text:
Wikipedia:Wikipedia Signpost/2005-02-21/Googlepedia column

Media discussion of the possible deal between Wikipedia and Google (see archived story) continued last week, with both skeptics and supporters weighing in on the implications of the relationship.

John C. Dvorak wrote an opinion column Monday for PC Magazine called "Googlepedia: The End is Near". Since it was an editorial rather than a news report, Dvorak didn't present any news that hadn't already come out, but simply presented an analysis based on existing reports. He speculated that Google might be "trying to corner the all the world's information" in order to sell it, or that they might take advantage of controlling access in order to lock out web crawlers from competing search engines like Microsoft.

Dvorak also drew a comparison to Google's acquisition of the Deja News Usenet archive, criticizing Google for contributing to the decline of Usenet and concluding, "This sort of collapse and sudden loss of interest does not bode well for Wikipedia ending up in bed with Google, or anyone else for that matter." He argued that even if the "nice guys" at Google didn't want to ruin Wikipedia, the fact of being a public corporation made it more or less inevitable.

Reactions to Dvorak
As with the original reports connecting Google with Wikipedia, Dvorak's column prompted a lengthy Slashdot discussion of the subject. Posters frequently argued that Dvorak was simply trying to write a provocative article, and some pointed out his failure to mention legal impediments to the idea that Google could "acquire" Wikipedia or its content.

Socialtext CEO Ross Mayfield responded in his blog by calling the piece "a conspiracy column that makes no sense". He concluded that the need for any outside supporters to work with the Wikipedia community and its culture would encourage Google to act responsibly.

Mayfield also related that last year, as concerns were mounting that Wikipedia's Tampa-based servers would be vulnerable during the 2004 Atlantic hurricane season, Jimmy Wales contacted him to find out if Socialtext could help provide hosting in case of an emergency. Mayfield said he would have been glad to, "but it was a bigger operation than us at the time."

Once these exchanges had passed, discussion of a Wikipedia-Google alliance died down, as no new information came out that could fuel additional speculation. It seems that further debate may have to wait until any official announcements are made.


text: Category:Sexual orientation and science

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

title: Category:Sexual orientation and science


text:
Orval

Orval may refer to:

Places

 * Orval, Cher, a commune of the Cher département in France
 * Orval, Manche, a former commune of the Manche département, in France (now merged with Montchaton into Orval-sur-Sienne)
 * Orval-sur-Sienne, a commune of the Manche département, in France
 * Orval, a community within the French commune of Montigny-Lengrain
 * Orval, Rùm, a hill on Rùm, Inner Hebrides, Scotland

Other

 * Orval Abbey - Abbaye Notre-Dame d'Orval, a Trappist monastery in Wallonia, Belgium
 * Orval Brewery, a brewery located in the Trappist Abbaye Notre-Dame d'Orval
 * Orval, a beer produced by the brewery in the Trappist Abbaye Notre-Dame d'Orval
 * Orval H. Caldwell (February 15, 1895–February 18, 1972), Chicago-area painter and one-time president of the Art Institute of Chicago
 * Orval Faubus, governor of the U.S. state of Arkansas 1955-1967
 * Orval Grove, an American baseball player

title: Orval


text:
Sing a Song of Sixpence

"Sing a Song of Sixpence" is an English nursery rhyme, perhaps originating in the 18th century. It is listed in the Roud Folk Song Index as number 13191. The sixpence in the rhyme is a British coin that was first minted in 1551.

Origins
The rhyme's origins are uncertain. References have been inferred in Shakespeare's Twelfth Night (c. 1602),, where Sir Toby Belch tells a clown: "Come on; there is sixpence for you: let's have a song" and in Beaumont and Fletcher's 1614 play Bonduca, which contains the line "Whoa, here's a stir now! Sing a song o' sixpence!"

In the past it has often been attributed to George Steevens (1736–1800), who used it in a pun at the expense of Poet Laureate Henry James Pye (1745–1813) in 1790, but the first verse had already appeared in print in Tommy Thumb's Pretty Song Book, published in London around 1744, in the form:

Sing a Song of Sixpence, A bag full of Rye, Four and twenty Naughty Boys, Baked in a Pye.

The next printed version that survives, from around 1780, has two verses and the boys have been replaced by birds. A version of the modern four verses is first extant in Gammer Gurton's Garland or The Nursery Parnassus published in 1784, which ends with a magpie attacking the unfortunate maid. Fifth verses with the happier endings began to be added from the middle of the 19th century.

Lyrics
A common modern version is: Sing a song of sixpence, A pocket full of rye. Four and twenty blackbirds Baked in a pie.

When the pie was opened, The birds began to sing. Wasn't that a dainty (or dandy) dish To set before the king?

The king was in his counting house, Counting out his money. The queen was in the parlour, Eating bread and honey.

The maid was in the garden, Hanging out the clothes, When down came a blackbird And pecked off her nose.

The fifth and final verse --usually sung after the fourth verse-- is sometimes slightly varied (after the blackbird "pecked off" the maid's nose). One of the following additional verses is often added to moderate the ending:

They sent for the king's doctor, Who sewed it on again. He sewed it on so neatly, The seam was never seen.

or: There was such a commotion, That little Jenny wren Flew down into the garden, And put it back again.

Version 1
This may be the most well-known version in Britain and the Commonwealth.

Version 2
This version may be well known in the United States.

Meaning and interpretations
Many interpretations have been placed on this rhyme. It is known that a 16th-century amusement was to place live birds in a pie, as a form of entremet. An Italian cookbook from 1549 (translated into English in 1598) contained such a recipe: "to make pies so that birds may be alive in them and fly out when it is cut up" and this was referred to in a cook book of 1725 by John Nott. The wedding of Marie de' Medici and Henry IV of France in 1600 contains some interesting parallels. "The first surprise, though, came shortly before the starter—when the guests sat down, unfolded their napkins and saw songbirds fly out. The highlight of the meal was sherbets of milk and honey, which were created by Buontalenti."

In their 1951 The Oxford Dictionary of Nursery Rhymes, Iona and Peter Opie write that the rhyme has been tied to a variety of historical events or folklorish symbols such as the queen symbolizing the moon, the king the sun, and the blackbirds the number of hours in a day; or, as the authors indicate, the blackbirds have been seen as an allusion to monks during the period of the Dissolution of the Monasteries by Henry VIII, with Catherine of Aragon representing the queen, and Anne Boleyn the maid. The rye and the birds have been seen to represent a tribute sent to Henry VII, and on another level, the term "pocketful of rye" may in fact refer to an older term of measurement. The number 24 has been tied to the Reformation and the printing of the English Bible with 24 letters. From a folklorish tradition, the blackbird taking the maid's nose has been seen as a demon stealing her soul.

No corroborative evidence has been found to support these theories and, given that the earliest version has only one stanza and mentions "naughty boys" and not blackbirds, some of these meanings would not have been original unless it is assumed that more recently printed versions accurately preserve an older tradition.

Although there is no interpretation that is proven as true, there is however one that is explicitly proven false. That one is the story that Blackbeard the pirate created "Sing a Song of Sixpence" with its lyrics as a code to recruit crew for his pirate ship. Blackbeard had nothing to do with the song. This story was created in 1999 by the website Snopes (which normally proves or debunks urban legends) as part of a series of fabricated urban legends known as "The Repository of Lost Legends" (whose initials read "TROLL") as red herrings to test people's common sense with an outlandish story. All the Lost Legends are fictional and the Lost Legend about "Sing a Song of Sixpence" is no exception.

In this deliberate misinterpretation of "Sing a Song of Sixpence" and its lyrics, the "Sixpence" referred to a Sixpence coin (a decent amount of money in Blackbeard's time) and the "pocketful of rye" was a bag ("pocket") with whiskey ("rye", one of the ingredients of whiskey) that captain Blackbeard gave to each pirate in his crew as a salary everyday. The "blackbirds" were pirates who work for Blackbeard and their being "Baked in a pie" is the pirates setting up a ruse to raid a nearby ship to capture it. The pie opening and the birds singing refers to the end of the ruse and start of the raid on the nearby ship. The "dainty dish" was the ship that easily captured by the pirates after the raid and the "king" in both instances of the word in the song refer to Blackbeard himself. The lyrics "The king was in his counting house, Counting out his money" was about how Blackbeard was wealthy enough to pay his crew their daily Sixpence and whiskey salary regardless if they captured ships that day or not. The Snopes page claims that this was especially attractive to pirates because as most pirate captains didn't pay salaries and pirate raids were often unsuccessful, it was a common occurrence that pirate ships were forced to return to shore after several months due to lack of funds. The "Queen" mentioned was in fact Blackbeard's ship, called Queen Anne's Revenge and the mention of the queen "Eating bread and honey" is Queen Anne's Revenge taking in supplies at port to prepare for a cruise. The "maid" is a prize ship (a ship specifically chosen to get raided), the "garden" is the Caribbean Sea (where Blackbeard and his crew carried out their raids) and the "clothes" are the prize ship sails. The mention of another "blackbird" pecking at the maid's nose from her face is Blackbeard bragging about his plans to raid the prize ship. The version of "Sing a Song of Sixpence" on Snopes does not have any verse where the maid's nose is reattached to her face. Every Lost Legend had a link to a page explaining that it was fictional and the reason for posting it.

In 2003, the TV series Mostly True Stories?: Urban Legends Revealed used this story as a true or false question before a commercial break when it asked "Was the nursery rhyme 'Sing a Song of Sixpence' used as a code to recruit pirates?". After the break, the show mistakenly claimed it was "true" and mentioned its supposed connection to Blackbeard implying that Snopes was used by the show's producers as a source. Snopes then posted a page about the mistake on their "Media goofs" section noting that whoever made the show apparently did not see the explanation and had fallen for a story that was fictional. In later airings of the episode, the answer was corrected to say that the Blackbeard connection was "false" with Snopes' page on Mostly True Stories? edited to note the correction. According to Snopes, no public statement was made about the mistake by the show's producers.

title: Sing a Song of Sixpence


text:
Draft:Ezlo

Ezlo was founded in 2014 in the United States by Melih Abdulhayoğlu.,. Ezlo is headquartered in Bloomfield, New Jersey, with offices in Ukraine, Romania, and Colombia. . Some of ezlo’s Subsidiaries are FortrezZ, LLC, Centralite Systems, Inc., MiOS, LTD.

Centralite Systems
In July 2019, Ezlo Innovation acquired Centralite Systems, an Alabama-based manufacturer of smart home devices. This acquisition aimed to broaden Ezlo's product portfolio and support its goal of becoming a technology-agnostic platform, capable of connecting various smart home devices.

Previous Acquisitions
Prior to acquiring Centralite, Ezlo made two notable acquisitions in 2018. In August, Ezlo acquired MiOS, a developer of smart home services platforms and the Vera line of consumer products. This acquisition provided Ezlo with a robust smart home management platform. In October, Ezlo acquired Fortrezz, a company known for intelligent leak detection and flood prevention solutions. These acquisitions were part of Ezlo's strategy to offer comprehensive smart home solutions and enhance its market presence.

