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Stokes National Park

Stokes National Park is a national park in the Goldfields-Esperance region of Western Australia, 538 km south-east of Perth. The National Park is located 80 km west of Esperance on the southern coast.

The park was named after Stokes Inlet, which lies within the park and is its best known feature, which was in turn named in 1848 by John Septimus Roe the Surveyor General of Western Australia while leading a five-man exploration expedition along the coast, commemorating John Lort Stokes' work on HMS Beagle surveying the Western Australian coast.

The area of the park is 9726 ha excluding 16 ha that is part of the historic Moir homestead.

The park covers areas of coastal heath and scrubland, smaller areas of low dense forest and sandy beaches around the inlet and coast to the south of the park.

The National Park is on a relinquished pastoral lease, originally known as Fanny Cove Station, which in 1951 became Young River Station. It was then reverted to crown land and national park status by 1973. The Moir homestead ruins from the 1873 establishment at Fanny Cove were on a heritage list by 1993, but have since been destroyed by fire.

title: Stokes National Park


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Tathra National Park

Tathra National Park is a national park in Western Australia, located 240 km north of Perth between the towns of Eneabba and Carnamah on Winchester-Eneabba Road. The name is derived from a Noongar word meaning "beautiful place".

Description
The park is set in sandplain country and is surrounded by farmland, having escaped clearing by wheat farmers in the early 20th century. Shallow valleys with sandy floors change to laterite on the slopes and hilltops, and the low heath changes in composition accordingly. The park is considered a representative sample of flora of the area, although includes some unusual plants - including a species of Daviesia notable for its large red flowers, which is known only from the reserve, and shaggy dryandra (Banksia splendida), which is common on some lateritic rises. Public usage of the park was mainly for wildflower observation in winter and spring according to a 1974 report, whose recommendation (which was not followed) would have seen it demoted to a flora and fauna conservation reserve.

History
Land for the national park was set aside by the Department of Lands and Surveys under Reserves ↑26802 and ↑26805 on 23 May 1969, and over 1970 and 1971, the land was classified as an "A" Class reserve, meaning its purpose could not be changed except by an Act of Parliament, and was vested in the National Parks Authority of Western Australia. The park was officially named on 8 October 1971.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Tathra National Park


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Rubens (disambiguation)

Peter Paul Rubens (1577–1640) was a Flemish artist from the Rubens family.

Rubens or Reubens may also refer to:

Family name Rubens

 * Rubens family, related to Peter Paul Rubens
 * Albert Rubens (1614–1657), Flemish scholar and administrator, son of Peter Paul Rubens
 * Alexander Rubens, Lord of Vremdyck (died 1752), Flemish grandson of Peter Paul Rubens
 * Alma Rubens (1897–1931), American actor
 * Arnold Frans Rubens (1687–1719), a Flemish painter
 * Bernice Rubens (1928–2004), Welsh novelist
 * Gerardus Rubens (1674–1736) Flemish Cistercian Abbot, grandnephew of Peter Paul Rubens
 * Heinrich Rubens (1865–1922), German physicist
 * Jan Rubens (1530–1587), Flemish magistrate, father of Peter Paul Rubens
 * Jeff Rubens (born 1941), American bridge player
 * Jorge Caetano Rubens, also known as Rubens (footballer, born 1941), Brazilian football midfielder
 * Michael Rubens, American comedian and author
 * Nicolaas Rubens, Lord of Rameyen (1618–1655), Flemish son of Peter Paul Rubens
 * Paul Rubens (composer) (fl. c. 1900), co-lyricist of Florodora
 * Philip Rubens (1574–1611), Flemish scholar and administrator, brother of Peter Paul Rubens
 * Shona Rubens (born 1986), Australia-born Canadian skier
 * Sibylla Rubens German singer

Family name Reubens

 * Paul Reubens (1952–2023), American comedian

Given name

 * Rubens Barrichello (born 1972), Brazilian Formula One race driver
 * Rubens Josué da Costa (1928–1991), also known as Rubens (footballer, born 1928), Brazilian football forward
 * Rubens Antonio Dias, also known as Rubens (footballer, born 2001), Brazilian football midfielder
 * Rubens Donizete (born 1979), Brazilian mountain biker
 * Rubens da Silva Coura (born 1994), Brazilian footballer

Species

 * Amastra rubens, a species of air-breathing land snail
 * Anitys rubens, a species of beetle
 * Calanthe rubens, a species of orchid
 * Crassocephalum rubens, a species of edible, erect annual herb
 * Inquisitor rubens, a sea snail species
 * Knema rubens, a species of plant in the family Myristicaceae
 * Nidularium rubens, a species of plant in the family Bromeliaceae
 * Omphalotropis rubens, a species of land snail
 * Orthetrum rubens, a species of dragonfly
 * Picea rubens, a species of Red Spruce tree
 * Podocarpus rubens, a species of conifer
 * Polymastia rubens, a species of demosponge
 * Saurauia rubens, a species in the gooseberry family, Actinidiaceae

Other uses for Rubens

 * Rubens (film), a 1977 Belgian film
 * Rubens (horse), a 19th-century Thoroughbred racehorse
 * Rubens (train), a Paris-Brussels express train 1974–1995
 * Rubens, Iowa, a ghost town
 * 10151 Rubens, a main-belt asteroid
 * Rubens apple, an apple cultivar
 * The Rubens, an Australian alternative rock band
 * The Rubens (album)

Other uses for Reubens

 * Plural form of Reuben (disambiguation), notably used for:
 * Reubens Brothers, David and Simon Reuben, billionaire entrepreneurs in the UK
 * Reubens, Idaho, United States, a city
 * Reuben's Restaurant, a restaurant and deli in Manhattan, New York City

title: Rubens (disambiguation)


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Torndirrup National Park

Torndirrup National Park is a national park in the Great Southern region of Western Australia, 400 km southeast of Perth and via Frenchman Bay Road is 10 km south of Albany.

Torndirrup National Park has many impressive rock formations on the coast. These include the Gap, Natural Bridge and the Blowholes all shaped from the local granite. The park is along the coast on the west side of King George Sound and consists of a range of cliffs, gullies, blowholes, beaches and promontories.

History
The area is composed of three major rock types, one of these being gneiss. The oldest of these was formed 1300-1600 million years ago. This rock type can be seen along the cliff walls of the Gap. The granites were formed later as the Australian Plate collided with the Antarctic Plate 1160 million years ago as molten rock rose to the surface. These granites are visible in the tors atop Stony Hill.

The park was gazetted in 1918, one of the first in Western Australia. It was later named in 1969 taking the name of the Indigenous Australian clan that lived in the area. The first ranger was appointed in 1973. The park is the most often visited park in Western Australia, with approximately 250,000 visitors per annum.

A large bushfire burnt through 700 ha of bushland in the area in 2010 and caused the closure of Frenchman Bay Road isolating tourists and residents of the area. In 2015 another fire burnt out 616 ha of bushland between Stony Hill and the Blowholes including destroying important populations of the critically endangered Banksia verticillata.

Flora and fauna
A large array of floral species can be found within the park, including the woolly-bush, peppermint tree, swamp yate, various banksias and karri forest. Coastal plants such as native rosemary, banjine and thick leafed fanflower are found in the heath. The park is also home to the very rare Albany woolly-bush and the critically endangered blue tinsel lily of which only a single population exists.

Fauna such as kangaroos, bush rats, pygmy possums and short-nosed bandicoots are found within the park. Many reptile species are also to be found, including tiger snakes, bardick, Children's python and dugites. In 1876 the rare dibbler was found in the park. Birdlife includes honeyeaters, wattlebirds, button quail, western rosella and a variety of seabirds. Whales and seals can be seen from the cliffs of the park in the correct season.

The rare and ancient Main's assassin spider, currently listed as threatened, was found to inhabit the park during a survey conducted in 2008.

Facilities
There is an entry fee to access the park. Access to the park is via Frenchman Bay Road, which is sealed and well sign-posted. Access to most features is via sealed roads. No other facilities exist within the park but barbecues, tables, shops and toilets can be found nearby at Frenchman Bay. Entry fees are required to visit the Gap and Natural Bridge.

The park has numerous walks, mostly of a distance of less than 1500 m, including the Jimmy Newhills walk and the Stony Hill Heritage Trail walk. The longest trail is the 10 km Bald Head Walk along Flinders peninsula finishing at Bald Head at the eastern edge of the park.

A A$6.1 million upgrade of facilities at the Gap and the Natural Bridge opened in 2016. The redevelopment included two universally accessible lookout structures, connecting paths, a picnic area, interpretive signage and a car park. A cantilevered grated see-through platform at the Gap rises almost 40 m above the Southern Ocean (also known as Antarctic Ocean) and extends 10 m out from the cliff face, of which 4 m is directly above the ocean.

title: Torndirrup National Park


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Tuart Forest National Park

Tuart Forest National Park is a national park in the South West region of Western Australia, 183 km south of Perth. It contains the largest remaining section of pure tuart forest in the world. Traditionally the state forest associated with this stand of trees has been known as the Ludlow State Forest, named for Frederick Ludlow.

This narrow strip of tuart trees is situated near Ludlow between Capel and Busselton. The trees, species Eucalyptus gomphocephala, only grow on the coastal limestone that underlies the area and the park is home to the tallest and largest specimens of the trees remaining on the Swan Coastal Plain. The taller specimens found in the park are over 33 m tall and over 10 m in girth.

Tuart Drive, which is about 15km in length and was part of Bussell Highway before the opening of the Ludlow diversion in 1995, goes through the national park.

