▁train ' s ▁being ▁visible . ▁This ▁a ural ▁impression ▁is ▁quickly ▁sub verted ▁by ▁the ▁m uffled ▁sound ▁of ▁Be eth oven ' s ▁N inth ▁Sym phony . ▁The ▁source ▁of ▁this ▁music ▁is ▁un clear , ▁thus ▁setting ▁the ▁tone ▁for ▁the ▁blur ring ▁of ▁reality ▁in ▁the ▁film . ▁For ▁this ▁part ▁of ▁the ▁film ▁T ark ov sky ▁was ▁also ▁considering ▁music ▁by ▁Richard ▁W agner ▁or ▁the ▁Mar se illa ise . ▁ ▁In ▁an ▁interview ▁with ▁Ton ino ▁Guerra ▁in ▁ 1 9 7 9 , ▁T ark ov sky ▁said ▁that ▁he ▁wanted ▁" mus ic ▁that ▁is ▁more ▁or ▁less ▁popular , ▁that ▁express es ▁the ▁movement |
▁of ▁the ▁masses , ▁the ▁theme ▁of ▁humanity ' s ▁social ▁dest iny ." ▁He ▁added , ▁" But ▁this ▁music ▁must ▁be ▁barely ▁heard ▁beneath ▁the ▁noise , ▁in ▁a ▁way ▁that ▁the ▁spect ator ▁is ▁not ▁aware ▁of ▁it ." ▁In ▁one ▁scene , ▁the ▁sound ▁of ▁a ▁train ▁becomes ▁more ▁and ▁more ▁distant ▁as ▁the ▁sounds ▁of ▁a ▁house , ▁such ▁as ▁the ▁c reak ing ▁floor , ▁water ▁running ▁through ▁p ipes , ▁and ▁the ▁hum ming ▁of ▁a ▁he ater ▁become ▁more ▁prominent ▁in ▁a ▁way ▁that ▁psych ologically ▁shifts ▁the ▁audience . ▁While ▁the ▁St alk er ▁leaves ▁his ▁house ▁and ▁wand ers ▁around ▁an ▁industrial ▁landscape , ▁the ▁audience ▁he ars ▁industrial ▁sounds ▁such ▁as ▁train ▁whist les , ▁ship ▁fog horn s , ▁and ▁train ▁wheels . ▁When ▁the ▁St alk er , ▁the ▁Writer , ▁and ▁the ▁Professor ▁set ▁off ▁from ▁the ▁bar ▁in ▁an ▁off - road ▁vehicle , ▁the ▁engine ▁noise ▁mer ges ▁into ▁an ▁electronic ▁tone . ▁The ▁natural ▁sound ▁of ▁the ▁engine ▁falls ▁off ▁as ▁the ▁vehicle ▁reaches ▁the ▁horizon . ▁Init ially ▁almost ▁in aud ible , ▁the ▁electronic ▁tone ▁emer ges ▁and ▁repl aces ▁the ▁engine ▁sound ▁as ▁if ▁time ▁has ▁frozen . ▁ ▁The ▁journey ▁to ▁the ▁Zone ▁on ▁a ▁motor ized ▁d rais ine ▁features ▁a ▁dis connection ▁between ▁the ▁visual ▁image ▁and ▁the ▁sound . ▁The ▁presence ▁of ▁the ▁d rais ine ▁is ▁registered ▁only ▁through ▁the ▁cl ank ing ▁sound ▁of ▁the ▁wheels ▁on |
▁the ▁tracks . ▁Neither ▁the ▁d rais ine ▁nor ▁the ▁sc ener y ▁passing ▁by ▁is ▁shown , ▁since ▁the ▁camera ▁is ▁focused ▁on ▁the ▁faces ▁of ▁the ▁characters . ▁This ▁dis connection ▁draws ▁the ▁audience ▁into ▁the ▁inner ▁world ▁of ▁the ▁characters ▁and ▁transform s ▁the ▁physical ▁journey ▁into ▁an ▁inner ▁journey . ▁This ▁effect ▁on ▁the ▁audience ▁is ▁rein forced ▁by ▁Art emy ev ' s ▁synt hes izer ▁effects , ▁which ▁make ▁the ▁cl ank ing ▁wheels ▁sound ▁less ▁and ▁less ▁natural ▁as ▁the ▁journey ▁progress es . ▁When ▁the ▁three ▁arrive ▁in ▁the ▁Zone ▁initially , ▁it ▁appears ▁to ▁be ▁silent . ▁Only ▁after ▁some ▁time , ▁and ▁only ▁slightly ▁aud ibly ▁can ▁one ▁hear ▁the ▁sound ▁of ▁a ▁distant ▁river , ▁the ▁sound ▁of ▁the ▁blowing ▁wind , ▁or ▁the ▁occasional ▁cry ▁of ▁an ▁animal . ▁These ▁sounds ▁grow ▁rich er ▁and ▁more ▁aud ible ▁while ▁the ▁St alk er ▁makes ▁his ▁first ▁venture ▁into ▁the ▁Zone , ▁initially ▁leaving ▁the ▁professor ▁and ▁the ▁writer ▁behind , ▁and ▁as ▁if ▁the ▁sound ▁draws ▁him ▁towards ▁the ▁Zone . ▁The ▁sp ars eness ▁of ▁sounds ▁in ▁the ▁Zone ▁draws ▁attention ▁to ▁specific ▁sounds , ▁which , ▁as ▁in ▁other ▁scenes , ▁are ▁largely ▁dis connected ▁from ▁the ▁visual ▁image . ▁Anim als ▁can ▁be ▁heard ▁in ▁the ▁distance ▁but ▁are ▁never ▁shown . ▁A ▁breeze ▁can ▁be ▁heard , ▁but ▁no ▁visual ▁reference ▁is ▁shown . ▁This ▁effect ▁is ▁rein forced ▁by ▁occasional ▁synt hes izer ▁effects ▁which ▁m |
eld ▁with ▁the ▁natural ▁sounds ▁and ▁blur ▁the ▁boundaries ▁between ▁artificial ▁and ▁alien ▁sounds ▁and ▁the ▁sounds ▁of ▁nature . ▁ ▁After ▁the ▁three ▁travel ers ▁appear ▁from ▁the ▁tunnel , ▁the ▁sound ▁of ▁dri pping ▁water ▁can ▁be ▁heard . ▁While ▁the ▁camera ▁slowly ▁p ans ▁to ▁the ▁right , ▁a ▁water fall ▁appears . ▁While ▁the ▁visual ▁transition ▁of ▁the ▁p anning ▁shot ▁is ▁slow , ▁the ▁a ural ▁transition ▁is ▁sudden . ▁As ▁soon ▁as ▁the ▁water fall ▁appears , ▁the ▁sound ▁of ▁the ▁dri pping ▁water ▁falls ▁off ▁while ▁the ▁th und ering ▁sound ▁of ▁the ▁water fall ▁emer ges , ▁almost ▁as ▁if ▁time ▁has ▁jumped . ▁In ▁the ▁next ▁scene ▁T ark ov sky ▁again ▁uses ▁the ▁technique ▁of ▁dis connect ing ▁sound ▁and ▁visual ▁image . ▁While ▁the ▁camera ▁p ans ▁over ▁the ▁burning ▁as hes ▁of ▁a ▁fire ▁and ▁over ▁some ▁water , ▁the ▁audience ▁he ars ▁the ▁conversation ▁of ▁the ▁St alk er ▁and ▁the ▁Writer ▁who ▁are ▁back ▁in ▁the ▁tunnel ▁looking ▁for ▁the ▁professor . ▁F inding ▁the ▁Professor ▁outside , ▁the ▁three ▁are ▁surprised ▁to ▁realize ▁that ▁they ▁have ▁ended ▁up ▁at ▁an ▁earlier ▁point ▁in ▁time . ▁This ▁and ▁the ▁previous ▁dis connection ▁of ▁sound ▁and ▁the ▁visual ▁image ▁illustr ate ▁the ▁Zone ' s ▁power ▁to ▁alter ▁time ▁and ▁space . ▁This ▁technique ▁is ▁even ▁more ▁evident ▁in ▁the ▁next ▁scene ▁where ▁the ▁three ▁travel ers ▁are ▁resting . ▁The ▁sounds ▁of ▁a ▁river , ▁the ▁wind , ▁dri |
pping ▁water , ▁and ▁fire ▁can ▁be ▁heard ▁in ▁a ▁dis contin uous ▁way ▁that ▁is ▁now ▁partially ▁dis connected ▁from ▁the ▁visual ▁image . ▁When ▁the ▁Professor , ▁for ▁example , ▁ex ting u ishes ▁the ▁fire ▁by ▁throwing ▁his ▁coffee ▁on ▁it , ▁all ▁sounds ▁but ▁that ▁of ▁the ▁dri pping ▁water ▁fall ▁off . ▁Similarly , ▁we ▁can ▁hear ▁and ▁see ▁the ▁St alk er ▁and ▁the ▁river . ▁Then ▁the ▁camera ▁cuts ▁back ▁to ▁the ▁Professor ▁while ▁the ▁audience ▁can ▁still ▁hear ▁the ▁river ▁for ▁a ▁few ▁more ▁seconds . ▁This ▁impression ist ▁use ▁of ▁sound ▁pre pa res ▁the ▁audience ▁for ▁the ▁dream ▁sequences ▁accompanied ▁by ▁a ▁variation ▁of ▁the ▁St alk er ▁theme ▁that ▁has ▁been ▁already ▁heard ▁during ▁the ▁title ▁sequence . ▁ ▁During ▁the ▁journey ▁in ▁the ▁Zone , ▁the ▁sound ▁of ▁water ▁becomes ▁more ▁and ▁more ▁prominent , ▁which , ▁combined ▁with ▁the ▁visual ▁image , ▁presents ▁the ▁Zone ▁as ▁a ▁d ren ched ▁world . ▁In ▁an ▁interview ▁T ark ov sky ▁dismissed ▁the ▁idea ▁that ▁water ▁has ▁a ▁symbol ic ▁meaning ▁in ▁his ▁films , ▁saying ▁that ▁there ▁was ▁so ▁much ▁rain ▁in ▁his ▁films ▁because ▁it ▁is ▁always ▁r aining ▁in ▁Russia . ▁In ▁another ▁interview , ▁on ▁the ▁film ▁N ost al gh ia , ▁however , ▁he ▁said ▁" Water ▁is ▁a ▁mysterious ▁element , ▁a ▁single ▁mole cule ▁of ▁which ▁is ▁very ▁phot ogen ic . ▁It ▁can ▁convey ▁movement ▁and ▁a ▁sense ▁of ▁change ▁and ▁flux ." |
▁Emer ging ▁from ▁the ▁tunnel ▁called ▁the ▁meat ▁gr inder ▁by ▁the ▁St alk er ▁they ▁arrive ▁at ▁the ▁entrance ▁of ▁their ▁destination , ▁the ▁room . ▁Here , ▁as ▁in ▁the ▁rest ▁of ▁the ▁film , ▁sound ▁is ▁constantly ▁changing ▁and ▁not ▁necessarily ▁connected ▁to ▁the ▁visual ▁image . ▁The ▁journey ▁in ▁the ▁Zone ▁ends ▁with ▁the ▁three ▁sitting ▁in ▁the ▁room , ▁silent , ▁with ▁no ▁aud ible ▁sound . ▁When ▁the ▁sound ▁res umes , ▁it ▁is ▁again ▁the ▁sound ▁of ▁water ▁but ▁with ▁a ▁different ▁tim bre , ▁so fter ▁and ▁gent ler , ▁as ▁if ▁to ▁give ▁a ▁sense ▁of ▁c ath ars is ▁and ▁hope . ▁The ▁transition ▁back ▁to ▁the ▁world ▁outside ▁the ▁Zone ▁is ▁supported ▁by ▁sound . ▁While ▁the ▁camera ▁still ▁shows ▁a ▁pool ▁of ▁water ▁inside ▁the ▁Zone , ▁the ▁audience ▁begins ▁to ▁hear ▁the ▁sound ▁of ▁a ▁train ▁and ▁R avel ' s ▁Bol éro , ▁rem inis cent ▁of ▁the ▁opening ▁scene . ▁The ▁sound scape ▁of ▁the ▁world ▁outside ▁the ▁Zone ▁is ▁the ▁same ▁as ▁before , ▁characterized ▁by ▁train ▁wheels , ▁fog horn s ▁of ▁a ▁ship ▁and ▁train ▁whist les . ▁The ▁film ▁ends ▁as ▁it ▁began , ▁with ▁the ▁sound ▁of ▁a ▁train ▁passing ▁by , ▁accompanied ▁by ▁the ▁m uffled ▁sound ▁of ▁Be eth oven ' s ▁N inth ▁sym phony , ▁this ▁time ▁the ▁O de ▁to ▁Joy ▁from ▁the ▁final ▁moments ▁of ▁the ▁sym phony . ▁As ▁in ▁the ▁rest ▁of ▁the ▁film ▁the |
▁dis connect ▁between ▁the ▁visual ▁image ▁and ▁the ▁sound ▁leaves ▁the ▁audience ▁un clear ▁whether ▁the ▁sound ▁is ▁real ▁or ▁an ▁illusion . ▁ ▁Re ception ▁ ▁Crit ical ▁response ▁Upon ▁its ▁release ▁the ▁film ' s ▁reception ▁was ▁less ▁than ▁favor able . ▁Official s ▁at ▁G os k ino , ▁a ▁government ▁group ▁otherwise ▁known ▁as ▁the ▁State ▁Committee ▁for ▁Cin emat ography , ▁were ▁critical ▁of ▁the ▁film . ▁On ▁being ▁told ▁that ▁St alk er ▁should ▁be ▁faster ▁and ▁more ▁dynamic , ▁T ark ov sky ▁replied : ▁ ▁The ▁G os k ino ▁representative ▁then ▁stated ▁that ▁he ▁was ▁trying ▁to ▁give ▁the ▁point ▁of ▁view ▁of ▁the ▁audience . ▁T ark ov sky ▁supposed ly ▁ret orted : ▁ ▁More ▁recently , ▁reviews ▁of ▁the ▁film ▁have ▁been ▁highly ▁positive . ▁It ▁earned ▁a ▁place ▁in ▁the ▁British ▁Film ▁Institute ' s ▁" 5 0 ▁Great est ▁Films ▁of ▁All ▁Time " ▁poll ▁conducted ▁for ▁S ight ▁& ▁Sound ▁in ▁September ▁ 2 0 1 2 . ▁The ▁group ' s ▁critics ▁listed ▁St alk er ▁at ▁# 2 9 , ▁tied ▁with ▁the ▁ 1 9 8 5 ▁film ▁Sh o ah . ▁Crit ic ▁D erek ▁Adams ▁of ▁the ▁Time ▁Out ▁Film ▁Guide ▁has ▁compared ▁St alk er ▁to ▁Francis ▁Ford ▁Cop pol a ' s ▁Ap ocal yp se ▁Now , ▁also ▁released ▁in ▁ 1 9 7 9 , ▁and ▁argued ▁that ▁" as ▁a ▁journey ▁to ▁the ▁heart ▁of ▁darkness " ▁St |
alk er ▁looks ▁" a ▁good ▁deal ▁more ▁persu as ive ▁than ▁Cop pol a ' s ." ▁Sl ant ▁Magazine ▁review er ▁Nick ▁Sch ager ▁has ▁praised ▁the ▁film ▁as ▁an ▁" end lessly ▁pl iable ▁alleg ory ▁about ▁human ▁consciousness ". ▁In ▁Sch ager ' s ▁view ▁St alk er ▁shows ▁" something ▁a kin ▁to ▁the ▁essence ▁of ▁what ▁man ▁is ▁made ▁of : ▁a ▁tang led ▁kn ot ▁of ▁memories , ▁fears , ▁fant as ies , ▁night ma res , ▁parad ox ical ▁imp ul ses , ▁and ▁a ▁year ning ▁for ▁something ▁that ' s ▁simultaneously ▁beyond ▁our ▁reach ▁and ▁yet ▁intr insic ▁to ▁every ▁one ▁of ▁us ." ▁ ▁On ▁review ▁aggreg ator ▁Rot ten ▁Tom atoes , ▁the ▁film ▁is ▁rated ▁at ▁ 1 0 0 % ▁based ▁on ▁ 3 7 ▁reviews ▁with ▁an ▁average ▁rating ▁of ▁ 8 . 4 6 / 1 0 . ▁Its ▁critical ▁consensus ▁states , ▁" St alk er ▁is ▁a ▁complex , ▁ob lique ▁par able ▁that ▁draws ▁un for get table ▁images ▁and ▁philosoph ical ▁mus ings ▁from ▁its ▁sc i - fi / th r iller ▁setting ." ▁ ▁Box ▁office ▁St alk er ▁sold ▁ 4 . 3 ▁million ▁tickets ▁in ▁the ▁Soviet ▁Union . ▁ ▁Awards ▁The ▁film ▁was ▁awarded ▁the ▁Prize ▁of ▁the ▁Ec umen ical ▁J ury ▁at ▁the ▁Cann es ▁Film ▁Festival , ▁and ▁the ▁Aud ience ▁J ury ▁Award ▁- ▁Special ▁M ention ▁at ▁Fant as port o , |
▁Portugal . ▁ ▁Home ▁media ▁ ▁In ▁East ▁Germany , ▁DE FA ▁did ▁a ▁complete ▁German ▁dub bed ▁version ▁of ▁the ▁movie ▁which ▁was ▁shown ▁in ▁cinema ▁in ▁ 1 9 8 2 . ▁This ▁was ▁used ▁by ▁I c est orm ▁Entertainment ▁on ▁a ▁DVD ▁release , ▁but ▁was ▁heavily ▁critic ized ▁for ▁its ▁lack ▁of ▁the ▁original ▁language ▁version , ▁sub tit les ▁and ▁had ▁an ▁overall ▁bad ▁image ▁quality . ▁ ▁R US C IC O ▁produced ▁a ▁version ▁for ▁the ▁international ▁market ▁containing ▁the ▁film ▁on ▁two ▁DVD s ▁with ▁rem aster ed ▁audio ▁and ▁video . ▁It ▁contains ▁the ▁original ▁Russian ▁audio ▁in ▁an ▁enhanced ▁Dol by ▁Digital ▁ 5 . 1 ▁rem ix ▁as ▁well ▁as ▁the ▁original ▁mon o ▁version . ▁The ▁DVD ▁also ▁contains ▁sub tit les ▁in ▁ 1 3 ▁languages ▁and ▁interviews ▁with ▁cam er aman ▁Alexander ▁K ny az h insky , ▁painter ▁and ▁production ▁designer ▁R ash it ▁Saf i ull in ▁and ▁composer ▁Edu ard ▁Art emy ev . ▁ ▁C riterion ▁Collection ▁released ▁a ▁rem aster ed ▁edition ▁DVD ▁and ▁Bl u - Ray ▁on ▁ 1 7 ▁July ▁ 2 0 1 7 . ▁Incl uded ▁in ▁the ▁special ▁features ▁is ▁an ▁interview ▁with ▁film ▁critic ▁Geoff ▁D yer , ▁author ▁of ▁the ▁book ▁Z ona : ▁A ▁Book ▁About ▁a ▁Film ▁About ▁a ▁Jour ney ▁to ▁a ▁Room . ▁ ▁In flu ence ▁In ▁the ▁song ▁D iss idents ▁from ▁the ▁ 1 9 8 4 ▁album |