Strategic Impact
The acquisitions of Centralite, MiOS, and Fortrezz have significantly strengthened Ezlo's position in the nearly $40 billion U.S. smart home market. By integrating these companies' technologies and products, Ezlo aims to provide consumers with a wider range of smart home options.

title: Draft:Ezlo


text:
Chantilly-Tiffany

The Chantilly-Tiffany or Chantilly/Tiffany, also known as the Chantilly or the Foreign Longhair, was a breed of domestic cat which originated in the late-1960s in North America. The Chantilly breed never got off the ground and has always been rare. It was near-extinction in the late-1980s and again in the late-2000s. Since 2015 the breed has been considered extinct with the passing and neutering of the last two cats of the Chantilly lineage, and with no intact Chantilly cats the inevitable resulting discontinuation of the breeding program.

The Chantilly-Tiffany is often confused with the unrelated Tiffanie, or Asian/Burmilla longhair, a semi-longhaired breed originating in the UK. Similarly, a variety of that breed, the Australian Tiffanie, can cause confusion. Furthermore, the Tiffany in the NZCF (New Zealand) is sometimes confused with the Chantilly-Tiffany, but refers to a Burmese longhair.

New York, US (1960s–1970s)
The Chantilly-Tiffany breed had its official beginning as a "Foreign Longhair"; in 1967, Jennie Robinson (Neotype Cattery) of New York purchased a pair of semi-foreign longhaired chocolate cats with golden eyes of unknown background as part of an estate sale in White Plains, New York. They may have had the same parents but were not litter-mates. "Thomas" was about a year of age upon purchase, and "Shirley" was around six months.

Shirley's first litter of six kittens was born in May 1969. All kittens had a chocolate coat colour and shared a similar appearance. Robinson initiated a breeding program to emphasise these traits. In the early 1970s, the ACA registered Thomas and Shirley, along with many of their descendants as "Foreign-Longhairs".

United States (1970s–1980s)
Robinson ended her breeding program in the 1970s. Sigyn Lund (Sig Tim Hil Cattery) a Florida Burmese breeder, purchased some of Robinson's kittens and took on the "Foreign Longhair" breeding program. The New York origin was not well known to the public at the time. Because of Lund's reputation as a Burmese breeder, it has been speculated that the Chantilly was a long-haired Burmese or related to the breed.

However, Robinson herself confirmed that the kittens born in May 1969 “were dark self-colours with no points and pinkish paw pads, the opposite of traits that identify Burmese.” She also confirmed that all the Chantillys in the US descended from Thomas and Shirley, and none were bred to Burmese cats. Similarly, Tracy Oraas a major advocate of the Chantilly breed in the 1980-1990s, confirmed that the Burmese was never used in the breeding program. This hypothesis has now been discounted.

A change in the breed's name was requested by judges, because they felt the breed's current name "Foreign Longhair" was too general; the name "Mahogany" was suggested, but Lund changed the breed name from "Foreign-Longhair" to "Tiffany" for the latter's feeling of elegance and class. Lund promoted the breed under "Tiffany" after a theatre studio in Los Angeles, USA, in the 1920s known for its elegance. The ACA dropped the "Tiffany" from recognition, their reason being its rarity. As a result, all breed representatives registered under the Lund (Sig Tim Hil Cattery) name became unregistered and lost their pedigree status.

After this event, the breed continued to be advertised as "Burmese". At one point, in an informal phone interview, Sig Tim Hil Cattery supplied information to researcher Joan Bernstein regarding these chocolate cats. This interview resulted in a publication of information, again suggesting the possibility they were the product of UK crosses between Burmese and Himalayans (a Persian/Siamese cross). This information was posted in Harper's Illustrated Handbook of Cats. In The Ultimate Cat Book by David Taylor in 1989, the Chantilly's history was also described as "produced from crossing Burmese cats with Longhairs". The false advertisement and the phone interview could explain the tie to the Burmese in these books. The confusion led the breed to near-extinction.

Canada (1970s–1980s)
Around the same time Robinson and Lund were developing the "Tiffany" in the United States, a Canadian acreage owner was surprised by a cat who appeared at his home in 1973. She was a long-haired, semi-foreign, chocolate, gold-eyed feline of unknown ancestry who gave birth to a litter of kittens. Once again these kittens were carbon copies of their mother, an experience shared by Robinson with the cats in her breeding program. Offspring of these were rescued by Canadian breeders to re-establish the "Tiffany" breed in North America with a cooperative effort with Robinson and Lund.

North America (1980s–1990s)
One major advocate of the Chantilly was Tracy Oraas (Opurrtune Cattery) from Canada, who began her involvement with the breed in 1988 when she responded to a classified ad advertising "chocolate kittens." Oraas got in touch with Siamese Oriental breeder Jan DeRegt (Jan's PrettyCats Cattery) also from Canada, and Oraas and DeRegt undertook efforts to reestablish the breed after consulting a TICA judge. This judge expressed that nothing on the show bench compared with them. It took some major detective work, including calls to every veterinarian in Florida, but they managed to contact the original Chantilly breeders, Robinson and Lund. Oraas and DeRegt also concluded that the Burmese breed was never used in any Chantilly breeding program. Their research did reveal that English breeders had crossed Foreign Longhair (Angora), Havana Brown and Abyssinian cats in an attempt to recreate an Angora-type cat. They suspect that the Chantilly may have been a product of these efforts. Since none of the original Chantillys could be found, they established the breed using registered European Angora, Havana Brown, Abyssinian/Somali and Nebelung cats.

In 1992, Oraas was asked to rename the breed because of possible confusion with the British Tiffanie  created in 1981. Wishing to preserve the elegance the "Tiffany" name represented, they chose "Chantilly." In 2000, TICA's Legal Council stated that breeders were only allowed to use the name Chantilly and were not allowed to use TICA and Chantilly/Tiffany together.

Last Chantilly cattery (1990s–2000s)
Oraas bred "Chantilly/Tiffany" cats up to the early 2000s, then seems to have faded from the breeding scene. In 2001, a few catteries were working with the Chantilly: one in Canada (Le Pors), and two in the United States; West Virginia (Emberhearth Cattery) and southern Illinois (Amorino Cattery).

By 2003, Amorino Cattery of breeder Davenport-Parini was the only operating Chantilly cattery left in the US. Anne Davenport-Parini started Amorino Cattery in 2001 when she brought chocolate tabby Hershey Nugget (also known as Little Tabby Dude, LTD) of Emberhearth Cattery home to Illinois. Nugget was the grandson of Mica, a solid chocolate female Chantilly from Opurrtune Cattery of Tracy Oraas. Amorino Cattery had also acquired two female Chantilly cats; solid blue Cadeautje (Dutch: Little Present, which was also known as Katie, from Emberhearth Cattery) and solid lilac Nuage (from Opurrtune Cattery). Nugget produced at least 10 kittens with the two females before his retirement and passing in 2013 due to fatal long damage received during the 2012 fire.

Extinction (2010s)
In 2012, a fire destroyed Amorino Cattery and its archives. With the fall of Amorino Cattery, the breed was facing extinction. The last Chantilly known in the US was solid chocolate Frosty (grandson of Nugget and Nuage). Frosty and Nugget appear together in the "Chantilly" episode of Cats 101, which was filmed at Amorino Cattery in 2012. Later that year after the fire, Frosty was shipped to a Nebelung breeder in Norway (Cacao Criadero Cattery). There was a struggle to get Frosty to breed to the Nebelung female (Nebelungs were permitted cross-outs). One solid lilac kitten, Acey, was produced in the efforts in 2013. In 2015, the Norwegian breeder gave up on the Chantilly breeding program after the death of Frosty, and fixed her female, Acey. As a result of this event, the last known Chantilly lineage ended, and the breed is considered extinct. There are no intact Chantilly cats alive and there are no operating Chantilly breeding programs as of 2024.

Registry
The Chantilly was initially registered with ACA in the early 1970s as Foreign Longhair and later as Tiffany. However, with the lack of sufficient cats to form a breed, the recognition was reverted and the breed lost its pedigree status due to its rarity. When the breed was near extinction in the late 1980s, breeder Tracy Oraas and Jan DeRegt revived the breed and registered it under the name Chantilly. Eventually, the Chantilly had been recognised and was eligible for championship or registration as Experimental or New Breed and colour (NBC) status with AACE, ACFA, CCA-AFC, CFF, TCA, TICA, and UFO.

In 2009, only a total of 15 Chantilly cats were ever registered in the Experimental Registry-category (VI) with TICA; 4 in 1992, 3 in 2000, 3 in 2002, and 5 in 2003.

Out-crossing
The ACFA only accepted out-crossings with the Havana Brown, Somali, and Nebelung in this experimental breed. The CCA only allowed out-crossings with Angora, Oriental, Havana Brown, Somali, and Nebelung cats. Out-crossing with Burmese cats was never performed, and never permitted in registries.

Body
The Chantilly-Tiffany has a semi-foreign body style and a full semi-long coat. The coat is silky, soft and smooth; the lack of undercoat usually makes grooming simpler than that of cats with an undercoat. The Chantilly was slow to mature and developed its full coat and colour expression at about one to two years old. Adults have a weight range of 2.5–5 kg.

Head
The eye colour of the feline intensified with age. The only accepted eye colour was yellow to gold in any shade with or without a green “halo” around the pupil. Green eyes were not allowed. The eyes were almond to oval-shaped, wide-set, and slightly angled. The head had to be a broad, modified wedge with gentle curves and wide-set cheekbones. It should have a medium-length nose and a strong, broad, short, softly squared muzzle. The whisker pads are defined but not obvious.

Coat colour
The Chantilly-Tiffany originated in a chocolate colour, but later on was accepted in a range of colours including blue, chocolate, lilac, cinnamon, and fawn. In the CCA breed standard black was also included, however it was not with the ACFA. Accepted patterns were solid, mackerel, ticked, and spotted tabby; consequently classic/blotched tabby, colourpoint, and white spotting were not allowed. The colour was rich; shading in solids may occur toward the underside. The overall impression of an ideal Chantilly was a semi-foreign cat of striking appearance resulting from the combination of its rich colour and full, silky semi-longhair coat, plumed tail, contrasting neck ruff, and ear furnishings.

Health
Some sources claim Chantilly-Tiffanys were over-groomed. They tended to pull their own hair, which could lead to patches of baldness and the formation of digestive tract hairballs. To help prevent this, the cat should be brushed at least every other day to help control loose and shedding hair.

On the contrary, according to the ACFA breed standard and Chantilly originator and breed advocate (J. Robinson and T. Oraas) the Chantilly was easily groomed due to its lack of undercoat and was little shedding.

title: Chantilly-Tiffany


text:
User talk:Za-Dan

Hello... I am Daniel and this page just represents my feelings.

There is this girl I like. Her name is May, but I can not get up the courage to tell her. I know it makes me look bad, it's just that I am get so wrapped up in what she might say if she did not feel (in any way) the same as I do. I guess that I am so wrapped up in her beauty that I don’t notice anything else in the world. She is perfect in every way there is, a flower in the ruins of our broken earth.

