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List of Viola species

This is a list of species in the plant genus Viola, often known as violets or pansies.

Viola is the largest genus in the family Violaceae, containing over 680 species.

Although similarly named, neither African violets nor dogtooth violets are closely related to the true violas.

A

 * Viola abbreviata J.M.Watson & A.R.Flores
 * Viola × aberrans (Greene ex W.Stone) House
 * Viola abulensis Fern.Casado & Nava
 * Viola × abundans House
 * Viola abyssinica Steud. ex Oliv.
 * Viola acanthophylla Leyb. ex Reiche
 * Viola accrescens Klokov
 * Viola acrocerauniensis Erben
 * Viola acuminata Ledeb. – acuminate violet
 * Viola acutifolia (Kar. & Kir.) W.Becker
 * Viola adenothrix Hayata
 * Viola × adulterina Godr.
 * Viola adunca Sm. – hookedspur violet, western dog violet
 * Viola aduncoides Á.Löve & D.Löve
 * Viola aethnensis (DC.) Strobl
 * Viola aetolica Boiss. & Heldr.
 * Viola affinis Leconte – sand violet
 * Viola aizoon Reiche
 * Viola alaica Vved.
 * Viola alba Besser – white violet
 * Viola albanica Halácsy
 * Viola albida Palib.
 * Viola × albimaritima Vl.V.Nikitin
 * Viola × albovii Vl.V.Nikitin
 * Viola alburnica Ricceri & Moraldo
 * Viola alexandrowiana (W.Becker) Juz.
 * Viola alexejana Kamelin & Junussov
 * Viola allchariensis Beck – alšar violet
 * Viola alliariifolia Nakai
 * Viola allochroa Botsch.
 * Viola alpina Jacq.
 * Viola altaica Ker Gawl.
 * Viola amamiana Hatus.
 * Viola ambigua Waldst. & Kit.
 * Viola amiatina Ricceri & Moraldo
 * Viola amurica W.Becker
 * Viola anagae Gilli
 * Viola × angelliae Pollard
 * Viola angkae Craib
 * Viola angustifolia Phil.
 * Viola anitae J.M.Watson
 * Viola annamensis Baker f.
 * Viola appalachiensis L.K.Henry – Appalachian violet
 * Viola araucaniae W.Becker
 * Viola arborescens L.
 * Viola argentina W.Becker
 * Viola arguta Humb. & Bonpl. ex Schult.
 * Viola arsenica Beck
 * Viola arvensis Murray – field pansy, European field pansy
 * Viola athois W.Becker
 * Viola atropurpurea Leyb.
 * Viola aurantiaca Leyb.
 * Viola aurata Phil.
 * Viola auricolor Skottsb.
 * Viola auricula Leyb.
 * Viola austrosinensis Y.S.Chen & Q.E.Yang
 * Viola × awagatakensis T.Yamaz., I.Ito & Ageishi

B

 * Viola × bachtschisaraensis Vl.V.Nikitin
 * Viola bakeri Greene – Baker's violet
 * Viola balansae Gagnep.
 * Viola balcanica Delip.
 * Viola bangii Rusby
 * Viola banksii K.R.Thiele & Prober – Banks' violet
 * Viola baoshanensis W.S.Shu, W.Liu & C.Y.Lan
 * Viola barhalensis G.Knoche & Marcussen
 * Viola barkalovii Bezd.
 * Viola barroetana W.Schaffn. ex Hemsl.
 * Viola × bavarica Schrank
 * Viola baxteri House
 * Viola beamanii Calderón
 * Viola beati J.M.Watson & A.R.Flores
 * Viola beckeriana J.M.Watson & A.R.Flores
 * Viola beckiana Fiala ex Beck
 * Viola beckwithii Torr. & A.Gray – Beckwith's violet, Great Basin violet
 * Viola belophylla Boissieu
 * Viola bertolonii Pio
 * Viola betonicifolia Sm. – showy violet, mountain violet
 * Viola bezdelevae Vorosch.
 * Viola bhutanica H.Hara
 * Viola biflora L. – yellow wood violet, twoflower violet, arctic yellow violet
 * Viola binayensis Okamoto & K.Ueda
 * Viola × bissellii House – Bissell's violet
 * Viola bissetii Maxim.
 * Viola blanda Willd. – sweet white violet, Willdenow's violet
 * Viola blandiformis Nakai
 * Viola × blaxlandiae J.M.Watson & A.R.Flores
 * Viola bocquetiana Yıld.
 * Viola boissieuana Makino
 * Viola boliviana Britton
 * Viola brachyceras Turcz.
 * Viola brachypetala Gay
 * Viola brachyphylla W.Becker
 * Viola × braunii Borbás – Braun's violet
 * Viola breviflora Jungsim Lee & M.Kim
 * Viola brevistipulata (Franch. & Sav.) W.Becker – short stipule violet
 * Viola bridgesii Britton
 * Viola brittoniana Pollard – northern coastal violet, coast violet
 * Viola bubanii Timb.-Lagr.
 * Viola bulbosa Maxim.
 * Viola × burnatii Gremli
 * Viola bustillosia Gay

C

 * Viola × caesariensis House
 * Viola calabra (A.Terracc.) Ricceri & Moraldo
 * Viola calcarata L.
 * Viola calchaquiensis W.Becker
 * Viola calcicola R.A.McCauley & H.E.Ballard
 * Viola caleyana G.Don
 * Viola cameleo H.Boissieu
 * Viola canadensis L. – Canadian white violet, Canada violet
 * Viola canescens Wall.
 * Viola canina L. – dog violet, European heath dog violet
 * Viola capillaris Pers.
 * Viola caspia (Rupr.) Freyn
 * Viola cassinensis Strobl
 * Viola caucasica Kolen. ex Rupr.
 * Viola cavillieri W.Becker
 * Viola cazorlensis Gand.
 * Viola cenisia L.
 * Viola cephalonica Bornm.
 * Viola cerasifolia A.St.-Hil.
 * Viola cervatiana Ricceri & Moraldo
 * Viola × cestrica House
 * Viola chaerophylloides (Regel) W.Becker
 * Viola chalcosperma Brainerd
 * Viola chamaedrys Leyb.
 * Viola chamissoniana Ging. – olopu
 * Viola × champlainensis House
 * Viola changii J.S.Zhou & F.W.Xing
 * Viola charlestonensis M.S.Baker & J.C.Clausen – Charleston mountain violet
 * Viola chassanica Kork.
 * Viola cheeseana J.M.Watson
 * Viola cheiranthifolia Bonpl. – Teide violet
 * Viola chejuensis Y.N.Lee & Y.C.Oh – China violet
 * Viola chelmea Boiss.
 * Viola chiapasiensis W.Becker
 * Viola × chrysantha Schrad. ex Rchb.
 * Viola cilentana Ricceri & Moraldo
 * Viola cilicica Contandr. & Quézel
 * Viola cinerea Boiss.
 * Viola clauseniana M.S.Baker
 * Viola cleistogamoides (L.G.Adams) Seppelt
 * Viola cochranei H.E.Ballard
 * Viola collina Besser – hill violet
 * Viola × columbiana House
 * Viola columnaris Skottsb.
 * Viola comberi W.Becker
 * Viola commersonii DC. ex Ging.
 * Viola communis Pollard
 * Viola comollia Massara
 * Viola concordifolia C.J.Wang
 * Viola confertifolia C.C.Chang
 * Viola congesta Gillies ex Hook. & Arn.
 * Viola × conjugens Greene
 * Viola × consobrina House
 * Viola × consocia House
 * Viola × consona House
 * Viola × contempta Jord.
 * Viola × conturbata House
 * Viola × convicta House
 * Viola × cooperrideri H.E.Ballard
 * Viola × cordifolia (Nutt.) Schwein.
 * Viola cornuta L. – horned pansy, horned violet, Johnny-jump-up, bedding pansy
 * Viola coronifera W.Becker
 * Viola corralensis Phil.
 * Viola corsica Nyman
 * Viola cotyledon Ging.
 * Viola crassa Makino
 * Viola crassifolia Fenzl
 * Viola crassiuscula Bory
 * Viola × crassula Greene
 * Viola cuatrecasasii L.B.Sm. & A.Fernández
 * Viola cucullata Aiton – marsh blue violet
 * Viola cuicochensis Hieron.
 * Viola culminis F.Fen. & Moraldo
 * Viola cuneata S.Watson – wedgeleaf violet
 * Viola cunninghamii Hook.f.
 * Viola curtisiae (L.G.Adams) K.R.Thiele
 * Viola cuspidifolia W.Becker
 * Viola czemalensis Zuev

D

 * Viola dacica Borbás
 * Viola dactyloides Schult.
 * Viola dalatensis Gagnep.
 * Viola dandoisiorum J.M.Watson & A.R.Flores
 * Viola danielae Pînzaru
 * Viola dasyphylla W.Becker
 * Viola davidii Franch.
 * Viola × davisii House – Davis' violet
 * Viola decipiens Reiche
 * Viola declinata Waldst. & Kit.
 * Viola decumbens L.f.
 * Viola dehnhardtii Ten.
 * Viola delavayi Franch.
 * Viola delphinantha Boiss.
 * Viola demetria Prolongo ex Boiss.
 * Viola denizliensis O.D.Düșen, Göktürk, U.Sarpkaya & B.Gürcan
 * Viola diamantiaca Nakai
 * Viola dichroa Boiss.
 * Viola diffusa Ging. – spreading violet
 * Viola × dimissa House
 * Viola dimorphophylla Y.S.Chen & Q.E.Yang
 * Viola dirimliensis Blaxland
 * Viola dirphya Tiniakou
 * Viola × discors House
 * Viola disjuncta W.Becker
 * Viola dissecta Ledeb.
 * Viola × dissena House
 * Viola × dissita House
 * Viola diversifolia (DC.) W.Becker
 * Viola doerfleri Degen
 * Viola × doii Taken.
 * Viola dombeyana DC. ex Ging.
 * Viola domeikoana Gay
 * Viola domestica E.P.Bicknell
 * Viola douglasii Steud. – Douglas' golden violet
 * Viola dubyana Burnat ex Gremli
 * Viola duclouxii W.Becker
 * Viola dukadjinica W.Becker & Košanin
 * Viola dyris Maire

E

 * Viola × eamesii House – Eames' violet
 * Viola × eclipes H.E.Ballard
 * Viola ecuadorensis W.Becker
 * Viola edulis Spach
 * Viola × egglestoniana House
 * Viola egglestonii Brainerd – glade violet
 * Viola × egregia House
 * Viola eizanensis (Makino) Makino
 * Viola × eizasieboldii Sugim. ex T.Shimizu
 * Viola elatior Fr.
 * Viola elegantula Schott
 * Viola emarginata (Nutt.) Leconte
 * Viola eminens K.R.Thiele & Prober
 * Viola eminii (Engl.) R.E.Fr.
 * Viola enmae P.Gonzáles
 * Viola epipsila Ledeb. – dwarf marsh violet, large marsh violet
 * Viola epirota (Halácsy) Raus
 * Viola eriocarpa Schwein.
 * Viola ermenekensis Yıld. & Dinç
 * Viola × erratica House
 * Viola erythraea (Fiori) Chiov.
 * Viola escarapela J.M.Watson & A.R.Flores
 * Viola escondidaensis W.Becker
 * Viola etrusca Erben
 * Viola euboea (Halácsy) Halácsy
 * Viola eugeniae Parl.
 * Viola evae Hieron. ex W.Becker
 * Viola × excerpta House
 * Viola eximia Formánek
 * Viola exsul J.M.Watson & A.R.Flores

