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Eugène Atget

Eugène Atget (12 February 1857 – 4 August 1927) was a French flâneur and a pioneer of documentary photography, noted for his determination to document all of the architecture and street scenes of Paris before their disappearance to modernization. Most of his photographs were first published by Berenice Abbott after his death. Though he sold his work to artists and craftspeople, and became an inspiration for the surrealists, he did not live to see the wide acclaim his work would eventually receive.

Early years
Jean-Eugène-Auguste Atget was born 12 February 1857 in Libourne. His father, carriage builder Jean-Eugène Atget, died in 1862, and his mother, Clara-Adeline Atget née Hourlier died shortly after; he was an orphan at age seven. He was brought up by his maternal grandparents in Bordeaux and after finishing secondary education joined the merchant navy.

Moving to Paris
Atget moved to Paris in 1878. He failed the entrance exam for acting class but was admitted when he had a second try. Because he was drafted for military service he could attend class only part-time, and he was expelled from drama school.

Still living in Paris, he became an actor with a travelling group, performing in the Paris suburbs and the provinces. He met actress Valentine Delafosse Compagnon, who became his companion until her death. He gave up acting because of an infection of his vocal cords in 1887, moved to the provinces and took up painting without success. When he was thirty he made his first photographs, of Amiens and Beauvais, which date from 1888.

Photography and documents for artists
In 1890, Atget moved back to Paris and became a professional photographer, supplying documents for artists: studies for painters, architects, and stage designers.

Starting in 1898, institutions such as the Musée Carnavalet and the Bibliothèque historique de la ville de Paris bought his photographs. The latter commissioned him ca. 1906 to systematically photograph old buildings in Paris. In 1899 he moved to Montparnasse.

While being a photographer Atget still called himself an actor, giving lectures and readings.

During World War I Atget temporarily stored his archives in his basement for safekeeping and almost completely gave up photography. Valentine's son Léon was killed at the front.

In 1920–21, he sold thousands of his negatives to institutions. Financially independent, he took up photographing the parks of Versailles, Saint-Cloud and Sceaux and produced a series of photographs of prostitutes.

Later years and creative heritage
Berenice Abbott, while working with Man Ray, visited Atget in 1925, bought some of his photographs, and tried to interest other artists in his work. She continued to promote Atget through various articles, exhibitions and books, and sold her Atget collection to the Museum of Modern Art in 1968.

In 1926, Atget's partner Valentine died, and before he saw the full-face and profile portraits that Abbott took of him in 1927, showing him “slightly stooped…tired, sad, remote, appealing”, Atget died on 4 August in 1927, in Paris.

Atget and biographical myth
At the moment, not many reliable facts from Atget’s life are known. It is believed that Atget was poor, while at the same time, there is an assumption that the photographer’s cramped financial circumstances are a myth established by later researchers in attempts to create the image of a romantic artist. In his research, John Szarkowski cited a fragment of Atget’s correspondence with Paul Leon, a professor at the Collège de France, an employee of the Commission on Historical Monuments and one of the top officials of the French Ministry of Culture (French), from which it follows that they sold 2,600 negatives for 10,000 francs. This is one of the largest, but not the only lifetime sales of Atget.

The beginning of photography and photography of Paris
Atget took up photography in the late 1880s, around the time that photography was experiencing unprecedented expansion in both commercial and amateur fields.

Atget photographed Paris with a large-format wooden bellows camera with a rapid rectilinear lens, an instrument that was fairly current when he took it up, but which he continued to use even when hand-held and more efficient large-format cameras became available. The optical vignetting often seen at some corners of his photographs is due to his having repositioned the lens relative to the plate on the camera—exploiting one of the features of bellows view cameras as a way to correct perspective and control perspective and keep vertical forms straight. The negatives show four small clear rebates (printing black) where clips held the glass in the plate-holder during exposure. The glass plates were 180×240mm Bande Bleue (Blue Ribbon) brand with a general purpose gelatin-silver emulsion, fairly slow, that necessitated quite long exposures, resulting in the blurring of moving subjects seen in some of his pictures. Interest in Atget's work has prompted the recent scientific analysis of Atget's negatives and prints in Parisian collections and in the Philadelphia Museum of Art.

Specifics of the technique
In Intérieurs Parisiens, a series of photographs he took for the Bibliotéque Nationale, he included a view of his own simple darkroom with trays for processing negatives and prints, a safelight, and printing frames. After taking a photograph, Atget would develop, wash, and fix his negative, then assign the negative to one of his filing categories with the next consecutive number that he would write the negative number in graphite on the verso of the negative and also scratch it into the emulsion. He contact-printed his negatives onto pre-sensitized, commercially available printing-out papers; albumen paper, gelatin-silver printing-out paper, or two types of matte albumen paper that he used mainly after WW1. The negative was clamped into a printing frame under glass and against a sheet of albumen photographic printing out paper, which was left out in the sun to expose. The frame permitted inspection of the print until a satisfactory exposure was achieved, then Atget washed, fixed and toned his print with gold toner, as was the standard practice when he took up photography.

Atget did not use an enlarger, and all of his prints are the same size as their negatives. Prints would be numbered and labelled on their backs in pencil then inserted by the corners into four slits cut in each page of albums. Additional albums were assembled based on a specific themes that might be of interest to his clients, and separate from series or chronology.

Features and specifics of photographic practice
One of the main issues related to Atget’s work is the nature and specificity of his legacy. Some researchers consider him, first of all, the author of romantic Parisian views. Other researchers believe that the size of the archive is important in assessing his work—the entire corpus of 10 thousand photographs, and not just individual photographs. It is believed that the meaning of his activity is not only in the creation of individual images, but also in the formation of a sequential series of images. In this case, it is important to have an exceptional number of photographs (about 10 thousand), as well as the use of a systematic archival principle. The idea of a work as a community was used by Maria Morris Hamburg and John Szarkowski when preparing a landmark exhibition at MOMA This idea has been supported by researchers such as Rosalind Krauss and other experts.

Subject matter
By 1891 Atget advertised his business with a shingle at his door, remarked later by Berenice Abbott, that announced “Documents pour Artistes”. Initially his subjects were flowers, animals, landscapes, and monuments; sharp and meticulous studies centred simply in the frame and intended for artists' use. Atget then embarked on a series of picturesque views of Paris which include documentation of the small trades in his series Petits Métiers. He made views of gardens in the areas surrounding Paris, in the summer of 1901, photographing the gardens at Versailles, a challenging subject of large scale and with combinations of natural and architectural and sculptural elements which he would revisit until 1927, learning to make balanced compositions and perspectives.

Early in the 1900s, Atget began to document “Old Paris,” reading extensively in order to sympathetically focus on Paris architecture and environments dating prior to the French Revolution, concern over the preservation of which ensured him commercial success. He framed the winding streets to show the historic buildings in context, rather than making frontal architectural elevations.

Atget's specialisation in imagery of Old Paris expanded his clientele. Amongst his scant surviving documents was his notebook, known by the word Repertoire on its cover (the French repertoire meaning a thumb-indexed address book or directory, but also defined, aptly in actor Atget's case, as 'a stock of plays, dances, or items that a company or a performer knows or is prepared to perform'). The book is now in the MoMA collection, and in it he recorded the names and addresses of 460 clients; architects, interior decorators, builders and their artisans skilled in ironwork, wood panelling, door knockers, also painters, engravers, illustrators, and set designers, jewellers René Lalique and Weller, antiquarians and historians, artists including Tsuguharu Foujita, Maurice de Vlaminck and Georges Braque, well-known authors, editors, publishers Armand Colin and Hachette, and professors, including the many who donated their own collections of his photographs to institutions. The address book lists also contacts at publications, such as L’Illustration, Revue Hebdomadaire, Les Annales politiques et litteraires, and l’Art et des artistes. Institutional collectors of Old Paris documents, including archives, schools, and museums were also a keen clientele and brought him commercial success, with commissions from the Bibliotèque Historique de la Ville de Paris in 1906 and 1911 and the sale of various albums of photographs to the Bibliotèque Nationale

Atget's photographs attracted the attention of, and were purchased by, artists such as Henri Matisse, Marcel Duchamp and Picasso in the 1920s, as well as Maurice Utrillo, Edgar Degas and André Derain, some of whose views are seen from identical vantage-points at which Atget took pictures, and were likely made with the assistance of his photographs bought from the photographer for a few cents.

By the end of his career, Atget had worked methodically and concurrently on thirteen separate series of photographs including 'Landscape Documents', 'Picturesque Paris', 'Art in Old Paris', 'Environs', 'Topography of Old Paris', 'Tuileries', 'Vielle France', 'Interiors', 'Saint Cloud', 'Versailles', 'Parisian Parks', 'Sceaux' and a smaller series on costumes and religious arts, returning to subjects after they had been put aside for many years.

Atget and the problem of the archive
The principle of the archive is considered as the basis of the artistic program by many researchers of Atget's work. The research of Maria Morris Hamburg and John Szarkowski corrected the understanding of Atget's program. It implied that the photographer was not creating a pictorial monolith, but a catalog that was part of the artistic and semantic system of his photographs. This circumstance allows us to perceive Atget’s works as an example of a specific artistic program and consider them as an example of non-logical forms in photography.

Atget's photographs: the problem of the work of art
One of the central problems associated with Atget's work is determining the balance between fiction and documentary. Atget created his photographs as utilitarian materials (documents for artists or archival images of Parisian monuments) - their artistic status was partly the result of later readings. Rosalind Krauss draws attention to the fact that the central theme associated with Atget’s works is the uncertainty of the boundaries of the work. It is not entirely clear what should be considered a master’s work—a single selected frame or a complete corpus of several thousand images. Atget's photographs highlighted the problem of the singularity of the work and questioned the possibility of its integrity and semantic completeness.

Surrealist appropriation
Man Ray, who lived on the same street as Atget in Paris, the rue Campagne-Première in Montparnasse purchased and collected almost fifty of Atget's photographs into an album embossed with the name 'Atget', "coll. Man Ray" and a date, 1926. He published several of Atget's photographs in his La Révolution surréaliste; most famously in issue number 7, of 15 June 1926, his Pendant l’éclipse made fourteen years earlier and showing a crowd gathered at the Colonne de Juillet to peer through various devices, or through their bare fingers, at the Solar eclipse of 17 April 1912. Atget however did not regard himself as a Surrealist. When Ray asked Atget if he could use his photo, Atget said: "Don't put my name on it. These are simply documents I make." Man Ray proposed that Atget's pictures of staircases, doorways, ragpickers, and especially those with window reflections (when foreground and background mix and mannequins looks like ready to step out ), had a Dada or Surrealist quality about them.

