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Manderley

Manderley is a fictional estate in Daphne du Maurier's 1938 novel Rebecca, owned by the character Maxim de Winter.

Located in southern England (often said to be Cornwall as this was where the author lived, and explicitly stated as such in the Hitchcock adaptation), Manderley is a typical country estate: it is filled with family heirlooms, is run by a large domestic staff and is open to the public on certain days.

In spite of the house's beauty, the main character, the unnamed narrator, who has become mistress of Manderley, senses an atmosphere of doom about it, due to the death of Max's first wife (the titular Rebecca), and it is hinted that Rebecca haunts the estate.

Du Maurier's childhood visits to Milton Hall, Cambridgeshire, home of the Fitzwilliam family, influenced the descriptions of Manderley, especially the interior. She told the 10th Earl Fitzwilliam in a letter that when she wrote Rebecca 20 years later, the interior of Manderley was based on her recollection of the rooms and 'big house feel' of Milton in the First World War. The adult du Maurier's Cornish home near Fowey, called Menabilly, was influential in her descriptions of the setting, though it was a much smaller house. Seven years after writing the novel, she leased the manor (1945–1967) from the Rashleigh family, who have owned it since the 16th century. Like Menabilly, Manderley could not be seen from the road.

In popular culture

 * Manderley appears in the film and television adaptations of the novel: the 1940 film by Alfred Hitchcock, the 1997 television series, and the 2020 film by Ben Wheatley.
 * As a result of the novel's popularity, the name "Manderley" became extremely popular as a name for ordinary houses. The Irish singer Enya renamed her Dublin castle Manderley Castle.
 * A "Manderley Castle" features in one of the Anno Dracula books by Kim Newman.
 * Danish film director Lars von Trier's 2005 film Manderlay is set in a country estate with a large domestic staff.
 * In Stephen King's 1998 novel, Bag of Bones, "Manderley" is a semi-isolated lake house in Maine, identified with Sara Laughs, in the dreams of the main character Mike Noonan.
 * There is a fully functional "Manderley Bar" in the fictional McKittrick Hotel, home to the immersive theater performance of "Sleep No More" in New York City on West 27 Street. The bar is named after the estate from "Rebecca," and several characters, plots, and themes from the novel appear in the performance.

title: Manderley


text:
Fromental Halévy

Jacques-François-Fromental-Élie Halévy, usually known as Fromental Halévy (27 May 1799 – 17 March 1862), was a French composer. He is known today largely for his opera La Juive.

Early career
Halévy was born in Paris, son of the cantor Élie Halfon Halévy, who was the secretary of the Jewish community of Paris and a writer and teacher of Hebrew, and a French Jewish mother. The name Fromental (meaning 'oat grass'), by which he was generally known, reflects his birth on the day dedicated to that plant: 7 Prairial in the French Revolutionary calendar, which was still operative at that time. He entered the Conservatoire de Paris at the age of nine or ten (accounts differ), in 1809, becoming a pupil and later protégé of Cherubini. After two second-place attempts, he won the Prix de Rome in 1819: his cantata subject was Herminie.

As he had to delay his departure to Rome because of the death of his mother, he was able to accept the first commission that brought him to public attention: a Marche Funèbre et De Profundis en Hébreu for three part choir, tenor and orchestra, which was commissioned by the Consistoire Israélite du Département de la Seine, for a public service in memory of the assassinated duc de Berry, performed on 24 March 1820. Later, his brother Léon recalled that the De Profundis, "infused with religious fervor, created a sensation, and attracted interest to the young laureate of the institute".

Halévy was chorus master at the Théâtre Italien, while he struggled to get an opera performed. Despite the mediocre reception of L'artisan, at the Opéra-Comique in 1827, Halévy moved on to be chorus master at the Opéra. The same year he became professor of harmony and accompaniment at the Conservatoire de Paris, where he was professor of counterpoint and fugue in 1833 and of composition in 1840. He had many notable students.

La Juive
With his opera La Juive, in 1835, Halévy attained not only his first major triumph, but gave the world a work that was to be one of the cornerstones of the French repertory for a century, with the role of Eléazar one of the great favorites of tenors such as Enrico Caruso. The opera's most famous aria is Eléazar's "Rachel, quand du Seigneur". Its orchestral ritornello is the one quotation from Halévy that Berlioz included in his Treatise on Instrumentation, for its unusual duet for two cors anglais. It is probable, however, that this aria was inserted only at the request of the great tenor Adolphe Nourrit, who premiered the role and may have suggested the aria's text. La Juive is one of the grandest of grand operas, with major choruses, a spectacular procession in Act I and impressive celebrations in Act III. It culminates with the heroine plunging into a vat of boiling water in Act V. Mahler admired it greatly, stating: "I am absolutely overwhelmed by this wonderful, majestic work. I regard it as one of the greatest operas ever created". Other admirers included Wagner, who wrote an enthusiastic review of Halévy's grand operas for the German press in 1841 (Wagner never showed towards Halévy the anti-Jewish animus that was so notorious a feature of his writings on Meyerbeer and Mendelssohn).

Later career
Halévy was elected to the Institut de France in 1836, but after La Juive, his real successes were relatively few, although at least three operas, L'Éclair, La reine de Chypre and Charles VI received some critical and popular acclaim. Heine commented that Halévy was an artist, but "without the slightest spark of genius". He became, however, a leading bureaucrat of the arts, becoming Secretary of the Académie des Beaux-Arts and presiding over committees to determine the standard pitch of orchestral A, to award prizes for operettas, etc. The artist Eugène Delacroix described Halévy's decline in his diaries (5 February 1855):

"I went on to Halévy's house, where the heat from his stove was suffocating. His wretched wife has crammed his house with bric-a-brac and old furniture, and this new craze will end by driving him to a lunatic asylum. He has changed and looks much older, like a man who is being dragged on against his will. How can he possibly do serious work in this confusion? His new position at the Academy must take up a great deal of his time and make it more and more difficult for him to find the peace and quiet he needs for his work. Left that inferno as quickly as possible. The breath of the streets seemed positively delicious." Halévy's cantata Prométhée enchaîné was premiered in 1849 at the Paris Conservatoire and is generally considered the first mainstream western orchestral composition to use quarter tones.

Halévy died in retirement at Nice in 1862, aged 62, leaving his last opera Noé unfinished. It was completed by his former student Georges Bizet, but was not performed until ten years after Bizet's own death.

Works
Halévy wrote some forty operas in all, including:

 * L'Artisan (1827)
 * Le Roi et le batelier (1827)
 * Clari (1828), in Italian; a modest success, even with Maria Malibran in the starring role
 * Le dilettante d'Avignon (1829)
 * Attendre et courir (1830)
 * La Langue musicale (1830)
 * La tentation (1832)
 * Les Souvenirs de Lafleur (1833)
 * Ludovic (1833), completion of an opera left unfinished by Hérold
 * La Juive (1835), his first success
 * L'éclair (1835), also a great success, in the same season
 * Guido et Ginevra (1838)
 * Les Treize (1839)
 * Le shérif (1839), which Hector Berlioz referred to as a "delightful comic opera"
 * Le Drapier (1839)
 * Le Guitarréro (1841)
 * La reine de Chypre (1841), praised by Richard Wagner
 * Charles VI (1843), revived at Compiègne in 2005
 * Le lazzarone, ou Le bien vient en dormant (1844)
 * Les Mousquetaires de la reine (1846)
 * Les Premiers pas (1847)
 * Le val d'Andorre (1848)
 * La Fée aux roses (1849)
 * La Tempesta (1850), in Italian, after Shakespeare's The Tempest
 * La Dame de pique (1850), not after Prosper Mérimée's adaptation of Alexander Pushkin's novella
 * Le Juif errant (1852), after the novel by Eugène Sue
 * Le nabab (1853)
 * Jaguarita l'Indienne (1855)
 * L'Inconsolable (1855)
 * Valentine d'Aubigny (1856)
 * La magicienne (1858)
 * Noé (1858–1862), uncompleted at Halévy's death, completed by Georges Bizet

Halévy also wrote for the ballet, provided incidental music for a French version of Aeschylus's Prometheus Bound, and wrote cantatas.

Halévy's family
Halévy's wife, Léonie (sister of Eugénie Foa) who had experienced serious mental problems during their marriage, underwent a remarkable recovery after his death and became a talented sculptor (she was 20 years younger than he.) In 1869, their daughter Geneviève married the composer Georges Bizet, who had been one of Halévy's pupils at the Conservatoire. After Bizet's death and an alliance with Élie-Miriam Delaborde, the son of Charles-Valentin Alkan, Geneviève married a banker with Rothschild connections and became a leading Parisian salonnière. Amongst the guests at her soirées was the young Marcel Proust, who used her as one of the models for the Duchesse de Guermantes in his epic In Search of Lost Time.

Halévy's brother was the writer and historian Léon Halévy, who wrote an early biography of his brother and was the father of Ludovic Halévy, librettist of many French operas, including Bizet's Carmen and Jacques Offenbach's Orpheus in the Underworld. Léon was also the father, by his mistress Lucinde Paradol, of the politician Lucien-Anatole Prévost-Paradol.

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

title: Fromental Halévy


text:
Talk:Parsec

Precision
I was trying to correct the precision of this calculation, but I think it is only a (close) approximation anyway, using the fact that tan(θ)~=θ for small θ. So, I have trimmed the number of significant digits. Ray Spalding 17:49, 19 Mar 2004 (UTC)

 * The computation offered here is not immediately clear. I think the use of the approximation tan(θ) ~= θ for small θ is acceptable here, but we should either mention this as a whole, or leave out any form of computation. I prefer the latter, that is, to just state that a parsec is approximately ... km / miles / etc . without any calculations.
 * Maurice Termeer 08:21, 27 Mar 2006 (UTC)

4,000,000,000,000,000 kilometers?
4,000,000,000,000,000 kilometers doesn't fit here, does it?

3.08567758 E+16 m = 4,000,000,000,000,000 kilometers is not correct. First of all there are two too many zeros. Secondly, if 1 km = 1000 m then the result would start with a 3, not a 4.

3.08567758 E+16 m = 30856775800000000 m = 30856775800000 km

Or am I missing something here???

Midavalo 8 March 2006

3262 or 3260?
Still no one has answered this.

Which is correct?