In addition to the pure tuart forest, the park is also home to the largest remaining wild population of the Western Ringtail Possum. Both the Western Ringtail Possums and the Brushtail Possums can be found along the Possum Spotlighting Trail within the park, which is designed to be walked at night, when both types of possums (being nocturnal) are most active. The trail is about 2 km (1.24 mi) long and there are reflective markers installed along narrower parts of the trail. It is accessible via a carpark along Layman Road.

title: Tuart Forest National Park


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Tunnel Creek National Park

Tunnel Creek National Park is a national park in the Kimberley region of Western Australia, 1845 km northeast of Perth and 390 km east of Broome. The natural cave through which Tunnel Creek flows is a major attraction of the park.

Many Aboriginal rock paintings and speleothems are present in the cave decorating the walls. The cave was the hideout of the Aboriginal warrior Jandamarra, who was killed outside the entrance of the cave in 1897. It is part of the Balili (Devonian Reef) Conservation Park.

Geography
The park is located in the Napier Range and covers an area of 91 ha. The range is composed of limestone and is the remains of a Devonian reef system formed around 350 million years ago.

The tunnel component of Tunnel Creek has a length of approximately 750 m that runs underground and is one of the oldest cave systems in Western Australia. The reef was first exposed around 250 million years ago and the first cave systems began to form; the present cave systems were created about 20 million years ago.

The cave reaches a maximum height of 12 m and has a maximum width of 15 m. The creek was once known as "The Cave of the Bats", with at least five species of bat inhabiting the cavern. There are large pools of water on the floor of the cave in which freshwater crocodiles have been found. The pools indicate that the water table is only just below the present floor surface and water only flows through the area after heavy rainfall.

title: Tunnel Creek National Park


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Walpole-Nornalup National Park

Walpole-Nornalup National Park is a national park in the South West region of Western Australia, 355 km south of Perth. It is famous for its towering karri and tingle trees. Red tingle trees are unique to the Walpole area. The park is part of the larger Walpole Wilderness Area that was established in 2004, an international biodiversity hotspot.

History
The traditional owners of the area are the Murrum of the Minang peoples of the larger Noongar group who have inhabited the region for over 30,000 years.

The park is named after the nearby town of Walpole which in turn honours William Walpole, who served alongside James Stirling on HMS Warspite in 1809. The Noongar peoples know the area as Nor-Nor-Nup, meaning the place of the black snake, which was anglicised as Nornalup.

The explorer William Nairne Clark visited the area in 1841 and sailed up the Frankland River. The botanist and explorer Ferdinand von Mueller explored the area in 1877.T he Bellanger family were the first European settlers to arrive in the area in 1910, settling alongside the Frankland River and building a homestead in 1914. The park was first declared in 1910 when James Mitchell the Minister of Lands and Agriculture visited the area and was so impressed with the beauty that he set aside 370 ha for conservation as an A-class reserve. Another portion west of the Irwin Inlet was declared as a reserve in 1912 and later absorbed into the park.

The park received 158,167 visitors through 2008–2009.

Tourism
The Valley of the Giants is one of the main tourist draws in the area. Those with a head for heights can get a tree top view on the Tree Top Walk a 40 m high walk way that can accommodate wheelchairs. Most similar canopy walks around the world are constructed using suspension bridge-type structures — not for the faint of heart. The Tree Top Walk, however, is a series of sixty-metre, lightweight steel trusses built on steel pylons to form a secure ramp. Beneath the canopy walk there is a pathway around the tingle trees for walkers — this is known as the "Ancient Empire". A whale watching vantage point is settled at Conspicuous Beach, providing views of migrating whales (humpback and southern right) and dolphins.

Environment

The tingle tree has evolved to cope with bush fires and can withstand low level fires. The Department of Parks and Wildlife carries out fuel reduction backburning in the national park; this limits the risk of a large scale bush fire by reducing the amount of dry leaf litter on the ground. Tingles can look completely burned in the inside but continue to survive as they grow from just under the layer of outside bark.

The park also extends to the coast, providing a range of habitats from forest to coastal heathland featuring swamp paperbark and a red flowering gum which is endemic to the region. Conspicuous Cliff is one of the few places the coast is accessible in the national park. The area also the Walpole-Nornalup Inlets, which are fed by the Deep and Frankland rivers.

The Bibbulmun Track winds through the park to the coast.

title: Walpole-Nornalup National Park


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Walyunga National Park

Walyunga National Park is a national park in Western Australia, 35 km northeast of Perth along the Great Northern Highway.

The park is situated just behind the Darling Scarp in the Darling Range spread over a steeply sided valley. The Swan-Avon River and the Eastern Railway run through the park and the Avon Descent passes through a set of rapids along this section. The area is dominated by granite outcrops along with smaller dolerite areas, the tops of hills are capped with laterite.

The park has barbeque, parking and toilet facilities. Also it is home to many animals such as grey kangaroo, galah, goanna, magpie, gecko and many other wildlife species. Plants include flooded gum, jarrah, petrophile and hakea. Walyunga is a 6000 year old meeting place used by the Noongar people. Currently it is an official protected area. The word Walyunga roughly translates to "Happy Place".

title: Walyunga National Park


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Warren National Park

Warren National Park is a national park in the South West region of Western Australia, 287 km south of Perth and 15 km south of Pemberton.

The park is dominated by old growth karri trees, some of which are almost 75 m in height. Some of these trees were used to act as fire lookout towers built during the 1930s and 1940s. The 65 m Dave Evans Bicentennial Tree is situated within the park and was pegged in 1988 as part of Australia's bicentennial celebrations. This is one of three trees found around Pemberton that tourists are able to climb.

The Warren River flows through the park along with many smaller creeks and gullies. The river is plentiful in trout and marron, which can be caught in season.

title: Warren National Park


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Watheroo National Park

Watheroo National Park is a national park in Western Australia, 187 km north of Perth. It contains Jingemia Cave.

The park is situated in the Mid West region of Western Australia to the west of the Midlands Road between the towns of Badgingarra to the west and Dalwallinu to the east. The border of the park abuts Pinjarrega Nature Reserve to the north but is otherwise surrounded by farmland. Low Creek borders the park to the east, and then flows south to join Moore River.

The park is mostly composed of sand plain country, which supports populations of heath, mallee and Banksia and many wildflowers. Eucalypt stands can be found to the western end of the park. Other species include spinifex, wandoo and yorm gum. Some of the wildflowers found within the park include kwongan, bush cauliflower and scarlet featherflower.

The name of the park comes from the Indigenous Australian name of a nearby spring; it is also the name of a town located to the east of the park.

Composed mostly of quartz-based sand with outcrops of sandstone at times having a laterite cap, the area acts as a basin between the Dandaragan plateau and the Darling plateau.

In 2010, the Environmental Protection Authority of Western Australia gave approval to survey the Warro gas field that is located beneath the park. The company Latent Petroleum was given permission to conduct a seismic survey, allowing them to drive over vegetation.

title: Watheroo National Park


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Waychinicup National Park

Waychinicup National Park is in Western Australia, 404 km southeast of Perth and 65 km east of Albany, along the coast of the Southern Ocean.

Location and description
The park is bordered by the Southern Ocean to the south, Mount Manypeaks Nature Reserve to the east, and agricultural land to the north. Its coastline runs between Normans Beach and Cheynes Beach, near Bremer Bay.

The park offers and array of landscapes, from the rugged coast to boulder-strewn hilltops. Tree-filled, deeply-incised valleys have freshwater streams flowing through them, with moss-covered boulders. Facilities provided include a camping area and bush toilet near the inlet of the Waychinicup River.

Bald Island Nature Reserve is located offshore nearby.

Mammals
The park is home to some of the rarest animals in Australia. Species found in the park include the quenda, ring tailed possums and one of the few mainland populations of quokkas.

Southern right whales inhabit the ocean off the coast.

In 2010, an insurance population of Gilbert's potoroo was established within an enclosure at the park, as a short-term measure, but it was found in 2015 that native carpet pythons were getting into the enclosure and preying on the marsupials. As of December 2018 there were 20 of the critically endangered marsupials in the park, representing a fifth of the total remaining population in the world.

Birds
The park forms part of the Two Peoples Bay and Mount Manypeaks Important Bird Area, identified as such by BirdLife International because of its significance in the conservation of several rare and threatened bird species. The critically endangered noisy scrubbird, which was once thought to be extinct, is found within the park; a small population of 14 were translocated from Two Peoples Bay Nature Reserve in 1983, followed by another 16 in 1985. By 1994 it was estimated that 223 male birds had been heard singing in the area.

The western bristlebird is another vulnerable species that is found within the park. Most of the birds remaining population is found in Two Peoples Bay Nature Reserve and Waychinicup National Park. Populations of the bird that have been on the decline since the late 19th century has started to stabilise.

title: Waychinicup National Park


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West Cape Howe National Park

West Cape Howe National Park is a national park in Western Australia, 390 km southeast of Perth. The park is found between Albany and Denmark within the City of Albany and in the Great Southern region.

Torbay Head, the most southerly point of the mainland of Western Australia, is situated within the park. The park is abutted against the coast of the Southern Ocean and takes up approximately 23 km of the coastline between Lowlands Beach and Forsythe Bluff.

History
The park began as being vested in the Shire of Albany in 1977 for the purposes of recreation. By 1985 the area was gazetted as C Class Reserve after agreement between the shire and vested in the National Parks and Nature Conservancy Authority. Following the addition of an extra 41 ha that was a timber reserve along the northern boundary the park was given an A Class status in 1987. The park is now a single reserve (26177) and is made up of an area of 3517 ha. The rare and ancient Main's assassin spider, currently listed as threatened, was found to inhabit the park during a survey conducted in 2008.