Abigail Solomon Godeau referred to part of Atget's photos as surrealist.

Atget and Walter Benjamin
One of the earliest analytical texts about Atget is Walter Benjamin's essay A Brief History of Photography (1931). Benjamin views Atget as a forerunner of surrealist photography, effectively making him a member of the European avant-garde. In his understanding, Atget is a representative of a new photographic vision, and not a master of idyllic photographs of 19th-century Paris. He names Atget as the discoverer of the fragment that will become the central motif of the New Vision photograph. Benjamin draws attention to the fact that Atget liberates photography from the aura that was characteristic of both early 19th-century photography and classical works of art in particular. Thus, Walter Benjamin denotes the direction of research into the frame and technical arts, which he will continue in his essay The Work of Art in the Age of Mechanical Reproduction.

Recognition in America
"He will be remembered as an urbanist historian, a genuine romanticist, a lover of Paris, a Balzac of the camera, from whose work we can weave a large tapestry of French civilization."

After Atget's death his friend, the actor André Calmettes, sorted his work into two categories; 2,000 records of historic Paris, and photographs of all other subjects. The former, he gave to the French government; the others he sold to the American photographer Berenice Abbott,

Atget created a comprehensive photographic record of the look and feel of nineteenth-century Paris just as it was being dramatically transformed by modernization, and its buildings were being systematically demolished.

When Berenice Abbott reportedly asked him if the French appreciated his art, he responded ironically, "No, only young foreigners." While Ray and Abbott claimed to have 'discovered' him around 1925, he was certainly not the unknown 'primitive' 'tramp' or 'Douanier Rousseau of the street' that they took him for; he had, since 1900, as counted by Alain Fourquier, 182 reproductions of 158 images in 29 publications and had sold, between 1898 and 1927 and beyond the postcards he published, sometimes more than 1000 pictures a year to public institutions including the Bibliothèque Nationale, Bibliothèque Historique de la Ville de Paris, Musée Carnavalet, Musée de Sculpture Comparé, École des Beaux-Arts, the Directorate of Fine Arts and others.

During the Depression in the 1930s Abbott sold half of her collection to Julian Levy, who owned a gallery in New York. Since he had difficulty selling the prints, he allowed Abbott to keep them in her possession. In the late 1960s Abbott and Levy sold the collection of Atgets to The Museum of Modern Art. As MoMA bought it, the collection contained 1415 glass negatives and nearly 8,000 vintage prints from over 4,000 distinct negatives.

The publication of his work in the United States after his death and the promotion of his work to English-speaking audiences was due to Berenice Abbott. She exhibited, printed and wrote about his work, and assembled a substantial archive of writings about his portfolio by herself and others. Abbott published Atget, Photographe de Paris in 1930, the first overview of his photographic oeuvre and the beginning of his international fame. She also published a book with prints she made from Atget's negatives: The World of Atget (1964). Berenice Abbott and Eugene Atget was published in 2002.

As the city and architecture are two main themes in Atget's photographs, his work has been commented on and reviewed together with the work of Berenice Abbott and Amanda Bouchenoire, in the book ''Architecture and Cities. Three Photographic Gazes'', where author Jerome Saltz analyzes historicist perspectives and considers their aesthetic implications: "(...) the three authors coincide in the search for and exaltation of intrinsic beauty in their objectives, regardless of quality and clarity of their references."

Legacy
In 1929, eleven of Atget's photographs were shown at the Film und Foto Werkbund exhibition in Stuttgart.

The U.S. Library of Congress has some 20 prints made by Abbott in 1956. The Museum of Modern Art purchased the Abbott/Levy collection of Atget's work in 1968. MoMA published a four-volume series of books based on its four successive exhibitions of Atget's life and work, between 1981 and 1985.

In 2001, the Philadelphia Museum of Art acquired the Julien Levy Collection of Photographs, the centerpiece of which includes 361 photographs by Atget. Many of these photographs were printed by Atget himself and purchased by Levy directly from the photographer. Others arrived in Levy's possession when he and Berenice Abbott entered a partnership to preserve Atget's studio in 1930. Eighty-three prints in the Levy Collection were made by Abbott posthumously as exhibition prints that she produced directly from Atget's glass negatives. Additionally, the Levy Collection included three of Atget's photographic albums, crafted by the photographer himself. The most complete is an album of domestic interiors titled Intérieurs Parisiens Début du XXe Siècle, Artistiques, Pittoresques & Bourgeois. The other two albums are fragmentary. Album No. 1, Jardin des Tuileries has only four pages still intact, and the other lacks a cover and title but contains photographs from numerous Parisian parks. In total, the Philadelphia Museum of Art holds approximately 489 objects attributed to Atget.

Atget, a Retrospective was presented at the Bibliothèque Nationale of Paris in 2007.

The Atget crater on the planet Mercury is named after him, as is Rue Eugène-Atget in the 13th arrondissement of Paris.

Although no statement by Atget about his technique or aesthetic approach survives, he did sum up his life's work in a letter to the Minister of Fine Arts;

"For more than 20 years I have been working alone and of my own initiative in all the old streets of Old Paris to make a collection of 18 × 24cm photographic negatives: artistic documents of beautiful urban architecture from the 16th to the 19th centuries…today this enormous artistic and documentary collection is finished; I can say that I possess all of Old Paris"

Copyright
The U.S. Library of Congress was unable to determine the ownership of the twenty Atget photographs in its collection, thus suggesting that they are technically orphan works. Abbott clearly had a copyright on the selection and arrangement of his photographs in her books, which is now owned by Commerce Graphics. The Library also stated that the Museum of Modern Art, which owns the collection of Atget's negatives, reported that Atget had no heirs and that any rights on these works may have expired.

Collections

 * The Art Institute of Chicago, Chicago, IL
 * International Center of Photography – New York, NY
 * International Photography Hall of Fame – St. Louis, MO
 * The J. Paul Getty Museum – Los Angeles, CA

title: Eugène Atget


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Giovanni Costa (painter, born 1826)

Giovanni Costa (15 October 1826 – 31 January 1903), often known as Nino Costa, was an Italian landscape painter and patriotic revolutionary.

Biography
Giovanni Costa was born in Rome on 15 October 1826, the fourteenth of the sixteen children of Gioacchino Costa (died 1842) and Maria Chiappi (died 1857). His father was from Santa Margherita Ligure and as a young man had moved to Rome, where he opened a wool-spinning factory and achieved wealth and position. The family lived in a large house in Piazza San Francesco a Ripa, in Trastevere, close to the factory.

When he was 12 Giovanni was introduced to the neo-classical painter Baron Vincenzo Camuccini, who encouraged him to work from nature and from what he saw around him. Soon after was sent to the Jesuit college at Montefiascone, where remained for five years.

Costa returned to Rome in 1843, the year after the death of this father, and for two years attended the Collegio Bandinelli in the via Giulia, founded by Bartolommeo Bandinelli in 1678, where he was taught drawing by Luigi Durantini. He then worked for short time in the studio of Vincenzo Camuccini before entering the schools of the Accademia di San Luca, where he studied under Francesco Coghetti, Francesco Podesti and Filippo Agricola.

He fought under Garibaldi in 1848, and served as a volunteer in the war of 1859; his enthusiasm for Italian unity was actively shown again in 1870, when he was the first to mount the breach in the assault of Rome near the Porta Pia.

He had settled meanwhile at Florence, where his fight for the independence of art from worn-out traditions was no less strenuous. Here he completed a Donne sulla spiaggia di Porto d'Anzio (Girl on the Beach of Porto d'Anzio). He also became known as a landscape-painter of remarkable originality, and of great influence in the return to minute observation of nature. He painted, mainly rustic scenes involving herders and cattle. He was a major inspiration to the artists known as the Macchiaioli, and also had many English and American friends and followers, notably Elihu Vedder, Matthew Ridley Corbet (1850–1902) and his wife Edith Corbet, and Lord Carlisle, and was closely associated with Corot and the Barbizon school, whom he met while visiting Paris. In 1853, he established a lifetime friendship with a young Frederick Leighton, who was then sojourning in Rome.

His exile from Rome lasted until 1862. An exhibition of his pictures was held in London in 1904, and he is represented in the Tate Gallery. He died at Marina di Pisa on 31 January 1903.

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

title: Giovanni Costa (painter, born 1826)


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Alvin Youngblood Hart

Alvin Youngblood Hart (born Gregory Edward Hart; March 2, 1963) is an American musician.

Career
Hart was born in Oakland, California, and spent some time in Carroll County, Mississippi, in his youth, where he was influenced by the Mississippi country blues performed by his relatives. Hart is known as one of the world's foremost practitioners of country blues. He is also known as a faithful torchbearer for 1960s and 1970s guitar rock, as well as western swing and traditional country. His style has been compared to Lead Belly and Spade Cooley. Bluesman Taj Mahal once said about Hart: "The boy has got thunder in his hands." Hart himself said, "I guess my big break came when I opened for Taj Mahal for four nights at Yoshi's."

His debut album, Big Mama's Door, was released in 1996 on Okeh Records. In 2003, Hart's album Down in the Alley was nominated for a Grammy Award for Best Traditional Blues Album.

Albums

 * Big Mama's Door (1996)
 * Territory (1998)
 * Start With The Soul (2000)
 * Down In The Alley (2002)
 * Motivational Speaker (2005)

Awards

 * W.C. Handy Award for best new artist – 1997
 * Down Beat magazine award for best blues album of the year for Territory, 1999
 * Grammy Award in 2005 for producing and contribution to the compilation album, Beautiful Dreamer

title: Alvin Youngblood Hart


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United States Senate Committee on Canadian Relations

The United States Senate Committee on Canadian Relations existed from July 31, 1888, when it was created as a select committee, until April 18, 1921, and dealt with issues related to U.S. relations with Canada. It became a standing committee on January 13, 1892.


