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Malliavin calculus

In probability theory and related fields, Malliavin calculus is a set of mathematical techniques and ideas that extend the mathematical field of calculus of variations from deterministic functions to stochastic processes. In particular, it allows the computation of derivatives of random variables. Malliavin calculus is also called the stochastic calculus of variations. P. Malliavin first initiated the calculus on infinite dimensional space. Then, the significant contributors such as S. Kusuoka, D. Stroock, J-M. Bismut, Shinzo Watanabe, I. Shigekawa, and so on finally completed the foundations.

Malliavin calculus is named after Paul Malliavin whose ideas led to a proof that Hörmander's condition implies the existence and smoothness of a density for the solution of a stochastic differential equation; Hörmander's original proof was based on the theory of partial differential equations. The calculus has been applied to stochastic partial differential equations as well.

The calculus allows integration by parts with random variables; this operation is used in mathematical finance to compute the sensitivities of financial derivatives. The calculus has applications in, for example, stochastic filtering.

Overview and history
Malliavin introduced Malliavin calculus to provide a stochastic proof that Hörmander's condition implies the existence of a density for the solution of a stochastic differential equation; Hörmander's original proof was based on the theory of partial differential equations. His calculus enabled Malliavin to prove regularity bounds for the solution's density. The calculus has been applied to stochastic partial differential equations.

Invariance principle
The usual invariance principle for Lebesgue integration over the whole real line is that, for any real number ε and integrable function f, the following holds

 * $$ \int_{-\infty}^\infty f(x)\, d \lambda(x) = \int_{-\infty}^\infty f(x+\varepsilon)\, d \lambda(x) $$ and hence $$\int_{-\infty}^\infty f'(x)\, d \lambda(x)=0.$$

This can be used to derive the integration by parts formula since, setting f = gh, it implies

 * $$0 = \int_{-\infty}^\infty f' \,d \lambda = \int_{-\infty}^\infty (gh)' \,d \lambda = \int_{-\infty}^\infty g h'\, d \lambda +

\int_{-\infty}^\infty g' h\, d \lambda.$$

A similar idea can be applied in stochastic analysis for the differentiation along a Cameron-Martin-Girsanov direction. Indeed, let $$h_s$$ be a square-integrable predictable process and set

 * $$ \varphi(t) = \int_0^t h_s\, d s .$$

If $$X$$ is a Wiener process, the Girsanov theorem then yields the following analogue of the invariance principle:

 * $$ E(F(X + \varepsilon\varphi))= E \left [F(X) \exp \left ( \varepsilon\int_0^1 h_s\, d X_s -

\frac{1}{2}\varepsilon^2 \int_0^1 h_s^2\, ds \right ) \right ].$$

Differentiating with respect to ε on both sides and evaluating at ε=0, one obtains the following integration by parts formula:

 * $$E(\langle DF(X), \varphi\rangle) = E\Bigl[ F(X) \int_0^1 h_s\, dX_s\Bigr].

$$

Here, the left-hand side is the Malliavin derivative of the random variable $$F$$ in the direction $$\varphi$$ and the integral appearing on the right hand side should be interpreted as an Itô integral.

Gaussian probability space
The toy model of Malliavin calculus is an irreducible Gaussian probability space $$X=(\Omega,\mathcal{F},P,\mathcal{H})$$. This is a (complete) probability space $$(\Omega,\mathcal{F},P)$$ together with a closed subspace $$\mathcal{H}\subset L^2(\Omega,\mathcal{F},P)$$ such that all $$H\in \mathcal{H}$$ are mean zero Gaussian variables and $$\mathcal{F}=\sigma(H:H\in \mathcal{H})$$. If one chooses a basis for $$\mathcal{H}$$ then one calls $$X$$ a numerical model. On the other hand, for any separable Hilbert space $$\mathcal{G}$$ exists a canonical irreducible Gaussian probability space $$\operatorname{Seg}(\mathcal{G})$$ named the Segal model having $$\mathcal{G}$$ as its Gaussian subspace. Properties of a Gaussian probability space that do not depend on the particular choice of basis are called intrinsic and such that do depend on the choice extrensic. We denote the countably infinite product of real spaces as $$\R^{\N}=\prod\limits_{i=1}^{\infty}\R$$.

Let $$\gamma$$ be the canonical Gaussian measure, by transferring the Cameron-Martin theorem from $$(\R^{\N},\mathcal{B}(\R^{\N}),\gamma^{\N}=\otimes_{n\in\N} \gamma)$$ into a numerical model $$X$$, the additive group of $$\mathcal{H}$$ will define a quasi-automorphism group on $$\Omega$$. A construction can be done as follows: choose an orthonormal basis in $$\mathcal{H}$$, let $$\tau_{\alpha}(x)=x+\alpha$$ denote the translation on $$\R^\N$$ by $$\alpha$$, denote the map into the Cameron-Martin space by $$j:\mathcal{H}\to \ell^2$$, denote
 * $$L^{\infty-0}(\Omega,\mathcal{F},P)=\bigcap\limits_{p<\infty}L^p(\Omega,\mathcal{F},P)\quad$$ and $$\quad q:L^{\infty-0}(\R^{\N},\mathcal{B}(\R^{\N}),\gamma^{\N})\to L^{\infty-0}(\Omega,\mathcal{F},P),$$

we get a canonical representation of the additive group $$\rho:\mathcal{H}\to \operatorname{End}(L^{\infty-0}(\Omega,\mathcal{F},P))$$ acting on the endomorphisms by defining
 * $$\rho(h)=q\circ \tau_{j(h)}\circ q^{-1}.$$

One can show that the action of $$\rho$$ is extrinsic meaning it does not depend on the choice of basis for $$\mathcal{H}$$, further $$\rho(h+h')=\rho(h)\rho(h')$$ for $$h,h'\in \mathcal{H}$$ and for the infinitesimal generator of $$(\rho(h))_{h}$$ that
 * $$\lim\limits_{\varepsilon \to 0}\frac{\rho(\varepsilon h)-I}{\varepsilon}=M_h$$

where $$I$$ is the identity operator and $$M_h$$ denotes the multiplication operator by the random variable on $$\Omega$$ associated to $$h\in \mathcal{H}$$ (acting on the endomorphisms).

Clark–Ocone formula
One of the most useful results from Malliavin calculus is the Clark–Ocone theorem, which allows the process in the martingale representation theorem to be identified explicitly. A simplified version of this theorem is as follows:

Consider the standard Wiener measure on the canonical space $$C[0,1]$$, equipped with its canonical filtration. For $$F: C[0,1] \to \R$$ satisfying $$ E(F(X)^2) < \infty$$ which is Lipschitz and such that F has a strong derivative kernel, in the sense that for $$\varphi$$ in C[0,1]

 * $$ \lim_{\varepsilon \to 0} \frac 1 \varepsilon (F(X+\varepsilon \varphi) - F(X) ) = \int_0^1 F'(X,dt) \varphi(t)\ \mathrm{a.e.}\ X$$

then

 * $$F(X) = E(F(X)) + \int_0^1 H_t \,d X_t ,$$

where H is the previsible projection of F ' (x, (t,1]) which may be viewed as the derivative of the function F with respect to a suitable parallel shift of the process X over the portion (t,1] of its domain.

This may be more concisely expressed by

 * $$F(X) = E(F(X))+\int_0^1 E (D_t F \mid \mathcal{F}_t ) \, d X_t .$$

Much of the work in the formal development of the Malliavin calculus involves extending this result to the largest possible class of functionals F by replacing the derivative kernel used above by the "Malliavin derivative" denoted $$D_t$$ in the above statement of the result.

Skorokhod integral
The Skorokhod integral operator which is conventionally denoted δ is defined as the adjoint of the Malliavin derivative in the white noise case when the Hilbert space is an $$L^2$$ space, thus for u in the domain of the operator which is a subset of $$L^2([0,\infty) \times \Omega)$$, for F in the domain of the Malliavin derivative, we require

 * $$ E (\langle DF, u \rangle ) = E (F \delta (u) ),$$

where the inner product is that on $$L^2[0,\infty)$$ viz

 * $$ \langle f, g \rangle = \int_0^\infty f(s) g(s) \, ds.$$

The existence of this adjoint follows from the Riesz representation theorem for linear operators on Hilbert spaces.

It can be shown that if u is adapted then

 * $$ \delta(u) = \int_0^\infty u_t\, d W_t ,$$

where the integral is to be understood in the Itô sense. Thus this provides a method of extending the Itô integral to non adapted integrands.

Applications
The calculus allows integration by parts with random variables; this operation is used in mathematical finance to compute the sensitivities of financial derivatives. The calculus has applications for example in stochastic filtering.

title: Malliavin calculus


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Þórsdrápa

Þórsdrápa (also Thorsdrapa; Old Norse: 'The Lay of Thor') is a skaldic poem by Eilífr Goðrúnarson, a poet in the service of Jarl Hákon Sigurðarson. The poem is noted for its creative use of kennings and other metaphorical devices, as well as its labyrinthine complexity.

Narrative synopsis
The principal subject of the poem is a narrative relating as to how Thor came by his hammer, Mjolnir (Mjǫlnir), and, as is usually the case in stories with Thor, how the giants came off worse. Behind it all, of course, is Loki, who gulls Thor into a confrontation with the giant Geirrod (Geirrǫðr). With the aid of some magical gifts from the giantess Grid (Gríðr), Thor, accompanied by Þjálfi, defeats Geirrod and kills a number of other giants.

The narrative begins with an account of the trickery of Loki in inciting Thor to make war again against the giants; Þjálfi joins up with Thor but Loki is altogether more reluctant to the point of not going. The narrative then details Thor's (highly metaphorical) crossing of the oceans to Jötunheimr, with Þjálfi hanging onto his waist band. Being a drapa (drápa) the poem is rich in praise of Thor and Þjálfi's valour in making the difficult crossing.

They are immediately set upon by a gang of giants from the cave of Geirrod, but Thor and Thjalfi (Þjálfi) quickly put them to flight (although in Snorri's version of the tale Þjálfi is replaced with Loki). Thor is then brought into Geirrod's house whereupon the seat he is sitting in is raised to the ceiling crushing him, however he strikes the ceiling with the stick given to him by Grid and he descends crushing two giantesses, daughters of Geirrod, beneath him.

Geirrod then invites Thor to play a game, and throws a lump of molten iron at him which he (Thor) catches in his iron gloves. Geirrod hides behind a pillar and then Thor throws the iron through the pillar and giant.

Analogues
The myth related in the poem is also preserved in prose form by Snorri Sturluson in the Skáldskaparmál and a looser analogue is found in Saxo Grammaticus' Gesta Danorum. There are a number of discrepancies between Snorri's and Eilífr's versions of the myth; for example Þjálfi is not present in the story in Snorri's Edda while he has a prominent role in Þórsdrápa.