Flora
The park is home to a range of habitats including karri forest, coastal heath and wetlands each of which support a diverse array of vegetation and plant species. The area around Lake William supports a dense sedge scrub and rare species such as Amperea volubilus and an unnamed species of Melaleuca. The Albany Pitcher Plant, Cephalotus follicularis, is also found in the park.

Facilities
Due to the sandy nature of many of the tracks, much of the park is accessible only to four-wheel drive vehicles, although all vehicles may reach the popular Shelley Beach where a campground is located. Shelley Beach also has a look-out, toilet and barbecue launching facilities for hang-gliders. The nearby Golden Gate Beach is also a popular location for surfers.

Western Australia's long-distance walking trail, the Bibbulmun Track passes through the park. The park has many facilities for bushwalkers, with a 15 km return trip spur-trail from the track to Torbay Head and a boardwalk section of the track. In the West of the park, there is an overnight shelter for walkers that sleeps 12-15 persons, named "West Cape Howe Campsite".

title: West Cape Howe National Park


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Van Eyck

Van Eyck or Van Eijk is a Dutch toponymic surname. Eijck, Eyck, Eyk and Eijk are all archaic spellings of modern Dutch eik ("oak") and the surname literally translates as "from/of oak". However, in most cases, the family name refers to an origin in Maaseik. This city on the Meuse, now in Belgium on the border with the Netherlands, was originally simply known as Eike (with many spellings) and from the 13th century as Old Eyck and New Eyck. Names with an affix (tussenvoegsel), like Van der Eijk, are more likely to refer directly to the tree. This article lists people with this surname.

Renaissance family of painters
The important Flemish family of Early Netherlandish painters with the surname van Eyck originated in Maaseik, but ultimately established their professional domicile in Ghent and in Bruges. There they changed the traditional habits of the earlier schools, remodeled the earlier forms of Flemish design, and introduced a substantial revolution into the technical methods of execution familiar to their countrymen. These painters were responsible for many famous works of the 15th century.

Family members included: Hubert van Eyck (1380s – 1426), Jan van Eyck (c.1390 – 1441), their brother Lambert van Eyck, and sister Margareta van Eyck, Jan's wife, also Margaretha (1405/06 – aft.1441), and probably Barthélemy d'Eyck (c.1420 – aft.1470) from the next generation. Jan van Eyck, active in Bruges, is probably the best known Northern European painter of the 15th century.

Van Eyck

 * Aldo van Eyck (1918–1999), Dutch architect, son of Pieter Nicolaas
 * Casper van Eyck (1613–1674), Flemish marine painter
 * Jacob van Eyck (c. 1590–1657), Dutch musician and carillon technician
 * Jannie van Eyck-Vos (1936–2020), Dutch track and field athlete
 * Marie-Paule Van Eyck (born 1951), Belgian fencer
 * Nangila van Eyck (born 1984), Dutch football striker
 * Nicolaas van Eyck (1617–1679), Flemish painter of landscapes, equestrian and battle scenes, civil processions and portraits
 * Peter van Eyck (1911–1969), German-American actor
 * Pieter Nicolaas van Eyck (1887–1954), Dutch poet and philosopher, father of Aldo and Robert Floris

Van Eijk

 * Anita van Eijk (born 1969), wife of Prince Pieter-Christiaan of Orange-Nassau, van Vollenhoven
 * Bram van Eijk (born 1996), Dutch football defender
 * Collin van Eijk (born 1991), Dutch football goalkeeper
 * Marc van Eijk (born 1981), Suriname-born Dutch footballer
 * Paul van Eijk (born 1986), Cook Islands footballer
 * Stig van Eijk (born 1981), Norwegian singer, composer and lyricist
 * Wendy van Eijk (born 1973), Dutch politician
 * Willem van Eijk (1941–2019), Dutch serial killer
 * Wim van der Eijk (born 1957), Dutch vice-president of the European Patent Office

title: Van Eyck


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William Bay National Park

William Bay National Park is a national park in the Great Southern region of Western Australia, 369 km southeast of Perth and between the towns of Denmark and Walpole.

Description
Situated approximately 15 km west of Denmark, William Bay National Park covers 1734 ha and includes Greens Pool and Elephant Rocks. The granite boulders create a natural reef which protects Greens Pool from the Great Southern Ocean, and a safe swimming beach for children who are under supervision. William Bay National Park is located along the south coast of Western Australia along the Rainbow Coast, and is in the Shire of Denmark. The park also contains areas of peppermint scrub, dense heathland, pockets of karri forest, Eucalyptus woodlands, Parry Inlet, lakes, tall hills with granite tors and outcrops.

Coastal areas at the eastern side of the park include Greens Pool, Elephant Rocks, Madfish Bay and Madfish Island, Waterfall Beach. The wilder and less dramatic features along the coast of the western side include Parry Beach, Parry Inlet, Mazoletti Beach and Hillier Bay.

Fishing is popular along the rocks and beaches, with many different species found, including King George whiting, herring, Australian salmon and mulloway. Bushwalking is another popular activity to enjoy the views with numerous tracks around the park.

History
The traditional owners of the area are the Mineng people; Aboriginal Australians have inhabited the area for between 40,000 and 50,000 years. Artefacts including pieces of stone tools have been found in the park at Lights Beach, Lake Byleveld and Parry Inlet.

William Bay was named after the famed British Arctic explorer and navigator, Sir William Edward Parry, as were two other nearby features, Parry Inlet and Edward Point. The bay was named in the 1830s by John Septimus Roe.

The area was declared as a national park in 1971 with an area of 4644 acre.

A small reserve with an area of 29.5 ha located near the north east end of the park that encompasses Lake Bylveld was added to the park in the 1980s.

The park is a popular tourist destination, with 137,000 visitors in 2006–2007, 208,000 in 2010-2011 and 238,000 visitors in 2014–2015.

Fauna
Birds found within the park area and surrounds include several species of honeyeaters, white-breasted robins, red-eared fire tails, western rosella and red-capped parrot. Migratory waterbirds that visit the park include the threatened species; Australasian bittern, hooded plover and little bittern.

The rare and ancient assassin spider, currently listed as threatened, was found to inhabit the park during a survey conducted in 2008.

title: William Bay National Park


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Windjana Gorge National Park

Windjana Gorge National Park is a national park in the Kimberley region of Western Australia, 1855 km northeast of Perth and 355 km east of Broome. It is open during the dry season only, usually April to November (dates vary according to conditions).

The gorge has been carved by the Lennard River and is over 3 km long and about 100 m wide with walls to a height of 30 m in places. The rocks are part of the Napier Range, an ancient Devonian reef system that is over 375 million years old. The rocks are the same as the ones found at Tunnel Creek and Geikie Gorge.

The river flows freely through the gorge during the wet season but during the dry season (between May and September) it becomes a series of pools surrounded by trees and shrubs. Some of the vegetation found along the river banks include paperbarks, cadjebuts, native fig trees and leichhardt trees.

It is part of the Balili (Devonian Reef) Conservation Park.

title: Windjana Gorge National Park


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Wolfe Creek Meteorite Crater National Park

Wolfe Creek Crater National Park is a national park in Western Australia, 1854 km northeast of Perth. It contains Wolfe Creek Crater.

The park lies about 145 km South from Halls Creek and can be accessed via the Tanami Road. The park is located on the edge of the Great Sandy Desert and is composed mostly of desert plains and spinifex grassland.


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Yalgorup National Park

Yalgorup National Park is a national park in Western Australia, 105 km south of Perth, and directly south of Mandurah.

The park is located on the western edge of the Swan Coastal Plain and contains a chain of about ten lakes; the name rises from the two Noongar words Yalgor meaning lake and -up meaning place of.

The area is part of the Peel-Yalgorup Wetland system, which is classified as a Ramsar Wetland Site and was added to the List of Ramsar wetlands of international importance in 1990. Some of the lakes that make up the system include Boundary Lake, Swan Pond, Lake Pollard, Lake Yalgorup and Newnham Lake.

Wildlife
The wetlands of the park have been identified by BirdLife International as the Yalgorup Important Bird Area because of their importance for waterbirds. Lake Clifton and Lake Preston are both situated within the boundaries of the park and are home to a large variety of bird-life. Black swans, kingfishers, grebes, coots, waterfowl and a variety of parrots and a variety of dotterels can be found in and around the lake habitat.

Woodlands and tuart forests are also found within the park, and contain fauna including western grey kangaroos, emus, brush wallabies, brush-tailed possums, echidna and bandicoots. The quokka was also once found within the area but have been wiped out by foxes.

title: Yalgorup National Park


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Yanchep National Park

Yanchep is a national park in Western Australia, 42 km north of Perth adjacent to the locality of the same name Yanchep.

The park is noted for its caves, native bush and koala colonies. It also offers cultural educational programmes offered in partnership with the local Nyoongar people.

History
The area was inhabited and was a noted hunting site for thousands of years by Indigenous Australians prior to the arrival of Europeans. The tribal name for the park is Nyanyi-Yandjip named after the reeds and lake which were thought to resemble the hairy mane of the dreamtime creature the Waugul.

The word Yanchep is derived from Yandjip or Yanget which is the aboriginal name for the local bulrush reed found fringing the lakes in the area.