F

 * Viola falconeri Hook.f. & Thomson
 * Viola × fallacissima Greene
 * Viola farkasiana J.M.Watson & A.R.Flores
 * Viola faurieana W.Becker
 * Viola × fennica F.Nyl.
 * Viola ferdinandea Ricceri & Moraldo
 * Viola × fernaldii House
 * Viola ferrarinii Moraldo & Ricceri
 * Viola ferreyrae P.Gonzáles
 * Viola × festata House
 * Viola filicaulis Hook.f.
 * Viola × filicetorum Greene
 * Viola fimbriatula Sm. – fringed violet
 * Viola fischeri W.Becker
 * Viola flagelliformis Hemsl.
 * Viola flavicans Wedd.
 * Viola flettii Piper – Olympic violet, rock violet
 * Viola floridana Brainerd
 * Viola flos-idae Hieron.
 * Viola fluehmannii Phil.
 * Viola formosana Hayata
 * Viola forrestiana W.Becker
 * Viola fragrans Sieber
 * Viola frank-smithii N.H.Holmgren – Frank-Smith's violet
 * Viola friderici W.Becker
 * Viola frigida Phil.
 * Viola frondosa (Velen.) Velen.
 * Viola frusinatae Ricceri & Moraldo
 * Viola fruticosa W.Becker
 * Viola × fujisanensis S.Watan.
 * Viola fuscifolia W.Becker
 * Viola fuscoviolacea (L.G.Adams) T.A.James

G

 * Viola galeanaensis M.S.Baker
 * Viola × ganeschinii Vl.V.Nikitin
 * Viola ganiatsasii Erben
 * Viola gaviolii Ricceri & Moraldo
 * Viola gelida J.M.Watson, M.P.Cárdenas & A.R.Flores
 * Viola germainii Sparre
 * Viola glabella Nutt.
 * Viola glaberrima (Ging. ex Chapm.) House
 * Viola glandularis H.E.Ballard & P.M.Jørg.
 * Viola glechomoides Leyb.
 * Viola gmeliniana Schult.
 * Viola godoyae Phil.
 * Viola × gotlandica W.Becker
 * Viola gracilis Sm.
 * Viola gracillima A.St.-Hil.
 * Viola graeca (W.Becker) Halácsy
 * Viola grahamii Benth.
 * Viola × grandis Greene
 * Viola grandisepala W.Becker
 * Viola granulosa Wedd.
 * Viola grayi Franch. & Sav.
 * Viola × greatrexii Nakai & F.Maek.
 * Viola × greenei House
 * Viola × greenmanii House
 * Viola grisebachiana Vis.
 * Viola × grubovii Vl.V.Nikitin
 * Viola grypoceras A.Gray
 * Viola guadalupensis A.M.Powell & Wauer – Guadalupe violet
 * Viola guangzhouensis A.Q.Dong, J.S.Zhou & F.W.Xing
 * Viola guatemalensis W.Becker
 * Viola guaxarensis M.Marrero, Docoito Díaz & Martín Esquivel

H

 * Viola × halacsyana Degen & Dörfl.
 * Viola hallii A.Gray – Oregon violet
 * Viola hamiltoniana D.Don
 * Viola hancockii W.Becker
 * Viola hastata Michx. - halberd-leaf yellow violet
 * Viola × haynaldii Wiesb.
 * Viola hederacea Labill. – Australian violet, trailing violet
 * Viola hediniana W.Becker
 * Viola heldreichiana Boiss.
 * Viola helena C.N.Forbes & Lydgate – Wahiawa stream violet
 * Viola hemsleyana Calderón
 * Viola henriquesii (Willk. ex Cout.) W.Becker
 * Viola henryi H.Boissieu
 * Viola herzogii (W.Becker) Bornm. – Herzog violet
 * Viola × heterocarpa Borbás
 * Viola hieronymi W.Becker
 * Viola hillii W.Becker
 * Viola hirsutula Brainerd – southern woodland violet
 * Viola hirta L. – hairy violet
 * Viola × hirtiformis Wiesb.
 * Viola hirtipes S.Moore
 * Viola hispida Lam. – Rouen pansy
 * Viola hissarica Juz.
 * Viola × hollickii House – Hollick's violet
 * Viola × holmiana House
 * Viola hondoensis W.Becker & H.Boissieu
 * Viola hookeri Thomson
 * Viola hookeriana Kunth
 * Viola howellii A.Gray – Howell's violet
 * Viola huesoensis Martic.
 * Viola huidobrii Gay
 * Viola huizhouensis Y.S.Huang & Q.Fan
 * Viola hultenii W.Becker
 * Viola humilis Kunth
 * Viola × hungarica Degen & Sabr.
 * Viola hybanthoides W.B.Liao & Q.Fan
 * Viola hymettia Boiss. & Heldr.
 * Viola × hyrcanica Vl.V.Nikitin

I

 * Viola × ibukiana Makino
 * Viola × igoschinae Vl.V.Nikitin
 * Viola ilvensis (W.Becker) Arrigoni
 * Viola improcera L.G.Adams
 * Viola incisa Turcz.
 * Viola × incissecta Vl.V.Nikitin
 * Viola incognita Brainerd – large-leaved white violet
 * Viola inconspicua Blume
 * Viola indica W.Becker
 * Viola × indivisa Greene
 * Viola ingolensis Elisafenko
 * Viola × insessa House
 * Viola × insolita House
 * Viola × interjecta Borbás
 * Viola × intersita Beck
 * Viola ircutiana Turcz.
 * Viola irinae Zolot.
 * Viola isaurica Contandr. & Quézel
 * Viola × iselensis W.Becker
 * Viola isopetala Juz.
 * Viola ivonis Erben
 * Viola iwagawae Makino

J

 * Viola × jagellonica Zapał.
 * Viola jalapaensis W.Becker
 * Viola jangiensis W.Becker
 * Viola japonica Langsd. ex Ging. – Japanese violet
 * Viola jaubertiana Marès & Vigin.
 * Viola javanica W.Becker
 * Viola jeniseensis Zuev
 * Viola × jindoensis M.Kim
 * Viola jinggangshanensis Z.L.Ning & J.P.Liao
 * Viola jizushanensis S.H.Huang
 * Viola × joannis-wagneri Kárpáti
 * Viola joergensenii W.Becker
 * Viola johnstonii W.Becker
 * Viola jooi Janka – Carpathian violet, Transylvanian violet
 * Viola jordanii Hanry
 * Viola × josephii J.M.Watson & A.R.Flores
 * Viola × juzepczukii Vl.V.Nikitin

K

 * Viola kamtschadalorum W.Becker & Hultén
 * Viola × karakulensis Vl.V.Nikitin & O.Baranova
 * Viola kauaensis A.Gray – pohe hiwa
 * Viola keiskei Miq.
 * Viola kermesina W.Becker
 * Viola × kerneri Wiesb.
 * Viola × kisoana Nakai
 * Viola kitaibeliana Schult. – dwarf pansy
 * Viola kitamiana Nakai
 * Viola kizildaghensis Dinç & Yıld.
 * Viola kjellbergii Melch.
 * Viola × klingeana Ronniger
 * Viola kopaonikensis Pančić ex Tomović & Niketić
 * Viola kosanensis Hayata
 * Viola kosaninii (Degen) Hayek – Košanin violet
 * Viola kouliana Bhellum & Magotra
 * Viola × kozo-poljanskii Grosset
 * Viola × krascheninnikoviorum Vl.V.Nikitin
 * Viola kunawarensis Royle
 * Viola kusanoana Makino
 * Viola kusnezowiana W.Becker

L

 * Viola labradorica Schrank – alpine violet, Labrador violet
 * Viola × lacmonica Hausskn.
 * Viola lactea Sm. – pale dog violet
 * Viola lactiflora Nakai
 * Viola lainzii P.Monts.
 * Viola lanaiensis W.Becker – Hawaii violet
 * Viola lanceolata L. – bog white violet
 * Viola langeana Valentine
 * Viola langloisii Greene
 * Viola langsdorffii Fisch. ex Ging. – Aleutian violet, Alaska violet
 * Viola lanifera W.Becker
 * Viola laricicola Marcussen
 * Viola latistipula Hemsl.
 * Viola latiuscula Greene
 * Viola × lavandulacea E.P.Bicknell
 * Viola lehmannii W.Becker
 * Viola leyboldiana Phil.
 * Viola libanotica Boiss.
 * Viola lilliputana Iltis & H.E.Ballard – Lilliputian violet
 * Viola lilloana W.Becker
 * Viola limbarae (Merxm. & W.Lippert) Arrigoni
 * Viola lithion N.H.Holmgren & P.K.Holmgren – rock violet
 * Viola × litoralis Spreng.
 * Viola livonica Vl.V.Nikitin
 * Viola llullaillacoensis W.Becker
 * Viola lobata Benth. – moosehorn violet, yellow wood violet, pine violet
 * Viola lologensis (W.Becker) J.M.Watson
 * Viola longibracteolata P.Gonzáles, Ed.Navarro & J.M.Watson
 * Viola longipetiolata Ricceri & Moraldo
 * Viola lovelliana Brainerd
 * Viola lucens W.Becker
 * Viola × luciae Skottsb. – Lucy's violet
 * Viola lungtungensis S.S.Ying
 * Viola lutea Huds. – mountain pansy
 * Viola × lutzii E.G.Camus
 * Viola lyallii Hook.f. – New Zealand native violet, haaka

M

 * Viola macloskeyi F.E.Lloyd – small white violet, western sweet white violet
 * Viola macroceras Bunge
 * Viola maculata Cav.
 * Viola magellanica G.Forst.
 * Viola magellensis Porta & Rigo ex Strobl
 * Viola magnifica C.J.Wang & X.D.Wang
 * Viola majchurensis Pissjauk.
 * Viola × malteana House
 * Viola mandonii W.Becker
 * Viola mandshurica W.Becker – Fuji dawn
 * Viola maoershanensis Y.S.Chen & Q.E.Yang
 * Viola marcelaferreyrae Nicola, J.M.Watson & A.R.Flores
 * Viola marcelorosasii J.M.Watson & A.R.Flores
 * Viola × markgrafii W.Becker
 * Viola maroccana (Maire) Maire
 * Viola × marylandica House
 * Viola × matczkasensis Vl.V.Nikitin
 * Viola matronae Stepanov
 * Viola mauritii Tepl.
 * Viola maviensis H.Mann – Hawaii bog violet
 * Viola maximowicziana Makino
 * Viola maymanica Grey-Wilson
 * Viola mearnsii Merr.
 * Viola × melissifolia Greene
 * Viola membranacea W.Becker
 * Viola × menitzkii Vl.V.Nikitin
 * Viola mercurii Orph. ex Halácsy
 * Viola merrilliana W.Becker
 * Viola merxmuelleri Erben
 * Viola mesadensis W.Becker
 * Viola miaolingensis Y.S.Chen
 * Viola micranthella Wedd.
 * Viola microcentra W.Becker
 * Viola microphylla Phil.
 * Viola milanae Vl.V.Nikitin
 * Viola × militaris Savouré
 * Viola minuscula Greene
 * Viola minuta M.Bieb.
 * Viola minutiflora Phil.
 * Viola mirabilis L. – wonder violet
 * Viola missouriensis Greene – Missouri violet, banded violet
 * Viola × mistura House
 * Viola × mixta A.Kern.
 * Viola modesta Fenzl
 * Viola × modica House
 * Viola molisana Ricceri & Moraldo
 * Viola × mollicula House
 * Viola mongolica Franch.
 * Viola montagnei Gay
 * Viola montcaunica Pau
 * Viola × montivaga House
 * Viola moupinensis Franch.
 * Viola mucronulifera Hand.-Mazz.
 * Viola muehldorfii Kiss
 * Viola × mulfordiae Pollard – Mulford's violet
 * Viola muliensis Y.S.Chen & Q.E.Yang
 * Viola munbyana Boiss. & Reut.
 * Viola murronensis Ricceri & Moraldo
 * Viola muscoides Phil.