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Giant golden-crowned flying fox

The giant golden-crowned flying fox (Acerodon jubatus), also known as the golden-capped fruit bat, is a species of megabat endemic to the Philippines. Since its description in 1831, three subspecies of the giant golden-crowned flying fox have been recognized, one of which is extinct. The extinct subspecies (A. jubatus lucifer) was formerly recognized as a full species, the Panay golden-crowned flying fox. Formerly, this species was placed in the genus Pteropus; while it is no longer within the genus, it has many physical similarities to Pteropus megabats. It is one of the largest bat species in the world, weighing up to 1.4 kg—only the Indian and great flying fox can weigh more. It has the longest documented forearm length of any bat species at 21 cm.

It is primarily frugivorous, consuming several kinds of fig and some leaves. It forages at night and sleeps during the day in tree roosts. These roosts can consist of thousands of individuals, often including another species, the large flying fox. Not much is known about its reproduction; it gives birth annually from April through June, with females having one pup at a time. Predators of the giant golden-crowned flying fox include raptors such as eagles, the reticulated python, and humans.

Owing to deforestation and poaching for bushmeat, it is an endangered species. Though national and international law makes hunting and trade of this species illegal, these regulations are inadequately enforced, meaning that the species is frequently hunted nonetheless. Even in roosts that are more stringently protected from poaching, it is still affected by human disturbance via tourists who intentionally disturb them during the day.

An early description of this species may be found in William Dampier's account of his circumnavigation, A New Voyage Round the World.

Taxonomy
The giant golden-crowned flying fox was described as a new species in 1831 by German naturalist Johann Friedrich von Eschscholtz. Eschscholtz placed it in the genus Pteropus with a scientific name of Pteropus jubatus. Its species name "jubatus" is from Latin, meaning "having a mane or crest, crested". The holotype had been collected on the Philippine island of Luzon during an expedition led by Otto von Kotzebue. The genus Acerodon was described six years later in 1837, with A. jubatus as the type species for the new genus. As of 2005, three subspecies of the giant golden-crowned flying fox are recognized:
 * A. jubatus jubatus (Eschscholtz, 1831)
 * A. jubatus mindanensis (K. Andersen, 1909)
 * A. jubatus lucifer (Elliot, 1896)

A. jubatus lucifer had been described as Pteropus lucifer in 1896 by Daniel Giraud Elliot. A. jubatus lucifer, commonly the Panay golden-crowned flying fox, is still sometimes considered an extinct species of megabat. A 1998 publication noted that there were no morphological differences that distinguish A. jubatus lucifer from A. jubatus. This publication was used by Mammal Species of the World and the IUCN as justification as listing A. jubatus lucifer as a subspecies of A. jubatus rather than as a full species.

Description
Overall, the giant golden-crowned flying fox is similar in appearance to many Pteropus species. It is different in its smaller canine teeth and its larger and more complex molars and premolars. Its upper incisors are slightly longer than Pteropus species, as well as sharper. Its four lower incisors have a greater disparity in length between the inner and outer pair than do Pteropus. Its dental formula is for a total of 34 teeth.

The giant golden-crowned flying fox is one of the largest bat species in the world. It is among the heaviest of all bat species, with individuals weighing up to 1.40 kg. The only bat species known to weigh more than the giant golden-crowned flying fox are the Indian flying fox (Pteropus medius) and great flying fox (Pteropus neohibernicus), with a maximum weight of 1.6 kg and 1.45 kg respectively. It has the longest forearm length of any species, measuring up to 215 mm. The great flying fox has a slightly shorter forearm length, and its wingspan is thus presumed to be lesser as well. The wingspan of the Indian flying fox is up to 1.5 m, while the giant golden-crowned flying fox has a wingspan of 1.5 - 1.7 m. This species is somewhat dimorphic, with males slightly larger than females in many cranial and external measurements.

The giant golden-crowned flying fox gets its common name from its fur coloration. It has golden coloration that begins between its eyes and terminates to a narrow "V" shape at the nape of its neck, though sometimes extending to the upper shoulders. The sides of its face, brows, and throat are black, while the sides of its neck and upper back are maroon; this maroon fur transitions into brownish black, which then grades into reddish brown down the back. On its ventral (belly) side, its fur is generally black, though the front of the neck may have a maroon tinge and its belly may be interspersed with yellow hairs. Its hindlimbs are covered with brownish black fur, and its flight membranes are pale brown.

Diet and foraging
The giant golden-crowned flying fox is largely frugivorous, though it also consumes plant leaves (folivorous). One study found that it is particularly dependent on Ficus fruits (figs), with Ficus seeds found in 79% of all fecal pellets. Especially common Ficus seeds were from the Urostigma subgenus (which includes Ficus species commonly referred to as banyan), as well as Ficus variegata.

The results support that the primary food group is composed of fig species, including Ficus subcordata and unidentified leaves. There is a lack of consensus on whether items found frequently in the fecal samples are actually prioritized or found as an alternative food for these bats.

Multiple types of figs can also contribute to different nutrients for the species. Frugivorous bats usually do not consume foods rich in protein. The overconsumption of fruits, paired with leaves may contribute to an adequate amount of protein in their diet. Figs are superior sources of calcium, which may also aid in their growth to adults.

Like nearly all megabats, giant golden-crowned flying foxes cannot echolocate, and thus rely on sight to navigate. This species likely commutes long distances between its roost and foraging grounds. Individuals who roosted on the island of Maripipi, for example, were documented traveling more than 12 km to access sites on another island, Biliran.

Roosting and behavior
Giant golden-crowned flying foxes are nocturnal, sleeping for most of the day. They do engage in some social and maintenance behaviors during the day at times, with solitary behaviors such as self-grooming, excreting waste, and wing flapping more prevalent in the afternoon and social behaviors such as fighting and mating in the morning. It forms harmonious mixed species colonies with another megabat, the large flying fox (Pteropus vampyrus). When time to leave the roosts for nightly foraging, the two species will head in the same direction. In the 1920s, colonies of these two species would number as many as 120,000 individuals. As of 1992, the largest of these colonies was 5,000; many comprised only several hundred individuals.

Reproduction
Little is known about mating and reproduction of the giant golden-crowned flying fox. The litter size is one individual, with females likely producing no more than one litter per year. It has also been speculated that females may only give birth every other year. Based on limited observation, it is thought that females may not reach sexual maturity until two years of age. On Negros Island, females gave birth in April or May; based on other observations, females likely give birth during this time across its range. On the island of Maripipi, young were born in late May and June. This species show signs of a Type II survivorship curve. Parents take effort into the survivability of the offspring to ensure maturity and independent growth. This species may live up to 13–30 years in the wild. Although they typically live a long life in the wild, they are also hunted by humans and other apex predators such as the Philippine eagle. They may also be susceptible to wildlife diseases. The giant golden-crowned flying fox is impacted by ectoparasites (external parasites) including Cyclopodia horsfieldi, which is a species of fly in the family Nycteribiidae ("bat flies"). It is preyed on by several raptors including the Philippine eagle, white-bellied sea eagle, and possibly the Brahminy kite. Non-avian predators include the reticulated python and humans.

Like many bat species, the giant golden-crowned flying fox has been investigated as a source of emerging infectious disease. One study tested for the presence Reston virus, a kind of Ebolavirus that affects some primates (though not humans), in a population of giant golden-crowned flying foxes at Subic Bay. Of fifty-six individuals tested for Reston virus, three were seropositive, meaning that they tested positive for antibodies against the virus.

Range and habitat
The giant golden-crowned flying fox is endemic to the Philippines; it was the first endemic species of that country to be described, which it was in 1831. Surveys reported in 2005 and 2011 documented this species on the islands of Bohol, Boracay, Cebu, Leyte, Luzon, Mindanao, Mindoro, Negros and Polillo. It was formerly found on the island of Panay, though this population has been extirpated.

It is a forest specialist, occurring mostly at elevations from sea level to 1100 m. It prefers areas uninhabited by humans. A 2005 study found none in inhabited areas. The same study also revealed that these bats use river corridors called riparian zones more than originally thought, because the fig trees located near rivers are the bats' main source of food. They like to be close to agricultural fields, but only in undisturbed forest areas.

Conservation
As of 2016, the giant golden-crowned flying fox is listed as an endangered species by the IUCN. It meets the criteria for this designation because its population likely declined by more than 50% from 1986–2016. One of the largest factors in its decline is hunting for bushmeat. Its large body size means that it is an easier target than many other bats. The practice of shooting the giant golden-crowned flying fox at its roosts results in excessive mortality, as dead individuals may not fall from the tree, and wounded individuals may glide some distance before falling. Therefore, a poacher may kill as many as thirty bats to recover ten.

The giant golden-crowned flying fox is threatened by deforestation and has completely disappeared from many islands in the Philippines, such as Panay and most of Cebu. Since 1900 the total forest coverage of the Philippines has been reduced from 70% to 20%. Less than 10% of the original lowland forest cover now remains. Negros, an island part of its range, retains only 4% of its original forest coverage.

Internationally, the giant golden-crowned flying fox is protected by the Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES). In 1990, two of the three subspecies (A. j. lucifer and A. j. mindanensis) were included on CITES Appendix II, meaning that trade of the taxa was strictly regulated. In 1995, the species was placed CITES Appendix I. Appendix I is stricter than Appendix II, meaning that commercial trade of the species is only legal in exceptional circumstances. Nationally, the species is protected by the 2001 Philippine Wildlife Resources Conservation and Protection Act, though this law is inadequately enforced.

While the majority of its roosts are within protected areas, illegal hunting occurs at a wide scale even within such areas. Three are largely protected in practice. On the island of Boracay, local landowners protect the roost from hunting disturbance. The local governments of Subic Bay and Mambukal protect another two roosts. Even though hunting pressures are lessened at these three roosts, the giant golden-crowned flying fox contends with other sources of disturbance. Tourists and their guides deliberately disturb the bats by clapping their hands or rapping on tree trunks to make the bats fly. In addition to keeping the bats from sleeping, these behaviors result in the separation of offspring from their mothers.

In 2013, Bat Conservation International (BCI) listed this species as one of the 35 species of its worldwide priority list of conservation. Actions that BCI has taken to promote its conservation include partnering with local non-governmental organizations (NGOs) to protect its roosts, as well as educate Filipinos about bats. Some captive breeding programs exist for the species, though it is uncertain if they are sufficient to make up for population declines seen in the wild.

title: Giant golden-crowned flying fox


text:
Glyn Maxwell

Glyn Maxwell (born 1962) is a British poet, playwright, novelist, librettist, and lecturer.

Early life
Of primarily Welsh heritage — his mother Buddug-Mair Powell (b. 1928) acted in the original stage show of Dylan Thomas's Under Milk Wood in the West End and on Broadway in 1956 — Maxwell was born and raised in Welwyn Garden City, Hertfordshire.