"1,000 parsecs (3,262 ly) "

or

"A megaparsec is one million parsecs, or about 3,260,000 light years" Katkahosz (talk) 07:29, 2 June 2024 (UTC)

 * According to the Oxford Dictionary of Astronomy, one parsec equals 3.2616 light years, 206,265 astronomical units, or 30.857 × 1012 km. Skeptic2 (talk) 08:24, 2 June 2024 (UTC)

title: Talk:Parsec


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Nelson County

Nelson County may refer to:

Places

 * Nelson County, Western Australia, Australia
 * Nelson County, Kentucky, U.S., originally Nelson County, Virginia (1784–92)
 * Nelson County, North Dakota, U.S.
 * Nelson County, Virginia, U.S. (established 1807)

title: Nelson County


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University of Maryland Global Campus

The University of Maryland Global Campus (UMGC, formerly University of Maryland University College) is a public university in Adelphi, Maryland. It is the largest institution in the University System of Maryland Established in 1947 with origins in the College of Special and Continuation Studies of the University of Maryland, College Park for mid-career working professionals and non-traditional students, UMGC offers online, hybrid and face-to-face instruction at education centers across the Washington–Baltimore metropolitan area, throughout Maryland, and across the world.

UMGC is open to all applicants for undergraduate programs, and is among the top 10 recipients of the federal G.I. Bill benefits. The university offers 125 academic programs in online, hybrid and face-to-face classes, including bachelor's, master's, and doctoral degrees, as well as undergraduate and graduate certificates. UMGC is accredited by the Middle States Commission on Higher Education.

History
UMGC is an outgrowth of the evening program for adults at the University of Maryland, which began in the 1920s. In 1947, the College of Special and Continuation Studies (CSCS) was established. In 1959, The CSCS became the University of Maryland University College (UMUC). In 1970, UMUC became an independent institution, and was a founding member of the University System of Maryland in 1988.

UMUC formerly had an international campus in Schwäbisch Gmünd, Germany, (near Stuttgart), until 2002. It also ran a two-year residential campus in Munich, Germany, from 1950 to 1992, which then moved to Augsburg, Germany, from 1993 to 1994, and then to Mannheim, Germany, in 1995 until it finally closed in 2005. The residential campus offered a two-year associate degree and mainly served high school graduate children of U.S. military and government personnel stationed in Europe.

In 2023 UMGC has more than 175 classroom and service locations on military installations and other education centers throughout the U.S., Europe, the Middle East, as well as in Asia. In 2004, UMUC shared the ICDE Prize of Excellence from the International Council for Open and Distance Education.

University name
Known as University of Maryland University College up until 2019, it was a college in the traditional American sense of the word, albeit one associated with a university—hence, "University College." The "University of Maryland" prefix indicated the historical entity to which the college belonged originally. In the university's name, "University College" represented "the specialized concentration on professional development," while "University of Maryland" represented the affiliation of the university with the University System of Maryland.

When UMUC first opened in 1947, the school was named College of Special and Continuation Studies within the University of Maryland, College Park. In 1953, Raymond Ehrensberger, chancellor of the institution at that time, wanted to change the name to something more meaningful and less cumbersome for people to say and remember. Early suggestions for the name included College of General Studies, College of Adult Education and University College.

In 1959, Chancellor Ehrensberger persuaded the University of Maryland's Board of Regents to change the name to University of Maryland University College. The name "University College" was adopted from the British university system to depict an educational institution offering "courses and programs from all academic departments outside the university's walls and normal class times." Therefore, UMUC was not a division of the University of Maryland, College Park, but rather a separate institution within the University System of Maryland.

In 2019, the university announced that its name would change to "University of Maryland Global Campus." The name change request was submitted as SB 201 and HB 319 in the 2019 regular session of the Maryland General Assembly. The name change was enacted into law on April 18, 2019 when the bill was signed by Maryland Governor Larry Hogan.

Academics
UMGC is one of the largest online public universities in the United States. Courses are delivered in online, hybrid and face-to-face formats. Even before the advent of online education by way of the World Wide Web, UMGC was a distance education pioneer and offered distance learning using its WebTycho interface by way of dial-up access. UMGC later adopted the use of the Web for connectivity to its online classrooms, as well as using television and correspondence courses to deliver course content.

The university has three schools:
 * School of Integrative and Professional Studies
 * School of Business
 * School of Cybersecurity and Information Technology

UMGC offers more than 30 bachelor's degree programs and undergraduate certificates, awarded in cybersecurity, biotechnology, business management, computers/information technology, communications, criminal justice/legal studies, and social sciences. Undergraduate students can earn credit through coursework and prior-learning programs, which recognize professional and workplace experience, including military service.

UMGC offers more than 55 master's degree programs, graduate certificates, and doctoral degrees. Most graduate programs are available in online and hybrid formats.

U.S. military locations
UMGC offers face-to-face courses and support for students at U.S. military locations in Bahrain, Djibouti, Egypt, Kuwait, Qatar, United Arab Emirates, Australia, Guam, Japan, Okinawa, Singapore, South Korea, Diego Garcia, Spain, and Italy.

Headquarters/main campus
The headquarters for UMGC is located in Adelphi, Maryland near the campus of the University of Maryland, College Park. Until late 2000, the UMGC headquarters was listed in College Park, Maryland. In an attempt to establish its own identity as an independent university, UMGC changed its postal address to Adelphi, an unincorporated community that borders College Park. The address change with the U.S. Postal Service involved no physical move of people and facilities. The marketing decision to change its postal address was one of many undertaken by UMGC to distinguish the university as one of the largest distance-education centers, with over 248,000 students enrolled worldwide in FY 2015.

UMGC Headquarters
UMGC retrofitted its headquarters in Adelphi, Md, to meet "green" building requirements for LEED certification. UMGC followed the same process as it did to achieve LEED certification in 2005 for its Inn & Conference Center, which became the first hotel complex in the United States to achieve certification as a green building.

Baltimore-Washington metropolitan area
In the greater Baltimore-Washington Metropolitan Area, classes are held at 20 locations, including on the campus of University of Maryland, College Park. The satellite campuses offer varying academic services, including advising and computer labs.

UMGC operates a facility in Dorsey Station (Md) adjacent to the Dorsey MARC Train Station. In partnership with Maryland community colleges and other University System of Maryland institutions, UMGC offers courses and degree programs at several higher education centers throughout the state. It also offers classes and advising services at the College of Southern Maryland. A consortium of universities led by Anne Arundel Community College, including UMGC, operates a higher education center adjacent to Arundel Mills mall in Hanover, Maryland. In addition, the University offers courses at the Universities at Shady Grove and University System of Maryland at Hagerstown, which are part of the University System of Maryland.

Global locations
In Europe, the Middle East, and Asia, UMGC offers courses on military bases for service members, contractors, Federal employees, and their families. In addition to distance learning via the Web, the university offers on-site, instructor-led classes and/or services at 175 overseas US military bases in 20 countries throughout the world. Overseas instruction is coordinated through its Europe Division, which covers USCENTCOM installations in the Middle East, and Asia Division. UMGC divisional headquarters are located in Kaiserslautern, Germany (following the closure of United States Army Garrison Heidelberg) and on Yokota Air Base, Tokyo, Japan, respectively.

Students
UMGC specializes in distance learning for adult, non-traditional students in Maryland, across the country, and around the world by operating education centers and offering online instruction. In FY 2023 the university enrolled almost 53,000 military-affiliated students from around the world. In FY 2023, more than 32,000 Marylanders attended UMGC.

About three-quarters of the undergraduate students attend part-time. Over ninety-two percent of UMGC students are employed full-time. The majority of undergraduate students are female. The median age of stateside undergraduate students is 31. Almost two-thirds of the graduate MBA students are married, half are female, and over a third are minorities. Over a third of UMGC's stateside students were African-American, and this minority group earned over a third of the degrees awarded by the university.

Rankings and awards
UMGC was ranked #1 in The Military Times “Best for Vets: Colleges 2015” list of top online and nontraditional schools in 2015. Military Times “Best for Vets” is one of the most respected and comprehensive rankings for veterans who are considering higher education. The publication looked at U.S. Department of Education statistics on student success and academic quality, as well as areas such as university culture, student support, and academic policies in evaluating hundreds of schools.

U.S. News & World Report ranked UMGC #131-171 in Regional Universities North for its 2022 edition of Best Colleges.

title: University of Maryland Global Campus


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Saint Louis Blues (song)

"The Saint Louis Blues" (or "St. Louis Blues") is a popular American song composed by W. C. Handy in the blues style and published in September 1914. It was one of the first blues songs to succeed as a pop song and remains a fundamental part of jazz musicians' repertoire. Benny Goodman, Louis Armstrong, Cab Calloway, Bing Crosby, Bessie Smith, Eartha Kitt, Count Basie, Glenn Miller, Guy Lombardo, Peanuts Hucko, Art Tatum, and the Boston Pops Orchestra (under the directions of both Arthur Fiedler and Keith Lockhart) are among the artists who have recorded it. The song has been called "the jazzman's Hamlet". Composer William Grant Still arranged a version of the song in 1916 while working with Handy.

The 1925 version sung by Bessie Smith, with Louis Armstrong on cornet, was inducted into the Grammy Hall of Fame in 1993. The 1929 version by Louis Armstrong & His Orchestra (with Red Allen) was inducted in 2008. The 1922 version by W.C. Handy and his Memphis Blues Band was selected by the Library of Congress for preservation in the National Recording Registry in 2023.

History
Handy said he had been inspired by a chance meeting with a woman on the streets of St. Louis, Missouri, distraught over her husband's absence, who lamented, "Ma man's got a heart like a rock cast in de sea", a key line of the song. Handy's autobiography recounts his hearing the tune in St. Louis in 1892: "It had numerous one-line verses and they would sing it all night."

Analysis
The form is unusual in that the verses are the now-familiar standard twelve-bar blues in common time with three lines of lyrics, the first two lines repeated, but it also has a 16-bar bridge written in the habanera rhythm, which Jelly Roll Morton called the "Spanish tinge" and characterized by Handy as tango.

While blues often became simple and repetitive in form, "Saint Louis Blues" has multiple complementary and contrasting strains, similar to classic ragtime compositions. Handy said his objective in writing the song was "to combine ragtime syncopation with a real melody in the spiritual tradition." T-Bone Walker commented about the song, "You can't dress up the blues... I'm not saying that 'Saint Louis Blues' isn't fine music you understand. But it just isn't blues".