I don't understand.

I’m a pacifist, never looking for a fight, but May, she is different. She has a strong personality, and an aggressive outlook on life. She does not take crap from anyone, but does not find herself drowning in the ever deep sea of self righteousness. It’s is this that I find beautiful about her and is what makes me want to be more like her. I have no spoken words to describe how I feel about her, but hopefully this post might help.

I don't know what I would ever do if she ever found this post. I most likely withdraw to my shell. Bottle up my emotions until all my torment tears away another piece of my soul. Yet, once again I sit here telling the world about my problems. I should be out there fixing them myself.

If only it was that easy.

I watch as the opportunities pass me by. She stands all but six feet away but it feels like a long mile. Yes, I always tell myself that today will be the day but when the chance reveals its head, it is to be cast away by my motionless demeanor.

May if you ever do see this page; please do not take any offense. If you want to be left alone, I will gladly do so. All I want is to see you happy. If I liking you take that away from you I will stop.

(Wow that was an interesting experience for me to write… but… it is true. You can think I am a weirdo for doing this, but at least I am being honest. It is either tell my feelings this way or never tell them at all. I don’t expect you to like me back. I have never had much luck with girls anyways. Just please tell me if I am being “creepy”, because I know how that feels to have a crazy person after me. Well ill just have to see how this turns out.

title: User talk:Za-Dan


text:
The Development of Metaphysics in Persia

The Development of Metaphysics in Persia is the book form of Muhammad Iqbal's PhD thesis in philosophy at the University of Munich submitted in 1907 and published in 1908. It traces the development of metaphysics in Persia from the time of Zoroaster to the advent of the Baháʼí Faith.

Introduction
Muhammad Iqbal went to Germany and enrolled into Ludwig Maximilian University, Munich where he earned a PhD by submitting The Development of Metaphysics in Persia as his final thesis, in 1908. Iqbal's doctoral supervisor was Fritz Hommel. The book was published by Luzac & Company, London same year. Iqbal covers in this book from Zoroaster to Bahá'u'lláh era and metaphysical anatomy. This is one of the masterpieces of Muhammad Iqbal's research work. No such research had been done before or since in the English Language on the topic.

Quotes from the Book
"Owing to my ignorance of Zend, my knowledge of Zoroaster is merely second hand. As regards the second part of my work, I have been able to look up the original Persian and Arabic manuscripts as well as many printed works connected with my investigation. I give below the names of Arabic and Persian manuscripts from which I have drawn most of the material utilized here. The method of transliteration adopted is the one recognised by the Royal Asiatic Society"

Editions
First Edition of the book published by Luzac & Company, London in 1908. After that Bazm e Iqbal published it from Lahore in 1954. The book has been translated into many international languages including Persian, Urdu and Bosnian.


text:
Cuffy

Cuffy may refer to:

See also:
 * Coffy (person) (often spelled Cuffy), an Akan slave in the Dutch colony of Berbice (present-day Guyana) who in 1763 led a revolt of more than 2,500 slaves
 * Cuffy, Cher, a commune of the Cher département, in France
 * Cuffy (TV series), a British sitcom from the early 1980s.
 * Cuffy Meigs, a character in Atlas Shrugged
 * Cuffy, California grizzly bear, nickname for any grizzly, especially the bear found on the Flag of California. Derived from a sound they are said to make.
 * William Cuffay

title: Cuffy


text:
Helena Faucit

Helena Saville Faucit, Lady Martin (11 October 1817 – 31 October 1898) was an English actress.

Early life
Born in London, she was the daughter of actors John Saville Faucit and Harriet Elizabeth Savill. Her parents separated when she was a girl, and her mother went to live with William Farren in 1825. With her elder sister Harriet, she was trained for the stage by her step-uncle, Percy Farren. She debuted as Juliet at a small theatre in Richmond in 1833. Her performance was praised by critics of The Athenaeum, but Farren delayed her professional debut to give her further training.

Early career
Faucit's first professional appearance was made on 5 January 1836 at Covent Garden as Julia in James Sheridan Knowles's The Hunchback. Her debut, a spectacular success, placed her at once among the leading actresses in London, helping to fill the void left by the retirement of Fanny Kemble in 1834. Her success in The Hunchback was followed by turns as Belvidera in Thomas Otway's Venice Preserv'd, and as Margaret in Joanna Baillie's The Separation. Though her interpretation of Belvidera was received coldly by critics, she remained a favourite of playgoers; already in that first season, she was signed to a three-year contract at Covent Garden.

Career with Macready
William Charles Macready joined the Covent Garden company in the middle of 1836. In the following year, Faucit played numerous Shakespearean roles, among them Juliet, Imogen (Cymbeline), Hermione (The Winter's Tale), Beatrice (Much Ado About Nothing), and Cordelia (King Lear), alongside both Macready and the soon-to-retire Charles Kemble. Her non-Shakespearean roles during the three years at Covent Garden included the female leads in Lytton's Duchess de la Vallière, Lady of Lyons, Richelieu, The Sea Captain, and Money, in Robert Browning's Strafford, and in Knowles's Woman's Wit.

Faucit followed Macready to the Haymarket Theatre in 1840; in December of that year, however, she suffered an attack of a recurrent lung ailment. While she recuperated at the coast, rumours circulated that she was pregnant with Macready's child; her physicians published diagnoses that scotched these rumours. She returned to the Haymarket by May of 1841 playing the character ClaraDouglas in Bulwer-Lyttons play 'Money' and later performing in Zouch Troughton's Nina Sforza.

After a visit to Paris and a short season at the Haymarket, she joined the Drury Lane company under Macready early in 1842. There she played Lady Macbeth, Constance in King John, Desdemona, and Imogen, and took part in the first production of John Westland Marston's The Patrician's Daughter (1842) and Browning's Blot on the Scutcheon (1843).

Her Lady Macbeth of the 1843 season was, however, a failure; Macready found her conception deficient in "heart", and she was physically unable to achieve the commanding presence of Sarah Siddons, as Macready wished. She was, moreover passed over for Rosalind in favour of Louisa Cranstoun Nisbett; this role would later become one of her best-known Shakespearean roles. Nevertheless, Macready considered her "beyond all compare" the best English actress of the period.

After Macready
When Macready left for America in 1843, Faucit emerged as an even greater celebrity. In the mid-1840s she toured in Scotland and Ireland. Her most celebrated roles included Pauline in Lady of Lyons at the Theatre Royal, Edinburgh, Antigone at Dublin, and various Shakespearean roles, including a revamped and now-successful Lady Macbeth. Acting with Macready in Paris in 1845, she received so much applause that Macready was jealous, and the two did not act together again.

Faucit occasionally returned to London, but her main activity for the remainder of her career was touring, especially in Manchester and in Sheffield, where her brother owned a theatre. In 1846 she returned to Dublin to perform in Euripides' Iphigenia at Aulis, which proved as popular as her Antigone had been the previous year. In October 1846 she took the part of Juliet to the Romeo of Gustavus Brooke at Dublin. In 1850, she acted in the title role of Iolanthe in Theodore Martin's adaptation of King René's Daughter. The last time she assayed the role was in 1876 at the Lyceum Theatre, London, with Henry Irving's company opposite Irving as Count Tristan.

Martin, the official biographer of Prince Albert of Saxe-Coburg and Gotha, had begun courting her as early as 1843; she finally accepted his proposal in 1851.

Career after marriage

In 1851 she married Theodore Martin, who was later knighted, making her Lady Martin. She continued to act occasionally for charity. One of her last appearances was as Beatrice, on the opening of the Shakespeare Memorial at Stratford-on-Avon on 23 April 1879. In 1881 there appeared in Blackwood's Magazine the first of her Letters on some of Shakespeares Heroines, which were published in book form as On Some of Shakespeare's Female Characters (1885).

Lady Martin died at her home at Bryntysilio Hall near Llangollen in 1898, aged 81. There is a tablet dedicated to her in Llantysilio church. There is also a tablet to her in the Shakespeare Memorial with a portrait figure, and the marble pulpit in the Shakespeare church with her portrait as Saint Helena was given in her memory by her husband. She is buried in Brompton Cemetery, London.

title: Helena Faucit


text:
Phil Ochs in Concert

Phil Ochs in Concert is Phil Ochs' third long player, released in 1966 on Elektra Records. Despite its title, it was not entirely live, as several tracks were actually recorded in the studio, owing to flaws in the live recordings made in Boston and New York City in late 1965 and early 1966. The album's producers retained the essence of a live album by including song patter and audience reactions between and during the songs. Phil Ochs in Concert features many of the folksinger's most enduring songs and represents the culmination of Ochs' folk career, the last of his original albums to be all-acoustic.

Songs
"There but for Fortune", which opens side two of the LP, is perhaps the best-known track. A minor hit for Joan Baez (whom Ochs jokingly credits with its authoring), this song encourages people to count themselves as fortunate, as fate takes its toll on those with broken lives who might have turned out differently under other circumstances, and makes the point that negative things can happen to anyone.

Perhaps the second most known track, "Love Me, I'm a Liberal", is a sarcastic take on the fair-weather politics of mainstream American liberals. It has been covered (often with updated lyrics) many times since its initial release.

The album features one of Ochs' few love songs, "Changes", an image-filled, impressionistic ballad lamenting the loss of his life with someone he loves. "Bracero" is a scathing attack on the plight of migrant workers who cross the border from Mexico to work for a pittance. "Canons of Christianity" attacks the hypocrisy of church teachings and leaders. "Cops of the World" paints a portrait of America as invaders who want to impose their values and ways of life on the world, doing anything they please, expecting everybody else to comply. "Santo Domingo" depicts the 1965-66 U.S. occupation of the Dominican Republic as a ruthless imperialist adventure. "Ringing of Revolution" presents a utopian vision of proletarian conquest and marks one of the earliest recorded political references to Ronald Reagan in music.

The album opener, "I'm Going to Say It Now", is in the voice of an idealistic college student towards the adults running the school, forcefully but respectfully asserting his right to speak his mind. The final song on the album, "When I'm Gone," is a prescient, sad ode to the shortness of life and the pressing need to fight for social justice while you can.

Track listing
All songs written by Phil Ochs.

