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Adderall

Adderall and Mydayis are trade names for a combination drug called mixed amphetamine salts (“MAS” products) containing four salts of amphetamine. The mixture is composed of equal parts racemic amphetamine and dextroamphetamine, which produces a (3:1) ratio (by weight) between dextroamphetamine and levoamphetamine, the two enantiomers of amphetamine. In terms of base, rather than salts, the ratio (by weight) is 3.15:1 for dextro- to levoamphetamine. Both enantiomers are stimulants, but differ enough to give Adderall an effects profile distinct from those of racemic amphetamine or dextroamphetamine, which are marketed as Evekeo and Dexedrine/Zenzedi, respectively. MAS is used in the treatment of attention deficit hyperactivity disorder (ADHD) and narcolepsy. It is also used illicitly as an athletic performance enhancer, cognitive enhancer, appetite suppressant, and recreationally as a euphoriant. It is a central nervous system (CNS) stimulant of the phenethylamine class.

At therapeutic doses, MAS product causes emotional and cognitive effects such as euphoria, change in sex drive, increased wakefulness, and improved cognitive control. At these doses, it induces physical effects such as a faster reaction time, fatigue resistance, and increased muscle strength. In contrast, much larger doses of MAS product can impair cognitive control, cause rapid muscle breakdown, provoke panic attacks, or induce a psychosis (e.g., paranoia, delusions, hallucinations). The side effects vary widely among individuals but most commonly include insomnia, dry mouth, loss of appetite and weight loss. The risk of developing an addiction or dependence is insignificant when MAS is used as prescribed and at fairly low daily doses, such as those used for treating ADHD. However, the routine use of MAS in larger and daily doses poses a significant risk of addiction or dependence due to the pronounced reinforcing effects that are present at high doses. Recreational doses of MAS products are generally much larger than prescribed therapeutic doses and also carry a far greater risk of serious adverse effects.

The two amphetamine enantiomers that compose MAS product, such as Adderall® tablets/capsules (levoamphetamine and dextroamphetamine), alleviate the symptoms of ADHD and narcolepsy by increasing the activity of the neurotransmitters norepinephrine and dopamine in the brain, which results in part from their interactions with human trace amine-associated receptor 1 (hTAAR1) and vesicular monoamine transporter 2 (VMAT2) in neurons. Dextroamphetamine is a more potent Central nervous system (CNS) stimulant than levoamphetamine, but levoamphetamine has slightly stronger cardiovascular and peripheral effects and a longer elimination half-life than dextroamphetamine. The levoamphetamine component of MAS has been reported to improve the treatment response in some individuals relative to dextroamphetamine alone. The active ingredient in MAS products, amphetamine, shares many chemical and pharmacological properties with the human trace amines, particularly phenethylamine and N-methylphenethylamine, the latter of which is a positional isomer of amphetamine. In 2021, MAS products, including Adderall® brand, was the seventeenth most commonly prescribed medication in the United States, with more than 30million prescriptions.

Medical
Mixed amphetamine salt tablet/capsule is commonly used to treat attention deficit hyperactivity disorder (ADHD) and narcolepsy (a sleep disorder).

Available forms
Adderall® is available as immediate-release (IR) tablets and extended-release (XR) capsules. Mydayis® MAS product is only available in an triphasic extended-release formulation. Adderall XR is approved to treat ADHD for up to 12 hours in individuals 6 years and older and uses a double-bead formulation. The capsule can be swallowed like a tablet, or it can be opened and the beads sprinkled over applesauce for comparable absorption. Upon ingestion, half of the beads provide immediate administration of medication, while the other half are enveloped in a coating which must dissolve, delaying absorption of its contents. It is designed to provide a therapeutic effect and plasma concentrations identical to taking two doses of Adderall IR four hours apart. Mydayis uses a longer-lasting triple-bead formulation and is approved to treat ADHD for up to 16 hours in individuals 13 years and older. In the United States, the immediate and extended-release formulations of Adderall are both available as generic drugs. Generic formulations of Mydayis became available in the US in October 2023.

Enhancing performance
Adderall has been banned in the National Football League (NFL), Major League Baseball (MLB), National Basketball Association (NBA), and the National Collegiate Athletics Association (NCAA). In leagues such as the NFL, there is a very rigorous process required to obtain an exemption to this rule even when the athlete has been medically prescribed the drug by their physician.

Recreational
Adderall has high potential for misuse as a recreational drug. Adderall tablets can either be swallowed, crushed and snorted, or dissolved in water and injected. Injection into the bloodstream can be dangerous because insoluble fillers within the tablets can block small blood vessels.

Many postsecondary students have reported using Adderall for study purposes in different parts of the developed world. Among these students, some of the risk factors for misusing ADHD stimulants recreationally include: possessing deviant personality characteristics (i.e., exhibiting delinquent or deviant behavior), inadequate accommodation of disability, basing one's self-worth on external validation, low self-efficacy, earning poor grades, and having an untreated mental health disorder.

Adverse effects
The adverse side effects of Adderall are many and varied, but the amount of substance consumed is the primary factor in determining the likelihood and severity of side effects. Adderall is currently approved for long-term therapeutic use by the USFDA. Recreational use of Adderall generally involves far larger doses and is therefore significantly more dangerous, involving a much greater risk of serious adverse drug effects than dosages used for therapeutic purposes.

Interactions

 * Monoamine oxidase inhibitors (MAOIs) taken with amphetamine may result in a hypertensive crisis if taken within two weeks after last use of an MAOI type drug.
 * Inhibitors of enzymes that directly metabolize amphetamine (particularly CYP2D6 and FMO3) will prolong the elimination of amphetamine and increase drug effects.
 * Serotonergic drugs (such as most antidepressants) co-administered with amphetamine increases the risk of serotonin syndrome.
 * Stimulants and antidepressants (sedatives and depressants) may increase (decrease) the drug effects of amphetamine, and vice versa.
 * Gastrointestinal and urinary pH affect the absorption and elimination of amphetamine, respectively. Gastrointestinal alkalinizing agents increase the absorption of amphetamine. Urinary alkalinizing agents increase concentration of non-ionized species, decreasing urinary excretion.
 * Proton-pump inhibitors (PPIs) modify the absorption of Adderall XR and Mydayis.
 * Zinc supplementation may reduce the minimum effective dose of amphetamine when it is used for the treatment of ADHD.

Mechanism of action
Amphetamine, the active ingredient of Adderall, works primarily by increasing the activity of the neurotransmitters dopamine and norepinephrine in the brain. It also triggers the release of several other hormones (e.g., epinephrine) and neurotransmitters (e.g., serotonin and histamine) as well as the synthesis of certain neuropeptides (e.g., cocaine and amphetamine regulated transcript (CART) peptides). Both active ingredients of Adderall, dextroamphetamine and levoamphetamine, bind to the same biological targets, but their binding affinities (that is, potency) differ somewhat. Dextroamphetamine and levoamphetamine are both potent full agonists (activating compounds) of trace amine-associated receptor 1 (TAAR1) and interact with vesicular monoamine transporter 2 (VMAT2), with dextroamphetamine being the more potent agonist of TAAR1. Consequently, dextroamphetamine produces more CNS stimulation than levoamphetamine; however, levoamphetamine has slightly greater cardiovascular and peripheral effects. It has been reported that certain children have a better clinical response to levoamphetamine.

In the absence of amphetamine, VMAT2 will normally move monoamines (e.g., dopamine, histamine, serotonin, norepinephrine, etc.) from the intracellular fluid of a monoamine neuron into its synaptic vesicles, which store neurotransmitters for later release (via exocytosis) into the synaptic cleft. When amphetamine enters a neuron and interacts with VMAT2, the transporter reverses its direction of transport, thereby releasing stored monoamines inside synaptic vesicles back into the neuron's intracellular fluid. Meanwhile, when amphetamine activates TAAR1, the receptor causes the neuron's cell membrane-bound monoamine transporters (i.e., the dopamine transporter, norepinephrine transporter, or serotonin transporter) to either stop transporting monoamines altogether (via transporter internalization) or transport monoamines out of the neuron; in other words, the reversed membrane transporter will push dopamine, norepinephrine, and serotonin out of the neuron's intracellular fluid and into the synaptic cleft. In summary, by interacting with both VMAT2 and TAAR1, amphetamine releases neurotransmitters from synaptic vesicles (the effect from VMAT2) into the intracellular fluid where they subsequently exit the neuron through the membrane-bound, reversed monoamine transporters (the effect from TAAR1).

History
The pharmaceutical company Rexar reformulated their popular weight loss drug Obetrol following its mandatory withdrawal from the market in 1973 under the Kefauver Harris Amendment to the Federal Food, Drug, and Cosmetic Act due to the results of the Drug Efficacy Study Implementation (DESI) program (which indicated a lack of efficacy). The new formulation simply replaced the two methamphetamine components with dextroamphetamine and amphetamine components of the same weight (the other two original dextroamphetamine and amphetamine components were preserved), preserved the Obetrol branding, and despite it lacking FDA approval, it still made it onto the market and was marketed and sold by Rexar for many years.

In 1994, Richwood Pharmaceuticals acquired Rexar and began promoting Obetrol as a treatment for ADHD (and later narcolepsy as well), now marketed under the new brand name of Adderall, a contraction of the phrase "A.D.D. for All" intended to convey that "it was meant to be kind of an inclusive thing" for marketing purposes. The FDA cited the company for numerous significant CGMP violations related to Obetrol discovered during routine inspections following the acquisition (including issuing a formal warning letter for the violations), then later issued a second formal warning letter to Richwood Pharmaceuticals specifically due to violations of "the new drug and misbranding provisions of the FD&C Act". Following extended discussions with Richwood Pharmaceuticals regarding the resolution of a large number of issues related to the company's numerous violations of FDA regulations, the FDA formally approved the first Obetrol labeling/sNDA revisions in 1996, including a name change to Adderall and a restoration of its status as an approved drug product. In 1997 Richwood Pharmaceuticals was acquired by Shire Pharmaceuticals in a $186 million transaction.

Richwood Pharmaceuticals, which later merged with Shire plc, introduced the current Adderall brand in 1996 as an instant-release tablet. In 2006, Shire agreed to sell rights to the Adderall name for the instant-release form of the medication to Duramed Pharmaceuticals. DuraMed Pharmaceuticals was acquired by Teva Pharmaceuticals in 2008 during their acquisition of Barr Pharmaceuticals, including Barr's Duramed division.