Performances
Handy wrote about the first time "Saint Louis Blues" was played in 1914: "The one-step and other dances had been done to the tempo of 'Memphis Blues'... When 'St Louis Blues' was written the tango was in vogue. I tricked the dancers by arranging a tango introduction, breaking abruptly into a low-down blues. My eyes swept the floor anxiously, then suddenly I saw lightning strike. The dancers seemed electrified. Something within them came suddenly to life. An instinct that wanted so much to live, to fling its arms to spread joy, took them by the heels."

Singer and actress Ethel Waters was the first woman to sing "Saint Louis Blues" in public. She said she learned it from Charles Anderson and featured it herself during a 1917 engagement in Baltimore. The film St. Louis Blues, from 1929, featured Bessie Smith singing the song.

In 1998, "St. Louis Blues" was included on the album Gershwin's World by Herbie Hancock which featured Stevie Wonder on vocals. In 1999 at the 41st Annual Grammy Awards, this recording won two Grammys. Stevie Wonder won the Grammy for Best Male R&B Vocal Performance. In the Composing and Arranging category, Herbie Hancock, Robert Sadin and Stevie Wonder, arrangers (Herbie Hancock) won the Grammy for Best Instrumental Arrangement Accompanying Vocal(s).

In an NPR article dated August 10, 2011 titled "Evolution Of A Song: 'St. Louis Blues'" by Simon Rentner, the Gershwin - W.C. Handy connection is explained. "Composer George Gershwin borrowed W.C. Handy's themes for his own music, including for "Rhapsody in Blue," Gershwin's landmark work. Although the two musicians didn't know each other, Gershwin gave Handy a signed copy of his famous score with a note thanking Handy and acknowledging that his "early 'blues' songs are the forefathers of this work." Herbie Hancock and Stevie Wonder pay homage to Gershwin's admiration of Handy here" on Hancock's album, Gershwin's World.

title: Saint Louis Blues (song)


text:
User:ComicParty

ComicParty is named after Japanese hentai game software by Leaf, the game software brand.In Japan, I name myself Skylab.

Sorry for my poor English.

title: User:ComicParty


text:
Love Bites

Love Bites may refer to:

 * Love-bite or hickey, a small bruise caused by kissing, sucking, or biting the skin

Film and television

 * Love Bites (TV series), a 2011 drama starring Becki Newton
 * Love Bites (film), a 1993 comedy starring Adam Ant
 * Love Bites (Les Morsures de l'aube), a 2001 French thriller starring Guillaume Canet and Asia Argento
 * Lovebites, a 2006 American adaptation of the Québécois TV sitcom Un gars, une fille
 * Love Bites, a series of Valentine's Day-themed shorts from Happy Tree Friends

Music

 * Love Bites (band), a UK group
 * Lovebites (band), a Japanese heavy metal group
 * Love Bites (album), a 1978 album by Buzzcocks
 * Love Bites (EP), by The Midnight Beast

Songs

 * "Love Bites" (Def Leppard song)
 * "Love Bites" (Grace Jones song)
 * "Love Bites" (Nelly Furtado song)
 * "Love Bites" a song by Judas Priest from Defenders of the Faith
 * "Love Bites (So Do I)", a 2012 song by Halestorm

Other uses

 * Love Bites, a novel in the Vampire Kisses series by Ellen Schreiber

title: Love Bites


text:
Murray County

Murray County may refer to:

In Australia:
 * Murray County, New South Wales
 * Murray County, Western Australia

In the United States:
 * Murray County, Georgia
 * Murray County, Minnesota
 * Murray County, Oklahoma

title: Murray County


text:
Opéra-Comique

The Opéra-Comique is a Paris opera company which was founded around 1714 by some of the popular theatres of the Parisian fairs. In 1762 the company was merged with – and for a time took the name of – its chief rival, the Comédie-Italienne at the Hôtel de Bourgogne. It was also called the Théâtre-Italien up to about 1793, when it again became most commonly known as the Opéra-Comique. Today the company's official name is Théâtre national de l'Opéra-Comique, and its theatre, with a capacity of around 1,248 seats, sometimes referred to as the Salle Favart (the third on this site), is located at Place Boïeldieu in the 2nd arrondissement of Paris, not far from the Palais Garnier, one of the theatres of the Paris Opéra. The musicians and others associated with the Opéra-Comique have made important contributions to operatic history and tradition in France and to French opera. Its current mission is to reconnect with its history and discover its unique repertoire to ensure production and dissemination of operas for the wider public. Mainstays of the repertory at the Opéra-Comique during its history have included the following works which have each been performed more than 1,000 times by the company: Cavalleria Rusticana, Le chalet, La dame blanche, Le domino noir, La fille du régiment, Lakmé, Manon, Mignon, Les noces de Jeannette, Le pré aux clercs, Tosca, La bohème, Werther and Carmen, the last having been performed more than 2,500 times.

Origins

Since the Middle Ages popular light theatrical entertainments had been a part of the seasonal Parisian fairs, especially the Foire Saint-Germain and the Foire Saint-Laurent. They included farces, tightrope acts, acrobatics, and marionettes, and also included music, such as vaudevilles and popular songs. The audiences were diverse, from all levels of society, and the presentations were given on makeshift stages. However, with the establishment in 1672 of King Louis XIV's Académie royale de Musique (popularly known as the Opéra) under Jean-Baptiste Lully, the use of music by fair troupes was significantly curtailed.

When the Italian players at the Hôtel de Bourgogne were banished from Paris in 1697 for performing their comedy La fausse prude ("The False Prude"), which satirized the King's wife, Madame de Maintenon, the fair theatres were quick to adopt much of the Italians' repertory, which included parodies of operas and tragedies. The fair theatres were soon viewed as competition by the Opéra and the Comédie-Française, and restrictions were again more strictly enforced. The troupes at the Foire Saint-Germain and the Foire Saint-Laurent received warnings from the police in 1699 and 1706. Although in 1708 the fairground entrepreneurs Charles Alard and Maurice were able to purchase from the Opéra's director Pierre Guyenet the right to use singers, dancers, musicians, and sets, this did not last as Guyenet died in 1712, leaving the Opéra with a debt in the neighborhood of 400,000 livres. Alard resorted to giving silent performances with the actors' speeches displayed to the audience on large cue cards. The players next tried including vaudeville airs via audience participation: the musicians would play a popular tune, and the spectators would sing, while the actors remained silent. This was further enhanced when the words began to be displayed to the audience on a large banner.

Foundation and early history
In 1713 and 1714 several of the fair troupes were able to conclude a new series of agreements with the creditors of the deceased Guyenet, who at this point had become the managers of the rather expensive Opéra. For an annual fee the troupes obtained the right to perform light comedies interspersed with songs and dances and to use sets and theatre machines. They were also given the right to use the name "Opéra-Comique". The first work officially given that designation was Télémaque (a parody of the opera by André Cardinal Destouches), which was first performed by the Théâtre de la Foire Saint-Germain in 1715. The words were by Alain-René Lesage, the music was arranged by Jean-Claude Gillier, and the orchestra consisted of 15 players. Lesage authored many of the early opéras comiques, and composers like Gillier worked primarily as arrangers of existing music. In 1716 one of the troupes' leaders, Catherine Vanderberg purchased additional rights and began to present more original works by authors, such as Jacques-Philippe d'Orneval, Alexis Piron, and Louis Fuzelier. In these early days the role of librettist for the theatre was more important than that of the composer – and pre-eminent among them for more than forty years was Charles-Simon Favart, who made his first contribution in 1734 and achieved his first important success with La chercheuse d'esprit in 1741.

In 1743 the impresario Jean Monnet paid 12,000 livres to the Opéra for the right to run the Opéra-Comique, He renovated the theatre and brought together a group of highly talented creative artists, including, besides Favart, who also worked as a stage director, the comedian Préville, the stage designer François Boucher, and the ballet master Dupré and his pupil Jean-Georges Noverre. Jean-Philippe Rameau may also have been the leader of the orchestra. The company was, however, too successful, and the Opéra refused to renew Monnet's privilege in 1745. After working briefly in Lyon, and mounting unsuccessful productions in Dijon (1746) and London (1749), he was able to repurchase the Opéra-Comique privilège in December 1751 and remained its director until 1757.

During his second period as director, Monnet continued to work with Favart and Noverre, and Boucher designed and built a substantial new theatre for the company of the Foire Saint-Laurent in 1752. The theatre was later installed in a wing of the Hôtel des Menus-Plaisirs on the rue Bergère, where it was used by the Opéra in 1781, and then as the first concert hall of the Paris Conservatory, which was founded on the same site in 1795. The new theatre was especially important, as it enabled the company to perform at times when the fair was not in operation. Monnet's friend Jean-Joseph Vadé wrote the libretto for Les troqueurs, first staged in July 1753 and advertised as a translation of an Italian work. The music was actually original, composed by Antoine Dauvergne, and began a period of new works in a more Italian style in which music played a much more significant role. Composers for the company during this period included Egidio Duni, François-André Danican Philidor and Pierre-Alexandre Monsigny.

The dramatist Michel-Jean Sedaine wrote the text of his first opera for the company, Le diable à quatre, in 1756. It premiered at the Fair Saint-Laurent on 19 August with verses for the ariettes provided by Pierre Baurans and with music parodying a variety of composers including Vincenzo Legrenzio Ciampi, Duni, Baldassare Galuppi, and Giuseppe Scarlatti, and also included music attributed to the French composers Jean-Louis Laurette and Philidor. Christoph Willibald Gluck was later to compose his own music for the work. His version was first given in Laxenburg, Austria, on 28 May 1759. Other settings were later composed for the Opéra-Comique by Bernardo Porta (14 February 1790) and Jean-Pierre Solié (30 November 1809).

1762 to 1807

On 3 February 1762 the Opéra-Comique was merged into the Comédie-Italienne and occupied the Hôtel de Bourgogne, gaining in respectability what it lost in independence. The company was renamed to Opéra-Comique by an edict of the king in 1780, although the names Comédie-Italienne and Théâtre Italien were still used frequently by the press and public for many years thereafter. In 1783 the company moved again, into the Salle Favart (architect Jean-François Heurtier; ca. 1,100 seats) on the site where the current theatre stands. Around that time the works of Grétry featured strongly.