Other Þórsdrápur
Two (fragments of) poems are sometimes referred to as Þórsdrápa:

 * three half-stanzas written by Eysteinn Valdason in the 10th century relating Thor's fishing expedition to kill Jörmungandr;
 * one stanza and two verses composed by Þorbjörn dísarskáld in the 10th or 11th century, the stanza consisting of a list of giants and giantesses killed by Thor.

Both were preserved only in the Skáldskaparmál (4).

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

title: Þórsdrápa


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Antonis Mor

Anthonis Mor, also known as Anthonis Mor van Dashorst and Antonio Moro (c. 1517 – 1577), was a Netherlandish portrait painter, much in demand by the courts of Europe. He has also been referred to as Antoon, Anthonius, Anthonis or Mor van Dashorst, and as Antonio Moro, António Mouro, Anthony More, etc., but signed most of his portraits as Anthonis Mor.

Mor developed a formal style for court portraits, largely based on Titian, that was extremely influential on court painters across Europe, especially in the Iberian Peninsula, where it created a tradition that led to Diego Velázquez. It can include considerable psychological penetration, especially in portraits of men, but always gives the subject a grand and self-possessed air.

Early life and education
Mor was born in Utrecht, Netherlands, by some estimation between 1516 and 1520. Little is known about his early life, except that his artistic education commenced under Jan van Scorel. His earliest known work is a portrait which is now in a collection in Stockholm, dated 1538.

Painting career
A group of Knights of St. John at Utrecht, supposed to have been painted about 1541; and a picture of two pilgrims at the Gemäldegalerie, Berlin, dated 1544; and the portrait of an unknown woman, in the Lille gallery, were probably among his earliest works. Their authenticity has not been established.

Antwerp
In 1547 Mor was received as a member of the Venerable Guild of St. Luke at Antwerp, and shortly afterwards (about 1548) he attracted the attention of Cardinal Granvelle, Bishop of Arras, who became his steady patron. Of the portraits executed during the early period of his career as Granvelle's protege, two are especially notable: one of the bishop himself (in the imperial gallery in Vienna), and one of the Duke of Alba, which now belongs to the Hispanic Society of New York. Between 1549 and 1550 Prince Philip II of Spain (1527–1598) traveled around the Netherlands to present himself as the future ruler. Mor painted his portrait in Brussels in 1549. He probably visited Italy (when exactly is not known), where he copied some works by Titian, notably the Danaë.

Portugal
In the middle of 1550 Mor left for Lisbon with a commission from Mary of Hungary to portray the Portuguese branch of the family. Mor probably traveled via Valladolid, where he painted the portraits of Maximilian II and his wife Maria of Austria, their daughter Anna and the son of Philip II of Spain, Don Carlos. In Lisbon, Mor portrayed King John III, Queen Catharine, Prince João Manuel and Philip II’s future wife, Princess Maria of Portugal. Little more is known about Mor's stay in Portugal, but he was definitely back in Brussels by November 1553.

England
After the sudden death of the king of England, Edward VI, in July 1553, the Spanish king Charles V now saw the possibility of an alliance between Spain and England. The engagement between Philip and his Portuguese princess was broken and negotiations started for a marriage with the successor to the English throne, Mary Tudor. During these negotiations, Mor was sent to England to paint a portrait of Mary, but the exact date of the painting is unknown. This portrait was much appreciated in England and Mor made at least three versions, which became much the best-known likeness of the queen (Prado, Marquess of Northampton). On 20 December 1553, Philip officially appointed Mor as painter in his service.

Brussels / Utrecht
In October 1555, Charles V abdicated from the throne. During the ceremonies and festivities surrounding the coronation of his son Philip as king of Spain, Mor would have received many commissions for paintings. Unfortunately, many of these paintings are lost or only known through copies.

Mor was very productive after Philip's ascension to the throne, and produced some of his most important portraits in this period, such as the portrait of Prince William I van Oranje-Nassau (William the Silent) (1555), the portrait of Alessandro Farnese (1557) and a new portrait of Philip II. Other important works from this period include the portrait of Jane Dormer (1558), the portraits of Jean Lecocq and his wife (1559), and the portrait of Jan van Scorel (1559), which was at a later time to be hung at his tomb and now belongs to the Society of Antiquaries (London). Following the death of Mary Tudor in 1558, King Philip was remarried in June 1559 to Isabella de Valois, whom Mor portrayed ca. 1561. This portrait appears to have been lost. Also from this period dates the only known self-portrait of Mor, now in the Uffizi Gallery, and one of his (presumed) wife, now in the Prado (see image gallery below).

The Spanish Court
It seems likely that Mor accompanied King Philip on his return to Spain in 1559. That Mor stayed at the Spanish court is confirmed by the letters which Philip regularly sent to Mor after he had left again in 1561. In his letters, Philip requested Mor's return to court several times, but the painter never complied with his repeated requests. Among the works which Mor supposedly painted in Spain are the Portrait of Juana of Austria and the Portrait of Don Carlos. A much-praised work from this period is the Portrait of Pejerón, the fool of the Earl of Benavente and the Duke of Alba. There has been extensive speculation about the reason for Mor's departure from the Spanish court. According to Carel van Mander, Mor became too confidential with the king and this aroused the suspicion of the Inquisition. He may also have been alarmed by the increasingly repressive Counter-Reformation tenor of the Spanish court. Mor's pupil Alonso Sánchez Coello continued to work in his master's style, and replaced him as the Spanish court painter.

Return to the Netherlands

On his return to the Netherlands, Mor probably traveled back and forth between Utrecht, Antwerp and Brussels. In this period he was in regular contact with Granvelle and also worked at the Dutch court, where he portrayed Margaretha of Parma. After his return, Mor focused on the portrayal of citizens, especially of merchants and their wives in Antwerp. In addition to portraits like these (which included the Portrait of Thomas Gresham), he also painted artisans, such as the goldsmith Steven van Herwijck (1564). These works are markedly different from the paintings Mor produced for the court, showing off another side of his talent. When Granvelle returned to France and the Netherlands showed increasing social and political unrest, Mor experienced some financial hardship. His financial problems were partially solved when the Duke of Alba granted him commissions and favors. He is not known to have been in Utrecht after 24 July 1567 and from 1568 onwards Mor lived in Antwerp where, in 1572, he registered as a master with the Antwerp guild. At Antwerp he painted a Venus and Adonis for the new Stadhuis. It is possible that he visited England once again in 1568, judging from the Portrait of a Nobleman with Dog and of the Portrait of Sir Henry Lee, which have been attributed to him. In 1559 and 1562 Mor painted two portraits of Margareta of Parma. On her way to Spain, Anne of Austria spent some time in Antwerp, where she was painted by Mor in 1570. Mor's portrait of Anna is his last-known court painting, although he was still being referred to as Philip II's court painter in 1573.

Little is known about Mor's life and career after 1570. It seems likely that he lost custom, maybe as result of competition by painters such as Adriaen Thomasz. Key, Frans Pourbus the Elder (1545–1581) and Frans Floris (1519/20-1570). The last portrait attributed to Mor is the Portrait of Hubertus Goltzius, dated 1576. Toward the end of his life, Mor focused on history paintings of religious and mythological subjects, but in this field of work he would never equal his earlier success as a portrait painter. He is believed to have been working on a Circumcision for the Cathedral of Antwerp when he died in 1576.

Main works

Many of Mor's portraits were copied by others. Among those whose works have been confused with Mor's are Alonso Sánchez Coello, Francisco de Holanda, and Cristóvão de Morais Lopes. A large number of engravings based on his work also circulated.

NB: Some attributions and locations may be out of date.

 * Portrait of Philip II (c. 1549-1550) - Oil on oak, 107.5 x 83.3 cm, Bilbao Fine Arts Museum
 * Portrait of Cardinal Antoine Perrenot de Granvelle (1549) - Oil on panel, 107 x 82 cm, Kunsthistorisches Museum, Vienna. See image above
 * Cardinal Granvelle's Dwarf with a Dog (1549–1553) - Oil on canvas, 126 x 92 cm, Musée du Louvre, Paris
 * Portrait of a Man Pointing at a Table Clock (c. 1550) - Oil on canvas, 100 x 80 cm, Musée du Louvre, Paris
 * Portrait of a Giovanni Battista di Castaldo (c. 1550) - Oil on panel, 107.6 x 82.2 cm, Museo Thyssen-Bornemisza, Madrid
 * Portrait of John III of Portugal (c. 1550) - Oil on canvas, 101 x 81 cm, Fundación Lázaro Galdiano, Madrid; see image gallery below.
 * Portrait of Catherine of Austria (c. 1552) - Oil on panel, 107 x 84 cm, Museo del Prado, Madrid, inv. 2109; see image gallery below.
 * Portrait of João Manuel, Prince of Portugal (c. 1552) Oil on panel, 107 x 84 cm, Hampton Court Palace.
 * Portrait of Infanta Maria, Lady of Viseu (c. 1552) - Oil on canvas, 100 x 87 cm, Convent of Las Descalzas Reales, Madrid, inv. PN822.
 * Portrait of Isabel, Duchess of Guimarães'' (1552) - Oil on panel, 55 x 50 cm, Private collection, Germany.
 * Portrait of Prince William I of Orange/Nassau (c. 1554) - Oil on panel, 105 x 81.5 cm, Staatliche Museen, Kassel; see image gallery below.
 * Portrait of a Man (c. 1555-1560) - Oil on wood, 97.8 x 71.2 cm, National Gallery of Canada, Ottawa
 * Portrait of Philip II of Spain in Armor (c. 1557) - Oil on canvas, 186 x 82 cm, Monasterio de San Lorenzo, El Escorial, inv. 1653; see image gallery below.
 * Portrait of a Man in Armor (1558) - Oil on canvas, 111 x 80 cm, J. Paul Getty Museum, Los Angeles
 * Portrait of a Young Man [by an anonymous follower of Mor] (1558) - Oil on panel, 97.5 x 69.9 cm, National Gallery of Art, Washington
 * Self-portrait (1558) - Oil on wood, 113 x 84 cm, Uffizi, Florence; see image above
 * Portrait of Simon Renard (1560) - Oil on canvas, Musée du Temps, Besançon.
 * Portrait of a Lady (c. 1560) - Oil on oak, 116.8 x 86.9 cm, National Gallery of Canada, Ottawa
 * Portrait of Philip de Montmorency, Count of Hoorn (c. 1560) - Oil on panel. Present location not known.
 * Portrait of Sir Thomas Gresham (1560–1565) - Oil on panel, 90 x 75.5 cm, Rijksmuseum, Amsterdam; see image above
 * Portrait of Lady Gresham (Anne Femely) (1560–1565) - Oil on oak, 88 x 75.5 cm, Rijksmuseum, Amsterdam
 * Portrait of Metgen, wife of the artist (also known as Portrait of a married woman) (c. 1560-1565)- Oil on panel, 100 x 80 cm, Museo del Prado, Madrid, inv. 2114; see image gallery below.
 * Portrait of Spanish Nobleman, (c. 1560) - National Museum of Serbia, Belgrade, Oil on canvas 130 x 90 cm
 * Portrait of a Man (1560–1577) - Oil on oak, 49.5 x 40.6 cm, National Gallery, London
 * Portrait of a Nobleman, said to be Hernán Cortés (date unknown) - Lobkowicz Palace, Prague
 * Portrait of Margaret, Duchess of Parma (c. 1562) - oil on canvas, Stiftung Preussischer Kulturbesitz, Gemäldengalerie, Berlin, inv. L310A; see image gallery below.
 * Portrait of Jeanne Lullier (1563) - Oil on canvas, Musée du Temps, Besançon.
 * Portrait of Maria of Portugal, Princess of Parma (c. 1565) - Oil on panel, 35 x 15 cm, Museo del Prado, Madrid, inv. 2117.
 * Portrait of Sir Henry Lee of Ditchley (1568) - Oil on panel, 64.1 x 53.3 cm, National Portrait Gallery, London; see image gallery below.
 * Portrait of a Gentleman (1569) - Oil on canvas, 119.7 x 88.3 cm, National Gallery of Art, Washington
 * Portrait of Hendrik Goltzius (c. 1570) - Oil on wood, 66 x 50 cm, Royal Museums of Fine Arts of Belgium, Brussels
 * Portrait of a Gentleman (c. 1570) - Oil on panel, 122 x 98.5 cm, North Carolina Museum of Art
 * Portrait of Mary I of England (date unknown - Oil on wood, 109 x 84 cm, Museo del Prado, Madrid; see image above
 * Portrait of a Lady - Oil on wood panel, 107 x 72.1 cm, National Gallery of Victoria.
 * Portrait of Margaret, Duchess of Parma (date unknown) - oil on panel transferred on canvas, 97.8 x 71.7 cm, Philadelphia Museum of Art.
 * Portrait of Jane Dormer (?) - Museo del Prado, Madrid; see image above.
 * Portrait of Jan Scorel (1559-1560), oil on panel. Society of Antiquaries of London, UK