The first generic version of Adderall IR was introduced to market in 2002. Later on, Barr and Shire reached a settlement agreement permitting Barr to offer a generic form of the extended-release drug beginning in April 2009.

Commercial formulation
Chemically, Adderall is a mixture of four amphetamine salts; specifically, it is composed of equal parts (by mass) of amphetamine aspartate monohydrate, amphetamine sulfate, dextroamphetamine sulfate, and dextroamphetamine saccharate. This drug mixture has slightly stronger CNS effects than racemic amphetamine due to the higher proportion of dextroamphetamine. Adderall is produced as both an immediate-release (IR) and extended-release (XR) formulation. , ten different companies produced generic Adderall IR, while Teva Pharmaceutical Industries, Actavis, and Barr Pharmaceuticals manufactured generic Adderall XR. , Shire plc, the company that held the original patent for Adderall and Adderall XR, still manufactured brand name Adderall XR, but not Adderall IR.

Comparison to other formulations
Adderall is one of several formulations of pharmaceutical amphetamine, including singular or mixed enantiomers and as an enantiomer prodrug. The table below compares these medications (based on U.S.-approved forms):

Legal status

 * In Canada, amphetamines are in Schedule I of the Controlled Drugs and Substances Act, and can only be obtained by prescription.
 * In Japan, the use, production, and import of any medicine containing amphetamines is prohibited.
 * In South Korea, amphetamines are prohibited.
 * In Taiwan, amphetamines including Adderall are Schedule 2 drugs with a minimum five years prison term for possession. On the contrary, Ritalin can be legally prescribed as a form of treatment of ADHD.
 * In Thailand, amphetamines are classified as Type 1 Narcotics.
 * In the United Kingdom, amphetamines are regarded as Class B drugs. The maximum penalty for unauthorized possession is five years in prison and an unlimited fine. The maximum penalty for illegal supply is 14 years in prison and an unlimited fine.
 * In the United States, amphetamine is a Schedule II prescription drug, classified as a central nervous system (CNS) stimulant.
 * Internationally, amphetamine is in Schedule II of the Convention on Psychotropic Substances.

Shortages
In February 2023, news organizations began reporting on shortages of Adderall in the United States that have lasted for over five months. The Food and Drug Administration first reported the shortage in October 2022. In May 2023, 7 months into the shortage, the Food and Drug Administration commissioner Robert Califf stated that "a number of generic drugs are in shortage at any given time because there's not enough profit". He points out that Adderall is a special case because it is a controlled substance and the amount available for prescription is controlled by the Drug Enforcement Administration. He also faults a "tremendous increase in prescribing" due to virtual prescribing and general overprescribing and overdiagnosing, adding that "if only the people that needed these drugs got them, there probably wouldn't be a [stimulant medication] shortage". Some Americans have been outsourcing the time-consuming task of calling nearby pharmacies to check their Adderall availability.

The shortage has continued into 2024. Despite efforts to increase production and improve distribution, supply chain issues and increased demand have perpetuated the scarcity of the medication. Patients and healthcare providers have expressed concerns about the impact on treatment plans for ADHD and narcolepsy, as many individuals rely on this medication for managing their symptoms. The FDA continues to monitor the situation and is working with manufacturers to address the shortage.

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Vonda Shepard

Vonda Shepard (born July 7, 1963) is an American singer, songwriter, music director, and actress. She is perhaps best known for her starring role as a fictionalized version of herself on the television series Ally McBeal (1997–2002), for which she recorded five soundtrack albums as well as the series' theme song "Searchin' My Soul", which saw international commercial success. Shepard has otherwise released nine studio albums and three live albums. She received a Screen Actors Guild Award as a cast member of Ally McBeal in 1999 among two additional nominations, and received a Billboard award for selling the most television soundtrack albums in history.

Life and career
Vonda Shepard was born in New York City in 1963. Her family relocated to California when she was a child, and she played piano from an early age. Her father was Richmond Shepard, a mime and improvisational actor. She has three sisters. After performing as a backup singer, Shepard received her own recording contract and made her first chart appearance in 1987 with her duet with Dan Hill, "Can't We Try." Her self-titled debut studio album followed in 1989. It saw the moderate commercial success of the single "Don't Cry Ilene", which peaked at number 17 on the Billboard Hot Adult Contemporary chart and remained there for 12 weeks.

While promoting her third studio album It's Good, Eve (1996), Shepard performed at the Key Club in Hollywood, California, and at one point she invited Michelle Pfeiffer and her husband David E. Kelley to come watch her perform. Kelley decided during the performance that he wanted Shepard to record the soundtrack for his forthcoming television series Ally McBeal, having been looking for a singer to be the voice and inner thoughts of the character. Her biggest commercial success while starring on the series was the theme song "Searchin' My Soul", an original selection that originally appeared on her second studio album The Radical Light (1992), jointly written and composed by Shepard and Paul Howard Gordon. Her version of Kay Starr's Christmas classic "(Everybody's Waitin' for) The Man with the Bag", after it was featured on a season 4 episode of Ally McBeal, became a popular holiday song.

Shepard went on to record four soundtrack albums and one compilation album for Ally McBeal. Additionally, she released nine solo studio albums and three live albums to date. She married music producer Mitchell Froom in 2004; they had their first child in 2006. In 2010, she provided vocals for "I Need You," whose music had been composed by James Newton Howard, for the film Love & Other Drugs.

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

title: Vonda Shepard


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Talk:Vonda Shepard

Comment
Can anyone add some external links?? 66.245.11.49 23:57, 11 May 2004 (UTC)

Was Shepard ever popular for reasons independent of Ally McBeal? — Preceding unsigned comment added by 24.13.224.74 (talk) 14:22, 16 May 2004 (UTC)

 * Vonda Shepard did some performances before Ally McBeal, but Ally McBeal put her on the map! Especially in season 2 when she was added as not just a musical guest, but a main cast member (which she remained as for the rest of the series). Bubble bunny — Preceding undated comment added 16:26, 23 March 2007 (UTC)

Categories
This article has on "What links here" a link labelled "People by year/no other categories" which must mean that there are no categories this article is in besides her birth year. Any other categories that this article can go into?? 66.245.21.160 22:57, 31 Oct 2004 (UTC)

Biography assessment rating comment
The article may be improved by following the WikiProject Biography 11 easy steps to producing at least a B article.-- Jreferee 22:23, 21 March 2007 (UTC)

A Commons file used on this page or its Wikidata item has been nominated for deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for deletion: Participate in the deletion discussion at the. —Community Tech bot (talk) 22:36, 27 March 2020 (UTC)
 * Rookie-album-front-cover.jpg

Addition of AllyMcBeal
Please do not add navbox AllyMcBeal to this page. This is a biographical article about a real-life human person, not a fictional character. Therefore the appearance of this human person in a television series is a performance, so WP:PERFNAV applies. -- wooden superman  11:56, 4 April 2024 (UTC)
 * This is why I reverted and asked you to participate in a discussion if you insist on your way. This becomes an interesting question, which you may or may not have an answer to. If an individual is also a fictional character, as Ms. Shepard is presented as a recurring character in the television show Ally McBeal, is she then both a real person and a character or just one or the other. Would be good to clarify if the clarification hasn't been made as yet. Randy Kryn (talk) 12:06, 4 April 2024 (UTC)
 * This article only contains biographical information, therefore it is clearly NOT about the fictional version of herself. I'm trying to think of an example where we have articles for fictionalised versions, but nothing comes to mind, although I'm sure there are some. -- wooden  superman  12:31, 4 April 2024 (UTC)
 * Larry David (character) is one such existing section of an article, but yes, it is about the character and not David himself. It is an interesting question. Does the biographical Vonda Shepard naturally cross-over to the presentation of her character in Ally McBeal (a great television show in first-run) and how far does the character overlap with Shepard if at all. Randy Kryn (talk) 00:15, 5 April 2024 (UTC)

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Strzyżów

Strzyżów is a town in Strzyżów County, Subcarpathian Voivodeship, Poland, along the Wisłok river valley. Strzyżów is one of the towns within the Strzyżowsko-Dynowskie Foothill, located 160 km south-east of Kraków and 30 km from Rzeszów. According to statistics from June 30, 2010 from GUS (the Central Statistical Office in Poland), there are 8,782 inhabitants.

History
The history of Strzyżów dates back to the 9th century, to the times of the Wiślanie tribe (Vistulans) when a legendary pagan Vistulan prince is said to have built a watchtower by Stobnica and Wisłok river called "Strzeżno", for the defence of eastern borders of his land. In 1279, in Buda (Hungary), the Pope's legate named Bishop Philip confirmed the abbot's right to take a special tax (a tithe) from Czudec and Strzyżów.

Strzyżów obtained city rights between 1373 and 1397. The town was surrounded by a soil defence embankment (Zawale Street still exists and it relates to that embankment). These were the times of town splendour and its development, craft, farming and trade contracts with other towns in what is now Poland, Hungary and Slovakia. In 1373, Strzyżów came into the hands of a knight, Wojtko, and later Pakosz and his sons Jan and Mikołaj. With time the town changed its owners. On 15 August 1769 the Bar Confederates made an oath in front of the painting of Immaculate Mary in Strzyżów, in the presence of Casimir Pulaski and Franciszek Trzecielski. After this event, that image appeared on the Confederates’ Banner. In 1796 the foundation of secular school strengthened town development as well as royal permission for organisation of four fairs a year from 1684. Following the partitions of Poland in the late 18th century, the town became part of Austrian Galicia.

Throughout its history Strzyżów suffered from as many as nine fires, the last one in 1895 caused the populace to build buildings solely from brick. By 1880 Strzyżów was inhabited mostly by Poles, but there were also significant minorities such as the Jews and the Germans. In 1918, the town returned to Poland (Second Polish Republic). The 1960s and 1970s gave beginning to industrialisation; many factories, companies, schools and cultural centres were founded in the town's vicinity.