With the proliferation of opera houses after the Law of 1791 which removed restrictions on the opening of theatres, there was competition with the Théâtre Feydeau, which was resolved in 1801 by merger. By 1807 Napoleon had reduced theatrical freedoms, and the Opéra-Comique was named one of four primary theatres in Paris.

The 19th century

French opéra comique, in the 19th century at least, was not necessarily "comic" either in the classical sense of ending happily or the modern one of being funny; the term covered a much wider category of work. Notable composers in the history of the Opéra-Comique include Auber, Halévy, Berlioz and Bizet. After Rossini's arrival in Paris, new works at the Opéra-Comique took in Italian vocal style and techniques, leading to greater virtuosity, although "the repertory as a whole stood as a bulwark against the italianate invasion of Rossini".

In 1840, the Opéra-Comique company settled in the second Salle Favart (architect Louis Charpentier; 1,500 seats), built on the site of the first theatre, destroyed by fire in 1838. The new house was inaugurated with a revival of Hérold's Le Pré aux clercs. During the 1850s and 1860s the Théâtre Lyrique offered competition in the type of repertoire staged, being particularly strong in its policy of new commissions.

Performances took place on most evenings of the week except for major festivals. Boxes could be hired for a year at a time, and many subscribers were wealthy. Before 1848 a third of subscribers were of the aristocracy, but after then it became an especially middle class theatre. After 1848 Émile Perrin sought to revive the repertoire with more literary and ambitious works. Until 1864 its repertoire was still prescribed, by statute, to have spoken dialogue between musical numbers.

The Opéra-Comique staged the first performances of such important French works as Berlioz's The Damnation of Faust (1846), Thomas' Mignon (1866), and Bizet's Carmen (1875). In the latter part of the century the theatre revived works it had made its own, restaged works from the repertoire of the Théâtre Lyrique (which had closed in 1872) and premiered new pieces, such as Offenbach's Les Contes d'Hoffmann (1881); Delibes' Lakmé (1883); Massenet's Manon (1884), Esclarmonde (1889), and Werther (French premiere in 1893); and Charpentier's Louise (1900).

A fire at the Salle Favart on 25 May 1887 resulted in the death of 84 people by asphyxiation. The building was destroyed and the director Léon Carvalho was forced to resign, although later he was acquitted of blame and resumed the helm at the company from 1891 to 1897. The third Salle Favart (architect Louis Bernier) was officially opened in the presence of President Félix Faure on 7 December 1898.

The 20th century and beyond
As the differences between opéra and opéra comique faded, the two main houses in Paris came more into competition, although the Salle Favart saw the premieres of more innovative works: Debussy's Pelléas et Mélisande (1902), Dukas' Ariane et Barbe-bleue (1907), Ravel's L'heure espagnole (1911), and French premieres of works by Puccini and Falla. Between 1900 and 1950, 401 works by 206 different composers were performed at the Opéra-Comique, of which 222 were either world premieres (136) or the first performance in Paris (86).

In June 1936 a broadcast of Les Contes d'Hoffmann was disrupted by the start of a company sit-in demanding the director's resignation. In 1939 financial problems resulted in the Opéra-Comique being merged with the Opéra to become the 'Réunion des Théatres Lyriques Nationaux'. Notable premieres during this period included Poulenc's Les Mamelles de Tiresias (1947) and La Voix humaine (1959). However, by the end of the Second World War, the Opéra-Comique's best artists, assets and repertory had been gradually taken from it to enrich the Opéra.

The Opéra-Comique discovered some fresh energy in 1950s, restaging Roméo et Juliette, Orphée et Eurydice, Le roi malgré lui and Les noces de Jeannette and introducing Bluebeard's Castle, Landowski's Les Adieux and Dallapiccola's Volo di Notte to attract new audiences and keep the attention of the arts establishment. At the start of the 1960s Stéphane Wolff, claimed that the theatre could regain its independence: "well-managed, it could again become what it was for so long, the most active and therefore the leading lyric stage in France". However, in 1972 the Opéra-Comique company was closed (although the theatre itself received visiting productions) and its government grant added to that of the Opéra.

Although the company of the Opéra-Comique was disbanded (followed 20 years later by the closure of the opéra comique classes at the Paris Conservatoire), from 1978 works were staged again at the theatre, both from its traditional repertoire (Le médecin malgré lui and Werther) as well as more adventurous repertoire: La chatte anglaise in 1984, Denisov's L'Écume des Jours, as well as productions with international stars, including Jessye Norman as Dido in 1984. While still battling for survival the theatre hosted one of the major baroque revivals: Atys, with Les Arts Florissants in 1987. The company regained its autonomy and returned, albeit with an inadequate budget, to the Salle Favart in 1990. Although its budget amounted to less than most provincial French opera houses, the first new director of the independent Opéra-Comique, Thierry Fouquet, attempted to run a balanced programme but handed over in 1994 to Pierre Médecin, who was responsible for the centenary season in 1998 with a new production of Pelléas et Mélisande. The loss of private sponsors led to a policy of musical comedy and operetta under Jérôme Savary from 2000. A decree of November 2004 put the theatre on a new basis, stressing the variety of productions it should mount: "de l'opéra baroque à la création contemporaine et le patrimoine de l'Opéra-Comique".

It currently mounts 7 or 8 operas or opéra comiques (some of them co-productions), with complementary concerts, recitals and exhibitions, each season. In common with many other opera houses the Opéra-Comique also offers relayed performances to cinemas (around France and in Europe); Carmen in June 2009 and Béatrice et Bénédict in March 2010. In 2013 an opera critic was moved to write that of Paris lyric theatres "over the past seven seasons, [the Opéra-Comique] has best succeeded in establishing a particular identity and achieving consistent quality in its productions".

In the summer of 2015 the theatre closed for 18 months for major refurbishment including the costume department, the salle Bizet, and the hall Boieldieu. During the closure a webopera and a fan zone at the UEFA Cup where spectators were invited to sing well-known opéra-comique songs took place. After the works, the theatre reopened in 2017, with the first stage production since the composer's death of Marais's Alcione (on 25 April 2017) with Jordi Savall conducting Le Concert des Nations.

Directors
The information in the following list is compiled from Wild, Levin, and Wolff.

1829–1830 Paul-Auguste Ducis

1830, July – 5 August, Jean-François Boursault, Alexandre Huvé de Garel

1830–1831 Alexandre Singier

1831–1832 Émile Lubbert

1832, 14 January – 1 June, Émile Laurent

1832–1834 Paul Dutreich

1834–1845 François-Louis Crosnier, Alphonse Cerfbeer (administrator)

1845–1848 Alexandre Basset

1848–1857 Émile Perrin

1857–1860 Nestor Roqueplan

1860–1862 Alfred Beaumont

1862, 1 February – 20 December, Émile Perrin

1862–1870 Adolphe de Leuven, Eugène Ritt

1870–1874 Adolphe de Leuven, Camille du Locle

1874-1876 Camille du Locle

1876-1887 Léon Carvalho

1887, May to December, Jules Barbier

1888-1891 Louis Paravey

1891-1897 Léon Carvalho

1898-1913 Albert Carré

1914-1918 Pierre-Barthélemy Gheusi, Émile and Vincent Isola

1919-1925 Albert Carré, Émile and Vincent Isola

1925-1931 Louis Masson and Georges Ricou

1931-1932 Louis Masson

1932-1936 Pierre-Barthélemy Gheusi

1936-1939 14 member committee presided by Antoine Mariotte

1939-1940 Henri Busser

1941-1944 Max d'Ollone

1944 Lucien Muratore

1944 (Liberation) 4 member committee: Roger Désormière, Pierre Jamin, Louis Musy and Émile Rousseau

1945-1946 Albert Wolff

1946-1948 Henry Malherbe

1948-1951 Emmanuel Bondeville

1952-1953 Louis Beydts

1990-1994 Thierry Fouquet

1994-1999 Pierre Médecin

2000-2007 Jérôme Savary

2007-2015 Jérôme Deschamps

2015-2021 Olivier Mantei.

2021-2026 Louis Langrée

Music directors
1849-1868 Théophile Tilmant

1868-1876 Adolphe Deloffre

1876     Charles Constantin

1876-1877 Charles Lamoureux

1877-1898 Jules Danbé

1898-1904 André Messager

1904-1906 Alexandre Luigini

1906-1908 François Ruhlmann

1909     Gustave Doret

1910-1913 François Ruhlmann

1914-1919 Paul Vidal

1919-1921 André Messager

1921-1924 Albert Wolff

1924-1925 Désiré-Émile Inghelbrecht

1925-1932 Maurice Frigara

1932-1936 Paul Bastide

1936-1944 Eugène Bigot

1947-1953 André Cluytens

Cited sources

 * Charlton, David (1986). Grétry and the Growth of Opéra-Comique. Cambridge: Cambridge University Press. ISBN 978-0-521-25129-7.
 * Cook, Elisabeth (1992). "Monnet [Monet], Jean" in Sadie 1992, vol. 3, p. 436.
 * Fauser, Annegret; Everist, Mark, editors (2009). Music, Theater, and Cultural Transfer: Paris, 1830–1914. Chicago: The University of Chicago Press. ISBN 978-0-226-23926-2.
 * Gourret, Jean (1985). Histoire des salles de l'Opéra de Paris, p. 83. Paris: Guy Trédaniel. ISBN 978-2-85707-180-8.
 * Harris-Warrick, Rebecca; Charlton, David; Johnson, Janet; Langham Smith, Richard; Pitt, Charles (1992). "Paris" in Sadie 1992, vol. 3, pp. 855–879.
 * Johnson, Victoria (2008). Backstage at the Revolution: How the Royal Paris Opera Survived the End of the Old Regime. Chicago: University of Chicago Press. ISBN 978-0-226-40195-9.
 * Levin, Alicia (2009). "Appendix: A Documentary Overview of Musical Theaters in Paris, 1830–1900" in Fauser and Everist 2009, pp. 379–402.
 * Pitou, Spire (1983). The Paris Opéra: an encyclopedia of operas, ballets, composers, and performers (3 volumes). Westport, Connecticut: Greenwood Press. ISBN 978-0-686-46036-7.
 * Sadie, Stanley, ed. (1992). The new Grove dictionary of opera (4 volumes). London: Macmillan. ISBN 978-1-56159-228-9.
 * Simeone, Nigel (2000). Paris – A Musical Gazetteer. New Haven: Yale University Press. ISBN 978-0-300-08053-7.
 * Warrack, John; West, Ewan (1992). The Oxford Dictionary of Opera. Oxford: Oxford University Press. ISBN 978-0-19-869164-8.
 * Warrack, John; West, Ewan (1996). The Concise Oxford Dictionary of Opera. Oxford: Oxford University Press. ISBN 978-0-19-280028-2.
 * Wild, Nicole ([1989]). Dictionnaire des théâtres parisiens au XIXe siècle: les théâtres et la musique. Paris: Aux Amateurs de livres. ISBN 9780828825863. ISBN 9782905053800 (paperback). View formats and editions at WorldCat.
 * Wild, Nicole (1992). "Guyenet, Pierre" in Sadie 1992, vol. 2, p. 586.
 * Wild, Nicole; Charlton, David (2005). Théâtre de l'Opéra-Comique Paris: répertoire 1762-1972. Sprimont, Belgium: Editions Mardaga. ISBN 978-2-87009-898-1.
 * Wolff, Stéphane (1953). Un demi-siècle d'Opéra-Comique (1900-1950). Paris: André Bonne.