References and sources
References

Sources
 * Annemarie Jordan, Retrato de Corte em Portugal. O Legado de António Moro (1552-1572, (Lisbon: Quetzal Editores, 1994)
 * Annemarie Jordan, La Reina María de Inglaterra, segunda mujer de Felipe II, Antonio Moro, Museo del Prado, Enciclopedia Online
 * Annemarie Jordan, Antonio Moro. Anton van Dashort Mor, Museo del Prado, Enciclopedia Online
 * Georges Marlier, Anthonis Mor van Dashorst (Antonio Moro), Académie royale de Belgique, Classe des beaux-arts, Mémoires (Brussels: M. Hayez, 1934).
 * Trevor-Roper, Hugh; Princes and Artists, Patronage and Ideology at Four Habsburg Courts 1517-1633, Thames & Hudson, London, 1976, ISBN 0-500-23232-6
 * Joanna Woodall, Anthonis Mor; Art and Authority (Zwolle: Waanders Publishers, 2008).
 * Marieke van Wamel Pictor regis. Anthonis Mor van Dashorst and his position as painter at the Habsburg court., Thesis BA University of Amsterdam, June 2009 |5eng|6.pdf Pictor regis - Van Wamel
 * Marieke van Wamel Plumas y pinceles / Pennen en pinceelen. The portraits by Anthonis Mor van Dashorst and the treatises by Francisco de Holanda and Felipe de Guevara; a study into the mutual influences and the exchange of ideas on sixteenth century painting and portraiture. University of Amsterdam, thesis Researchmaster June 2011

title: Antonis Mor


text:
Fire clay

Fire clay is a range of refractory clays used in the manufacture of ceramics, especially fire brick. The United States Environmental Protection Agency defines fire clay very generally as a "mineral aggregate composed of hydrous silicates of aluminium (Al2O3·2SiO2·2H2O) with or without free silica."

Properties
High-grade fire clays can withstand temperatures of 1,775 °C (3,227 °F), but to be referred to as a "fire clay" the material must withstand a minimum temperature of 1515 °C. Fire clays range from flint clays to plastic fire clays, but there are semi-flint and semi-plastic fire clays as well. Fire clays consist of natural argillaceous materials, mostly kaolinite group clays, along with fine-grained micas and quartz, and may also contain organic matter and sulphur compounds.

Fire clay is resistant to high temperatures, having fusion points higher than 1,600 °C; therefore it is suitable for lining furnaces, as fire brick, and for manufacture of utensils used in the metalworking industries, such as crucibles, saggars, retorts and glassware. Its stability during firing in the kiln means that it can be used to make complex items of pottery such as pipes and sanitary ware.

Chemical composition
The chemical composition typical for fire clays are 23-34% Al2O3, 50-60% SiO2 and 6-27% loss on ignition together with various amounts of Fe2O3, CaO, MgO, K2O, Na2O and TiO2. Chemical analyses from two 19th-century sources, shown in table below, are somewhat lower in alumina although a more contemporary source quotes analyses that are closer.

Extraction
Unlike conventional brick-making clay, some fire clays (especially flint clays) are mined at depth, found as a seatearth, the underclay associated with coal measures.

title: Fire clay


text:
Alfa Romeo 156

The Alfa Romeo 156 (Type 932) is a compact executive car produced by the Italian automobile manufacturer Alfa Romeo. It was introduced at the 1997 Frankfurt Motor Show as the replacement for the Alfa Romeo 155. The 156 received a positive reception and in the following year went on to win the 1998 European Car of the Year award. The 156 saloon was discontinued in Europe late in 2005, while the Q4 Crosswagon continued in production until the end of 2007.

Cars were assembled at the Fiat Group factory in Pomigliano d'Arco, Italy and at a General Motors facility in Rayong, Thailand. Production in Thailand began in March 2002 and ran for only a couple of years. The cars produced there were targeted for the Asia-Pacific markets. Between 1996 and 2007, 673,435 units of the 156 were produced.

The 156 was available in saloon, Sportwagon (estate) and Crosswagon (crossover) bodystyles with seven engine configurations; it went through two facelifts, first in 2002 and then in 2003. The Sportwagon advertising campaign was made featuring actress Catherine Zeta-Jones.

In 2005, the 159 became the replacement for the 156.

Overview
Since the 156's introduction, various four cylinder engine configurations were available and included the Alfa Romeo Twin Spark engine (1.6 L - 120 PS, 1.8 L - 144 PS and 2.0 L - 155 PS) 16 valve models with variable valve timing, along with the straight-4 1.9 litre 8-valve 105 PS. The range also included a straight-5 2.4 litre 10-valve 136 PS JTD common rail turbodiesel engine. Until January 2002, the range-topping engine was the venerable 2.5 litre 24-valve Busso V6 - now with double overhead camshafts and four-valve heads - rated at 190 PS.

Initially the 156 range was available with different options (packs) like a sport pack that included Blitz clothing, Momo leather interior and Recaro seats, it also included 16 in wheels, lowered suspension and leather-trimmed steering wheel and gear knob. The Lusso pack added with Momo's mahogany steering wheel and gear knob and for Nordic countries, a special winter pack consisting of fog lights, headlight washers, and heated seats was available.

Starting from 1999 a five-speed Selespeed automated manual transmission was available as an option on the 2.0 litre Twin Spark version and a four-speed automatic Q-System on the 2.5 litre V6 version, the Q-system provided the option of using the car as a normal automatic or being able to shift manually with H-pattern, it has three automatic modes: city, sport and ice.

A significant addition to the 156 range came in 2000 with the introduction of the Sportwagon station wagon or estate bodystyle, debuting at the Geneva Motor Show. The new bodystyle was in development from 1998 by Stola under the project code '932 AF'. According to Stola's records the initial considered name was "Powerwagon". While not a core part of the company's range, estate versions of the Alfasud and 33 - the first to carry the name Sportwagon - were produced and a 75 Sportwagon was shown at Geneva, but became an early victim of the Fiat takeover. The Sportwagon was also available with Boge-Nivomat self-levelling hydropneumatic rear suspension. The Sportwagon was marketed as a lifestyle estate without large carrying capacity. The Sportwagon bodystyle filled a gap in the market that Alfa Romeo had distanced themselves from since the 33 SportWagon of the 1980s.

In 2001 engines were upgraded to comply with the Euro III standards and were rated at 120 PS (1.6 L), 140 PS (1.8 L), 150 PS (2.0 L) and 192 PS (2.5 L).

Design
Designed by Alfa Centro Stile under the guidance of head designer Walter de'Silva the 156s shape was intended to be distinctly Alfa Romeo. Its styling included high, curved flanks, retro styled front door handles, recessed rear door handles, and a deep grille requiring an off-centre licence plate holder. The design featured visually deemphasized rear door handles and accentuated front handles, giving the illusion of a coupé profile. The design was influenced by the Alfa Romeo 1900, Giulietta and Giulia. The 156 achieved a drag coefficient (Cd) of 0.31.

Interior
The original interior uses a scalloped upper dashboard and a simple centre console. The main controls and displays are angled to the driver. The interior design lacks cup holders.

The 156 Sportwagon features fold-down rear seats to increase the luggage area normally covered by a privacy screen.

2002 saw an update to both the interior and exterior of the 156.

2002 facelift (first series)
2002 also saw the arrival of a facelifted interior with different matte-finish surfacing and chrome highlights. This new version featured the 147's dual-zone digital climate controller while the interior climate could also be controlled via an air quality sensor. A different choice of colours were available for the interior, with the option of a two-tone interior very much like that on offer from its European rivals. A wider range of options including xenon lighting, tele-informatics (CONNECT and CONNECT NAV) and a Bose stereo system were available, the stereo system could now also be operated via buttons on the steering wheel. Also, the Selespeed gearbox control system was updated, buttons on the steering wheel were replaced by paddle shifters, as seen on the earlier Alfa Romeo 147. In the center console, the designers added a multifunctional display with trip computer, fault, and service monitor.

The upgrade also included electronic stability control VDC (Vehicle Dynamic Control) with an emergency brake assist device and slip control ASR (Anti Slip Regulation) came as standard. Additionally, an MSR (Motor Schleppmoment Regelung) was added to the car, this device prevents wheel skidding by restoring torque to the engine for example when the gear is shifted down abruptly under conditions of low grip. Passive safety was also made better, all versions got window airbags as standard. The 2.0 L JTS 165 PS engine with gasoline direct injection replaced the 2.0 litre Twin Spark engine, offering more low end torque and more power than the Twin Spark. The diesel engines were also uprated. The only notable difference exterior-wise was body-coloured mirrors and bumper strips which were earlier black.