The first European visitor arrived in 1834 when John Butler, a farmer, came in search of his lost cattle and noted the presence of the lakes, wetlands and plentiful game. While in the area Butler was greeted by the men of the Yellagonga peoples who inhabited the area. Lieutenant George Grey travelled through the area in 1838 and made note of the remarkable caves he found in the area.

Surveyor John Septimus Roe and Governor John Hutt visited the caves in the park in 1841.

A road survey was conducted near Loch McNess in 1862 and later in 1865 a stock route was built through the area that was later used by drovers.

The first settler to arrive in the area was Henry White who arrived in 1901 and built his house near the north west shore of Yonderup Lake, he was later appointed as a caretaker and guide in 1903.

Flora and fauna

The park is home to a diverse range of flora and fauna. Trees such as banksias, paperbark, tuart, marri, she-oak and stunted jarrah are found in the woodland areas. Wildflowers including parrot bush, yanchep rose, catspaw and kangaroo paw are also found.

The park provides habitat for several species of native mammal, including the quenda, western grey kangaroo and black-glove wallaby. It lies within the Northern Swan Coastal Plain Important Bird Area, so identified by BirdLife International because of its importance in supporting several thousand short-billed black cockatoos during the non-breeding season.

Activities
Yanchep National Park is open year-round and offers a variety of nature-based activities for visitors. For visitors there is an entry-fee for all vehicles entering the national park that must be paid.

Walking trails
Yanchep National Park has nine marked trail walks that cater for different abilities and levels. Walks range from family-friendly short trails of 500m to challenging trails up to 46.2 km. Each trail showcases the unique biodiversity of the northern Swan Coastal Plain.

Caves
Yanchep National Park has over 400 caves. Among these is Crystal Cave which is the only tourist cave located in Perth. Crystal Cave can be visited on guided tours departing four times daily from the Visitors Center.

Wangi Mia Aboriginal Experience
The Wangi Mia Aboriginal Experience is available as a public tour on Sunday and public holidays. Wangi Mia offers opportunities to explore more about the local Noongar culture.

Koala Boardwalk
Yanchep National Park is home to a colony of Koalas. These can be viewed on the 140-metre-long Koala Park that allows close-up views of the koalas. There are also daily talks providing more information about koalas and their habitat.

Picnic and barbecue areas
Yanchep National Park has many picnic and barbeque areas. There are gas barbeques available free of charge along with wooden tables and benches.

Trees Adventure Yanchep Park
The Trees Adventure Park has seven adventure courses suitable for different abilities. Each course consists of rope and zipline challenges. The adventure park is suitable for children aged 4+.

Restaurant and tea rooms
Chocolate Drops Tea Rooms is located next to the visitor's centre and serves simple homemade food, including sandwiches, muffins and homemade chocolate. The Yanchep Inn is a fully licensed restaurant open 7 days a week and serves breakfast, lunch and dinner.

title: Yanchep National Park


text:
Presentation layer

In the seven-layer OSI model of computer networking, the presentation layer is layer 6 and serves as the data translator for the network. It is sometimes called the syntax layer.

Description
Within the service layering semantics of the OSI network architecture, the presentation layer responds to service requests from the application layer and issues service requests to the session layer through a unique presentation service access point (PSAP).

The presentation layer ensures the information that the application layer of one system sends out is readable by the application layer of another system. On the sending system it is responsible for conversion to standard, transmittable formats. On the receiving system it is responsible for the translation, formatting, and delivery of information for processing or display. In theory, it relieves application layer protocols of concern regarding syntactical differences in data representation within the end-user systems. An example of a presentation service would be the conversion of an extended binary coded decimal interchange code (EBCDIC-coded) text computer file to an ASCII-coded file. If necessary, the presentation layer might be able to translate between multiple data formats using a common format.

In many widely used applications and protocols no distinction is actually made between the presentation and application layers. For example, HyperText Transfer Protocol (HTTP), generally regarded as an application-layer protocol, has presentation-layer aspects such as the ability to identify character encoding for proper conversion, which is then done in the application layer.

The presentation layer is the lowest layer at which application programmers consider data structure and presentation, instead of simply sending data in the form of datagrams or packets between hosts. This layer deals with issues of string representation - whether they use the Pascal method (an integer length field followed by the specified amount of bytes) or the C/C++ method (null-terminated strings, e.g. ). The idea is that the application layer should be able to point at the data to be moved, and the presentation layer will translate this to commands able to be understood by other applications and processes.

Serialization of complex data structures into flat byte-strings (using mechanisms such as TLV, XML or JSON) can be thought of as the key functionality of the presentation layer. Structure representation is normally standardized at this level, often by using XML or JSON. As well as simple pieces of data, like strings, more complicated things are standardized in this layer. Two common examples are 'objects' in object-oriented programming, and the exact way that streaming video is transmitted.

Encryption and Decryption are typically done at this level too, although it can be done on the application, session, transport, or network layers, each having its own advantages and disadvantages. For example, when logging on to bank account sites the presentation layer will decrypt the data as it is received.

Services

 * Data conversion
 * Character code translation
 * Compression
 * Encryption and Decryption
 * Serialization

Protocols
Protocols sometimes considered at this level (though perhaps not strictly adhering to the OSI model) include:
 * Apple Filing Protocol (AFP)
 * Independent Computing Architecture (ICA), the Citrix system core protocol
 * Lightweight Presentation Protocol (LPP)
 * NetWare Core Protocol (NCP)
 * Network Data Representation (NDR)
 * Tox, The Tox protocol is sometimes regarded as part of both the presentation and application layer
 * eXternal Data Representation (XDR)
 * X.25 Packet Assembler/Disassembler Protocol (PAD)

title: Presentation layer


text:
Celestial mechanics

Celestial mechanics is the branch of astronomy that deals with the motions of objects in outer space. Historically, celestial mechanics applies principles of physics (classical mechanics) to astronomical objects, such as stars and planets, to produce ephemeris data.

History
Modern analytic celestial mechanics started with Isaac Newton's Principia (1687). The name celestial mechanics is more recent than that. Newton wrote that the field should be called "rational mechanics". The term "dynamics" came in a little later with Gottfried Leibniz, and over a century after Newton, Pierre-Simon Laplace introduced the term celestial mechanics. Prior to Kepler there was little connection between exact, quantitative prediction of planetary positions, using geometrical or numerical techniques, and contemporary discussions of the physical causes of the planets' motion.

Johannes Kepler
Johannes Kepler (1571–1630) was the first to closely integrate the predictive geometrical astronomy, which had been dominant from Ptolemy in the 2nd century to Copernicus, with physical concepts to produce a New Astronomy, Based upon Causes, or Celestial Physics in 1609. His work led to the modern laws of planetary orbits, which he developed using his physical principles and the planetary observations made by Tycho Brahe. Kepler's elliptical model greatly improved the accuracy of predictions of planetary motion, years before Isaac Newton developed his law of gravitation in 1686.

Isaac Newton
Isaac Newton (25 December 1642 – 31 March 1727) is credited with introducing the idea that the motion of objects in the heavens, such as planets, the Sun, and the Moon, and the motion of objects on the ground, like cannon balls and falling apples, could be described by the same set of physical laws. In this sense he unified celestial and terrestrial dynamics. Using his law of gravity, Newton confirmed Kepler's Laws for elliptical orbits by deriving them from the gravitational two-body problem, which Newton included in his epochal Principia.

Joseph-Louis Lagrange
After Newton, Lagrange (25 January 1736 – 10 April 1813) attempted to solve the three-body problem, analyzed the stability of planetary orbits, and discovered the existence of the Lagrangian points. Lagrange also reformulated the principles of classical mechanics, emphasizing energy more than force, and developing a method to use a single polar coordinate equation to describe any orbit, even those that are parabolic and hyperbolic. This is useful for calculating the behaviour of planets and comets and such (parabolic and hyperbolic orbits are conic section extentions of Kepler's elliptical orbits). More recently, it has also become useful to calculate spacecraft trajectories.

Simon Newcomb
Simon Newcomb (12 March 1835 – 11 July 1909) was a Canadian-American astronomer who revised Peter Andreas Hansen's table of lunar positions. In 1877, assisted by George William Hill, he recalculated all the major astronomical constants. After 1884 he conceived, with A.M.W. Downing, a plan to resolve much international confusion on the subject. By the time he attended a standardisation conference in Paris, France, in May 1886, the international consensus was that all ephemerides should be based on Newcomb's calculations. A further conference as late as 1950 confirmed Newcomb's constants as the international standard.

Albert Einstein
Albert Einstein (14 March 1879 – 18 April 1955) explained the anomalous precession of Mercury's perihelion in his 1916 paper The Foundation of the General Theory of Relativity. This led astronomers to recognize that Newtonian mechanics did not provide the highest accuracy. Observations of binary pulsars – the first in 1974 – whose orbits not only require the use of General Relativity for their explanation, but whose evolution proves the existence of gravitational radiation, was a discovery that led to the 1993 Nobel Physics Prize.

Examples of problems
Celestial motion, without additional forces such as drag forces or the thrust of a rocket, is governed by the reciprocal gravitational acceleration between masses. A generalization is the n-body problem, where a number n of masses are mutually interacting via the gravitational force. Although analytically not integrable in the general case, the integration can be well approximated numerically.

 * Examples:
 * 4-body problem: spaceflight to Mars (for parts of the flight the influence of one or two bodies is very small, so that there we have a 2- or 3-body problem; see also the patched conic approximation)
 * 3-body problem:
 * Quasi-satellite
 * Spaceflight to, and stay at a Lagrangian point

In the $$n=2$$ case (two-body problem) the configuration is much simpler than for $$n>2$$. In this case, the system is fully integrable and exact solutions can be found.