N

 * Viola nagasawae Makino & Hayata
 * Viola × najadum Wein
 * Viola nana (DC. ex Ging.) Le Jol.
 * Viola nanlingensis J.S.Zhou & F.W.Xing
 * Viola nannae R.E.Fr.
 * Viola nannei Pol.
 * Viola nassauvioides Phil.
 * Viola nebrodensis C.Presl
 * Viola × neglectiformis Vl.V.Nikitin
 * Viola nemoralis Kütz.
 * Viola nephrophylla Greene – northern bog violet
 * Viola × nephrophylloides Farw.
 * Viola niederleinii W.Becker
 * Viola × nikitinii Vasjukov
 * Viola nitida Y.S.Chen & Q.E.Yang
 * Viola nobilis W.Becker
 * Viola × notabilis E.P.Bicknell
 * Viola novae-angliae House – New England blue violet
 * Viola nubigena Leyb.
 * Viola nuda W.Becker
 * Viola nujiangensis Y.S.Chen & X.H.Jin
 * Viola nummulariifolia Vill.
 * Viola nuttallii Pursh – Nuttall's violet, yellow prairie violet

O

 * Viola oahuensis C.N.Forbes – Oahu violet
 * Viola obituaria J.M.Watson & A.R.Flores
 * Viola oblonga Blatt.
 * Viola obtusa (Makino) Makino – blunt violet
 * Viola × obtusoacuminata T.Hashim. ex T.Shimizu
 * Viola × obtusogrypoceras Makino
 * Viola occulta Lehm.
 * Viola ocellata Torr. & A.Gray – pinto violet, two-eyed violet
 * Viola odontocalycina Boiss.
 * Viola odorata L. – sweet violet
 * Viola × ogawae Nakai
 * Viola × okuharae F.Maek. ex T.Shimizu
 * Viola × olimpia Beggiat.
 * Viola orbelica Pančić
 * Viola orbiculata (A.Gray) Geyer ex B.D.Jacks. – darkwoods violet, western round-leaved violet
 * Viola oreades M.Bieb.
 * Viola orientalis (Maxim.) W.Becker
 * Viola ornata P.Gonzáles, Montesinos & J.M.Watson
 * Viola orphanidis Boiss.
 * Viola orthoceras Ledeb.
 * Viola ovalleana Phil.
 * Viola ovato-oblonga (Miq.) Makino
 * Viola oxyodontis H.E.Ballard

P

 * Viola pachyrrhiza Boiss. & Hohen.
 * Viola pachysoma M.Sheader & J.M.Watson
 * Viola pacifica Juz.
 * Viola painteri Rose & House
 * Viola palatina Y.N.Lee
 * Viola pallascaensis W.Becker
 * Viola palmata L. – crowfoot violet, early blue violet, palmate violet (edible leaves and flowers)
 * Viola palmensis (Webb & Berthel.) Sauer
 * Viola palustris L. – marsh violet, alpine marsh violet
 * Viola papuana W.Becker & Pulle
 * Viola paradoxa Lowe
 * Viola × parca House
 * Viola parnonia Kit Tan, Sfikas & Vold
 * Viola parvula Tineo
 * Viola patrinii Ging. – stemless violet
 * Viola × peckiana House – Peck's violet
 * Viola pectinata E.P.Bicknell
 * Viola pedata L. – birdfoot violet, crowfoot violet
 * Viola pedatifida G.Don – prairie violet, prairie birdfoot violet
 * Viola pedunculata Torr. & A.Gray – California golden violet, grass pansy, yellow pansy
 * Viola pekinensis (Regel) W.Becker
 * Viola pendulicarpa W.Becker
 * Viola pentadactyla Fenzl
 * Viola perinensis W.Becker
 * Viola × perplexa Gremli
 * Viola perpusilla Boissieu
 * Viola perreniformis (L.G.Adams) R.J.Little & Leiper
 * Viola petraea W.Becker
 * Viola phalacrocarpa Maxim.
 * Viola philippiana Greene
 * Viola philippica Cav.
 * Viola phitosiana Erben
 * Viola pilosa Blume
 * Viola pilushanensis S.S.Ying
 * Viola pinetorum Greene – goosefoot violet
 * Viola pinnata L. – pinnate violet
 * Viola pitouchaoensis S.S.Ying
 * Viola placida W.Becker
 * Viola × pluricaulis Borbás
 * Viola pluviae Marcussen, H.E.Ballard & Blaxland
 * Viola × poelliana Murr
 * Viola poetica Boiss. & Spruner
 * Viola polycephala H.E.Ballard & P.M.Jørg.
 * Viola polypoda Turcz.
 * Viola × polysecta Nakai
 * Viola × popovae Vl.V.Nikitin
 * Viola × populifolia Greene
 * Viola × porphyrea R.Uechtr.
 * Viola portalesia Gay
 * Viola × porteriana Pollard – Porter's violet
 * Viola portulacea Leyb.
 * Viola praemorsa Douglas – canary violet
 * Viola pratincola Greene
 * Viola primulifolia L. – primrose-leaf violet
 * Viola principis Boissieu
 * Viola prionantha Bunge
 * Viola producta W.Becker
 * Viola pseudaetolica Tomović, Melovski & Niketić
 * Viola pseudograeca Erben
 * Viola × pseudomakinoi M.Mizush. ex T.Shimizu
 * Viola pubescens Aiton – downy yellow violet
 * Viola pubipetala S.S.Ying
 * Viola pulvinata Reiche
 * Viola pumila Chaix – meadow violet
 * Viola purpurea Kellogg – goosefoot violet
 * Viola pusilla Poepp.
 * Viola pusillima Wedd.
 * Viola pygmaea Juss. ex Poir.
 * Viola × pynzarii Vl.V.Nikitin
 * Viola pyrenaica Ramond ex DC.

Q

 * Viola quercetorum M.S.Baker & J.C.Clausen

R

 * Viola raddeana Regel
 * Viola rafinesquei Greene – field pansy
 * Viola ramiflora K.O.Yoo
 * Viola ramosiana W.Becker
 * Viola rauliniana Erben
 * Viola × raunsiensis W.Becker & Košanin
 * Viola rausii Erben
 * Viola × ravida House
 * Viola × redacta House
 * Viola regina J.M.Watson & A.R.Flores
 * Viola reichei Skottsb. ex Macloskie – Reiche violet, Patagonian yellow violet, Chilean yellow violet
 * Viola reichenbachiana Jord. ex Boreau – early dog violet, slender wood violet
 * Viola renifolia A.Gray – northern white violet, kidney-leaved white violet
 * Viola replicata W.Becker
 * Viola × reschetnikovae Vl.V.Nikitin
 * Viola retusa Greene
 * Viola rheophila Okamoto
 * Viola rhodopeia W.Becker
 * Viola rhombifolia Leyb.
 * Viola × ritschliana W.Becker
 * Viola riviniana Rchb. – common dog violet
 * Viola × robinsoniana House
 * Viola roccabrunensis Espeut
 * Viola rodriguezii W.Becker
 * Viola roigii Rossow
 * Viola rosacea Brainerd
 * Viola rossii Hemsl.
 * Viola rossowiana J.M.Watson & A.R.Flores
 * Viola rostrata Muhl. ex Pursh – longspur violet
 * Viola rosulata Poepp. & Endl.
 * Viola rotundifolia Michx. – eastern roundleaf yellow violet, early yellow violet
 * Viola rubella Cav.
 * Viola rubromarginata J.M.Watson & A.R.Flores
 * Viola rudolfii Vl.V.Nikitin
 * Viola rudolphii Sparre
 * Viola rugosa Phil. ex W.Becker
 * Viola rugulosa Greene
 * Viola × rupestriformis Vl.V.Nikitin
 * Viola rupestris F.W.Schmidt – Teesdale violet, rock violet
 * Viola rupicola Elmer
 * Viola × ryoniae House – Ryon's violet

S

 * Viola saccata Melch.
 * Viola sacchalinensis H.Boissieu
 * Viola sacculus Skottsb.
 * Viola sagittata Aiton – arrowleaf violet
 * Viola samothracica (Degen) Raus
 * Viola sandaiojiaoensis S.S.Ying
 * Viola sandrasea Melch.
 * Viola santiagonensis W.Becker
 * Viola × savatieri Makino
 * Viola saxifraga Maire
 * Viola × scabra F.Braun
 * Viola scandens Humb. & Bonpl. ex Schult.
 * Viola schachimardanica Khalk.
 * Viola schariensis Erben – Šar mountain violet
 * Viola × schauloi Vl.V.Nikitin
 * Viola scopulorum (A.Gray) Greene
 * Viola scorpiuroides Coss.
 * Viola seleriana W.Becker
 * Viola selkirkii Pursh ex Goldie – northern violet, Selkirk's violet
 * Viola sempervirens Greene – evergreen violet, redwood violet
 * Viola sempervivum Gay
 * Viola × semseyana Borbás
 * Viola senzanensis Hayata
 * Viola septemloba Leconte – southern coastal violet
 * Viola septentrionalis Greene – northern woodland violet, northern blue violet
 * Viola sequeirae Capelo, R.Jardim, J.C.Costa, Lousã & Rivas Mart.
 * Viola × sermenika Formánek
 * Viola serpentinicola de Salas
 * Viola serresiana Erben
 * Viola sfikasiana Erben
 * Viola shaoyoukengensis S.S.Ying
 * Viola sheltonii Torr. – Shelton's violet
 * Viola shikokiana Makino
 * Viola shinchikuensis Yamam.
 * Viola shiweii Xiao C.Li & Zheng W.Wang
 * Viola sieberiana Spreng.
 * Viola sieboldii Maxim.
 * Viola sieheana W.Becker
 * Viola sikkimensis W.Becker
 * Viola silicestris K.R.Thiele & Prober
 * Viola singularis J.M.Watson & A.R.Flores
 * Viola sintenisii W.Becker
 * Viola sirinica Ricceri & Moraldo
 * Viola × skofitziana Wiesb.
 * Viola skottsbergiana W.Becker
 * Viola × slavinii House – Slavin's violet
 * Viola somchetica K.Koch
 * Viola sororia Willd. – woolly blue violet
 * Viola spathulata Willd. ex Schult.
 * Viola speciosa Pant.
 * Viola spegazzinii W.Becker
 * Viola sphaerocarpa W.Becker
 * Viola stagnina Kit. ex Schult.
 * Viola steinbachii W.Becker
 * Viola stewardiana W.Becker
 * Viola stipularis Sw.
 * Viola stocksii Boiss.
 * Viola stojanowii W.Becker
 * Viola stoloniflora Yokota & Higa
 * Viola stoneana House
 * Viola striata Aiton – striped violet, striped cream violet, pale violet
 * Viola striatella H.Boissieu
 * Viola striis-notata (J.Wagner) Merxm. & W.Lippert
 * Viola stuebelii Hieron.
 * Viola suavis M.Bieb. – Russian violet
 * Viola subandina J.M.Watson
 * Viola subasica (Fiori) Ricceri & Moraldo
 * Viola subatlantica (Maire) Ibn Tattou
 * Viola subdimidiata A.St.-Hil.
 * Viola × sublanceolata House
 * Viola subsinuata (Greene) Greene – wavy-leaf violet
 * Viola suecica Fr.
 * Viola × sukaczewii Vl.V.Nikitin
 * Viola sumatrana Miq.
 * Viola szetschwanensis W.Becker & H.Boissieu