Additional sources

 * Élart, Joann (2004). Catalogue des fonds musicaux conservés en Haute-Normandie. Tome I : Bibliothèque municipale de Rouen. Volume 1 : Fonds du Théâtre des Arts (XVIIIe et XIXe siècles), coll. Patrimoine musical régional (in French). Rouen: PURH. ISBN 978-2-87775-333-3.

title: Opéra-Comique


text:
Ethical dilemma

In philosophy, an ethical dilemma, also called an ethical paradox or moral dilemma, is a situation in which two or more conflicting moral imperatives, none of which overrides the other, confront an agent. A closely related definition characterizes an ethical dilemma as a situation in which every available choice is wrong. The term is also used in a wider sense in everyday language to refer to ethical conflicts that may be resolvable, to psychologically difficult choices or to other types of difficult ethical problems.

This article concerns ethical dilemmas in the strict philosophical sense, often referred to as genuine ethical dilemmas. Various examples have been proposed but there is disagreement as to whether these constitute genuine or merely apparent ethical dilemmas. The central debate around ethical dilemmas concerns the question of whether there are any. Defenders often point to apparent examples while their opponents usually aim to show their existence contradicts very fundamental ethical principles. Ethical dilemmas come in various types. An important distinction concerns the difference between epistemic dilemmas, which give a possibly false impression to the agent of an unresolvable conflict, and actual or ontological dilemmas. There is broad agreement that there are epistemic dilemmas but the main interest in ethical dilemmas takes place on the ontological level. Traditionally, philosophers held that it is a requirement for good moral theories to be free from ethical dilemmas. But this assumption has been questioned in contemporary philosophy.

Definition
A person is in an ethical dilemma if they stand under several conflicting moral obligations and no obligation overrides the others. Two ethical requirements are conflicting if the agent can do one or the other but not both: the agent has to choose one over the other. Two conflicting ethical requirements do not override each other if they have the same strength or if there is no sufficient ethical reason to choose one over the other. Only this type of situation constitutes an ethical dilemma in the strict philosophical sense, often referred to as a genuine ethical dilemma. Other cases of ethical conflicts are resolvable and are therefore not ethical dilemmas strictly speaking. This applies to many instances of conflict of interest as well. For example, a businessman hurrying along the shore of a lake to a meeting is in an ethical conflict when he spots a drowning child close to the shore. But this conflict is not a genuine ethical dilemma since it has a clear resolution: jumping into the water to save the child significantly outweighs the importance of making it to the meeting on time. Also excluded from this definition are cases in which it is merely psychologically difficult for the agent to make a choice, for example, because of personal attachments or because the knowledge of the consequences of the different alternatives is lacking.

Ethical dilemmas are sometimes defined not in terms of conflicting obligations but in terms of not having a right course of action, of all alternatives being wrong. The two definitions are equivalent for many but not all purposes. For example, it is possible to hold that in cases of ethical dilemmas, the agent is free to choose either course of action, that either alternative is right. Such a situation still constitutes an ethical dilemma according to the first definition, since the conflicting requirements are unresolved, but not according to the second definition, since there is a right course of action.

Examples
Various examples of ethical dilemmas have been proposed but there is disagreement as to whether these constitute genuine or merely apparent ethical dilemmas. One of the oldest examples is due to Plato, who sketches a situation in which the agent has promised to return a weapon to a friend, who is likely to use it to harm someone since he is not in his right mind. In this example, the duty to keep a promise stands in conflict with the duty to prevent that others are harmed. It is questionable whether this case constitutes a genuine ethical dilemma since the duty to prevent harms seems to clearly outweigh the promise. Another well-known example comes from Jean-Paul Sartre, who describes the situation of one of his students during the German occupation of France. This student faced the choice of either fighting to liberate his country from the Germans or staying with and caring for his mother, for whom he was the only consolation left after the death of her other son. The conflict, in this case, is between a personal duty to his mother and the duty to his country. The novel Sophie's Choice by William Styron presents one more widely discussed example. In it, a Nazi guard forces Sophie to choose one of her children to be executed, adding that both will be executed if she refuses to choose. This case is different from the other examples in which the conflicting duties are of different types. This type of case has been labeled symmetrical since the two duties have the same type.

Types
Ethical dilemmas come in different types. The distinctions between these types are often important for disagreements about whether there are ethical dilemmas or not. Certain arguments for or against their existence may apply only to some types but not to other types. And only some types, if any, may constitute genuine ethical dilemmas.

Epistemic vs ontological
In epistemic ethical dilemmas, it is not clear to the agent what should be done because the agent is unable to discern which moral requirement takes precedence. Many decisions in everyday life, from a trivial choice between differently packaged cans of beans in the supermarket to life-altering career-choices, involve this form of uncertainty. But unresolvable conflicts on the epistemic level can exist without there actually being unresolvable conflicts and vice versa.

The main interest in ethical dilemmas is concerned with on the ontological level: whether there actually are genuine dilemmas in the form of unresolvable conflicts between moral requirements, not just whether the agent believes so. The ontological level is also where most of the theoretical disagreements happen since both proponents and opponents of ethical dilemmas usually agree that there are epistemic ethical dilemmas. This distinction is sometimes used to argue against the existence of ethical dilemmas by claiming that all apparent examples are in truth epistemic in nature. In some cases, this can be shown by how the conflict is resolved once the relevant information is obtained. But there may be other cases in which the agent is unable to acquire information that would settle the issue, sometimes referred to as stable epistemic ethical dilemmas.

Self-imposed vs world-imposed
The difference between self-imposed and world-imposed ethical dilemmas concerns the source of the conflicting requirements. In the self-imposed case, the agent is responsible for the conflict. A common example in this category is making two incompatible promises, for example, to attend two events happening at distant places at the same time. In the world-imposed case, on the other hand, the agent is thrown into the dilemma without being responsible for it occurring. The difference between these two types is relevant for moral theories. Traditionally, most philosophers held that ethical theories should be free from ethical dilemmas, that moral theories that allow or entail the existence of ethical dilemmas are flawed. In the weak sense, this prohibition is only directed at the world-imposed dilemmas. This means that all dilemmas are avoided by agents who strictly follow the moral theory in question. Only agents who diverge from the theory's recommendations may find themselves in ethical dilemmas. But some philosophers have argued that this requirement is too weak, that the moral theory should be able to provide guidance in any situation. This line of thought follows the intuition that it is not relevant how the situation came about for how to respond to it. So e.g. if the agent finds themselves in the self-imposed ethical dilemma of having to choose which promise to break, there should be some considerations why it is right to break one promise rather than the other. Utilitarians, for example, could argue that this depends on which broken promise results in the least harm to all concerned.

Obligation vs prohibition
An obligation is an ethical requirement to act in a certain way while a prohibition is an ethical requirement to not act in a certain way. Most discussions of ethical dilemmas focus on obligation dilemmas: they involve two conflicting actions that the agent is ethically required to perform. Prohibition dilemmas, on the other hand, are situations in which no course of action is allowed. It has been argued that many arguments against ethical dilemmas are only successful in regard to obligation dilemmas but not against prohibition dilemmas.

Single-agent vs multi-agent
Ethical dilemmas involve two courses of action that are both obligatory but stand in conflict with each other: it is not possible to perform both actions. In regular single-agent cases, a single agent has both conflicting obligations. In multi-agent cases, the actions are still incompatible but the obligations concern different people. For example, two contestants engaged in a competition may have both the duty to win if that is what they promised to their families. These two obligations belonging to different people are conflicting since there can be only one winner.

Other types
Ethical dilemmas can be divided according to the types of obligations that are in conflict with each other. For example, Rushworth Kidder suggests that four patterns of conflict can be discerned: "truth versus loyalty, individual versus community, short term versus long term, and justice versus virtue". These cases of conflicts between different types of duties can be contrasted with conflicts in which one type of duty conflicts with itself, for example, if there is a conflict between two long-term obligations. Such cases are often called symmetric cases. The term "problem of dirty hands" refers to another form of ethical dilemmas, which specifically concerns political leaders who find themselves faced with the choice of violating commonly accepted morality in order to bring about some greater overall good.

Existence of ethical dilemmas
The problem of the existence of ethical dilemmas concerns the question of whether there are any genuine ethical dilemmas, as opposed to, for example, merely apparent epistemic dilemmas or resolvable conflicts. The traditional position denies their existence but there are various defenders of their existence in contemporary philosophy. There are various arguments for and against both sides. Defenders of ethical dilemmas often point to apparent examples of dilemmas while their opponents usually aim to show their existence contradicts very fundamental ethical principles. Both sides face the challenge of reconciling these contradictory intuitions.