2003 facelift (second series)
Late 2003 saw the launch of a facelifted 156, with new front and rear fascias designed by Giorgetto Giugiaro. A new top-of-the-line model was added to the line up called TI (Turismo Internazionale) designating a sporty kit, this version was equipped with modified suspension, bigger wheels (215/45 17") and leather-trimmed interior. The GTA models never received the exterior update. Diesel engines underwent a major overhaul which included a new four-valve per cylinder heads and a second stage common rail injection with 1400 bar maximum injection pressure with up to five injections per cycle for lower noise, consumption, and higher performance. They were rated at 140/150 PS (103/110 kW) for straight-4 1.9 litre 16-valve and 175 PS for straight-5 2.4 litre 20-valve.

156 GTA
The 156 GTA and 156 Sportwagon GTA were launched at the Frankfurt Motor Show in September 2001. The GTA was named after the Alfa Romeo GTA from the 1960s, the letters GTA meaning Gran Turismo Alleggerita (lightened Grand Tourer). Developed alongside the 147 GTA, it was an exclusive high-performance model hand assembled on a dedicated production line separate to the standard 156 models.

Development of the GTA styling models and engineering design was entrusted in early 2000 to Stola with styling data provided by Centro Stile. Stola completed six prototypes that were further mechanically assembled by Alfa Romeo. Two of those protypes were presented at the Frankfurt Motor Show.

1,973 berlinas and 1,678 Sportwagons were built until the GTA production stopped in October 2005, as the V6 engine as unable to meet emissions regulations and due to the 156 being replaced by the 159. The GTA was sold in limited numbers, with right-hand drive vehicles holding a premium over left-hand drive vehicles due to their rarity.

The very first GTA was sold via online auction, from 13 to 23 September, the duration of the Frankfurt Motor Show. Winning bid was €48,691.26, which was donated to "Telethon" charity fund.

The 3.2-litre Bussone V6 engine (The big Busso, so-called after legendary Alfa Romeo engineer Giuseppe Busso). This engine is praised universally for its sound and revving capabilities. This was the largest iteration of the engine built by Alfa Romeo. The engine has a 93 mm bore and a 78 mm stroke, displacing at 3179 cc. It was rated at 250 PS and 300 Nm of torque. Overall, the car weighed 55 kg more than the standard V6 156.

The GTA variants shared a common interior with post-facelift 156 variants. The doors, boot lid and bonnet were also shared. All else was unique to the GTA, with the engine specifically made by Fiat and Maserati Research Centres.

The GTA did not receive the Giugiaro designed facelift introduced on the 156 in 2003, but continued with the acclaimed Walter de Silva design to the very end of production.

The steering was also made faster, only 1.7 turns from lock to lock compared to 2.1 in normal models. The GTA had also larger brakes (Brembo), at front 305 mm discs and rear 276 mm. The front discs were later upgraded to 330 mm to cope with the performance potential.

156 Sportwagon Q4
In 2004 Sportwagon Q4, an all-wheel drive version of the Sportwagon was launched in some markets. The Q4 (short for Quadrifoglio 4) system used three differentials, the central one being of the Torsen C limited slip type; it added about 150 kg to the vehicle weight. Graziano Trasmissioni, the Turin-based transmission specialist, developed this system. A raised ride height meant the Sportwagon Q4's was 1458 mm tall. Other than the ride height, special 5-spoke 17-inch wheels and a "Q4" badge on the tail set the Sportwagon Q4 apart from the front-wheel drive 156 versions. The Sportwagon Q4 was only available on LHD markets, with no RHD models being built or sold. The only available engine was the 1.9 M-Jet diesel with 150 PS.

156 Crosswagon Q4

The Crosswagon Q4 was launched in 2004 with a crossover look and enhanced off-road capabilities. The Crosswagon's ride height was raised further compared to the Sportwagon Q4, giving the car better approach and departure angles; at 1497 mm it was 6.5 cm taller than a standard 156. Tall-sidewall all-season tyres on 17 inch wheels were standard. The only available engine was 1.9 M-Jet diesel rated at 150 PS. The Crosswagon was made to look more like an all-terrain vehicle by unique front and rear bumpers and door sills with steel inserts. After the introduction of the 159 in 2005 the Crosswagon remained in production, and in 2007 it was the last 156 model to be discontinued.

Alfa Romeo 156 GTAm
The Alfa Romeo 156 GTAm was shown at the Bologna Motor Show in December 2002. The car was built by Fiat Group's partner N.Technology. The GTA 3179 cc engine was bored to 3548 cc and power was increased to 300 PS. The car had widened wheel arches, 19 inch tyres and was equipped with N.Technology limited slip differential. This car never reached production phase.

Alfa Romeo 156 Sportwagon GTA 3.5 Autodelta
At the 2004 Geneva Motor Show Italian-based tuning firm Autodelta unveiled a 156 Sportwagon prototype equipped with a 3548 cc V6 engine that developed 300 PS at 6,800 rpm. The car was fitted with Bilstein adjustable shock absorbers, Eibach springs and Brembo front brakes with a diameter of 330 mm. Weight was reduced using a composite engine bonnet.

Autodelta 156 GTA 3.7 V6
London-based tuning firm Autodelta made two high performance versions based on the 156 GTA: in the GTA AM version, the Alfa Romeo V6 engine was bored to 3750 cc, making it capable of 328 PS at 7,300 rpm. With this, the car could attain a top speed of 282 km/h and accelerate to 100 km/h in 5.2 s.

The GTA AM Super was an upgrade of the first version, now fitted with a Rotrex supercharger and rated at 400 PS.

Platform and suspension
The 156 uses a platform derived from the Alfa Romeo 155, which in turn was derived from the Fiat Group's "Tipo" platform. However, it is sufficiently different from the original "Tipo" one to be seen as a new platform. The 156 is a highly developed front-wheel drive car; (the Cross/Sportwagon Q4 offered four-wheel drive in left-hand drive markets) with a double high wishbone front suspension and updated version of MacPherson type rear suspension, which consists of a telescopic vertical strut with coaxial spring and two transverse links of different lengths and a longitudinal strut. This structure means that the rear wheels have a tiny passive steering ability. Weight saving materials (mainly aluminium) have been used in several parts both front and rear suspension.

For the 156 GTA, weight saving materials were also used in many other parts like magnesium framed front seats and dashboard frame. The 156 GTA only shared common parts with other 156 variants with respect to the facelift interior, doors, bonnet and boot lid.

Engines
The 156 offered various engines and power output choices during its lifespan, four and six cylinder petrol engines and four and five cylinder diesel engines, all produced at Pratola Serra except the V6 engines, which were produced at Alfa Romeo's Arese plant, with the GTA engines being produced at the Maserati Research Centre. The 2.4 JTD diesel was world's first common rail diesel engine in a passenger car.

Use in law enforcement
The Alfa 156 sedan and the station wagon were widely used by the Italian and other police and other law enforcement forces. In Italy it was used by Carabinieri, Polizia di Stato, Polizia provinciale, Polizia Penitenziaria and Guardia di Finanza. Subsequently, the 156 was replaced by the more modern Alfa Romeo 159.

Awards
In 1998, an international jury of 56 journalists (40 of whom voted for the 156) representing 21 countries awarded the Alfa 156 the European Car of the Year award; it was described as having a "very refined suspension layout so to offer an impeccable roadholding". The 2.5 V6 engine was awarded with the International Engine of the Year award in 2000. The 156 has won more than 35 awards, including:
 * Technical Innovation Award – Common Rail 1998 – (Autocar – Great Britain)
 * Best Compact Executive 1998 – (What Car? – Great Britain)
 * Best Compact Executive Car 1998 – (Auto Express – Great Britain)
 * Die Besten Autos 1998, Paul Pietsch Preis – Innovation prize for Common Rail, (Auto, Motor und Sport – Germany)
 * Auto 1 Europa 1998 – (panel of engineers, drivers, and journalists from the eleven European magazines, headed by Auto Bild)
 * Auto Trophy 1998 – (Auto Zeitung – Germany)
 * Trophee Du Design 1998 – (Automobile Magazine – France)
 * European Award for Automotive Design – (Belgium, 1998)
 * Car of the Year 1998 in Denmark, Spain, Netherlands, Luxembourg, Germany, Portugal, France, and Croatia
 * Car of the Year in South Africa 1999 – (South African Guild of Motoring Journalists)
 * Prix de l’Innovation Technique pour le Common Rail 1997 (France)
 * L’automobile più bella del mondo ("The most beautiful car in the world") 1997 (Italy)

Motorsport
The 156 competed in various motor racing championships including the World Touring Car Championship, European Touring Car Championship and the British Touring Car Championship. The 156 touring car program was run by Fiat Group's partner N.Technology S.p.A., founded as Nordauto Squadra Corse, to compete in the Italian Touring Car Championship. In 1994, the name was changed to Nordauto Engineering, and to N.Technology in 2001.

In 1998, the 156 Group N version was offered for sale to the public. The 156 Group N had no carpets, seats or upholstery, but included additional track safety devices.

The following titles have been won by 156 drivers:
 * 1998 Italian Super Touring Car Championship - Alfa Romeo 156 D2, Fabrizio Giovanardi
 * 1999 Italian Super Touring Car Championship - Alfa Romeo 156 D2, Fabrizio Giovanardi
 * 2000 European Super Touring Car Cup Winner - Alfa Romeo 156 D2, Fabrizio Giovanardi
 * 2000 South American Super Touring Car Championship, Oscar Larrauri
 * 2001 FIA European Touring Car Championship - Alfa Romeo 156 D2, Fabrizio Giovanardi
 * 2002 FIA European Touring Car Championship - Alfa Romeo 156 GTA Super 2000, Fabrizio Giovanardi
 * 2003 FIA European Touring Car Championship - Alfa Romeo 156 GTA Super 2000, Gabriele Tarquini

Specifications for touring car versions:

Coloni S1 Alfa Romeo 156
Italian race car constructor Coloni made a one-off racing car prototype for FIA Group-E Formula Libre called the Coloni S1 Alfa Romeo 156, or 156 Maxiturismo. The car is a carbon fibre silhouette racing car on a tubular frame, powered by a 3.0 litre Alfa Romeo V6 engine rated between 380 and 500 hp. The car has a 6-speed Hewland-Coloni sequential gearbox and weighs around 900 kg. It is capable of attaining speeds of over 310 km/h.

title: Alfa Romeo 156


text:
ACC Loan Management

ACC Loan Management Limited, formerly ACCBank plc, was originally a commercial bank in Ireland that focused on agriculture and SME lending, and later became a company that focussed on managing the lending facilities of its existing clients. The bank had its origins in the Agricultural Credit Corporation (Corparáid an Chairde Talmhaíochta) set up in 1927 in the Irish Free State to finance agriculture; the bank was successful and led to the creation of the Industrial Credit Company, which was modelled on it and provided finance to industry. In the early 1990s, the company name was changed from "Agricultural Credit Corporation plc" to "ACCBank plc" in order to signify that the company was then targeting more than simply agricultural customers. In early 2002, the bank was sold by the Irish Government to Rabobank, it was one of the three entities of the Rabobank (Ireland).