T

 * Viola taltalensis W.Becker
 * Viola tanaitica Grosset
 * Viola × taradakensis Nakai
 * Viola tarbagataica Klokov
 * Viola tashiroi Makino
 * Viola tatjanae Stepanov
 * Viola tectiflora W.Becker
 * Viola tenuipes Pollard
 * Viola tenuissima C.C.Chang
 * Viola teplouchovii Juz.
 * Viola teshioensis Miyabe & Tatew.
 * Viola thasia W.Becker
 * Viola thianschanica Maxim.
 * Viola thibaudieri Franch. & Sav.
 * Viola thomasiana Songeon & E.P.Perrier
 * Viola thomsonii Oudem.
 * Viola thymifolia Britton
 * Viola tienschiensis W.Becker
 * Viola × tigirekica Vl.V.Nikitin
 * Viola tineorum Erben & Raimondo
 * Viola tokubuchiana Makino
 * Viola tomentosa M.S.Baker & J.C.Clausen – feltleaf violet
 * Viola × torslundensis W.Becker
 * Viola tovarii P.Gonzáles & Molina-Alor
 * Viola triangulifolia W.Becker
 * Viola trichopetala C.C.Chang
 * Viola trichosepala (W.Becker) Juz.
 * Viola tricolor L. – wild pansy, heart's-ease, Johnny-jump-up
 * Viola tridentata Sm.
 * Viola triflabellata W.Becker
 * Viola trinervata (Howell) Howell ex A.Gray – Rainier violet, sagebrush violet
 * Viola tripartita Elliott – threepart violet
 * Viola trochlearis J.M.Watson & A.R.Flores
 * Viola truncata Meyen
 * Viola tucumanensis W.Becker
 * Viola turkestanica Regel & Schmalh.
 * Viola turritella J.M.Watson & A.R.Flores
 * Viola × tuvinica Vl.V.Nikitin
 * Viola × tzvelevii Vl.V.Nikitin

U

 * Viola ucriana Erben & Raimondo
 * Viola × uechtritziana Borbás
 * Viola uliginosa Besser – swamp violet
 * Viola umbraticola Kunth – Ponderosa violet
 * Viola umphangensis S.Nansai, Srisanga & Suwanph.
 * Viola uniflora L.
 * Viola uniquissima J.M.Watson & A.R.Flores
 * Viola unwinii W.Becker
 * Viola urophylla Franch.
 * Viola utahensis M.S.Baker & J.C.Clausen – Utah violet
 * Viola utchinensis Koidz.

V

 * Viola vadimii Vl.V.Nikitin
 * Viola vaginata Maxim. – sheathed violet
 * Viola valderia All.
 * Viola vallenarensis W.Becker
 * Viola vallicola A.Nelson – valley violet
 * Viola vanroyenii H.St.John
 * Viola variegata Fisch. ex Link
 * Viola vectoris Ricceri & Moraldo
 * Viola velutina Formánek
 * Viola × venustula Greene
 * Viola × vermontana House
 * Viola veronicifolia Planch. & Linden
 * Viola viarum Pollard – twoflower violet, plains violet, wayside violet
 * Viola × viatkensis Vl.V.Nikitin
 * Viola × villaquensis Benz
 * Viola villosa Walter – Carolina violet, hairy violet, wrinkled violet
 * Viola × vilnaensis W.Becker
 * Viola × vindobonensis Wiesb.
 * Viola violacea Makino
 * Viola vittata Greene
 * Viola volcanica Gillies ex Hook. & Arn.
 * Viola voliotisii Erben
 * Viola vorobievii Bezd.
 * Viola vourinensis Erben
 * Viola vulturis Ricceri & Moraldo

W

 * Viola wailenalenae (Rock) Skottsb. – Alakai swamp violet
 * Viola wallichiana Ging.
 * Viola walteri House – prostrate blue violet, prostrate southern violet
 * Viola wansanensis Y.N.Lee
 * Viola weberbaueri W.Becker
 * Viola websteri Hemsl.
 * Viola weibelii J.F.Macbr.
 * Viola × wilczekiana Beauverd
 * Viola × wilhelmii Vl.V.Nikitin
 * Viola × wilibaldii Vl.V.Nikitin
 * Viola willkommii R.Roem. ex Willk.
 * Viola woosanensis Y.N.Lee & J.Kim
 * Viola woroschilovii Bezd.
 * Viola × wujekii H.E.Ballard
 * Viola wulinfarmensis S.S.Ying
 * Viola wulingensis S.S.Ying

X

 * Viola xanthopotamica J.M.Watson & A.R.Flores
 * Viola xibaoensis S.S.Ying

Y

 * Viola yazawana Makino
 * Viola yezoensis Maxim.
 * Viola yildirimlii Dinç & Bağcı
 * Viola yunnanensis W.Becker & H.Boissieu
 * Viola yunnanfuensis W.Becker
 * Viola × yurii Vl.V.Nikitin
 * Viola yuzufelensis A.P.Khokhr.

Z

 * Viola × zophodes K.R.Thiele & Prober
 * Viola × zwienenii J.M.Watson & A.R.Flores

title: List of Viola species


text:
Talk:The Last Married Couple in America

Untitled
'This page was listed on Votes for deletion in May, 2004. The result of that discussion was to keep the article. For an archive of the discussion, see Talk:The Last Married Couple in America/Delete.''

Text removed from article:

''Cast (in credits order) George Segal .... Jeff Thompson Natalie Wood .... Mari Thompson Richard Benjamin .... Marv Cooper Valerie Harper .... Barbara Bob Dishy .... Howard Dom DeLuise .... Walter Holmes rest of cast listed alphabetically Allan Arbus .... Al Squib Priscilla Barnes .... Helena Dryden David Bennett .... Ralph William Bogert .... Dancing man Allison Caine .... Additional Voice G. Lewis Cates .... Refreshment boy Colby Chester .... Reggie David Comfort .... Dick Thompson Sondra Currie .... Lainy Bebe Drake .... Policewoman (as Bebe Drake-Hooks) Murphy Dunne .... Dr. Schallert Lee Edgy .... Liv Arlene Golonka .... Sally Cooper Catherine Hickland .... Rebecca Billy Holms .... Dave Jan Jorden .... Soccer game lady Mieko Kobayashi .... Carol Mark Lonow .... Tom Brad Maule .... Man in restaurant B.J. Merholz .... Denim Guy Stewart Moss .... Donald Jenny Neumann .... Nurse Jenny O'Hara .... Dancing lady Clark Oliver .... Max Dryden George Pentecost .... Roy Robert Perault .... Restaurant man David Rode .... Andy Thompson Charlene Ryan .... Oriana Delia Salvi .... Bel Air Woman Ricky Segall .... Charlie Thompson Marilyn Sokol .... Alice Squib Lynne Marie Stewart .... Receptionist Shari Summers .... Maggie Oz Tortora .... Patron at Tommy's Robert Wahler .... Rick Vernon Weddle .... Soccer game man Yvonne Wilder .... Margrette Produced by Gilbert Cates .... executive producer Joseph Cates .... executive producer Edward S. Feldman .... producer John Herman Shaner .... producer Original Music by Charles Fox Non-Original Music by David Foster (song "Got to Be Real") Cheryl Lynn (song "Got To Be Real") David Paich (song "Got to Be Real") Cinematography by Ralph Woolsey (Technicolor) Film Editing by Peter E. Berger Production Design by Peter Landsdown Smith Costume Design by Edith Head Makeup Department Rick Provenzano .... key hair stylist Art Department John R. Jensen .... construction coordinator Other crew Norman Gimbel .... lyricist: "We Could Have It All" Cheryl Lynn .... singer: "Got To Be Real" Maureen McGovern .... singer: "We Could Have It All" Scott Salman .... choreographer Julia Tucker .... script supervisor ''

which seems to be just the credits list, but probably contains material that should eventually go back into the article. Andrewa 20:24, 12 May 2004 (UTC)

Incorrect credits
Hi guys. My name is Perry Sachs and I am the Assistant to the Senior Director of Credits & Creative Rights at the Writer's Guild of America West. It has come to my attention that the writer's of this project that you have listed are incorrect. Currently, you are listing Eleanor Perry as the writer based on a noel by Sue Kaufman but this is actually an original screenplay and the correct credits should read as follows:

Written by John Herman Shaner

Please change the information as soon as possible to reflect the accurate credit. Please feel free to contact me at the WGAW at (323) 951-4000. Thank you in advance for resolving this issue.

-Perry Sachs — Preceding unsigned comment added by 12.207.239.101 (talk) 20:47, 9 June 2015 (UTC)

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

title: Talk:The Last Married Couple in America


text:
Dido and Aeneas

Dido and Aeneas (Z. 626) is an opera in a prologue and three acts, written by the English Baroque composer Henry Purcell with a libretto by Nahum Tate. The dates of the composition and first performance of the opera are uncertain. It was composed no later than July 1688, and had been performed at Josias Priest's girls' school in London by the end of 1689. Some scholars argue for a date of composition as early as 1683. The story is based on Book IV of Virgil's Aeneid. It recounts the love of Dido, Queen of Carthage, for the Trojan hero Aeneas, and her despair when he abandons her. A monumental work in Baroque opera, Dido and Aeneas is remembered as one of Purcell's foremost theatrical works. It was also Purcell's only true opera, as well as his only all-sung dramatic work. One of the earliest known English operas, it owes much to John Blow's Venus and Adonis, both in structure and in overall effect.

The influence of Cavalli's opera Didone is also apparent. Both works use the prologue/three acts format and there are similarities between, for instance, Mercury's solo in Didone and the solo "Come away fellow sailors" in Purcell's work.

Background and context
Before Dido and Aeneas, Purcell had composed music for several stage works, including nine pieces for Nathaniel Lee's Theodosius, or The Force of Love (1680) and eight songs for Thomas d'Urfey's A Fool's Preferment (1688). He also composed songs for two plays by Nahum Tate (later the librettist of Dido and Aeneas), The Sicilian Usurper (1680) and Cuckold's Haven (1685). Dido and Aeneas was Purcell's first (and only) all-sung opera and derives from the English masque tradition.