Side one
 * 1) "I'm Going to Say It Now" – 2:46
 * 2) "Bracero" – 3:57
 * 3) "Ringing of Revolution" – 5:30
 * 4) "Is There Anybody Here?" – 3:17
 * 5) "Canons of Christianity" – 4:22

Side two
 * 1) "There but for Fortune" – 2:35
 * 2) "Cops of the World" – 4:45
 * 3) "Santo Domingo" – 3:48
 * 4) "Changes" – 4:30
 * 5) "Love Me, I'm a Liberal" – 3:46
 * 6) "When I'm Gone" – 3:51

Personnel
According to the LP's liner notes, except where noted:

 * Phil Ochs – vocals, guitar

Production
 * Mark Abramson – producer
 * Jac Holzman – producer
 * David B. Jones – engineer

Additional personnel
 * Joel Brodsky – photography (liner photo)
 * William S. Harvey – art direction (cover design)
 * Dan Kramer – photography

title: Phil Ochs in Concert


text:
Faucit

Faucit is the surname of several people:

 * John Faucit Saville (1783?–1853), English actor, known as Mr Faucit
 * Harriet Elizabeth Savill (1789–1857), English actress, known as Mrs Faucit
 * Helena Faucit (1817–1898), English actress

title: Faucit


text:
Caudate

Caudate (Latin for "tail") may refer to:

 * Caudate nucleus
 * Caudate leaf shape
 * Caudate lobe of liver
 * Cauda equina
 * A salamander (which is any member of the order Caudata)

title: Caudate


text:
VC10 (disambiguation)

VC10 or VC-10 may refer to:

 * Vickers VC10, a British jet airliner
 * VC-10 Challengers, a former United States Navy aircraft squadron
 * Korg VC-10, an analogue vocoder from the 1970s
 * Super VC-10 Hap, a species of fish
 * MAX Machine, a home computer
 * Akpeteshie, a Ghanaian spirit
 * Visual C++ 2010, the 2010 edition of Microsoft Visual C++, a software integrated development environment

title: VC10 (disambiguation)


text:
Birch bark manuscript

Birch bark manuscripts are documents written on pieces of the inner layer of birch bark, which was commonly used for writing before the mass production of paper. Evidence of birch bark for writing goes back many centuries and appears in various cultures. The oldest such manuscripts are the numerous Gandhāran Buddhist texts from approximately the 1st century CE, from what is now Afghanistan. They contain among the earliest known versions of significant Buddhist scriptures, including a Dhammapada, discourses of Buddha that include the Rhinoceros Sutra, Avadanas and Abhidharma texts.

Sanskrit birch bark manuscripts written with Brahmi script have been dated to the first few centuries CE. Several early Sanskrit writers, such as Kālidāsa (c. 4th century CE), Sushruta (c. 3rd century CE), and Varāhamihira (6th century CE) mention its use for manuscripts. The bark of Betula utilis (Himalayan Birch) is still used today in India and Nepal for writing sacred mantras. Russian texts discovered in Veliky Novgorod have been dated to approximately the 9th to 15th century CE. Most of those documents are letters written by various people in the Old Novgorod dialect. The Irish language's native writing system Ogham, sometimes called the "tree alphabet", was traditionally attributed to the god Ogma who wrote a proscription on birch to Lugh, warning him; the text of this proscription can be found in the Book of Ballymote. The first letter of Ogham is beith; beithe means "birch".

Gandhāran Buddhist manuscripts
Buddhist manuscripts written in the Gāndhārī language are likely the oldest extant Indic texts, dating to approximately the 1st century CE. They were written on birch bark and stored in clay jars. The British Library acquired them in 1994. They were written in Kharoṣṭhī and were believed to have originated from Afghanistan, because similar birch bark manuscripts had been discovered in eastern Afghanistan. Since 1994, a similar collection of Gāndhārī texts from the same era, called the Senior collection, has also surfaced.

The British Library birch bark manuscripts were in the form of scrolls. They were very fragile and had already been damaged. They measured five to nine inches wide, and consisted of twelve- to eighteen-inch long, overlapping rolls that had been glued together to form longer scrolls. A thread sewn through the edges helped to hold them together. The script was written in black ink. The manuscripts were written on both sides of the scrolls, beginning at the top on one side, continuing with the scroll turned over and upside down, so that the text concluded at the top and back of the scroll. The longest intact scroll from the British Library collection is eighty-four inches long.

The texts were likely compiled by the Dharmaguptaka sect and probably "represent a random but reasonably representative fraction of what was probably a much larger set of texts preserved in the library of a monastery of the Dharmaguptaka sect in Nagarāhāra", according to Richard Salomon. The collection includes a variety of known commentaries and sutras, including a Dhammapada, discourses of Shakyamuni Buddha that include the Rhinoceros Sutra, avadānas, and abhidharma texts.

The condition of the scrolls indicates that they were already in poor condition and fragments by the time they were stored in the clay jars. Scholars concluded that the fragmented scrolls were given a ritual interment, much like Jewish texts stored in a genizah.

Sanskrit and Brāhmī manuscripts
The bark of Betula utilis (Himalayan Birch) has been used for centuries in India for writing scriptures and texts in various scripts. Its use was especially prevalent in historical Kashmir. Use of bark as paper has been mentioned by early Sanskrit writers such as Kalidasa (c. 4th century CE), Sushruta (c. 3rd century CE), and Varahamihira (6th century CE). In Kashmir, early scholars recounted that all of their books were written on Himalayan birch bark until the 16th century.

A fragment of a birch bark scroll in Sanskrit, in the Brāhmī script, was part of the British Library Gandhara scroll collection. It is presumed to be from North India, dating to sometime during the first few centuries CE. Birch bark manuscripts in Brāhmī script were discovered in an ancient Buddhist monastery in Jaulian, near Taxila in the Punjab in Pakistan, and dated to the 5th century CE.

The Bakhshali manuscript consists of seventy birch bark fragments written in Sanskrit and Prakrit, in the Śāradā script. Based on the language and content, it is estimated to be from the 2nd to 3rd century CE. The text discusses various mathematical techniques.

A large collection of birch bark scrolls were discovered in Afghanistan during the civil war in the late 20th and early 21st centuries, possibly in the Bamiyan Caves. The approximately 3,000 scroll fragments are in Sanskrit or Buddhist Sanskrit, in the Brāhmī script, and date to a period from the 2nd to 8th century CE.

The Bower Manuscript is one of the oldest Sanskrit texts on birch bark in the Brāhmī script. It includes several texts covering subjects including a medical treatise and proverbs. It was discovered in Kucha (currently in Aksu Prefecture in Xinjiang, China), an ancient Buddhist kingdom on the northern Silk Road, and is estimated to be from around 450 CE.

The Gilgit Manuscripts were Buddhist texts discovered in the Gilgit area of Pakistan in 1931 and include various sutras, including the Lotus Sutra, along with folk tales, medicine, and philosophy. They are dated to approximately the 5th to 6th centuries AD, and were written in Buddhist Sanskrit in the Śāradā script.

Manuscripts containing the Devīkavaca text, a hymn praising the goddess Durga, were thought to protect the person who carries them from evil influences like an amulet or charm. An example of one of these texts in Devanagari script from Nepal is held at Cambridge University Library (MS Add. 1578).

Birch bark is still used in some parts of India and Nepal for writing sacred mantras. This practice was first mentioned c. 8th or 9th century CE, in the Lakshmi Tantra.

In Indian sculpture, a birch bark manuscript is easily identified by the droop. A palm leaf manuscript is stiff.

Old Slavonic script
On July 26, 1951, during excavations in Novgorod, an expedition led by Artemiy Artsikhovsky discovered the first birch bark manuscripts in Russia in a stratigraphic layer dated to around the year 1400. Since then, more than 1,000 similar documents were discovered in Staraya Russa, Smolensk, Polatsk, Vitebsk, Mstsislaw, Torzhok, Pskov, Tver, Moscow, Ryazan, and Vologda, although Novgorod remains by far the most prolific source of them. In Ukraine, birch bark documents were found in Zvenyhorod, Volynia; while those from Belarus was unearthed in Vitebsk.

The contents of the birch bark writings included not only religious writings but also document death of princes, conclusions of peace, dignitary arrivals, folk verses and local proverbs, even casual doodles. While legal related matters include accusations, witnesses and the procedure of evidence, payments and fines, theft, fraud as well as wife-beating. One mundane personal writing reads "Sell the house and come to Smolensk or Kiev; bread is cheap; if you cannot come, write to me about your health. The document №752 stratigraphically dated as 1080–1100 AD is a passionate letter of an abandoned young woman torn in two and thrown away (by her addressee?).

The late discovery of birch documents, as well as their amazing state of preservation, is explained by a deep culture layer in Novgorod (up to eight meters, or 25 feet) and heavy waterlogged clay soil which prevents the access of oxygen. Serious excavations in Novgorod started only in 1932, although some attempts had been made in the 19th century.

Although their existence was mentioned in some old East Slavic manuscripts (along with a mention of Slavs writing upon "white wood" by Ibn al-Nadim), the discovery of birch bark documents (берестяна́я гра́мота, berestyanáya grámota, and also grámota in those documents) significantly changed the understanding of the cultural level and language spoken by the East Slavs between the 11th and 15th centuries. Over two hundred styluses have also been found, mostly made of iron, some of bone or bronze.

According to historians Valentin Yanin and Andrey Zaliznyak, most documents are ordinary letters by various people written in what is considered to be a vernacular dialect. The letters are of a personal or business character. A few documents include elaborate obscenities. Very few documents are written in Old Church Slavonic and only one in Old Norse. The school exercises and drawings by a young boy named Onfim have drawn much attention.

The document numbered 292 from the Novgorod excavations (unearthed in 1957) is the oldest known document in any Finnic language. It is dated to the beginning of the 13th century. The language used in the document is thought to be an archaic form of the language spoken in Olonets Karelia, a dialect of the Karelian language. For details and full text, see Birch bark letter no. 292.

Example
Novgorod birch-bark letter №366, about 1360-1380 A.D. Case of trampled wheat, release.

Original text (with added word division): сь урѧдѣсѧ ѧковь съ гюргьмо и съ харѣтономъ по бьсудьнои грамотѣ цто былъ возѧлъ гюргѣ грамоту в ызьѣжьнои пьшьнѣцѣ а харѣтоно во проторѣхо своѣхъ и возѧ гюрьгѣ за вьсь то рубьль и трѣ грѣвоны и коробью пьшьнѣцѣ а харѣтонъ возѧ дьсѧть локотъ сукона и грѣвону а боль не надобѣ гюрьгю нѣ харѣтону до ѧкова нѣ ѧкову до гюргѧ нѣ до харитона а на то рѧдьцѣ и послусѣ давыдъ лукѣнъ сынъ и сьтьпанъ таишѣнъ

Translation (with explanations in square brackets): Here, Yakov has settled with Gyurgiy and with Khariton by courtless deed Gyurgiy has gotten [at court] concerning trampled [by horses] wheat and Khariton concerning his loss. Gyurgiy got one rouble [money], three grivnas [money], and basket [measure] of wheat for all that, and Khariton got ten cubits of cloth and one grivna. And Gyurgiy and Khariton have no more concern to Yakov, nor Yakov to Gyurgiy and Khariton. And arrangers and perceivers to that are Davyd, son of Luka, and Stepan Taishin.

Soviet Union
There are birch bark letters written in the 20th century, most notably by victims of the repressions of the Soviet Stalinist regime. People in Soviet forced settlements and GULAG camps in Siberia used strips of birch bark to write letters to their loved ones back home, due to inaccessibility of paper. Examples of these letters from Latvian victims of the Soviet regime are included in the UNESCO "Memory of the World" heritage list. During World War II, propaganda newspapers and leaflets published by guerilla fighters were sometimes printed on birch bark due to shortage of paper.

title: Birch bark manuscript


text:
Internal jugular vein

The internal jugular vein is a paired jugular vein that collects blood from the brain and the superficial parts of the face and neck. This vein runs in the carotid sheath with the common carotid artery and vagus nerve.