Company history
1927

The Agricultural Credit Corporation was founded in September 1927 and was one of the first creations of the Irish Free State.

1988

A new Agricultural Credit Act empowered the corporation to deploy up to 25% of its risk assets outside agriculture and the foundations of present-day ACCBank were laid.

2000

ACCBank refocused its business model on the SME and Agri sectors positioning the bank as a relationship bank in these sectors.

2002

ACCBank became a wholly owned subsidiary of Rabobank. With the backing of its parent, ACCBank embarking on ambitious plans to strengthen and grow its presence in Ireland as a leading Business and Agri-business bank. As part of the Netherlands-based, former AAA rated, Rabobank Group, ACCBank’s range of products and services included commercial mortgages, working capital finance, asset finance and leasing and wealth management.

2014 - ACCBank Restructuring, ceases banking, debt recovery focus

ACCBank decided to restructure with a focus solely on debt recovery, and stopped delivering banking services on 30 May 2014. This meant the closure of current accounts and return of all deposits, including interest due. All Business Centres in Cork, Drogheda, Dublin, Galway, Kilkenny, Limerick, Mullingar, Sligo and Waterford were closed to the public and the management of loan facilities was centralised instead of being dealt with the local business centres.

ACCBank ceased to be a bank mid-2014 returning its banking licence but continued to manage its loan portfolio. After ACCBank returned its banking licence, it was regulated by the Central Bank of Ireland, but with an alternative status and not as a bank.

Commenting on the changes, country manager Kevin Knightly for parent Rabobank found losses incurred by ACC Bank Plc because of the property crisis, a position emerging of its costs exceeding income during 2014 and that position was unsustainable for its parent, requiring immediate action to stem loses. The bank had reported losses since 2007.

ACC also explored the possibility of outsourcing a portion of its loan book, in the region of 10%, excluding agricultural loans and selected Capita as the preferred service provider who have 1,000 staff in Ireland.

ACC had 5,000 deposit customers totaling €110 million. Overdrafts on current accounts amounted to almost €75m.

The parent company, Rabobank Group, had provided capital support of €1.3 billion to ACC since 2008 with over €2.1 billion of the loan book written down since 2008.

SIPTU and UNITE trade unions wanted the Government to take ACC Bank back into State ownership and were looking for a meeting with the Minister for Finance in an attempt to seek to save jobs. They referred to the inclusion of a State investment bank in the Programme for Government. There was some redeployment opportunities to Rabobank but no new business was being generated for some time with the bank's staff focused on debt recovery.

2018-19: Sale of loans In December 2018, ACCLM transferred the ownership of outstanding loans to the Dutch parent company, which sold the portfolios the following year.

The remaining assets and liabilities of ACCLM, mainly consisting of dormant or unclaimed accounts, were transferred to ACC Investments Limited. ACCIL still operates from a small office in the International Financial Services Centre with a skeleton staff.

title: ACC Loan Management


text:
User:Latorilla

Elpidio Latorilla

for those interested, just contact me at .

My compliments to all Wikipedians. You are doing a great work here!

I have started contributing to Wikipedia in the second week of July, 2004. The following are the articles I have contributed so far:

 * Maitum, Sarangani
 * T'boli
 * Philippine Tarsier
 * Maitum Anthropomorphic Potteries
 * Tarictic Hornbill
 * Writhed-billed Hornbill
 * Mindanao Tarictic Hornbill
 * Hawksbill Turtle
 * Lake Sebu
 * Nipa
 * Kiamba, Sarangani
 * Maasim, Sarangani
 * Malungon, Sarangani
 * Malapatan, Sarangani
 * Glan, Sarangani
 * Angeles City
 * Marawi City
 * Giant golden-crowned flying fox

Some links you might find helpful:

 * http://www.care2x.org
 * http://www.latorilla.org
 * http://www.maitum.org

title: User:Latorilla


text:
User:VersedFenrir

Currently undertaking The São Paulo Project, an effort to bring basic information about municipalities of the state of São Paulo.

I have been a member of the Wikipedia community ever since July of 2004, and have been granted sysop rights on June of 2005, by means of this request for adminship proccess.

title: User:VersedFenrir


text:
The Fake Sound of Progress

The Fake Sound of Progress (stylized as thefakesoundofprogress) is the debut studio album by the Welsh rock band Lostprophets, originally released on 27 November 2000 through Visible Noise. The album would be released in 2001 by Columbia Records and was met with stronger sales numbers around the world. This is the only album to feature DJ Stepzak although he was only in the original version, and the first album to have Jamie Oliver although he was only in the remastered version.

The album peaked at number 186 on the Billboard 200, selling over 120,000 copies in the United States alone, and reached high positions on charts worldwide. Two singles were released from the album: "Shinobi vs. Dragon Ninja" and "The Fake Sound of Progress"; these singles helped Lostprophets reach mainstream popularity. In 2010, the album was certified platinum by the BPI in the United Kingdom.

Recording
The band began work on the album in 2000, after finding a suitable bass player. Much of the album started as quickly-recorded demos from The Fake Sound of Progress EP. The song "MOAC Supreme" became "A Thousand Apologies", and "Directions" was released as the B-side for the single "Shinobi vs. Dragon Ninja". The album was recorded in one week for around £4000, and while originally intended as another demo, went on to be released on Visible Noise Records in late 2000. Because of the album's shortened recording process, the band were unhappy with the end result. The title of their second studio album Start Something refers to this, as they felt it better reflected their music abilities.

When the band signed to Columbia Records in 2001, it was partly re-recorded, remixed, and re-released that same year. The changes to the music, such as merging the interludes between tracks with the ends of songs, was met with chagrin by fans of the earlier release. The title track of the album, in addition to being partially re-recorded, was also sped up significantly. The remastered version of the album was released in 2001 in the UK and US respectively, and was produced by Michael Barbiero.

Release
The album didn't initially receive much attention, but entered the Billboard 200 chart following the release of the first single from the album, "Shinobi vs. Dragon Ninja". On Friday 1 March 2002 the album was certified Silver by the British Phonographic Industry (BPI) and on Friday 26 April 2002 the album was certified Gold by the British Phonographic Industry. According to Rolling Stone the album has sold more than 120 thousand copies in the United States and 250 thousand copies in the United Kingdom.

At the end of April 2002, The Fake Sound of Progress peaked at 186 on the Billboard 200, 13 on the Top Heatseekers, 9 on the Top Heatseekers West North Central and 8 on the Top Heatseekers Mountain chart in the United States. The album first charted on the UK Albums Chart at 116 in 2001, in 2002 it peaked at its peak position 44 and after the release of Start Something in 2004 the album re-charted and peaked at 166. Two singles were released from the album;"Shinobi vs. Dragon Ninja" which peaked at 33 on the Hot Modern Rock Tracks chart, and "The Fake Sound of Progress", which peaked at 21 on the UK Singles chart without charting abroad.

Reception
When released, the album was met with mixed reviews by music critics, comparing it to American bands such as Faith No More, Incubus, Korn, Linkin Park, and Limp Bizkit. Scene Point Blank wrote that on the album, the band "combined the versatility of Faith No More and the radio-appeal of Incubus with the charm of their countrymen Duran Duran." Allmusic reviewer Brian O'Neil gave the album two out of five stars and said that "the only redeeming quality is the great production by Michael Barbiero, that allows all instruments to be heard perfectly in all their ennui-inducing glory, proving that no matter how much you polish up a turd, it's still a turd." O'Neil also noted similarities between vocalist Ian Watkins and Faith No More's Mike Patton, commenting that "whether it [is] sweet melodic intervention, the pseudo-rapping, or maniacal screaming, the entire Faith No More repertoire seems to be unleashed in The Fake Sound of Progress." Ben Rayner from Drowned in Sound gave the album 10 out of 10 stars and quoted "in the world of Lost Prophets it's very easy to find something different with every listen with their non-chaotic but well textured tunes." NME reviewer John Mulvey called the album "weirdly impressive", while no stars were given the album got a positive review.

Tour
After the release of the album, Lostprophets went on a tour in Europe and America. Before the release of "Shinobi vs. Dragon Ninja", the band went on a brief tour with the fellow British rock band Muse. They toured Austria and Germany together from 21–27 October 2001. The band would also tour for the NME Carling Awards Tour which featured dates in the London Astoria among others. They also took part in the successful Nu-Titans tour with Defenestration and other famous British metal bands. The band subsequently toured on the Irish leg of Ozzfest. They had also played at the Glastonbury and the Reading and Leeds Festivals. In 2002, the band headlined the Deconstruction Tour in Finsbury Park, London on 3 June; supporting acts were Mighty Mighty Bosstones, The Mad Caddies among other well-known artists. In October, Lostprophets returned to the UK for a tour visiting big cities such as Glasgow, Manchester and London.

Track listing
All lyrics written by Ian Watkins, all music composed by Lostprophets.

2000 original

 * Lostprophets
 * Ian Watkins – vocals, art direction
 * Lee Gaze – lead guitar
 * Mike Lewis – rhythm guitar
 * Stuart Richardson – bass guitar
 * DJ Stepzak – synth, turntables, samples
 * Mike Chiplin – drums, percussion

 * Production
 * Dan Sprigg – production, mixing
 * Guy Davie – mastered, mixing
 * Neil Harding – mastered, mixing
 * Jamie Travers – recording, additional production
 * Julie Weir – Visible Noise A&R

2001 remaster

 * Lostprophets
 * Ian Watkins – vocals, art direction
 * Lee Gaze – lead guitar
 * Mike Lewis – rhythm guitar
 * Stuart Richardson – bass guitar
 * Jamie Oliver – synth, turntables, samples
 * Mike Chiplin - drums, percussion

 * Production
 * Dan Sprigg – production, mixing, recording
 * Vlado Meller – mastered
 * Michael Barbiero – additional production, additional mixing
 * Julie Weir – Visible Noise A&R
 * Gerard Babitts – Colombia A&R

title: The Fake Sound of Progress


text:
User talk:Nevillecampbell

Welcome to Wikipedia.

I hope you become a regular contributor. When you get a chance, drop us a note at New user log to introduce yourself.

But you're not off to a good start. I'd seriously suggest you remove the material below from your talk page, and please don't post it again where it doesn't belong. See what Wikipedia is not. If you don't want to contribute material that conforms to what Wikipedia is, that's fine. But please don't post other material here. Other material will eventually be removed. I'm guessing this page is a joke, but if it's not then there's another reason for not posting it: It will make people who might otherwise have given you a hearing most unsympathetic to your cause.

You can sign your name on talk pages by using " " for your username and " ~ " for your username and a timestamp. We normally do this on discussion pages as a courtesy, but not in articles.