▁The ▁Fl at ▁Earth ▁by ▁Thomas ▁Dol by , ▁the ▁bridge ▁between ▁two ▁vers es ▁includes ▁a ▁narrative ▁from ▁the ▁film . ▁ ▁The ▁Cher nob yl ▁disaster , ▁which ▁occurred ▁seven ▁years ▁after ▁the ▁film ▁was ▁made , ▁led ▁to ▁dep op ulation ▁in ▁the ▁surrounding ▁area — off ic ially ▁called ▁the ▁" Ex clusion ▁Zone "— m uch ▁like ▁the ▁" Zone " ▁of ▁the ▁film . ▁Some ▁of ▁the ▁people ▁employed ▁to ▁take ▁care ▁of ▁the ▁abandoned ▁nuclear ▁power ▁plant ▁refer ▁to ▁themselves ▁as ▁" st alk ers ". ▁St alk er ▁was ▁the ▁inspiration ▁for ▁the ▁ 1 9 9 5 ▁album ▁of ▁the ▁same ▁title ▁by ▁Robert ▁Rich ▁and ▁B . ▁L ust m ord , ▁which ▁has ▁been ▁noted ▁for ▁its ▁eer ie ▁sound sc apes ▁and ▁dark ▁amb ience . ▁The ▁Pro dig y ' s ▁music ▁video ▁" B reat he " ▁is ▁heavily ▁inf u enced ▁by ▁film ' s ▁visual s ▁and ▁cin emat ography . ▁In ▁ 2 0 0 7 , ▁the ▁Ukrain ian ▁video - game ▁developer ▁G SC ▁Game ▁World ▁published ▁S . T . A . L . K . E . R .: ▁Shadow ▁of ▁Cher nob yl , ▁an ▁open - world , ▁first - person ▁shoot er ▁lo os ely ▁based ▁on ▁both ▁the ▁film ▁and ▁the ▁original ▁novel . ▁In ▁ 2 0 1 2 , ▁the ▁English ▁writer ▁Geoff ▁D yer ▁published ▁Z ona : ▁A ▁Book ▁About ▁a ▁Film ▁About ▁a |
▁Jour ney ▁to ▁a ▁Room ▁drawing ▁together ▁his ▁personal ▁observations ▁as ▁well ▁as ▁critical ▁insights ▁about ▁the ▁film ▁and ▁the ▁experience ▁of ▁watching ▁it . ▁The ▁ 2 0 1 2 ▁film ▁Cher nob yl ▁Di aries ▁also ▁involves ▁a ▁tour ▁guide , ▁similar ▁to ▁a ▁stalk er , ▁giving ▁groups ▁" ext reme ▁tours " ▁of ▁the ▁Cher nob yl ▁area . ▁The ▁lyrics ▁of ▁the ▁ 2 0 1 3 ▁album ▁Pel ag ial ▁by ▁the ▁progressive ▁metal ▁band ▁The ▁Ocean ▁are ▁inspired ▁by ▁the ▁film . ▁Jonathan ▁N olan , ▁co - creat or ▁of ▁West world , ▁c ites ▁St alk er ▁as ▁an ▁influence ▁on ▁his ▁work ▁for ▁the ▁H BO ▁series . ▁In ▁the ▁ 2 0 1 7 ▁film ▁At omic ▁Bl onde , ▁the ▁protagon ist ▁L orr aine ▁B rought on ▁goes ▁into ▁an ▁East ▁Berlin ▁theater ▁showing ▁St alk er . ▁Metro ▁Ex od us ▁vide og ame ▁include ▁location ▁recon struct ed ▁from ▁the ▁movie . ▁( The ▁whole ▁Metro ▁vide og ame ▁series ▁are ▁partly ▁inf u enced ▁by ▁Road side ▁Pic nic ▁novel ▁which ▁movie ▁is ▁based ▁on .) ▁ ▁An nih ilation , ▁a ▁ 2 0 1 8 ▁science ▁fiction ▁psychological ▁horror ▁film , ▁written ▁and ▁directed ▁by ▁Alex ▁Gar land , ▁though ▁based ▁on ▁the ▁e pon ym ous ▁novel ▁by ▁Jeff ▁V ander Me er , ▁for ▁some ▁critics ▁bet r ays ▁obvious ▁similar ities ▁with ▁the ▁Road side ▁Pic nic ▁and ▁St alk er . |
▁While ▁N erd ist ▁Indust ries ' ▁Kyle ▁Anderson ▁notes ▁even ▁stronger ▁re sembl ance ▁with ▁the ▁ 1 9 2 7 ▁short ▁story ▁" The ▁Col our ▁Out ▁of ▁Space " ▁by ▁H . ▁P . ▁Love craft ▁( also ▁adapted ▁for ▁the ▁screen ▁as ▁Color ▁Out ▁of ▁Space ▁in ▁ 2 0 1 9 ), ▁about ▁a ▁met e or ite ▁that ▁lands ▁in ▁a ▁sw amp ▁and ▁un le ashes ▁a ▁mut agen ic ▁pl ague , ▁Chris ▁McC oy ▁of ▁the ▁Mem ph is ▁Fly er ▁found ▁the ▁film ▁( An nih ilation ) ▁rem inis cent ▁both ▁of ▁" The ▁Col our ▁Out ▁of ▁Space ", ▁as ▁well ▁as ▁the ▁novel ▁( R oad side ▁Pic nic ) ▁and ▁its ▁film ▁adaptation ▁( St alk er ). ▁However , ▁such ▁not ions ▁prompt ed ▁the ▁author ▁of ▁the ▁An nih ilation ▁novel , ▁upon ▁which ▁the ▁movie ▁is ▁based , ▁to ▁state ▁that ▁his ▁story ▁" is ▁ 1 0 0 % ▁NOT ▁a ▁t ribute ▁to ▁Pic nic / St alk er " ▁via ▁his ▁official ▁tw itter ▁account . ▁ ▁Notes ▁ ▁Re ferences ▁ ▁Ex ternal ▁links ▁▁▁▁▁▁▁▁ ▁St alk er , ▁released ▁on ▁official ▁Mos film ▁YouTube ▁channel , ▁with ▁sub tit les ▁in ▁multiple ▁languages ▁ ▁St alk er ▁at ▁N ost al gh ia . com , ▁a ▁website ▁dedicated ▁to ▁T ark ov sky , ▁featuring ▁interviews ▁with ▁members ▁of ▁the ▁production ▁team ▁ ▁Ge ope it us . ee ▁– |
▁film ing ▁locations ▁of ▁St alk er ▁▁ ▁A ▁unique ▁perspective ▁on ▁the ▁making ▁of ▁St alk er : ▁The ▁testimony ▁of ▁a ▁mechan ic ▁to iling ▁away ▁under ▁T ark ov sky ' s ▁guidance ▁– ▁article ▁on ▁the ▁production ▁of ▁St alk er ▁St alk er : ▁Mean ing ▁and ▁Making ▁an ▁essay ▁by ▁Mark ▁Le ▁F an u ▁at ▁the ▁C riterion ▁Collection ▁ ▁Category : 1 9 7 0 s ▁avant - gar de ▁and ▁experimental ▁films ▁Category : 1 9 7 0 s ▁drama ▁films ▁Category : 1 9 7 0 s ▁science ▁fiction ▁films ▁Category : 1 9 7 9 ▁films ▁Category : Fil ms ▁about ▁religion ▁Category : Fil ms ▁based ▁on ▁Russian ▁novels ▁Category : Fil ms ▁based ▁on ▁science ▁fiction ▁novels ▁Category : Fil ms ▁based ▁on ▁works ▁by ▁Ark ady ▁and ▁Bor is ▁Str ug at sky ▁Category : Fil ms ▁directed ▁by ▁And rei ▁T ark ov sky ▁Category : Fil ms ▁scored ▁by ▁Edu ard ▁Art emy ev ▁Category : Fil ms ▁shot ▁in ▁Est onia ▁Category : Fil ms ▁partially ▁in ▁color ▁Category : Met aph ys ical ▁fiction ▁films ▁Category : M os film ▁films ▁Category : R ail ▁transport ▁films ▁Category : R ussian - language ▁films ▁Category : S ov iet ▁avant - gar de ▁and ▁experimental ▁films ▁Category : S ov iet ▁drama ▁films ▁Category : S ov iet ▁films ▁Category : S ov iet ▁science ▁fiction ▁films <0x0A> </s> ▁Or n ith ich n ites |
▁is ▁an ▁ich not ax on ▁of ▁mamm al ▁foot print . ▁The ▁name ▁was ▁originally ▁used ▁by ▁Edward ▁H itch cock ▁as ▁a ▁higher ▁group ▁name ▁rather ▁than ▁a ▁specific ▁ich n ogen us , ▁and ▁thus ▁the ▁name ▁does ▁not ▁have ▁priority ▁over ▁specific ▁ich nog ener ic ▁names ▁even ▁if ▁they ▁were ▁first ▁identified ▁as ▁Or n ith ich n ites . ▁ ▁Re ferences ▁ ▁Category : Trace ▁foss ils <0x0A> </s> ▁Su è v res ▁() ▁is ▁a ▁commune ▁of ▁the ▁L oir - et - C her ▁department ▁in ▁central ▁France . ▁ ▁Pop ulation ▁ ▁See ▁also ▁Commun es ▁of ▁the ▁L oir - et - C her ▁department ▁ ▁Category : Comm unes ▁of ▁L oir - et - C her <0x0A> </s> ▁Long ▁Sem ado ▁( also ▁known ▁as ▁Sem ado , ▁Long ▁Sem ad oh ▁or ▁Long ▁Sem ab o ) ▁is ▁a ▁settlement ▁in ▁the ▁Law as ▁division ▁of ▁Sar aw ak , ▁Malaysia . ▁It ▁lies ▁approximately ▁ ▁east - n orth - east ▁of ▁the ▁state ▁capital ▁K uch ing . ▁▁ ▁Ne igh bour ing ▁settlement s ▁include : ▁Long ▁Sem ado ▁Nas ab ▁ ▁sout heast ▁Long ▁Tan id ▁ ▁south ▁Long ▁Kin oman ▁ ▁nort heast ▁Pun ang ▁Ter us an ▁ ▁nort heast ▁Long ▁Lap uk an ▁ ▁west ▁Long ▁Bel uy u ▁ ▁south ▁Long ▁Kar ab ang an ▁ ▁south west ▁Long ▁L op eng ▁ ▁west ▁Long ▁Mer ar ap ▁ ▁north west |
▁Long ▁U g ong ▁ ▁south ▁ ▁Re ferences ▁ ▁Category : Pop ulated ▁places ▁in ▁Sar aw ak <0x0A> </s> ▁Beg onia ▁nap o ensis ▁is ▁a ▁species ▁of ▁plant ▁in ▁the ▁family ▁Beg oni aceae . ▁It ▁is ▁end emic ▁to ▁E cu ador . ▁ ▁Its ▁natural ▁habit ats ▁are ▁sub t rop ical ▁or ▁tropical ▁moist ▁mont ane ▁forests ▁and ▁sub t rop ical ▁or ▁tropical ▁high - alt itude ▁shr ub land . ▁ ▁Re ferences ▁ ▁nap o ensis ▁Category : End emic ▁fl ora ▁of ▁E cu ador ▁Category : V ul ner able ▁plants ▁Category : Tax onomy ▁articles ▁created ▁by ▁Pol bot <0x0A> </s> ▁M VM ' s ▁Pand it ra o ▁Ag as he ▁School ▁or ▁Pand it ra o ▁Ag as he ▁School , ▁is ▁a ▁private , ▁co - educ ational ▁day ▁school ▁located ▁at ▁Law ▁College ▁Road ▁in ▁P une , ▁India . ▁The ▁institution ▁is ▁a ▁part ▁of ▁the ▁Mah ar as ht ra ▁V id h ya ▁Mand al . ▁Mah ar as ht ra ▁V id h ya ▁Mand al ▁was ▁founded ▁in ▁ 1 9 5 7 ▁. ▁He ▁was ▁the ▁one ▁of ▁the ▁first ▁Mah ar as ht rian ▁in ▁P une ▁to ▁start ▁an ▁English ▁Med ium ▁School . ▁He ▁is ▁also ▁renown ed ▁for ▁his ▁English ▁into ▁Mar ath i ▁and ▁Mar ath i ▁into ▁English ▁d iction aries . ▁The ▁school ▁cat ers ▁to ▁pup ils ▁from ▁kind erg arten ▁up ▁to |
▁class ▁ 1 0 ▁and ▁the ▁medium ▁of ▁instruction ▁is ▁the ▁English ▁language . ▁The ▁school ▁is ▁affili ated ▁to ▁the ▁Mah ar as ht ra ▁State ▁Board ▁of ▁Second ary ▁and ▁Hig her ▁Second ary ▁Education , ▁P une ▁which ▁conduct s ▁the ▁S SC ▁Ex amin ations ▁at ▁the ▁close ▁of ▁class ▁ 1 0 . ▁The ▁school ▁is ▁divided ▁into ▁three ▁sections ▁v iz . ▁pre - primary , ▁primary ▁and ▁secondary . ▁ ▁Pand it ra o ▁Ag as he ▁ ▁The ▁school ' s ▁name ▁sake ▁is ▁Jag d ish ▁" P and it ra o " ▁Ag as he ▁( 1 9 3 6 ▁– ▁ 1 9 8 3 ) ▁the ▁elder ▁brother ▁of ▁the ▁late ▁business ▁magn ate ▁Sh ri . ▁D ny anes hw ar ▁Ag as he , ▁el dest ▁son ▁of ▁industrial ist ▁Sh ri . ▁Chand ras he k har ▁Ag as he . ▁He ▁served ▁as ▁the ▁managing ▁director ▁of ▁the ▁B ri han ▁Mah ar as ht ra ▁Sugar ▁Sy nd icate ▁Ltd . ▁after ▁his ▁father . ▁ ▁See ▁also ▁List ▁of ▁schools ▁in ▁P une ▁ ▁Re ferences ▁ ▁Ex ternal ▁links ▁ ▁Category : Sch ools ▁in ▁P une ▁Category : E duc ational ▁institutions ▁established ▁in ▁ 1 9 5 7 ▁Category : 1 9 5 7 ▁establish ments ▁in ▁India ▁Category : Private ▁schools ▁in ▁Mah ar as ht ra <0x0A> </s> ▁" My ▁Mist akes " ▁is ▁a ▁song ▁by ▁UK ▁gr ime |
▁artist ▁W iley , ▁featuring ▁guest ▁vocals ▁from ▁M anga ▁and ▁Little ▁De e . ▁It ▁was ▁released ▁as ▁the ▁second ▁single ▁from ▁his ▁third ▁studio ▁album , ▁Play time ▁Is ▁Over , ▁on ▁ 6 ▁April ▁ 2 0 0 7 . ▁ ▁Music ▁video ▁ ▁W iley ▁is ▁in ▁front ▁of ▁a ▁tower ▁r apping . ▁There ▁are ▁two ▁big ▁screens ▁and ▁you ▁can ▁see ▁W iley ▁r apping . ▁W iley ▁is ▁on ▁a ▁P SP ▁r apping . ▁There ▁are ▁his ▁gang ▁friends ▁with ▁him ▁at ▁the ▁end . ▁ ▁Track ▁list ings ▁Digital ▁download ▁▁ ▁" My ▁Mist akes " ▁- ▁ 2 : 4 9 ▁ ▁C red its ▁and ▁personnel ▁▁ ▁Lead ▁vocals – ▁W iley , ▁Little ▁De e , ▁M anga ▁ ▁Produ cer – ▁B less ▁Be ats ▁ ▁L yrics – ▁Richard ▁C owie , ▁Little ▁De e , ▁M anga ▁ ▁Label : ▁Big ▁D ada ▁ ▁Release ▁history ▁ ▁Re ferences ▁▁ ▁Category : 2 0 0 7 ▁singles ▁Category : W iley ▁( rapper ) ▁songs ▁Category : S ongs ▁written ▁by ▁W iley ▁( rapper ) ▁Category : 2 0 0 7 ▁songs <0x0A> </s> ▁Catal ina ▁Air ▁L ines ▁was ▁a ▁se ap lane ▁air line ▁founded ▁in ▁ 1 9 4 0 ▁as ▁Catal ina ▁Air ▁Transport , ▁and ▁was ▁based ▁in ▁Long ▁Beach , ▁California . ▁ ▁History ▁In ▁ 1 9 5 3 , ▁it ▁became ▁A val on ▁Air ▁Transport |
, ▁named ▁after ▁the ▁city ▁of ▁A val on , ▁California , ▁located ▁on ▁Santa ▁Catal ina ▁Island ▁( Cal ifornia ). ▁In ▁ 1 9 6 3 , ▁it ▁became ▁Catal ina ▁Air ▁L ines . ▁ ▁The ▁air line ▁was ▁acquired ▁by ▁Golden ▁West ▁Airlines ▁in ▁ 1 9 6 9 ▁which ▁then ▁operated ▁se ap lane ▁flights ▁as ▁Catal ina ▁Golden ▁West . ▁ ▁Catal ina ▁Air ▁L ines ▁served ▁Catal ina ▁Airport ▁in ▁A val on , ▁California ▁on ▁Santa ▁Catal ina ▁Island ▁with ▁flights ▁to ▁several ▁locations ▁on ▁the ▁southern ▁California ▁main land ▁including ▁Long ▁Beach ▁Airport ▁( L GB ) ▁in ▁Long ▁Beach , ▁California ▁and ▁the ▁Catal ina ▁Air ▁Term inal ▁located ▁at ▁the ▁Long ▁Beach ▁Harbor . ▁ ▁There ▁were ▁also ▁several ▁other ▁air ▁car riers ▁that ▁used ▁the ▁name ▁" C atal ina ▁Airlines " ▁and ▁served ▁Santa ▁Catal ina ▁Island ▁with ▁scheduled ▁passenger ▁flights ▁including ▁Catal ina ▁Airlines ▁with ▁flights ▁operated ▁with ▁de ▁Hav ill and ▁D ove ▁pist on ▁engine ▁twin ▁prop ▁aircraft ▁from ▁the ▁Catal ina ▁Airport ▁as ▁well ▁as ▁another ▁Catal ina ▁Airlines ▁which ▁operated ▁turb ine ▁powered ▁S ik ors ky ▁S - 5 8 T ▁and ▁S ik ors ky ▁S - 6 2 ▁helic op ters . ▁ ▁Fleet ▁Catal ina ▁operated ▁the ▁following ▁am ph ib ious ▁se ap lane ▁aircraft : ▁Gr um man ▁G - 2 1 ▁Go ose ▁S ik ors ky ▁S - 4 3 ▁S ik ors ky ▁V S - |
4 4 A ▁ ▁See ▁also ▁▁ ▁List ▁of ▁def unct ▁a irlines ▁of ▁the ▁United ▁States ▁ ▁Re ferences ▁ ▁Category : Def unct ▁regional ▁a irlines ▁of ▁the ▁United ▁States ▁Category : A vi ation ▁in ▁California ▁Category : S anta ▁Catal ina ▁Island , ▁California ▁Category : Transport ation ▁in ▁Los ▁Angeles ▁County , ▁California ▁Category : Transport ation ▁companies ▁based ▁in ▁California ▁Category : Com pan ies ▁based ▁in ▁Los ▁Angeles ▁County , ▁California ▁Category : American ▁companies ▁established ▁in ▁ 1 9 4 0 ▁ ▁Category : A irlines ▁established ▁in ▁ 1 9 4 0 ▁ ▁Category : A irlines ▁dis est ab lished ▁in ▁ 1 9 6 9 ▁Category : 1 9 4 0 ▁establish ments ▁in ▁California ▁Category : 1 9 6 9 ▁dis est ablish ments ▁in ▁California ▁Category : Def unct ▁companies ▁based ▁in ▁Gre ater ▁Los ▁Angeles ▁Category : Gold en ▁West ▁Airlines ▁Category : Def unct ▁se ap lane ▁operators ▁Category : 1 9 6 9 ▁mer gers ▁and ▁acquis itions <0x0A> </s> ▁He ▁Was ▁King ▁is ▁an ▁album ▁recorded ▁by ▁Felix ▁da ▁House cat , ▁released ▁worldwide ▁just ▁two ▁days ▁before ▁his ▁ 3 8 th ▁birthday ▁on ▁August ▁ 2 5 , ▁ 2 0 0 9 ▁via ▁N ett werk ▁Records . ▁ ▁The ▁album ▁was ▁described ▁by ▁Felix ▁as ▁follows , ▁" Where as ▁K itten z ▁and ▁The e ▁Gl itz ▁was ▁straight ▁up ▁electro , ▁He ▁Was ▁King ▁is ▁straight ▁Felix ▁da ▁House cat |