His father James Maxwell (1928-2016) was an industrial chemist. Maxwell has two brothers, Alun (b. 1960), and David (b. 1964). His cousin Kerry Lee Powell is a noted Canadian writer.

He studied English at Worcester College, Oxford. He began an MLitt there but dropped out. In 1987 he moved to America to study poetry and drama with Derek Walcott at Boston University. He returned to the UK and began publishing poetry in the 1990s.

After his marriage and the birth of his daughter Alfie in 1997, he moved with his family to the USA, living and teaching at first in Amherst, Massachusetts, and then in New York City. He returned to the UK in 2006.

In the years 1991, 1993 and 1995, Maxwell staged performances of his plays in his parents' garden in Welwyn Garden City. These were featured in the national press and on radio.

Poetry
His three earliest collections of poetry, Tale Of The Mayor's Son (1990), Out of the Rain (1992), Rest For The Wicked (1995) are collected as The Boys at Twilight: Poems 1990-1995 (2000). The Nerve won the Geoffrey Faber Memorial Prize in 2004. All his other collections of poems - The Breakage, Hide Now and Pluto - have been shortlisted for either the T.S.Eliot, Forward, or Costa (formerly Whitbread) Prizes. He was awarded the Society of Authors' Cholmondeley Prize for his poetry in 2014.

In 1994 he was named one of the New Generation poets and he received the E. M. Forster Award in 1997. His most recent collections are One Thousand Nights and Counting: Selected Poems and Pluto. His work appears in several anthologies of the best of 20th century poetry.

In 1999 Maxwell left Faber and Faber as a result of editorial disagreement over his poem Time's Fool, and his work has since been published by Picador in the UK. In the US he has been published by Houghton Mifflin and Farrar Straus Giroux.

In 2014 he edited a collected edition of the poems of Derek Walcott, The Poetry of Derek Walcott 1948–2013.

His book of poetry, How The Hell Are You was published by Picador in 2020.

Film
In 2018, the rights to Maxwell's epic poem Time's Fool (1999) were optioned by the film director Paul King and the screenwriter Jon Croker, and subsequently bought by Fox Searchlight for development as a feature film, with King and Croker as writers, and David Heyman as producer.

Maxwell co-wrote the screenplay for The Beast In The Jungle, a dance-film based on the Henry James novella, with the film's director Clara Van Gool. The film premiered at the Rotterdam Film Festival in February 2019. It will also feature at the film festivals of Goteborg, San Francisco, New York and Shanghai.

Prose
Maxwell's critical guidebook On Poetry (Oberon Books, 2012) was described by Adam Newey in The Guardian as 'the best book about poetry I've ever read' and by Hugo Williams in The Spectator as 'a modern classic'.

A stand-alone sequel, titled Drinks With Dead Poets: The Autumn Term and set in a mysterious village, was published by Oberon in October 2016. In this 'brilliantly unclassifiable' work, several deceased poets appear as characters, their speech taken verbatim from their writings. A sequel, Last Night In England, is in process.

His first novel, Blue Burneau (1994), was shortlisted for the Whitbread First Novel Prize and the book Moon Country, published in 1996, describes a visit to Iceland with Simon Armitage. His second novel, The Girl Who Was Going To Die, was published in 2008 by Cape in the UK and by Kunstmann in Germany.

Drama
Plays include After Troy (dir. Alex Clifton), a retelling of Euripides' Women of Troy and Hecabe (Oxford Playhouse/Shaw Theatre London), Lily Jones's Birthday a satyr-play based on Aristophanes' Lysistrata, which premiered at RADA in 2009; Liberty, about the French Revolution, which premiered at Shakespeare's Globe in the 2008 season (dir. Guy Retallack) and toured the UK. In New York, Agamemnon Home (dir. Amy Wagner) received its world premiere in April 2012.

Several of Maxwell's plays and adaptations have been staged at Chester's Grosvenor Park Open-Air Theatre, or in the city's new Storyhouse Theatre, which opened in 2017 under the Artistic Directorship of Alex Clifton: these were Merlin and the Woods of Time (2011, dir. Alex Clifton), Masters Are You Mad? (2012, dir. Robin Norton-Hale), Cyrano De Bergerac (2013, dir. Lucy Pitman-Wallace), Wind in the Willows (2015, dir. Alex Clifton), The Beggar's Opera, a new version of the John Gay classic, (2017, dir. Alex Clifton), Alice in Wonderland (2017, dir. Derek Bond) and The Secret Seven (2017, dir. Alex Clifton). Wind in the Willows and The Secret Seven were both nominated as 'Best Play For Young People' at the British Theatre Awards. His eighth play for Chester, Jekyll and Hyde, played in autumn 2019 at Storyhouse.

His version of Cyrano de Bergerac was also staged at Southwark Playhouse in 2016 (dir. Russell Bolam) starring Kathryn Hunter. Others recent plays include Babette's Feast (2017, dir. Bill Buckhurst), starring Sheila Atim, Diana Quick and Joseph Marcell.

The Lifeblood, concerning the last days of Mary, Queen of Scots, was British Theatre Guide's 'Play of the Fringe' at Edinburgh in 2004, and was directed by Guy Retallack with Sue Scott Davison as Mary. The Lifeblood was first performed at the Hen and Chickens Theatre in 2001 with Felicity Wren as Mary. His play Mimi and The Stalker was one of six projects awarded funding by the UK Film Council in the spring 2009 quarter, for development as a screenplay under the name Witchgrass.

Other plays include Wolfpit, about two green children said to have appeared in Suffolk in the 12th century (Edinburgh 1996; New York 2006), The Forever Waltz, a reworking of the Orpheus-Eurydice story (New York 2005; Edinburgh 2005), and The Only Girl in the World, a play about Mary Kelly, the last victim of Jack the Ripper (Hoxton Hall, 2001, Arcola, 2008).

He contributed the fantasy The Black Remote to the National Theatre's Connections series in 2006.

He is the Resident Playwright for New York's Phoenix Theatre Ensemble, who have staged Broken Journey, Wolfpit, The Lifeblood and Agamemnon Home in New York, and will present The Gambler (after Dostoevsky's novella) in January 2016 at the Wild Project in the East Village.

His verse monologue, The Best Man, was turned into a feature film starring Danny Swanson (dir. Jon Croker).

Several of Maxwell's plays and opera libretti are published by Oberon Books.

Maxwell directed his own play The City of Tomorrow at the Barn Theatre, Welwyn Garden City, in 2020, as part of the centenary celebrations of his home town.

Interviews
Glyn Maxwell was interviewed about his verse drama plays on the podcast Hamlet to Hamilton: Exploring Verse Drama, hosted by Emily C. A. Snyder and Colin Kovarik.

Radio
His radio plays for BBC Radio 3 and BBC Radio 4 include: Lexicon (2015, dir. Toby Swift, starring Sally Phillips), Time For One More Question, (2015, dir. Nadia Molinari, a celebration of the Hay Festival), Shakespeare's Fire, (2015, dir. Frank Stirling, starring Jane Horrocks), Cyrano De Bergerac, (2015, dir. Susan Roberts, starring Tom Burke), The City of Tomorrow, (2014, dir. Tim Dee, starring Pippa Haywood and Julian Rhind-Tutt), The Gambler (2009, dir. Guy Retallack, starring Patricia Routledge) and Childminders (2006, dir. Peter Kavanagh, starring Olivia Williams).

In 1994 he travelled to Iceland with his friend and fellow-poet Simon Armitage, to make a series for Radio 3. This became the travelogue Moon Country (Faber, 1996). In 1996 they travelled to Brazil for another Radio 3 series, To Bahia and Beyond.

Opera
Maxwell's libretto for David Bruce's The Firework Maker's Daughter, (2013, dir. John Fulljames, based on the Philip Pullman story) was nominated for an Olivier Award in 2014. It played at the Linbury in the Royal Opera House, as well as in New York and a UK tour. His other operas include Luke Bedford's Seven Angels, premiered at Birmingham Contemporary Music Group in June 2010 before a UK tour, and Elena Langer's opera The Lion's Face, which toured the UK in 2009. A short version of The Lion's Face, (then titled The Present) won the Audience Prize at the Zurich Opera House's New Opera Festival in January 2009. His other libretti include The Girl of Sand, also composed by Elena Langer and performed at the Almeida Opera Festival in 2004, and The Birds (after Aristophanes), composed by Edward Dudley Hughes and performed by I Fagiolini at the City of London Festival in 2005.

In 2016, Maxwell collaborated with David Bruce again, on Nothing, an opera adapted from the book by Janne Teller. This was staged at Glyndebourne in 2016 (dir. Bijan Sheibani) and subsequently at Aarhus, Denmark.

Journalism, Editorial
Maxwell was Poetry Editor of The New Republic from 2001 to 2007. He has reviewed for the Times Literary Supplement, ''The Sunday Times. The Observer, The London Review of Books, The New York Times and The New Republic''. He is a Fellow of the Royal Society of Literature and the Welsh Academy.

Teaching
Maxwell has taught at Amherst College, Princeton, Columbia, NYU and The New School in the USA, and at The Universities of Warwick and Essex in the UK. He currently teaches on the M.A. at The Poetry School in London.

Current life
Maxwell has one daughter, Alfreda Rose Maxwell (b. 13 March 1997, known as Alfie ): she writes and performs music as Alfreda. Maxwell lives in Angel Islington in London.

title: Glyn Maxwell


text:
Teleoceras

Teleoceras (Greek: "perfect" (teleos), "horn" (keratos) ) is an extinct genus of rhinocerotid. It lived in North America during the Miocene and Pliocene epochs during the Hemingfordian to the end of Hemphillian from around 17.5 to 4.9 million years ago. It grew up to lengths of 13 ft long.

Description
Teleoceras had much shorter legs than modern rhinos, and a barrel chest, making its build more like that of a hippopotamus than a modern rhino. Based on this description, Henry Fairfield Osborn suggested in 1898 that it was semi-aquatic and hippo-like in habits. This idea persisted for about a century, but has recently been discounted by isotopic evidence. Some species of Teleoceras have a small nasal horn, but this appears to be absent in other species. Teleoceras has high crowned (hypsodont) molar teeth, which has historically led to suggestions that the species were grazers. Dental microwear and mesowear analysis alternatively suggest a browsing or mixed feeding (both browsing and grazing) diet.