Schools

 * Adam Mickiewicz Secondary School
 * Technical Schools
 * Municipal Schools
 * White Eagle Primary School No. 1
 * Maria Konopnicka Primary School No. 2
 * Public Middle School No. 1
 * Zygmunt Mycielski National School of Music - 1st degree
 * Career Development Center

Notable residents

 * Mieczysław G. Bekker (1905–1989), engineer and scientist

Twin towns — Sister cities
Strzyżów is twinned with:

title: Strzyżów


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User:Desplesda

Hi hi. My site's desplesda.com, if anybody's interested. I frequent the SnarkPit forums, and am a fan of Bash.org. More news as we receive it.

title: User:Desplesda


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E7 (mathematics)

In mathematics, E7 is the name of several closely related Lie groups, linear algebraic groups or their Lie algebras e7, all of which have dimension 133; the same notation E7 is used for the corresponding root lattice, which has rank 7. The designation E7 comes from the Cartan–Killing classification of the complex simple Lie algebras, which fall into four infinite series labeled An, Bn, Cn, Dn, and five exceptional cases labeled E6, E7, E8, F4, and G2. The E7 algebra is thus one of the five exceptional cases.

The fundamental group of the (adjoint) complex form, compact real form, or any algebraic version of E7 is the cyclic group Z/2Z, and its outer automorphism group is the trivial group. The dimension of its fundamental representation is 56.

Real and complex forms
There is a unique complex Lie algebra of type E7, corresponding to a complex group of complex dimension 133. The complex adjoint Lie group E7 of complex dimension 133 can be considered as a simple real Lie group of real dimension 266. This has fundamental group Z/2Z, has maximal compact subgroup the compact form (see below) of E7, and has an outer automorphism group of order 2 generated by complex conjugation.

As well as the complex Lie group of type E7, there are four real forms of the Lie algebra, and correspondingly four real forms of the group with trivial center (all of which have an algebraic double cover, and three of which have further non-algebraic covers, giving further real forms), all of real dimension 133, as follows:
 * The compact form (which is usually the one meant if no other information is given), which has fundamental group Z/2Z and has trivial outer automorphism group.
 * The split form, EV (or E7(7)), which has maximal compact subgroup SU(8)/{±1}, fundamental group cyclic of order 4 and outer automorphism group of order 2.
 * EVI (or E7(-5)), which has maximal compact subgroup SU(2)·SO(12)/(center), fundamental group non-cyclic of order 4 and trivial outer automorphism group.
 * EVII (or E7(-25)), which has maximal compact subgroup SO(2)·E6/(center), infinite cyclic fundamental group and outer automorphism group of order 2.

For a complete list of real forms of simple Lie algebras, see the list of simple Lie groups.

The compact real form of E7 is the isometry group of the 64-dimensional exceptional compact Riemannian symmetric space EVI (in Cartan's classification). It is known informally as the "quateroctonionic projective plane" because it can be built using an algebra that is the tensor product of the quaternions and the octonions, and is also known as a Rosenfeld projective plane, though it does not obey the usual axioms of a projective plane. This can be seen systematically using a construction known as the magic square, due to Hans Freudenthal and Jacques Tits.

The Tits–Koecher construction produces forms of the E7 Lie algebra from Albert algebras, 27-dimensional exceptional Jordan algebras.

E7 as an algebraic group
By means of a Chevalley basis for the Lie algebra, one can define E7 as a linear algebraic group over the integers and, consequently, over any commutative ring and in particular over any field: this defines the so-called split (sometimes also known as "untwisted") adjoint form of E7. Over an algebraically closed field, this and its double cover are the only forms; however, over other fields, there are often many other forms, or "twists" of E7, which are classified in the general framework of Galois cohomology (over a perfect field k) by the set H1(k, Aut(E7)) which, because the Dynkin diagram of E7 (see below) has no automorphisms, coincides with H1(k, E7, ad).

Over the field of real numbers, the real component of the identity of these algebraically twisted forms of E7 coincide with the three real Lie groups mentioned above, but with a subtlety concerning the fundamental group: all adjoint forms of E7 have fundamental group Z/2Z in the sense of algebraic geometry, meaning that they admit exactly one double cover; the further non-compact real Lie group forms of E7 are therefore not algebraic and admit no faithful finite-dimensional representations.

Over finite fields, the Lang–Steinberg theorem implies that H1(k, E7) = 0, meaning that E7 has no twisted forms: see below.

Dynkin diagram
The Dynkin diagram for E7 is given by.

Root system

Even though the roots span a 7-dimensional space, it is more symmetric and convenient to represent them as vectors lying in a 7-dimensional subspace of an 8-dimensional vector space.

The roots are all the 8×7 permutations of (1,−1,0,0,0,0,0,0) and all the $$\begin{pmatrix}8\\4\end{pmatrix}$$ permutations of ($1⁄2$,$1⁄2$,$1⁄2$,$1⁄2$,−$1⁄2$,−$1⁄2$,−$1⁄2$,−$1⁄2$)

Note that the 7-dimensional subspace is the subspace where the sum of all the eight coordinates is zero. There are 126 roots.

The simple roots are
 * (0,−1,1,0,0,0,0,0)
 * (0,0,−1,1,0,0,0,0)
 * (0,0,0,−1,1,0,0,0)
 * (0,0,0,0,−1,1,0,0)
 * (0,0,0,0,0,−1,1,0)
 * (0,0,0,0,0,0,−1,1)

They are listed so that their corresponding nodes in the Dynkin diagram are ordered from left to right (in the diagram depicted above) with the side node last.

An alternative description
An alternative (7-dimensional) description of the root system, which is useful in considering E7 × SU(2) as a subgroup of E8, is the following:

All $$4\times\begin{pmatrix}6\\2\end{pmatrix}$$ permutations of (±1,±1,0,0,0,0,0) preserving the zero at the last entry, all of the following roots with an even number of +$1⁄2$

 * $$\left(\pm{1\over 2},\pm{1\over 2},\pm{1\over 2},\pm{1\over 2},\pm{1\over 2},\pm{1\over 2},\pm{1\over \sqrt{2}}\right)$$

and the two following roots

 * $$\left(0,0,0,0,0,0,\pm \sqrt{2}\right).$$

Thus the generators consist of a 66-dimensional so(12) subalgebra as well as 64 generators that transform as two self-conjugate Weyl spinors of spin(12) of opposite chirality, and their chirality generator, and two other generators of chiralities $$\pm \sqrt{2}$$.

Given the E7 Cartan matrix (below) and a Dynkin diagram node ordering of:

 * one choice of simple roots is given by the rows of the following matrix:
 * $$\begin{bmatrix}

1&-1&0&0&0&0&0 \\ 0&1&-1&0&0&0&0 \\ 0&0&1&-1&0&0&0 \\ 0&0&0&1&-1&0&0 \\ 0&0&0&0&1&1&0 \\ -\frac{1}{2}&-\frac{1}{2}&-\frac{1}{2}&-\frac{1}{2}&-\frac{1}{2}&-\frac{1}{2}&\frac{\sqrt{2}}{2}\\ 0&0&0&0&1&-1&0 \\ \end{bmatrix}.$$

Weyl group
The Weyl group of E7 is of order 2903040: it is the direct product of the cyclic group of order 2 and the unique simple group of order 1451520 (which can be described as PSp6(2) or PSΩ7(2)).

Cartan matrix

 * $$\begin{bmatrix}

2 & -1 & 0 & 0 & 0 & 0 & 0 \\ -1 & 2 & -1 & 0 & 0 & 0 & 0 \\ 0 & -1 & 2 & -1 & 0 & 0 & 0 \\ 0 & 0 & -1 & 2 & -1 & 0 & -1 \\ 0 & 0 & 0 & -1 & 2 & -1 & 0 \\ 0 & 0 & 0 & 0 & -1 & 2 & 0 \\ 0 & 0 & 0 & -1 & 0 & 0 & 2 \end{bmatrix}.$$

Important subalgebras and representations
E7 has an SU(8) subalgebra, as is evident by noting that in the 8-dimensional description of the root system, the first group of roots are identical to the roots of SU(8) (with the same Cartan subalgebra as in the E7).

In addition to the 133-dimensional adjoint representation, there is a 56-dimensional "vector" representation, to be found in the E8 adjoint representation.

The characters of finite dimensional representations of the real and complex Lie algebras and Lie groups are all given by the Weyl character formula. The dimensions of the smallest irreducible representations are :

 * 1, 56, 133 , 912, 1463 , 1539 , 6480, 7371 , 8645 , 24320, 27664, 40755 , 51072, 86184, 150822 , 152152 , 238602 , 253935 , 293930 , 320112, 362880, 365750 , 573440 , 617253 , 861840, 885248, 915705 , 980343 , 2273920, 2282280, 2785552, 3424256 , 3635840...

The underlined terms in the sequence above are the dimensions of those irreducible representations possessed by the adjoint form of E7 (equivalently, those whose weights belong to the root lattice of E7), whereas the full sequence gives the dimensions of the irreducible representations of the simply connected form of E7. There exist non-isomorphic irreducible representation of dimensions 1903725824, 16349520330, etc.

The fundamental representations are those with dimensions 133, 8645, 365750, 27664, 1539, 56 and 912 (corresponding to the seven nodes in the Dynkin diagram in the order chosen for the Cartan matrix above, i.e., the nodes are read in the six-node chain first, with the last node being connected to the third).

The embeddings of the maximal subgroups of E7 up to dimension 133 are shown to the right.

E7 Polynomial Invariants
E7 is the automorphism group of the following pair of polynomials in 56 non-commutative variables. We divide the variables into two groups of 28, (p, P) and (q, Q) where p and q are real variables and P and Q are 3×3 octonion hermitian matrices. Then the first invariant is the symplectic invariant of Sp(56, R):

 * $$C_1 = pq - qp + Tr[PQ] - Tr[QP]$$

The second more complicated invariant is a symmetric quartic polynomial:

 * $$C_2 = (pq + Tr[P\circ Q])^2 + p Tr[Q\circ \tilde{Q}]+q Tr[P\circ \tilde{P}]+Tr[\tilde{P}\circ \tilde{Q}] $$

Where $$\tilde{P} \equiv \det(P) P^{-1}$$ and the binary circle operator is defined by $$A\circ B = (AB+BA)/2$$.

An alternative quartic polynomial invariant constructed by Cartan uses two anti-symmetric 8x8 matrices each with 28 components.