▁pop ▁with ▁a ▁nice ▁electronic ▁feel ." ▁ ▁The ▁first ▁single ▁released ▁from ▁the ▁album ▁was ▁" K ick dr um ", ▁released ▁as ▁a ▁digital ▁download ▁in ▁May ▁ 2 0 0 9 . ▁ ▁The ▁second ▁single , ▁" We ▁All ▁W anna ▁Be ▁Prince " ▁featured ▁a ▁rem ix ▁contest ▁prior ▁to ▁its ▁release ▁in ▁July . ▁ ▁Re ception ▁ ▁Initial ▁critical ▁response ▁to ▁He ▁Was ▁King ▁was ▁average . ▁At ▁Met ac rit ic , ▁which ▁assign s ▁a ▁normalized ▁rating ▁out ▁of ▁ 1 0 0 ▁to ▁reviews ▁from ▁mainstream ▁critics , ▁the ▁album ▁has ▁received ▁an ▁average ▁score ▁of ▁ 6 3 , ▁based ▁on ▁nine ▁reviews . ▁ ▁Track ▁listing ▁All ▁songs ▁written ▁by ▁Felix ▁da ▁House cat ▁( F el ix ▁St all ings ). ▁ ▁" We ▁All ▁W anna ▁Be ▁Prince " ▁— ▁( 3 : 3 3 ) ▁ ▁" Pl ast ik ▁Fant ast ik " ▁— ▁( 3 : 2 9 ) ▁ ▁" K ick dr um " ▁— ▁( 3 : 4 9 ) ▁ ▁" Do ▁We ▁Move ▁Your ▁World " ▁— ▁( 4 : 3 5 ) ▁ ▁" We " ▁— ▁( 4 : 2 0 ) ▁ ▁" Sp ank ▁U ▁Very ▁Much " ▁— ▁( 2 : 3 2 ) ▁ ▁" Do ▁Not ▁Try ▁This ▁at ▁Home " ▁— ▁( 4 : 0 8 ) ▁ ▁" Turn ▁Me ▁on ▁a ▁Summer ▁Sm ile " ▁— ▁( 3 : 3 9 |
) ▁ ▁" El vi $ " ▁— ▁( 6 : 0 6 ) ▁ ▁" LA ▁Ra vers " ▁— ▁( 3 : 4 7 ) ▁ ▁" Machine " ▁— ▁( 3 : 3 1 ) ▁ ▁" He ▁Was ▁King " ▁— ▁( 3 : 2 3 ) ▁ ▁Re ferences ▁ ▁Ex ternal ▁links ▁▁▁ ▁Category : F el ix ▁da ▁House cat ▁albums ▁Category : 2 0 0 9 ▁albums <0x0A> </s> ▁Amb ly se ius ▁ar ar atic us ▁is ▁a ▁species ▁of ▁m ite ▁in ▁the ▁family ▁Ph y to se i idae . ▁ ▁Re ferences ▁ ▁Category : Ar ach n ids ▁Category : Art icles ▁created ▁by ▁Q bug bot ▁Category : Anim als ▁described ▁in ▁ 1 9 7 2 <0x0A> </s> ▁The ▁W alls ▁of ▁L ima ▁were ▁a ▁fort ification ▁consisting ▁mainly ▁of ▁walls ▁and ▁bast ions ▁whose ▁purpose ▁was ▁to ▁defend ▁the ▁city ▁of ▁L ima ▁from ▁exterior ▁attacks . ▁It ▁was ▁built ▁between ▁ 1 6 8 4 ▁and ▁ 1 6 8 7 , ▁during ▁the ▁V icer oy ▁Mel chor ▁de ▁Nav ar ra ▁y ▁Roc af ull ▁( Du ke ▁of ▁Pal ata )' s ▁government . ▁ ▁The ▁wall ▁was ▁located ▁on ▁the ▁present ▁streets ▁of ▁Alf onso ▁U gar te , ▁P ase o ▁Col ón ▁and ▁Gra u ▁and ▁the ▁left ▁bank ▁of ▁R í mac ▁River . ▁Under ▁Luis ▁Cast an eda ▁Loss io ' s ▁management , ▁he ▁recovered ▁a |
▁section ▁of ▁the ▁remains ▁of ▁the ▁left ▁bank ▁of ▁the ▁R í mac ▁River , ▁which ▁are ▁now ▁visible ▁as ▁a ▁part ▁of ▁the ▁group ▁known ▁as ▁" Par que ▁de ▁la ▁Mur alla ," ▁although ▁these ▁are ▁probably ▁from ▁a ▁previous ▁construction ▁known ▁as ▁" T aj amar ▁de ▁San ▁Francisco ." ▁The ▁Santa ▁Luc ía ▁bast ion ▁is ▁a ▁sector ▁of ▁the ▁wall ▁located ▁on ▁the ▁edge ▁of ▁Bar rios ▁Alt os ▁and ▁El ▁Ag ust ino ▁that ▁still ▁stands ▁. ▁ ▁History ▁ ▁The ▁old ▁wall ▁was ▁built ▁around ▁the ▁city ▁to ▁protect ▁it ▁from ▁pir ates ▁attacks ▁and ▁other ▁enemies ▁of ▁the ▁Spanish ▁crown ▁in ▁the ▁ 1 7 th ▁century . ▁The ▁wall ▁had ▁ 1 0 ▁exit ▁and ▁entry ▁gates : ▁Martin ete , ▁Mar av illas , ▁Barb ones , ▁Co char cas , ▁Santa ▁Catal ina , ▁Gu ad alu pe , ▁Juan ▁Sim ón , ▁San ▁Jac into , ▁Call ao , ▁Mon ser rate ▁and ▁the ▁gate ▁of ▁la ▁Gu ía ▁en ▁el ▁Bar rio ▁de ▁San ▁L áz aro ▁( now ▁the ▁R í mac ▁district ). ▁ ▁As ▁part ▁of ▁urban ▁expansion ▁programs ▁and ▁construction ▁of ▁new ▁av en ues , ▁the ▁wall ▁was ▁demol ished ▁in ▁ 1 8 6 8 ▁under ▁José ▁Bal ta ' s ▁government . ▁The ▁wall ▁never ▁served ▁the ▁purpose ▁for ▁which ▁it ▁was ▁built , ▁to ▁the ▁point ▁that ▁Ra ú l ▁Por ras ▁Bar re ne che a ▁mentioned ▁that ▁" it ▁died |
▁a ▁vir gin ▁of ▁gun pow der ." ▁ ▁Current ▁status ▁Part ▁of ▁the ▁sea ▁wall ▁has ▁been ▁restored ▁at ▁the ▁back ▁of ▁the ▁Church ▁of ▁San ▁Francisco , ▁near ▁the ▁Government ▁Palace , ▁which ▁has ▁created ▁a ▁public ▁space ▁named ▁Par que ▁de ▁la ▁Mur alla ▁( The ▁Wall ▁Park ). ▁In ▁this ▁park , ▁the ▁rem n ants ▁of ▁the ▁found ations ▁that ▁had ▁been ▁the ▁se aw all ▁are ▁visible , ▁which ▁was ▁done ▁by ▁the ▁Francis c ans ▁in ▁ 1 6 1 0 . ▁The ▁a fore ment ioned ▁park ▁has ▁a ▁restaurant ▁and ▁a ▁shop ▁selling ▁hand - made ▁items ▁from ▁different ▁areas ▁of ▁the ▁country . ▁The ▁park ▁contains ▁a ▁statue ▁of ▁Francisco ▁P izar ro , ▁which ▁used ▁to ▁be ▁in ▁the ▁" Pl aza ▁Per ú ," ▁located ▁next ▁to ▁the ▁Government ▁Palace . ▁There ▁is ▁also ▁a ▁museum ▁exhib iting ▁archae ological ▁pieces ▁found ▁in ▁the ▁area . ▁ ▁Construction ▁of ▁an ▁express way ▁on ▁Gra u ▁Avenue ▁un covered ▁some ▁of ▁the ▁wall ' s ▁remains . ▁ ▁In ▁Bar rios ▁Alt os , ▁the ▁remains ▁of ▁the ▁walls ▁near ▁the ▁Pl az uela ▁del ▁C erc ado ▁is ▁in ▁good ▁condition . ▁The ▁cam al ▁de ▁Con ch uc os , ▁which ▁was ▁the ▁bast ion ▁of ▁Santa ▁Luc ía , ▁one ▁of ▁the ▁surveillance ▁points ▁of ▁the ▁wall , ▁is ▁now ▁a ▁sports ▁complex . ▁ ▁The ▁wall ▁was ▁not ▁a ▁par agon ▁of ▁beauty . ▁Except ▁for ▁the ▁port |
als ▁of ▁Mar av illas ▁( 1 8 0 7 ) ▁in ▁the ▁Bar rios ▁Alt os ▁and ▁El ▁Call ao , ▁the ▁other ▁gates , ▁as ▁told ▁by ▁the ▁painter ▁Juan ▁Manuel ▁U gar te , ▁" had ▁no ▁great ▁artistic ▁appeal . ▁It ▁is ▁one ▁of ▁the ▁most ▁important ▁tourist ▁attra ctions , ▁besides ▁the ▁houses , ▁among ▁others . ▁ ▁See ▁also ▁ ▁Wall ▁of ▁Tru j illo ▁ ▁Def ensive ▁wall ▁ ▁Notes ▁ ▁Bibli ography ▁▁▁▁▁ ▁Category : City ▁walls ▁in ▁Peru ▁Category : Build ings ▁and ▁structures ▁completed ▁in ▁ 1 6 8 7 ▁Category : Col onial ▁Peru ▁Category : Build ings ▁and ▁structures ▁in ▁L ima ▁Category : T our ist ▁attra ctions ▁in ▁L ima ▁Category : Span ish ▁Col onial ▁architecture ▁in ▁Peru ▁Category : 1 6 8 7 ▁establish ments ▁in ▁the ▁Spanish ▁Empire <0x0A> </s> ▁Dim as ▁L ara ▁Barb osa ▁( born ▁April ▁ 1 , ▁ 1 9 5 6 ) ▁is ▁a ▁pre late ▁of ▁the ▁Roman ▁Catholic ▁Church . ▁He ▁served ▁as ▁aux iliary ▁b ishop ▁of ▁São ▁Sebast ião ▁do ▁Rio ▁de ▁Jane iro ▁from ▁ 2 0 0 3 ▁till ▁ 2 0 1 1 , ▁when ▁he ▁became ▁arch b ishop ▁of ▁Camp o ▁Grande . ▁ ▁Life ▁ ▁Born ▁in ▁Bo a ▁Es per anç a , ▁L ara ▁Barb osa ▁was ▁ord ained ▁to ▁the ▁p ries th ood ▁on ▁December ▁ 3 , ▁ 1 9 8 8 , ▁serving ▁in |
▁São ▁José ▁dos ▁Camp os . ▁ ▁On ▁June ▁ 1 1 , ▁ 2 0 0 3 , ▁he ▁was ▁appointed ▁aux iliary ▁b ishop ▁of ▁São ▁Sebast ião ▁do ▁Rio ▁de ▁Jane iro ▁and ▁tit ular ▁b ishop ▁of ▁Meg al opol is ▁in ▁Pro cons ular i . ▁L ara ▁Barb osa ▁received ▁his ▁epis cop al ▁con sec r ation ▁on ▁the ▁following ▁August ▁ 2 ▁from ▁E us é bio ▁Oscar ▁Sche id , ▁arch b ishop ▁of ▁São ▁Sebast ião ▁do ▁Rio ▁de ▁Jane iro , ▁with ▁the ▁b ishop ▁of ▁São ▁José ▁dos ▁Camp os , ▁José ▁Nelson ▁West ru pp , ▁and ▁the ▁aux iliary ▁b ishop ▁of ▁Bras ília , ▁Ray m undo ▁Dam asc eno ▁Ass is , ▁serving ▁as ▁co - con sec r ators . ▁ ▁On ▁May ▁ 4 , ▁ 2 0 1 1 , ▁he ▁was ▁appointed ▁arch b ishop ▁of ▁Camp o ▁Grande . ▁He ▁was ▁installed ▁on ▁the ▁following ▁July ▁ 1 0 . ▁ ▁Ex ternal ▁links ▁▁ ▁Entry ▁about ▁Dim as ▁L ara ▁Barb osa ▁at ▁c ath olic - h ier archy . org ▁ ▁Category : 1 9 5 6 ▁birth s ▁Category : 2 1 st - century ▁Roman ▁Catholic ▁b ish ops ▁Category : B raz il ian ▁Roman ▁Catholic ▁arch b ish ops ▁Category : L iving ▁people <0x0A> </s> ▁The ▁Cub an ▁Order ▁of ▁Naval ▁Mer it ▁( First ▁Class ) ▁was ▁a ▁medal ▁of ▁special ▁mer it |
. ▁The ▁Cub an ▁Order ▁of ▁Naval ▁Mer it ▁was ▁a ▁state ▁order ▁of ▁ch ival ry ▁or ▁mer it . ▁Its ▁med als , ▁awarded ▁by ▁the ▁Cub an ▁government ▁from ▁the ▁ 1 9 2 0 s ▁through ▁the ▁ 1 9 5 0 s , ▁were ▁made ▁by ▁the ▁Cub an ▁firm ▁D ator ▁Plus ▁Al tra ▁and ▁were ▁made ▁of ▁ster ling ▁silver ▁and ▁en am el . ▁ ▁Not able ▁U . S . ▁Rec ip ients ▁William ▁H alse y , ▁Jr ., ▁Fleet ▁Admiral ▁( Un ited ▁States ) ▁ ▁Thomas ▁Hol comb , ▁General ▁& ▁Command ant ▁( US MC ) ▁Ernest ▁King , ▁Fleet ▁Admiral ▁( US N ) ▁Richard ▁R . ▁Mc N ulty , ▁R ear ▁Admiral ▁( US N ) ▁Pedro ▁del ▁Val le ▁Lieutenant ▁General ▁( US MC ) ▁ ▁Re ferences ▁ ▁Category : C ub an ▁awards ▁Category : 1 9 2 0 s ▁establish ments ▁in ▁Cuba ▁Category : 1 9 5 0 s ▁dis est ablish ments ▁in ▁Cuba <0x0A> </s> ▁Sc op aria ▁f um ata ▁is ▁a ▁species ▁of ▁m oth ▁in ▁the ▁family ▁Cr amb idae . ▁It ▁is ▁end emic ▁in ▁New ▁Zealand . ▁ ▁Tax onomy ▁ ▁It ▁was ▁described ▁by ▁Alfred ▁Phil p ott ▁in ▁ 1 9 1 5 . ▁However ▁the ▁placement ▁of ▁this ▁species ▁within ▁the ▁genus ▁Sc op aria ▁is ▁in ▁doubt . ▁As ▁a ▁result , ▁this ▁species ▁has ▁also ▁been ▁referred ▁to ▁as ▁Sc |
op aria ▁( s . l .) ▁f um ata . ▁ ▁Description ▁ ▁The ▁wings pan ▁is ▁ 2 0 – 2 3 mm . ▁The ▁fore w ings ▁are ▁pale ▁f usc ous - b rown ▁with ▁dark ▁f usc ous ▁mark ings . ▁The ▁hind w ings ▁are ▁grey , ▁t ing ed ▁with ▁och re ous ▁and ▁with ▁a ▁dark er ▁sub termin al ▁line . ▁Adult s ▁have ▁been ▁recorded ▁on ▁wing ▁in ▁December . ▁ ▁Re ferences ▁ ▁Category : M oth s ▁described ▁in ▁ 1 9 1 5 ▁Category : M oth s ▁of ▁New ▁Zealand ▁Category : Sc op ari ina e ▁Category : End emic ▁fa una ▁of ▁New ▁Zealand <0x0A> </s> ▁Cole op hora ▁k asz abi ▁is ▁a ▁m oth ▁of ▁the ▁family ▁Cole op hor idae . ▁It ▁is ▁found ▁in ▁Mong olia . ▁ ▁The ▁l ar va e ▁feed ▁on ▁Car ag ana ▁py g ma ea ▁and ▁Car ag ana ▁b unge i . ▁They ▁feed ▁on ▁the ▁leaves ▁of ▁their ▁host ▁plant . ▁ ▁Re ferences ▁ ▁k asz abi ▁Category : M oth s ▁of ▁Mong olia ▁Category : M oth s ▁described ▁in ▁ 1 9 7 4 <0x0A> </s> ▁The ▁J C ▁R aul ston ▁Ar b oret um ▁is ▁a ▁ ▁ar b oret um ▁and ▁bot an ical ▁garden ▁administer ed ▁by ▁North ▁Carolina ▁State ▁University , ▁and ▁located ▁at ▁ 4 4 1 5 ▁B ery l ▁Road , |
▁R ale igh , ▁North ▁Carolina . ▁It ▁is ▁open ▁daily ▁to ▁the ▁public ▁without ▁charge . ▁ ▁History ▁▁ ▁The ▁Ar b oret um ▁was ▁established ▁in ▁ 1 9 7 6 ▁by ▁h ort icult ur ist ▁James ▁Che ster ▁R aul ston ▁and ▁named ▁after ▁him . ▁ ▁Plant ▁collections ▁▁ ▁The ▁ar b oret um ▁has ▁a ▁collection ▁of ▁plants ▁from ▁over ▁ 5 0 ▁countries . ▁Its ▁plant ▁collections ▁now ▁include ▁over ▁ 6 , 0 0 0 ▁total ▁tax a ▁of ▁annual s , ▁per enn ials , ▁bul bs , ▁v ines , ▁ground ▁covers , ▁shr ub s , ▁and ▁trees , ▁with ▁significant ▁collections ▁of : ▁A cer ▁( map le ) ▁A es cul us ▁( b uc key e ) ▁Ber ber is ▁( bar berry ) ▁B ux us ▁( box wood ) ▁C erc is ▁( red bud ) ▁Con if ers ▁I lex ▁( hol ly ) ▁Magn olia ▁( m agn olia ) ▁Mah onia ▁( gr ape hol ly ) ▁N and ina ▁( he aven ly ▁bamb oo ) ▁Qu erc us ▁( o ak ) ▁St yr ac aceae ▁( sil ver bell ▁family ) ▁V ib urn um ▁W ister ia ▁ ▁The ▁major ▁gardens ▁▁ ▁Annual ▁Color ▁Tri als ▁— ▁an ▁official ▁All - America ▁Se lections ▁( A AS ) ▁testing ▁site , ▁evalu ating ▁over ▁ 7 0 0 ▁different ▁annual s ▁and ▁tender ▁per enn ials ▁each ▁year . ▁ |
▁Entry ▁Garden ▁— ▁more ▁than ▁ 1 0 0 ▁types ▁of ▁tender ▁per enn ials , ▁mostly ▁tropical . ▁ ▁Fin ley - Not ting ham ▁Rose ▁Garden ▁— ▁over ▁ 2 0 0 ▁ro ses ▁representing ▁over ▁ 1 2 0 ▁tax a , ▁including ▁hybrid ▁teas , ▁hybrid ▁mus k ▁ro ses , ▁David ▁Austin ▁ro ses , ▁and ▁climbing ▁ro ses . ▁ ▁Japanese ▁Garden ▁— ▁Japanese ▁plants ▁with ▁a ▁r aked - stone ▁Zen ▁garden ; ▁plants ▁include ▁A cer ▁pal mat um ▁‘ K iy oh ime ’, ▁A cer ▁pal mat um ▁‘ Se ir y u ’, ▁Ch ama ec y par is ▁obt usa ▁‘ N ana ▁Gr ac ilis ’, ▁L ager st ro em ia ▁f aur ie i , ▁N and ina ▁dom est ica ▁f . ▁cap ill aris ▁cultiv ars , ▁and ▁Pin us ▁ta eda ▁‘ N ana ’. ▁ ▁Klein - P ring le ▁White ▁Garden ▁— ▁white - fl ower ed ▁plants ▁and ▁plants ▁with ▁gray , ▁white , ▁or ▁silver ▁fol i age , ▁inspired ▁by ▁the ▁famous ▁White ▁Garden ▁at ▁S iss ing h urst ▁Castle ▁Garden ; ▁plants ▁include ▁ ▁A cer ▁pal mat um , ▁L ager st ro em ia ▁‘ N at chez ’, ▁Magn olia ▁× ▁lo eb ner i ▁‘ M err ill ’, ▁St y ra x ▁jap onic us ▁‘ E mer ald ▁P ag oda ’, ▁and ▁V ib urn um ▁‘ M oh awk ’. |