Libretto
Originally based on Nahum Tate's play Brutus of Alba, or The Enchanted Lovers (1678), the opera is likely, at least to some extent, to be allegorical. The prologue refers to the joy of a marriage between two monarchs, which could refer to the marriage between William and Mary. In a poem of about 1686, Tate alluded to James II as Aeneas, who is misled by the evil machinations of the Sorceress and her witches (representing Roman Catholicism, a common metaphor at the time) into abandoning Dido, who symbolises the British people. The same symbolism may apply to the opera. This explains the addition of the characters of the Sorceress and the witches, which do not appear in the original Aeneid. It would be noble, or at least acceptable, for Aeneas to follow the decree of the gods, but not so acceptable for him to be tricked by ill-meaning spirits.

Although the opera is a tragedy, there are numerous seemingly lighter scenes, such as the First Sailor's song, "Take a boozy short leave of your nymphs on the shore, and silence their mourning with vows of returning, though never intending to visit them more." Musicologist Ellen T. Harris considers the callousness and cynicism of the song to underline the "moral" of the story, that young women should not succumb to the advances and promises of ardent young men.

Score
No score in Purcell's hand is extant, and the only seventeenth-century source is a libretto, possibly from the original performance. The earliest extant score, held in the Bodleian Library, was copied no earlier than 1750, well over sixty years after the opera was composed. No later sources follow the act divisions of the libretto, and the music to the prologue is lost. The prologue, the end of the act 2 'Grove' scene, and several dances, were almost certainly lost when the opera was divided into parts to be performed as interludes between the acts of spoken plays in the first decade of the eighteenth century.

The first of the arias to be published separately was "Ah, Belinda" in Orpheus Britannicus. The most famous aria of the work is "When I am laid in earth", popularly known as "Dido's Lament". Both arias are formed on a lamento ground bass. "Dido's Lament" has been performed or recorded by artists far from the typical operatic school, such as Klaus Nomi (as "Death"), Ane Brun and Jeff Buckley. It has also been transcribed or used in many scores, including the soundtrack to the HBO miniseries Band of Brothers (renamed "Nixon's Walk"). It is played annually by a military band at the Cenotaph remembrance ceremony, which takes place on the Sunday nearest to 11 November (Armistice Day) in London's Whitehall. The music is sometimes thought to be too simple for Purcell in 1689, but this may simply reflect that the intended performers were schoolchildren. The work is scored for four-part strings and continuo. The fact that the libretto from the Chelsea School performance indicates two dances for guitar, the "Dance Gittars Chacony" in act 1, and the "Gittar Ground a Dance" in the 'Grove' scene of act 2, has led one scholar to suggest that Purcell envisaged a guitar as a primary member of the continuo group for the opera. Music for neither of these dances is extant, and it seems likely that Purcell did not compose them, but rather left them to be improvised by the guitarist. Several editions of the opera have been made and have been provided with a continuo realisation; a notable, if rather idiosyncratic edition being that made by Imogen Holst and Benjamin Britten. There are a number of editions with realisations, and the opera's accessibility to amateur performers is a feature that has greatly abetted the growth of its popularity in the latter half of the twentieth century. While the Prologue's music has been lost and has not been reconstructed, several realisations of the opera include a solution to the missing ritornello at the end of the second act. Known to have been part of the score, it is now performed as a dance taken from other, similar works by Purcell, or invented outright in the same vein, to keep the integrity and continuity of the performance.

Premiere and early revivals
A letter from the Levant merchant Rowland Sherman associates Dido and Aeneas with Josias Priest's girls' school in Chelsea, London no later than the summer of 1688. The first performance may have taken place as early as 1 December 1687, and evidence suggests that the opera was performed at the school again in 1689. Several scholars have argued that the work was composed for the English court, either for Charles II (and perhaps as early as 1684) or for James II. Following the Chelsea performances, the opera was not staged again in Purcell's lifetime. Its next performance was in 1700 as a masque incorporated into Beauty the Best Advocate, an adapted version of Shakespeare's Measure for Measure at Thomas Betterton's theatre in London.

After 1705 it disappeared as a staged work, with only sporadic concert performances, until 1895 when the first staged version in modern times was performed by students of the Royal College of Music at London's Lyceum Theatre to mark the bicentenary of Purcell's death. Dido and Aeneas received its first performance outside England on 14 December 1895 in a concert version at the University Society in Dublin.

20th- and 21st-century performances

Dido and Aeneas premiered in the United States at the Plaza Hotel in New York City on 10 February 1923 performed by the girls of the Rosemary School, although The New York Times noted that "considerable liberties" had been taken with the score. A concert version with professional musicians organised by the Society of Friends of Music took place on 13 January 1924 at the New York City Town Hall, using a score edited by Artur Bodanzky, who also conducted the performance.

As new critical editions of the score appeared, and with the revival of interest in Baroque music, the number of productions steadily increased. After Jonathan Miller's visit to Bornholm, Denmark, Dido was performed in 2007 at the Rønne Theatre, which had been built in 1823. Kevin Duggan conducted. Amongst the new productions of the opera in 2009, the 350th anniversary of Purcell's birth, were those staged by the De Nederlandse Opera, the Royal Opera, London, the Divertimento Baroque Opera Company, and Glimmerglass Opera in Cooperstown, New York. The Royal Opera production, which featured contemporary dance by Wayne McGregor Random Dance and animated effects by Mark Hatchard, formed part of a double bill with Handel's Acis and Galatea. In 2011 the opera was revived by City Wall Productions and set during World War II. A new Opera North production of the opera opened at Leeds Grand Theatre in February 2013. Opera Up Close performed a truncated version in 2011, setting it in an American high school in the 1950s.

Adaptations
A version of the opera adapted to modern dance was choreographed by the American Mark Morris, who originally danced both the roles of Dido and the Sorceress. It premiered on 11 March 1989 at the Théâtre Varia in Brussels. It has since been performed many times and was filmed in 1995 by Canadian director Barbara Willis Sweete, with Morris in the roles of Dido and the Sorceress. The production was subsequently seen at the Grand Théâtre in Luxembourg, Opéra national de Montpellier, and Sadler's Wells Theatre in London. In both the Morris and the Waltz adaptations, the characters are each portrayed by both a singer and a dancer, with the dancers on stage and the singers performing from the side of the stage or the orchestra pit.

Act 1
Dido's court

The opera opens with Dido in her court with her attendants. Belinda is trying to cheer Dido up, but Dido is full of sorrow, saying 'Peace and I are strangers grown'. Belinda believes the source of this grief to be the Trojan Aeneas, and suggests that Carthage's troubles could be resolved by a marriage between the two. Dido and Belinda talk for a time: Dido fears that her love will make her a weak monarch, but Belinda and the Second Woman reassure her that "The hero loves as well." Aeneas enters the court, and is at first received coldly by Dido, but she eventually accepts his proposal of marriage.

Act 2
Scene 1: The cave of the Sorceress

The Sorceress/Sorcerer is plotting the destruction of Carthage and its queen, and summons companions to help with evil plans. The plan is to send her "trusted elf" disguised as Mercury, someone to whom Aeneas will surely listen, to tempt him to leave Dido and sail to Italy. This would leave Dido heartbroken, and she would surely die. The chorus join in with terrible laughter, and the Enchantresses decide to conjure up a storm to make Dido and her train leave the grove and return to the palace. When the spell is prepared, the witches vanish in a thunderclap.

Scene 2: A grove during the middle of a hunt

Dido and Aeneas are accompanied by their train. They stop at the grove to take in its beauty. A lot of action is taking place, with attendants carrying goods from the hunt and a possibly a picnic in progress, Dido and Aeneas forming the focus of all the activity. This ceases when Dido hears distant thunder, prompting Belinda to tell the servants to prepare for a return to shelter as soon as possible. As every other character leaves the stage, Aeneas is stopped by the Sorceress's elf, who is disguised as Mercury. This pretend Mercury brings the "command of Jove" that Aeneas is to wait no longer in beginning his task of creating a new Troy on Latin soil. Aeneas consents to the wishes of what he believes are the gods, but is heart-broken that he will have to leave Dido. He then goes off-stage to prepare for his departure from Carthage.

Act 3
The harbour at Carthage

Preparations are being made for the departure of the Trojan fleet. The sailors sing a song, which is followed shortly by the Sorceress and her companions' sudden appearance. The group is pleased at how well their plan has worked, and the Sorceress sings a solo describing her further plans for the destruction of Aeneas "on the ocean". All the characters begin to clear the stage after a dance in three sections, and then disperse.

The palace

Dido and Belinda enter, shocked at Aeneas’ disappearance. Dido is distraught and Belinda comforts her. Suddenly Aeneas returns, but Dido is full of fear before Aeneas speaks, and his words only serve to confirm her suspicions. She derides his reasons for leaving, and even when Aeneas says he will defy the gods and not leave Carthage, Dido rejects him for having once thought of leaving her. After Dido forces Aeneas to leave, she states that "Death must come when he is gone." The opera and Dido's life both slowly come to a conclusion, as the Queen of Carthage sings her last aria, "When I am laid in Earth", also known as "Dido's Lament." The chorus and orchestra then conclude the opera once Dido is dead by ordering the "cupids to scatter roses on her tomb, soft and gentle as her heart. Keep here your watch, and never, never part."

Recordings
The first complete recording of the opera was made by Decca Records in 1935 with Nancy Evans as Dido and Roy Henderson as Aeneas, followed in 1945 by HMV's release with Joan Hammond and Dennis Noble. Kirsten Flagstad, who had sung the role at the Mermaid Theatre in London, recorded it in 1951 for EMI with Thomas Hemsley as Aeneas. Dido and Aeneas has been recorded many times since the 1960s with Dido sung by mezzo-sopranos such as Janet Baker (1961), Tatiana Troyanos (1968), Teresa Berganza (1986), Anne Sofie von Otter (1989) and Susan Graham (2003). In addition to Joan Hammond and Kirsten Flagstad, sopranos who have recorded the role include Victoria de los Ángeles (1965), Emma Kirkby (1981), Jessye Norman (1986), Catherine Bott (1992), Lynne Dawson (1998), and Evelyn Tubb (2004).

Beginning with two pioneering recordings of the work with original instruments: Joel Cohen's 1979 recording with the Boston Camerata, on Harmonia Mundi, and Andrew Parrott's 1981 recording for Chandos with the Taverner Consort and Players, there was an increasing preference for a more genuine period sound. Further recordings by conductors and ensembles using this approach include those by Christopher Hogwood and the Academy of Ancient Music, William Christie and Les Arts Florissants (1986); Trevor Pinnock and The English Concert (1989); René Jacobs and the Orchestra of the Age of Enlightenment (1998); Emmanuelle Haïm and Le Concert d'Astrée (2003); and Predrag Gosta and New Trinity Baroque (2004). The Haïm recording with Susan Graham as Dido and Ian Bostridge as Aeneas was nominated for the Best Opera Recording in the 2005 Grammy Awards. Another notable recording dates from 1994,   with The Scholars Baroque Ensemble and Kym Amps as Dido.