 * $$ C_2 = Tr[(XY)^2] - \dfrac{1}{4} Tr[XY]^2 +\frac{1}{96}\epsilon_{ijklmnop}\left( X^{ij}X^{kl}X^{mn}X^{op} + Y^{ij}Y^{kl}Y^{mn}Y^{op} \right)$$

Chevalley groups of type E7
The points over a finite field with q elements of the (split) algebraic group E7 (see above), whether of the adjoint (centerless) or simply connected form (its algebraic universal cover), give a finite Chevalley group. This is closely connected to the group written E7(q), however there is ambiguity in this notation, which can stand for several things:

 * the finite group consisting of the points over Fq of the simply connected form of E7 (for clarity, this can be written E7,sc(q) and is known as the "universal" Chevalley group of type E7 over Fq),
 * (rarely) the finite group consisting of the points over Fq of the adjoint form of E7 (for clarity, this can be written E7,ad(q), and is known as the "adjoint" Chevalley group of type E7 over Fq), or
 * the finite group which is the image of the natural map from the former to the latter: this is what will be denoted by E7(q) in the following, as is most common in texts dealing with finite groups.

From the finite group perspective, the relation between these three groups, which is quite analogous to that between SL(n, q), PGL(n, q) and PSL(n, q), can be summarized as follows: E7(q) is simple for any q, E7,sc(q) is its Schur cover, and the E7,ad(q) lies in its automorphism group; furthermore, when q is a power of 2, all three coincide, and otherwise (when q is odd), the Schur multiplier of E7(q) is 2 and E7(q) is of index 2 in E7,ad(q), which explains why E7,sc(q) and E7,ad(q) are often written as 2·E7(q) and E7(q)·2. From the algebraic group perspective, it is less common for E7(q) to refer to the finite simple group, because the latter is not in a natural way the set of points of an algebraic group over Fq unlike E7,sc(q) and E7,ad(q).

As mentioned above, E7(q) is simple for any q, and it constitutes one of the infinite families addressed by the classification of finite simple groups. Its number of elements is given by the formula :

 * $$\frac{1}{\mathrm{gcd}(2,q-1)}q^{63}(q^{18}-1)(q^{14}-1)(q^{12}-1)(q^{10}-1)(q^8-1)(q^6-1)(q^2-1)$$

The order of E7,sc(q) or E7,ad(q) (both are equal) can be obtained by removing the dividing factor gcd(2, q−1). The Schur multiplier of E7(q) is gcd(2, q−1), and its outer automorphism group is the product of the diagonal automorphism group Z/gcd(2, q−1)Z (given by the action of E7,ad(q)) and the group of field automorphisms (i.e., cyclic of order f if q = pf where p is prime).

Importance in physics
N = 8 supergravity in four dimensions, which is a dimensional reduction from eleven-dimensional supergravity, admit an E7 bosonic global symmetry and an SU(8) bosonic local symmetry. The fermions are in representations of SU(8), the gauge fields are in a representation of E7, and the scalars are in a representation of both (Gravitons are singlets with respect to both). Physical states are in representations of the coset E7 / SU(8).

In string theory, E7 appears as a part of the gauge group of one of the (unstable and non-supersymmetric) versions of the heterotic string. It can also appear in the unbroken gauge group E8 × E7 in six-dimensional compactifications of heterotic string theory, for instance on the four-dimensional surface K3.

title: E7 (mathematics)


text: User talk:69.37.209.67

title: User talk:69.37.209.67


text:
Cutthroat Island

Cutthroat Island is a 1995 adventure swashbuckler film directed by Renny Harlin and written by Robert King and Marc Norman from a story by Michael Frost Beckner, James Gorman, Bruce A. Evans and Raynold Gideon. It stars Geena Davis, Matthew Modine and Frank Langella. It is a co-production among the United States, France, Germany and Italy.

The film had a notoriously troubled and chaotic production involving multiple rewrites and recasts. Critical reactions were mixed to negative, and the film was one of the biggest box-office bombs in history, with losses of $147 million when adjusted for inflation. It is listed in the Guinness World Records as the biggest box-office bomb of all time, and significantly reduced the bankability and Hollywood production of pirate-themed films until 2003's Pirates of the Caribbean: The Curse of the Black Pearl. Its failure caused the closing of Carolco Pictures.

Plot
In 1668 Jamaica, having escaped a trap set by authorities, Morgan Adams hunts down her uncle and fellow pirate Dawg Brown after he kidnaps her father, Black Harry. Harry has one of three pieces of a map to a huge stash of gold on the remote Cutthroat Island. Dawg has another piece, having stolen it after betraying and murdering his younger brother Richard, while a fourth brother, Mordechai, has the last piece. Refusing to give his piece to Dawg, Harry escapes with his daughter's help. Harry is fatally wounded and tells Morgan the map piece is located on his scalp before he dies.

After scalping her father for the piece, Morgan, now captain of her father's ship, the Morning Star, sets out to find the treasure. Unable to translate the map, they go to nearby Port Royal for a translator. There, they learn that a criminal being sold into slavery, a con man and thief named William Shaw, is fluent in Latin. After threatening a man determined to outbid her, Morgan wins the auction. When she is recognized from her wanted poster and barely escapes with her crew and Shaw, corrupt Governor Ainslee vows to find her after learning of the treasure's existence. He enlists the help of John Reed, an infamous chronicler of pirates and crew member of the Morning Star.

The crew finds Mordechai in Spittlefield Harbor. Before they can learn where the second piece is, Dawg and his crew raid the harbor. A fight ensues, during which Mordechai is killed and Morgan is shot, while Shaw secretly finds the piece and keeps it to himself. After they escape on the Morning Star, Morgan collapses from her wound, but Shaw uses his limited medical knowledge to save her. The two start a romance. Morgan figures out that the words on the two map pieces, when read backwards, spell out half the coordinates to the island.

Dawg pursues the Morning Star in his own ship, the Reaper. Morgan directs hers toward a coral reef and a gale to shake her pursuers off. Shaw manages to piece together the location of Cutthroat Island with his and Morgan's piece but is caught and thrown in the brig. During the storm, Reed secretly sends a carrier pigeon revealing their location to Ainslee. Meanwhile, most of the crew, led by the treacherous boatswain Scully, mutinies and maroons Morgan and those loyal to her in a boat. The tide takes them straight to Cutthroat Island.

As Morgan goes after the treasure, Shaw steals the last map piece from Dawg. Shaw falls into quicksand and Morgan, realizing he has the piece, frees him. Together they find the treasure, only for it to be stolen by Dawg, forcing them to jump off a cliff into the tide. After regaining consciousness, Shaw finds Reed, who leads him into a trap set by Dawg, Ainslee, and Scully, who have joined forces and intend to split the treasure. As Shaw is captured and they make their way out to sea with the gold, Morgan sneaks aboard the Morning Star and retakes it from Scully and the mutineers.

The crew then tries to sneak attack the Reaper, but Dawg counterattacks. A sea fight ensues, during which Shaw escapes and Ainslee, his men, and Reed are killed by cannon fire. Morgan boards the Reaper and blows out the ship's bottom. She then duels Dawg while Shaw gets trapped below in rapidly rising water with the treasure. Morgan kills Dawg with a cannon and saves Shaw, forced to abandon the treasure to escape the sinking ship.

Morgan had attached a marker barrel to the treasure beforehand, allowing them to retrieve it, and the newly rich crew sets sail for Madagascar.

Cast
In addition, Angus Wright plays Captain Trotter (lieutenant in the film's dialogue), while the film's director, Renny Harlin, has an uncredited cameo as a pirate with a musket.

Development
In a 2023 interview, original writers Gorman and Frost Beckner explained they had a development deal with Disney, after their Western spec script Texas Lead and Gold had created buzz in the early 1990s. Any material they created, they let Disney see first: one of them was a pirate script. Inspired by researching archives of pirate material at the Huntington Library, as well as the success of buddy action films, the pair sought to modernize the pirate genre. Among the differences from the later versions were the island being volcanic and more secret, and a backstory involving four men (including Spanish and British officers) sacking a gold shipment and hiding the treasure before being betrayed. The script would jump ahead in time, with the men now in different social positions (like the Spaniard being the Governor of Portobello) and Shaw, a more ruthless character in this version, learning of the existence of the treasure. The villain was the mysterious "The Scar", hunting the men down for the map pieces. Morgan was also different, being the innocent daughter of the village doctor (the British privateer of the four men) who becomes embroiled in the adventure. Instead of being tattooed on his scalp, Morgan's father would hide his map piece in a lullaby that he sung to her as a child.

Gorman and Frost Beckner's version, while still an adventure with comic elements, was also much darker than the finished film. Disney development staff backed the project. At one point it was even pitched to Michael Eisner as a potential Pirates of the Caribbean film, who turned it down. Gorman and Frost Beckner then presented it to Carolco, who bought it for $1.7 million.

When the film was produced, Geena Davis and director Renny Harlin were married. Harlin convinced producer Mario Kassar to cast Davis, who was until then known for light comedies, hoping it would turn her into an action-adventure star. Carolco, already deeply in debt when the film entered preproduction, initially budgeted $60 million for the project and pinned its hopes for survival on its success. To fund it, the cash-starved company cancelled its only other project in production, Crusade starring Arnold Schwarzenegger, costing it $13 million. It also sold a $20 million interest in Paul Verhoeven's Showgirls, Last of the Dogmen, and Stargate,    and aggressively marketed Cutthroat Island to overseas distributors, promising them it would be a sure hit.

Casting
Michael Douglas originally agreed to play Shaw under two conditions: filming had to start immediately because he was available only for a limited time, and his character had to have the same amount of screen time as Davis. Douglas eventually pulled out, claiming that Davis's role was expanded at his character's expense, while Davis wanted to quit when Douglas did, but was contractually obligated to finish the film.

After Douglas quit, Harlin was so preoccupied with trying to find a male lead that set construction and script work were done without his input. Consequently, Harlin did not like what he saw when shooting was set to begin, leading to expensive rebuilding and rewriting.

Tom Cruise, Keanu Reeves, Russell Crowe, Liam Neeson, Jeff Bridges, Ralph Fiennes, Charlie Sheen, Michael Keaton, Tim Robbins, Daniel Day-Lewis and Gabriel Byrne all turned down the role of Shaw before Matthew Modine agreed to do the role, partly due to his experience as a fencer.