▁ ▁L ath ▁House ▁— ▁over ▁ 7 0 0 ▁kinds ▁of ▁shade - l oving ▁plants , ▁including ▁A can th us ▁spin os us , ▁Corn us ▁controvers a ▁' Var ieg ata ', ▁Far f ug ium ▁jap onic um ▁' A ure om ac ul at um ', ▁Gent iana ▁s apon aria , ▁Hy dr ange a ▁macro phy lla ▁‘ P ia ’, ▁Pier is ▁j apon ica ▁‘ Sh o jo ’, ▁and ▁Tro chod end ron ▁ar al io ides . ▁ ▁M ixed ▁B order ▁— ▁a ▁large ▁border ▁plant ing ▁( 3 0 0 ▁× ▁ 1 5 ▁feet ) ▁( 9 1 ▁× ▁ 4 . 6 ▁m ) ▁of ▁trees , ▁shr ub s , ▁ground co vers , ▁per enn ials , ▁and ▁bul bs ; ▁plants ▁include ▁Cam ps is ▁grand if l ora ▁' M or ning ▁Cal m ', ▁Ch ama ec y par is ▁thy oid es ▁' R ub icon ', ▁C lem atis ▁' Bet ty ▁Cor ning ', ▁Corn us ▁ser ice a ▁' Sil ver ▁and ▁Gold ', ▁and ▁Ham am el is ▁× ▁inter media ▁‘ J el ena ’. ▁ ▁Model ▁Gard ens ▁— ▁home ▁demonstr ation ▁gardens . ▁ ▁Parad ise ▁Garden ▁— ▁for ▁the ▁senses ▁of ▁sight , ▁sound , ▁taste , ▁touch , ▁and ▁smell ; ▁plants ▁include ▁A lo ys ia ▁tri phy lla , ▁C ory l us ▁av ell ana ▁‘ Cont ort a |
’, ▁Host a ▁‘ Sum ▁and ▁Sub stance ’, ▁and ▁Z iz ip hus ▁ju j uba ▁‘ In erm is ’. ▁ ▁Per ennial ▁B order ▁— ▁nearly ▁ 1 , 0 0 0 ▁plants ▁in ▁a ▁large ▁border ▁plant ing ▁( 4 5 0 ▁× ▁ 1 8 ▁feet ) ▁( 1 4 0 ▁× ▁ 5 . 5 ▁m ), ▁with ▁color ▁scheme ▁based ▁upon ▁a ▁plan ▁by ▁Ger tr ude ▁J ek yll . ▁ ▁South all ▁Memorial ▁Garden ▁— ▁a ▁hem lock ▁tree ▁gro ve , ▁with ▁mixed ▁plant ings ▁and ▁an ▁open ▁grass y ▁area ▁for ▁gather ings . ▁ ▁X er ic ▁Garden ▁— ▁plants ▁from ▁Mexico ▁and ▁the ▁American ▁South west , ▁including ▁Ag ave , ▁Das yl ir ion , ▁E ch in oc act us , ▁H es per al oe , ▁N ol ina , ▁Op unt ia , ▁and ▁Yu cca . ▁ ▁Winter ▁Garden ▁— ▁plants ▁at ▁their ▁best ▁in ▁winter , ▁including ▁C rypt om eria , ▁Ch ama ec y par is , ▁Corn us ▁offic inal is ▁' K int oki ', ▁Edge worth ia ▁ch rys anth a , ▁Ep im ed ium , ▁Ham am el is , ▁H elle bor us ▁× ▁hybrid us , ▁I lex , ▁I ris ▁un gu icular is , ▁Pr un us ▁m ume ▁' R ose ▁Gl ow ', ▁and ▁Yu cca . ▁ ▁See ▁also ▁▁ ▁J C ▁R aul ston ▁Ar b oret um ▁website |
▁ ▁Photo ▁Walk ing ▁Tour ▁of ▁J C ▁R aul ston ▁Ar b oret um ▁ ▁List ▁of ▁bot an ical ▁gardens ▁in ▁the ▁United ▁States ▁ ▁Re ferences ▁ ▁Category : Ar b ore ta ▁in ▁North ▁Carolina ▁Category : Bot an ical ▁gardens ▁in ▁North ▁Carolina ▁Category : N orth ▁Carolina ▁State ▁University ▁Category : P arks ▁in ▁R ale igh , ▁North ▁Carolina ▁Category : 1 9 7 6 ▁establish ments ▁in ▁North ▁Carolina <0x0A> </s> ▁The ▁Battle ▁of ▁J iny ang ▁() ▁was ▁fought ▁between ▁the ▁elite ▁families ▁of ▁the ▁State ▁of ▁Jin , ▁the ▁house ▁of ▁Z ha o ▁and ▁the ▁house ▁of ▁Z hi ▁( 智 ), ▁in ▁the ▁Spring ▁and ▁Aut umn ▁period ▁of ▁China . ▁The ▁other ▁houses ▁of ▁We i ▁and ▁Han ▁first ▁participated ▁in ▁the ▁battle ▁in ▁alliance ▁with ▁the ▁Z hi , ▁but ▁later ▁defect ed ▁to ▁al ly ▁with ▁Z ha o ▁to ▁ann ih il ate ▁the ▁Z hi ▁house . ▁This ▁event ▁was ▁a ▁catal yst ▁to ▁the ▁Tri partition ▁of ▁Jin ▁in ▁ 4 3 4 ▁BC , ▁the ▁forming ▁of ▁the ▁three ▁states ▁of ▁Z ha o , ▁We i , ▁and ▁Han , ▁and ▁the ▁start ▁to ▁the ▁War ring ▁States ▁period . ▁It ▁is ▁the ▁first ▁battle ▁described ▁in ▁the ▁Song ▁D yn asty ▁history ▁comp end ium ▁Z iz hi ▁T ong j ian . ▁ ▁Background ▁By ▁ 4 9 0 ▁BC , ▁after ▁the ▁destruction ▁of ▁the ▁houses ▁of ▁F an ▁( |
范 ) ▁and ▁Z h ong hang ▁( 中 行 ), ▁control ▁of ▁the ▁State ▁of ▁Jin , ▁then ▁the ▁largest ▁state ▁in ▁China , ▁was ▁cont ested ▁by ▁four ▁elite ▁families : ▁Z hi , ▁We i , ▁Z ha o , ▁and ▁Han . ▁With ▁multiple ▁military ▁vict ories ▁under ▁his ▁belt , ▁Z hi ▁Y ao ▁( or ▁Z hi ▁Bo ▁Y ao ▁ 智 <0xE4> <0xBC> <0xAF> <0xE7> <0x91> <0xA4> ) ▁of ▁the ▁house ▁of ▁Z hi ▁ex ert ed ▁the ▁most ▁influence ▁in ▁the ▁Jin ▁court ▁– ▁all ▁decisions ▁of ▁the ▁state ▁had ▁to ▁pass ▁through ▁him . ▁He ▁also ▁controlled ▁the ▁most ▁territory ▁within ▁the ▁state . ▁The ▁reign ing ▁du ke ▁of ▁Jin , ▁Duke ▁A i , ▁was ▁power less ▁to ▁restr ain ▁him . ▁So ▁Z hi ▁Y ao , ▁in ▁his ▁pride , ▁began ▁to ▁demand ▁lands ▁from ▁the ▁other ▁three ▁houses . ▁The ▁houses ▁of ▁We i ▁and ▁Han ▁reluct antly ▁com plied ▁to ▁ev ade ▁Z hi ' s ▁wr ath , ▁but ▁Z ha o ▁X i ang zi ▁( <0xE8> <0xB6> <0x99> <0xE8> <0xA5> <0x84> 子 ) ▁refused ▁to ▁c ede ▁the ▁territor ies ▁of ▁Lin ▁( <0xE8> <0x97> <0xBA> ) ▁and ▁Ga ol ang ▁( <0xE7> <0x9A> <0x8B> <0xE7> <0x8B> <0xBC> ), ▁both ▁in ▁modern - day ▁L ishi , ▁to ▁Z hi . ▁Z hi , ▁in ▁ret ribut ion , ▁formed ▁a ▁secret ▁alliance ▁with ▁the ▁houses ▁of ▁We i ▁and ▁Han ▁to ▁attack ▁Z ha |
o . ▁ ▁Z ha o ▁X i ang zi ▁suspected ▁an ▁attack ▁from ▁Z hi , ▁since ▁he ▁had ▁heard ▁that ▁Z hi ▁sent ▁env o ys ▁to ▁Han ▁and ▁We i ▁three ▁times , ▁but ▁never ▁to ▁Z ha o . ▁After ▁reject ing ▁suggestions ▁to ▁move ▁to ▁Z hang zi ▁or ▁Hand an ▁out ▁of ▁concern ▁for ▁the ▁people ▁there , ▁Z ha o ▁X i ang zi ▁asked ▁his ▁minister ▁Z hang ▁M eng tan ▁( 張 <0xE5> <0xAD> <0x9F> <0xE8> <0xAB> <0x87> ) ▁where ▁he ▁could ▁prepare ▁his ▁defence , ▁and ▁Z hang ▁M eng tan ▁suggested ▁J iny ang ▁because ▁J iny ang ▁had ▁been ▁well - govern ed ▁for ▁generations . ▁Z ha o ▁agreed , ▁and ▁summon ed ▁Yan ling ▁S heng ▁( 延 陵 生 ) ▁to ▁lead ▁the ▁army ▁car riages ▁and ▁caval ry ▁ahead ▁to ▁J iny ang , ▁Z ha o ▁himself ▁to ▁follow ▁later . ▁Once ▁in ▁J iny ang , ▁Z ha o ▁X i ang zi , ▁following ▁the ▁suggestions ▁of ▁Z hang ▁M eng tan , ▁issued ▁orders ▁to ▁ref ill ▁the ▁gran aries ▁and ▁the ▁tre as uries , ▁repair ▁walls , ▁make ▁ar rows , ▁and ▁melt ▁copper ▁pill ars ▁for ▁metal . ▁By ▁virtue ▁of ▁past ▁govern ance , ▁the ▁tre as uries , ▁gran aries , ▁and ▁ar sen als ▁were ▁filled ▁within ▁three ▁days , ▁and ▁the ▁walls ▁rep aired ▁within ▁five . ▁Thus ▁all ▁of ▁J iny ang ▁was ▁prepared ▁for |
▁war . ▁ ▁Battle ▁ ▁When ▁the ▁three ▁arm ies ▁of ▁Z hi , ▁We i , ▁and ▁Han ▁reached ▁J iny ang ▁in ▁ 4 5 5 ▁BC , ▁they ▁laid ▁sie ge ▁to ▁the ▁city , ▁but ▁for ▁three ▁months ▁they ▁could ▁not ▁take ▁the ▁city . ▁They ▁ ▁f anned ▁out ▁and ▁surrounded ▁the ▁city , ▁and ▁a ▁year ▁later ▁di verted ▁the ▁flow ▁of ▁the ▁Fen ▁River ▁to ▁in und ate ▁the ▁city . ▁All ▁buildings ▁under ▁three ▁stories ▁high ▁were ▁sub mer ged , ▁and ▁the ▁people ▁of ▁J iny ang ▁were ▁oblig ed ▁to ▁live ▁in ▁nest - like ▁per ches ▁above ▁the ▁water ▁and ▁hang ▁their ▁k ett les ▁from ▁the ▁sc aff olding ▁in ▁order ▁to ▁cook . ▁ ▁By ▁the ▁third ▁year , ▁supplies ▁had ▁run ▁out ▁for ▁the ▁Z ha o , ▁diseases ▁broke ▁out , ▁and ▁the ▁popul ace ▁were ▁reduced ▁to ▁eating ▁each ▁other ' s ▁children . ▁Although ▁the ▁common ▁people ▁remained ▁firm ▁in ▁the ▁defence , ▁the ▁court ▁minister s ' ▁l oy alties ▁began ▁to ▁wa ver . ▁Z ha o ▁X i ang zi ▁asked ▁Z hang ▁M eng tan , ▁" Our ▁provisions ▁are ▁gone , ▁our ▁strength ▁and ▁resources ▁are ▁exhausted , ▁the ▁officials ▁are ▁star ving ▁and ▁ill , ▁and ▁I ▁fear ▁we ▁can ▁hold ▁out ▁no ▁longer . ▁I ▁am ▁going ▁to ▁surrender ▁the ▁city , ▁but ▁to ▁which ▁of ▁the ▁three ▁states ▁should ▁I ▁surrender ?" ▁Z hang ▁M eng tan , |
▁much ▁al armed , ▁persu aded ▁Z ha o ▁not ▁to ▁surrender ▁but ▁instead ▁send ▁him ▁out ▁to ▁negoti ate ▁with ▁the ▁houses ▁of ▁We i ▁and ▁Han . ▁ ▁The ▁houses ▁of ▁We i ▁and ▁Han ▁were ▁promised ▁an ▁even ▁split ▁of ▁Z ha o ' s ▁territor ies ▁when ▁the ▁battle ▁was ▁won , ▁however ▁both ▁the ▁We i ▁and ▁Han ▁leaders ▁were ▁une asy , ▁since ▁they ▁understood ▁that ▁they ▁too ▁would ▁be ▁conqu ered ▁if ▁Z ha o ▁fell ▁to ▁Z hi . ▁Z hi ▁Y ao ' s ▁minister , ▁X i ▁Ci ▁( <0xE9> <0x83> <0xA4> <0xE7> <0x96> <0xB5> ), ▁warned ▁Z hi ▁that ▁the ▁two ▁houses ▁were ▁going ▁to ▁revol t , ▁since ▁" the ▁men ▁and ▁horses ▁[ of ▁J iny ang ] ▁are ▁eating ▁each ▁other ▁and ▁the ▁city ▁is ▁soon ▁to ▁fall , ▁yet ▁the ▁l ords ▁of ▁Han ▁and ▁We i ▁show ▁no ▁signs ▁of ▁joy ▁but ▁instead ▁are ▁worried . ▁If ▁those ▁are ▁not ▁rebell ious ▁signs , ▁then ▁what ▁are ▁they ?" ▁Z hi ▁paid ▁X i ▁Ci ▁no ▁he ed , ▁and ▁instead ▁told ▁the ▁l ords ▁of ▁Han ▁and ▁We i ▁of ▁X i ' s ▁suspicion . ▁X i , ▁knowing ▁that ▁his ▁warning ▁fell ▁to ▁de af ▁ears , ▁exc used ▁himself ▁from ▁the ▁battle field ▁by ▁going ▁to ▁the ▁State ▁of ▁Q i ▁as ▁an ▁env oy . ▁ ▁Indeed , ▁when ▁Z hang ▁M eng tan ▁secret ly ▁met ▁with ▁We i ▁H uan |
- zi ▁and ▁Han ▁K ang zi ▁( <0xE9> <0x9F> <0x93> 康 子 ), ▁who ▁conf essed ▁that ▁they ▁were ▁secret ly ▁planning ▁to ▁mut iny ▁against ▁Z hi . ▁The ▁three ▁discussed ▁their ▁plans ▁and ▁settled ▁on ▁a ▁date ▁to ▁execute ▁the ▁plans . ▁Z hang ▁M eng tan ▁returned ▁to ▁J iny ang ▁to ▁report ▁back ▁to ▁Z ha o ▁X i ang zi , ▁and ▁Z ha o , ▁in ▁joy ▁and ▁app re hens ion , ▁bow ed ▁to ▁Z hang ▁several ▁times ▁as ▁a ▁sign ▁of ▁great ▁rever ence . ▁ ▁One ▁of ▁Z hi ▁Y ao ' s ▁cl ans men , ▁Z hi ▁Gu o ▁( 智 過 ), ▁by ▁happen stance , ▁observed ▁the ▁leaders ▁of ▁We i ▁and ▁Han ▁after ▁the ▁secret ▁meeting , ▁and ▁warned ▁Z hi ▁Y ao ▁of ▁the ▁possibility ▁that ▁they ▁might ▁rebel , ▁jud ging ▁by ▁their ▁lack ▁of ▁restr aints ▁like ▁before . ▁Z hi ▁again ▁chose ▁to ▁put ▁his ▁trust ▁in ▁his ▁two ▁allies , ▁saying : ▁" Since ▁I ▁have ▁been ▁this ▁good ▁to ▁them , ▁they ▁would ▁surely ▁not ▁attack ▁or ▁de ceive ▁me . ▁Our ▁troops ▁have ▁invested ▁J iny ang ▁for ▁three ▁years . ▁Now ▁when ▁the ▁city ▁is ▁ready ▁to ▁fall ▁at ▁any ▁moment ▁and ▁we ▁are ▁about ▁to ▁enjoy ▁the ▁spo ils , ▁what ▁reason ▁would ▁they ▁have ▁for ▁changing ▁their ▁minds ?" ▁Z hi ▁told ▁We i ▁and ▁Han ▁what ▁Z hi ▁Gu o ▁said , ▁and ▁the ▁two ▁lear |
nt ▁to ▁be ▁caut ious ▁when ▁they ▁saw ▁Z hi ▁Gu o ▁the ▁next ▁day . ▁Z hi ▁Gu o , ▁seeing ▁the ▁change ▁in ▁their ▁looks , ▁insisted ▁to ▁Z hi ▁Y ao ▁that ▁the ▁two ▁ought ▁to ▁be ▁executed . ▁Z hi ▁Y ao ▁would ▁not ▁hear ▁of ▁it , ▁and ▁Z hi ▁Gu o ▁suggested ▁another ▁plan ▁to ▁buy ▁their ▁friendship : ▁to ▁b ribe ▁the ▁influential ▁minister s ▁Z ha o ▁J ia ▁( <0xE8> <0xB6> <0x99> <0xE8> <0x91> <0xAD> ) ▁of ▁We i ▁and ▁Du an ▁G ui ▁( 段 規 ) ▁of ▁Han ▁with ▁en fe off ment ▁of ▁the ▁Z ha o ▁lands . ▁Z hi ▁Y ao ▁rejected ▁the ▁proposal ▁because ▁the ▁Z ha o ▁lands ▁were ▁going ▁to ▁split ▁in ▁three ▁already , ▁and ▁he ▁did ▁not ▁want ▁to ▁receive ▁less ▁than ▁one ▁third ▁of ▁the ▁event ual ▁spo ils . ▁Since ▁Z hi ▁Y ao ▁would ▁not ▁listen , ▁Z hi ▁Gu o ▁left ▁him ▁and ▁changed ▁his ▁surn ame ▁to ▁Fu ▁( <0xE8> <0xBC> <0x94> ) ▁as ▁a ▁prec aut ion . ▁ ▁H earing ▁this , ▁Z hang ▁M eng tan ▁urged ▁Z ha o ▁X i ang zi ▁to ▁take ▁action ▁immediately , ▁l est ▁Z hi ▁Y ao ▁changes ▁his ▁mind . ▁Z ha o ▁then ▁dis pat ched ▁Z hang ▁M eng tan ▁to ▁the ▁camps ▁of ▁We i ▁and ▁Han , ▁alert ing ▁them ▁of ▁the ▁time ▁of ▁the ▁final ▁attack . ▁On ▁the ▁night ▁of ▁May |