 * Welcome is a good place to start.
 * How does one edit a page gives editing help.
 * Manual of Style gives formatting info.
 * Policies and guidelines tell about the principles we operate on. It's important, but don't try to read it all now.
 * Help covers a broad range of useful topics.
 * Village pump is a place to ask questions.
 * Show preview explains how to double-check your edits before saving.

Please feel free to drop me a question on my talk page if there's anything you think I can help with. Andrewa 19:50, 18 Jul 2004 (UTC)

User:Nevillecampbell
I've added the "" template to your user page (User:Nevillecampbell), suggesting that it be deleted according to the proposed deletion process. I've explained why in the deletion notice (see also "What Wikipedia is not" and Wikipedia's deletion policy).

Please note that the purpose of a user page is not as a personal homepage or used as a general webhosting service, but as a way for active editors of Wikipedia to introduce themselves to other editors. If you disagree with the notice, discuss the issues here or on my user talk page. You may remove the deletion notice, and the page will not be deleted for the moment, but note that it may still be sent to Miscellany for Deletion, where it may be deleted if consensus to delete is reached, or if it matches any of the speedy deletion criteria. Calton | Talk 12:58, 20 March 2008 (UTC)

title: User talk:Nevillecampbell


text:
Wikipedia:Articles for deletion/Latorilla

Latorilla was proposed for deletion. This page is an archive of the discussion about the proposed deletion. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was DELETE

Vanity page, also has a redirect from A nurse (which is kind of funny, but should probably also be deleted). -- Ferkelparade 11:53, 17 Jul 2004 (UTC)

Sorry for that. I had made the wrong links. Sometime, I saw some wikipedians entries about themselves and thought that it is ok to do so. I guess I just have followed the wrong procedure or so. Anyway, no damage done. You could have discussed it with me first before posting for deletion. But thanks anyway Latorilla 12:15, 17 Jul 2004 (UTC)
 * Hi Latorilla! It was a honest mistake and nothing to be ashamed of. In fact, it is great that you created a page about yourself. However, it is policy that the pages of wikipedians are put in the "User:" namespace. What that means in plain English, is that the article title should be prefixed with "User:". By clicking on your own name on this page, you can access your own User: page. It is normal (but not required) that user pages are written from a first-person perspective.
 * I have moved the page into the user namespace now, in accordance with policy. Listing the redirects on redirects for removal. David Remahl 12:34, 17 Jul 2004 (UTC)
 * I have moved the page into the user namespace now, in accordance with policy. Listing the redirects on redirects for removal. David Remahl 12:34, 17 Jul 2004 (UTC)

 * Delete immediately. Please just delete it, ok? Thanks. Latorilla 12:55, 17 Jul 2004 (UTC)
 * It has now been moved to your user page location. From now on it is solely your decision what you do with it. You can replace it with other information about yourself, or remove all the content. I really hope you don't feel singled out! Please continue to contribute to Wikipedia. David Remahl 12:58, 17 Jul 2004 (UTC)
 * Oh, dont worry. No damage done. I learn very quickly :) Latorilla 13:11, 17 Jul 2004 (UTC)

This page is now preserved as an archive of the debate and, like other '/delete' pages is no longer 'live'. Subsequent comments on the issue, the deletion or on the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


text: Template:Roman myth

title: Template:Roman myth


text:
Jens Lehmann

Jens Gerhard Lehmann (born 10 November 1969) is a German former professional footballer who played as a goalkeeper. He was a member of Arsenal's "Invincibles", playing every match of their unbeaten title-winning season. He holds the UEFA Champions League record for the most consecutive clean sheets, not conceding a single goal in eight consecutive full matches while he played for Arsenal. He also has the highest number of continuous minutes without conceding goals. In total, this lasted 853 minutes. He is regarded as one of the best goalkeepers of his generation.

Lehmann was voted UEFA Club Goalkeeper of the Year for the 1996–97 and 2005–06 seasons, and was selected for three World Cup squads.

Schalke 04
Lehmann started his career in the 1988–89 season with Schalke 04, playing for them for nearly a decade. His first years were rocky, notably a game against Bayer Leverkusen in 1993 in which he conceded three goals and was substituted after 45 minutes, causing him to flee the stadium alone by tram rather than taking the team bus, but Lehmann gradually established himself as a strong keeper lauded for his ability to intercept crosses.

He scored his first league goal on 12 March 1995 in a 6–2 victory over 1860 Munich in the 84th minute, scoring Schalke's sixth goal from the penalty spot. His second goal was a last-minute equaliser scored against bitter rivals, Borussia Dortmund, in the Revierderby on 19 December 1997.

Lehmann became Schalke's team hero in their 1997 UEFA Cup Final victory over Inter Milan, after playing a strong season and saving an Iván Zamorano penalty in a penalty shootout.

AC Milan
Lehmann left Schalke for AC Milan in 1998, but his performances were below par. In one game Gabriel Batistuta scored a hat-trick against him, including a goal from a free kick in the box which Lehmann had conceded by handling a back pass. In another game he was substituted after giving away a penalty. After just five matches, Lehmann was dropped. Believing he wouldn't get another chance at Milan, he left during the winter.

Borussia Dortmund
In early 1999, Lehmann returned to Germany to play for Borussia Dortmund replacing long-time goalkeeper Stefan Klos. Lehmann had a difficult start there after several poor performances. Rumors arose that Lehmann might leave, with supporters viewing him critically.

But the tide eventually turned and Lehmann's form improved, becoming a reliable figure in the team. He played a significant part in the club's return to the upper echelons of German and European football. Borussia Dortmund began the 2001–02 season strongly and eventually won the Bundesliga in 2001–02. That same year, Borussia Dortmund reached the UEFA-Cup final, though the team lost to Dutch club Feyenoord Rotterdam.

Around this time, Lehmann developed a reputation for his poor disciplinary record. In a match against SC Freiburg, Lehmann kicked opposing attacker Soumaila Coulibaly after they collided in the penalty area. Lehmann was suspended afterwards. He currently holds the record for most red cards for any Borussia Dortmund player, and the record for most red cards for a goalkeeper in the German Bundesliga.

Lehmann's form slipped in the 2002–03 season, along with Borussia Dortmund's. His time at Dortmund was winding down, and after the season concluded, he left Dortmund. He was replaced by Roman Weidenfeller and Guillaume Warmuz, who had just left Arsenal.

2003–04 season
Lehmann joined Arsenal on 25 July 2003 replacing the recently departed David Seaman. Arsenal's 2003–04 season was historic. The Gunners finished the 2003–04 FA Premier League season unbeaten, becoming the first English club to accomplish the feat in the modern era and only the second to ever have an unbeaten season in English football's top tier, the only other team to accomplish this feat being Preston North End in the 1888–89 season. Lehmann played every match in Arsenal's unbeaten season, though his swashbuckling playing style did lead to occasional mistakes. For example, in the title-winning match at local rivals Tottenham Hotspur, Lehmann pushed Tottenham striker Robbie Keane as the pair waited for a Tottenham corner. He also committed an error that led to the equalising goal in Arsenal's Champions League defeat at home to Chelsea the same season. Despite these mistakes, Lehmann's addition to the Arsenal team had a major effect on Arsenal's ability to finish unbeaten. And Arsenal continued unbeaten until 24 October 2004. At the end of his first season at Arsenal, he had already played 54 times earning himself a Premier League winners medal.

2004–05 season
By the middle of the 2004–05 season, Lehmann's inconsistent form lead to Spaniard Manuel Almunia starting in several matches instead. However, Almunia made a series of mistakes during several games, thus allowing Lehmann to regain his position. At the end of that season, as speculation again began to mount that he would be replaced over the summer, Lehmann cemented his position in the Arsenal goal with a man-of-the-match performance against Manchester United in the 2005 FA Cup Final. He made several important saves and demonstrated great positional sense to keep the score 0–0 after extra time, and then crucially saved Paul Scholes' shot in the penalty shootout, which Arsenal won 5–4.

2005–06 season
Lehmann had an outstanding 2005–06 season with Arsenal, making his 100th Premier League appearance for the club in their game against West Bromwich Albion on 15 April 2006. He was a key factor in his side's first-ever accession to the Champions League final; during their run Arsenal broke the record for the most consecutive clean sheets in the Champions League with ten, breaking the record of seven that Milan had set just one year before. That run formed the bulk of an 853-minute spell without conceding a goal, overtaking the CL record for an individual goalkeeper set by Edwin van der Sar.

Bayern Munich's Hasan Salihamidžić had been the last to net against Lehmann, in the 64th minute of a last 16 first leg match on 22 February 2005; Lehmann kept a clean sheet in the second leg, and then a further seven during Arsenal's run in 2005–06 (Almunia played in the other five matches in the group stages). The final clean sheet was earned in the semi-finals against Villarreal, after Lehmann saved an 89th minute Juan Román Riquelme penalty. In the final against Barcelona, with the score still goalless, Lehmann was sent off in the 18th minute for a professional foul after bringing down Samuel Eto'o, making him the first player and – so far – only goalkeeper to ever be sent off in a Champions League/European Cup final. Arsenal would go on to lose 2–1 despite having the lead at half-time, but that did not stop him from being named the Champions League Goalkeeper of the Year for the 2005–06 season after going 853 minutes without conceding a goal.

2006–07 season
His remarkable run was finally ended on 13 September 2006 by Hamburger SV's Boubacar Sanogo, who scored a consolation goal in the 89th minute of Arsenal's first group stage match of the 2006–07 Champions League season.

Lehmann's contract at Arsenal was due to expire in summer 2007 and during the 2006–07 season there was much speculation he would leave the club on a Bosman transfer. However, it was reported on 26 April 2007 that he had signed a year's extension on his contract, tying him to the club until 2008.

2007–08 season
In the first league game of the 2007–08 season, Lehmann made a serious error after just 52 seconds, allowing David Healy to score for Fulham. However, Lehmann's blushes were spared late in the game as Arsenal won 2–1. In his second league match against Blackburn Rovers he fumbled a David Dunn shot to allow Blackburn to equalise, in a game that finished 1–1. On 24 August, the BBC reported that he returned to Germany to treat an Achilles tendon injury which he picked up during international duty against England, meaning Manuel Almunia took his place for Arsenal's third match.

Lehmann subsequently had to wait nearly four months to make another competitive appearance for Arsenal, which came in their final Champions League group match against Steaua Bucharest. Nearly one month later, he played only his fifth competitive game of the season for Arsenal, against Burnley in the third round of the FA Cup; meanwhile third-choice goalkeeper Łukasz Fabiański was selected for the League Cup games. Lehmann expressed frustration at being number two to Manuel Almunia fearing it could cost him the number one jersey in the Germany national team for the European Championship 2008. However, Arsenal manager Arsène Wenger described Lehmann's attitude as "super-professional".