Discovery
Teleoceras is the most common fossil in the Ashfall Fossil Beds of Nebraska. In fact, its remains were so numerous and concentrated that the building housing the greatest concentration of Ashfall fossils is called the "Rhino Barn". Most of the skeletons are preserved in a nearly complete state. One extraordinary specimen includes the remains of a Teleoceras calf trying to suckle from its mother.

Extinction
Teleoceras went extinct in North America alongside Aphelops at the end of the Hemphillian, most likely due to rapid climate cooling, increased seasonality and expansion of C 4 grasses, as isotopic evidence suggests that the uptake of C 4 plants was far less than that in contemporary horses. The Gray Fossil Site in northeast Tennessee, dated to 4.5-5 million years ago, hosts one of the latest-known populations of Teleoceras, Teleoceras aepysoma.

title: Teleoceras


text:
Talk:Giant golden-crowned flying fox

Untitled
This is my original article based on various information I gathered from newspapers and online articles.

There was no copy & paste done. No plagiarism.

There is absolutely no copyright violation here. If you are still itching to pull the trigger, contact me first so that we can avoid another deadlock Latorilla 18:34, 24 Jul 2004 (UTC)

Issues
This article has numerous issues (needs wikification, more citations, attention from an expert). I personally think that attention from an expert in the field would solve most, if not all of them.--Toepoaster (talk) 03:15, 16 December 2009 (UTC)

It would seem the given weight of this bat is off by an order of magnitude. When I look at similar size creatures they range from 0.8kg to 2kg but this one is given as 10kg to 20kg. Swedums (talk) 03:11, 24 April 2012 (UTC)

Blatant Image Problems
Unfortunately it appears the main image is upside down, was the editor that included this particular file as blind as the eponymous creatures in question? Somebody please correct this asap. 78.151.41.124 (talk) 16:40, 21 March 2011 (UTC) I apologize if I'm wrong, but don't bats often hang upside down? 98.214.177.99 (talk) 12:10, 18 October 2011 (UTC) This is the way bats rest, so nothing wrong about it. 178.73.48.87 (talk) 07:18, 13 March 2012 (UTC)

Image of questioned species
Removed image from page after Im a teapot questioned its species.

I'm not a zoologist and can't make any useful comment about the species beyond that it looks significantly different to the image in the infobox. Pseudomonas(talk) 15:41, 10 June 2013 (UTC)

 * Thanks very much for removing the image and acting so quickly. Im a teapot (talk) 22:36, 10 June 2013 (UTC)

title: Talk:Giant golden-crowned flying fox


text:
Wikipedia:Articles for deletion/Julie Robichaud

Non-notable maybe ex-bassist and, umm, maybe actress, maybe garbage truck racing documentarian. "Maybe" because I can't find any reference to her at all by the name Julie Robichaud. - Kenwarren 18:34, Jul 24, 2004 (UTC)
 * Article by anon user; no links from main article namespace. No google hits for "Alaxy and the Galaxies", which is apparently "defuct" (sic). Delete if not found to be notable. Ianb 18:54, 24 Jul 2004 (UTC)
 * Delete: I hate it when I get defuct.  Anyway, the only potentiality on the article is "Fast Trash," but no evidence that it has been released or entered into competition.  Geogre 20:25, 24 Jul 2004 (UTC)
 * Delete unverifiable vanity. -- Cyrius|✎ 22:44, 24 Jul 2004 (UTC)
 * Delete, unless evidence of notability transpires. (Lookit! Lookit! I just used the word "transpire" correctly!) Dpbsmith 02:50, 27 Jul 2004 (UTC)


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Trento-class cruiser

The Trento class was a group of two heavy cruisers built for the Italian Regia Marina (Royal Navy) in the late 1920s, the first such vessels built for the Italian fleet. The two ships in the class—ITALIAN CRUISER Trento and ITALIAN CRUISER Trieste, were named after the redeemed cities of Trento and Trieste annexed from the Austro-Hungarian empire after the victory in World War I. The ships were very lightly armored, with only a 70 mm thick armored belt, though they possessed a high speed and heavy main battery of eight 203 mm guns. Nominally built under the restrictions of the Washington Naval Treaty, the two cruisers nevertheless exceeded the displacement limits imposed by the treaty.

In the interwar period, the two cruisers served in the Cruiser Division, frequently alternating as the divisional flagship. Trento made two extensive trips abroad, the first was a tour of South American countries in mid to late-1929 and the second was a deployment to China to protect Italian nationals during the Chinese Civil War. In 1938, Trieste assisted in the repatriation of Italian volunteer soldiers who had fought in Spain during the Spanish Civil War. Both ships saw extensive action in World War II, including the battles of Calabria, Cape Spartivento, and Cape Matapan. Trieste was damaged by a British submarine in November 1941 and therefore missed the First and Second Battles of Sirte, where at the latter action Trento damaged a British destroyer.

Trento was torpedoed and sunk by a British torpedo bomber and a submarine in June 1942 with heavy loss of life. In April 1943, Trieste was also sunk in port at La Maddalena during an attack by United States heavy bombers. Salvage operations began in 1950, and after it was determined that the ship's engines had been preserved by leaked fuel oil, the hull was sold to the Spanish Navy, which planned to convert the vessel into a light aircraft carrier. The plan was eventually cancelled in 1956 due to rising costs of the project, and Trieste was broken up for scrap in 1959.

Design
In the early 1920s, the Regia Marina began design studies for cruisers that would adhere to the limitations of the Washington Naval Treaty, which limited cruisers to a displacement of 10000 LT and an armament of 203 mm guns. The design for what became the Trento class was prepared by General Filippo Bonfiglietti in 1923. In 1924, the French Navy laid down the first of two Duquesne-class cruisers, prompting the Regia Marina to order two vessels to match their rival. The designers emphasized very high speed, which required a significant reduction in armor protection to keep the ships within the displacement limit. In addition, they were designed with a narrow beam to help them reach high speeds, which reduced their stability. This would be the general pattern for Italian cruisers and destroyers built in the 1920s and 1930s, with the exception of the later Zara-class cruisers and some of the later Condottieri-class cruisers.

While the ships were still on the slipways, officers in the Regia Marina expressed concerns that the thin armor protection of the Trentos would leave the vessels poorly equipped for combat. As a result, the navy ordered the more balanced Zara-class, which featured a significantly thicker scale of armor protection. The lightly-built Trento design nevertheless provided the basis for the Veinticinco de Mayo-class cruisers built by Odero Terni Orlando for the Argentine Navy; the Argentine vessels were scaled down slightly, with thinner armor and 190 mm guns. Another derivative design built for the Italian fleet, ITALIAN CRUISER Bolzano, started construction in 1930 and was commissioned in 1933; though the Bolzano was quite different from the other two vessels, she is sometimes considered a member of the Trento class.

General characteristics

The ships of the Trento class were 190 m long between perpendiculars and 196.96 m long overall. They had a beam of 20.6 m and a draft of 6.8 m. They had a design displacement of 10339 to 10344 LT and they displaced up to 13334 LT at full load, though their displacement was nominally within the 10,000-long-ton restriction set in place by the Washington Naval Treaty. Their hulls had a flush deck and a bulbous bow, the first time the latter feature was employed on an Italian warship. The ships were completed with a pair of tripod masts, though on trials they were found to vibrate excessively, and the foremast was strengthened with two extra legs. They had a crew of 723 officers and enlisted men, though during the war this increased to 781. They carried a pair of IMAM Ro.43 seaplanes for aerial reconnaissance; the hangar was located under the forecastle and a fixed catapult was mounted on the centerline at the bow.

The Trento-class cruisers' power plant consisted of four Parsons steam turbines powered by twelve oil-fired Yarrow boilers, which were trunked into two funnels amidships. The boilers were divided into three boiler rooms with four each; two powered the forward engines that drove the outboard propellers and the remaining four were allocated to the turbines that drove the center shafts. The engines were rated at 150000 shp for a top speed of 36 kn, with projected service performance of 120000 shp for 34 kn at normal displacement. On sea trials, Trieste only reached 35.65 kn and Trento managed slightly less than that; these speeds could only be reached on a very light displacement, and in service, her practical top speed was only 31 kn. The ships had a storage capacity of 2214 MT of fuel oil, which provided a cruising range of 4160 nmi at a speed of 16 kn. During refits in early 1940, funnel caps were added to reduce smoke interference with the masts.

Armament and armor
Trento and Trieste were armed with a main battery of eight 203 mm Mod 24 50-caliber guns in four gun turrets; each turret carried the guns in a single cradle rather than independent mounts. The turrets were arranged in superfiring pairs forward and aft, and allowed for elevation to 45 degrees, for a maximum range of 30000 yd. They had a rate of fire of three rounds per minute, and the guns had to reset to 15 degrees to reload. The turrets were electrically operated, including the training and elevation gear and the ammunition hoists. The guns suffered from excessive shell dispersion, like many other Italian guns of the period. Initially supplied with 125 kg shells fired at a muzzle velocity of 905 m/s, the shells and propellant charges were reduced—to 118 kg at 840 m/s—in an unsuccessful attempt to tighten shell grouping. The problem was in large part due to poor quality control in Italian munition factories, which failed to ensure tight manufacturing tolerances necessary for accurate shells. In addition, the single cradle mounts required the guns to be very close together; this caused the shells to interfere with each other in flight and contributed to the dispersion problem. Fire control was provided by a pair of Barr & Stroud 5 m coincidence rangefinders.

Anti-aircraft defense was provided by a battery of sixteen 100 mm 47-cal. guns in twin mounts, four Vickers-Terni 40 mm/39 guns in single mounts and four 12.7 mm machine guns. The 100 mm guns were copies of Austro-Hungarian guns designed in 1910 by Škoda that were placed in newly designed dual-purpose mounts that elevated to 85 degrees for a maximum range of 15240 m. In addition to the gun armament, they carried eight 533 mm torpedo tubes in four deck mounted twin launchers. The ships' secondary batteries were revised several times during their careers. Both ships had their 100 mm guns replaced with newer Mod 31 versions of the same caliber. In 1937–1938, the two aft-most 100 mm guns were removed, along with all four 12.7 mm machine guns; eight 37 mm 54-cal. Breda M1932 guns and eight 13.2 mm Breda M1931 machine guns, all in twin mounts, were installed in their place. In 1942, Trento received four 20 mm 65-cal. Breda M1940 guns in single mounts, with Trieste receiving eight of those guns the following year.