It begins in the posterior compartment of the jugular foramen, at the base of the skull. It is somewhat dilated at its origin, which is called the superior bulb.

This vein also has a common trunk into which drains the anterior branch of the retromandibular vein, the facial vein, and the lingual vein.

It runs down the side of the neck in a vertical direction, being at one end lateral to the internal carotid artery, and then lateral to the common carotid artery, and at the root of the neck, it unites with the subclavian vein to form the brachiocephalic vein (innominate vein); a little above its termination is a second dilation, the inferior bulb.

Above, it lies upon the rectus capitis lateralis, behind the internal carotid artery and the nerves passing through the jugular foramen. Lower down, the vein and artery lie upon the same plane, the glossopharyngeal and hypoglossal nerves passing forward between them. The vagus nerve descends between and behind the vein and the artery in the same sheath (the carotid sheath), and the accessory runs obliquely backward, superficial or deep to the vein.

At the root of the neck, the right internal jugular vein is a little distance from the common carotid artery, and crosses the first part of the subclavian artery, while the left internal jugular vein usually overlaps the common carotid artery.

The left vein is generally smaller than the right, and each contains a pair of valves, which exist about 2.5 cm above the termination of the vessel.

Variation
In 9–12% of the Western population, the size, shape or course of the internal jugular vein is abnormal. Variants identified including veins markedly smaller, or not functionally present. The mean diameter is 10 mm, but may range between 5 and 35 mm.

Tributaries

 * Inferior petrosal sinus
 * Pharyngeal vein
 * Common facial vein
 * Lingual vein
 * Superior thyroid vein
 * Middle thyroid vein
 * Occipital vein (sometimes)

Clinical relevance
The jugular veins are relatively superficial and not protected by tissues such as bone or cartilage. This makes them susceptible to damage. Due to the large volumes of blood that flow through the jugular veins, damage to the jugulars can quickly cause significant blood loss, which can lead to hypovolæmic shock and then death if not treated.

Jugular venous pressure
As there is one pair of valves between the right atrium of the heart and the internal jugular, blood can flow back into the internal jugular when the pressure in the atrium is sufficiently high. This can be seen from the outside, and allows one to estimate the pressure in the atrium. The pulsation seen is called the jugular venous pressure, or JVP. This is normally viewed with the patient at 45 degrees turning his/her head slightly away from the observer. The JVP can be raised in a number of conditions:
 * right ventricular failure (heart failure),
 * tricuspid stenosis
 * tricuspid regurgitation
 * cardiac tamponade

The JVP can also be artificially raised by applying pressure to the liver (the hepatojugular reflux). This method is used to locate the JVP and distinguish it from the carotid pulse. Unlike the carotid pulse, the JVP is impalpable.

Catheterization
As the internal jugular is large, central and relatively superficial, it is often used to place central venous lines. Such a line may be inserted for several reasons, such as to accurately measure the central venous pressure or to administer fluids when a line in a peripheral vein would be unsuitable (such as during resuscitation when peripheral veins are hard to locate).

Because the internal jugular rarely varies in its location, it is easier to find than other veins. However, sometimes when a line is inserted the jugular is missed and other structures such as the carotid artery, lung or the vagus nerve (CN X) are punctured, and damage is caused to these structures.

title: Internal jugular vein


text:
External jugular vein

The external jugular vein receives the greater part of the blood from the exterior of the cranium and the deep parts of the face, being formed by the junction of the posterior division of the retromandibular vein with the posterior auricular vein.

Structure
It commences in the substance of the parotid gland, on a level with the angle of the mandible, and runs perpendicularly down the neck, in the direction of a line drawn from the angle of the mandible to the middle of the clavicle superficial to the sternocleidomastoideus.

In its course it crosses the sternocleidomastoideus obliquely, and in the subclavian triangle perforates the deep fascia, and ends in the subclavian vein lateral to or in front of the scalenus anterior, piercing the roof of the posterior triangle.

It is separated from the sternocleidomastoideus by the investing layer of the deep cervical fascia, and is covered by the platysma, the superficial fascia, and the integument; it crosses the cutaneous cervical nerve, and its upper half runs parallel with the great auricular nerve.

Valves
It is provided with two pairs of valves, the lower pair being placed at its entrance into the subclavian vein, the upper in most cases about 4 cm above the clavicle. The portion of vein between the two sets of valves is often dilated, and is termed the sinus.

These valves do not prevent the regurgitation of the blood, or the passage of injection from below upward.

Variation
The external jugular vein varies in size, bearing an inverse proportion to the other veins of the neck, it is occasionally double.

Function
This vein receives the occipital occasionally, the posterior external jugular, and, near its termination, the transverse cervical, transverse scapular, and anterior jugular veins; in the substance of the parotid, a large branch of communication from the internal jugular joins it.

The external jugular vein drains into the subclavian vein lateral to the junction of the subclavian vein and the internal jugular vein.

Clinical significance
The external jugular is a large vein used in prehospital medicine for venous access when the Paramedic is unable to find another peripheral vein It is commonly used in cardiac arrest or other situations where the patient is unresponsive due to the pain associated with the procedure. In a cardiac arrest using this vein has the advantage that the paramedic can stay at the head and intubate the patient as well. Although many EMTs and paramedics use this vein, the American Heart Association still recommends the use of the cephalic vein.

title: External jugular vein


text: User talk:68.66.22.233

title: User talk:68.66.22.233


text:
Across the River and into the Trees

Across the River and Into the Trees is a novel by American writer Ernest Hemingway, published by Charles Scribner's Sons in 1950, after first being serialized in Cosmopolitan magazine earlier that year. The title is derived from the last words of U.S. Civil War Confederate General Thomas J. "Stonewall" Jackson: “Let us cross over the river and rest under the shade of the trees.”

Hemingway's novel opens with Colonel Richard Cantwell, a 50-year-old US Army officer, duck hunting near Venice, Italy at the close of World War II. It is revealed that Cantwell has a terminal heart condition, and most of the novel takes the form of a lengthy flashback, detailing his experiences in Italy during World War I through the days leading up to the duck hunt. The bulk of the narrative deals with his star-crossed romance with a Venetian woman named Renata who is over thirty years his junior.

During a trip to Italy not long before writing the novel, Hemingway met young Adriana Ivancich, with whom he became infatuated, and he used her as the model for the female character in the novel. The novel's central theme is death, and, more importantly, how death is faced. One biographer and critic sees a parallel between Hemingway's Across the River and Into the Trees and Thomas Mann's Death in Venice.

Hemingway described Across the River and into the Trees, and one reader's reaction to it, using "Indian talk": "Book too much for him. Book start slow, then increase in pace till it becomes impossible to stand. I bring emotion up to where you can’t stand it, then we level off, so we won’t have to provide oxygen tents for the readers.  Book is like engine.  We have to slack her off gradually."

Written in Italy, Cuba, and France in the late 1940s, it was the first of his novels to receive negative press and reviews. It was nonetheless a bestseller in America, spending 7 weeks at the top of The New York Times bestseller's list in 1950, and was, in fact, Hemingway's only novel to top the list. In recent years, the novel has been received more positively.

Plot summary
The first chapter of Across the River and Into the Trees begins with a frame story depicting 50-year-old Colonel Richard Cantwell duck hunting in the Marano Lagoon, between Venice and Trieste in the present, taking place during the closing days of World War II. It is eventually revealed that Cantwell, referred to throughout the book simply as Colonel, has a terminal heart condition. Beginning in the second chapter, the book is presented primarily through a flashback narrative of the Colonel's experiences during both World Wars, from his service in the Italian army during World War I, to his time in the American Army, ascending to general before being demoted to colonel. Hemingway provides great detail in describing Italy, from its landscape to its food and drink.

The primary narrative of the book focuses on the Colonel's romance with the 18-year-old Venetian Renata, whom he calls Daughter. Renata is aware of the Colonel's terminal illness, and the book details how both characters come to terms with the Colonel's impending death. Many of the Colonel's wartime memories are revealed as stories he tells to Renata, who wants to "share" in his experiences.

The novel ends with Cantwell suffering a fatal series of heart attacks as he leaves Venice after the duck hunt, on the same day as the book began. Shortly before dying, the Colonel recounts to his driver Stonewall Jackson's last words, from which the novel draws its name: "No, no, let us cross over the river and rest under the shade of the trees." The final scene shows the driver reading a note the Colonel had given him, indicating that his belongings should be given to their "rightful owner", Renata.

Background and publication
Ernest Hemingway first met A. E. Hotchner, who later became a close friend, in 1948 when Hotchner, recently released from the Air Force, had taken a job with Cosmopolitan Magazine as a "commissioned agent." Hemingway's name was on the list of authors Hotchner was to contact, so he went to Cuba, asked for a meeting (Hemingway took him to a bar), and for a short article. Hemingway did not write an article, but he did submit his next novel Across the River and into the Trees to Hotchner, which Cosmopolitan then serialized in five installments. The protagonist is generally considered to have been based loosely on a friend of Hemingway, Charles T. Lanham, with components of the character also being autobiographically based on the author himself.

Hemingway worked on the book from 1949 to 1950 in four different places: he started writing during the winter of 1949 in Italy at Cortina D'Ampezzo; continued upon his return home to Cuba; finished the draft in Paris; and completed revisions in Venice in the winter of 1950.

In the fall of 1948, he arrived in Italy and visited Fossalta where in 1918 he had been wounded. A month later, while duck hunting with an Italian aristocrat he met 18-year-old Adriana Ivancich. He and his then-wife Mary then went to Cortina to ski: she broke her ankle and, bored, Hemingway began the draft of the book. Hemingway himself then became ill with an eye infection and was hospitalized. In the spring he went to Venice where he ate lunch with Adriana a few times. In May he returned to Cuba and carried out a protracted correspondence with her while working on the manuscript. In the autumn he returned to Europe and he finished the draft at the Ritz in Paris. Once done, he and Mary went again to Cortina to ski: for the second time she broke her ankle and he contracted an eye infection. By February the first serialization was published in Cosmopolitan. The Hemingways returned to Paris in March and then home to Cuba where the final proofs were read before the September publication.

Cosmopolitan Magazine serialized Across the River and Into the Trees from February to June 1950. Adriana Ivancich designed the dust jacket of the first edition, although her original artwork was redrawn by the Scribner's promotions department. The novel was published by Scribner's on 7 September 1950 with a first edition print run of 75,000, after a publicity campaign that hailed the novel as Hemingway's first book since the publication of his 1940 Spanish Civil War novel For Whom the Bell Tolls.