Several performances of the opera have been filmed and are available on DVD, most recently the 2008 performance at the Opéra-Comique in Paris conducted by William Christie and directed by Deborah Warner (FRA Musica FRA001) and the 2009 performance at London's Royal Opera House conducted by Christopher Hogwood and directed by Wayne McGregor (OpusArte OA1018D). The Mark Morris dance version of the opera is also preserved on DVD (recorded 1995, Image Entertainment 8741) as is the dance version by Sasha Waltz (recorded 2005, Arthaus Musik 101311). Leopold Stokowski made a string orchestra arrangement of "Dido's Lament". Others who have recorded it include Matthias Bamert, José Serebrier, Richard Egarr and Iona Brown.

title: Dido and Aeneas


text:
User talk:Aitor izaola ibero

THE TEXT GENERATION

We can define text generation as the production of coherent lenguage texts which satisfys the intention of comunicate something. This kind of comunication must be composed of those characteristics:

accurate: containing accurate information and avoiding to user of contaminated or erroneal information. coherent: the use of a languagge by a comprehensible way. valid: causing the user to make the desired inferences. informative: presenting to user new and interesting knowledge to satisfy his curiosity. This information must be going by differents grades of knowledge begining with easy and basic concepts and then growing the grade of information. understandable: the creator of a source of information has to make it with information wich user can understand. Not using so tecnical terms because most of times the user can be unfamiliar of these pitch of knowledge. releveant: including information that is relevant to the current discussion goal not redundant one.

There is a group of people interseted in this pitch of knowledge that is know as Association for Computational Linguistics. The mewmbers of this kind of institution are mostly scientific and professional society for people working on problems involving natural language and computation. what is the Computational Linguistics?computational linguistics is the scientific study of language from a computational point of view. Work in computational linguistics is motivated from a scientific perspective in that one is trying to provide a computational explanation for a particular linguistic or psycholinguistic case. But in other cases the motivation may be more technological in that one wants to provide a working component of a speech or text generation system.

There are some typical problems and limitations that the text generator must solve as soon as possible. It is safe to say that at the present time one can fairly easily build a single-purpose generator for any specific application, or with some difficulty adapt an existing sentence generator to the application, with acceptable results. However, one cannot yet build a general-purpose sentence generator. Several significant problems remain without sufficiently general solutions: sentence planning discourse structure domain modeling generation choice criteria lexical selection Now i am going to explain a bit each problem and try to find any solution to those important problems. These are just suggestions.

Sentence Planning:a number of tasks remain before well-structured multisentence text can be generated. These tasks, required for planning the structure and content of each sentence, include: pronoun specification, theme signaling, focus signaling, content aggregation to remove unnecessary redundancies, the ordering of prepositional phrases, adjectives, etc. This kind of problem in my opinion could be solve taking care of your vocabulary or revising once and another the written estructures and sentences. One tipycal and so important problem could be the fact of revising the text and not realicing or taking care of the error.

Discourse Structure: So far no text planner exists that can reliably plan texts of several paragraphs in general.

Domain Modeling: A traditional problem with generators is that the inputs are frequently hand-crafted, or are built by some other system that uses representation elements from a fairly small hand-crafted domain model, making the generator's inputs already highly oriented toward the final language desired. A speech recognition system (well build) must be the future solution to this kind of problem.

Generation Choice Criteria: Probably the problem least addressed in generator systems today is the one that will take the longest to solve. This is the problem of guiding the generation process through its choices when multiple options exist to handle any given input. It is unfortunately the case that language, with its almost infinite flexibility, demands far more from the input to a generator than can be represented today. As long as generators remain fairly small in their expressive potential then this problem will be not sawn again. Question of time and hard work will be the solving of this problem.

Lexical Selection: Lexical selection is one of the most difficult problems in generation. At its simplest, this question involves selecting the most appropriate single word for a given unit of input. However, as soon as the semantic model approaches a realistic size, and as soon as the lexicon is large enough to permit alternative locutions, the problem becomes very hard to resolve. At this time no general methods exist to perform lexical selection. Most current generator systems simply finesse the problem by linking a single lexical item to each representation unit. Development of theories about and implementations of lexical selection algorithms, for reference to objects, event, states, etc., and tested with large lexica. So in this kind of problem i think that solve it must suppose create a real big and accurate kind of dictionary wich contains as much as possible contextualization items or possibilities. http://www.dynamicmultimedia.com.au/siggen/

There are other pages in wich gives us similar definition to the before given one. One of those pages where the recomendated of our teacher Joseba Abaitua: http://www.hltcentral.org/usr_docs/project-source/en/broch/harness.html#nlg

The SIGGEN group does too many conferences talking about the advanges and inovations in this theme. There are some links to this conferences: http://www.ags.uni-sb.de/~horacek/EACL-EWNLG03.html This one was done in the April of 2003.Another one done in the 2002 in New York: http://inlg02.cs.columbia.edu/

title: User talk:Aitor izaola ibero


text:
Cauim

Cauim is a traditional alcoholic beverage or beer of the indigenous peoples in Brazil since pre-Columbian times. It is still made today in remote areas throughout Panama and South America. Cauim is made by fermenting manioc (a large starchy root), or maize, sometimes flavored with fruit juices. The Kuna Indians of Panama use plantains.

In Spanish it is called chicha de yuca or in some places (like Peru) masato. The best term in English may be "Manioc beer". In Kichwa, Lumu Asua. In Shuar, Nijiamanch. In Paicoca, Co'n.

A characteristic feature of the beverage is that the starting material is cooked, chewed, and fermented, so that enzymes (including amylase) present in human saliva can break down the starch into fermentable sugars. (This principle was originally used also for Japanese sake.)

Historical use among the Tupinambá
The following description, largely from Jean de Léry's account of his trip to Brazil in the 16th century applies specifically to the Tupinambá natives who lived along the coast of central Brazil. However, it is typical of other tribes throughout Brazil.

Cauim preparation (like other cooking tasks) is strictly a women's job, with no involvement from the men. Manioc roots are sliced thin, boiled until tender, and allowed to cool down. Then women and girls gather around the pot; each repeatedly takes a mouthful of manioc, chews it, and puts it into a second pot (depending on the culture). Enzymes in the saliva then convert the starch into fermentable sugars. (Men firmly believe that if they were to chew the paste, the resulting beverage would not taste as good; and anyway they consider that work as inappropriate for them as spinning yarn would be for European men.) The chewed root paste is put back on the fire and stirred with a wooden spoon until completely cooked. The paste is then allowed to ferment in large earthenware pots ("half as big as a Burgundy wine barrel").

The resulting beverage is opaque and dense like wine dregs and tastes like sour milk. There are light and dark varieties of cauim, and the beverage can be flavored with various fruits.

The same process is used to make a similar beverage from maize. Since both plants grow abundantly throughout the year, the natives prepare the beverage in any season, sometimes in large quantities. Cauim can be consumed quietly by one or two people, but is most commonly consumed at parties with tens or hundreds of people, often from two or more villages. According to contemporary records, thirty or more large pots of cauim could be consumed in a single party; and "neither the German, nor the Flemish, nor the soldiers, nor the Swiss — that is, none of those people in France who devote themselves to great drinking, will match the Americans in that art." Cauim was also de rigueur in solemn occasions, such as the ceremonial killing and eating of a war prisoner.

Serving the cauim at parties is also a women's task. Cauim is better consumed warm, and so the women will place the pots over a slow fire in the village's central plaza. While keeping the pot well stirred, they will serve the beverage in drinking bowls — holding up to "three Parisian quarts" each — to the dancing men, as they pass by. While men are supposed to empty their bowls in one go (and perhaps twenty bowlfuls in a single party), the women take sips more or less continuously.

A drinking party could go on for two or three days, with music, dancing, whistling, and shouting going on all the time. Sometimes the men would force themselves to throw up in order to continue drinking. Leaving the party would be considered a great shame, "worse than schelm among Germans". Curiously, the Tupinambá do not eat during their drinking parties, just as they do not drink at meals; and they find the European custom of mixing the two things very strange.

Jean de Léry reports that he and his companions tried to prepare "clean" cauim by grinding and cooking manioc or maize, without the chewing step; but (predictably) it did not work. Eventually they got used to the natives' drink. "To those readers who are put off by the idea of drinking what someone else has chewed," adds the traveler, "let me remind them of how our wine is made ... by the peasants who trample on the grapes with their feet, sometimes with shoes and all; things that are perhaps even less agreeable than the chewing of American women. Just as one says that wine, by fermenting, rids itself of all impurity; so we may assume that cauim purges itself too."

Current use
Cauim is still made by many indigenous communities in Brazil and elsewhere in the Amazon. It is the main staple food for infants of the Tapirapé Indians of the Tapi'itãwa tribe (Mato Grosso state) until they are two years old.

Analysis
Analysis of cauim made from manioc showed that fermentation was due to a large variety of bacteria. As the fermentation progressed, the species Lactobacillus pentosus and L. plantarum became dominant. The acidity of the final product was due to lactic acid but significant amounts of ethanol and acetic acid were present. A second analysis of cauim made from rice and manioc also showed the presence of yeasts, chiefly Candida tropicalis.

title: Cauim


text:
Crufts

Crufts is an international dog show held annually in the United Kingdom, held since 1891, and organised by The Kennel Club. It is the largest show of its kind in the world.

Crufts is primarily a championship conformation show for dogs, and includes a large trade show of mainly dog-related goods and services, as well as competitions in dog agility, obedience, flyball and heelwork to music. Winner of the annual Friends for Life competition which celebrates unsung canine heroes is also announced, and Crufts also hosts the final of Scruffts, a crossbreed competition. It is held over four days (Thursday to Sunday) in early March at the National Exhibition Centre (NEC) in Solihull, England.

Crufts comprises a number of separate competitions. The main competition is for the Best in Show award, which is hotly contested by dogs and their owners from throughout the world.

The Kennel Club was criticised on the BBC programme Pedigree Dogs Exposed for allowing breed standards, judging standards and breeding practices which are said to compromise the health of purebred dogs. The programme led various sponsors to withdraw. The BBC dropped Crufts 2009 from their coverage after being unable to agree to terms with The Kennel Club, with Channel 4 broadcasting the event since 2010.

History

Crufts was named after its founder, Charles Cruft, who worked as general manager for a dog biscuit manufacturer, travelling to dog shows both in the United Kingdom and internationally, which allowed him to establish contacts and understand the need for higher standards for dog shows. In 1886, Cruft's first dog show, billed as the "First Great Terrier Show", had 57 classes and 600 entries. The first show named "Crufts"—"Cruft's Greatest Dog Show"—was held at the Royal Agricultural Hall, Islington, in 1891. It was the first at which all breeds were invited to compete, with around 2,000 dogs and almost 2,500 entries.

With the close of the 19th century, entries had risen to over 3,000, including royal patronage from various European countries and Russia. Due to the First World War, the show was not held between 1918 and 1920. In 1928, the Best In Show class was introduced and awarded to a Greyhound named Primley Sceptre, shown by Herbert Whitley, the founder of what is now Paignton Zoo. In 1934, the competition was sponsored by a cat food manufacturer. In 1936, "The Jubilee Show" had 10,650 entries with the number of breeds totalling 80. The show continued annually and gained popularity each year until Charles' death in 1938. His widow then ran the show for four years, until she felt unable to do so due to its high demands of time and effort. To ensure the future and reputation of the show (and, of course, her husband's work), she sold it to The Kennel Club in 1942.

The show was again interrupted, by the Second World War, and consequently the 1948 show was the first to be held under the new owner, at Olympia in London. The show continued to gain popularity with each passing year. The BBC first televised the show in 1950. The 1954 competition was cancelled due to an electricians' strike. In 1959, despite an increase in entrance fees, the show set a new world record with 13,211 entrants.