Both vessels were protected with an armored citadel that covered the ships' vitals, including the machinery spaces and ammunition magazines. The vertical armor belt was 70 mm thick and ran from 8 m forward of the fore main battery turrets to 5 m aft of the rear turrets. Either end of the belt was capped with armored bulkheads 60 mm thick on the upper portion; the forward bulkhead had a lower section that was reduced to 50 mm, and the aft bulkhead's lower portion was reduced to 40 mm. Their armor deck was 50 mm thick in the central portion of the ship and reduced to 20 mm aft, with 30 mm thick sloped sides. The armor deck did not extend forward of the citadel. The gun turrets had 100 mm thick plating on the faces and the supporting barbettes they sat in were 70 mm thick above the armor deck and 60 mm thick below. The main conning tower had 100 mm thick sides and a 50 mm thick roof; above the tower was a fire control director with 80 mm thick sides and a 60 mm thick roof.

Service history

Trento and Trieste were named for the two largest unredeemed cities taken from Austria-Hungary in the aftermath of World War I. They frequently served as the flagship of the Cruiser Division throughout the 1930s. During the pre-war period, Trento made lengthy trips abroad, including a tour of South America from May to October 1929 and a deployment to China from January to June 1932 to protect Italian nationals during the Chinese Civil War. Both vessels took part in numerous naval reviews held for visiting foreign leaders in the 1930s, including Adolf Hitler of Nazi Germany and Miklós Horthy, the Regent of Hungary. In 1938 Trieste helped transport soldiers of the Corpo Truppe Volontarie (Corps of Volunteer Troops), which had been sent to Spain to fight in the Spanish Civil War, back to Italy.

After Italy entered World War II in June 1940, Trento and Trieste saw extensive action against British forces in the Mediterranean Sea, including at the battles of Calabria, Cape Spartivento, and Cape Matapan in July and November 1940 and March 1941, respectively. Trento was present at Calabria, where she battled British cruisers but did not sustain any damage. At the Battle of Cape Spartivento, either Trento or Trieste scored a hit on the British cruiser HMS Berwick (65), and Trieste was briefly engaged but not seriously damaged by the battlecruiser HMS Renown (1916). At Cape Matapan, the two cruisers engaged several British cruisers at very long range, with neither side scoring any hits.

In November 1941, Trieste was torpedoed by the submarine HMS Utmost; she spent most of the next year under repair. In the meantime, Trento was also present during the inconclusive First and Second Battles of Sirte, and at the latter she severely damaged a British destroyer. Both cruisers were also frequently tasked with escorting convoys to supply Italian forces in North Africa as well as interdicting British convoys to the island of Malta in the central Mediterranean. During one of the latter missions to attack the British Operation Harpoon convoy in June 1942, Trento was torpedoed twice, first by a Bristol Beaufighter torpedo bomber and then sunk by the submarine HMS Umbra with very heavy loss of life on 15 June; out of a wartime complement of 51 officers and 1,100 enlisted men, 549 were killed in the sinking, and a further 21 later died of wounds.

Trieste returned to action in August 1942 for an operation that was cancelled following the torpedoing of another Italian cruiser by a British submarine. Trieste was moved to La Maddalena, Sardinia, where she was later sunk by United States heavy bombers on 10 April 1943. Salvage work on Trieste began in 1950. Her superstructure was cut away and she was refloated and towed to La Spezia; an inspection revealed that fuel oil had leaked into the machinery spaces, protecting them while the ship had been submerged. The Spanish Navy purchased the hull in 1952 and had her towed to Ferrol, with plans to convert the vessel into a light aircraft carrier. The project ultimately came to nothing due to the growing costs of the project, forcing its cancellation in 1956. She was ultimately broken up by 1959.

title: Trento-class cruiser


text:
Jeremiah Joyce

Jeremiah Joyce (1763–1816) was an English Unitarian minister and writer. He achieved notoriety as one of the group of political activists arrested in May 1794.

Early life
He was born 24 February 1763, the son of Jeremiah Joyce (1718–1788), a master woolcomber at Cheshunt, Hertfordshire, and his wife Hannah Somersett (1726–1818); his place of birth was Cheshunt, or Mildred's Court, Poultry, London, Hannah's family home. He attended the nonconformist school in Cheshunt run by the Rev. Samuel Worsley, who had attended Daventry Academy.

In 1777 Joyce was apprenticed to a glazier, John Willis, of Strand, London. Willis was a member of the Worshipful Company of Glaziers and Painters of Glass, and founded a building company, later Sykes & Son, that still exists (as of 2022). He did work on St Clement Danes church and the Middle Temple; and in 1778 took on his own son John as apprentice. After seven years, Joyce completed the apprenticeship, going to business on his own account as a journeyman.

Joyce worked in Essex Street, London. His associations were based on rational dissent and the Bowood circle. He knew nonconformist ministers, and publishers. Before the death of his father, and with the support of his brother, Joshua, and Hugh Worthington, he studied for the Unitarian ministry at New College, Hackney. He was one of its first intake of students in 1786, with Joseph Lomas Towers, son of Joseph Towers. He became proficient in mathematics and Latin.

Stanhope household and activism
In 1790 Joyce was appointed to Lord Mahon, eldest son of Charles Stanhope, 3rd Earl Stanhope. His duties in the household extended to the younger children, and he acted as secretary to Stanhope.

Stanhope and Joyce shared radical political views: Stanhope by the end of 1789 was chairing the London Revolution Society, named for the centennial of the Glorious Revolution of 1688, and took the French Revolution to heart. As well as hiring Joyce, he dismissed his governesses, and required his daughter Hester Stanhope, age 14, to mind turkeys on a village green.

Joyce became a member of the Society for Constitutional Information (SCI) and of the London Corresponding Society (LCS) founded in early 1792. At SCI meetings he encountered John Augustus Bonney who was Tom Paine's lawyer; John Cartwright; Thomas Holcroft; Stewart Kyd; and others including a Mr Banks tentatively identified as Thomas Banks. He was involved in the distribution of Paine's works, to Samuel Fox at Derby and via Stanhope's residence.

By 1791, Joyce had joined the Unitarian Society (fuller name Unitarian Society for Promoting Christian Knowledge and the Practice of Virtue, to which was added "by the distribution of books"). In the following years he was involved in publications, and the Society had as associate Joseph Johnson. He joined the Essex Street Chapel congregation, and formed a long-standing relationship with Theophilus Lindsey, its founder. When Lindsey retired from the chapel in 1793, Joyce for a period was minister there with John Disney, who had shared the position with Lindsey from 1783. Joyce took the afternoon services, continuing until 1804 when Thomas Belsham took over the chapel.

Ahead of the penal transportation of the Scottish Martyrs to Liberty and Maurice Margarot of the LCS, Joyce on 28 March 1794 proposed an address of support from the SCI. It contained the sentiment "A full and fair Representation of the People of Great Britain we seek, with all the ardour of men and Britons". From 4 April the SCI and LCS worked together, to nominate delegates to a convention of the "Friends of Liberty". Joyce was chosen, with Holcroft, Kyd, William Sharp and Thomas Wardle.

Treason charge and acquittal
A dozen activists were arrested in May, followed by the passing of the Habeas Corpus Suspension Act 1794, and Joyce was one of those picked up. On 12 May Thomas Hardy of the LCS was taken into custody at home by Bow Street Runners and King's Messengers. Shortly after that an ambiguous letter from Joyce to John Horne Tooke of the SCI, written within hours of Hardy's arrest. was intercepted by the authorities. John Thelwall was arrested on 13 May, at Beaufort Buildings, Strand, London where he was lecturing. Horne Tooke himself was arrested on 16 May. Others detained in the sweep included the silversmith John Baxter, successor to Margarot at the LCS; the businessman John Richter, LCS and an SCI associate; and Bonney and Kyd of the LCI. On 14 May 1794 Joyce was at Stanhope's house Chevening in Kent, and was arrested while talking to Stanhope's sons, by John King and a King's Messenger. The charge was "treasonable practices". The arrest occurred at around 8 am. Joyce was being examined by the Privy Council by about 1 pm that day. He refused to answer any questions without a lawyer, which he was not allowed.

Joyce remained in custody until 19 May when, with others, he was committed to the Tower of London on a charge of high treason. While he was there, he was visited by his friend William Shepherd. Two treason trials took place in Edinburgh, in August and September. In September a grand jury of Middlesex concluded that there was evidence for treason charges against 12 men. Seven of the detained group were moved from the Tower to Newgate Gaol on 24 October. They were arraigned at the Old Bailey on 25 October. The judges involved were James Eyre, Chief Justice of the Common Pleas, and Archibald Macdonald, Chief Baron of the Exchequer, both of whom had been present at the Privy Council hearings.

After the acquittal of his co-defendants Hardy and Horne Tooke, charges against Joyce were dropped. He had suffered 23 weeks imprisonment. While Joyce was confined, supporters printed a book under his name. It was a sermon from earlier in the year, but contained also an appendix consisting of his examination by the Privy Council, and that of Bonney who was released at the same time. After his release it was being distributed by Arthur Aikin. His own work on the legal process, ''An Account of Mr. Joyce's Arrest for "treasonable Practices". His Examination ... With Remarks on the Speeches of Mr. Windham, &c.'', appeared in 1795.

Later life
Joyce was released on 1 December 1794, and was welcomed back to Chevening, the village being lit up; if not by the rector, the Rev. Samuel Preston, chaplain to John Pitt, 2nd Earl of Chatham who was Lord Privy Seal. He was quick to pay a visit to William Shepherd at Gatacre.

Stanhope built Joyce a house in the grounds at Chevening. Joyce lived there for about four years, joined by his wife Elizabeth in 1796. He moved away in 1799. The troubled Stanhope household, where the father's insistence on home education was contentious, started to break up over the period. Daughter Lady Hester in the end moved out to live at Walmer with her uncle William Pitt the Younger, the Prime Minister, in 1803 according to John Ehrman; where he reportedly told her Tom Paine was "quite in the right" but he couldn't risk revolution.

At this period, Theophilus Lindsey had hopes to find Joyce a full place as Unitarian minister; but he found that impossible, as he explained to John Rowe (1764–1832). In fact, while Joyce had been a popular preacher with some Unitarian congregations after his release, he had become somewhat of an embarrassment. Rowe's congregation at Shrewsbury would not accept him in 1799. In 1801, Joyce was linked to William Winterbotham in a pamphlet by "The Enquirer" (William Atkinson). In later life he lived in Holly Terrace, Highgate, and succeeded Rochemont Barbauld as minister of a small Unitarian congregation at Rosslyn Hill.