On 26 January 2008, Lehmann appeared in Arsenal's second FA Cup game of the season, keeping his second successive clean sheet as Arsenal beat Newcastle United 3–0. Manager Arsène Wenger later promised Lehmann that, if he stayed at Arsenal, he would play every game in the FA Cup. On 29 January, Lehmann suggested that he will stick with Arsenal until his contract expires at the end of the season. Lehmann gave his reasons as his relationship with the fans, players, family situations and his chance to still be able to win things at the club; believing he "wouldn't have had this chance somewhere else." On 2 February, following an injury to Almunia, Lehmann returned in goal for Arsenal in the Premiership for an away fixture against Manchester City, more than five months after his last league appearance; Arsenal won the match 3–1. Due to Almunia catching flu straight after the injury, Lehmann kept his place in goal for the following three matches in February, including the first leg of the UEFA Champions League round of 16 against Milan, but also the 4–0 loss to arch rivals Manchester United in the FA Cup.

After another injury to Almunia in early April 2008, Lehmann was back in goal for the away game against Manchester United on 13 April 2008. Arsenal lost that game 2–1, virtually ending their Premier League title hopes for the season, their third consecutive season without a major trophy. There was speculation that would be his last game for Arsenal, but on 19 April, Lehmann played in the home game against Reading, which Arsenal won 2–0. The following week, Łukasz Fabiański was given his Premier League debut against Derby County and Almunia returned to the bench for the game. However, Lehmann made another appearance and was brought on for Fabiański in the last 20 minutes of the game against Everton on 4 May, Arsenal's final home game of the season. He was given a standing ovation after the match as he bowed and clapped to the fans. Later that day, Wenger confirmed that it was Lehmann's farewell appearance.

VfB Stuttgart
In early June 2008, it was announced that Lehmann had signed a one-year contract for VfB Stuttgart. He joined the team's pre-season training on 24 July 2008, and made his debut for the club on 30 July 2008 in a friendly match against former team Arsenal. His competitive debut for the club came on 10 August 2008 in the first round of the DFB-Pokal, a 5–0 away victory over FC Hansa Lüneburg, and his Bundesliga debut one week later in Stuttgart's 3–1 away victory at Borussia Mönchengladbach.

On 3 April 2009, Lehmann extended his contract at VfB Stuttgart until the summer of 2010 and announced in August 2009 that he would retire on 30 June 2010.

Return to Arsenal
On 14 March 2011, German tabloid Bild reported that Lehmann was in talks to come out of retirement, due to an injury crisis at Arsenal leaving them with only one fit senior keeper, Manuel Almunia. Lehmann was also scheduled to spend six weeks working on his coaching badges at his old club. Due to the injury of Arsenal goalkeepers Wojciech Szczęsny, Łukasz Fabiański and Vito Mannone, on 17 March 2011 Lehmann signed for Arsenal on a rolling contract until the end of the season. Lehmann was named as a substitute in Arsenal's match against West Bromwich Albion on 19 March 2011. Despite newspaper reports that he might replace Almunia, due to the Spaniard's poor performances, Lehmann made his first appearance in Arsenal's reserves on 29 March 2011 against Wigan, when Arsenal lost 2–1.

On 10 April 2011, Lehmann started for the first team in an away game against Blackpool. He was forced to start the game when Almunia was injured in the warm up. Winning 3–1, it was his 200th appearance for Arsenal. Lehmann became the oldest player to play for Arsenal in the Premier League but not the oldest to play for the Gunners in all competitions, a record held by Jock Rutherford. Lehmann's contract with Arsenal expired at the end of the season, and then he decided to retire once again.

On 8 September 2018, a match was organised between Arsenal legends and Real Madrid legends in which Lehmann appeared after David Seaman picked up injury during training. He eventually made two saves in the second half and then saved a shot from Alfonso in the subsequent penalty shoot out. Arsenal legends won 5–3 on penalties, with Lehmann scoring the last penalty for Arsenal.

International career
Lehmann made his debut for the Germany national team against Oman in February 1998 and earned 61 caps for his country, 32 of which were friendlies.

He had a well-publicised rivalry with former Bayern Munich goalkeeper Oliver Kahn, whose presence long prevented Lehmann from becoming the number one goalkeeper of the national team. Lehmann was in the squad which finished as runners-up in the 2002 World Cup, but he didn't play any matches in the competition, as Kahn was still Germany's first choice goalkeeper.

On 7 April 2006, however, Germany national coach Jürgen Klinsmann announced that Lehmann would be Germany's first-choice goalkeeper for the upcoming World Cup. Lehmann conceded two goals in Germany's opening match of the World Cup, both scored by Costa Rica's Paulo Wanchope although Germany won the match 4–2. Lehmann played strongly in the next three games, conceding no goals and allowing Germany to sweep their group undefeated and beat Sweden convincingly in the Round of 16.

The highlight of Lehmann's international career came in the quarterfinal match (30 June 2006, Olympiastadion, Berlin) against Argentina. The game remained tied 1–1 after 90 minutes and extra time. The game came down to penalty kicks and Lehmann carried his team through, picking the right direction for all spot kicks, making saves from Argentinians Roberto Ayala and Esteban Cambiasso and almost saving a third. Meanwhile, the Germans made all four of the necessary spot kicks to win the penalty shoot-out 4–2. Lehmann's prowess in the shootout was aided by notes given to him before the kicks – an idea from Germany's chief scout, Swiss-born Urs Siegenthaler. Germany's goalkeeping manager, Andreas Köpke, gave Lehmann a sheet of paper with the penalty tendencies of seven of the Argentinians, with Lehmann keeping the paper in his right sock. Only two of the seven players on the note (Ayala and Maxi Rodríguez) ended up taking penalties, but Köpke had predicted both correctly and Lehmann saved Ayala's kick. Before the last shot from Cambiasso, Lehmann looked at the paper for a long time even though Cambiasso's name was not even on it. Lehmann then saved the penalty, ending the game. The story about the paper features in the film Deutschland. Ein Sommermärchen. Lehmann was considered a hero by the German public after these saves, and he received praise even from long-time rival and backup keeper Oliver Kahn.

Germany's opponent in the semifinals was Italy. The Italians had the better chances to score but Lehmann made several spectacular saves, including one in extra time where he dived out of goal to intercept an Italian player who had broken loose from the defence, punching the ball clear with his fist and temporarily knocking out the Italian in the process. He allowed two goals within a minute of each other with only a few seconds remaining in extra time, which put Italy into the World Cup final. The retiring Oliver Kahn was given the honour of starting in the third place play-off match, an offer made by Lehmann himself. Kahn was made captain for that game due to the injury to Michael Ballack. Germany defeated Portugal 3–1 for the third place (bronze) medals.

In August 2006, Lehmann revealed that during the World Cup he was suffering with a foot injury that he claims was a result of wearing different boots. The German Football Association ordered their players to wear only those manufactured by principal sponsor Adidas as opposed to Lehmann's sponsor Nike. This has now been overturned thanks to Lehmann and several other players protesting about the decision and the players are now free to wear boots made by other companies. The same month, Lehmann suggested that he may retire from league and international football after playing for Germany in Euro 2008. However, he subsequently stated in January 2007 that he had not made any decision on retirement.

Lehmann set a national team record of not conceding a goal for 681 minutes in a friendly against Switzerland on 26 March 2008. In Euro 2008, he was one of only two players born in the 1960s, with the other being Austria's Ivica Vastić. Lehmann started every match as Germany reached the final. They lost 1–0 to Spain; a lack of communication between Lehmann and Philipp Lahm allowed Spain's Fernando Torres to net the only goal in the match.

On 8 August 2008, Lehmann announced his retirement from international football. He made his decision following a two-hour talk with the Germany national team's coach Joachim Löw and goalkeeping coach Andreas Köpke, stating that he was not able to give them any guarantee that he will continue to play football following the end of his one-year contract with VfB Stuttgart in June 2009. He has since retired and subsequently worked towards his full FIFA coaching license at Arsenal.

Style of play
Considered to be one of the best goalkeepers in the world in his prime, as well as one of the best goalkeepers in the history of the Premier League, and one of Arsenal's and Germany's greatest goalkeepers, Lehmann was a talented and experienced keeper, who was renowned for his agility, reflexes, strength, and acrobatic shot-stopping abilities; however, he was also known for his efficiency rather than spectacular playing style. A well–rounded goalkeeper, he was also highly regarded in the media for his distribution with either foot, as well as his handling, physical presence, positioning, reading of the game, and his ability to come off his line and collect or punch crosses, which allowed him to command his area effectively. He was also known for his eccentric personality, and for being extremely outspoken. Moreover, he possessed a strong mentality, tactical sense, and leadership qualities, and was also known for his ability to handle pressure and communicate with his back–line. One of the best goalkeepers of his generation, his playing style served as an inspiration for Manuel Neuer. However, despite his ability, he was also known to be inconsistent at times, and his longevity was not particularly impressive.

Post-retirement
Ahead of the 2017–18 season, it was confirmed that Lehmann would return to Arsenal once again as assistant coach. On 19 June 2018, Arsenal confirmed that Lehmann had left the club as part of new head coach Unai Emery's coaching staff changes.

On 29 January 2019, he was appointed assistant coach of FC Augsburg alongside Manuel Baum, as the team were only 15th in the Bundesliga.

In May 2020, Tennor Holding BV named Lehmann, among others, as its representative on the supervisory board of Hertha BSC. One year later, he was sacked after sending pundit and former footballer Dennis Aogo a WhatsApp message calling him a "quota black guy", in relation to Aogo's work as an expert at Sky. Lehmann had previously apologized via a Twitter post.

Personal life
Lehmann and his elder brother grew up in Essen. After graduating from secondary school with A-levels (Abitur) in 1988, he studied economics at the University of Münster between 1992 and 1998 while continuing his football career.

In 1999, he married Conny, a middle school teacher. Lehmann later adopted Lasse, Conny’s son from her previous marriage to footballer Knut Reinhardt. The pair also have two children Mats (born 2000) and Lieselotta (born 2006).

Charity
He is board member of the youth football foundation Stiftung Jugendfußball, founded 2000 upon the initiative of Jürgen Klinsmann. Lehmann also acts as ambassador of the foundation Power-Child Campus South Africa that supports children affected by HIV and well as foundations of Bert Trautmann, Christoph Metzelder and former Arsenal goalkeeper Bob Wilson.

He participated in the Soccer Aid football match on 6 June 2010 for the Rest of the World team in aid of UNICEF.

Acting appearances
Lehmann made his film acting debut with the German/South African production Themba. He plays Big John Jacobs, a football coach and talent scout, who discovers Themba, a young and ambitious youth, who is faced with poverty, AIDS and violence, but eventually makes his way on to the South African national team. The movie is based on a novel by Lutz van Dijk and premiered at the Berlinale 2010.