Writing style and genre
Hemingway started as a journalist and writer of short stories, and Baker suggests that he thus learned how to "get the most from the least, how to prune language, how to multiply intensities, and how to tell nothing but the truth in a way that allowed for telling more than the truth". The style is known as the Iceberg Theory because in Hemingway's writing the hard facts float above water; the supporting structure, complete with symbolism, operates out-of-sight. The concept of the iceberg theory is sometimes referred to as the "theory of omission." Hemingway believed that a writer could describe one thing, while an entirely different thing occurs below the surface. Baker calls Across the River and into the Trees a "lyric-poetical novel" in which each scene has an underlying truth presented via symbolism. According to Meyers, an example of omission is that Renata, like other heroines in Hemingway's fiction, suffers a major "shock"—the murder of her father and the subsequent loss of her home—to which Hemingway alludes only briefly. Hemingway's pared-down narrative forces the reader to solve connections—as Stoltzfus has written: "Hemingway walks the reader to the bridge that he or she must cross alone without the narrator's help."

Across the River and into the Trees is constructed so that time is seemingly compressed and differentiated between present and past – as one critic says, "memory and space-time coalesce." To move Cantwell into the extended flashback, Hemingway uses the word "boy" as a bridge between time-present and time-past. The dialogue stays in the present tense, despite the time shifts, according to Stoltzfus, and the word "now" is repeated to "reinforce the illusion".

Themes
Cantwell, a 50-year-old military officer in love with the teenaged Renata, (whose name means "reborn"), is shown unlikeable as a character; one critic writes of him that his "lovemaking is described in terms of an infantry attack over difficult terrain". He is dying of heart disease and his relationship with Renata can be interpreted as a means of seeking youth or immortality. Hemingway biographer Jeffrey Meyers believes Renata represents the city of Venice, she "connected" Cantwell (and Hemingway) to Italy, and in her characterization Hemingway romanticized what may have been a father-daughter relationship and he says Hemingway probably used Cantwell's fictional relationship with Renata as a substitute for his own relationship with Adriana, who looked almost identical to Renata's description.

Hemingway biographer Carlos Baker says Hemingway captured the theme of "the three ages of man," and in writing the book he finally objectified his own youthful traumatic war experiences. Baker sees a thematic parallel between Thomas Mann's Death in Venice and Across the River and into the Trees, presented in a series of commonalities and differences. Death in Venice is set in the summer on Venice's Lido; Hemingway puts Cantwell in Venice in the winter. Mann's protagonist is a writer; Hemingway's a soldier. Both faced death, and in the face of death sought solace in a much younger character. Cantwell reminisces about the past while Renata (an 18-year-old countess with whom Cantwell spends the last days of his life) lives in the present. Cantwell says that "Every day is a new and fine illusion" where a kernel of truth can be found. Cantwell is a character in opposition: a tough soldier yet a tender friend and lover. The two Cantwells at times overlap and bleed into one another. Hemingway added yet another layer in the characterization: 50-year-old Cantwell in his dying day is "in an intense state of awareness" of his younger self of 1918 to the point that meld – yet retain the differences wrought by time.

Charles Oliver writes the novel shows a central Hemingway theme of "maintaining control over one's life, even in the face of terrible odds." Cantwell knows he is dying and faces death "with the dignity which he believes he has maintained throughout his military service." Oliver thinks the two male characters, Cantwell and Alvarito, have an unstated understanding – both men love Renata, but Cantwell accepts and is happy to know Renata will almost certainly marry Alvarito. Within hours of dying, he says to himself: "You have said goodbye to your girl and she has said goodbye to you. That is certainly simple". The theme of death is central in Hemingway's writings and his characters routinely achieve redemption at the moment of death, which can be seen as a form of existentialism. Jean-Paul Sartre believed to face death well is to live a heightened existence.

Jackson Benson writes that how a writer transforms biographical events into art is more important than looking for connections between Hemingway's life and his fiction. He believes autobiographical events may have a "very tenuous relationship" with the fiction similar to a dream from which a drama emerges. Hemingway's later fiction, Benson writes "is like an adolescent day-dream in which he acts out infatuation and consummation, as in Across the River." Meyers agrees that parallels exist between Hemingway and Colonel Cantwell, but he sees more similarities with Hemingway's friend of many decades "Chink" Dorman-Smith, whose military career was undermined causing his demotion. Benson believes Hemingway used autobiographical details to work as framing devices to write about life in general—not only about his life. For example, Benson postulates that Hemingway used his experiences and drew them out further with "what if" scenarios: "what if I were wounded in such a way that I could not sleep at night? What if I were wounded and made crazy, what would happen if I were sent back to the front?" For example, he describes Hemingway's experiences in the World War II battle of the  Battle of Hürtgen Forest succinctly as "Passchendaele with tree bursts."

Hemingway himself stated that Cantwell was based on three men: close friend and mercenary Charles Sweeny, American officer "Buck" Lanham, and most importantly, himself.

Reception
It was met with an unenthusiastic critical reception, one critic, J. Donald Adams writing in The New York Times, describing it as “one of the saddest books I have ever read; not because I am moved to compassion by the conjunction of love and death in the Colonel's life, but because a great talent has come, whether for now or forever, to such a dead end”. Only a few contemporary critics praised the novel. John O'Hara wrote in The New York Times; "The most important author living today, the outstanding author since the death of Shakespeare, has brought out a new novel. The title of the novel is Across the River and Into the Trees. The author, of course, is Ernest Hemingway, the most important, the outstanding author out of the millions of writers who have lived since 1616." Tennessee Williams, in The New York Times, wrote: "I could not go to Venice, now, without hearing the haunted cadences of Hemingway's new novel. It is the saddest novel in the world about the saddest city, and when I say I think it is the best and most honest work that Hemingway has done, you may think me crazy. It will probably be a popular book. The critics may treat it pretty roughly. But its hauntingly tired cadences are the direct speech of a man's heart who is speaking that directly for the first time, and that makes it, for me, the finest thing Hemingway has done."

Williams and O'Hara were among the very few positive contemporary reviews, while negative reviews appeared in more than 150 publications. Critics claimed the novel was too emotional, had inferior prose and a "static plot", and that Cantwell was an "avatar" for Hemingway's character Nick Adams. The novel was also criticized for being an unsuitable autobiography, and for presenting Cantwell as a bitter soldier.

According to Hemingway biographer Carlos Baker, Hemingway was "deeply wounded by the negative reviews" of this novel. Furthermore, Baker explains Hemingway was unaware that those close to him agreed with the majority of critics. For example, his wife Mary, who disapproved of Across the River and into the Trees, said: "I kept my mouth shut. Nobody had appointed me my husband's editor."

Later literary scholars consider the novel better than the contemporary reception. Baker compares it to Shakespeare's Winter's Tale, or The Tempest: not a major work, but one with an "elegiac" tone. Literary biographer Jeffrey Meyers believes the novel shows a new "confessional mode" in Hemingway's work, and that it "would have been hailed as more impressive if it had been written by anyone but Hemingway." Critic Ben Stoltzfus agrees, and he believes Hemingway's structure is more comprehensible for the modern reader—exposed to the Nouveau roman—than for those of the mid-20th century.

Film adaptation
In 2016, it was announced that a feature film based upon the novel was being developed with producers Kirstin Roegner and John Smallcombe. Filming started in Venice, Italy on December 9, 2020, with Liev Schreiber in the lead role and Paula Ortiz directing. The film debuted at the Sun Valley Film Festival on March 30, 2022.

title: Across the River and into the Trees


text:
Threnody to the Victims of Hiroshima

Threnody to the Victims of Hiroshima, also translated as Threnody for the Victims of Hiroshima (Tren pamięci ofiar Hiroszimy), is a musical composition for 52 string instruments composed  in 1961 by Krzysztof Penderecki. Dedicated to the residents of Hiroshima killed and injured by the first-ever wartime usage of an atomic weapon, the composition won the Tribune Internationale des Compositeurs UNESCO prize that same year.

Description
The 52 string instruments indicated in the piece's full title are 24 violins, 10 violas, 10 cellos and 8 double basses. The piece's written length is about 8 minutes and 37 seconds. Originally called 8'37", the piece applies the sonoristic technique which tends to focus on specific characteristics and qualities of timbre, texture, articulation, dynamics, and motion in an attempt to create freer form, and rigors of specific counterpoint to an ensemble of strings treated to unconventional scoring. Penderecki's stated intent with the composition was to "develop a new musical language". Penderecki later said, "It existed only in my imagination, in a somewhat abstract way." When he heard an actual performance, "I was struck by the emotional charge of the work ... I searched for associations and, in the end, I decided to dedicate it to the Hiroshima victims".

The 52 string instruments meld together in sonoristic manipulation and counterpoint in a manner which, according to reviewer Paul Griffiths, makes the listener "uneasy by choosing to refer to an event too terrible for string orchestral screams". Threnody's sustained tone clusters and various extended techniques – including a riot of varying vibrato, slapped instruments, playing on the tailpiece and behind the bridge – are matched by an optical notation full of thick black lines. At times Penderecki takes an aleatoric approach, offering the players a choice of techniques or demanding irregular degrees of vibrato. The piece is also marked by a considerable rigor in its timing indications, notated in seconds, as well as specific note clusters and the use of quarter tones, clustered pitches and sound mass which accumulates in a reservoir of hypertonality.

Usage in media
Excerpts from Threnody to the Victims of Hiroshima have been used in Alfonso Cuarón's 2006 film Children of Men, Wes Craven's 1991 social thriller The People Under the Stairs,  the third season of David Lynch and Mark Frost's TV series Twin Peaks,  and Gerry Anderson's 1969 film Journey to the Far Side of the Sun. In music, excerpts from Threnody to the Victims of Hiroshima are sampled in one version of Manic Street Preachers's 1991 song You Love Us and in SebastiAn's 2010 release Bird Games.

title: Threnody to the Victims of Hiroshima


text:
Alim Khan

Alim Khan may refer to:

 * Alim Khan (Kokand) (c. 1774–c. 1810), Khan of Kokand 1801–1810
 * Sayyid Mir Muhammad Alim Khan (1880–1944), last emir of the Manghud dynasty 1911–1920

title: Alim Khan


text:
PGA Tour of Australasia

The PGA Tour of Australasia, currently titled as the Challenger PGA Tour of Australasia for sponsorship reasons, is a professional golf tour for men, owned and operated by the PGA of Australia. Official events on the tour count for World Golf Ranking points. The tour is recognised as being founded in 1973 when the PGA of Australia instituted an Order of Merit. Despite always including at least one tournament in New Zealand, the tour was known as the PGA Tour of Australia until it adopted its current name in 1991 following the inclusion of three events in Asia.

Most of the leading players on the tour are Australian, with a smaller domestic contingent from New Zealand, but players from many other countries all over the world also participate. The very best Australasian players devote most of their time to the PGA Tour or the European Tour, typically returning home for events after the European and North American seasons end in mid-November, if they choose to play tournaments at home. Therefore, the Australasian Tour is a feeder for the larger tours. Some of the leading events are co-sanctioned by the European Tour to encourage higher ranked players to enter and to attract more sponsorship. Players with a background on the tour who have reached the world top 20 since the turn of the Millennium include Steve Elkington and Adam Scott. The leading tournaments on the tour include the Australian Open, the Australian PGA Championship, the Australian Masters and the New Zealand Open.