Oliver Reed was originally cast for a cameo as Mordechai Fingers, but was fired after getting in a bar fight and attempting to expose himself to Davis while intoxicated. George Murcell eventually took his place.

Filming
Shooting was delayed for various reasons, causing the budget to spiral out of control. When Harlin fired chief camera operator Nicola Pecorini following a dispute, more than two dozen crew members quit. In addition, broken pipes caused raw sewage to pour into the water tank where the actors were supposed to swim. Harlin spent $1 million of his own money to rewrite the script, as Carolco Pictures was in so much debt that they could not afford to pay further.

The first week into production, the film's original cinematographer, Oliver Wood, fell off a crane and into one of the water tanks, breaking his leg; he had to be replaced by cinematographer Peter Levy. Wood's contributions to the film would be acknowledged in the closing credits.

The film was shot on location in Malta and Thailand. Indoor scenes were shot at Mediterranean Film Studios in Kalkara, Malta, and models were shot at the Paddock Tank at Pinewood Studios, in Iver Heath, Buckinghamshire, England. Harlin required actors to do their own stunts whenever possible. While promoting the film, Davis appeared on talk shows with clips of her doing stunts over and over (including one take where she fell out of a window too soon, rolled down the roof and under a carriage) and described the bruises and injuries she sustained while filming.

Music
The film's orchestral score was composed by John Debney. It is one of the film's aspects that has been critically acclaimed, compared with the classic works of Erich Wolfgang Korngold.

Box office
Cutthroat Island had a total production budget of $92 million to $98 million (though some put the figure as high as $115 million). It debuted at number 13 at the US box office, and the total gross in the United States and Canada was only $10 million. Internationally, it did not fare any better and grossed $6 million, for a worldwide total of $16 million. In 2014, the Los Angeles Times listed the film as one of the most expensive box office flops of all time, while the Guinness World Records listed it as the biggest box-office bomb of all-time. The list of biggest box-office bombs shows it is still no better (ranges vary) than the fifth worst money loser of all time, allowing for inflation, as of 2023.

Critical reception
On Rotten Tomatoes the film has a 40% rating based on 42 reviews, with an average rating of 4.90/10. The site's consensus reads: "Cutthroat Island may aspire towards the earnest thrills of classic swashbucklers, but a distinct lack of charm and stilted script make this adventure a joyless hodgepodge of the pirate genre's flotsam and jetsam." On Metacritic the film has a score of 37% based on reviews from 20 critics, indicating "generally unfavorable reviews". Audiences surveyed by CinemaScore gave the film a grade "B−" on scale of A to F.

Todd McCarthy from Variety said: "What seemed like a dubious proposition on paper plays even more dubiously onscreen, as Cutthroat Island strenuously but vainly attempts to revive the thrills of old-fashioned pirate pictures. Giving most of the swashbuckling opportunities to star Geena Davis, pic does little with its reversal of gender expectations and features a seriously mismatched romantic duo in Davis and Matthew Modine." Time Out London commented that "we get Geena Davis doing the all-action honours, and a hotchpotch script that seems to think pirate movies are so funny in themselves the need for more humour is superfluous. The plot's well worn". Janet Maslin of The New York Times said that "It's not possible to believe that Ms. Davis is the highly respected captain of a pirate ship, and it's not even fun to try." Empire gave the film two stars out of five stating "It's mindless entertainment, but its critical and commercial failure doomed the pirate genre to a watery grave" complimenting though the locations and the set pieces stating that "The film is at its best in the gorgeous locations and the huge (we're talking Harlin - Die Hard 2, Cliffhanger - huge) set-pieces, concluding in a wild sea battle that is more John Woo on water".

Roger Ebert of the Chicago Sun-Times gave the film a three-out-of-four-star rating, commenting: "This is, in short, a satisfactory movie – but it doesn't transcend its genre, and it's not surprising or astonishing. I saw it because that was my job and, having seen it, I grant its skill, and award it three stars on that basis. But unless you're really into pirate movies, it's not a necessary film." Susan Wloszczyna from USA Today stated: "If the sight of half-naked, tattooed sailors firing cannons at each other shivers your timbers, climb aboard. Even passable pirate movies don't sail by every day," awarding the film a 2.5 star rating out of 4.

Harlin was nominated for a Golden Raspberry Award for Worst Director for his work on the film, but "lost" to Paul Verhoeven for Showgirls.

Legacy
In a radio interview in 2011, Renny Harlin discussed the film's box office failure. He pointed out that Carolco was in ruin before shooting even began, but had to make the film since financing from foreign investors was already in place. Metro-Goldwyn-Mayer (MGM), the film's distributor, was in the process of being sold and thus could not devote itself into financing a marketing campaign for the film. Carolco filed for Chapter 11 bankruptcy a month before Cutthroat Island's release.

In another interview, Matthew Modine said that other factors contributing to the production costs running out of control included Harlin's cost-prohibitive habit of always having three cameras rolling at the same time; and Harlin and Davis spending large sums to have cases of V8 Vegetable Juice shipped out to the set in Malta for themselves. Towards the end of shooting, an entire room was found to be full of unopened juice and everyone present was obliged to drink it.

The failure of Cutthroat Island is also credited with significantly reducing the bankability of pirate-themed films, which recovered only with the production of Walt Disney Pictures' Pirates of the Caribbean: The Curse of the Black Pearl in 2003.

Scott Mendelson of Forbes stated on the film's 25th anniversary that the film, along with the similar box office disappointment of Aeon Flux nearly ten years later, contributed to the industry's move away from producing films with female leads before and during the 21st century, under the assumption that mainstream audiences were not interested in such films.

Video game
A video game was published by Acclaim Entertainment and released for the major platforms of the time (such as the Super NES, Sega Genesis, and Game Boy) to tie in with the film. It loosely follows the events of the film.

title: Cutthroat Island


text:
St. Raphael's Cathedral (Dubuque, Iowa)

St. Raphael's Cathedral is a Catholic cathedral and a parish church in the Archdiocese of Dubuque located in Dubuque, Iowa. The parish is the oldest congregation of any Christian denomination in the state of Iowa. The cathedral church, rectory, former convent, and former parochial school building are contributing properties in the Cathedral Historic District on the National Register of Historic Places.

Origins
St. Raphael's Parish traces its origin to July 1833 when the first group of settlers gathered for Mass in the home of Patrick Quigley. Father Charles Felix Van Quickenborne, a Belgian Jesuit, organized them into a parish. The parish did not have a regular church building yet, so the members met at various homes for mass. Father Quickenborne began planning for a church building, but left before the materials were assembled. Father Charles Francis Fitzmaurice arrived in the area in 1834 and began working with the parish. He gathered materials and money to build the church, but he died during a cholera outbreak in the spring of 1835. He did not have a chance to begin work on the church building. For a time, the parishioners met in a log cabin that was set aside for worship.

The next pastor, Father Samuel Charles Mazzuchelli, OP came to Dubuque later in 1835. He reorganized the parish and dedicated it to the Archangel Raphael. Under his guidance, a stone church building was constructed. Father Mazzuchelli personally drew the plans for this building, which served for the next 25 years. It was located just south of the current cathedral.

In 1837 Pope Gregory XVI created the Diocese of Dubuque. In 1839 Bishop Mathias Loras, the first Bishop of Dubuque, arrived after first going to France to recruit priests and raise funds to operate the new diocese. St. Raphael's became the cathedral church for the diocese.

Growth and expansion
The next 20 years were a period of growth and expansion for the parish, and of the Church in general in Iowa. Bishop Loras encouraged both Irish and German immigrants to come to Iowa from the crowded conditions in the eastern United States. As a result, the parish began to grow in size.

By 1845 St. Raphael's was usually quite crowded on Sundays. In 1849 there was a number of German families in the parish. Because of the crowded conditions, and because of the challenges of ministering to them, Bishop Loras granted permission for the Germans to form Holy Trinity parish in Dubuque. The parish eventually became known as St. Mary's. In 1853 St. Patrick's Church was built 12 blocks north to serve as a second parish for Irish families. Loras, however, made it a mission of St. Raphael's so he would not lose the income he needed to build a new cathedral. This created problems between him and the local Irish community.

After St. Patrick's was founded, Bishop Loras soon came to realize that the founding of those additional parishes would only be a temporary solution. He realized that St. Raphael's parish needed a larger building.

The present building
The new cathedral was originally planned to be built on a "Bishop's Block" on Main Street. As the city's business district began to encroach on that location, Bishop Loras terminated the plan. In 1857, construction began on land just north of the old cathedral building. On July 5, 1857, a large crowd watched as the cornerstone was laid. The cathedral was based on Magdalen College in Oxford, England. The architect was John Mullany, a local architect who designed New Melleray Abbey, and St. Mary's Church. He originally designed the cathedral in the Romanesque Revival style, however, the Panic of 1857 forced a change in plans and it was constructed in the Gothic Revival style instead. Despite his failing health, construction had advanced far enough that Bishop Loras was able to offer the first mass in the new cathedral on Christmas Day, 1857. He died two months later.

Construction on the cathedral, without its complete tower, was finished in 1861. The formal blessing and dedication were done by Bishop Clement Smyth, OCSO, on July 7 of that year. Father Mazzuchelli assisted with the dedication. St. Raphael's is a brick structure built on a raised basement and a stone foundation. The lower part of its 130 ft central tower is limestone. The three naves on the interior are divided by fourteen clustered wooden columns. The side elevations are seven bays in length. They are divided by buttresses and each has a lancet window in the center. Smaller windows are located over the side altars and there are three windows on either side of the chancel. Above the main entrance is a large lancet window. It was part of the original plan for the building. Even though the design of the cathedral was changed several times, the window was left as originally designed in each plan. The upper part of the window is visible from inside the church, while the lower part is hidden behind the organ.

The cathedral's tower was finally finished in November 1876. The original plans called for a 243 ft tall tower and spire, however after construction began to complete it, cracks started to form on the front wall. Instead of stone, the bell-chamber at the top of the tower is a wood structure that is encased in galvanized iron painted to resemble stone. Four tall pointed pinacles (no longer extant) were placed at the corners. New entrances were cut into the sides of the tower and the main facade of the church building was covered with Portland cement and made to look like stone.