 * Examples:
 * A binary star, e.g., Alpha Centauri (approx. the same mass)
 * A binary asteroid, e.g., 90 Antiope (approx. the same mass)

A further simplification is based on the "standard assumptions in astrodynamics", which include that one body, the orbiting body, is much smaller than the other, the central body. This is also often approximately valid.

 * Examples:
 * The Solar System orbiting the center of the Milky Way
 * A planet orbiting the Sun
 * A moon orbiting a planet
 * A spacecraft orbiting Earth, a moon, or a planet (in the latter cases the approximation only applies after arrival at that orbit)

Perturbation theory
Perturbation theory comprises mathematical methods that are used to find an approximate solution to a problem which cannot be solved exactly. (It is closely related to methods used in numerical analysis, which are ancient.) The earliest use of modern perturbation theory was to deal with the otherwise unsolvable mathematical problems of celestial mechanics: Newton's solution for the orbit of the Moon, which moves noticeably differently from a simple Keplerian ellipse because of the competing gravitation of the Earth and the Sun.

Perturbation methods start with a simplified form of the original problem, which is carefully chosen to be exactly solvable. In celestial mechanics, this is usually a Keplerian ellipse, which is correct when there are only two gravitating bodies (say, the Earth and the Moon), or a circular orbit, which is only correct in special cases of two-body motion, but is often close enough for practical use.

The solved, but simplified problem is then "perturbed" to make its time-rate-of-change equations for the object's position closer to the values from the real problem, such as including the gravitational attraction of a third, more distant body (the Sun). The slight changes that result from the terms in the equations – which themselves may have been simplified yet again – are used as corrections to the original solution. Because simplifications are made at every step, the corrections are never perfect, but even one cycle of corrections often provides a remarkably better approximate solution to the real problem.

There is no requirement to stop at only one cycle of corrections. A partially corrected solution can be re-used as the new starting point for yet another cycle of perturbations and corrections. In principle, for most problems the recycling and refining of prior solutions to obtain a new generation of better solutions could continue indefinitely, to any desired finite degree of accuracy.

The common difficulty with the method is that the corrections usually progressively make the new solutions very much more complicated, so each cycle is much more difficult to manage than the previous cycle of corrections. Newton is reported to have said, regarding the problem of the Moon's orbit "It causeth my head to ache."

This general procedure – starting with a simplified problem and gradually adding corrections that make the starting point of the corrected problem closer to the real situation – is a widely used mathematical tool in advanced sciences and engineering. It is the natural extension of the "guess, check, and fix" method used anciently with numbers.

Reference frame
Problems in celestial mechanics are often posed in simplifying reference frames, such as the synodic reference frame applied to the three-body problem, where the origin coincides with the barycenter of the two larger celestial bodies. Other reference frames for n-body simulations include those that place the origin to follow the center of mass of a body, such as the heliocentric and the geocentric reference frames. The choice of reference frame gives rise to many phenomena, including the retrograde motion of superior planets while on a geocentric reference frame.

title: Celestial mechanics


text:
Talk:Border Collie

In mid sentence: "Border collie" or "border collie"?
May I cast a first vote for "Border collie", by the logic that "the Borders" is a name for a region, and we would write "When people see French poodles, they...".

AFTER we come to a consensus on this... or after, say, 2/2023, if no one has contested my arguement... getting the capitalization consistent thoughout the article might be worth the effort? — Preceding unsigned comment added by Tkbwik (talk • contribs) 13:24, 12 October 2022 (UTC)

 * Would you reiterate your position? I don't see that it's presently on this talk page, and if it's already archived that could hamper the discussion. ~TPW 15:06, 26 January 2023 (UTC)
 * Standardised breed names should be capitalised, so the name should always be written as Border Collie except in quotes. Traumnovelle (talk) 18:43, 29 February 2024 (UTC)
 * That's correct, details are at MOS:LIFE. 184.152.68.190 (talk) 18:49, 29 February 2024 (UTC)

Old Business
Removed possible copyright infringement. Text that was previously posted here is the same as text from this webpage:
 * http://pets.yahoo.com/pets/dogs/breed_guide/herding/?breed=border_collie

COPYRIGHT ISSUE (OLD)

This page is now listed on Votes for deletion. To the poster: If there was permission to use this material under terms of our license or if you are the copyright holder of the externally linked text, then please indicate so on this page's talk. If there was no permission to use this text then please either replace this message with at least a good stub and an external link or leave this page to be deleted. (NOTE: unless a stub replaces this text, deletion will occur about one week from the time this page title was placed on the Votes for deletion page).

It also should be noted that the posting of copyrighted material that does not have the express permission from the copyright holder is possibly illegal and is a violation of our policy. Those with a history of violations may be temporarily suspended from editing pages. If this is in fact an infringement of copyright, we still welcome any original contributions by you.

Life Span section
In this section it states: Additional causes of death are Collie eye anomaly Hip dysplasia Epilepsy Hearing loss[13] Elbow dysplasia Addison Disease It really isn't possible for a collie to die from hearing loss, or Elbow Dysplasia. The source indicates that these are more common in the breed and I will amendBobBadg (talk) 13:52, 21 March 2023 (UTC)

Capitalization of breed
I rather laboriously changed all the instances of "Border Collie" that weren't in titles to lowercase "border collie", more in the interest of consistency than owing to any personal preference. Only afterwards I noticed that "Irish Setter" was consistently capitalized in that breed's article, suggesting that, as pointed out when he reverted, the names of other breeds are also capitalized. That's fine, but I checked and there are now forty instances of lowercase "border collie" in the article. I'm too B/border C/collied out to bother with this further, but perhaps someone would like to fix it (unless there's some sense to the on-again off-again capitalization that I've missed). Bret Sterling (talk) 17:24, 24 May 2024 (UTC)

 * I didn't notice that myself, I will go ahead and change all instances (besides those in quotes which may need checking). There isn't any official consensus on capitalisation but the vast majority of pages capitalise standardised breeds. In academic writing there is a split between the two. Traumnovelle (talk) 17:45, 24 May 2024 (UTC)

title: Talk:Border Collie


text:
Talk:Impressionism in music

Uhhh...
Some of the stuff on this page seems screwy. Like wtf is this, for instance: "While this era was characterized by a dramatic use of the major and minor scale systems, impressionist music was tending to make more use of dissonance."

Whoever wrote this sounds like they're describing Stravinsky more than Ravel. Impressionistic composers would tend to use a greater variety of harmonic techniques, such as modal harmonies and extended chords. They'd do experiments with pentatonic scales and other interesting scales, one of which happens to be the oft-quoted whole tone scale, which the author of this page goes onto mention after the quote cited above. It's true that the whole tone scale as one specific technique might be more dissonant, and that Impressionists sometimes went into some pretty far out territory as dissonance is concerned, but I'd hardly describe the larger picture of Impressionism as "dissonance in reaction to major/minor" without mentioning the other things above.

And in general, this whole page seems to have a lot of POV-based stuff, making value judgments about which composers are "great" with very little citations. — Preceding unsigned comment added by 71.230.120.206 (talk) 08:43, 10 January 2012 (UTC)

Impressionism
Should this page be part of Impressionism? How closely are the two movements connected? -- Tarquin

 * They actually aren't linked at all, but the concept of creating an impression. Musical impressionism took place a bit later. The french origins of both is probably the link between the common title. --Sketchee 03:03, Dec 19, 2004 (UTC)

POV?
While the author's dismissal of Impressionism as a valid tag for music is in keeping with most contemporary scholarship, he's a little cavalier about the idea that Impressionism doesn't exist. More than this, though, that section is written like an off the cuff opinion instead of the product of musical scholarship. Keep the idea, but cite some sources and make the tone WAY more NPOV.

Impressionism means nothing?

Too whom I wonder. mean, you just can't say that Impressionism means nothing, and DEFINITELY not say it without giving any proof for it.. After all, if impressionism does not mean anything, what then does Romaniticism or Classisism mean? They are all terms meant to describe the music. I can say with total confidence that I can recognize the impressionistic "sound", just like I can recognize a Romantic work, or a Baroque work. Articles like this make me loose faith in wikipedia. What if articles on subject that I don't know anything about are written with the same subjectivity? Horrendous. - Rich

 * I was pretty taken aback by this article too... I'll see if I can fix this some time if no-one else does. In the meantime, don't lose faith; be bold in updating pages :-) Ornette 17:02, 17 November 2005 (UTC)

 * What author? When was this infromation in the article? Hyacinth 10:38, 15 December 2005 (UTC)

 * Apparently 205.158.76.102, who added the following paragraph (since removed by Depleater):

In music the impressionist title means nothing. Composers like Debussy and Ravel were essentially romantic composers (Ravel maybe neo-classical). People give them the title impressionist because of the art movement that occured. Basically the impressionist title was given to romantic composers who stretched harmony and expanded harmony to make more vivid details in the music.