In November 2005 it was reported by the BBC that the tour was going through difficult times, with the schedule for the 2005/06 summer season reduced to six events, three of them co-sponsored by other tours. The Heineken Classic, which was the richest event in Australasia in 2005, was cancelled in 2006 due to the withdrawal of the sponsor. One factor in the tour's problems is the rise of the nearby Asian Tour. Tour chairman Wayne Grady, and player Mark Hensby both accused Australia's biggest golf icon Greg Norman, who is a US resident, of not doing enough to support the tour. Norman dismissed their comments.

To earn a PGA Tour of Australasia card, one must place in the top 40 of the tour's qualifying school. To retain a Tour card, a golfer must finish in the top 60 of the Order of Merit. Golfers ranked 61st–75th are given conditional status and those ranked 61st to 100th are given entry to the final stage of Q School. Those outside the top 100 lose their Tour cards unless exempt by other means, such as top twenty on the career money list.

A win earns a two-year exemption for most events. Events considered Tier 1 are given three-year exemptions. Five-year exemptions are given to Order of Merit winners and the tour's three largest events (Australian PGA Championship, Australian Open, and Australian Masters). Entry to The Open Championship is given to the Order of Merit winner and the top three non-exempt players from the Australian Open.

The top three players on the Order of Merit at the end of the season earn status to play on the European Tour for the following season.

OneAsia Tour
In January 2009, it was announced that there would be a new series of events across the Asia-Pacific region, to be organised by the PGA Tour of Australasia in co-operation with China Golf Association, the Japan Golf Tour, the Korean Golf Association and the Korean PGA. The aim of these events would be to raise the profile of professional golf in the region, and compete with the likes of the European Tour. The series would initially consist of six events, three in China, two in Australia and one in South Korea, with plans to expand to at least thirteen in 2010 as events in Japan were added, and over 20 by 2011.

The introduction of the OneAsia series has not been universally welcomed, with strong opposition coming from the Asian Tour in particular, with support from its members. All of the six events announced for 2009 were existing tournaments, including some already sanctioned by the Asian Tour. One of them, the Pine Valley Beijing Open, was called off a few weeks before it was due to be held. The organisers officially attributed this decision to the state of the course and a clash of dates with The Players Championship on the US-based PGA Tour, but some media commentators dismissed these reasons since the tournament had clashed with the Players Championship the previous year as well, and attributed the cancellation to sponsor discontent with the sanctioning changes.

OneAsia was discussed at the annual meeting of the International Federation of PGA Tours during the 2009 Masters Tournament. The Series would need to become a member of the Federation if it wishes to be able to award Official World Golf Ranking points in its own right. Points are currently available in all events due to those conferred by the PGA Tour of Australasia and the European Tour, as the Chinese and Korean tours are not Federation members. Under present arrangements it is unlikely that any new tournaments launched by OneAsia will receive ranking points, and could prove difficult to attract top players without them. At the meeting OneAsia and the Asian Tour both claimed that the game's powerbrokers understood the strength of their case, but neither received any public endorsements from the others members.

Schedule
PGA Tour of Australasia events have mainly been held in Australia and New Zealand although in past seasons, tournaments that have been co-sanctioned with other tours, such as the Johnnie Walker Classic, have been held in several other countries, including India and Thailand.

There was a significant increase in the number of regular season tournaments in 2009, following the integration of the former Von Nida Tour events. Typically, only tournaments that were on the tour schedule prior to the merger were eligible for world ranking points. Beginning in 2012, all events will carry world ranking points, with the "State Based and Regional Tournaments" receiving a minimum of 6 points, compared with 16 points for regular events. The tour's flagship event, the Australian Open, awards a minimum of 32 points to the winner.

The tour's richest events are those that are co-sanctioned by the larger global tours, such as the European Tour. The Australian Open, Australian PGA Championship and Fiji International also featured elevated prize funds due to previously being part of the OneAsia Tour.

Australian Triple Crown
In Australia, the Triple Crown also refers to winning the three major domestic championships, the Australian Open, the Australian Masters and the Australian PGA Championship. Winning all three titles in the same season is a feat only achieved by Robert Allenby in 2005.

Von Nida Tour
Between 2003 and 2008, the PGA Tour of Australasia ran a second-tier tour known as the Von Nida Tour (named after Australian golfer Norman Von Nida) which featured around ten events with purses in the region of A$100,000 each. The main tour events took place in the Southern Hemisphere summer, that is late one calendar year and early the next, while the Von Nida Tour events mainly took place in the local spring and autumn. However the money list was calculated for calendar years. From 2009, the Von Nida Tour merged into the PGA Tour of Australasia Tour.

Earlier second-tier tours
Between 2000 and 2001, the PGA Tour of Australasia ran a second-tier tour known as the Development Tour.

title: PGA Tour of Australasia


text:
Roman Catholic Archdiocese of Besançon

The Archdiocese of Besançon (Latin: Archidiœcesis Bisuntina; French: Archidiocèse de Besançon) is a Latin Church ecclesiastical territory or archdiocese of the Catholic Church in France. It comprises the département of Doubs (except for Montbéliard) and the département of Haute-Saône (except for the canton of Héricourt).

The see is currently sede vacante. From 1034 to 1184, the archbishop had civil authority within the Holy Roman Empire as the prince-archbishop of Besançon. He gradually lost his civil power to the town council; the city became the Imperial city of Besançon in 1184. The city was annexed by France in stages, eventually being fully subsumed by France in 1792 during the French Revolution. The Archdiocese of Besançon is a metropolitan see with five suffragan dioceses in its ecclesiastical province: the Dioceses of Belfort-Montbéliard, Nancy, Saint–Claude, Saint-Dié, and Verdun.

Early history of the diocese
Local tradition states that the diocese was evangelized by Saints Ferreolus and Ferrutio (Ferréol and Ferjeux), who were sent here by St. Irenaeus, Bishop of Lyon. According to the Catholic encyclopedia, "Louis Duchesne proved that these legends belong to a chain of narratives forged in the first half of the 6th century and of which the "passion" of St. Benignus of Dijon was the initial link."

During the Middle Ages several popes visited Besançon, among them pope Leo IX who consecrated the altar of the old Cathedral of St. Etienne in 1050, and Eugenius III who in 1148 consecrated the church of St. Jean, the new cathedral. A council was held at Besançon in 1162, presided over by Holy Roman Emperor Frederick Barbarossa, in the interest of the Antipope Victor IV against Pope Alexander III. Guido of Burgundy, who was pope from 1119 to 1123 under the name of Calixtus II, and the Jesuit Claude-Adrien Nonnotte (1711–1793), an adversary of Voltaire, were natives of Besançon.

Later history
St. Peter Fourier (1565–1640), who inaugurated systematic education for girls, was born in the diocese. The miracle attributed to the "Sacred Host of Faverney", during a fire in the year 1608, was annually commemorated by elaborate ceremonies. The places of pilgrimage were Notre Dame du Chêne at Scey; Notre Dame d'Aigremont; the pilgrimage of Saint Peter of Tarentaise at Cirey-les-Bellevaux, where St. Pierre de Tarentaise died in 1174; Notre Dame des Jacobins at Besançon; and Notre Dame de la Motte at Vesoul.

Few 19th-century dioceses have undergone similar territorial changes. The Concordat of 1802 gave the Diocese of Besançon all those districts which, in 1822, constituted the Diocese of St.-Claude. In 1806, Besançon was given jurisdiction over the three parishes of the Principality of Neufchâtel (Switzerland) which fell under the control of the bishopric of Lausanne in 1814. In 1870, after the annexation of Alsace-Lorraine by Germany, the district of Belfort was withdrawn from the bishopric of Strasburg and attached to the diocese of Besançon.

The metropolitan jurisdiction of Besançon also underwent changes. In 1802 its suffragans were the Bishoprics of Dijon and Autun (in Burgundy), Metz, Nancy and Strasbourg (in Alsace-Lorraine). Under the Bourbon Restoration, Dijon and Autun were withdrawn from Besançon, which became the metropolitan of the sees of Saint-Dié, Verdun and Belley. In 1874, after the Franco-Prussian War, the churches of Metz and Strasburg were exempt, under the direct control of the Holy See.

On 3 November 1979, Belfort, Montbéliard, and the canton of Héricourt (Haute-Saône) were detached from the diocese of Besançon and constituted into a new autonomous diocese, that of Belfort-Montbéliard.

Abbeys founded from the diocese
The monastery of Luxeuil, founded by St. Columbanus (d. 615), gave to the diocese of Besançon a series of saints. First came the direct successors of St. Columbanus: the Abbot St. Eustasius who founded a celebrated school in this monastery; the Abbot St. Valbert who sent monks to found the Abbeys of St. Valéry, St. Omer, and St. Bertin, and died in 665; the Abbot St. Ingofroid; St. Donatus, who became Bishop of Besançon; and St. Ansegisus, author of a celebrated collection of capitularies.

The Abbey of Lure (in Haute-Saône) was founded at the beginning of the 7th century by St. Déicole (Deicolus), or Desle, disciple of St. Columbanus; later its abbots were princes of the Holy Empire. The Abbey of Beaume les Dames, founded in the 5th century and in which Gontram, King of Burgundy, was buried, was the school where St. Odo, afterwards Abbot of Cluny, studied in the tenth century; at the end of the eighth century there was built near it an abbey for Benedictine nuns, members of the nobility. During the French Revolution the superb church of this abbey was laid waste. Other saints of the Diocese of Besançon include the hermit St. Aldegrin (10th century).

To 1000
According to the Catholic Encyclopedia, "the catalogue of the earliest bishops of Besançon is to be read with caution."