Dubuque architect Fridolin Heer designed the chapel built in the back the cathedral in 1882. The new building obscured the three stained glass windows above the altar, so they were removed and placed above the altar of the new chapel. It served for nearly a century as the Blessed Sacrament Chapel, and its interior was briefly seen in the movie F.I.S.T. (1978). A number of other renovations were begun in 1886 according to the designs of Chicago architect J.J. Egan. They included new vaulting made of iron and lowering the column's capitals down by 4 ft. The interior was replastered, new stations of the cross were imported from Germany, a new gallery was installed in the rear of the church, and a large arch was cut into the tower to allow light from the lancet window to brighten what once was a dark nave. The frescos in the church were completed at this time by Luigi Gregori, artist in residence and professor at the University of Notre Dame who had previously worked at the Vatican, and his son Constantine. Bishop John Hennessy rededicated the cathedral on November 21, 1886. New stained glass windows, whose openings in the nave had been lowered 2 ft, were imported from London and installed in 1889.

In 1902, a mortuary chapel was built in the lower level of the cathedral. Contained within this chapel are vaults buried underneath the floor in front of the altar. These vaults contain the bodies of former Bishops and Archbishops of Dubuque. Four of Dubuque's Archbishops are buried elsewhere. Also buried in the chapel is Archbishop Raymond Ettledorf - a local priest who became Nuncio to New Zealand and parts of Africa. The altar and communion rail are made of Italian marble.

Two more renovations were done in the first part of the 20th century. The first was done in 1914, and the second in 1936. A new expanded main entrance was built in 1966. The addition contained new staircases that replaced the old outdoor stairs that originally led to the side entrances. Three new sets of doors were placed at street level. Also, an elevator was added to make the building more handicapped accessible. The chancel was also altered in the wake of liturgical reforms from the Second Vatican Council. Archbishop James Byrne celebrated the first Mass in English at St. Raphael's.

1986 renovations
In 1986, the most extensive renovation in years was done to the church. At the time, it had been more than 50 years since the renovation. Also, the parish wanted to make some updates to the design which coincided with certain architectural and liturgical trends that were emerging in the Church at the time.

Work began in the late summer and fall of 1986. The Eucharistic Chapel was deconsecrated and remodeled into a gathering space for the parish and renamed the Cathedral Center. A new Eucharistic Chapel was created by placing a wooden screen between the original high altar, and the new ad populum-oriented altar. Portions of the original communion rail were used in construction. The original ad absidem altar was left intact because of its historical significance, and a new tabernacle was placed on the altar.

Because they were a fire hazard, the dividers between the pews were removed. The layers of varnish applied over the years to the woodwork were also removed, which was refinished to allow the light oak to show. The walls were painted a lighter color, and a new indirect lighting system was installed. A light green carpet was added and used throughout the building. Part of the Pietà altar was refurbished and installed in the sanctuary as the new main altar, replacing an early 1970s altar.

The sanctuary platform was extended so that more of the liturgical functions associated with the Mass took place closer to the congregation. The archbishop's throne was replaced with a smaller, movable, less elaborate cathedra that allows him to directly face the congregation during Mass.

By November 1986 the renovations were complete. The remains of St. Cessianus were installed in the main altar during the first Mass held in the renovated Cathedral on November 23, 1986 celebrated by Archbishop Daniel Kucera, OSB. This is in reference to the tradition in the early years of the Church when Mass was often celebrated over the tombs of saints and martyrs. The bones of St. Cessianus, a second-century Roman martyr, constitute the Patronal Relic of the State of Iowa. Pope Gregory XVI presented them to Bishop Loras in 1838.

A pool was added to the baptismal font in 2005 for immersion baptism of older children and adults. It was completed in time for the Easter Vigil that year.

Linked parishes
St. Raphael and St. Patrick parishes were linked in 2010 by Archbishop Jerome Hanus, OSB. The two parishes share the same pastor and they work closely together on various programs.

Pipe organ
The cathedral's pipe organ was originally built in 1890 by a builder now unknown, and was rebuilt by the Tellers-Kent Organ Company in 1937. It has 46 ranks, with three manuals. The organ is composed of a number of chambers in what was the choir loft, plus another chamber along the southern wall near the front of the church. There is also a set of chimes attached to the organ.

Like a number of other organs, the pipework is largely left out in the open rather than being contained with the case. The pipework was artistically arranged to make a stunning visual display.

The organ console is situated in the choir area on the main level near the front of the church. It can be moved for various functions, such as Mass and recitals. In 1991, the organ was refurbished after several years of fundraising. The organ is one of the larger ones in Dubuque, and is considered one of the finest in the city.

Burials

 * Bishop Mathias Loras
 * Bishop Clement Smyth, OCSO
 * Archbishop John Hennessy
 * Archbishop Francis J.L. Beckman
 * Archbishop Henry P. Rohlman
 * Archbishop James J. Byrne
 * Archbishop Raymond Etteldorf, Apostolic Delegate to New Zealand, then Apostolic Pro-Nuncio to Ethiopia.

Rectory, convent and school
The cathedral shares its historic designation with the parish rectory and its former convent and school building. The rectory, which is adjacent to the cathedral on the north, was built around 1870. The three-story brick dwelling is considered the finest example of the Italianate style in the Cathedral District. The house features a low hipped roof, paired brackets on the eaves, simple window hoods, and an entrance canopy. The main entrance is flanked by side lights and it has a fan light above. The ironwork detailing and the doors were originally on the mansion of A.A. Cooper, which was named Greystone and was torn down in the late 1950s.

The Sisters of Charity of the Blessed Virgin Mary arrived in Dubuque and started teaching in the parish school in 1843. The building that became their parish convent was built as a girls' school sometime in the 1880s. It is a three-story, brick, Second Empire style structure built on a limestone foundation. It features a mansard roof, eaves, a simple cornice and stone trim. The five-bay main facade has a small porch over the main entrance. The windows on the first two floors are flattened arch windows, and the third floor round arch windows are placed in dormers. The building was converted into living space for the sisters after a new school building was constructed in 1904. The building has subsequently been sold by the parish and converted into senior housing.

The former St. Raphael's School building, which stands next to the cathedral on the south, was built in 1904 in the Neoclassical style. It replaced the boys' school and the girls' school buildings that were located in the rear of the cathedral property. The boys had been taught by a community of religious brothers. The boys' school building was located behind the girls' school and the cathedral itself and has subsequently been torn down. St. Raphael's School closed in 1976 because of low enrollment. The building was sold by the parish in the mid-1980s.

title: St. Raphael's Cathedral (Dubuque, Iowa)


text:
Sebastian Krüger

Sebastian Krüger (born 30 June 1963 in Hamelin, Germany) is a German artist.

After studying free painting with Prof. Dörfler at the Braunschweig University of Fine Arts he made a stunning reputation as the designer of a number of cover spreads for the press in Germany and abroad and as an illustrator and creative designer of various LP covers. He then stepped away from commercial work and became a painter. During the ‘90s he also collaborated with the italian political magazine L’Espresso. In recent years, his work has moved away from the "star caricatures" to New Pop Realism.

The artist lives and works near Hanover and in California. His primary medium is acrylic paint, and his paintings are hyper-realistic in detail, yet also extremely grotesque in their distortion. He is well known for his lifelike depictions of The Rolling Stones, in particular, Keith Richards.

title: Sebastian Krüger


text:
User:Worldtyrant

My name is Joshua Latos. =)

from kentridge? email ritalahti at hotmail dot com.

title: User:Worldtyrant


text: User talk:199.106.86.2

title: User talk:199.106.86.2


text:
Modulatory space

The spaces described in this article are pitch class spaces which model the relationships between pitch classes in some musical system. These models are often graphs, groups or lattices. Closely related to pitch class space is pitch space, which represents pitches rather than pitch classes, and chordal space, which models relationships between chords.

Circular pitch class space
The simplest pitch space model is the real line. In the MIDI Tuning Standard, for example, fundamental frequencies f are mapped to numbers p according to the equation

p = 69 + 12\log_2 {(f/440)} $$

This creates a linear space in which octaves have size 12, semitones (the distance between adjacent keys on the piano keyboard) have size 1, and A440 is assigned the number 69 (meaning middle C is assigned the number 60). To create circular pitch class space we identify or "glue together" pitches p and p + 12. The result is a continuous, circular pitch class space that mathematicians call Z/12Z.

Circles of generators
Other models of pitch class space, such as the circle of fifths, attempt to describe the special relationship between pitch classes related by perfect fifth. In equal temperament, twelve successive fifths equate to seven octaves exactly, and hence in terms of pitch classes closes back to itself, forming a circle. We say that the pitch class of the fifth generates – or is a generator of – the space of twelve pitch classes.

By dividing the octave into n equal parts, and choosing an integer m<n such that m and n are relatively prime – that is, have no common divisor – we obtain similar circles, which all have the structure of finite cyclic groups. By drawing a line between two pitch classes when they differ by a generator, we can depict the circle of generators as a cycle graph, in the shape of a regular polygon.

Toroidal modulatory spaces
If we divide the octave into n parts, where n = rs is the product of two relatively prime integers r and s, we may represent every element of the tone space as the product of a certain number of "r" generators times a certain number of "s" generators; in other words, as the direct sum of two cyclic groups of orders r and s. We may now define a graph with n vertices on which the group acts, by adding an edge between two pitch classes whenever they differ by either an "r" generator or an "s" generator (the so-called Cayley graph of $$\mathbb{Z}_{12}$$ with generators r and s). The result is a graph of genus one, which is to say, a graph with a donut or torus shape. Such a graph is called a toroidal graph.

An example is equal temperament; twelve is the product of 3 and 4, and we may represent any pitch class as a combination of thirds of an octave, or major thirds, and fourths of an octave, or minor thirds, and then draw a toroidal graph by drawing an edge whenever two pitch classes differ by a major or minor third.

We may generalize immediately to any number of relatively prime factors, producing graphs can be drawn in a regular manner on an n-torus.

Chains of generators
A linear temperament is a regular temperament of rank two generated by the octave and another interval, commonly called "the" generator. The most familiar example by far is meantone temperament, whose generator is a flattened, meantone fifth. The pitch classes of any linear temperament can be represented as lying along an infinite chain of generators; in meantone for instance this would be -F-C-G-D-A- etc. This defines a linear modulatory space.