▁ 8 , ▁ 4 5 3 ▁BC , ▁Z ha o ▁troops ▁killed ▁the ▁men ▁guard ing ▁the ▁dam s ▁of ▁the ▁Fen ▁River ▁and ▁let ▁the ▁river ▁flood ▁the ▁Z hi ▁arm ies . ▁As ▁the ▁Z hi ▁arm ies ▁fell ▁into ▁chaos ▁trying ▁to ▁stop ▁the ▁water , ▁the ▁We i ▁and ▁Han ▁arm ies ▁attacked ▁Z hi ▁from ▁the ▁sides ▁and ▁Z ha o ▁led ▁his ▁soldiers ▁in ▁a ▁front al ▁attack . ▁Together ▁they ▁inf lict ed ▁a ▁severe ▁defeat ▁on ▁Z hi ▁Y ao ' s ▁army ▁and ▁took ▁him ▁prisoner . ▁ ▁Z ha o ▁X i ang zi ▁had ▁a ▁grud ge ▁on ▁Z hi ▁Y ao ▁because ▁Z hi ▁had ▁often ▁hum ili ated ▁him ▁in ▁the ▁past , ▁thus ▁he ▁executed ▁Z hi ▁and ▁made ▁his ▁skull ▁into ▁a ▁wine cup . ▁No ▁one ▁in ▁the ▁house ▁of ▁Z hi ▁was ▁sp ared ▁except ▁for ▁Z hi ▁Gu o ' s ▁family , ▁who ▁had ▁already ▁changed ▁their ▁surn ames ▁and ▁fled . ▁The ▁territor ies ▁of ▁Z hi ▁were ▁even ly ▁distributed ▁among ▁the ▁three ▁vict ors . ▁ ▁After math ▁With ▁the ▁elim ination ▁of ▁the ▁Z hi ▁house , ▁control ▁of ▁the ▁State ▁of ▁Jin ▁fell ▁to ▁the ▁remaining ▁three ▁families , ▁their ▁powers ▁un checked ▁by ▁anyone ▁in ▁the ▁state . ▁In ▁ 4 3 4 ▁BC , ▁following ▁the ▁death ▁of ▁Duke ▁A i , ▁the ▁three ▁families ▁an nex ed ▁all ▁of ▁Jin ' s ▁lands , |
▁leaving ▁only ▁the ▁capital ▁est ates ▁of ▁Ji ang ▁and ▁Qu wo ▁for ▁the ▁next ▁du ke ▁of ▁Jin . ▁In ▁ 4 0 3 ▁BC , ▁the ▁We i , ▁Z ha o ▁and ▁Han ▁l ords ▁all ▁went ▁to ▁King ▁We il ie ▁of ▁Z hou ▁in ▁Lu oy ang ▁and ▁were ▁made ▁mar qu ises ▁in ▁their ▁own ▁right , ▁establishing ▁the ▁three ▁states ▁of ▁Z ha o , ▁We i , ▁and ▁Han , ▁us her ing ▁in ▁the ▁beginning ▁of ▁the ▁War ring ▁States ▁period ▁by ▁Sim a ▁Gu ang ' s ▁definition . ▁Most ▁histor ians , ▁when ▁referring ▁to ▁those ▁three ▁states , ▁call ▁them ▁the ▁" Three ▁J ins " ▁( 三 <0xE6> <0x99> <0x89> ). ▁The ▁State ▁of ▁Jin ▁continued ▁to ▁exist ▁with ▁a ▁tiny ▁piece ▁of ▁territory ▁until ▁ 3 7 6 ▁BC ▁when ▁the ▁rest ▁of ▁the ▁territory ▁was ▁partition ed ▁by ▁the ▁Three ▁J ins . ▁ ▁The ▁Legal ist ▁think er ▁Han ▁Fe izi ▁of ▁the ▁late ▁War ring ▁States ▁period ▁used ▁this ▁battle ▁as ▁an ▁example ▁of ▁failure ▁via ▁greed ▁and ▁per vers ity , ▁one ▁of ▁the ▁" Ten ▁F ault s " ▁that ▁a ▁rul er ▁should ▁not ▁have . ▁He ▁reason ed ▁that ▁because ▁Z hi ▁Y ao ▁was ▁too ▁fond ▁for ▁profit , ▁he ▁opened ▁himself ▁to ▁the ▁destruction ▁of ▁the ▁state ▁and ▁his ▁own ▁dem ise . ▁ ▁The ▁Song ▁D yn asty ▁states man ▁Sim a ▁Gu ang , ▁in ▁his ▁Z iz |
hi ▁T ong j ian , ▁attribute ▁Z hi ▁Y ao ' s ▁failure ▁to ▁his ▁lacking ▁virtue ▁compared ▁to ▁his ▁talents , ▁and ▁thus ▁invited ▁disaster . ▁ ▁Notes ▁ ▁Re ferences ▁Sim a ▁Gu ang , ▁Z iz hi ▁T ong j ian ▁Sim a ▁Q ian , ▁Records ▁of ▁the ▁Grand ▁Histor ian ▁L iu ▁X i ang ▁et ▁al ., ▁Z han ▁Gu o ▁Ce ▁Watson , ▁Bur ton ▁( 2 0 0 3 ). ▁Han ▁Fe izi : ▁Basic ▁Writ ings . ▁New ▁York : ▁Columbia ▁University ▁Press . ▁. ▁ ▁Category : 4 5 5 ▁BC ▁Category : 4 5 3 ▁BC ▁J iny ang ▁ 4 5 5 ▁BC ▁Category : 5 th ▁century ▁BC ▁in ▁China ▁J iny ang ▁ 4 5 5 ▁BC ▁Category : J in ▁( Ch inese ▁state ) ▁J iny ang ▁ 4 5 5 ▁BC ▁Category : H an ▁( state ) ▁Category : Z ha o ▁( state ) ▁Category : We i ▁( state ) <0x0A> </s> ▁The ▁ 1 9 9 7 ▁Fi esta ▁Bowl ▁may ▁refer ▁to : ▁▁▁ 1 9 9 7 ▁Fi esta ▁Bowl ▁( Jan uary ) ▁- ▁January ▁ 1 , ▁ 1 9 9 7 , ▁game ▁( after ▁the ▁ 1 9 9 6 ▁season ) ▁between ▁Penn ▁State ▁and ▁Texas ▁▁ 1 9 9 7 ▁Fi esta ▁Bowl ▁( De cember ) ▁- ▁December ▁ 3 1 , ▁ 1 9 9 7 , ▁game ▁( after ▁the |
▁ 1 9 9 7 ▁season ) ▁between ▁Kansas ▁State ▁and ▁S yr ac use <0x0A> </s> ▁Edu ardo ▁Miss oni ▁( born ▁July ▁ 3 1 , ▁ 1 9 5 4 ▁in ▁Rome ) ▁is ▁an ▁Italian ▁medical ▁doctor ▁who ▁has ▁been ▁active ▁in ▁numerous ▁social ▁causes . ▁He ▁was ▁appointed ▁as ▁the ▁Secretary ▁General ▁of ▁the ▁World ▁Organization ▁of ▁the ▁Sc out ▁Movement ▁from ▁April ▁ 1 , ▁ 2 0 0 4 ▁through ▁November ▁ 3 0 , ▁ 2 0 0 7 . ▁ ▁Life ▁ ▁Dr . ▁Miss oni ▁received ▁his ▁medical ▁training ▁and ▁special ty ▁in ▁tropical ▁medicine ▁from ▁Rome ▁University . ▁He ▁subsequently ▁obtained ▁a ▁master ' s ▁degree ▁from ▁the ▁London ▁School ▁of ▁H yg iene ▁& ▁T rop ical ▁Medicine . ▁He ▁is ▁a ▁professor ▁at ▁B oc con i ▁University ▁Management ▁School ▁in ▁Milan . ▁His ▁area ▁of ▁teaching ▁and ▁research ▁is ▁ ▁related ▁to ▁health ▁development ▁cooperation ▁management ▁and ▁global ▁strategies ▁for ▁health . ▁ ▁He ▁began ▁his ▁career ▁as ▁a ▁volunteer ▁doctor ▁in ▁Nic ar ag ua . ▁He ▁was ▁later ▁employed ▁as ▁a ▁UN ICE F ▁officer ▁in ▁Mexico . ▁He ▁worked ▁for ▁the ▁Italian ▁government ▁in ▁the ▁capacity ▁of ▁adv iser ▁and ▁representative ▁for ▁health ▁cooperation ▁programs ▁in ▁Latin ▁America ▁and ▁sub - S ah aran ▁Africa . ▁ ▁As ▁a ▁youth ▁in ▁Italy ▁Dr . ▁Miss oni ▁joined ▁the ▁Sc out ▁movement . ▁Later , ▁as ▁a ▁young ▁adult ▁he ▁became ▁a ▁Sc out ▁leader ▁and ▁remained |
▁active ▁in ▁Sc outing ▁until ▁he ▁left ▁for ▁his ▁medical ▁mission ▁in ▁Nic ar ag ua . ▁Many ▁years ▁later , ▁without ▁having ▁applied ▁for ▁the ▁position , ▁he ▁was ▁" head h unted " ▁on ▁behalf ▁of ▁the ▁World ▁Sc out ▁Committee ▁and ▁was ▁selected ▁as ▁the ▁new ▁Secretary ▁General ▁of ▁W OS M . ▁He ▁took ▁office ▁April ▁ 1 , ▁ 2 0 0 4 . ▁ ▁W OS M ▁crisis ▁On ▁October ▁ 1 5 , ▁ 2 0 0 7 , ▁a ▁group ▁of ▁National ▁Sc outing ▁Organ izations ▁wrote ▁an ▁open ▁letter ▁of ▁complaint ▁to ▁the ▁World ▁Sc out ▁Committee . ▁ ▁The ▁main ▁complaints ▁were ▁that ▁the ▁World ▁Sc out ▁Bureau ▁was ▁not ▁focusing ▁on ▁National ▁Sc outing ▁Organ izations , ▁especially ▁those ▁in ▁developing ▁countries ▁and ▁that ▁there ▁were ▁govern ance ▁and ▁management ▁issues ▁within ▁the ▁World ▁Sc out ▁Bureau . ▁ ▁Two ▁days ▁later , ▁the ▁Boy ▁Sc outs ▁of ▁America ▁sent ▁a ▁letter ▁to ▁the ▁W SC ▁re iter ating ▁their ▁position ▁and ▁stating ▁that ▁they ▁would ▁with hold ▁funding ▁to ▁the ▁W SB ▁until ▁the ▁current ▁Secretary ▁General ▁was ▁replaced ▁and ▁appropriate ▁processes ▁institut ed ▁to ▁restore ▁the ▁W SB ▁its ▁core ▁mission . ▁S vens ka ▁Sc out rå det ▁followed ▁with ▁a ▁similar ▁letter . ▁The ▁World ▁Sc out ▁Foundation , ▁which ▁had ▁been ▁institut ed ▁to ▁ins ure ▁a ▁reliable ▁funding ▁source ▁for ▁the ▁movement , ▁followed ▁suit . ▁ ▁The ▁World ▁Sc out ▁Committee ▁wrote ▁an ▁un cir |
cul ated ▁response ▁to ▁these ▁requests ▁on ▁October ▁ 2 4 . ▁ ▁Several ▁National ▁Sc out ▁Organ izations ▁expressed ▁concern ▁at ▁this ▁economic ▁co erc ion . ▁ ▁On ▁November ▁ 1 2 , ▁ 2 0 0 7 , ▁the ▁World ▁Sc out ▁Committee ▁met ▁in ▁C airo ▁and ▁relieved ▁Miss oni ▁from ▁his ▁position ▁as ▁Secretary ▁General , ▁despite ▁his ▁opposition ▁and ▁that ▁of ▁many ▁committee ▁members . ▁He ▁was ▁to ▁maintain ▁representative ▁duties ▁until ▁November ▁ 3 0 . ▁ ▁On ▁November ▁ 3 0 , ▁ 2 0 0 7 , ▁Edu ardo ▁Miss oni ▁wrote ▁a ▁chron ology ▁of ▁what ▁he ▁called ▁a ▁" put sch " ▁on ▁his ▁personal ▁web ▁page , ▁releasing ▁many ▁documents ▁which ▁were ▁unknown ▁at ▁the ▁time ▁and ▁giving ▁his ▁point ▁of ▁view . ▁ ▁Awards ▁and ▁hon ors ▁ ▁A ster oid ▁ 2 7 3 4 1 2 ▁Edu ard om iss oni , ▁discovered ▁by ▁Italian ▁amateur ▁astronom er ▁Sil vano ▁Cas ull i ▁in ▁ 2 0 0 6 , ▁was ▁named ▁in ▁his ▁honor . ▁The ▁official ▁ ▁was ▁published ▁by ▁the ▁Minor ▁Plan et ▁Center ▁on ▁May ▁ 2 9 , ▁ 2 0 1 8 ▁( ). ▁ ▁See ▁also ▁▁▁ ▁World ▁Organization ▁of ▁the ▁Sc out ▁Movement ▁ ▁Re ferences ▁ ▁Ex ternal ▁links ▁▁ ▁Miss oni ▁Website ▁ ▁World ▁Organ isation ▁of ▁the ▁Sc out ▁Movement : ▁Official ▁bi ography ▁ ▁Comments ▁about ▁the ▁end ▁of ▁his ▁W OS M ▁mand ate ▁ |
▁Category : World ▁Sc out ▁Committee ▁members ▁Category : 1 9 5 4 ▁birth s ▁Category : L iving ▁people ▁Category : People ▁from ▁Rome ▁Category : B oc con i ▁University ▁al umn i <0x0A> </s> ▁Bruno ▁Corn illet ▁( born ▁ 8 ▁February ▁ 1 9 6 3 ▁in ▁Lamb alle , ▁C ô tes - d ' Ar mor ) ▁is ▁a ▁French ▁former ▁professional ▁road ▁bicy cle ▁rac er . ▁ ▁Major ▁results ▁▁ 1 9 8 4 ▁▁ 1 st , ▁Overall , ▁Vol ta ▁a ▁la ▁Com unit at ▁Val enc iana ▁▁ 1 st , ▁Stage ▁ 1 ▁ 1 9 8 5 ▁▁ 1 st , ▁Stage ▁ 2 , ▁Paris – B our ges ▁ 1 9 8 6 ▁▁ 1 st , ▁Ch ate aur oux - Lim og es ▁▁ 1 st , ▁Stage ▁ 4 , ▁Tour ▁de ▁Rom and ie ▁ 1 9 8 7 ▁▁ 1 st , ▁Stage ▁ 2 , ▁Crit éri um ▁du ▁D au ph in é ▁Lib éré ▁▁ 1 st , ▁Stage ▁ 3 , ▁Post g iro t ▁Open ▁ 1 9 8 9 ▁▁ 1 st , ▁Stage ▁ 6 , ▁Post g iro t ▁Open ▁▁ 1 st , ▁Stage ▁ 4 , ▁Paris – N ice ▁( M t ▁F aron ) ▁ 1 9 9 0 ▁▁ 1 st , ▁GP ▁O uest - Fr ance ▁▁ 1 st , ▁Stage ▁ 2 b , ▁Tour ▁of ▁Ireland |
▁ 1 9 9 1 ▁▁ 1 st , ▁A ▁Tra vers ▁le ▁Mor b ih an ▁▁ 1 st , ▁Overall , ▁Circ uit ▁de ▁la ▁S art he ▁▁ 1 st , ▁Stage ▁ 2 ▁▁ 1 st , ▁Stage ▁ 4 a ▁ 1 9 9 2 ▁▁ 1 st , ▁Tour ▁de ▁V end ée ▁ 1 9 9 3 ▁▁ 1 st , ▁Paris – B our ges ▁ ▁Ex ternal ▁links ▁▁ ▁Category : 1 9 6 3 ▁birth s ▁Category : L iving ▁people ▁Category : People ▁from ▁Lamb alle ▁Category : F rench ▁male ▁cycl ists ▁Category : T our ▁de ▁France ▁cycl ists ▁Category : S ports people ▁from ▁C ô tes - d ' Ar mor <0x0A> </s> ▁C uff links ▁are ▁items ▁of ▁jewelry ▁that ▁are ▁used ▁to ▁secure ▁the ▁c uffs ▁of ▁dress ▁sh irts . ▁C uff links ▁can ▁be ▁manufactured ▁from ▁a ▁variety ▁of ▁different ▁materials , ▁such ▁as ▁glass , ▁stone , ▁leather , ▁metal , ▁precious ▁metal ▁or ▁combinations ▁of ▁these . ▁Sec uring ▁of ▁the ▁c uff links ▁is ▁usually ▁achieved ▁via ▁togg les ▁or ▁revers es ▁based ▁on ▁the ▁design ▁of ▁the ▁front ▁section , ▁which ▁can ▁be ▁folded ▁into ▁position . ▁There ▁are ▁also ▁vari ants ▁with ▁chains ▁or ▁a ▁rigid , ▁bent ▁rear ▁section . ▁The ▁front ▁sections ▁of ▁the ▁c uff links ▁can ▁be ▁decorated ▁with ▁gem st ones , ▁in l ays , ▁in set ▁material ▁or ▁en am el ▁and |
▁designed ▁in ▁two ▁or ▁three - dimensional ▁form . ▁ ▁C uff links ▁are ▁designed ▁only ▁for ▁use ▁with ▁sh irts ▁which ▁have ▁c uffs ▁with ▁button h oles ▁on ▁both ▁sides ▁but ▁no ▁buttons . ▁These ▁may ▁be ▁either ▁single ▁or ▁double - length ▁(" F rench ") ▁c uffs , ▁and ▁may ▁be ▁worn ▁either ▁" k iss ing ", ▁with ▁both ▁edges ▁pointing ▁out ward , ▁or ▁" bar rel - style ", ▁with ▁one ▁edge ▁pointing ▁out ward ▁and ▁the ▁other ▁one ▁in ward ▁so ▁that ▁its ▁hem ▁is ▁overl apped . ▁In ▁the ▁US , ▁the ▁" bar rel - style " ▁was ▁popular ized ▁by ▁a ▁famous ▁ 1 9 th - century ▁entertain er ▁and ▁cl own , ▁Dan ▁Rice ; ▁however , ▁" k iss ing " ▁c uffs ▁are ▁usually ▁preferred . ▁ ▁Design ▁ ▁Cl osing ▁mechanism ▁ ▁C uff link ▁designs ▁vary ▁widely , ▁with ▁the ▁most ▁traditional ▁the ▁" double - panel ", ▁consisting ▁of ▁a ▁short ▁post ▁or ▁( more ▁often ) ▁chain ▁connecting ▁two ▁disc - shaped ▁parts , ▁both ▁decorated . ▁Wh ale - back ▁and ▁toggle - back ▁c uff links ▁have ▁a ▁flat ▁decorated ▁face ▁for ▁one ▁side , ▁while ▁the ▁other ▁side ▁shows ▁only ▁the ▁sw ivel - bar ▁and ▁its ▁post . ▁The ▁sw ivel ▁bar ▁is ▁placed ▁vert ically ▁( aligned ▁with ▁the ▁post ) ▁to ▁put ▁the ▁links ▁on ▁and ▁off , ▁then ▁hor izont ally ▁to ▁hold ▁them ▁in ▁place ▁when |
▁worn . ▁The ▁decorated ▁face ▁on ▁the ▁most ▁visible ▁side ▁is ▁usually ▁larger ; ▁a ▁variety ▁of ▁designs ▁can ▁connect ▁the ▁smaller ▁piece : ▁It ▁may ▁be ▁small ▁enough ▁to ▁fit ▁through ▁the ▁button ▁hole ▁like ▁a ▁button ▁would ; ▁it ▁may ▁be ▁separated ▁and ▁attached ▁from ▁the ▁other ▁side ; ▁or ▁it ▁may ▁have ▁a ▁portion ▁that ▁sw iv els ▁on ▁the ▁central ▁post , ▁align ing ▁with ▁the ▁post ▁while ▁the ▁link ▁is ▁thread ed ▁through ▁the ▁button - hole ▁and ▁sw iv eling ▁into ▁a ▁position ▁at ▁right ▁angles ▁to ▁the ▁post ▁when ▁worn . ▁ ▁Link s ▁of ▁kn otted ▁bright ly ▁col oured ▁silk ▁enjoyed ▁renew ed ▁popularity ▁in ▁the ▁ 1 9 9 0 s , ▁joined ▁by ▁an ▁el astic ated ▁section . ▁ ▁Mot if ▁ ▁The ▁visible ▁part ▁of ▁a ▁c uff link ▁is ▁often ▁mon ogram med ▁or ▁decorated ▁in ▁some ▁way , ▁such ▁as ▁with ▁a ▁birth stone ▁or ▁something ▁which ▁reflects ▁a ▁h obby ▁or ▁association . ▁There ▁are ▁numerous ▁styles ▁including ▁novel ty , ▁traditional , ▁or ▁contemporary . ▁ ▁C uff links ▁can ▁and ▁have ▁been ▁worn ▁with ▁casual ▁wear , ▁inform al ▁att ire ▁or ▁business ▁suits , ▁all ▁the ▁way ▁to ▁very ▁dress y ▁styles ▁such ▁as ▁semi - form al ▁( black ▁tie ▁or ▁St roller ), ▁and ▁formal ▁wear ▁( mor ning ▁dress ▁or ▁white ▁tie ), ▁where ▁they ▁become ▁essentially ▁required ▁and ▁are ▁matched ▁with ▁shirt ▁stud s . ▁Col our ful ▁and ▁wh |