I'll try and root out something that might clarify this issue. JGF Wilks 07:08, 7 March 2006 (UTC)

 * Impressionism is just a convenient cop-out to describe the music, and the term became so popular that it became the de facto name for the musical genre. Debussy himself rejected the label. I can't speak as strongly for Ravel, but Debussy and Fauré draw their inspiration mostly from the Symbolist movement in literature and art. Many of their works were based on symbolist sources: Afternoon of a Faun (poem), Pelléas et Mélisande (play), and other poems by Paul Verlaine and Charles Baudelaire.  If there is direct evidence of their works being based on impressionist painting, it should be added to the article. (I'm considering adding a "Impressionism is a misnomer" subsection)Cnadolski 16:16, 18 June 2007 (UTC)

shana dangelo sais hi=]] —Preceding unsigned comment added by 209.68.98.234 (talk) 16:32, 21 April 2009 (UTC)

Tiny...
Considering the impact of (so-called) Impressionism in music, this article is unaccountably tiny. Is the subject discussed more fully elsewhere?

Good point! And it would be nice to have some musical examples. Also, it would be good to have, in reasonable musical terms, what is the difference, say, between Debussy and Beethoven (or somebody else who isn't an impressionist composer). Gingermint (talk) 21:09, 31 May 2010 (UTC)

Scriabin
I've removed this composer from the list of those allegedly composing in the impressionist style. Any harmonic similarities between Scriabin's music and Debussy's, for instance, were almost certainly due to both composers taking inspiration from Russian music; indeed Scriabin himself objected to what he described as Debussy's 'stealing' from Russian music. His ideas, in any case, were taken not from impressionism (and his music was never intended to be pictorial, which is surely is the inescapable implication of the label "impressionism"), but from a heady mix of Symbolism, Theosophy and good old Schopenhauer, and his aesthetic aspired to be something far more transcendental than Debussy's declared aim of "pleasure". Alfietucker (talk) 10:40, 20 March 2010 (UTC)

I disagree with your decision. Scriabins earlier works were quite romanticized, as were Debussy's less popular early works, and although Debussy's atonal pieces are the better known ones, Scriabin also delved into atonality later in his musical career. Further, defining impressionism as inescapable pictorial is to forgo many of the compositional views of generally accepted impressionist composers (especially Debussy), ofc that debate is one that will likely never conclude. — Preceding unsigned comment added by 71.181.28.160 (talk) 15:20, 5 May 2013 (UTC)

Too many assumptions
Was Impressionism really a reaction to the excesses of Romanticism? Isn't it possible to view it as a continued natural progression away from earlier experiments with harmony? Different elements are foregrounded but the change in the use of musical devices is really not that radical. — Preceding unsigned comment added by 203.51.172.139 (talk) 12:52, 17 March 2012 (UTC)

sentence structure
There are many badly written sentences in the first few paragraphs.

"On the scope of the form of pieces of music impressionist composers enriched the way of creating musical works. In the majority of cases the form was a one-time idea for putting in the kind of order 'the fantasy of sound."

Huh?

"Precedence of timbre creates the melody from the mixture of accords' timbre and figurations rather than from the clear outline of the theme."

Huh?

"Instrumentation. Dynamics."

Huh?

Etc, etc. Not to mention questionable facts and other problems. Sorry, don't have time to fix it myself. — Preceding unsigned comment added by 202.173.163.234 (talk) 05:37, 17 June 2012 (UTC)

Stravinsky
Wouldn't Stravinsky be impressionist, like the Firebird and Rite of Spring use music to vividly portray a musical picture?

 * Yes. This is a very poorly written piece. Early Impressionism in music is dominated by the Russians and there isn't a single mention of any of them. Borodin? Rimsky-Korsakov? Prokofiev? Mussorgsky? Are we seriously omitting "Pictures from an Exhibition" from the description of Impressionism in music? As in the piece that started the movement?

 * Some may argue these are "post-Romantic," but in school, we were taught that Russian composers after Tschaikovsky were considered early Impressionism. All references to Impressionism in music on the Internet are highly abbreviated, with very little more than a brief mention of Debussy. What about Saint-Saens? It's not just Debussy and Ravel. That's like saying Eric Clapton invented the Blues. And just because almost all of these composers refuted the term "Impressionism," in retrospect, it cannot be denied. Pookerella (talk) 13:15, 23 May 2015 (UTC)

 * Perhaps this is what you were taught in school, but it certainly isn't what I learned there. Very likely, we did not grow up in the same community, and such things often vary from country to country. Still, I encourage you to find reliable sources to support this view and I, for one, look forward to learning I have been wrong all these years. Stravinsky's early period (the way I have been taught) is referred to as his "Russian Period", and some works (like The Rite) also fall under the rubric of "primitivism", or "neo-primitivism". This last category also covers Ala and Loli by Prokofiev, for example (from which he drew the Scythian Suite). Stravinsky certainly had close ties to Paris in general and Debussy in particular, but I cannot imagine how his homage to Debussy, the Symphonies of Wind Instruments could be thought of as "impressionistic". Mussorgsky is often classed as a "realist", though this applies mainly to his operas. I don't think I've ever heard Pictures from an Exhibition" described as an "impressionist" work, though certainly there are some connections to the French school ordinarily saddled with that name, and Debussy in particular was strongly influenced by Russian composers, including Mussorgsky. Mussorgsky also is not a composer who came after'' Tchaikovsky. Rather, he was an almost exact contemporary, and predeceased Tchaikovsky by more than thirteen years. Rimsky-Korsakoff, too, was only four years younger than Tchaikovsky, though he survived him by fifteen years. I also have never thought of Saint-Saëns as an impressionist, chiefly because his harmonic idiom and adherence to traditional formal principles is so far removed from the literature usually described as "impressionism". However, like all such style descriptions, what matters most is how persuasive the writers on the subject argue their cases.
 * I will certainly not defend this article as a paragon. As a contributor to it, I must accept some of the blame for its shortcomings, and am ready to spend further effort on its improvement. The current lack of any mention of the Russian composers who had such a strong influence on Debussy, at least, is one of these shortcomings. Whether those composers ought to be described as impressionists themselves depends on the authorities consulted. So far, I do not see any that confirm this view.—Jerome Kohl (talk) 22:47, 23 May 2015 (UTC)

Time frame
Why isn't there a better definition of the time-frame, or at least putting it between the romantic and contemporary periods? Pink Floyd impressionist?? Redhanker (talk) 22:19, 11 February 2013 (UTC)
 * It would help if there was agreement on when the Romantic period ended and when the "contemporary period" (if there is such a thing) began (or will begin). It is probably overly simplistic to insist on such rigid boundaries in any case but, even if it isn't, historians haven't yet agreed on the criteria by which such boundaries might be drawn. As a result, some contend the Romantic era ended about 1850, while others hold it extends to nearly a century later. As for the word "contemporary" in this context, you might care to read the discussion at Talk:Contemporary classical music.—Jerome Kohl (talk) 00:42, 12 February 2013 (UTC)
 * Surely it's ridiculous to give 50 years (1875–1925) to impressionism when it was a minor rather than a major trend. -- Klein zach  02:46, 24 June 2013 (UTC)
 * Why is fifty years "ridiculous" for a minor trend (or, putting it the other way around, if fifty years is too long, why should this trend be regarded as minor)? Although I am inclined to agree that 1875 sounds like a very early starting date, if the reliable sources agree on that time frame, then that is what it should say. On the other hand, if we can find a source that says 1905–1915, that is a different matter.—Jerome Kohl (talk) 03:47, 24 June 2013 (UTC)
 * Maybe I didn't express myself clearly. Do you think that impressionism was the dominant movement of its period, just as romanticism was? If so when did it begin and end? What's your view? -- Klein zach  04:22, 24 June 2013 (UTC)
 * In this day and age we are not supposed to believe in such "totalizing discourse" ;-) Of course it would be ridiculous to claim that impressionism was a dominant style in, say, German music at any point in time; France is an entirely different matter; Belgium, the Netherlands, the UK, Scandinavia, and America, also arguable, though possibly with different time frames. By comparison, Romanticism was of overwhelming importance in Germany, but not so very important in France—at least, not after Berlioz, who was in any case regarded as a neoromantic by Wagner. Italy is also a dubious proposition (one French source claims that Verdi was the only true Romantic in Italian music). Romanticism is a much bigger can of worms than impressionism, especially where it is supposed to start and stop (if at all). I might even go so far as to question your assumption that it was "dominant in its period", at least until you tell me just when its period was and what its defining characteristics are (the leading figures in musicology disagree hugely on these two points), but this is just my own idle speculation, and therefore constitutes Original Research. Of course, we can always take the textbook approach and simply assign an arbitrary calendar date ("On 31 December 1599, all the Renaissance composers died"), but this, too, requires a reliable source on Wikipedia. As for my Original Research on impressionism in music, I would say that it is so strongly focussed on Debussy that its beginning has got to be decided by the watershed in his compositional course, when he abandoned the Wagnerisms and academicisms of his early career and began exhibiting those traits we identify stylistically with impressionism. This would place the beginning at some point after 1888. A convenient ending might be with Debussy's death in 1918, or even earlier with his abandonment of impressionism for the proto-neoclassicism of his last years. Alternatively, we may regard other composers (Ravel, Griffes, Delius, Respighi, Vaughan Williams, etc.), as carrying the style onward, well into the 1930s. However, as I said, this is my own Original Research.—Jerome Kohl (talk) 19:13, 24 June 2013 (UTC)
 * Yes, indeed, I wouldn't disagree with you on any of this. Sorry to put you to the trouble of writing such a long explanation!  Klein zach  22:59, 24 June 2013 (UTC)
 * That's quite all right, since having this set forth here may be of some service as we try to move forward on this woefully inadequate article. I might just add that, even accepting "Romanticism" as a well-defined chronological era ending on 23 August 1878 at 6:42 in the afternoon, Brussels Time, "Impressionism" has got the added disadvantage of running more or less concurrently with a number of other -isms: Expressionism, Neoclassicism, Modernism, Futurism, Historicism, few of which are any better delimited chronologically than Impressionism. This may be the best reason not to strain ourselves trying to define chronological limits for Impressionism (or all the others). However, this is advice to musicologists in general; on Wikipedia we are secure in our cocoon of reliable sources.—Jerome Kohl (talk) 00:52, 25 June 2013 (UTC)
 * Good, then I hope you approve of this edit].  Klein zach  01:32, 25 June 2013 (UTC)