In 1799 Joyce took up a position as tutor to the sons of Benjamin Travers the elder (1752–1818), treasurer to the Gravel Pit Chapel and father of Benjamin Travers, a grocer in the sugar trade. He was in business with William Smith, who was an SCI member. The firm, later known as Joseph Travers & Sons, was then trading as Smith, Travers & Kemble.

For many years, Joyce was the secretary of the Unitarian Society. At the end of Lindsey's life, Joyce was close to him. When Lindsey died in 1808, Joyce wrote an anonymous obituary, the "Brief account" in The Monthly Magazine; and took the lead from William Frend's obituary, which concentrated on Lindsey's religious involvement, to burn much of Lindsey's political correspondence, particular that dealing with the American revolution.

Works
Joyce wrote a number of popular educational works on science and mathematics. He also contributed articles to Rees's Cyclopædia (1802–1819).

As editor

 * A Narrative of the Sufferings of T. F. Palmer and W. Skirving, During a Voyage to New South Wales, 1794, on Board the Surprize Transport. Joyce prepared this work on the Scottish Martyrs from a manuscript by Thomas Fyshe Palmer brought from New South Wales by John White. Muir, Palmer and Skirving had serious criticisms of Capt. Patrick Campbell of the Surprize, but also of Margarot, included by Joyce in his introduction.

Joyce was largely responsible for the editing of two rival encyclopedic works bearing the names of others, George Gregory's Dictionary of Arts and Sciences (from 1803) and as managing editor of William Nicholson's British Encyclopedia, or Dictionary of Arts and Sciences (1809). These works shared a substantial portion of their texts.

Instructional

 * Scientific Dialogues (1800, 2 vols.) Later editions, from 1807, in 7 vols.
 * System of Practical Arithmetic (1808)
 * A Familiar Introduction to the Arts and Sciences for the Use of Schools and Young Persons (1810)

Systematic Education (1816) was a collaboration with Lant Carpenter and William Shepherd.

Family
Joyce married in 1796 Elizabeth Harding, niece of Captain George Fagg (Slouney), who as a privateer of the Anglo-French War (1778–1783) ran the blockade of Gibraltar in 1780, commanding the Buck of Folkestone. The youngest of his six children, Hannah, born the year before Joyce's death, was fostered by his friend William Shepherd. She later married William Ridyard.

title: Jeremiah Joyce


text:
United States Senate Committee on the Census

The United States Senate Select Committee on the Tenth Census was created in 1878. It continued to operate until 1887, when it became the United States Senate Committee on the Census. It was abolished in 1921. Issues related to the U.S. Census and the U.S. Census Bureau are now under the jurisdiction of the Senate Committee on Homeland Security and Governmental Affairs.

Chairmen of the Select Committee on the Tenth Census, 1878–1887

 * Justin S. Morrill (R-VT) 1878–1879
 * George H. Pendleton (D-OH) 1879–1881
 * Eugene Hale (R-ME) 1881–1887

Chairmen of the Committee on the Census, 1887–1921

 * Eugene Hale (R-ME) 1887–1893
 * David Turpie (D-IN) 1893–1895
 * William Chandler (R-NH) 1895–1897
 * Thomas H. Carter (R-MT) 1897–1901
 * Joseph V. Quarles (R-WI) 1901–1905
 * Chester Long (R-KS) 1905–1909
 * Robert M. La Follette (R-WI) 1909–1913
 * William E. Chilton (D-WV) 1913–1916
 * Morris Sheppard (D-TX) 1916–1919
 * Howard Sutherland (R-WV) 1919–1921


text:
Arthur Caplan

Arthur L. Caplan (born 1950) is an American ethicist and professor of bioethics at New York University Grossman School of Medicine.

He is known for his contributions to the U.S. public policy, including: helping to found the National Marrow Donor Program; creating the policy of required request in cadaver organ donation adopted throughout the United States; helping to create the system for distributing organs in the U.S.; and advising on the content of the National Organ Transplant Act of 1984, rules governing living organ donation, and legislation and regulation in many other areas of health care including blood safety and compassionate use.

Early life and education
Born in Boston in 1950 to Sidney D. and Natalie Caplan, Arthur Caplan grew up in Framingham, Massachusetts. He has described his family as "Workmen's Circle, Zionist, and secular." He credits his background of Judaism with stimulating his interest in methods of inquiry and argument. At age six, Caplan was diagnosed with polio. He was successfully treated at Children's Hospital in Boston and went on to play sports at Framingham North High School. Caplan has stated that this life-threatening illness was a formative experience that influenced his later commitment to philosophy and bioethics.

Caplan did his undergraduate work at Brandeis University, where he majored in philosophy. There he met his future wife Jane. Their son, Zachary, was born in 1984. Caplan's second wife, Meg O’Shea Caplan, is the medical center director of the Bronx VA Medical Center.

Caplan did his graduate work at Columbia University, receiving an M.A. in 1973, an M.Phil. in 1975, and a Ph.D. in the history and philosophy of science in 1979. His dissertation, Philosophical Issues Concerning the Synthetic Theory of Evolution, was co-supervised by Ernest Nagel and Sidney Morgenbesser. Caplan worked with Nagel as a teaching assistant and was the final graduate student of Nagel's career. During his time at Columbia, Caplan met psychoanalyst and Dean of Education Bernard Schoenberg. Schoenberg allowed him to participate as both an observer and a medical student in clinical rotations in the university's medical college, first experiencing "ethics in action".

Career
In 1977, Caplan met Daniel Callahan, a philosopher who co-founded The Hastings Center (now in Garrison, New York) with psychiatrist Willard Gaylin. In 1977, Caplan joined The Hastings Center, first as a junior research assistant and then as a post-doctoral fellow. He spent the next 10 years at the center, serving as the associate director from 1985 to 1987. During this time, Caplan published many papers on genetics (including the ethics of genetic testing and screening), evolution, sociobiology, and the teaching of ethics. He also became involved in the ethics of human and animal experimentation and new medical technologies, applying philosophy in public discourse and speaking on public policy issues.

In 1987, Caplan moved to the University of Minnesota, where he became a professor in the Departments of Philosophy and Surgery and the first director of the Center for Biomedical Ethics. In 1989, he organized the Center for Bioethics Conference on Medical Ethics and the Holocaust, the first conference convened to discuss bioethics and the Holocaust. During his time at Minnesota he was active on issues relating to organ transplantation and genetics and worked with Rosalie A. Kane on dilemmas of "everyday ethics" involving treatment of the elderly. He also wrote about bioethics in relation to the Holocaust. In 1992, he joined the Medical Advisory Council of the United States Holocaust Memorial Museum.

Caplan secured the first apology for the Tuskegee Syphilis Study, from Lewis Sullivan, M.D., then secretary of HHS, in 1991. He worked with William Seidelman, M.D., and others to secure in 2012 an apology from the German Medical Association for the role of German physicians in Nazi prison experiments during the Holocaust. In May 1994, Caplan went to the University of Pennsylvania in Philadelphia. He founded the Center for Bioethics and the Department of Medical Ethics and had professorial appointments in a variety of departments including Medicine and Philosophy. In the mid-1990s, he and colleagues conducted the first empirical studies on organ donor eligibility and donation rates. In 2009, the Sidney D. Caplan Professor of Bioethics was established at the University of Pennsylvania's Perelman School of Medicine, named for Caplan's father. Arthur Caplan became the first holder of the professorship.

While at the University of Pennsylvania, he became the first bioethicist to be sued for his professional role, after his involvement in a gene therapy trial that resulted in the death of research subject Jesse Gelsinger. The family's suit was settled with the University for an undisclosed amount of money, in exchange for, among other things, dropping Caplan from the suit. The federal government's suit on the same facts was settled for $500,000.

In 2009, Caplan helped develop the first flu vaccine mandate at the Children's Hospital of Philadelphia and, later, New York state's policy to require health care workers to "vaccinate or mask". Also in 2009, he called for tightening restrictions on fertility clinics and IVF and has written extensively in favor of embryonic stem cell research.

In 2012, Caplan came to New York University's School of Medicine as the Drs. William F. and Virginia Connolly Mitty Professor of Bioethics and the founding director of the Division of Bioethics.

In May 2015, Caplan launched, with pharmaceutical company Johnson & Johnson, a pilot project for the equitable distribution of experimental drugs outside ongoing clinical trials. He created the Compassionate Use Advisory Committee (CompAC), a panel of bioethicists, physicians, and patient advocates, to respond to appeals from terminally ill patients for a cancer drug in development by J&J. It is believed to be the first of its kind in the pharmaceuticals industry.

Recent activity has included spearheading a movement to relax restrictions on blood donations by gay men and urging postponement of the Rio Summer Olympics because of the Zika virus threat. In early May 2020, the United States Conference of Mayors announced the Mayors Advisory Panel on Sports, Recreation & Health, with Caplan as a co-chair, to "advise mayors and sports and recreation officials on safe policies and practices as cities reopen from the COVID-19 pandemic", and in November 2020 he joined the NCAA COVID-19 Medical Advisory Group. MarketWatch featured Caplan in an article on the life of a bioethicist during the COVID-19 pandemic on August 4, 2020.

Much of his time from 2020 to present has been focused on the COVID-19 pandemic. He has spoken and written extensively on vaccine-related topics, including the ethics of placebo-controlled trials during the pandemic, what is owed to vaccine trial participants after a vaccine has been authorized, COVID-19 vaccination of transplant candidates, and more specialized topics such understanding attitudes toward the disease and vaccines among a Haredi-Orthodox Jewish community. He was one of the more vocal proponents of controversial challenge studies for SARS-CoV2 vaccines.

Caplan has been criticized by some classical philosophers for his "hands-on philosophy", and by some colleagues for his enthusiastic engagement with the media. In response, he said: "To me, the whole point of doing ethics is to change people, to change behavior. Why else do it?"

In 2022, Caplan advocated that pharmaceutical companies should stop doing business in Russia, an action that was criticized as advocating for a war crime. Subsequent to Caplan's call for a total boycott of Russia, credible international organizations charged Russia and its leadership with war crimes.