Arguments in favor
A common way to argue in favor of ethical dilemmas is to cite concrete examples. Such examples are quite common and can include cases from everyday life, stories, or thought experiments, like Sartre's student or Sophie's Choice discussed in the section on examples. The strength of arguments based on examples rests on the intuition that these cases actually are examples of genuine ethical dilemmas. Opponents of ethical dilemmas often reject this argument based on the claim that the initial intuitions in such cases are misleading. For example, it may turn out that the proposed situation is impossible, that one choice is objectively better than the other or that there is an additional choice that was not mentioned in the description of the example. But for the argument of the defenders to succeed, it is sufficient to have at least one genuine case. This constitutes a considerable difficulty for the opponents since they would have to show that our intuitions are mistaken not just about some of these cases but about all of them. Some opponents have responded to this difficulty by arguing that all these cases merely constitute epistemic but not genuine dilemmas, i.e. that the conflict merely seems unresolvable because of the agent's lack of knowledge. This position is often defended by utilitarians. Support for it comes from the fact that the consequence of even simple actions are often too vast for us to properly anticipate. According to this interpretation, we mistake our uncertainty about which course of action outweighs the other for the idea that this conflict is not resolvable on the ontological level. Defenders of ethical dilemmas usually agree that there are many cases of epistemic dilemmas that are resolvable but seem unresolvable. However, they reject that this claim can be generalized to apply to all examples.

The argument from moral residue is another argument in favor of ethical dilemmas. Moral residue, in this context, refers to backward-looking emotions like guilt or remorse. These emotions are due to the impression of having done something wrong, of having failed to live up to one's obligations. In some cases of moral residue, the agent is responsible herself because she made a bad choice which she regrets afterward. But in the case of an ethical dilemma, this is forced on the agent no matter how she decides. Going through the experience of moral residue is not just something that happens to the agent but it even seems to be the appropriate emotional response. The argument from moral residue uses this line of thought to argue in favor of ethical dilemmas by holding that the existence of ethical dilemmas is the best explanation for why moral residue in these cases is the appropriate response. Opponents can respond by arguing that the appropriate response is not guilt but regret, the difference being that regret is not dependent on the agent's previous choices. By cutting the link to the possibly dilemmatic choice, the initial argument loses its force. Another counter-argument allows that guilt is the appropriate emotional response but denies that this indicates the existence of an underlying ethical dilemma. This line of argument can be made plausible by pointing to other examples, e.g. cases in which guilt is appropriate even though no choice whatsoever was involved.

Arguments against
Some of the strongest arguments against ethical dilemmas start from very general ethical principles and try to show that these principles are incompatible with the existence of ethical dilemmas, that their existence would therefore involve a contradiction.

One such argument proceeds from the agglomeration principle and the principle that ought implies can. According to the agglomeration principle, if an agent ought to do one thing and ought to do another thing then this agent ought to do both things. According to ought implies can, if an agent ought to do both things then the agent can do both things. But if the agent can do both things, there is no conflict between the two courses of action and therefore no dilemma. It may be necessary for defenders to deny either the agglomeration principle or the principle that ought implies can. Either choice is problematic since these principles are quite fundamental.

Another line of argumentation denies that there are unresolvable ethical conflicts. Such a view may accept that we have various duties, which may conflict with each other at times. But this is not problematic as long as there is always one duty that outweighs the others. It has been proposed that the different types of duties can be ordered into a hierarchy. So in cases of conflict, the higher duty would always take precedent over the lower one, for example, that telling the truth is always more important than keeping a promise. One problem with this approach is that it fails to solve symmetric cases: when two duties of the same type stand in conflict with each other. Another problem for such a position is that the weight of the different types of duties seems to be situation-specific: in some cases of conflict we should tell the truth rather than keep a promise, but in other cases the reverse is true. This is, for example, W. D. Ross's position, according to which we stand under a number of different duties and have to decide on their relative weight based on the specific situation. But without a further argument, this line of thought just begs the question against the defender of ethical dilemmas, who may simply deny the claim that all conflicts can be resolved this way.

A different type of argument proceeds from the nature of moral theories. According to various authors, it is a requirement for good moral theories that they should be action-guiding by being able to recommend what should be done in any situation. But this is not possible when ethical dilemmas are involved. So these intuitions about the nature of good moral theories indirectly support the claim that there are no ethical dilemmas.

title: Ethical dilemma


text:
Sporting colours

Sporting colours or just colours (sometimes with a modifier, e.g. club colours or school colours) are awarded to members of a university or school who have excelled in a sport. Many schools do not limit their use to sport but may also give colours for academic excellence or non-sporting extra-curricular activities,  Colours are traditionally indicated by the wearing of a special tie or blazer.

Many university colours are known by the name of the colour used, which is usually the colour worn by the university's sports teams, e.g. Blue at Oxford and Cambridge, Palatinate at Durham, Pink at Trinity College Dublin or Red at Bristol. These are similar to the varsity letters awarded by American universities.

The level of representation required for the award of a colour varies between the different schemes. A full Palatinate at Durham, a Royal Blue at Liverpool or Full Colours at Cardiff require a student to have represented their country, while at Oxford the requirement for a full Blue is to have represented the university in a varsity match against Cambridge in an eligible sport. In many colour award schemes, it is possible to receive a half colour. These are normally given for lower levels of achievement than a full colour.

History
University colours were first introduced in the second University Boat Race between Oxford and Cambridge in 1836. Durham adopted palatinate purple for its degree hoods at about the same time. At Cambridge, teams would seek permission of the boat club to use their blue colour; by the 1860s the established sports with full blue status were rowing, cricket and athletics. In 1884, the rugby and football clubs awarded themselves blues following their varsity matches (against Oxford), leading to a debate at the Cambridge Union that was decisively lost by the boat club. The hockey club also gained full blue status (in 1894) before the system was formalised by the establishment of the blues committee in 1912. The award of Palatinates for sports at Durham dates to at least 1883, when the cricket "Eleven" were permitted to wear the "university coat" (i.e. blazer) of palatinate purple rather than the claret coat of the club, and the award of both Palatinates and half Palatinates was well established by the end of the century. Manchester adopted maroon in 1905. Trinity College Dublin adopted Pink in 1950.

University colours
Different universities award different colours, often based on the colour worn by their athletes. Sometimes these are known by the colour used, but they may also simply be known as "colours". These include:

 * Aberdeen: Blue
 * Bath: Blue
 * Birmingham: Blue
 * Bristol: Red
 * Cambridge: Blue
 * Cardiff: Colours
 * Dublin: Pink or Colours
 * Dundee: Blue (with Colours as a lower-level below Half Blue)
 * Durham: Palatinate
 * Edinburgh: Colours
 * Glasgow: Blue
 * Heriot-Watt: Blue
 * Leeds: Colours
 * Liverpool: Blue or Colours
 * London: Purple
 * Loughborough: AU Colours
 * Manchester (pre-2004): Maroon
 * Nottingham Trent: Colours
 * Oxford: Blue
 * Robert Gordon: Blue
 * St Andrews: Blue or Colours
 * St Mary's: Blue
 * Sheffield: Colours
 * Stirling: Blue or Colours

title: Sporting colours


text:
Oak Street Connector

The Oak Street Connector, officially known as the Richard C. Lee Highway (named after former New Haven mayor Richard C. Lee), is a 0.6 mi freeway carrying Route 34 in downtown New Haven, Connecticut, United States. The freeway begins at the junction of Interstate 95 and Interstate 91 and ends at Orange Street.

Much of the connector has been closed to traffic as part of the first phase of the New Haven Downtown Crossing Project. As of 2022, most of the road is a surface street.

History
As originally planned in 1957, the Connector was supposed to extend as a full expressway extending ten miles (16 km) westward from New Haven to a proposed interchange with Route 8 in the vicinity of the towns of Derby or Shelton, depending on the alignment selected for construction. The current connector section was completed in 1959.

The entire project was conceived with a dual purpose: urban renewal and traffic flow. The first goal was to completely clear this area of New Haven's downtown. The highway replaced Oak Street (formerly Morocco Street) which had been a poor area since the days when leather workers congregated along West Creek. In the beginning of the twentieth century, the area became home to many Jewish and Irish immigrants. The freeway was also meant to bring cars into the city and facilitate the east–west flow of traffic between New Haven and its growing western suburbs. Due to its limited completion, only the first goal can be said to have been fully achieved. Other plans for the highway to be extended into a larger expressway from New Haven to Peekskill, New York were shelved in the mid-1970s, following successful challenges by highway opponents.

The right-of-way between South Frontage Road and Reverend Dr. Martin Luther King, Jr. Boulevard (originally North Frontage Road) in New Haven to Route 10 was preserved for a future extension of the connector past Route 10 to rejoin the existing Route 34 at a signalized intersection west of Route 122 in Orange. A small portion of the planned freeway extension that was built in Orange during the 1980s is now used as a commuter parking lot.

Decommissioning
During Connecticut's budget crisis of 2002, the State of Connecticut sold off land acquired for numerous planned expressways throughout the state, including land set aside for extending the Oak Street Connector. Pfizer Pharmaceuticals purchased a portion of the Oak Street Connector right-of-way, and built a US$35 million research facility on it. The Pfizer deal ensured the Oak Street Connector could not be extended beyond its terminus at the Air Rights Parking Garage near Yale-New Haven Hospital.

After the completion of the Pfizer research facility in 2005, New Haven Mayor John DeStefano, Jr. and several leaders of local civic groups began pushing the Connecticut Department of Transportation (ConnDOT) to study removing part of the existing Oak Street Connector (re-routing traffic onto Legion Avenue and M.L.K. Jr. Boulevard in the process) and replacing it with buildings and developments.

The project would remove the portion of the Oak Street Connector west of Orange Street, creating two large parcels of land divided by College Street on which buildings and developments could be built. Inbound traffic would be re-routed onto Martin Luther King Jr. Boulevard (aka North Frontage Road) while outbound traffic would be re-routed onto Legion Avenue (aka South Frontage Road). In addition, both roads would be rebuilt and widened to accommodate increased traffic, and furnished with landscaping and bicycle lanes. The road bed of the original highway would be reused as a driveway to and from the Air Rights Garage, allowing commuters to reach the Air Rights Garage while avoiding traffic on College and Church streets. The segment of the Oak Street Connector east of Orange Street was retained as a freeway stub connecting the new frontage streets with the I-91/I-95 interchange, which itself was also rebuilt from 2011 to 2016.

The removal of part of this freeway stub would be part of a larger project called New Haven Downtown Crossing which seeks to reconnect New Haven's street grid which was originally disconnected by the construction of the connector.