Oxford citation
I just slightly modified the citation format provided by Oxford Music Online. Is Michael Kennedy named as the author of that entry in the print edition? Nothing in the online edition indicates that. Srnec (talk) 12:23, 1 July 2014 (UTC)
 * On the front cover of the 2006 edition, Kennedy's name appears as author, and he is so listed in the Library of Congress WorldCat. Entries in the Oxford Dictionary of Music are not individually signed, as far as I am aware.—Jerome Kohl (talk) 18:29, 2 July 2014 (UTC)

Bad to worse
The article was never one of Wikipedia's gems, but the recent edits by User:Jason M. C., Han made it much worse. Attempts by User:Jerome Kohl to apply some rigour to rescue the text were IMO unsuccessful. The section is unintelligible waffle accompanied by sound & image that doesn't illustrate anything, and I suggest to remove that whole section. -- Michael Bednarek (talk) 11:29, 3 September 2016 (UTC)

I think it should be better than before. Impressionism in music is a developing school from piano to other instruments. Yes, it should begin from piano, causing Claude Debussy was the expert in this field. You should as him why not he didn't study other instruments rather than my changes. Therefore, it should be right to give the clarifications from his original field. He hasn't bee of the expertise of instrument. If you aren't good at impressionism in other instruments, you can wait other experts to add the clarifications, rather than self-put on the categories without the willing of constructions and searching documentary supports, or practical operations. You are talking about music, but you didn't understand music well, how could you critique others? Music is from life - both the daily practises and the theoretical constructions. Without talking about the instrumental performances and training, how could you give the clarification only by to say some words. I am learning, teaching and researching this field for many years with my teachers, family members and students. From many years' accumulations and training of Debussy' impressionism, I have the experiences to know what documents are of the good quality and how to make this field better in developing up-to-date - popularizing it to other instrumental fingers-touching approaches. Your thinking is to say impressionism is a closed case with a static ontology, which was really against the fact.

Therefore, I think I should cancel you categories and waiting other professional persons, after carefully searching documentary information, forming the references or making more sound records, then put on. In order to get a balance, Thanks to your suggestions that I had put an developing zone.

Jason M. C., Han (talk) 11:45, 3 September 2016 (UTC)

 * I am finding this explanation almost as difficult to understand as the nearly incomprehensible material added in the article itself. Debussy is of course the central figure in musical impressionism, and of course he did write music for the piano, but given the immense importance of his orchestral writing ("I finished orchestrating my new piece yesterday, all I have to do is put in the notes") I cannot follow the logic of maintaining the supremacy of the piano in this repertoire (if in fact that is what is being maintained here). The material is cited to three sources in Chinese, a language I cannot either read or speak. From the mangled syntax, I would guess it had been machine-translated by someone with only a slightly better grasp of English. The sources appear to be piano instruction manuals from some official government agency, but I am unable to judge their reliability. In the absence of better translations, I am obliged to agree with Michael Bednarek: the section is best deleted.—Jerome Kohl (talk) 22:56, 3 September 2016 (UTC)
 * Jason's WP:Wall of text reinforces my argument to remove the section in question. The response is even less comprehensible than Jason's edits to the article and didn't address the question of what that image and the sound file illustrate. A further edit by Jason, 12 hours after Jerome's series of edits, introduced an excessive section header without any content. The article now violates so many Wikipedia style and content guidelines that I'm going to revert to a clean previous version. Any further changes to the article by Jason should be presented here, or on a subpage, for discussion. -- Michael Bednarek (talk) 00:51, 4 September 2016 (UTC)

Firstly, your behaviours are really very unappreciated. You said you understand Impressionism, however, if it comes to one musical style, we didn't talk about its special techniques in different instruments' expressions, do you think we are really talk about music? Therefore, We should add one category named 'Special Instrumental Techniques'. Secondly, musical techniques have some special features. When giving the trainings from daily teaching and researching, we not only need to give the language, but also need to put some direct impressions on such as the sound files and the explanations following. Thirdly, It's you didn't give any constructive suggestions and cancel others' writing including the energy and time for several days, how could you critique others' cancelling of your arguments? Fourthly, about Debussy's piano music - Moonlight, it's tens more years' teaching and learning experiences I, my teacher, some experts in China and the students, as the commons, have dedicated our minds, energies and labours in researching his impressionism style according to the notation-reading in piano. It's from practises after so many grade tests and families' contributions in their daily lives. Afterwards, I have summarized them and made the writing by searching the references according to my learnings in UK Harvard style online and also the Wikipedia's self-trainings. How did you say they weren't of the reliability. Fifthly, Debussy's beginning professional field is in piano. From piano, then he has seen more. In order to respect your ideas, I have already put the developing zone upon for other experts who really researched this field in their instruments and then put their ideas on. However, it's you didn't hear others voices. Today, I opened this page and found 'Special Instrumental Techniques' - this part was totally disappeared. How did you make the explanations of this case? You just see others have remove your arguments, did you have totally self-reflexive what you have done? Jason M. C., Han (talk) 08:35, 4 September 2016 (UTC)
 * This article is about the "movement". If you think Wikipedia needs an article on special performance techniques for impressionist music, you are welcome to start it in the usual way; see WP:Drafts. -- Michael Bednarek (talk) 10:05, 4 September 2016 (UTC)

Too vague, no mention of some Impressionism composers
Well, I, personally, would take this particular article and throw it in the toilet.

This is not what I was taught in school. Maybe, someone should consult a music history textbook?

There's a lot of debate on this. I'm not trying to add to a debate, so please don't write paragraphs of minutiae correcting me with what you believe. I'm not trying to sway anyone's opinion, this is what I was taught in college.

"Impressionism" era music does, indeed, exist and overlaps the Romantic era, from which it derived, starting around 1850 (after the death of Chopin). I was taught that it began in earnest with Mussorgsky's Pictures at an Exhibition in 1874. It's really reflective and in combination with the art era, where they painted a portrait with a symphony or a piano in a freer style, and alongside and in combination with the growing melodic evolution. Impressionism in music did evolve slowly and, especially early on, there really is no specific composer "devoted" to the impressionist era, though some evoked the feeling of the era better than others. I think that may be what Debussy and Ravel objected to. It saddens me greatly that Mussorgsky is almost a footnote in this article.

You cannot pinpoint it like you can in art with Manet, Pissarro and Degas. It's not that simple. The art revolution was due, in part, to the invention and use of the camera. The musical era reflects the feeling behind the art era, moving and evolving naturally toward modernity due to the revolutionary changes and fast-growing modern advances, including the replacement of the fortepiano with the grand piano and its great influence and importance in the music of the day.

True Impressionist era music, though, does not really become become a significant and leading style (whereas others are copying it and it is in the forefront) till around 1890-1900, just when post-Impressionism in art is evolving.

Pookerella (talk) 22:10, 4 August 2017 (UTC)

No mention of Satie?
Satie used to be mentioned in this article. I find a discussion of musical impressionism without Satie to be pretty strange. I also want to find a way to document Bix Beiderbecke as an impressionist composer. I think all I'll need to do to document both is go to my shelf and look at a couple of the Western classical and jazz survey textbooks I used to use to teach college courses. All in due time if no-one beats me to it, but I don't understand why Satie's name was excised from this article. -- Ikan Kekek (talk) 08:01, 30 November 2019 (UTC)

No mention of Faure!?
Gabriel Faure is the godfather of impressionism, as indicated on his page: https://en.wikipedia.org/wiki/Gabriel_Faur%C3%A9 96.127.198.43 (talk) 14:13, 14 September 2021 (UTC) 96.127.198.43 (talk) 14:13, 14 September 2021 (UTC)

Misuse of “timbre”
The author of this article misunderstands what the word “timbre” means and misuses it several times.

Timbre is the distinct sound of any given note as separate from its pitch and volume, given (mostly) by the specific volume of each harmonic in the harmonic series (although the volume envelope, phase of the harmonics, non harmonic noise, etc. also play a role).

The author writes “The most prominent feature in musical Impressionism is the use of ‘color’, or in musical terms, timbre, which can be achieved through orchestration, harmonic usage, texture, etc.” It doesn’t make sense to say that interesting timbre can be achieved through “harmonic usage.” Individual played notes have their own timbre, timbre doesn’t result from multiple notes being played together. It also doesn’t make sense to say that timbre can be achieved through texture. Texture is a word used to describe the overall sound of a piece of music, you would describe timbre as contributing to the texture, not the other way around.

Timbre is also misused in the following; “One of the most important tools of musical Impressionism was the tensionless harmony. The dissonance of chords was not resolved, but was used as timbre.” Since timbre is a quality of any individual played note or instrument, it doesn’t make sense to say that the harmony of multiple played notes is used as timbre. I think the author meant to use the word “texture,” as the sound of unresolved dissonant chords contributes to the overall sound of a piece. 50.45.250.28 (talk) 20:57, 22 April 2022 (UTC)

title: Talk:Impressionism in music


text:
Clara Hughes

Clara Hughes,  (born September 27, 1972) is a Canadian cyclist and speed skater who has won multiple Olympic medals in both sports. Hughes won two bronze in the 1996 Summer Olympics and four medals (one gold, one silver, two bronze) over the course of three Winter Olympics.