The first Obedience Championships were held in 1955, the same year working sheepdogs were first allowed to enter. In 1978, agility was introduced as a demonstration, to later become a competition in 1980, with an international invitational competition added in 2001. In 1985, the Young Kennel Club was founded to promote dog handling among younger people. Flyball was introduced in 1990, and in 1992, the first Heelwork to Music demonstration was carried out by Mary Ray. In the early 1990s the Kennel Club started to campaign for responsible dog ownership, with emphasis on people choosing the right dog for them, and introduced Discover Dogs area to Crufts, where visitors can meet all currently recognised breeds and chat to breed experts about dog ownership. In 2000, Rescue Dog Agility was added to the programme.

By 1979, the show had to move to Earls Court exhibition centre, as the increasing number of entries and spectators had outgrown the capacity of its previous venue. Soon, the show had to be changed again – the duration had to be increased to three days in 1982, then in 1987 to four days, as its popularity continued to increase. Since 1991, the show, previously always held in London, has been held in the National Exhibition Centre, Solihull.

At the Centenary celebrations in 1991 Crufts was officially recognised by the Guinness Book of Records as the world's largest dog show, with 22,973 dogs being exhibited in conformation classes that year. Including agility and other events, it is estimated that an average 28,000 dogs take part in Crufts each year, with an estimated 160,000 human visitors attending the show. Crufts was formerly televised by the BBC; this ended after the 2008 event (see "Criticism") and the 2009 event was only shown via the Internet. Since 2010 the show has been broadcast on the commercial channels Channel 4 and More4, attracting over 4.5 million viewers.

In 2021, as a result of the COVID-19 pandemic, Crufts was first postponed, then cancelled for the first time since the electricians' strike of 1954.

The show was held on 10–13 March 2022, 9–12 March 2023, and 7-10 March 2024.

The show will be held on 6-9 March 2025.

Competing for Best in Show
Crufts is not an open competition; dogs must have qualified during the previous year. There are a number of ways of qualifying for the breed classes at Crufts, but dogs typically qualify by obtaining first, second or third place in the relevant class at a Kennel Club-affiliated Championship show where Challenge Certificates are awarded, or by achieving Best in Show, Reserve Best in Show or Best Puppy in Show at a Kennel Club-affiliated Open or General show. Dogs can become qualified for life upon attaining their Kennel Club Stud Book Number.

Dogs begin by competing against others of the same breed, split by gender, age and previous class wins. These classes include Veteran, Special Puppy, Special Junior, Yearling, Post Graduate, Mid Limit, Limit, and Open. Each is awarded once for dogs and once for bitches. The dog and bitch class winners then compete again for the Dog and Bitch Challenge Certificate (CC). The two CC winners then go head-to-head to determine the Best of Breed.

After the best of each breed has been chosen, they then compete against the others in their Group (in the UK, there are seven Groups: Toys, Gundogs, Utility, Hounds, Working, Pastoral, and Terriers) to find the Best in Group. The seven Group winners then compete to find the Best in Show and Reserve Best in Show.

Best in Show winners receive a replica of the solid silver Keddall Memorial Trophy, and a small cash prize of £200.

As of 2016 the English Cocker Spaniel had been the most successful breed at Crufts, awarded Best In Show seven times, and the Gundog Group is the most successful group, having produced twenty-three Best In Show winners.

Other competitions
Crufts hosts a range of other competitions, including agility, obedience and flyball.

Agility is a fast-paced timed competition in which dogs manoeuvre, under guidance from their handlers, through, over, and around various obstacles. Any mistake made is penalised by adding faults to their score. Dogs must qualify during the preceding year to compete in individual or team events, although representative handlers and dogs from England, Wales, Scotland, Northern Ireland and the Republic of Ireland are invited to compete in the International competitions.

Obedience, held in the ‘Obedience Ring’ requires dogs to obey a set of commands given by their handlers, including off-lead heelwork at different paces, distance control, retrieve, send away, stays and scent discrimination. Dogs qualify by being successful at shows during the preceding year to compete in the Dog and Bitch UK Obedience Championships, UK Inter-Regional Team Competition and the crowd's favourite, the Obedience World Cup. The prizes are awarded to the most obedient dog according to the judges. Obreedience is a group version of the activity in which team of four dogs of the same breed compete against other teams in being the most obedient.

Flyball is a relay-style race. Two teams of four dogs compete against each other in a knock-out competition. Each dog jumps a series of four hurdles, and then steps on a box, which is rigged to release a ball. The dog must then return the ball to the start of the course to tag one of its team, who then repeats this process until all the dogs have finished. Teams must qualify during the preceding year.

Crufts also holds both freestyle and heelwork to music competitions, consisting of a choreographed routine, comprising elements of obedience, set to music.

The gamekeepers classes at Crufts focus on judging the suitability of field-bred dogs for use in the field. Dogs entered are of the gundog group, but the conformation of these dogs differs significantly from that of gundogs from show-bred bloodlines, owing to the need for function as a working gundog, and they are judged accordingly.

The Young Kennel Club (YKC) also has its own ring and stand where handlers aged between six and twenty-five compete in Agility, Obedience, Showing, Handling, Heelwork to Music, Flyball, and Grooming. Handlers and dogs must qualify in their discipline during the preceding year.

Crufts hosts the World Champion Junior Handling competition in which National Best Junior Handler winners from around the globe compete. The first World title competition, held in 1984, was judged by Ger Pederson. The winner of this premiere competition was US representative Tracie Laliberte who had won Westminster Kennel Club in 1983. A unique feature of this first competition was the requirement of switching dogs mid-way through the competition.

Other attractions
Crufts regularly attracts over 160,000 visitors to the NEC and more than 155,000 people visited Crufts in 2020. While the main purpose of the event is the search for the best dog in the show, many trade stands sell a wide range of dog-related merchandise or advertise dog-related charities. Many exhibitors include interactive displays in their stands and demonstration of their product and work, i.e. demonstration of canine first aid.

There is also a section known as Discover Dogs where visitors can see almost every breed recognised by the Kennel Club on view, and discuss each breed with knowledgeable owners.

Crufts also holds special shows and demonstrations, where specially trained dogs perform in front of an arena audience, including Police Dogs, Royal Air Force Dogs and Medical Detection Dogs.

Crossbreeds
As the Kennel Club also registers crossbreeds, Crufts also hosts many competitions and displays for crossbreeds. They mainly compete in agility, obedience and heelwork to music competitions. The popularity of Crufts and the interest of dog owners who do not own purebreeds convinced the Kennel Club to hold Scruffts, a show similar to Crufts for crossbreed dogs. Scruffts regularly attracts hundreds of entries and dozens of finalists compete for the top prize in a final at Crufts.

Criticism
The Kennel Club was criticised on the August 2008 BBC programme Pedigree Dogs Exposed for allowing breed standards, judging standards and breeding practices which are said to compromise the health of purebred dogs. The programme led various sponsors such as Hill's Pet Nutrition, Royal Society for the Prevention of Cruelty to Animals and Dogs Trust to withdraw from their participation in Crufts and other Kennel Club events. The RSPCA stated that it is "concerned about the unacceptably high levels of disability, deformity and disease affecting pedigree dogs". The BBC dropped Crufts 2009 from its coverage after being unable to agree terms with the Kennel Club. It was reported that Pedigree Petfoods withdrew from sponsorship of Crufts following this programme, but this announcement was made well in advance of the broadcast and for financial reasons. Kennel Club Chairman Ronnie Irving said that "If this programme teaches us anything, I hope it will teach the 'purists' in some breeds that they simply must get a move on and realise that in these politically correct and well informed days, some old attitudes are simply no longer sustainable." Maintaining that the majority of dogs are healthy he said that "the roughly 90% of us who thankfully have healthy breeds must continue to guard against exaggeration and must bring pressure to bear on the laggards, otherwise we will – all of us – continue to be tarred with the same brush". The Kennel Club initially defended its practices, and criticised the programme as "highly biased". It also lodged a complaint to regulatory authority Ofcom claiming "unfair treatment and editing".

The Kennel Club has introduced a new health plan, breed standards for every breed went under review, and show judges were required to choose only healthy dogs. It has also requested regulatory powers from the Government, which would allow the club to take actions against breeders who do not comply with health standards. New breed standards for 209 dog breeds were announced in January 2009, and became effective immediately, but with breeders allowed until June to object. The new standards were said to "not include anything that could in any way be interpreted as encouraging features that might prevent a dog from breathing, walking and seeing freely". "This will help to prevent the practice of exaggeration, where features that are perceived to be desirable, such as a short muzzle or loose skin, are made more prominent by breeders, and which can have detrimental effects on a dog’s health."

RSPCA report
In February 2009, the results of an independent scientific report commissioned by the RSPCA concluded that "exaggerated physical features and inherited diseases cause serious welfare problems in pedigree dogs". Quoting Arman (2007), the report states that "Society and sections of the veterinary profession have become 'desensitised to the welfare issues to such an extent that the production of anatomically deformed dogs is neither shocking, nor considered abnormal'". It also states that "Breeding practices and efforts by breed societies and kennel clubs, to date, have been ineffective at protecting the welfare of many breeds of domestic dog" and that "changes in breeding and selection practices are urgently required". The Kennel Club states that the report "fails totally to recognise the real steady progress and advance of scientific knowledge that has already been made in the area of pedigree dog health".

In culture
Poppy Holman's play A Dog's Tale, based on Crufts, was commissioned as one of Mikron Theatre Company's two 2020 productions, was delayed by COVID-19, and premiered in Leeds on 5 June 2021.

title: Crufts


text:
Paulistas

Paulistas are the inhabitants of the state of São Paulo, Brazil, and of its antecessor the Capitaincy of São Vicente, whose capital early shifted from the village of São Vicente to the one of São Paulo dos Campos de Piratininga.

Origin of the Paulistas
The paulista history begins with the arrival of João Ramalho Maldonado, a Portuguese adventurer and explorer born in Vouzela, considered the "father of paulistas" and the "founder of paulistanity". Ramalho left continental Portugal for Terra de Vera Cruz when Catarina Fernandes das Vacas, his wife, was pregnant; the reasons why he left Europe are not known. Living in the Paulista lands probably since 1508, twenty-four years before the beginning of the Portuguese colonization in the region, he soon adapted to the land and the indigenous, coming to know Tibiriçá, a chief who became his friend.

Ramalho got together with the Indian Bartira, Tibiriçá's daughter. The wedding ceremony followed an Indian tradition, and a partnership was established between Bartira's father and João Ramalho, to the point that Tibiriçá would do nothing without first consulting his son-in-law. Even though he was Portuguese, Ramalho was totally indigenized, his life and his children's lives imitated the Indians'. Ramalho had many wives besides Bartira, his children dated sisters and had children with them, went to war with the Indians and their parties were Indian parties, they lived naked like the Indians themselves. Because he was not married on paper, he had problems with the Jesuits, being expelled from a mass and later excommunicated by the Catholic Church.

With the union of Ramalho and Bartira, a large family of caboclos was born, which spread through generations, thus giving rise to the first paulistas, who, due to the poverty of the Piratininga Fields as well as the poverty of the Capitania of São Vicente itself in the beginning, gave rise to many future bandeirantes who would explore the South American backlands, expand the paulista territory and spread its culture, which suffered many European influences, predominantly Italian, with the immigrations that began at the end of the 19th century.