ims ical ▁c uff link ▁designs ▁are ▁usually ▁only ▁suitable ▁for ▁casual ▁and ▁relatively ▁inform al ▁events , ▁and ▁signals ▁someone ▁who ▁is ▁fun - l oving , ▁approach able , ▁and ▁friendly . ▁However , ▁formal ▁wear ▁has ▁str ic ter ▁expectations , ▁with ▁pear l ▁c uff links ▁being ▁preferred ▁for ▁white ▁tie ▁events ▁ ▁Trad itionally ▁it ▁was ▁considered ▁important ▁to ▁coordinate ▁the ▁metal ▁of ▁one ' s ▁c uff links ▁with ▁other ▁jewelry ▁such ▁as ▁watch ▁case , ▁belt ▁buck le , ▁tie ▁bar ▁or ▁rings . ▁ ▁S art orial ▁experts ▁presc ribe ▁gold ▁to ▁be ▁worn ▁during ▁the ▁day time ▁and ▁silver ▁for ▁evening ▁wear , ▁but ▁neither ▁expectation ▁is ▁considered ▁as ▁critical ▁as ▁it ▁once ▁was . ▁ ▁Fab ric ▁c uff links ▁ ▁An ▁alternative ▁type ▁of ▁c uff link ▁is ▁the ▁cheaper ▁silk ▁kn ot ▁which ▁is ▁usually ▁two ▁con jo ined ▁mon key ' s ▁fist ▁or ▁Turk ' s ▁head ▁kn ots . ▁The ▁Paris ▁shirt maker ▁Char vet ▁is ▁cred ited ▁with ▁their ▁introduction ▁in ▁ 1 9 0 4 . ▁They ▁became ▁quickly ▁popular : ▁" Char vet ▁[ link ] ▁buttons ▁of ▁twisted ▁b raid ▁are ▁quite ▁the ▁style " ▁noted ▁The ▁New ▁York ▁Times ▁in ▁ 1 9 0 8 . ▁French ▁c uff ▁sh irts ▁are ▁often ▁accompanied ▁with ▁a ▁set ▁of ▁colour - coord inated ▁silk ▁kn ots ▁instead ▁of ▁double - button ▁c uff links . ▁They ▁are ▁now ▁often ▁not ▁from ▁silk , ▁and |
▁consist ▁of ▁a ▁fabric ▁over ▁an ▁el astic ated ▁core . ▁O wing ▁to ▁the ▁popularity ▁of ▁this ▁fashion , ▁metal ▁c uff links ▁shaped ▁to ▁look ▁like ▁a ▁silk ▁kn ot ▁are ▁also ▁worn . ▁ ▁Inter change able ▁c uff links ▁ ▁Inter change able ▁c uff links ▁have ▁started ▁to ▁come ▁back ▁in ▁to ▁the ▁market place ▁in ▁recent ▁years . ▁Cart ier ▁introduced ▁their ▁type ▁in ▁the ▁ 1 9 6 0 s ▁consisting ▁of ▁a ▁bar ▁with ▁a ▁loop ▁at ▁either ▁end ▁that ▁would ▁allow ▁a ▁mot if ▁to ▁be ▁inserted ▁at ▁either ▁end ▁per pend icular ▁to ▁the ▁bar . ▁ ▁Cart ier ▁referred ▁to ▁the ▁inter change able ▁mot ifs ▁as ▁bat ons . ▁ ▁A ▁set ▁including ▁the ▁bars ▁would ▁come ▁with ▁bat ons ▁made ▁from ▁cor al , ▁car nel ian , ▁lap is ▁la z uli , ▁rock ▁crystal , ▁on y x , ▁t iger ' s ▁eye ▁and ▁mal ach ite . ▁ ▁B ars ▁would ▁have ▁been ▁made ▁from ▁stain less ▁steel , ▁ster ling ▁silver ▁or ▁ 1 8 k ▁gold . ▁ ▁Cart ier ▁recently ▁re - int rodu ced ▁these ▁inter change able ▁c uff links ▁with ▁bat ons ▁made ▁from ▁stri ped ▁ch al ced ony , ▁silver ▁obs id ian , ▁mal ach ite , ▁sod al ite , ▁and ▁red ▁t iger ' s ▁eye . ▁ ▁The ▁accompanying ▁bars ▁are ▁made ▁from ▁ 1 8 k ▁gold ▁or ▁p all ad ium ▁pl |
ated ▁ster ling ▁silver . ▁ ▁The ▁secur ing ▁mechanism ▁is ▁the ▁same ▁for ▁either ▁series ▁using ▁a ▁small ▁screw ▁in set ▁in ▁to ▁the ▁loop ed ▁end ▁of ▁the ▁bar . ▁The ▁pressure ▁ex ert ed ▁a ▁by ▁the ▁screw ▁on ▁the ▁bat on ▁holds ▁them ▁in ▁place . ▁ ▁Another ▁type ▁of ▁inter change able ▁system ▁was ▁created ▁by ▁pr anga ▁& ▁co . ▁The ▁patent - pending ▁c uff link ▁system ▁comes ▁apart ▁allowing ▁the ▁mot if , ▁referred ▁to ▁as ▁an ▁an ker , ▁to ▁slide ▁on . ▁ ▁Put ting ▁the ▁c uff link ▁back ▁together ▁sec ures ▁the ▁an ker ▁into ▁the ▁c uff link ▁allowing ▁it ▁to ▁be ▁worn . ▁pr anga ▁& ▁co ' s ▁c uff link ▁is ▁simple ▁and ▁similar ▁in ▁concept ▁to ▁charm ▁brace let ▁be ad ▁systems ▁popular ized ▁by ▁companies ▁like ▁Pand ora ▁Jew el ry . ▁ ▁The ▁an kers ▁used ▁in ▁the ▁c uff links ▁are ▁inter change able ▁with ▁various ▁charm ▁brace lets ▁systems ▁and ▁visa - vers a . ▁ ▁History ▁Although ▁the ▁first ▁c uff links ▁appeared ▁in ▁the ▁ 1 6 0 0 s , ▁they ▁did ▁not ▁become ▁common ▁until ▁the ▁end ▁of ▁the ▁ 1 8 th ▁century . ▁Their ▁development ▁is ▁closely ▁related ▁to ▁that ▁of ▁the ▁men ' s ▁shirt . ▁Men ▁have ▁been ▁wearing ▁shirt - like ▁items ▁of ▁clothing ▁since ▁the ▁invention ▁of ▁w oven ▁fabric ▁ 5 , 0 0 0 ▁years ▁BC . ▁Although ▁styles ▁and |
▁methods ▁of ▁manufacturing ▁changed , ▁the ▁underlying ▁form ▁remained ▁the ▁same : ▁a ▁t unic ▁opened ▁to ▁the ▁front ▁with ▁sle eves ▁and ▁collar . ▁The ▁shirt ▁was ▁worn ▁directly ▁next ▁to ▁the ▁skin , ▁it ▁was ▁wash able ▁and ▁thereby ▁protected ▁the ▁outer ▁gar ments ▁from ▁contact ▁with ▁the ▁body . ▁Con vers ely , ▁it ▁also ▁protected ▁the ▁skin ▁against ▁the ▁rough er ▁and ▁heav ier ▁fab rics ▁of ▁jack ets ▁and ▁co ats ▁by ▁covering ▁the ▁neck ▁and ▁wr ists . ▁ ▁The ▁early ▁form ▁of ▁c uff links ▁called ▁linked ▁buttons , ▁sometimes ▁had ▁a ▁design ▁put ▁under ▁the ▁glass ▁of ▁the ▁c uff link , ▁magn ifying ▁it ▁for ▁others ▁to ▁see . ▁ ▁After ▁the ▁Middle ▁A ges ▁the ▁visible ▁areas ▁of ▁the ▁shirt ▁( ne ck , ▁chest ▁and ▁wr ists ) ▁became ▁sites ▁of ▁decor ative ▁elements ▁such ▁as ▁fr ills , ▁r uffs ▁and ▁em bro ider y . ▁The ▁c uffs ▁were ▁held ▁together ▁with ▁rib b ons , ▁as ▁were ▁coll ars , ▁an ▁early ▁pre cursor ▁of ▁neck ties . ▁Fr ills ▁that ▁hung ▁down ▁over ▁the ▁wrist ▁were ▁worn ▁at ▁court ▁and ▁other ▁formal ▁settings ▁until ▁the ▁end ▁of ▁the ▁ 1 8 th ▁century , ▁whilst ▁in ▁the ▁everyday ▁sh irts ▁of ▁the ▁time ▁the ▁sle eves ▁ended ▁with ▁a ▁simple ▁rib bon ▁or ▁were ▁secured ▁with ▁a ▁button ▁or ▁a ▁connected ▁pair ▁of ▁buttons . ▁ ▁In ▁the ▁ 1 9 th ▁century ▁the ▁former ▁spl end our |
▁of ▁the ▁arist ocr acy ▁was ▁supers ed ed ▁by ▁the ▁bour ge ois ▁efficiency ▁of ▁the ▁new ▁employed ▁classes . ▁From ▁then ▁on ward ▁men ▁wore ▁a ▁highly ▁conventional ▁ward robe : ▁a ▁dark ▁suit ▁by ▁day , ▁a ▁dinner ▁jacket ▁or ▁tail co at ▁in ▁the ▁evening . ▁By ▁the ▁middle ▁of ▁the ▁ 1 9 th ▁century ▁the ▁modern ▁c uff link ▁became ▁popular . ▁The ▁shirt ▁front ▁as ▁well ▁as ▁collar ▁and ▁c uffs ▁covering ▁areas ▁of ▁the ▁most ▁wear ▁were ▁made ▁st urd ier . ▁This ▁was ▁practical ▁but ▁when ▁clean ▁and ▁star ched , ▁coll ars ▁and ▁c uffs ▁unders core d ▁the ▁formal ▁character ▁of ▁the ▁clothing . ▁However , ▁they ▁could ▁be ▁too ▁stiff ▁to ▁secure ▁the ▁c uffs ▁with ▁a ▁simple ▁button . ▁As ▁a ▁consequence , ▁from ▁the ▁mid ▁ 1 9 th ▁century ▁on ward ▁men ▁in ▁the ▁middle ▁and ▁upper ▁classes ▁wore ▁c uff links . ▁The ▁industrial ▁revolution ▁meant ▁that ▁these ▁could ▁be ▁mass - produ ced , ▁making ▁them ▁available ▁in ▁every ▁price ▁category . ▁ ▁Col oured ▁c uff links ▁made ▁from ▁gem st ones ▁were ▁initially ▁only ▁worn ▁by ▁men ▁with ▁a ▁great ▁deal ▁of ▁self - conf idence , ▁however . ▁This ▁situation ▁changed ▁when ▁the ▁Prince ▁of ▁Wales , ▁later ▁Edward ▁VII , ▁popular ised ▁colour ful ▁Fab erg é ▁c uff links ▁in ▁the ▁ 1 9 th ▁century . ▁During ▁this ▁time ▁c uff links ▁became ▁fashion ▁accessories ▁and ▁one ▁of ▁the ▁few |
▁acceptable ▁items ▁of ▁jew ell ery ▁for ▁men ▁in ▁Britain ▁and ▁the ▁U . S . ▁ ▁This ▁development ▁continued ▁into ▁the ▁early ▁ 1 9 0 0 s , ▁with ▁more ▁c uff links ▁worn ▁than ▁ever ▁before . ▁These ▁were ▁available ▁in ▁every ▁type ▁of ▁form , ▁colour ▁and ▁material , ▁incorpor ating ▁both ▁gem st ones ▁and ▁less ▁precious ▁stones ▁and ▁glass ▁in ▁cheaper ▁copies . ▁In tr icate ▁col oured ▁en am elled ▁c uff links ▁in ▁every ▁conce iv able ▁geometric ▁pattern ▁were ▁especially ▁popular . ▁All ▁of ▁these ▁were ▁of ▁equal ▁value , ▁as ▁C oco ▁Ch anel ▁had ▁made ▁fashion ▁jew ell ery ▁acceptable ▁to ▁wear . ▁In ▁a ▁parallel ▁development , ▁however , ▁a ▁sport ier ▁style ▁of ▁shirt ▁emerged ▁with ▁un star ched ▁c uffs ▁that ▁could ▁be ▁secured ▁with ▁simple ▁buttons . ▁ ▁This ▁spread ▁to ▁Europe ▁as ▁well ▁over ▁the ▁same ▁period . ▁In ▁Germany , ▁Id ar - O ber stein ▁and ▁P for z heim ▁were ▁key ▁cent res ▁of ▁c uff link ▁production . ▁Wh ilst ▁in ▁Id ar - O ber stein ▁c uff links ▁were ▁produced ▁using ▁simple ▁materials ▁for ▁the ▁more ▁modest ▁budget , ▁the ▁P for z heim ▁jew ell ery ▁manufacturers ▁produced ▁for ▁the ▁medium ▁and ▁upper ▁segments ▁using ▁genuine ▁gold ▁and ▁silver . ▁In ▁P for z heim ▁premium ▁c uff links ▁are ▁still ▁produced ▁today , ▁some ▁of ▁them ▁to ▁historic ▁patterns , ▁some ▁modern , ▁all ▁of ▁them ▁using ▁traditional ▁craft |
sm ans hip . ▁ ▁Following ▁the ▁end ▁of ▁short ages ▁related ▁to ▁the ▁Second ▁World ▁War , ▁into ▁the ▁ 1 9 5 0 s ▁a ▁gentleman ▁liked ▁to ▁ad orn ▁himself ▁with ▁a ▁whole ▁range ▁of ▁accessories , ▁compr ising ▁items ▁such ▁as ▁cigarette ▁case , ▁lighter , ▁tie ▁pin ▁or ▁tie ▁bar , ▁watch ▁( now ▁worn ▁mostly ▁on ▁the ▁wrist ▁instead ▁of ▁the ▁pocket ), ▁ring , ▁key ▁chain , ▁money ▁clip , ▁etc ., ▁an ▁ensemble ▁that ▁also ▁included ▁a ▁wide ▁range ▁of ▁c uff links . ▁▁▁ ▁In ▁the ▁ 1 9 7 0 s ▁c uff links ▁were ▁less ▁emphas ized ▁in ▁much ▁of ▁middle ▁class ▁fashion . ▁F ashion ▁was ▁dominated ▁by ▁the ▁Wood stock ▁generation , ▁with ▁sh irts ▁primarily ▁manufactured ▁complete ▁with ▁buttons ▁and ▁button h oles . ▁ ▁Many ▁fine ▁he ir lo oms ▁were ▁re work ed ▁into ▁ear rings . ▁ ▁The ▁ 1 9 8 0 s ▁saw ▁a ▁return ▁to ▁traditional ▁c uff links , ▁as ▁part ▁of ▁a ▁general ▁rev ival ▁in ▁traditional ▁male ▁dress . ▁This ▁trend ▁has ▁more ▁or ▁less ▁continued ▁to ▁this ▁day . ▁ ▁Notes ▁ ▁Re ferences ▁ ▁Jon as , ▁Susan ▁and ▁N iss enson , ▁Mar il yn : ▁C uff ▁Link s , ▁New ▁York ▁ 1 9 9 1 ▁ ▁P izz in , ▁Ber tr and : ▁C uff ▁Link s , ▁New ▁York ▁ 2 0 0 2 ▁ ▁Ro et zel , ▁Bern hard : |
▁Der ▁Gent le man . ▁Hand buch ▁der ▁klass ischen ▁Her ren mode , ▁Kö ln ▁ 1 9 9 9 ▁ ▁Ex ternal ▁links ▁▁ ▁Types ▁of ▁C uff links ▁ ▁Design er ▁C uff links ▁And ▁Access ories ▁For ▁The ▁Well ▁D ressed ▁Man ▁ ▁Category : F ashion ▁accessories ▁Category : Fast en ers ▁Category : Types ▁of ▁jew ell ery ▁Category : Arm wear <0x0A> </s> ▁S - 6 3 ▁is ▁an ▁ ▁International ▁H ydro graph ic ▁Organization ▁( I HO ) ▁standard ▁for ▁enc rypt ing , ▁secur ing ▁and ▁compress ing ▁electronic ▁navig ational ▁chart ▁( ENC ) ▁data . ▁ ▁The ▁Data ▁Protection ▁Sche me ▁was ▁prepared ▁by ▁the ▁I HO ▁Data ▁Protection ▁Sche me ▁Advis ory ▁Group , ▁and ▁was ▁based ▁on ▁the ▁protection ▁scheme ▁developed ▁and ▁operated ▁by ▁Prim ar ▁as ▁part ▁of ▁providing ▁their ▁protected ▁E NC ▁service . ▁E CC ▁( E lect ronic ▁Chart ▁Centre ) ▁and ▁United ▁Kingdom ▁H ydro graph ic ▁Office ▁were ▁the ▁original ▁contributing ▁organizations . ▁The ▁UK HO ▁has ▁since ▁left ▁this ▁arrangement ▁and ▁Prim ar ▁is ▁now ▁operated ▁exclusively ▁by ▁E CC . ▁▁ ▁The ▁standard ▁was ▁adopted ▁as ▁the ▁official ▁I HO ▁standard ▁by ▁the ▁I HO ▁member ▁states ▁in ▁December ▁ 2 0 0 2 . ▁ ▁The ▁S - 6 3 ▁standard ▁sec ures ▁data ▁by ▁enc rypt ing ▁the ▁basic ▁transfer ▁database ▁using ▁the ▁Bl ow fish ▁algorithm , ▁SHA - 1 - h ashing ▁the ▁data ▁based ▁on ▁a |
▁random ▁key ▁and ▁adding ▁a ▁CRC 3 2 ▁check . ▁ ▁The ▁standard ▁also ▁defines ▁the ▁systems ▁to ▁develop ▁permit ▁files ▁that ▁are ▁delivered ▁to ▁end - users ▁of ▁E NC ▁data ▁enabling ▁them ▁to ▁dec rypt ▁the ▁data ▁and ▁use ▁it ▁for ▁navigation . ▁It ▁also ▁defines ▁the ▁use ▁of ▁D SA ▁format ▁sign atures ▁to ▁aut hent icate ▁the ▁data ▁origin ator , ▁however ▁because ▁of ▁poor ▁implementation ▁of ▁the ▁standard ▁by ▁E CD IS ▁hardware ▁manufacturers , ▁virtually ▁all ▁signing ▁is ▁performed ▁cent r ally ▁by ▁the ▁I HO ▁which ▁acts ▁as ▁the ▁scheme ▁administr ator . ▁Ex ceptions ▁to ▁this ▁are ▁a ▁few ▁smaller ▁res ellers ▁such ▁as ▁A US R enc ▁operated ▁by ▁A HS . ▁ ▁Com pression ▁is ▁achieved ▁by ▁applying ▁the ▁standard ▁Z IP ▁( file ▁format ) ▁algorithm ▁to ▁the ▁base ▁and ▁update ▁E NC ▁files , ▁before ▁encryption . ▁The ▁other ▁files ▁are ▁not ▁comp ressed . ▁ ▁Re ferences ▁ ▁Category : E lect ronic ▁navigation <0x0A> </s> ▁" M ovie ▁Kl ip " ▁is ▁the ▁first ▁single ▁by ▁Dan ish ▁rock band ▁Nep hew ▁from ▁their ▁ 2 0 0 4 ▁album ▁US AD SB . ▁ ▁Category : N ep hew ▁( band ) ▁songs <0x0A> </s> ▁List ▁of ▁Serge ants - at - Ar ms ▁of ▁the ▁House ▁of ▁Commons ▁of ▁Canada ▁who ▁are ▁senior ▁officials ▁of ▁the ▁House ▁appointed ▁by ▁Governor ▁in ▁Council , ▁the ▁Sergeant - at ▁Ar ms ▁ass ists ▁the ▁Cl erk ▁as ▁head ▁of |