Cylindrical modulatory spaces
A temperament of rank two which is not linear has one generator which is a fraction of an octave, called the period. We may represent the modulatory space of such a temperament as n chains of generators in a circle, forming a cylinder. Here n is the number of periods in an octave.

For example, diaschismic temperament is the temperament which tempers out the diaschisma, or 2048/2025. It can be represented as two chains of slightly (3.25 to 3.55 cents) sharp fifths a half-octave apart, which can be depicted as two chains perpendicular to a circle and at opposite side of it. The cylindrical appearance of this sort of modulatory space becomes more apparent when the period is a smaller fraction of an octave; for example, ennealimmal temperament has a modulatory space consisting of nine chains of minor thirds in a circle (where the thirds may be only 0.02 to 0.03 cents sharp.)

Five-limit modulatory space
Five limit just intonation has a modulatory space based on the fact that its pitch classes can be represented by 3a 5b, where a and b are integers. It is therefore a free abelian group with the two generators 3 and 5, and can be represented in terms of a square lattice with fifths along the horizontal axis, and major thirds along the vertical axis.

In many ways a more enlightening picture emerges if we represent it in terms of a hexagonal lattice instead; this is the Tonnetz of Hugo Riemann, discovered independently around the same time by Shohé Tanaka. The fifths are along the horizontal axis, and the major thirds point off to the right at an angle of sixty degrees. Another sixty degrees gives us the axis of major sixths, pointing off to the left. The non-unison elements of the 5-limit tonality diamond, 3/2, 5/4, 5/3, 4/3, 8/5, 6/5 are now arranged in a regular hexagon around 1. The triads are the equilateral triangles of this lattice, with the upwards-pointing triangles being major triads, and downward-pointing triangles being minor triads.

This picture of five-limit modulatory space is generally preferable since it treats the consonances in a uniform way, and does not suggest that, for instance, a major third is more of a consonance than a major sixth. When two lattice points are as close as possible, a unit distance apart, then and only then are they separated by a consonant interval. Hence the hexagonal lattice provides a superior picture of the structure of the five-limit modulatory space.

In more abstract mathematical terms, we can describe this lattice as the integer pairs (a, b), where instead of the usual Euclidean distance we have a Euclidean distance defined in terms of the vector space norm
 * $$||(a, b)|| = \sqrt{a^2 + ab + b^2}.$$

Seven-limit modulatory space
In similar fashion, we can define a modulatory space for seven-limit just intonation, by representing 3a 5b 7c in terms of a corresponding cubic lattice. Once again, however, a more enlightening picture emerges if we represent it instead in terms of the three-dimensional analog of the hexagonal lattice, a lattice called A3, which is equivalent to the face centered cubic lattice, or D3. Abstractly, it can be defined as the integer triples (a, b, c), associated to 3a 5b 7c, where the distance measure is not the usual Euclidean distance but rather the Euclidean distance deriving from the vector space norm
 * $$||(a, b, c)|| = \sqrt{a^2 + b^2 + c^2 + ab + bc + ca}.$$

In this picture, the twelve non-unison elements of the seven-limit tonality diamond are arranged around 1 in the shape of a cuboctahedron.

title: Modulatory space


text:
The Lady of Shalott

"The Lady of Shalott" is a lyrical ballad by the 19th-century English poet Alfred Tennyson and one of his best-known works. Inspired by the 13th-century Italian short prose text Donna di Scalotta, the poem tells the tragic story of Elaine of Astolat, a young noblewoman stranded in a tower up the river from Camelot. Tennyson wrote two versions of the poem, one published in 1832 (in Poems, incorrectly dated 1833), of 20 stanzas, the other in 1842, of 19 stanzas (also in a book named Poems), and returned to the story in "Lancelot and Elaine". The vivid medieval romanticism and enigmatic symbolism of "The Lady of Shalott" inspired many painters, especially the Pre-Raphaelites and their followers, as well as other authors and artists.

Background
Like Tennyson's other early works, such as "Sir Galahad", the poem recasts Arthurian subject matter loosely based on medieval sources. It is inspired by the legend of Elaine of Astolat, as recounted in a 13th-century Italian novellina titled La Damigella di Scalot, or Donna di Scalotta (No. LXXXII in the collection Il Novellino: Le ciento novelle antike); the earlier version is closer to the source material than the latter. Tennyson focused on the Lady's "isolation in the tower and her decision to participate in the living world, two subjects not even mentioned in Donna di Scalotta." Tennyson also wrote "Lancelot and Elaine", a poem based on Thomas Malory's version of the story from Le Morte d'Arthur, which he included in his Idylls of the King.

Story
The first four stanzas of the 1842 second version of the poem describe a pastoral setting. The Lady of Shalott lives in an island castle in a river which flows to Camelot, but the local farmers know little about her.

Stanzas five to eight describe the lady's life. She suffers from a mysterious curse and must continually weave images on her loom without ever looking directly out at the world. Instead, she looks into a mirror, which reflects the busy road and the people of Camelot who pass by her island.

The reflected images are described as "shadows of the world", a metaphor that makes it clear they are a poor substitute for seeing directly ("I am half-sick of shadows").

Stanzas nine to twelve describe "bold Sir Lancelot" as he rides by and is seen by the lady.

The remaining seven stanzas describe the effect on the lady of seeing Lancelot; she stops weaving and looks out of her window toward Camelot, bringing about the curse.

She leaves her tower, finds a boat upon which she writes her name, and floats down the river to Camelot. She dies before arriving at the palace. Among the knights and ladies who see her is Lancelot, who thinks she is lovely.

Themes
One of Tennyson's biographers found the Arthurian material is "introduced as a valid setting for the study of the artist and the dangers of personal isolation".

Feminist critics see the poem as concerned with issues of women's sexuality and their place in the Victorian world, arguing that "The Lady of Shalott" centres on the temptation of sexuality and her innocence preserved by death. Christine Poulson discusses a feminist viewpoint and suggests: "the Lady of Shalott's escape from her tower as an act of defiance, a symbol of female empowerment." Based on Poulson's view, escaping from the tower allows the Lady of Shalott to emotionally break free and come to terms with female sexuality.

The depiction of death has also been interpreted as sleep. Poulson says that sleep has a connotation of physical abandonment and vulnerability, which can either suggest sexual fulfillment or be a metaphor for virginity. Fairy tales, such as "Sleeping Beauty" or "Snow White", have traditionally depended upon this association. So, as related to the Lady of Shalott, Poulson says: "for in death [she] has become a Sleeping Beauty who can never be wakened, symbols of perfect feminine passivity."

Art

Tennyson's early poetry, with its medievalism and powerful visual imagery, was a major influence on the Pre-Raphaelite Brotherhood (PRB). According to scholar Anne Zanzucchi, "in a more general sense, it is fair to say that the Pre-Raphaelite fascination with Arthuriana is traceable to Tennyson's work". In 1848, Dante Gabriel Rossetti and William Holman Hunt made a list of "Immortals", artistic heroes whom they admired, especially from literature, some of whose work would form subjects for PRB paintings, notably including John Keats and Tennyson. "The Lady of Shalott" was particularly popular with the Brotherhood, which shared Tennyson's interest in Arthuriana; several of the Brotherhood made paintings based on episodes from the poem. Two aspects, in particular, of "The Lady of Shalott" intrigued these artists: the idea of the lady trapped in her tower and the dying girl floating down the river towards Camelot.

In Edward Moxon's 1857 edition of Tennyson's works, illustrated by Hunt and Rossetti, Hunt depicted the moment when the Lady turns to see Lancelot. In the background of the illustration, Hunt juxtaposes the window facing Lancelot with a painting of Christ's crucifixion. According to Christine Poulson, the Crucifixion is the archetype of self-sacrifice and further emphasises the ideal that the Lady of Shalott fails to represent. Poulson also considers this representation of the subject in the context of changing women's roles in the 1880s and 1890s, suggesting that it served as a warning of imminent death to women who stepped from their restricted roles and explored their desires. Rossetti depicted Lancelot's contemplation of the Lady's "lovely face". Neither illustration pleased Tennyson, who took Hunt to task for depicting the Lady caught in the threads of her tapestry, something which is not described in the poem. Hunt explained that he wanted to sum up the whole poem in a single image, and that the entrapment by the threads suggested her "weird fate". The scene fascinated Hunt, who returned to the composition at points throughout his life and finally painted a large scale version shortly before his death. He required assistants, as he was too frail to complete it himself. This deeply conceived evocation of the Lady, ensnared within the perfect rounds of her woven reality, is an apt illustration of the mythology of the weaving arts. This work is now in the collection of the Wadsworth Atheneum Museum of Art in Hartford, Connecticut.

John William Waterhouse painted three episodes from the poem. In 1888, he painted the Lady setting out for Camelot in her boat; this work is now in the Tate Gallery. In 1894, Waterhouse painted the Lady at the climactic moment when she turns to look at Lancelot in the window in The Lady of Shalott Looking at Lancelot; this work is now in Leeds Art Gallery. Poulson argues that Waterhouse's impressionistic painting style in his 1894 rendering of The Lady of Shalott evokes a "sense of vitality and urgency". In 1915, Waterhouse painted I Am Half-Sick of Shadows, Said the Lady of Shalott, as she sits wistfully before her loom; this work is now in the Art Gallery of Ontario.

Literature
"The Lady of Shalott" has been adapted in various ways in later works of literature. Agatha Christie used the line "The mirror crack'd from side to side" as the title of her 1962 novel in which the poem itself plays a large part in the plot. In Lucy Maud Montgomery's Anne of Green Gables (1908), Anne Shirley reads various stanzas of the poem and acts out the Lady of Shalott's tragic end as she floats down the river. Patricia A. McKillip used an adaptation of the poem as a primary theme of her novel The Tower at Stony Wood (2000). Lisa Ann Sandell's novel Song of the Sparrow (2007) is a retelling of the story. Tennyson's poem is also used for narration and as a narrative device in Kaori Yuki's "Camelot Garden" (2008). In Jasper Fforde's novel One of our Thursdays Is Missing (2011), the Lady of Shalott appears as a character, possessing a mirror that allows characters in the Book World to see into the real world ("the Outland"). In Half Sick of Shadows (2021) by Laura Sebastian, Elaine of Shalott is the main character and a close friend and advisor to King Arthur; the story primarily deals with the crowning of Arthur, but Elaine also has the ability to see future events through scrying at her loom.