Colonial and imperial period
As the bandeirantes gained power and the vice-kingdom of Brazil developed, the Portuguese element predominated in the population, the Indians being either absorbed or killed. But the Captaincy of São Vicente, enlarged by the bandeiras to include Mato Grosso, Goiás, Paraná and Santa Catarina, remained undeveloped, having neither the gold of Minas Gerais nor the sugar cane of Pernambuco, two of the most lucrative products in the 16th, 17th, and 18th century. As a consequence, it did not receive the same influx of black slaves during the 16th and 17th centuries as the more prosperous provinces of Brazil. Nevertheless, the number of black slaves increased substantially in São Paulo during the Brazilian Empire, as the slave traffic reached its peak during the first half of the 19th century. After the abolition of the international slave trade in 1850, many more slaves were transferred from declining regions of Brazil to work in coffee plantations.

Economic development of São Paulo
The economic development of São Paulo only really took off with the founding of coffee plantations in the nineteenth century. Those coffee plantations were manned, from the beginning, by slaves, and remained so during most of the 19th century. Not even the abolition of the transatlantic trade changed this, with the coffee barons resorting to the import of slaves from the Northeastern and Southern regions. Both the coffee planters and the Brazilian government, however, were aware that the abolition of slavery could be postponed but not avoided at all; as a result, a few experiments in immigration were tried during this period, and some ideas were discussed, including the immigration of Chinese workers. Only in the 1880s, however, did immigration start in earnest.

From then on, immigration was the solution adopted to what was seen as a labour shortage, and Italian and Spanish immigrants made the bulk of the workers brought to coffee plantations; the reasons why ex-slaves were not employed, or were only marginally employed, are unclear and subject to debate. Much is made of a supposed "whitening" ideology, or even "program", but the cold fact is that, when faced with the impossibility of obtaining European manpower, the coffee barons had no qualms about resorting to Japanese immigrants. A curious fact from this period was the immigration of American Southerners, called Confederados, moving from a country where slavery had been abolished to one where it still existed. Of course, those were not manual workers and did not come to work in coffee plantations.

The wealth produced by coffee culture eventually sparked urbanisation and industrialisation; the growing urban environment attracted even more immigrants, especially Armenians, Italians, Germans, Portuguese, Syrians, and Lebanese. Later, as the foreign immigration declined, a strong chain of internal migration from other regions of Brazil developed.

Paulista language
Initially, the Paulistas, as well as the other populations from Paulista territories, communicated in the Paulista General Language, a creole language formed in the 16th century from ancient Tupi dialects, with influences from the Portuguese and Spanish languages. At the beginning of the 17th century, Paulista bandeiras began a series of raids against the Spanish Jesuit missions in search of Guarani slaves to work in Paulista lands. As a result, the contact established during this period of wars between the Paulistas and the Spanish brought elements of the Guarani language into the language.

Today it has a few registers, being a dead language due to mass immigration and the obligation of the Portuguese language imposed by the governments of Brazil, initially from 1758 on, with a decree by Sebastião José de Carvalho.

title: Paulistas


text:
Luzern–Stans–Engelberg railway line

The Luzern–Stans–Engelberg railway line is a Swiss narrow gauge rack railway that connects Luzern, via Hergiswil and Stans, to the resort of Engelberg. The line was built by the Stansstad–Engelberg Railway (Stansstad-Engelberg-Bahn, StEB), which became the Luzern–Stans–Engelberg Railway (Luzern–Stans–Engelberg-Bahn, LSE) when the line was extended to Luzern.

Today the line is owned by the Zentralbahn railway company, which also owns the Brünig line. Trains on the Luzern–Stans–Engelberg line use Brünig line tracks to access Luzern from Hergiswil.

History

In 1890 the concession to build a line was given from Stansstad to Engelberg. The opening of the Stansstad-Engelberg-Bahn (StEB) followed in 1898. The opening of the railway resulted in the early demise of the Stansstad–Stans tramway, which connected Stansstad and Stans between 1893 and 1903.

The line was electrified from its beginning, making it the longest electrically operated railway line of Switzerland at that time. Because of the maximum gradient of 25% on the rack section between Grafenort, Engelberg and Engelberg, it was decided to use three-phase alternating current.

Brown Boveri delivered seven 52 kW motorcoaches, with wooden bodies and side doors to each compartment, between 1898 and 1900, numbered 1 to 7. They also delivered, between 1898 and 1913, five 4-wheeled 110 kW rack bankers which were used beyond Grafenort on the steep uphill section, to assist the motorcoaches up the hill. These were also numbered 1 to 5. All these vehicles survived until 1964.

The railway ended at that time in Stansstad at the Lake of Lucerne. Passengers had to continue by lake steamer or bus. To connect the railway with the national rail network in Hergiswil, where the metre gauge Brünigbahn of SBB had a station, a concession was passed in 1956. However, it took some time to find the money to build the line to Hergiswil. To resolve the problems of old loans, a new company was incorporated in 1959, still named Elektrische Bahn Stansstad-Engelberg. In 1960 work on the Lopper tunnel started and on 27 August 1964, the last three-phase train reached Engelberg. The rack line was rebuilt to Brünigbahn standards and a new overhead line for 15 kV 16⅔ Hz was built. On 19 December 1964, the line went back into business as the Luzern-Stans-Engelberg-Bahn (LSE). The new motor coaches were built for the same maximum speed as the contemporary Brünigbahn motive power (75 km/h).

In 2005 the LSE merged with the Swiss Federal Railway's Brünig line to form the Zentralbahn railway company. Formally, the Swiss Federal Railway sold the Brünig line to the LSE which paid for it with its own shares. LSE was subsequently renamed Zentralbahn and 2/3 of its shares are now owned by SBB.

In December 2010, the Grafenort to Engelberg Tunnel opened between Grafenort and Engelberg, bypassing the very steep 25% incline. The bypass resulted in the closure of the former stations of Obermatt ZB and Grünenwald. In late 2012, a new tunnel route was opened between Kriens Mattenhof station and the approaches to Luzern station. The tunnel replaces a less direct surface alignment, allowing the abolition of several congested level crossings and the provision of double track. A new station, Luzern Allmend/Messe, built within the tunnel, serves the Swissporarena.

Route

Trains on the Luzern–Stans–Engelberg line begin their journey at Luzern Bahnhof, one of Switzerland's principal railway stations which is shared with the lines of the Swiss Federal Railways. Shortly after leaving that station, the line enters a tunnel (opened in 2012) which runs under Luzern's southern suburbs as far as Kriens Mattenhof station. From here the line runs to Hergiswil, where the LSE line proper diverges from the Brünig line.

Between Luzern and Hergiswil, trains share tracks with the Brünig line and the S-Bahn services. This section is double track as far as the southern end of the Spier tunnel to the north of Hergiswil Matt station; beyond here the line is mainly single track except for passing loops at stations. Between Luzern and Horw, one of the two tracks is dual gauge allowing standard gauge freight trains to serve the adjacent industrial areas.

From Hergiswil the LSE line runs through the Lopper II tunnel, under a shoulder of Mount Pilatus, and then bridges the Alpnachersee arm of Lake Lucerne to reach Stansstad. This tunnel and stretch of line was newly built in the 1960s to connect the Stansstad–Engelberg line to the Brünig line. The former line starting from the terminal station at Stansstad steamer pier no longer exists, although the station building still does.

Beyond the current Stansstad station the line continues on its original 1890s route to Stans and Dallenwil, along the valley of the Engelberger Aa river which the line will follow as far as its destination in Engelberg. Wolfenschiessen station is the terminus of the S4 S-Bahn service, and the LSE line continues alone.

The line uses adhesion as far as Grafenort station. Then after this station the line enters the Grafenort to Engelberg Tunnel, using rack propulsion through the tunnel. At the point of entering the tunnel, the pre-2010 surface alignment can be seen diverging to the right. The line formerly continued on adhesion as far as Obermatt ZB station, where the rack section started for the climb via Grünenwald station. Here the main road originally crossed the line via an unusual double bascule bridge, used instead of a level crossing because of the presence of the rack rail. The rack section ended above Grünenwald at the Ghärst passing loop.

At Boden on the outskirts of Engelberg the old and new routes rejoin, and run under adhesion into the terminal Engelberg station.

Stations
The service pattern on the Luzern-Hergiswil section is complex because the line is shared by four separately timetabled services: the LSE, the Brünigbahn, and the S4 and S5 S-Bahn services.

Rolling stock
Prior to the opening of the Grafenort-Engelberg tunnel, the line was operated by BDeh 4/4 electric multiple units. Various combinations of power and trailer cars were used depending on passenger demand, although a maximum of four-car trains could be used over the rack section. Longer trains had to be split at either Obermatt ZB or when starting from Engelberg,

Since the opening of the tunnel, the line is served by longer trains usually made up of a HGe 4/4 II locomotive at the uphill (Engelberg) end, then some of the original BDeh 4/4 trailer cars, then a newer Stadler GSW multiple unit at the valley (Luzern) end. The latter is similar to the Stadler SPATZ but with the addition of a rack system.

For the summer 2013 season a first class panoramic car was added to the Engelberg end of the trains, the service being renamed "Luzern-Engelberg Express".

title: Luzern–Stans–Engelberg railway line


text:
Department of Bantu Education

The Department of Bantu Education was an organization created by the National Party of South Africa in 1953. The Bantu Education Act, 1953 provided the legislative framework for this department.

Function of the department
Before the Bantu Education Act was passed, apartheid in education tended to be implemented in a haphazard and uneven manner. The purpose of the act was to consolidate Bantu education, i.e., education of black people, so that discriminatory educational practices could be uniformly implemented across South Africa. Previously, black education was administered by provincial governments. With the creation of the department, the central national government assumed control of all black education in South Africa. Racial segregation in education became mandatory under the Act.

Initially, a poll tax levied solely on black South Africans was collected to pay for Bantu education. In 1972, the government started using general taxes collected from White South Africans to fund a portion of black education. One of the hallmarks of Bantu education was a disparity between the quality of education available to different ethnic groups. Black education received one-tenth of the resources allocated to white education; throughout apartheid, black children were educated in classes with teacher-pupil ratios of 1:56. Dilapidated school buildings, a lack of textbooks, and poor teacher training were problems that the department was never able (or willing) to address.

Curricula under the department
The department sought to equip black students with the abilities needed to function as low-skilled workers. Abstract thinking and subjects deemed to be of no use to manual laborers (such as mathematics and science) were neglected. Teaching an apartheid-friendly version of Christian values to students was also prioritized. In educational materials, black culture was portrayed as primitive, rural, and unchanging.

Responses
Many missionary societies provided education to black schoolchildren. These schools were partially funded by the national government but operated with some autonomy. Racial segregation was not a defining feature of missionary education. The Bantu Education Act consolidated educational apartheid and forced mission schools to implement strict racial segregation in order to qualify for financial assistance. Many mission schools refused to co-operate with the National Party government and ceased operating after the passage of the act.

End of the department
In 1994, after South Africa's first multiracial elections, the department ceased to operate. All of its functions were absorbed by several government departments. Though the post-apartheid government has committed itself to providing quality schooling to students of all races, education in South Africa continues to be hampered by the legacy of the department and other institutions.

title: Department of Bantu Education