ConnDOT and the City of New Haven began preparing the environmental impact statement for removing the Oak Street Connector in 2011, and in mid-2013 construction began on phase one of Downtown Crossing began which completed the aforementioned upgrades to Martin Luther King Jr. Boulevard, as well as construction of 100 College Street. The Oak Street Connector west of Orange Street officially closed to westbound traffic on July 14, 2014, with traffic re-routed onto the newly-rebuilt Martin Luther King Jr. Boulevard. A portion of the old roadbed remains in use as a driveway to and from the Air Rights Garage. Eastbound traffic was officially rerouted to Legion Avenue in 2018.

title: Oak Street Connector


text:
Morton County

Morton County is the name of two counties in the United States:

 * Morton County, Kansas
 * Morton County, North Dakota

title: Morton County


text:
Morrow County

Morrow County is the name of two counties in the United States:

 * Morrow County, Ohio
 * Morrow County, Oregon

title: Morrow County


text:
La Roche-sur-Yon

La Roche-sur-Yon is a commune in the Vendée department in the Pays de la Loire region in western France. It is the capital of the department. The demonym for its inhabitants is Yonnais.

Known for its historical significance and cultural heritage, La Roche-sur-Yon also houses a wide range of educational institutions, from primary schools to higher education establishments.

History
The town expanded significantly after Napoleon I chose the site as the new préfecture of the Vendée on 25 May 1804, replacing Fontenay-le-Comte (then under its revolutionary name of Fontenay-le-Peuple). At the time, most of La Roche had been eradicated in the Vendée Revolt (1793–96); the renamed Napoléonville was laid out and a fresh population of soldiers and civil servants was brought in. Napoléonville was designed to accommodate 15,000 people.

The town was called successively:
 * La Roche-sur-Yon (during the Ancien Régime and the French First Republic)
 * Napoléon-sur-Yon (during the First French Empire)
 * Bourbon-Vendée (during the French Restoration)
 * Napoléon-Vendée (during the French Second Empire)

Geography
The river Yon flows southward through the commune and crosses the town.

Climate
La Roche-sur-Yon has an oceanic climate (Köppen climate classification Cfb). The average annual temperature in La Roche-sur-Yon is 12.4 C. The average annual rainfall is 885.5 mm with November as the wettest month. The temperatures are highest on average in August, at around 19.5 C, and lowest in January, at around 6.1 C. The highest temperature ever recorded in La Roche-sur-Yon was 41.5 C on 18 July 2022; the coldest temperature ever recorded was -15.4 C on 10 February 1986.

Population
The population data in the table and graph below refer to the commune of La Roche-sur-Yon proper, in its geography at the given years. The commune of La Roche-sur-Yon absorbed the former communes of Le Bourg-sous-la-Roche-sur-Yon and Saint-André-d'Ornay in 1964.

Administration
The Communauté d'agglomération "La Roche-sur-Yon Agglomération" contains 15 communes:
 * Aubigny
 * Chaillé-sous-les-Ormeaux
 * La Chaize-le-Vicomte
 * Les Clouzeaux
 * Dompierre-sur-Yon
 * La Ferrière
 * Fougeré
 * Landeronde
 * Mouilleron-le-Captif
 * Nesmy
 * La Roche-sur-Yon
 * Saint-Florent-des-Bois
 * Le Tablier
 * Thorigny
 * Venansault

La Roche-sur-Yon is the chief town of the Arrondissement of La Roche-sur-Yon, which covers 11 cantons, 92 communes, and has a population of 230,386 (1999 census).

La-Roche-sur-Yon is chief town of two cantons, Canton of La Roche-sur-Yon-1 and Canton of La Roche-sur-Yon-2.

Transport
The Gare de La Roche-sur-Yon railway station offers connections to Nantes, Paris, Les Sables-d'Olonne, Bordeaux and several regional destinations. The A87 motorway connects La Roche-sur-Yon with Les Sables-d'Olonne and Angers, the A83 with Nantes and Niort.

The airport, situated north of the city, on the East of the Lake "Moulin Papon", is host to a private jet business (SD Aviation), linking the city with Europe and North Africa. The airport is frequently used by general aviation, business jets and charter flights. There is no regular flight though.

Primary and Secondary Education
The commune has designated attendance zones for its primary schools.

Schools include:
 * 2 public preschools (écoles maternelles)
 * 2 public elementary schools
 * 13 public school groups of combined preschools and elementary schools
 * 6 private elementary schools
 * Public junior high schools: Collège Auguste et Jean-Renoir, Collège mixte Les Gondoliers, Collège mixte Edouard Herriot, Collège Haxo
 * Private junior high schools: Collège mixte du Sacré-Coeur, Collège mixte Richelieu, Collège mixte Saint-Louis
 * Public senior high schools: Lycée Nature (general education and agricultural technology), Lycée d'état mixte Alfred-Kastler, Lycée polyvalent Jean de Lattre-de-Tassigny, Lycée polyvalent Pierre-Mendès-France, and Lycée professionnel Edoaurd Branly
 * Private senior high schools: Lycée Saint-François d'Assise, Lycée d'enseignement général et technologique Notre-Dame-du-Roc, Lycée les Etablières
 * One grande école : Institut catholique d'arts et métiers

Higher Education
La Roche-sur-Yon is home to several higher education institutions:

 * Université de Nantes — La Roche-sur-Yon Campus: An extension of the University of Nantes, this campus hosts a variety of undergraduate programs including Business Administration, Computer Science, and Law.
 * IUT La Roche-sur-Yon: A part of the University Institute of Technology, it provides vocational-technical education, granting two-year diplomas in fields like Mechanical Engineering, Business and Administration Management, and Multimedia and Internet Technologies.
 * ICES (Institut Catholique d'Études Supérieures): A private institution known for programs in humanities, social sciences, law, and business.

Specialized Institutions
La Roche-sur-Yon also hosts several specialized educational institutions:

 * École Supérieure de Design de La Roche-sur-Yon: A design school offering programs in graphic design, product design, and interaction design.

 * Conservatoire à rayonnement départemental de La Roche-sur-Yon: A music, dance, and drama school providing a wide range of courses for all ages.

Sports
In 2014 La Roche-sur-yon hosted the 2014 French championship of table tennis

La Roche-sur-Yon's Vendéspace hosted one of the first round ties of the 2014 Davis Cup tennis tournament over the weekend of 31 January - 2 February 2014. France hosted Australia as both teams competed for a place in the World Group quarterfinals.

In 2015 La Roche-sur-Yon, will host the 2015 FIRS Men's Roller Hockey World Cup, the first time that a World Cup of roller hockey is held in France.

In June 2015 La Roche-sur-Yon's Vendéspace will host the qualification tournament for the World Championships in Savate Combat

Twin towns – sister cities
La Roche-sur-Yon is twinned with:
 * 🇩🇪 Gummersbach, Germany
 * Coleraine, Northern Ireland, United Kingdom
 * 🇨🇦 Drummondville, Canada
 * 🇪🇸 Cáceres, Spain, since 1982
 * Tizi Ouzou, Algeria, since 1989
 * 🇩🇪 Burg bei Magdeburg, Germany, since 2005
 * Broomhedge, Northern Ireland, United Kingdom, since 2021

Notable people

 * Joséphine Colomb (1833-1892), children's writer, lyricist, translator
 * Ciryl Gane (born 1990), mixed martial artist, former UFC Interim Heavyweight Champion
 * Adlène Guedioura (born 1985), Algerian former professional footballer
 * Thomas Laurent (born 1998), racing driver
 * Nicolas Marroc (born 1986), racing driver
 * MHD (born 1994), rapper

title: La Roche-sur-Yon


text:
AMPK

AMPK may refer to:

 * AMP-activated protein kinase, an enzyme
 * (acetyl-CoA carboxylase) kinase, an enzyme

title: AMPK


text:
User:SinCity~enwiki

I am currently a student at the Norwegian School of Management, BI, where I am about to complete my degree with a specialization in Strategy. Fall 2003 I attended strategy- and Spanish courses at the ITESM, Monterrey, Mexico.

I have mainly been working on the Norwegian version of Wikipedia.

Outside school I play baseball in Bekkestua Baseballklubb, do some watersport (surfing), and I most definately love music.

no:bruker:SinCity

title: User:SinCity~enwiki


text:
Talk:Dawn of the Dead (1978 film)

Untitled
I added a comprehensive new section on the film's making.

I removed the reference to the 'belgian ending' wherein the heroine, Fran, meets a horrific demise. There is a long standing controversy as to whether this ending was actually filmed. Director George Romero has stated that it was not filmed, whereas SFX guru Tom Savini says that it was. If someone actually has a copy of this ending, please share it. Brian_Schlosser42 19 March 2004 13:21
 * In the documentary "Document of the Dead" Romero himself says that both versions were shot. --80.144.216.87 16:37, 22 March 2006 (UTC)

Changed the reference to Pittsburgh SWAT members. The movie, though filmed in Pittsburgh, even sporting Pittsburgh cop cars onscreen, begins in Philadelphia, and thus those two characters are not Pittsburgh SWAT members, but Philadelphia SWAT members.

Using some of the phrases already in place, I completely re-wrote and expanded upon the plot and general information. --209.195.156.174 06:05, 9 Nov 2004 (UTC)

What happened to this page? Someone added a bunch of code gibberish. Is there a quick way to just bring the page back a few edits to a point where the page isn't a mess?

I re-added the Production Information section. Why was it deleted in the first place? If someone is able to give me a good reason, I'll support it. Otherwise, leave it alone. Altermoor 03:26, 14 Feb 2005 (UTC)

Soundtrack section
I've added a soundtrack section since I thought it was strange that a soundtrack which receives so much attention (through reference to the film and the like) was absent from the article with no mention of Goblin at all and only the vaguest mention of songs like "The Gonk". I also moved some of the trivia facts to this section. I hope that is ok with everyone. --Thetriangleguy 20:24, 3 April 2006 (UTC)

Two Things
1. External trivia should be in a different section (some punk band writing a song is not a trivia fact about DAWN). 2. Superfluous listing of jokes from SHAUN OF THE DEAD is not appropriate here. Or anywhere really. 24.33.28.52 06:13, 16 May 2006 (UTC)
 * I divided up the trivia secion. Really, there is a lot in both sections that are poorly written and could use re-writes, and some of the more important ones could be incorporated into the article itself.  I don't see where the list of SHAUN OF THE DEAD jokes is, however. ~CS 17:52, 16 May 2006 (UTC)

I pulled it myself after making the comment (trimmed the Shaun reference down). 24.33.28.52 06:48, 17 May 2006 (UTC)

Novelization Question
Does anyone have any verification for the theory that "Susannah Sparrow" was just Christine under a pen name? If true, that would be worth noting.