▁parliament ary ▁prec inct ▁services , ▁performing ▁certain ▁ceremon ial ▁functions ▁( b earing ▁the ▁Cer emon ial ▁m ace ▁of ▁the ▁Commons ) ▁and ▁being ▁responsible ▁for ▁security ▁and ▁building ▁services . ▁ ▁The ▁current ▁Sergeant - at - Ar ms ▁is ▁Assistant ▁Commission er ▁Pat ▁Mc Don ell , ▁as ▁of ▁January ▁ 2 0 1 5 . ▁ ▁Past ▁Serge ants - at - Ar ms ▁were : ▁ ▁Lieutenant ▁Colonel ▁Donald ▁William ▁Mac Don nell ▁ 1 8 6 7 ▁- ▁ 1 8 9 2 ▁- ▁Sergeant - at - Ar ms ▁of ▁the ▁Legisl ative ▁Assembly ▁of ▁the ▁Province ▁of ▁Canada ▁ 1 8 5 4 - 1 8 6 7 ▁ ▁Lieutenant ▁Colonel ▁Henry ▁Robert ▁Smith ▁CM G ▁ 1 8 9 2 ▁- ▁ 1 9 1 7 ▁- ▁Deputy ▁Sergeant - at - Ar ms ▁ 1 8 7 2 - 1 8 9 2 ▁ ▁Lieutenant ▁Colonel ▁Henry ▁William ▁B owie ▁ <0x09> 1 9 1 8 ▁- ▁ 1 9 3 0 ▁- ▁Deputy ▁Sergeant - at - Ar ms ▁ 1 8 9 1 - 1 9 1 8 ▁ ▁Lieutenant ▁Colonel ▁Harry ▁Jud son ▁C og hill ▁▁ 1 9 3 0 ▁- ▁ 1 9 3 4 ▁- ▁died ▁in ▁office ▁ ▁Brig ad ier ▁Mil ton ▁F ow ler ▁Greg g , ▁V . C . ▁ 1 9 3 4 ▁- ▁ 1 9 3 9 ▁ ▁Arthur ▁Be au ches ne ▁ 1 9 3 9 |
- 1 9 4 5 ▁- ▁acting ▁Sergeant - at - Ar ms ▁along ▁with ▁his ▁duties ▁as ▁Cl erk ▁of ▁the ▁House ▁of ▁Commons ▁ ▁Lieutenant ▁Colonel ▁William ▁John ▁Franklin ▁ 1 9 4 5 ▁- ▁ 1 9 6 0 ▁ ▁Lieutenant ▁Colonel ▁David ▁Viv ian ▁Cur rie , ▁V . C . ▁ 1 9 6 0 ▁- ▁ 1 9 7 8 ▁ ▁Major ▁General ▁Maurice ▁Gast on ▁Cl out ier ▁ 1 9 7 8 ▁- ▁ 2 0 0 5 ▁- ▁died ▁in ▁office ▁ ▁Aud rey ▁Elizabeth ▁O ' B rien ▁ 2 0 0 5 ▁- ▁ 2 0 0 6 ▁- ▁inter im ▁head ▁of ▁Parliament ary ▁Prec inct ▁Services ▁following ▁death ▁of ▁Cl out ier ▁and ▁Deputy ▁Cl erk ▁of ▁the ▁House ▁of ▁Commons ▁ ▁Chief ▁Super int endent ▁Kevin ▁V ick ers ▁ 2 0 0 6 ▁- ▁Jan ▁ 2 0 1 5 ▁ ▁Mac Don ell , ▁O ' B rien ▁and ▁V ick ers ▁are ▁the ▁only ▁non - mil itary ▁appoint ments ▁to ▁the ▁Sergeant - at - Ar ms . ▁O ' B rien ▁worked ▁her ▁way ▁from ▁Commons ▁Committee ▁cl erk ▁in ▁ 1 9 7 7 . ▁Mc Don ell ▁and ▁V ick ers ▁are ▁former ▁member ▁of ▁the ▁Royal ▁Canadian ▁Mount ed ▁Police . ▁Be au ches ne , ▁a ▁lawyer ▁by ▁training , ▁was ▁acting ▁in ▁his ▁capacity ▁and ▁did ▁not ▁serve ▁in ▁the ▁military . ▁ ▁Re ferences ▁▁ ▁Off ic ers |
▁and ▁Official s ▁of ▁Parliament ▁ ▁Serge ants - at - Ar ms ▁* <0x0A> </s> ▁Shah ran az ▁() ▁is ▁a ▁Sy rian ▁town ▁located ▁in ▁the ▁Q ala at ▁al - M adi q ▁Sub d istrict ▁of ▁the ▁al - Su q ay lab iy ah ▁District ▁in ▁H ama ▁Governor ate . ▁According ▁to ▁the ▁Syria ▁Central ▁Bureau ▁of ▁Statistics ▁( C BS ), ▁Shah ran az ▁had ▁a ▁population ▁of ▁ 1 , 6 4 6 ▁in ▁the ▁ 2 0 0 4 ▁census . ▁Its ▁inhabitants ▁are ▁predomin antly ▁Sun ni ▁Muslims . ▁ ▁Re ferences ▁ ▁Category : Pop ulated ▁places ▁in ▁al - Su q ay lab iy ah ▁District ▁Category : Pop ulated ▁places ▁in ▁J ab al ▁Z awi ya <0x0A> </s> ▁Bar cl ays ▁Park ▁is ▁a ▁ 5 0 - acre ▁village ▁in ▁the ▁parish ▁of ▁Saint ▁Andrew ▁in ▁Barb ados . ▁Bar cl ays ▁Park ▁was ▁opened ▁in ▁ 1 9 6 6 ▁by ▁H M ▁Queen ▁Elizabeth ▁II ▁after ▁being ▁gift ed ▁to ▁the ▁Barb ados ▁government ▁once ▁independence ▁was ▁declared ▁in ▁ 1 9 6 6 . ▁ ▁Re ferences ▁ ▁Category : Pop ulated ▁places ▁in ▁Barb ados ▁Category : Saint ▁Andrew , ▁Barb ados <0x0A> </s> ▁Cast el p izz uto ▁is ▁a ▁comune ▁( m unicip ality ) ▁in ▁the ▁Province ▁of ▁I ser nia ▁in ▁the ▁Italian ▁region ▁Mol ise , ▁located ▁about ▁ ▁west ▁of ▁Camp ob asso ▁and ▁about ▁ ▁sout heast |
▁of ▁I ser nia . ▁As ▁of ▁ 3 1 ▁December ▁ 2 0 0 4 , ▁it ▁had ▁a ▁population ▁of ▁ 1 5 6 ▁and ▁an ▁area ▁of ▁. ▁ ▁Cast el p izz uto ▁borders ▁the ▁following ▁municipal ities : ▁Cast el pet ro so , ▁Long ano , ▁P ett or an ello ▁del ▁Mol ise , ▁Roc cam and olf i , ▁Santa ▁Maria ▁del ▁Mol ise . ▁ ▁Dem ographic ▁evolution ▁ ▁Re ferences ▁ ▁Category : C ities ▁and ▁towns ▁in ▁Mol ise <0x0A> </s> ▁The ▁Dr unk en ▁S ail or ▁and ▁other ▁Kids ▁F avor ites ▁is ▁an ▁album ▁by ▁Tim ▁Hart ▁and ▁Friends . ▁ ▁This ▁album ▁follows ▁Tim ▁Hart ' s ▁first ▁collection ▁" My ▁Very ▁F avorite ▁Nur ser y ▁Rh ym es ". ▁There ▁is ▁a ▁greater ▁variety ▁in ▁treatment ▁- ▁" H ush ▁Little ▁Baby " ▁is ▁sung ▁as ▁a ▁cal yp so , ▁with ▁the ▁tune ▁of ▁" Is land ▁in ▁the ▁Sun " ▁on ▁oil - dr ums ▁cre eping ▁in ▁at ▁the ▁end . ▁Mel anie ▁Har ro ld ' s ▁" A ▁Fox ▁J umped ▁Up " ▁has ▁a ▁b oun cy ▁h od own ▁f iddle , ▁though ▁there ▁is ▁no ▁credit ▁given ▁for ▁any ▁f idd ler . ▁Brian ▁Gol bey ▁does ▁a ▁comic - l ug ub ri ous ▁version ▁of ▁" C lement ine " ▁with ▁steel ▁guitar ▁accompan iment . ▁( B rian ▁had ▁also ▁been ▁present ▁on ▁the ▁first |
▁" S illy ▁Sister s " ▁album .) ▁" What ▁shall ▁We ▁Do ▁With ▁Dr unk en ▁S ail or " ▁is ▁out - an - out ▁disco ▁a ▁la ▁B oney ▁M . ▁" Who ▁K illed ▁C ock ▁Robin " ▁has ▁M addy ▁Prior ▁double ▁tracking ▁in ▁a ▁very ▁high ▁pit ched ▁voice . ▁Not able ▁u ille ann ▁p ipes ▁player ▁Dav y ▁Sp ill ane ▁plays , ▁app ri ori ately , ▁on ▁the ▁Irish ▁song ▁" C ock les ▁and ▁M uss els ". ▁M addy ▁does ▁a ▁du et ▁with ▁Mel anie ▁Har ro ld ▁on ▁" M ichael ▁Fin ne gal ", ▁to ▁the ▁sound ▁of ▁mand olas ▁and ▁mand ol ins ▁( or ▁perhaps ▁they ▁are ▁synt hesis ers ). ▁▁ ▁E MI ▁released ▁an ▁hour - long ▁c ass ette ▁called ▁" F avorite ▁Nur ser y ▁Rh ym es " ▁in ▁ 1 9 8 5 . ▁It ▁contained ▁all ▁these ▁tracks ▁except ▁" W id de com be ▁Fair " ▁and ▁" Cur ly ▁L ocks ". ▁It ▁also ▁contained ▁all ▁but ▁two ▁tracks ▁from ▁" My ▁Very ▁F avorite ▁Nur ser y ▁Rh ym es ". ▁In ▁their ▁place ▁there ▁was ▁a ▁new ▁track ▁- ▁" H um pty ▁Dum pty ". ▁In ▁ 1 9 8 9 ▁E MI / Music ▁For ▁Ple asure ▁released ▁a ▁ 3 - CD ▁set ▁called ▁" The ▁Children ' s ▁Collection ". ▁One ▁CD ▁consisted ▁of ▁a ▁different ▁selection ▁of ▁these ▁tracks . |
▁The ▁same ▁two ▁tracks ▁were ▁missing ▁from ▁" The ▁Dr unk en ▁S ail or ", ▁but ▁all ▁the ▁tracks ▁from ▁" My ▁Very ▁F avorite ▁Nur ser y ▁Rh ym es " ▁were ▁present . ▁Running ▁time ▁about ▁ 3 5 ▁minutes . ▁These ▁tracks ▁have ▁not ▁been ▁publicly ▁available ▁since ▁ 1 9 8 9 . ▁Produ cer ▁Tim ▁Hart . ▁Engine er ▁Dave ▁Bas com be , ▁Jerry ▁Boys . ▁Record ed ▁ 1 9 8 3 ▁ ▁Track ▁listing ▁▁ ▁LP ▁- ▁side ▁one ▁ ▁Over ▁The ▁Hills ▁And ▁Far ▁A way ▁( Tr ad ) ▁▁ ▁A ▁Fox ▁J umped ▁Up ▁( Tr ad ) ▁▁ ▁C lement ine ▁( Tr ad ) ▁▁ ▁Three ▁J olly ▁Rog ues ▁Of ▁Lyn n ▁( Tr ad ) ▁▁ ▁Who ▁K illed ▁C ock ▁Robin ? ▁( Tr ad ) ▁▁ ▁C ock les ▁and ▁M uss els ▁( Tr ad ) ▁▁ ▁H ush ▁Little ▁Baby ▁( Tr ad ) ▁▁ ▁LP ▁- ▁side ▁two ▁ ▁What ▁Sh all ▁We ▁Do ▁With ▁The ▁Dr unk en ▁S ail or ? ▁( Tr ad ) ▁▁ ▁The ▁R iddle ▁Song ▁( Child ▁Ball ad ▁ 1 ) ▁( Tr ad ) ▁▁ ▁Michael ▁Finn igan ▁( Tr ad ) ▁▁ ▁W ide com be ▁Fair ▁( Tr ad ) ▁▁ ▁F rog gy ' s ▁Cour ting ▁( Tr ad ) ▁▁ ▁Cur ly ▁L ocks ▁( Tr ad ) ▁ ▁Good ▁News ▁▁ ▁Park ▁Records ▁have ▁re - re |
leased ▁Tim ▁Hart ' s ▁Very ▁F avorite ▁Nur ser y ▁Rh yme ▁Record ; ▁a ▁ 2 - CD ▁album ▁containing ▁ 3 2 ▁tracks . ▁I ▁believe ▁this ▁was ▁done ▁to ▁help ▁pay ▁for ▁his ▁cancer ▁treatment , ▁hopefully ▁the ▁money ▁will ▁now ▁be ▁used ▁towards ▁some ▁sort ▁of ▁memorial ▁for ▁Tim . ▁ ▁Track ▁listing ▁▁ ▁CD 1 ▁▁ ▁Oh ▁The ▁Grand ▁Old ▁Duke ▁Of ▁York ▁ ▁Sing ▁A ▁Song ▁Of ▁Six p ence ▁ ▁Once ▁I ▁C aught ▁A ▁Fish ▁Al ive ▁ ▁Med ley ▁ ▁Little ▁Bo ▁Pe ep ▁ ▁Mary , ▁Mary ▁Qu ite ▁Con tr ary ▁ ▁Old ▁Mac Donald ▁Had ▁A ▁Farm ▁ ▁There ▁Was ▁An ▁Old ▁Woman ▁T oss ed ▁Up ▁In ▁A ▁Basket ▁ ▁Tw inkle , ▁Tw inkle ▁Little ▁Star ▁ ▁Boys ▁And ▁Girls ▁Come ▁Out ▁To ▁Play ▁ ▁Nick ▁N ack ▁P addy ▁W ack ▁ ▁B aa , ▁B aa ▁Black ▁She ep ▁ ▁Bobby ▁Sh af to e ▁ ▁H ush - A - By e - B aby ▁ ▁Hum pty ▁Dum pty ▁ ▁Lav enders ▁Blue ▁( D illy ▁D illy ) ▁ ▁London ▁Bridge ▁Is ▁Fall ing ▁Down ▁ ▁Or anges ▁And ▁Lem ons ▁ ▁Oh ▁Dear ▁What ▁Can ▁The ▁M atter ▁Be ▁ ▁CD 2 ▁▁ ▁Over ▁The ▁Hills ▁And ▁Far ▁A way ▁ ▁A ▁Fox ▁J umped ▁Up ▁ ▁C lement ine ▁ ▁Three ▁J olly ▁Rog ues ▁Of ▁Lyn n ▁ ▁Who ▁K illed ▁C ock ▁Robin ? ▁ ▁C ock les ▁And |
▁M uss els ▁ ▁H ush ▁Little ▁Baby ▁ ▁What ▁Sh all ▁We ▁Do ▁With ▁The ▁Dr unk en ▁S ail or ? ▁ ▁The ▁R iddle ▁Song ▁ ▁Michael ▁Finn igan ▁ ▁W idd ic om be ▁Fair ▁ ▁F rog gy ’ s ▁Cour ting ▁ ▁Cur ly ▁L ocks ▁ ▁Person nel ▁▁▁ ▁M addy ▁Prior ▁- ▁vocals ▁ ▁Mel anie ▁Har ro ld ▁- ▁vocals ▁ ▁Brian ▁Gol bey ▁- ▁vocals ▁ ▁G ina ▁Full er love ▁- ▁French ▁horn ▁ ▁B . J . ▁Cole ▁- ▁steel ▁guitar ▁ ▁Rick ▁K emp ▁- ▁bass ▁ ▁Sp ike ▁Full er love ▁- ▁vocals ▁ ▁Tam sey ▁Kan er ▁- ▁cell o ▁ ▁Le a ▁Nich ol son ▁- ▁concert ina ▁ ▁Steve ▁Nob le ▁- ▁per cussion ▁ ▁Deb bie ▁Paul ▁- ▁vocals ▁ ▁Andy ▁Rich ards ▁- ▁synt hes iser ▁ ▁Bever ly ▁Jane ▁Smith ▁- ▁vocals ▁ ▁Dav y ▁Sp ill ane ▁- ▁u ille ann ▁p ipes ▁ ▁The ▁Living ston ▁Ho or ay ▁En semble ▁- ▁ch orus ▁▁▁ ▁Category : Tim ▁Hart ▁albums ▁Category : 1 9 8 3 ▁albums <0x0A> </s> ▁Er ig one ▁dent ig era ▁is ▁a ▁species ▁of ▁d warf ▁sp ider ▁in ▁the ▁family ▁L iny phi idae . ▁It ▁is ▁found ▁in ▁North ▁America , ▁Europe , ▁C au cas us , ▁and ▁Russia ▁( F ar ▁East ). ▁ ▁Re ferences ▁ ▁Category : L iny phi idae ▁Category : Art icles ▁created ▁by ▁Q bug bot |
▁Category : Sp iders ▁described ▁in ▁ 1 8 7 4 <0x0A> </s> ▁Louis ▁VII ▁may ▁refer ▁to : ▁▁ ▁Louis ▁VII ▁of ▁France ▁" the ▁Young er " ▁( 1 1 2 0 – 1 1 8 0 ) ▁ ▁Louis ▁VII , ▁Duke ▁of ▁B av aria ▁" the ▁Be arded " ▁( 1 3 6 5 – 1 4 4 7 ) ▁ ▁Louis ▁VII , ▁Land gr ave ▁of ▁H esse - D arm stadt ▁( 1 6 5 8 – 1 6 7 8 ) ▁ ▁Louis ▁VII ▁of ▁Gram ont , ▁du c ▁de ▁Gram ont ▁( 1 6 8 9 – 1 7 4 5 ) <0x0A> </s> ▁G ai us ▁Liv ius ▁Marcus ▁A em il iani ▁f . ▁Marcus ▁n . ▁Dr us us ▁was ▁a ▁Roman ▁politician ▁who ▁was ▁cons ul ▁in ▁ 1 4 7 ▁BC , ▁together ▁with ▁Sc ip io ▁A em il ian us . ▁ ▁Family ▁Liv ius ▁Dr us us ▁was ▁a ▁member ▁of ▁the ▁ple be ian ▁g ens ▁L ivia . ▁His ▁father ▁was ▁born ▁to ▁the ▁pat ric ian ▁g ens ▁A em ilia , ▁most ▁likely ▁a ▁younger ▁brother ▁of ▁Lu cius ▁A em ili us ▁Pa ull us ▁M aced onic us , ▁who ▁was ▁adopted ▁by ▁Marcus ▁Liv ius ▁Dr us us ▁Sal inator . ▁He ▁was ▁the ▁father ▁of ▁Marcus ▁Liv ius ▁Dr us us . ▁ ▁Political ▁career ▁Liv ius ▁Dr us us ▁was ▁elected ▁Pra et or ▁around |
▁the ▁year ▁ 1 5 0 ▁BC . ▁He ▁was ▁then ▁elected ▁cons ul ▁for ▁ 1 4 7 ▁BC , ▁alongside ▁Sc ip io ▁A em il ian us , ▁who ▁was ▁possibly ▁his ▁first ▁cousin . ▁As ▁the ▁Third ▁P unic ▁War ▁was ▁r aging , ▁there ▁was ▁enormous ▁concern ▁in ▁Rome ▁about ▁who ▁was ▁going ▁to ▁be ▁assigned ▁the ▁command ▁of ▁the ▁Roman ▁forces ▁against ▁Car th age . ▁Dr us us , ▁as ▁was ▁the ▁custom , ▁requested ▁that ▁lots ▁be ▁drawn ▁to ▁assign ▁the ▁provin ces ▁to ▁the ▁respective ▁cons uls . ▁This ▁was ▁v eto ed ▁by ▁one ▁of ▁the ▁ple be ian ▁trib unes , ▁who ▁proposed ▁that ▁the ▁assignment ▁of ▁the ▁provin ces ▁be ▁put ▁before ▁the ▁conc il ium ▁Ple bis . ▁The ▁people ▁then ▁voted ▁to ▁assign ▁the ▁war ▁against ▁Car th age ▁to ▁Sc ip io ▁A em il ian us . ▁ ▁Career ▁as ▁a ▁jur ist ▁Liv ius ▁Dr us us ▁has ▁also ▁been ▁identified ▁as ▁the ▁jur ist ▁mentioned ▁by ▁C ic ero ▁in ▁his ▁work ▁T us cul ana e ▁Dis put ation es . ▁Dr us us ▁composed ▁works ▁of ▁great ▁use ▁to ▁students ▁of ▁law , ▁and ▁was ▁cited ▁by ▁subsequent ▁writers ▁on ▁the ▁law . ▁C els us ▁c ites ▁an ▁opinion ▁of ▁Liv ius ▁Dr us us ▁concerning ▁a ▁seller ’ s ▁rights ▁at ▁law , ▁stating ▁that ▁the ▁seller ▁might ▁bring ▁an ▁equ itable ▁action ▁for ▁damages ▁against ▁the ▁buyer , ▁to ▁recover |