 * Ferreolus 180?–211?
 * Linus
 * Antidius I. c. 267
 * Germanus
 * Maximinus died before 304
 * Paulinus died c. 310
 * Eusebius
 * Hilarius
 * Pancharius (attested 346)
 * Justus c. 362
 * Aegnanus died c. 374
 * Sylvester I 376–396?
 * Anianus (4th century)
 * Fronimius
 * Desideratus
 * Leontius ?–443
 * Chelidonius c. 445, died 451?, deposed by Hilary of Arles
 * Antidius II
 * Chelmegisl
 * Claudius I c. 517
 * Urbicus c. 549
 * Tetradius I c. 560
 * Sylvester II. c. 580
 * Vitalis I
 * St. Rothadius, a monk at Luxeuil and organizer of the monastic life
 * Nicetas died c. 611
 * Protadius 614?–624?
 * St. Donatus, a monk at Luxeuil, wrote a rule for canon priests in his diocese, died 660
 * Migetius
 * Ternatius died c. 680
 * St. Gervase c. 680, died 685)
 * Claudius II, 685, died 693?
 * Felix c. 710
 * Tetradius II died 732
 * Albo c. 742
 * Wandelbert
 * Evrald
 * Arnoul
 * Hervaeus 757–762
 * Saint Gedeon died 796
 * Bernoin 811–829
 * Amalwin 838–840
 * Arduicus 843–872
 * Theoderic I 872–895
 * Berengar 895–831
 * Aymin c. 914
 * Gontier c. 931
 * Gottfried I 944–953
 * Guy 958–970
 * Guichard
 * Leutald 993–994

1000–1300

 * Hektor 1002–1015
 * Walter I 1016–1031
 * Hugh I of Besançon (1031–1067)
 * Hugo II de Montfaucon (died 1085)
 * Hugo III of Burgundy (1085–1101)
 * Hugo IV (1102–1107)
 * Guillaume I de Arguel (1109?–1117)
 * Anseric de Montréal 1117–1134
 * Humbert 1134–1162
 * Walter II 1162–1163
 * Herbert (schismatic) 1163–1170
 * Eberhard de Saint-Quentin 1171–1180
 * Theoderic II. de Montfaucon 1180–1191
 * Etienne de Vienne 1191–1193
 * Amadeus de Tramelay 1197–1220
 * Gerard I. de Rougemont (1221–1225)
 * Jean Allegrin) (1225–1227)
 * Nicolas de Flavigny (1227–1235)
 * Gottfried II. (1236–1241)
 * Jean II. (1242–1244)
 * Guillaume de la Tour (1245–1268)
 * Odo de Rougemont (1269–1301)

1300–1500

 * 1302–1311 : Hugues de Chalon (also prince-bishop of Liège)
 * 1312–1333 : Vital de Maignaut
 * 1333–1355 : Hugues de Vienne
 * 1355–1361 : Jean de Vienne
 * 1361–1362 : Louis de Montbéliard
 * 1363–1370 : Aymon de Villersexel
 * 1371–1391 : Guillaume de Vergy
 * 1391–1404 : Gerard d'Athies
 * 1405–1429 : Thiébaudde Rougemont
 * 1430–1437 : Jean de La Rochetaillée
 * 1437–1438 : François Condomieri
 * 1438–1439 : Jean de Norry
 * 1439–1462 : Quentin Ménard
 * 1462–1498 : Charles de Neufchâtel

1500–1800

 * 1498-1502 : François de Busleyden
 * 1502–1541 : Antoine I. de Vergy
 * 1541–1544 : Cardinal Pierre de la Beaume
 * 1544–1584 : Claude III. de la Beaume (Cardinal in 1578)
 * 1584–1586 : Cardinal Antoine II. de Perrenot
 * 1586–1636 : Ferdinand de Rye
 * 1636–1637 : Francois III. de Rye (Coadjutor from 1623)
 * 1637–1654 : Claude IV. de Achey
 * 1654–1659 : Charles Emanuel de Gorrevot, never consecrated
 * 1659–1662 : Jean Jacques Fauche
 * 1662–1698 : Antoine-Pierre de Grammont
 * 1698–1717 : Francois-Joseph de Grammont
 * 1717–1721 : René de Mornay
 * 1723–1731 : Honoré de Grimaldi
 * 1733–1734 : Antoine-Francois de Bliterswijk-Montcley
 * 1735–1754 : Antoine Pierre II. de Grammont
 * 1754–1774 : Antoine Clairiard de Choiseul de Beaupré (Cardinal in 1761)
 * 1774–1792 : Raymond de Durfort
 * 1791–1793 : Philippe-Charles-François Seguin
 * 1791–1801 : Flavigny
 * 1798–1801 : Demandre

From 1800

 * Claude Le Coz (1802–1815), former constitutional bishop who opposed the Concordat
 * Gabriel Cortois de Pressigny 1817–1823
 * Paul-Ambroise Frère de Villefrancon 1823–1828
 * Louis-François-Auguste de Rohan-Chabot (1828–1833) (Cardinal in 1830)
 * Louis-Guillaume-Valentin DuBourg, P.S.S. 3 Feb 1833 to 12 Dec 1833
 * Jacques-Marie-Adrien-Césaire Mathieu (1834–1875) (Cardinal in 1850), who defended episcopal temporal power, and was a member of the "Opposition" at the First Vatican Council. He opposed strenuously in his diocese the "simultaneous churches" which sprang up throughout the district of Montbéliard where there were many Protestants.
 * Pierre-Antoine-Justin Paulinier 1875–1881
 * Joseph-Alfred Foulon (30 Mar 1882 - 26 May 1887), appointed Archbishop of Lyon (-Vienne) (Cardinal in 1887)
 * Marie-Joseph-Jean-Baptiste-André-Clément-Fulbert Petit 1894–1909
 * François-Léon Gauthey (20 Jan 1910 – 25 Jul 1918)
 * Louis Humbrecht (14 Sep 1918 – 28 Jun 1927)
 * Charles Binet (31 Oct 1927 – 15 Jul 1936) (Cardinal in 1927)
 * Maurice-Louis Dubourg (9 Dec 1936 – 31 Jan 1954)
 * Marcel-Marie-Henri-Paul Dubois (10 Jun 1954 – 2 Jul 1966)
 * Marc-Armand Lallier (26 Aug 1966 – 6 Mar 1980)
 * Lucien Daloz (12 Dec 1980 – 13 Aug 2003)
 * André Jean René Lacrampe, Ist. del Prado (13 Aug 2003 – 25 Apr 2013)
 * Jean-Luc Marie Maurice Louis Bouilleret (17 November 2013 – present)

Reference works

 * (Use with caution; obsolete)
 * (in Latin)
 * (in Latin)

Studies

 * Duchesne, Louis (1915). Fastes episcopaux de l'ancienne Gaule. Vol. III: Les provinces du Nord et de l'Est. . Paris: A. Fontemoing, 1915. (pp. 198-216.)
 * Hours, Henri (ed.) (1999): Fasti Ecclesiae Gallicanae. Répertoire prosopographique des évêques, dignitaires et chanoines des diocèses de France de 1200 à 1500. IV. Diocèse de Besançon. Turnhout, Brepols.
 * Hours, Henri (ed.) (1999): Fasti Ecclesiae Gallicanae. Répertoire prosopographique des évêques, dignitaires et chanoines des diocèses de France de 1200 à 1500. IV. Diocèse de Besançon. Turnhout, Brepols.
 * Hours, Henri (ed.) (1999): Fasti Ecclesiae Gallicanae. Répertoire prosopographique des évêques, dignitaires et chanoines des diocèses de France de 1200 à 1500. IV. Diocèse de Besançon. Turnhout, Brepols.

title: Roman Catholic Archdiocese of Besançon


text:
Old man

Old man, Old Man or The Old Man may refer to:

Basic meanings

 * An elderly man
 * A father
 * A husband
 * Commanding officer of a military unit
 * Captain of a merchant ship or a warship
 * Any male amateur radio operator

People

 * La Chapelle-aux-Saints 1 ("The Old Man"), an almost-complete male Neanderthal skeleton discovered in La Chapelle-aux-Saints, France
 * Leon Trotsky (1879–1940), Bolshevik revolutionary nicknamed the "Old Man" by both supporters and adversaries
 * Richard Benjamin Harrison (1941–2018), American businessman and reality television personality of the series Pawn Stars, nicknamed "The Old Man"
 * Joseph Paruta (1929–1986), member of the Gambino crime family nicknamed "Old Man"
 * Yitzhak Sadeh (1890–1952), Israeli military commander nicknamed "The Old Man"
 * Old Man, the CEO of a company in the RoboCop movies

Literature

 * The Old Man (Gorky play) (Старик), a 1915 play by Maxim Gorky
 * The Old Man (Wallace play), a 1931 play by Edgar Wallace
 * "Old Man", a poem by Edward Thomas
 * "Old Man", a narrative thread in William Faulkner's 1939 novel If I Forget Thee, Jerusalem
 * The Old Man (Perry novel), a 2017 novel by Thomas Perry
 * The Old Man (Trifonov novel) (Старик), a novel by Yuri Trifonov
 * The Old Man and the Sea, a short novel by Ernest Hemingway

Film, television and stage

 * Old Man (film), a 2022 American film
 * The Old Man (1931 film), based on the Edgar Wallace play of the same name
 * The Old Man (2012 film), a 2012 Kazakhstani film
 * The Old Man (2019 film), a 2019 Estonian animated film
 * "The Old Man" (Seinfeld), an episode of the television series Seinfeld
 * The Old Man (TV series), an American thriller drama television series on FX based on the Thomas Perry novel of the same name
 * Old Man, a Primetime Emmy Award–winning television movie based on the "Old Man" narrative thread in William Faulkner's novel If I Forget Thee, Jerusalem
 * Old Man (Playhouse 90), a 1958 American television play
 * The Old Man, a character in the film A Christmas Story

Music

 * Old Man Luedecke, a Canadian indie banjo band

Songs

 * "Old Man" (song) by Neil Young
 * "Old Man", a song by Love, from the album Forever Changes
 * "Old Man", a song by Randy Newman from Sail Away, covered by Art Garfunkel, 1974
 * "Old Man", a song by Clouds, 1970
 * "Old Man", a song by the Collectors, 1967
 * "Old Man", a song by Harrys Gym, 2011
 * "Old Man", a song by John David, 1976
 * "Old Man", a song by Lighthouse, 1972
 * "The Old Man" a song by Irving Berlin, sung by Bing Crosby and Danny Kaye, 1954
 * "The Old Man", a song by Colm C.T. Wilkinson, 1977
 * "The Old Man", a song written by Phil Coulter and sung by John McDermott about a man remembering his father after he has died
 * "The Old Man", a song by the Fureys and Davey Arthur, 1982
 * "The Old Man", a song by Matt Lucas
 * "This Old Man" a children's song

Geography

 * Old Man of the Hills, a mountain in Montana
 * Old Man of the Mountain, a geological formation in New Hampshire
 * Old Man of Hoy, a sea stack in Scotland
 * Old Man of Coniston, a mountain in the Lake District of England
 * Old Man of the Lake, a hemlock tree stump floating in Crater Lake, Oregon

Other

 * Old Man (The Legend of Zelda), a recurring character in The Legend of Zelda video game series
 * old man (magazine), a journal of the Union of Swiss Short Wave Amateurs

title: Old man


text: User talk:65.27.84.104

title: User talk:65.27.84.104


text:
List of districts of Lima

The province of Lima is divided into forty-three districts of Lima (distritos), which are administered by the Metropolitan Municipality of Lima. The urban area of Lima is generally considered to be formed by thirty of these districts. The remaining thirteen districts consist of mostly rural and sparsely populated desert and mountainous areas. Of these peripheral districts, many of the coastal ones serve as beach resorts and their population, which is considerably smaller than that of the urban districts, increases during the summer months.

Districts of Lima
Area and population information on the following list has been retrieved from official data by the Peruvian National Institute of Statistics and Informatics (Instituto Nacional de Estadística e Informática, INEI). Demographic data is based on the 2005 Census, carried out from 18 July through 20 August 2005. Population density is given to one decimal place in persons per square kilometer. UBIGEO numbers are codes used by INEI to identify national administrative subdivisions. Foundation dates have been retrieved from a compilation by the Peruvian Congress published in 2000.

title: List of districts of Lima