Club

 * Source:

International

 * Source:

Honours
Schalke 04
 * UEFA Cup: 1996–97
 * 2. Bundesliga: 1990–91

AC Milan
 * Serie A: 1998–99

Borussia Dortmund
 * Bundesliga: 2001–02
 * UEFA Cup runner-up: 2001–02

Arsenal
 * Premier League: 2003–04
 * FA Cup: 2004–05
 * FA Community Shield: 2004
 * UEFA Champions League runner-up: 2005–06

Germany
 * FIFA World Cup runner-up: 2002; third place: 2006
 * UEFA European Championship runner-up: 2008
 * FIFA Confederations Cup third place: 2005

Individual

 * kicker Bundesliga Team of the Season: 1995–96
 * UEFA Goalkeeper of the Year: 1997, 2006
 * UEFA Club Football Awards Best Goalkeeper: 2005–06
 * FIFA World Cup All-Star Team: 2006
 * Most clean sheets in the Premier League: 2003–04

title: Jens Lehmann


text:
Halifax (Ireland)

Bank of Scotland (Ireland) Limited was a wholly owned subsidiary of the Bank of Scotland, which later became part of Lloyds Banking Group. It offered commercial and corporate banking services under the Bank of Scotland brand and retail banking services under the Halifax brand. From 10 February 2010 the bank no longer accepted new business and it ceased to operate as a licensed bank on 31 December 2010. The assets of the bank were merged into Bank of Scotland plc.

History
The company was founded in 1965 as Equity Bank Limited. In 1999, it was purchased by the Governor and Company of the Bank of Scotland. Later, the parent company established its own brand in the Irish market through the direct sales of mortgages from Edinburgh. Following this, it was decided to rebrand the existing Irish operation as Bank of Scotland (Ireland) in 2000.

In 2001, the bank purchased ICC Bank plc from the Irish State. This company, originally established as the Industrial Credit Company, and later known as Industrial Credit Corporation plc, was set up in 1933 by Seán Lemass in the Irish Free State to encourage investment in industry. The company was modelled on the Agricultural Credit Corporation (later renamed ACC Loan Management, also defunct).

In 2004, the company took over the direct mortgage sales business from its parent company, and moved it to Dublin. Major new offices were also opened in a brand new building in Limerick, named "Bank of Scotland House" (formerly the site of the Carlton Cinema).

In 2005, the company announced that it was taking over the Electricity Supply Board's ShopElectric chain of retail outlets, and turn them into a network of branches. This made the company the fourth-largest bank in Ireland, with 46 branches. The company detailed its retail banking plans on 10 January 2006, the first three branches opened the following day, as well as a call centre in Dundalk, County Louth. This put it in direct competition with Permanent TSB as well as National Irish Bank, the smallest of the traditional Big Four. The banks became the first Irish bank to open on Saturday as standard.

Following the merger of Halifax and Bank of Scotland to form HBOS, in August 2006, the bank announced that it would adopt a two-brand strategy, re-branding as Halifax for its retail business and retaining the Bank of Scotland name for its commercial customers.

In 2007, Halifax announced the launch a personal current account paying 10% interest on credit balances up to €2000 to customers lodging €1500 or more per month. The bank further announced that it was the first in Ireland to offer a Visa Debit card rather than the Laser debit card issued by other Irish banks back then, which had restricted usability outside Ireland.

Closure
On 9 February 2010 Bank of Scotland announced that it would be shutting all of its 44 retail branches in the Republic in addition to its customer service centre in Dundalk and direct support functions with a loss of 750 jobs. Halifax cited the economic crisis at the time as the main reason for this decision. The Bank, in its online press release, stated that the commercial and corporate strands of the business in Ireland would remain unaffected. Bank of Scotland (Ireland) chief executive, Joe Higgins, said : "We have arrived at this difficult position only after an extensive and exhaustive review of all options to secure a viable future for the bank overall and for these businesses."

However, in August 2010, it was announced that the remaining business of Bank of Scotland Ireland was to be wound down by the end of the year. This followed losses of 1.88 billion euro in the first six months of the year, due mainly to impaired loans to property developers.

title: Halifax (Ireland)


text:
Template talk:Roman religion

This is designed to make it easier to navigate the twists and turns of Roman religion/myth.

There's a default template. There are also a few variants, to make further exploration possible.

If you hit:
 * Mercury, then Legendary history "collapses" and {other gods of commerce and trade} "folds out" with new links.
 * ditto for Fortuna and personified abstractions
 * and Ceres and agricultural gods
 * and Lares and minor deities

See:
 * Template:Roman myth (trade)
 * Template:Roman myth (abstract)
 * Template:Roman myth (rustic)
 * Template:Roman myth (minor)

- Bacchiad 12:03, 17 Jul 2004 (UTC)

title: Template talk:Roman religion


text:
Talk:Telecommunications in Rwanda

ISPs
There are now two ISPs in Rwanda: RwandaTel and Terracom —Preceding unsigned comment added by 83.229.11.242 (talk • contribs)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 1 one external link on Telecommunications in Rwanda. Please take a moment to review my edit. If necessary, add after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Added archive https://web.archive.org/20070927212245/http://www.rinex.org.rw/members/ to http://www.rinex.org.rw/members/

When you have finished reviewing my changes, please set the checked parameter below to true to let others know.

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title: Talk:Telecommunications in Rwanda


text: Category:1896 films

title: Category:1896 films


text:
Paul Abbott

Paul Abbott (born 22 February 1960) is an English screenwriter and producer. He became one of the most successful television writers in Britain following his work on popular series such as Cracker (1993–2006) and Coronation Street (1960–present), and would become more widely known for creating some of the most acclaimed television dramas of the 1990s and 2000s, including Reckless (1997), Touching Evil (1997–1999), Clocking Off (2000–2003), State of Play (2003), Shameless (2004–2013), and No Offence (2015–2018).

Early life
Abbott was born into a dysfunctional family in Burnley on 22 February 1960, the seventh of eight children. When he was nine, his mother left to pursue a relationship with another man who had a child around Abbott's own age; his father, whom Abbott described as "bone idle", departed two years later. His mother had supported the family with three jobs. Abbott and his siblings were left in the care of their pregnant 17-year-old sister. His father did not claim benefits for the family for fear of alerting social services to their abandonment. Although he constantly skipped school, Abbott later cited his English teacher at Barden High School as an early positive influence on him.

Abbott was raped by a stranger at the age of 11, leading to him jumping from the roof of a multi-story car park in an attempt to take his own life. Two years later, after another suicide attempt, he was forced into an adult mental hospital; he later became a voluntary patient. On his release, he was taken into foster care and placed with a much more settled working-class family, where having two parents who held steady employment and owned a television and car was a new experience for him. At the same time, he began attending a local Sixth Form College and started attending meetings of the Burnley Writers' Circle after seeing their advert in the local public library. He enrolled at the University of Manchester in 1980 to study psychology, but decided to leave to concentrate on writing when a radio play he wrote was accepted by the BBC.

Career
Abbott entered the Radio Times drama competition at the age of 22 which had the requirement to find a professional sponsor. A contact knew the address of the leading British dramatist Alan Bennett who, after seeing his script, was of the opinion that Abbott had written a perfectly acceptable piece of work which he would be happy to endorse. His work on radio plays for BBC Radio 4 attracted the attention of producers at Granada Television who hired him, at age twenty-four, to be a script editor on their long-running soap opera Coronation Street. This made him at the time the youngest-ever person to occupy such a role on the programme.

He worked on Coronation Street for the next eight years as a story editor and from 1989 as a writer. He also worked on other programmes for Granada. In 1988, he co-wrote his first televised drama script, a one-off play for the Dramarama anthology, with fellow Coronation Street writer Kay Mellor. The same year, he and Mellor co-created the children's medical drama Children's Ward, which ran for many years—Abbott regularly contributed scripts until 1992, then returned briefly to the show in 1996.

In 1994, he worked as the producer on the second season of Granada's drama series Cracker, about the work of a criminal psychologist played by Robbie Coltrane. The following year he switched to writing scripts for the programme and wrote several episodes. He made his first breakthrough with a programme of his own creation, the police drama serial Touching Evil in 1997. The series, starring popular actor Robson Green, was a success, and two sequel serials—although not written by Abbott—followed. Most recently, in 2004, the series was re-made for American television by the USA Network.

After writing another serial starring Green, Reckless and a few other productions for Granada, he began in 1999 a collaboration with the independent Red Production Company. He contributed an episode to their anthology series Love in the 21st Century, screened on Channel 4, and in 2000 created and wrote the series Clocking Off for them, which was screened on BBC One. Set in one factory in Lancashire, the series focused on a different member of factory staff each episode. The first season won the BAFTA award for Best Drama Series, and the equivalent at the Royal Television Society awards; Abbott personally was recognised with the RTS Best Writer award. Clocking Off ran for four seasons, although Abbott's contributions to the final two runs were minimal as he was by this time busy working on other projects.

In 2001, he created another Red series screened on BBC One, the comedy-drama Linda Green; although this was somewhat less successful and ran for only two seasons before cancellation. In 2000, he was due to adapt the D. H. Lawrence novel Sons and Lovers as a four-part television serial but pulled out due to work commitments.

2002 saw Abbott experimenting with a new genre when he wrote the political thriller State of Play, which was directed by David Yates and produced for the BBC by Hilary Bevan-Jones. In late 2003, Abbott and Bevan-Jones founded their own independent production company, Tightrope Pictures, based in Soho, London.

In early 2004, Channel 4 screened Shameless, a new Abbott series very loosely based on his experiences and family life growing up in Burnley, although the action of the programme itself was changed to Manchester in the present day. At the 2006 British Academy Television Awards, he was given the honorary Dennis Potter Award for Outstanding Writing in Television, and in July of the same year Radio Times magazine placed him at No. 5 in a poll of industry professionals to find The Most Powerful People in Television Drama. Abbott was the highest-placed writer on the list, those above him being actors and executives.

Tightrope Pictures have produced several high-profile dramas for the BBC, including Richard Curtis's The Girl in the Café (also directed by David Yates for BBC One, 2005) and an adaptation of William Golding's novel To the Ends of the Earth (BBC Two, 2005). In 2009, Abbott acted as executive producer on the film version of State of Play for Universal Pictures.

The first series of No Offence aired on Channel 4 beginning in May 2015. In 2021, Sky Max would broadcast Abbott's newest crime series, Wolfe.

Academic recognition
In July 2006, it was announced that the University of Salford had appointed Abbott as a visiting professor; the same month, Manchester Metropolitan University awarded him with an honorary doctorate. His November 2006 lecture at Salford entitled "The 21st Century Box" explored how media is changing and provided "first aid for British television makers". Attendees included the Mayor and Mayoress of Salford.

In 2013, Dr. Beth Johnson from the University of Leeds published the first book-length academic study of Abbott's work alongside Manchester University Press.

In 2015, Abbott was awarded an honorary doctorate from Keele University.

title: Paul Abbott