▁the ▁expenses ▁of ▁the ▁up keep ▁of ▁a ▁slave , ▁whom ▁the ▁buyer , ▁without ▁due ▁cause , ▁had ▁refused ▁to ▁accept . ▁Pr isc ian ▁attributes ▁to ▁Dr us us ▁the ▁sentence ▁” Imp ub es ▁lib rip ens ▁es se ▁non ▁pot est , ▁ne que ▁an test ari ” ▁(“ You ng ▁boys ▁cannot ▁stand ▁on ▁their ▁feet ▁before ▁they ▁can ▁learn ▁to ▁balance .” ). ▁ ▁In ▁his ▁old ▁age , ▁although ▁he ▁was ▁blind , ▁Liv ius ▁Dr us us ▁continued ▁to ▁give ▁advice ▁to ▁the ▁crowds ▁which ▁used ▁to ▁gather ▁before ▁his ▁house ▁in ▁order ▁to ▁consult ▁him . ▁ ▁S ources ▁ ▁Anc ient ▁ ▁App ian , ▁Roman ▁History , ▁Book ▁ 8 ▁ ▁C ic ero , ▁T us cul ana e ▁Dis put ation es ▁ ▁Modern ▁ ▁B rought on , ▁T . ▁Robert ▁S ., ▁The ▁Mag istr ates ▁of ▁the ▁Roman ▁Republic , ▁Vol ▁I ▁( 1 9 5 1 ) ▁ ▁Smith , ▁William , ▁Dictionary ▁of ▁Greek ▁and ▁Roman ▁Biography ▁and ▁My th ology , ▁Vol ▁I ▁( 1 8 6 7 ). ▁ ▁Re ferences ▁ ▁Category : R oman ▁Republican ▁cons uls ▁Dr us us , ▁G ai us ▁Category : 2 nd - century ▁BC ▁Romans <0x0A> </s> ▁Le onia ▁is ▁a ▁genus ▁of ▁tropical ▁small ▁trees ▁or ▁shr ub s . ▁It ▁was ▁named ▁by ▁H ip ól ito ▁Ru iz ▁L ó pez ▁in ▁ 1 7 9 4 . ▁ ▁Category : |
Vi ol aceae ▁Category : Mal p igh ial es ▁gener a <0x0A> </s> ▁Mir ce a ▁Eli ade ▁( ; ▁ ▁– ▁April ▁ 2 2 , ▁ 1 9 8 6 ) ▁was ▁a ▁Roman ian ▁historian ▁of ▁religion , ▁fiction ▁writer , ▁philos opher , ▁and ▁professor ▁at ▁the ▁University ▁of ▁Chicago . ▁He ▁was ▁a ▁leading ▁inter preter ▁of ▁religious ▁experience , ▁who ▁established ▁parad ig ms ▁in ▁religious ▁studies ▁that ▁pers ist ▁to ▁this ▁day . ▁His ▁theory ▁that ▁hier oph an ies ▁form ▁the ▁basis ▁of ▁religion , ▁splitting ▁the ▁human ▁experience ▁of ▁reality ▁into ▁sacred ▁and ▁prof ane ▁space ▁and ▁time , ▁has ▁proved ▁influential . ▁One ▁of ▁his ▁most ▁influential ▁contributions ▁to ▁religious ▁studies ▁was ▁his ▁theory ▁of ▁E ternal ▁Return , ▁which ▁holds ▁that ▁myth s ▁and ▁rit uals ▁do ▁not ▁simply ▁comm emor ate ▁hier oph an ies , ▁but , ▁at ▁least ▁to ▁the ▁minds ▁of ▁the ▁religious , ▁ ▁actually ▁participate ▁in ▁them . ▁ ▁His ▁literary ▁works ▁belong ▁to ▁the ▁fantastic ▁and ▁aut obi ographical ▁gen res . ▁The ▁best ▁known ▁are ▁the ▁novels ▁M ait rey i ▁(" La ▁N uit ▁Beng ali " ▁or ▁" B eng al ▁N ights "), ▁No ap te a ▁de ▁S ân z iene ▁(" The ▁For bidden ▁Forest "), ▁Isabel ▁și ▁a pe le ▁di av ol ului ▁(" Is abel ▁and ▁the ▁Dev il ' s ▁Wat ers ") ▁and ▁Roman ul ▁Ad oles cent ului ▁Mi op ▁(" N |
ov el ▁of ▁the ▁N ears ight ed ▁Ad oles cent "), ▁the ▁nov ell as ▁Dom ni ș o ara ▁Christ ina ▁(" Miss ▁Christ ina ") ▁and ▁T in ere ț e ▁f ăr ă ▁tin ere ț e ▁(" Y outh ▁Without ▁Youth "), ▁and ▁the ▁short ▁stories ▁Secret ul ▁doctor ului ▁Hon ig berger ▁(" The ▁Secret ▁of ▁Dr . ▁Hon ig berger ") ▁and ▁La ▁ Ț ig ă n ci ▁(" With ▁the ▁Gy psy ▁Girls "). ▁ ▁Early ▁in ▁his ▁life , ▁Eli ade ▁was ▁a ▁journalist ▁and ▁essay ist , ▁a ▁disc iple ▁of ▁Roman ian ▁far - right ▁philos opher ▁and ▁journalist ▁N ae ▁I ones cu , ▁and ▁a ▁member ▁of ▁the ▁literary ▁society ▁C riterion . ▁In ▁the ▁ 1 9 4 0 s , ▁he ▁served ▁as ▁cultural ▁attach é ▁to ▁the ▁United ▁Kingdom ▁and ▁Portugal . ▁Several ▁times ▁during ▁the ▁late ▁ 1 9 3 0 s , ▁Eli ade ▁publicly ▁expressed ▁his ▁support ▁for ▁the ▁Iron ▁Guard , ▁a ▁fasc ist ▁and ▁ant is emit ic ▁political ▁organization . ▁His ▁political ▁involvement ▁at ▁the ▁time , ▁as ▁well ▁as ▁his ▁other ▁far ▁right ▁connections , ▁were ▁frequently ▁critic ised ▁after ▁World ▁War ▁II . ▁ ▁Not ed ▁for ▁his ▁vast ▁er ud ition , ▁Eli ade ▁had ▁fl uent ▁command ▁of ▁five ▁languages ▁( R oman ian , ▁French , ▁German , ▁Italian , ▁and ▁English ) ▁and ▁a ▁reading ▁knowledge ▁of ▁three ▁others ▁( H eb rew , |
▁Pers ian , ▁and ▁S ansk rit ). ▁He ▁was ▁elected ▁a ▁post hum ous ▁member ▁of ▁the ▁Roman ian ▁Academy . ▁ ▁Biography ▁ ▁Child hood ▁Born ▁in ▁Buch arest , ▁he ▁was ▁the ▁son ▁of ▁Roman ian ▁Land ▁Forces ▁officer ▁G he org he ▁Eli ade ▁( wh ose ▁original ▁surn ame ▁was ▁I er em ia ) ▁and ▁Je ana ▁n ée ▁Vas iles cu . ▁An ▁Orth odox ▁belie ver , ▁G he org he ▁Eli ade ▁registered ▁his ▁son ' s ▁birth ▁four ▁days ▁before ▁the ▁actual ▁date , ▁to ▁coinc ide ▁with ▁the ▁lit urg ical ▁calendar ▁fe ast ▁of ▁the ▁Fort y ▁Mart yr s ▁of ▁Se b aste . ▁Mir ce a ▁Eli ade ▁had ▁a ▁sister , ▁Cor ina , ▁the ▁mother ▁of ▁semi ologist ▁Sor in ▁Alexand res cu . ▁His ▁family ▁moved ▁between ▁T ec u ci ▁and ▁Buch arest , ▁ultimately ▁sett ling ▁in ▁the ▁capital ▁in ▁ 1 9 1 4 , ▁and ▁purchasing ▁a ▁house ▁on ▁Mel od ie i ▁Street , ▁near ▁P ia ța ▁Ros etti , ▁where ▁Mir ce a ▁Eli ade ▁res ided ▁until ▁late ▁in ▁his ▁teens . ▁ ▁Eli ade ▁kept ▁a ▁particularly ▁fond ▁memory ▁of ▁his ▁childhood ▁and , ▁later ▁in ▁life , ▁wrote ▁about ▁the ▁impact ▁various ▁unusual ▁episodes ▁and ▁enc ounters ▁had ▁on ▁his ▁mind . ▁In ▁one ▁instance ▁during ▁the ▁World ▁War ▁I ▁Roman ian ▁Campaign , ▁when ▁Eli ade ▁was ▁about ▁ten ▁years ▁of ▁age , ▁he ▁witnessed |
▁the ▁bomb ing ▁of ▁Buch arest ▁by ▁German ▁ze pp el ins ▁and ▁the ▁patri otic ▁f erv or ▁in ▁the ▁occupied ▁capital ▁at ▁news ▁that ▁Rom ania ▁was ▁able ▁to ▁stop ▁the ▁Central ▁Pow ers ' ▁advance ▁into ▁M old avia . ▁ ▁He ▁described ▁this ▁stage ▁in ▁his ▁life ▁as ▁marked ▁by ▁an ▁un repeat able ▁ep iph any . ▁Rec alling ▁his ▁entrance ▁into ▁a ▁drawing ▁room ▁that ▁an ▁" e erie ▁ir ides cent ▁light " ▁had ▁turned ▁into ▁" a ▁fair y - t ale ▁palace ", ▁he ▁wrote , ▁I ▁pract iced ▁for ▁many ▁years ▁[ the ] ▁exercise ▁of ▁rec apt uring ▁that ▁ep ip han ic ▁moment , ▁and ▁I ▁would ▁always ▁find ▁again ▁the ▁same ▁pl en itude . ▁I ▁would ▁slip ▁into ▁it ▁as ▁into ▁a ▁fragment ▁of ▁time ▁dev oid ▁of ▁duration — without ▁beginning , ▁middle , ▁or ▁end . ▁During ▁my ▁last ▁years ▁of ▁ly c ée , ▁when ▁I ▁struggled ▁with ▁profound ▁attacks ▁of ▁mel anch oly , ▁I ▁still ▁succeeded ▁at ▁times ▁in ▁returning ▁to ▁the ▁golden ▁green ▁light ▁of ▁that ▁afternoon . ▁[...] ▁But ▁even ▁though ▁the ▁beat itude ▁was ▁the ▁same , ▁it ▁was ▁now ▁impossible ▁to ▁bear ▁because ▁it ▁ag grav ated ▁my ▁sad ness ▁too ▁much . ▁By ▁this ▁time ▁I ▁knew ▁the ▁world ▁to ▁which ▁the ▁drawing ▁room ▁belonged ▁[...] ▁was ▁a ▁world ▁forever ▁lost . ▁ ▁Robert ▁Ell wood , ▁a ▁professor ▁of ▁religion ▁who ▁did ▁his ▁graduate ▁studies ▁under ▁Mir ce |
a ▁Eli ade , ▁saw ▁this ▁type ▁of ▁nost alg ia ▁as ▁one ▁of ▁the ▁most ▁characteristic ▁themes ▁in ▁Eli ade ' s ▁life ▁and ▁academic ▁writ ings . ▁ ▁Ad oles c ence ▁and ▁literary ▁debut ▁After ▁completing ▁his ▁primary ▁education ▁at ▁the ▁school ▁on ▁M â nt ule asa ▁Street , ▁Eli ade ▁attended ▁the ▁Sp ir u ▁H aret ▁National ▁College ▁in ▁the ▁same ▁class ▁as ▁Ar ș av ir ▁Act er ian , ▁Ha ig ▁Act er ian , ▁and ▁Pet re ▁V if ore an u ▁( and ▁several ▁years ▁the ▁senior ▁of ▁Nic ola e ▁Stein hard t , ▁who ▁eventually ▁became ▁a ▁close ▁friend ▁of ▁Eli ade ' s ). ▁Among ▁his ▁other ▁colleagues ▁was ▁future ▁philos opher ▁Constant in ▁No ica ▁and ▁No ica ' s ▁friend , ▁future ▁art ▁historian ▁Bar bu ▁Bre z ian u . ▁ ▁As ▁a ▁child , ▁Eli ade ▁was ▁fasc inated ▁with ▁the ▁natural ▁world , ▁which ▁formed ▁the ▁setting ▁of ▁his ▁very ▁first ▁literary ▁attempts , ▁as ▁well ▁as ▁with ▁Roman ian ▁fol kl ore ▁and ▁the ▁Christian ▁faith ▁as ▁expressed ▁by ▁peas ants . ▁Grow ing ▁up , ▁he ▁aimed ▁to ▁find ▁and ▁record ▁what ▁he ▁believed ▁was ▁the ▁common ▁source ▁of ▁all ▁religious ▁traditions . ▁The ▁young ▁Eli ade ' s ▁interest ▁in ▁physical ▁exercise ▁and ▁adventure ▁led ▁him ▁to ▁pursue ▁mount aine ering ▁and ▁sail ing , ▁and ▁he ▁also ▁joined ▁the ▁Roman ian ▁Boy ▁Sc outs . ▁ ▁With ▁a ▁group ▁of ▁friends |
, ▁he ▁designed ▁and ▁s ailed ▁a ▁boat ▁on ▁the ▁Dan ube , ▁from ▁T ul ce a ▁to ▁the ▁Black ▁Sea . ▁In ▁parallel , ▁Eli ade ▁grew ▁est r anged ▁from ▁the ▁educational ▁environment , ▁becoming ▁dis en ch anted ▁with ▁the ▁discipline ▁required ▁and ▁obs essed ▁with ▁the ▁idea ▁that ▁he ▁was ▁u gl ier ▁and ▁less ▁vir ile ▁than ▁his ▁colleagues . ▁In ▁order ▁to ▁cultiv ate ▁his ▁will power , ▁he ▁would ▁force ▁himself ▁to ▁swallow ▁insect s ▁and ▁only ▁slept ▁four ▁to ▁five ▁hours ▁a ▁night . ▁At ▁one ▁point , ▁Eli ade ▁was ▁failing ▁four ▁subjects , ▁among ▁which ▁was ▁the ▁study ▁of ▁the ▁Roman ian ▁language . ▁ ▁Instead , ▁he ▁became ▁interested ▁in ▁natural ▁science ▁and ▁chemistry , ▁as ▁well ▁as ▁the ▁occ ult , ▁and ▁wrote ▁short ▁pieces ▁on ▁ent om ological ▁subjects . ▁Despite ▁his ▁father ' s ▁concern ▁that ▁he ▁was ▁in ▁danger ▁of ▁losing ▁his ▁already ▁weak ▁eyes ight , ▁Eli ade ▁read ▁passion ately . ▁One ▁of ▁his ▁favorite ▁authors ▁was ▁Honor é ▁de ▁Bal z ac , ▁whose ▁work ▁he ▁studied ▁carefully . ▁Eli ade ▁also ▁became ▁acqu ainted ▁with ▁the ▁modern ist ▁short ▁stories ▁of ▁Giovanni ▁Pap ini ▁and ▁social ▁anth rop ology ▁studies ▁by ▁James ▁George ▁Fra zer . ▁ ▁His ▁interest ▁in ▁the ▁two ▁writers ▁led ▁him ▁to ▁learn ▁Italian ▁and ▁English ▁in ▁private , ▁and ▁he ▁also ▁began ▁studying ▁Pers ian ▁and ▁He brew . ▁At ▁the ▁time , ▁Eli ade ▁became ▁acqu ainted |
▁with ▁Sa adi ' s ▁poems ▁and ▁the ▁ancient ▁Mes op ot am ian ▁E pic ▁of ▁Gil g ames h . ▁He ▁was ▁also ▁interested ▁in ▁philosophy — stud ying , ▁among ▁others , ▁S ocr ates , ▁Vas ile ▁Cont a , ▁and ▁the ▁Sto ics ▁Marcus ▁A ure li us ▁and ▁Ep ict et us , ▁and ▁read ▁works ▁of ▁history — the ▁two ▁Roman ian ▁histor ians ▁who ▁influenced ▁him ▁from ▁early ▁on ▁were ▁Bog dan ▁Pet rice ic u ▁Has de u ▁and ▁Nic ola e ▁I org a . ▁His ▁first ▁published ▁work ▁was ▁the ▁ 1 9 2 1 ▁In amic ul ▁vier mel ui ▁de ▁m ă t ase ▁(" The ▁Sil kw orm ' s ▁En emy "), ▁followed ▁by ▁C um ▁am ▁g ă s it ▁pi atra ▁fil os of al ă ▁(" How ▁I ▁Found ▁the ▁Philosoph ers ' ▁Stone "). ▁Four ▁years ▁later , ▁Eli ade ▁completed ▁work ▁on ▁his ▁debut ▁volume , ▁the ▁aut obi ographical ▁Nov el ▁of ▁the ▁N ears ight ed ▁Ad oles cent . ▁ ▁University ▁studies ▁and ▁Indian ▁so jour n ▁ ▁Between ▁ 1 9 2 5 ▁and ▁ 1 9 2 8 , ▁he ▁attended ▁the ▁University ▁of ▁Buch arest ' s ▁Fac ulty ▁of ▁Philosoph y ▁and ▁Let ters ▁in ▁ 1 9 2 8 , ▁earning ▁his ▁di pl oma ▁with ▁a ▁study ▁on ▁Early ▁Modern ▁Italian ▁philos opher ▁Tom mas o ▁Camp an ella . ▁In ▁ 1 9 |
2 7 , ▁Eli ade ▁traveled ▁to ▁Italy , ▁where ▁he ▁met ▁Pap ini ▁and ▁collabor ated ▁with ▁the ▁scholar ▁Gi useppe ▁Tu cc i . ▁ ▁It ▁was ▁during ▁his ▁student ▁years ▁that ▁Eli ade ▁met ▁N ae ▁I ones cu , ▁who ▁lect ured ▁in ▁Log ic , ▁becoming ▁one ▁of ▁his ▁dis ciples ▁and ▁friends . ▁He ▁was ▁especially ▁attracted ▁to ▁I ones cu ' s ▁radical ▁ideas ▁and ▁his ▁interest ▁in ▁religion , ▁which ▁sign ified ▁a ▁break ▁with ▁the ▁rational ist ▁tradition ▁represented ▁by ▁senior ▁academ ics ▁such ▁as ▁Constant in ▁R ă d ules cu - M ot ru , ▁D imit rie ▁Gust i , ▁and ▁T ud or ▁V ian u ▁( all ▁of ▁whom ▁o wed ▁inspiration ▁to ▁the ▁def unct ▁literary ▁society ▁Jun ime a , ▁al beit ▁in ▁varying ▁degrees ). ▁ ▁Eli ade ' s ▁schol arly ▁works ▁began ▁after ▁a ▁long ▁period ▁of ▁study ▁in ▁British ▁India , ▁at ▁the ▁University ▁of ▁Cal cut ta . ▁F inding ▁that ▁the ▁Mah ar aja ▁of ▁K ass imb azar ▁sponsored ▁European ▁scholars ▁to ▁study ▁in ▁India , ▁Eli ade ▁applied ▁and ▁was ▁granted ▁an ▁allow ance ▁for ▁four ▁years , ▁which ▁was ▁later ▁dou bled ▁by ▁a ▁Roman ian ▁scholarship . ▁In ▁autumn ▁ 1 9 2 8 , ▁he ▁s ailed ▁for ▁Cal cut ta ▁to ▁study ▁S ansk rit ▁and ▁philosophy ▁under ▁Sure nd ran ath ▁Das gu pt a , ▁a ▁Beng ali ▁Cambridge ▁al umn us ▁and |
Subsets and Splits