Hughes is one of the few athletes who have competed in both the Summer and Winter Olympic games. Hughes is one of only six people to have podium finishes in the Winter and Summer versions of the Games, and is the only person ever to have won multiple medals in both. Hughes was the first Canadian woman to win a medal in road cycling at the Olympics, winning two in the 1996 Atlanta Olympics.

As a result of her success in multiple sports and her humanitarian efforts, Hughes was named to both the Order of Manitoba and as an Officer of the Order of Canada. She is involved with Right To Play, which is an athlete-driven international humanitarian organization that uses sports to encourage the development of youth in disadvantaged areas. After winning her gold medal in 2006,

Career
Hughes was born in Winnipeg, and is a graduate of Elmwood High School. In an interview on CBC Radio show Definitely Not the Opera, Hughes reveals that as a youth, she smoked cigarettes, drank a lot at a young age and did a lot of drugs, admitting she did not envision herself as an athlete. She was inspired to begin skating after witnessing Gaétan Boucher at the 1988 Winter Olympics. She started with speed skating, but in 1990 she moved to competitive cycling, competing in track cycling and road cycling.

Hughes started speed skating at the age of 16, and then took up the sport of cycling at the age of 17. She would eventually return to the sport of speed skating at the age of 28, after achieving success in the 1996 Atlanta Olympics. With her experience and endurance earned through cycling, Hughes went on to a successful career competing in the 3,000 m and 5,000 m. This would eventually lead her to medal in these long-distance events at the Winter Olympics. She then returned to cycling, at the age of 38, to later successfully return for the 2012 London Olympics.

Cycling
Hughes, an 18-time Canadian national cycling champion, won the silver medal at the 1995, World Cycling Championships (time trial).

She participated at the 1991, 1995, 1999 and 2003 Pan American Games and won eight Pan American Games medals. A participant at the 1990, 1994 and 2002 Commonwealth Games, Hughes won gold in the time trial (road, 2002), bronze in the points race on the velodrome (2002), and silver in the 50 km team time trial (1994, with Alison Sydor, Anne Samplonius, and Lesley Tomlinson).

Hughes participated in the 1996 and 2000 Summer Olympics, winning two bronze medals at the 1996 Olympics in Atlanta, in the individual road race and the individual time trial. These were the second and the third ever medals in road cycling for Canada, after Steve Bauer's silver medal at the 1984 Summer Olympics, and the first medals in cycling for a Canadian woman. As of 2011, these were the only three cycling medals for Canada.

A four-time participant of the women's Tour de France, Hughes has won the 1994 Women's Challenge and the 1997 Liberty Classic.

Hughes served as a commentator for cycling events for the CBC's coverage of the 2008 Summer Olympics in Beijing.

In November 2010, she announced a comeback, indicating her desire to race at the 2012 Summer Olympics. At the 2011 Pan American Championships, Hughes won the individual time trial and road race, both by a big margin. In May 2011, she took first in the Tour of the Gila, winning two stages. In July 2011, she finished first in the inaugural Crusher in the Tushar in Beaver, Utah. At the Chrono Gatineau time trials in May 2011, she finished first among an international slate of riders. In June 2012, she was selected to become part of Canada's 2012 London Olympics team, as one of four in cycling, with two other women and a man. She finished 32nd, with the peloton, in the road race and finished 5th in the road time trial at the 2012 Olympics.

Palmares

 * 1992
 * 1st MaillotCan.PNG National Road Race Championships

 * 1994
 * 1st Stage 3 Etoile Vosgienne
 * 1st Prologue & Stage 9 Tour de l'Aude Cycliste Féminin
 * 1st Overall Idaho International Challenge
 * 1st Stages 3 & 5
 * 1st Overall Women's Challenge

 * 1995
 * 1st Liberty Classic
 * 1st MaillotCan.PNG National Time Trial Championships

 * 1998
 * 1st Stage 2 Tour de Snowy

 * 1999
 * 1st MaillotCan.PNG National Road Race Championships

 * 2000
 * 1st Stage 5 Redlands Bicycle Classic
 * 1st MaillotCan.PNG National Time Trial Championships

 * 2002
 * 1st Commonwealth Games Time Trial

 * 2011
 * 1st Pan American Championships Time Trial
 * 1st Pan American Championships Road Race
 * 1st La visite chrono du Gatineau
 * 1st MaillotCan.PNG National Time Trial Championships

 * 2012
 * 1st Stage 4b (TTT) Energiewacht Tour
 * 1st La visite chrono du Gatineau
 * 1st MaillotCan.PNG National Time Trial Championships

Long track speed skating
In the 2000/2001 season, Hughes made a successful comeback to speed skating, participating in the World Single Distance Championships in Salt Lake City, where she finished 11th in the 3000 m.

The following season, she qualified for the 2002 Winter Olympics. After placing 10th in the 3000 m, she won the bronze medal in the 5000 m, just ahead of compatriot Cindy Klassen. With this, she became the second speed skater to win medals in the Summer and Winter Games — Christa Luding-Rothenburger won a gold in the 1000 m speed skating and silver in the 1000 m cycling sprint in 1988. She became the fourth person and second woman to win medals at the Summer and Winter Games. In 2006, she was the only Olympian to have won multiple medals at the Summer Games as well as at the Winter Games.

In 2006, although she had not been asked, she announced she would not carry the Canadian flag during the opening ceremonies of the 2006 Winter Olympics in Turin, Italy. At those Olympics, she won her first gold medal in the 5000 m and a silver medal in the team pursuit as part of the Canadian team. She earned her fifth Olympic medal at the 2006 Games, tying the total all-time Canadian medal count record, also held by Marc Gagnon and Phillip Edwards. Klassen set a new record in the same games, winning five medals in Turin, for a total of six.

Inspired by Joey Cheek, who donated his gold medal bonus to Right to Play, Hughes donated $10,000 of her own money to Right to Play after her 2006 gold medal win in the 5000 m. (Canada did not give out medal bonuses at the time).

Hughes was also a world record holder on 10,000 m track with 14:19.73 on March 13, 2007, on the Olympic Oval in Calgary, which was beaten by Martina Sáblíková one year later. However, that time is still the Canadian record.

On January 29, 2010, she was announced as the Canadian Flag Bearer for the 2010 Winter Olympics in Vancouver. During the games she won a bronze medal in the 5,000 metres which was also the final Olympic speed skating race of her career. Her time of 6:55.73 became a new track record, though her time was soon beaten by Stephanie Beckert of Germany and gold medalist Martina Sáblíková of the Czech Republic. This brought her career medals total to six, tying teammate Cindy Klassen as the Canadian athlete with the most medals.

Personal life
She is the National Spokesperson for the Bell Canada 'Let's Talk Mental Health' initiative, including Bell 'Let's Talk Day'. Hughes uses her past struggles with depression to relate to others and to help combat issues including the stigma involved with mental health issues. "Hughes battled deep depression, which threatened to derail her life, after winning two bronze medals in cycling at the 1996 Olympics." Since 2013, Hughes has initiated annual bike rides across Canada in order to raise awareness about mental health. In 2015, a CTV-produced documentary Clara's Big Ride premiered on the fifth annual Bell Let's Talk Day (a national mental health awareness day in Canada). Her memoir, Open Heart, Open Mind, was published in 2015.

Personal bests
Current Canadian Record Former World Record

 * All information from Speed Skating Canada records page and Clara Hughes's SSC profile

Honours
In 2006, she was awarded the Order of Manitoba, and in 2007, she was made a Member of the Order of Canada.

On May 23, 2008, she was awarded an Honorary Doctorate of Law from the University of Manitoba.

In 2008, Hughes was named an in motion Champion by the Province of Manitoba.

On February 12, 2010, she was the Canadian Olympic Team flag bearer for the Opening Ceremonies of the 2010 Olympic Winter Games in Vancouver.

On April 7, 2010, she was made an officer of the Order of Canada.

On June 8, 2010, it was announced that she would receive a star on Canada's Walk of Fame.

On September 23, 2010, she received an honorary degree from the University of New Brunswick in a special Toronto ceremony.

On November 15, 2010, Hughes was inducted into Canada's Sports Hall of Fame.

On January 16, 2012, The Canadian Association for the Advancement of Women and Sport and Physical Activity (CAAWS) announced Hughes as one of twenty women selected to the Most Influential Women in Sport and Physical Activity list (MIW) for 2011. The objective of the list is to focus on women who are leaders and role models making a difference on the Canadian or international scene. The women on the MIW are influential women who contributed in a significant way to sport and physical activity in the year 2011. This is Clara Hughes third time on the CAAWS Most Influential Women List.

On April 27, 2013, the steep hill on Sydenham Road in Dundas, Ontario on which she trained for seven years was officially renamed 'Clara's Climb'. There is a plaque there in her honour describing her training and accomplishments.

In 2014, Hughes received the Loyola Medal from Concordia University.

On June 30, 2014, Hughes was honoured with the Meritorious Service Cross (Civil Division).

On January 29, 2015, the official opening ceremony was held for a school named after Hughes. Open since September 2014, the Clara Hughes Public School is located in Oshawa, Ontario. At the ceremony, Hughes said, "It is without exception the greatest honour that I have in my life, to have my name here."

On June 14, 2016, Hughes was awarded an Honorary Doctorate of Law from the University of Victoria.

title: Clara Hughes