Quotes from the poem have been included in many novels, including Oscar Wilde's The Picture of Dorian Gray (1890), Eric Frank Russell's Next of Kin (1959), Muriel Spark's The Prime of Miss Jean Brodie (1961), Connie Willis' To Say Nothing of the Dog (1997), and Meg Cabot's Avalon High (2005). In some novels, the poem is also referenced within the plot by characters, as in Nancy Mitford's Love in a Cold Climate (1949), Bel Kaufman's Up the Down Staircase (1965), David Benedictus's Floating Down to Camelot (1985), Diana Wynne Jones' Hexwood (1993), Libba Bray's A Great and Terrible Beauty (2003), and Jilly Cooper's Wicked! (2006).

Its various lines have been turned into book titles by authors such as Jessica Anderson (Tirra Lirra by the River, 1978), Sharyn McCrumb (Sick of Shadows, 1984), Robin Klein (All in the Blue Unclouded Weather, 1991), and Alan Bradley (I Am Half-Sick of Shadows, 2011). It also inspired the title of Elizabeth Bishop's poem "The Gentleman of Shalott" (1946).

Music
One of the first settings of the poem to music was by English composer Amy Horrocks who appeared at the 1898 Ballad Concert accompanying Ellen Bowick, for which Amy had composed a “graceful and picturesque” accompaniment of violin, cello and piano. Another early musical setting of the poem was probably a work for mezzo-soprano soloist, chorus and orchestra by the English composer Cyril Rootham, composed in 1909–1910. The only known performance of Rootham's op 33 The Lady of Shalott was given in the School Hall at Eton College on 18 September 1999, with the Broadheath Singers and the Windsor Sinfonia conducted by Robert Tucker. In 1957–1958, Arthur Bliss (once a pupil of Cyril Rootham) composed a 40-minute ballet suite titled The Lady of Shalott.

Olivier Messiaen composed a piece for solo piano La dame de Shalott in 1917 based on Tennyson's poem as his first composition; however, this piece is unpublished. It has been recorded at least twice. In 1946, Phyllis Tate composed a setting of Tennyson's The Lady of Shalott, written for the 10th anniversary of the BBC Third Programme. Danish composer Bent Sørensen created a piece for viola solo, based on Waterhouse's painting The Lady of Shalott.

Canadian singer Loreena McKennitt adapted the poem to music, and featured it on her 1991 album The Visit, though some poem lines were removed. Dutch gothic metal band Autumn referred to "The Lady of Shalott" in their songs "Who Has Seen Her Wave Her Hand", "Mirrors Magic Sights", "When Lust Evokes the Curse", and "Floating Towards Distress" from their 2002 album When Lust Evokes the Curse, each song retelling parts of the story from the poem. The song titled "Shalott" on Emilie Autumn's 2006 album Opheliac tells the poem from her own perspective. The Band Perry's country music video "If I Die Young" makes clear visual references to "The Lady of Shalott": lead vocalist Kimberly Perry holds a book of poems by Tennyson as she lies in a boat, floating down a river like the Lady of Shalott (the boat in the Perry video is similar to some illustrations of the poem, such as the image by W. E. F. Britten).

The poem has been furthermore referred to or quoted in various ways in modern music. For instance, folk duo the Indigo Girls refer to the Lady of Shalott in "Left Me a Fool" from their 1987 album Strange Fire and Swedish pop band The Cardigans quotes it "Give Me Your Eyes", a bonus track on Super Extra Gravity. British musician and singer Richard Thompson took the title for his 1994 album Mirror Blue from the poem.

Television
The poem forms the backbone of voice-over for the episode "Tracie's Story" (2012) of Accused. In My Mother and Other Strangers (2016), Tennyson's poem plays an important role.

The poem has been also often quoted in whole or in part within other television films and series. Examples of that include the Upstairs, Downstairs episode "The Understudy" (1975), The Buccaneers episode "Invasion" (1995), the Endeavour episode "Girl" (2013), and the Tales of the City episode "She Messy" (2019), as well as the BBC film An Englishman Abroad (1983).

title: The Lady of Shalott


text:
Barghawata

The Barghawatas (also Barghwata or Berghouata) were a Berber tribal confederation on the Atlantic coast of Morocco, belonging to the Masmuda confederacy. After allying with the Sufri Kharijite rebellion in Morocco against the Umayyad Caliphate, they established an independent state (AD744-1058) in the area of Tamesna on the Atlantic coast between Safi and Salé under the leadership of Tarif al-Matghari.

Etymology
Some historians believe that the term Barghawata is a phonetic deformation of the term Barbati, a nickname which Tarif carried. It is thought that he was born in the area of Barbate, near Cádiz in Spain. However, Jérôme Carcopino and other historians think the name is much older and the tribe is the same as that which the Romans called Baquates, who up until the 7th century lived near Volubilis.

History
Few details are known about Barghawata. Most of the historical sources are largely posterior to their rule and often present a contradictory and confused historical context. However, one tradition appears more interesting. It comes from Córdoba in Spain and its author is the Large Prior of Barghawata and the Barghawata ambassador to Córdoba Abu Salih Zammur, around the middle of the 10th century. This tradition is regarded as most detailed concerning Barghwata. It was reported by Al Bakri, Ibn Hazm and Ibn Khaldun, although their interpretations comprise some divergent points of view.

The Barghawatas, along with the Ghomara and the Miknasa, launched the Berber Revolt of 739 or 740. They were fired up by Sufri Kharijite preachers, a Muslim sect that embraced a doctrine representing total egalitarianism in opposition to the aristocracy of the Quraysh which had grown more pronounced under the Umayyad Caliphate. The rebels elected Maysara al-Matghari to lead their revolt, and successfully seized control of nearly all of what is now Morocco, inspiring further rebellions in the Maghreb and al-Andalus. At the Battle of Bagdoura, the rebels annihilated a particularly strong army dispatched by the Umayyad caliph from Syria. But the rebels army itself was eventually defeated in the outskirts Kairouan, Ifriqiya in 741. In the aftermath, the rebel alliance dissolved. Even before this denouement, the Barghawatas, as founders of the revolt, had grown resentful of the attempt by later adherents, notably the Zenata chieftains, in alliance with the increasingly authoritarian Sufri commissars, to take control of the leadership of the rebellion. As their primary objective – the liberation of their people from Umayyad rule – had already been achieved, and there was little prospect of it ever being re-imposed, the Barghwata saw little point in continued military campaigns. In 742 or 743, the Barghwata removed themselves from the rebel alliance, and retreated to the Tamesna region, on the Atlantic coast of Morocco, where they founded their new independent state and abandoned their Sufri Kharijitism.

The Barghawatas ruled in the Tamesna region for more than three centuries (744–1058). Under the successors of Salih ibn Tarif, Ilyas ibn Salih (792-842); Yunus (842-888) and Abu Ghufail (888–913) the tribal kingdom was consolidated, and missions sent to neighbouring tribes. After initially good relations with the Umayyad Caliphate of Cordoba there was a break at the end of the 10th century. Two Umayyad incursions, as well as attacks by the Fatimids were fought off by the Barghawata. From the 11th century there was an intensive guerrilla war with the Banu Ifran. Even though the Barghawata were subsequently much weakened, they were still able to fend off Almoravid attacks—the spiritual leader of the Almoravids, Abdallah ibn Yasin, fell in battle against them on 7 July 1058. Only in 1149 were the Barghawata eliminated by the Almohads as a political and religious group.

Religion
It is possible that the Barghawata had a Judeo-Berber background, though accounts of entire Berber tribes practicing Judaism appear later and are unreliable.

After the conversion to Islam at the beginning of the 8th century and the Maysara uprising (739-742), the Barghawata Berbers formed their own state on the Atlantic coast between Safi and Salé.

The Barghawata kingdom followed a syncretic religion inspired by Islam with elements of Sunni, Shi'a and Kharijite Islam, mixed with astrological and traditional Berber mythology such as their taboo surrounding eating eggs and chickens, and the belief that the saliva of Salih and his family contained baraka, or, roughly translated, blessedness.

Tribes
The Barghawata confederacy was made of 29 tribes. 12 of these tribes adopted the Barghawata religion while 17 adhered to Islam.

Barghawata religion (syncretic with Islam) tribes

 * Gerawa
 * Zouagha
 * Branès
 * Banu Abi Nacer
 * Menjasa
 * Banu Abi Nuh
 * Banu Waghmar
 * Matghara
 * Banu Borgh
 * Banu Derr
 * Matmata
 * Banu Zaksent

Khariji Muslim tribes

 * Zenata-Jbal
 * Banu Bellit
 * Nemala
 * Ounsent
 * Banu Ifren
 * Banu Naghit
 * Banu Nuaman
 * Banu Fallusa
 * Banu Kuna
 * Banu Sebker
 * Assada
 * Regana
 * Azmin
 * Manada
 * Masina
 * Resana
 * Trara

Some constituent tribes, such as Branès, Matmata, Ifren and Trara, were fractions of much larger tribal groups, and only the Tamesna-based fractions joined the Barghawata Confederacy.

Barghawata kings

 * Tarif al-Matghari
 * Ṣāliḥ ibn Tarīf (744-?), who declared himself prophet in 744 and went away at the age of 47, promising to return.
 * Ilyas ibn Salih (?792-842), who is said to have professed Islām publicly but Ṣāliḥ's religion secretly, and died in the 50th year of his reign.
 * Yunus ibn Ilyas (?842-888), who made Ṣāliḥ's religion official and fought those who would not convert (killing 7770 people, according to Ibn Khaldun's sources, some at a place called Tamlukeft). Curiously enough, he is also said to have performed the Hajj. He died in the 44th year of his reign.
 * Abu-Ghufayl Muhammad (?888-917), who may also have been called a prophet (according to a poem Ibn-Khaldun cites) and who had 44 wives and more sons. He died in the 29th year of his reign.
 * Abu al-Ansar Abdullah (?917-961), buried at Ameslakht. He died in the 44th year of his reign.
 * Abu Mansur Isa (?961-?), who was 22 when he became king.

title: Barghawata