Academic work
Caplan is the author and editor of more than 35 books and more than 860 papers in peer-reviewed journals of medicine, science, philosophy, bioethics, and health policy.

He is a regular contributor to WebMD's Medscape and a regular commentator on CNN, WOR Radio, WGBH (FM)'s "Boston Public Radio" and WMNF Tampa's "Everyday Ethics" podcast. He is a frequent guest and commentator on various other media outlets, discussing public health issues like obesity, Ebola virus disease, Zika virus, vaccination, and COVID-19.

He has been co-director of the Joint Council of Europe/United Nations Study on Trafficking in Organs and Body Parts. He was the co-director of a United Nations/Council of Europe Study on organ trafficking. He has called for a new international convention on criminal organ trafficking. He has spoken out on international issues such as organ harvesting from Falun Gong practitioners in China. He instituted a boycott by leading medical journals of papers about transplantation coming from China.

Internationally, he was the chair of the Advisory Committee to the United Nations on Human Cloning, and served on the special advisory committee to the International Olympic Committee on genetics and gene therapy.

Caplan has served on a number of national committees, including as chair of the National Cancer Institute Biobanking Ethics Working Group and chair of the Advisory Committee to the Department of Health and Human Services on Blood Safety and Availability. He was a member of the Presidential Advisory Committee on Gulf War Illnesses and the special advisory panel to the National Institute of Mental Health on human experimentation on vulnerable subjects. He is an adviser to DARPA on synthetic biology and has addressed the Presidential Commission for the Study of Bioethical Issues. He has also served on the ethics committee of the American Society of Gene Therapy.

Caplan has consulted with many corporations, not-for-profit organizations, and consumer organizations. He is on the board of trustees of the Institute for Ethics and Emerging Technologies. He also sat on the board of the National Center for Policy Research on Women & Families, the Franklin Institute, the Iron Disorders Foundation, and the National Disease Research Interchange.

Awards and honors
Caplan has been elected as a fellow of The Hastings Center (1990), the American Association for the Advancement of Science (1994), the College of Physicians of Philadelphia (1994), the New York Academy of Medicine (1997), and an honorary fellow of the American College of Legal Medicine (2008).

Caplan was named a person of the Year in 2001 by USA Today. In December 2008, Discover magazine named him one of the 10 most influential people in science, for ”translating philosophical debates into understandable ideas” and “democratizing bioethics.” He is one of the 10 most influential people in America in biotechnology, according to the National Journal; one of the 10 most influential people in the ethics of biotechnology, according to Nature Biotechnology; one of the 50 most influential people in American health care, according to Modern Health Care magazine; and one of the 100 most influential people in biotechnology, according to Scientific American magazine.

Caplan holds eight honorary degrees from colleges and medical schools. He received the McGovern Medal of the American Medical Writers Association in 1999, the John P. McGovern Award Lectureship from the Medical Library Association in 2007, and the Patricia Price Browne Prize in Biomedical Ethics in 2011.

In 2014, he was given the public service award of the National Science Board/National Science Foundation. In May 2016, he received the Rare Impact Award from the National Organization for Rare Disorders (NORD). The American Society for Bioethics & Humanities (ASBH) awarded Caplan its 2016 Lifetime Achievement Award, and in 2018 the Food and Drug Law Institute honored him with a Distinguished Service and Leadership Award. In December 2019, CompAC (the Compassionate Use Advisory Committees), which Caplan founded and chairs, received the Reagan-Udall Foundation for the FDA's Innovation Award.

title: Arthur Caplan


text:
Santa Margherita de' Cerchi

The Chiesa di Santa Margherita de' Cerchi is a 13th-century, Roman Catholic church dedicated to Margaret the Virgin in the centre of Florence, region of Tuscany, Italy. It is among the oldest churches in Florence.

History
It is first recorded in 1032 and is said, contentiously, to have been the location of Dante's marriage to Gemma Donati in 1285 or 1290. It was certainly the Donati family's parish church and also contains several tombs of the Portinari family, to which Dante's great love Beatrice Portinari belonged, including Monna Tessa, her nursemaid.

The church was consecrated on the day of Saint Margaret. The main patron families of the church in the 13th and 14th century, who had chapels in the church, were the Cerchi, the Donati, and the Adimari families.

The church contains a fine altarpiece of the Madonna and Four Saints by Neri di Bicci. In the entrance is a chapel erected by Jacopo Salviati and his wife, Lucrezia de' Medici.

Tradition holds that visitors can plead in writing to Beatrice to ask her to fix their love lives, leaving the letters in a basket next to her shrine.

title: Santa Margherita de' Cerchi


text:
Hwang Young-cho

Hwang Young-cho (born 22 March 1970) is a former South Korean athlete, winner of the marathon race at the 1992 Summer Olympics and 1994 Asian Games.

Career
Born in Samcheok, South Korea, Hwang was a promising track athlete in his junior years, but after his first marathon in 1991, which he won, decided to specialize in marathon.

The Barcelona Olympic marathon was only fourth of his career. He had won two and placed second in his three previous marathon competitions. In Barcelona, Hwang was in the leading pack from the start, but in a slowly run race, this group still numbered thirty runners at the halfway mark. However, runners gradually lost contact with the leaders in the second half of the race, until at 35 km, only Hwang and Kōichi Morishita from Japan remained. They had quite a memorable struggle, until Hwang broke free after 40 km to win a gold medal.

Hwang raced sparingly after Barcelona, and he retired after injury prevented him from representing South Korea in the 1996 Olympics.

Hwang was depicted on the 2006 Berlin Marathon medal to commemorate his victory in the 1992 Olympic marathon event.

South Koreans' Olympic marathon medals
Hwang has been one of two Korean athletes to win the Olympic marathon. The other winner was Sohn Kee-chung. Hwang's contemporary South Korean athlete Lee Bong-Ju won the silver medal in the marathon at the 1996 Summer Olympics held in Atlanta, and Nam Sung-yong won the bronze medal at the 1936 Summer Olympics in Berlin at the same race that Sohn Kee-chung won.

Achievements

 * 1991
 * Summer Universiade, winner of the men's marathon in Sheffield.
 * 1992
 * Summer Olympics, winner of the men's marathon in Barcelona.
 * 1994
 * Asian Games, winner of the men's marathon in Hiroshima.
 * Boston Marathon, fourth place in a new Korean record (2:08:09)

title: Hwang Young-cho


text:
Hawaii Admission Act

The Admission Act, formally An Act to Provide for the Admission of the State of Hawaii into the Union is a statute enacted by the United States Congress and signed into law by President Dwight D. Eisenhower which dissolved the Territory of Hawaii and established the State of Hawaii as the 50th state to be admitted into the Union. Statehood became effective on August 21, 1959. Hawaii remains the most recent state to join the United States.

Hawaii statehood and international law
Prior to 1959, Hawaii was an organized incorporated territory of the United States. The territory was established in 1900 by the Hawaiian Organic Act. In 1946, the United Nations listed Hawaii as a non-self-governing territory under the administration of the United States (Resolution 55(I) of 1946-12-14). Also listed as non-self-governing territories under the jurisdiction of the United States were American Samoa, Guam, the Panama Canal Zone, Puerto Rico, the Territory of Alaska, and the United States Virgin Islands.

Statehood vote
Out of a total population of 600,000 in the islands and 155,000 registered voters, 140,000 votes were cast, the highest turnout ever in Hawaii. The vote showed approval rates of at least 93% by voters on all major islands. Of the approximately 140,000 votes cast, fewer than 8,000 rejected the Admission Act of 1959.

Opposition to statehood
The acceptance of statehood for Hawaii was not without its share of controversy. There were Native Hawaiians who protested against statehood. Prior to admission, various bills creating the state were stalled in congressional hearings since the early 1900s. There was a fear of establishing a state with an Asian American plurality. Some lawmakers worried about the addition of Hawaii's residents to the United States, in light of protests and possibly split loyalties.

Upon the election of John A. Burns from the Hawaii Democratic Party as delegate of the Territory of Hawaii to Congress, southern leaders charged that Burns' election was evidence of Hawaii as a haven for communism. Burns, in 1959, would reflect on the obstacles against the statehood campaign and place more emphasis on the resistance to statehood in the islands, rather than in Washington itself.

The reasons why Hawaii did not achieve statehood, say, ten years ago—and one could without much exaggeration say sixty years ago—lie not in the Congress but in Hawaii. The most effective opposition to statehood has always originated in Hawaii itself. For the most part it has remained under cover and has marched under other banners. Such opposition could not afford to disclose itself, since it was so decidedly against the interests and desires of Hawaii's people generally.

Southern lawmakers
Burns was involved in vigorous lobbying of his colleagues persuading them that the race-based objections were unfair and charges that Communist sympathizers controlled Hawaii were false. Upon leaving her seat as delegate from Hawaii, Elizabeth P. Farrington said, "Of course, [Democratic Majority Leader] Lyndon Johnson was no friend of statehood." Farrington added, "There were 22 times when he voted against us. He did everything he could, because he was representing the Southern racial opposition." Minutes from Johnson's tenure as head of the Senate Democratic Policy Committee indicate his repeated concessions on the issue to the segregationist Senator Richard Russell.

Alice Kamokila Campbell
On the 53rd anniversary of the overthrow of the Hawaiian Kingdom, January 17, 1946, Territorial Senator Alice Kamokila Campbell, one of the few voices that opposed statehood for Hawaii, offered her testimony to the joint congressional committee sent to investigate and report on statehood. Kamokila Campbell testified at Iolani Palace in front of a small crowd of 600 to frequent applause. There she stated.

I do not feel...we should forfeit the traditional rights and privileges of the natives of our islands for a mere thimbleful of votes in Congress, that we, the lovers of Hawaii from long association with it should sacrifice our birthright for the greed of alien desires to remain on our shores, that we should satisfy the thirst for power and control of some inflated industrialists and politicians who hide under the guise of friends of Hawaii, yet still keeping an eagle eye on the financial and political pressure button of subjugation over the people in general of these islands.

In 1947, Kamokila Campbell opened the Anti-Statehood Clearing House, where she sent "anti-statehood information, reports and arguments to congress."

On March 29, 1949, Kamokila Campbell successfully sued the Hawaii Statehood Commission, to stop them from spending public money to lobby for statehood, invalidating a single section of the Act which created the Hawaii Statehood Commission.

Formation of the state
The State of Hawaii's territory was defined thus in the Act:

title: Hawaii Admission Act