Stupid Question
Sorry for asking, but does anyone know the name of the song that runs over the end credits of the film? It's been used loads of time on TV, but I just can't find a name for it. Thanks!

 * It's covered in the article under the soundtrack section: the track in question is Herbert Chappell's "The Gonk" originally recorded in 1965. I'll make an edit or two to make this more clear. ~CS 23:57, 23 May 2006 (UTC)

Trivia Problem
There is a slight problem with formatting in the beginning, but I am unsure how it is supposed to read. I haven't had much practice in editing articles, so I decided to post this here. Help in rectifying the problem would be appreciated.

Gross
Hi! What is the source of the Gross number stated in the article? Isn't it a bit high? --80.144.237.179 10:32, 17 July 2006 (UTC)

 * The worldwide gross listed in the information box apparently had too many zeros. I changed it from $400,000,000 to $40,000, which is the figure stated in the "Post-production and release" section.

 * I'm not sure where the $40,000 figure came from. IMDb reports that the worldwide gross was $55,000,000. --Keith111 12:46, 8 August 2006 (UTC)

Ratings Confusion
An NC-17 is not "a buffer between R and the X rating." It was introduced by the MPAA to replace the untrademarked X rating, which was being self-applied by pornographers. See MPAA film rating system. --Keith111 16:52, 7 August 2006 (UTC)

stop changing the budget. it can be verified in the zombies that ate pittsburgh by paul cagne. it was not 500,000 - it was 1.5 million

 * I'm not sure who your comment is directed at. I changed the worldwide gross, not the budget figure, as described in the note above. --Keith111 21:18, 2 September 2006 (UTC)

nc-17
(re: above comment) re-read this section - it is likening nc-17 to a middle ground between r and x, not stating as a fact that it was.

 * It is misleading to "liken nc-17 to a middle ground between r and x," because an NC-17 is not, in fact, "like" a middle ground between R and X. The NC-17 rating replaced the X rating. It is essentially the same rating with a new name, in the sense that filmmakers try to avoid the NC-17 rating, just as with the old X rating, and children are not admitted to NC-17 movies playing at theaters—just as they were not permitted to see X-rated movies back when that rating was still being issued. --Keith111 22:06, 2 September 2006 (UTC)

Budget dispute
I've just reverted the budget back to $500,000. It seems that the $1,500,000 figure comes from the book "The Zombies That Ate Pittsburgh" - which was first published in 1987. According to the $1,500,000 numbers was for foreign distributors to justify charging them more for the film.

Given that the book was published in 1987 - and the interviews were likely done in 1986 - it's not surprising that Romero is still distorting the budget. The foreign distributors they lied to would be the same distributors that they would be trying to sell "Day of the Dead", "Monkey Shines", etc. to. It makes sense that he would maintain the story - so as not to hurt the chances of numerous later films getting brought and distributed.

Some time later the producer Richard Rubenstein comes clean on the "real" budget. IMDB embraces it as the correct budget - as do we. Anyway - that's my interpretation of what's going on. Megapixie 06:42, 1 September 2006 (UTC)

 * Unfortunately, the trivia sections of IMDB are notoriously inaccurate. They are submitted by users and, unlike Wikipedia, not easily changed if incorrect. I'm not certain what the real figure is, but I think a more reliable source than IMDB needs to be found for citation.  Citing the DVD commentary directly is probably the most accurate source.  I haven't listend to it all the way through, so I don't know offhand what scene he mentions it in.  Anyone else? ~CS 23:53, 1 September 2006 (UTC)

Oi!
This article wouldn't look very bad with some screenshots, eh?

Citation?
"Following the scenario set up in the previous movie, Night of the Living Dead, the film depicts the United States of America struck by a plague[citation needed]"
 * Why does this need citation? Surely the zombies are a plague in every sense of the word? Desdinova
 * I wondered about that too. Does this mean every description of the story, setting, characters also needs citations? Asa01 08:00, 10 October 2006 (UTC)

I believe the user who tagged it may have simply confused the use of the word "plague" with disease, thus mixing it up with the viral explanation that Romero's film lack, but are insintuated in the Dawn remake and other zombie fiction. The user even added the invisible note that "the movie doesn't specify" with the tag, which indicates that this is a misunderstanding. I call for it to be removed unless I'm missing something.--Bacteria 13:37, 13 October 2006 (UTC)
 * My thoughts exactly - I removed it. Desdinova 23:19, 17 October 2006 (UTC)

External links modified
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the cast
The cast list on the page gives (un-cited) surnames for the main four characters. These surnames are at no point mentioned in the film itself, the the credits list only given names for the characters. It's my opinion there should either be a citation for the surnames, or they should be edited back to being given names only.203.221.113.60 (talk) 05:49, 1 November 2016 (UTC)
 * That was my recollection, too. But half the time when I write a plot summary on Wikipedia, I get a character's name wrong, so I obviously don't have a mind for remembering names.  However, the American Film Institute credits the characters without surnames: link.  So, if you want to remove the surnames, I think it would be alright. NinjaRobotPirate (talk) 17:39, 1 November 2016 (UTC)

External links modified
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Add what the sequels are
It says it spawned 4 sequels, someone should list what they are. — Preceding unsigned comment added by 72.39.11.139 (talk) 09:54, 20 November 2017 (UTC)

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References in pop culture
It just hit me that there is a GTA mission called “Brawn of the Dead”, in which your character acts as a stunt man for a zombie flick set in a mall that is only allowed to shoot during closing hours. Seeing as though the mission’s name itself is a pun on the film’s title, and some of the production details are referenced, I would like to add this information. Rcaminoj (talk) 19:27, 22 February 2019 (UTC)

Why is it not available anywhere
Does anybody have an answer to why you can’t stream this movie anywhere? 2601:646:9801:43B0:68F5:96DA:D413:5DDB (talk) 09:34, 29 March 2022 (UTC)

title: Talk:Dawn of the Dead (1978 film)


text:
Human body weight

Human body weight is a person's mass or weight.

Strictly speaking, body weight is the measurement of weight without items located on the person. Practically though, body weight may be measured with clothes on, but without shoes or heavy accessories such as mobile phones and wallets, and using manual or digital weighing scales. Excess or reduced body weight is regarded as an indicator of determining a person's health, with body volume measurement providing an extra dimension by calculating the distribution of body weight.

Average adult human weight varies by continent, from about 60 kg in Asia and Africa to about 80 kg in North America, with men on average weighing more than women.

Estimation in children

There are a number of methods to estimate weight in children for circumstances (such as emergencies) when actual weight cannot be measured. Most involve a parent or health care provider guessing the child's weight through weight-estimation formulas. These formulas base their findings on the child's age and tape-based systems of weight estimation. Of the many formulas that have been used for estimating body weight, some include the Advanced Pediatric Life Support formula, the Leffler formula, and Theron formula. There are also several types of tape-based systems for estimating children's weight, with the best-known being the Broselow tape. The Broselow tape is based on length with weight read from the appropriate color area. Newer systems, such as the PAWPER tape, make use of a simple two-step process to estimate weight: the length-based weight estimation is modified according to the child's body habitus to increase the accuracy of the final weight prediction.

The Leffler formula is used for children 0–10 years of age. In those less than a year old, it is

$$m = \tfrac{1}{2}a_m + 4$$

and for those 1–10 years old, it is

$$m = 2a_y + 10$$

where m is the number of kilograms the child weighs and am and ay respectively are the number of months or years old the child is.

The Theron formula is

$$m = e^{0.175571a_y + 2.197099}$$

where m and ay are as above.

Fluctuation
Body weight varies in small amounts throughout the day, as the amount of water in the body is not constant. It changes due to activities such as drinking, urinating, or exercise. Professional sports participants may deliberately dehydrate themselves to enter a lower weight class, a practice known as weight cutting.

Ideal body weight
Ideal body weight (IBW) was initially introduced by Ben J. Devine in 1974 to allow estimation of drug clearances in obese patients; researchers have since shown that the metabolism of certain drugs relates more to IBW than total body weight. The term was based on the use of insurance data that demonstrated the relative mortality for males and females according to different height-weight combinations.

The most common estimation of IBW is by the Devine formula; other models exist and have been noted to give similar results. Other methods used in estimating the ideal body weight are body mass index and the Hamwi method. The IBW is not the perfect fat measurement, as it does not show the fat or muscle percentage in one's body. For example, athletes' results may show that they are overweight when they are actually very fit and healthy. Machines like the dual-energy X-ray absorptiometry can accurately measure the percentage and weight of fat, muscle, and bone in a body.

Devine formula
The Devine formula for calculating ideal body weight in adults is as follows:
 * Male ideal body weight = 50 kg + 0.9 kg × (height (cm) − 152)
 * Female ideal body weight = 45.5 kg + 0.9 kg × (height (cm) − 152)

Hamwi method
The Hamwi method is used to calculate the ideal body weight of the general adult:
 * Male ideal body weight = 48 kg + 1.1 kg × (height (cm) − 152)
 * Female ideal body weight = 45.4 kg + 0.9 kg × (height (cm) − 152)

Sports
Participants in sports such as boxing, mixed martial arts, wrestling, rowing, judo, sambo, Olympic weightlifting, and powerlifting are classified according to their body weight, measured in units of mass such as pounds or kilograms. See, e.g., wrestling weight classes, boxing weight classes, judo at the 2004 Summer Olympics, and boxing at the 2004 Summer Olympics.

Medicine
Ideal body weight, specifically the Devine formula, is used clinically for multiple reasons, most commonly in estimating renal function in drug dosing, and predicting pharmacokinetics in morbidly obese patients.

By region
Data from 2005:

Global statistics
Researchers at the London School of Hygiene and Tropical Medicine published a study of average weights of adult humans in the journal BMC Public Health and at the United Nations conference Rio+20.

title: Human body weight