title: Pietro Torri

abstract: Pietro Torri was an Italian Baroque composer.

text:
# Pietro Torri

**Pietro Torri** (c.1650 – 6 July 1737) was an Italian Baroque composer.

## Life

Torri was born in Peschiera del Garda. From 1684 to 1688, he served as the organist and choirmaster of the Margrave of Bayreuth, and later entered into the service of the Elector of Bavaria Maximilian II Emanuel. In 1692 he followed the prince with some gentlemen of the court orchestra to the Spanish Netherlands and later settled with them in Brussels where Torri married the daughter of the ballet master François Rodier.

Over the following years he lived in Mons, Namur, Lille, Compiègne, and Valenciennes; where his compositions were performed.

In 1715 he returned to Munich, where he occasionally composed cantatas; and an opera annually. In 1726 Maximilian died, and his son Charles Albert succeeded him to the throne of Bavaria. For this occasion, Torri composed a musical tribute to the new ruler: the allegorical cantata *Bavaria*. This work alluded to an early Bavarian claim to the throne of the Holy Roman Empire. On the death of Giuseppe Antonio Bernabei in 1732, he was finally officially appointed as choirmaster at the court of Bavaria. Charles Albert was elected emperor in 1726 as Charles VII Albert and Torri became a musician at the imperial court. He died in Munich.

## Compositions

His most famous works for voices and orchestra include his Magnificat (for some time erroneously attributed to Johann Sebastian Bach and Antonio Lotti), and*Le Triomphe de la paix*, a cantata celebrating the Treaty of Rastatt (1714).

### Dramatic works

Dramatic works by Pietro Torri
| Title | Genre | Libretto | Date | Place | Occasion |
| --- | --- | --- | --- | --- | --- |
| *L'innocente giustificato* | dramma per musica | Pisani | 1688 | Bayreuth | Birthday of Margravine. |
| *Fetonte* | cantata |  | 1689 Oct/Nov | Munich | Name day of Elector. |
| *Gli oracoli di Pallade e di Nemesi* | serenata (tourney) |  | 6 February 1690 | Munich | Tournament. |
| *L'ambizione fulminata* | opera buffa |  | 1691 | Munich |  |
| *I Preggi della primavera* | serenata | Luigi Orlandi | 1691 May(c.) | Leuchtenberg | For Electress Palatine. |
| *Gli amori di Titone e d'Aurora* | dramatic work |  | 1691 Jul | Munich |  |
| *Le Peripezze della Fortuna* | opera |  | 1695 Jan.? | Brussels? | Marriage of Elector & Electress? |
| *Il Giorno festivo* (attr.) | cantata (tourney) |  | 1695 Oct. | Brussels | Birthday of Electoral Prince. |
| *S. Vinceslao* | oratorio teatrale |  | 1692–1701 | Brussels? |  |
| *Santo Landelino* | oratorio teatrale |  | 1692–1701 | Brussels? |  |
| *Briseide* (attr.) | dramma per musica | Francesco Palmieri | 1696 Feb.? | Hanover | Carnival. |
| *Torneo* ("Figli de' monti") | cantata (tourney) |  | 30 January 1702 | Munich |  |
| *Le Martir des Maccabées* | dramatic oratorio |  | 1707–1714 |  |  |
| *L'Homme endormis* | prologue |  | 17 May 1712 | Namur |  |
| *L'innocenza difesa dai Numi* | opera |  | 1712 | Valenciennes |  |
| *Enone* | pastorale |  | 1713 Sep.? | Dinant? | For Elector of Cologne? |
| *Le Réciproque* | divertissement |  | 1714 May(c.) | Valenciennes |  |
| *Le Triomphe de la Paix* | dramatic cantata |  | 1714(c.) |  | Celebrating Treaty of Rastatt. |
| *La reggia dell'armonia* | pasticcio (+Steffani) | Luigi Orlandi | 1715 Aug. | Munich | 18th birthday of Electoral Prince. |
| *Ismène* (=*L'innocenza difesa dai Numi*) | opera |  | 1715 Oct.? | Munich |  |
| *Introduzione a balli* | cantata |  | 1715–1716 | Munich |  |
| *La Baviera* | serenata |  | 29 August 1716 | Munich | Return of Electoral Prince. |
| *Astianatte* | dramma per musica | Antonio Salvi | 12 October 1716 | Munich | Name day of Elector. |
| *Andromaca* (rev. of *Astianatte*) | dramma per musica | Antonio Salvi | 1717 Feb.(c.) | Munich |  |
| *Torneo* ("Già dall'Iser ameno") | cantata (tourney) |  | 6 May 1718 | Leuchtenberg |  |
| *Epitalamio* | cantata (wedding) |  | 17 February 1719 | Munich | Marriage of Ferdinand Maria and Maria Anna. |
| *La Merope* | dramma per musica | Apostolo Zeno | 12 October 1719 | Munich | Name day of Elector. |
| *Eumene* (attr.) | dramma per musica | Apostolo Zeno/Antonio Salvi | 11 July 1720 | Munich | Birthday of Elector. |
| *Lucio Vero* (attr.) | dramma per musica | Apostolo Zeno | 12 October 1720 | Munich | Name day of Elector. |
| *Per l'anniversario della nascità de S. A. E. Massimiliano Emanuele* | cantata |  | 17 July 1721 | Munich | Birthday of Elector. |
| *Gli dei festeggianti* | dramatic cantata |  | 6 August 1721 | Munich | Birthday of Electoral Prince. |
| *L'amor d'amico vince ogni altro amore* | dramma per musica | Adriano Morselli | 12 October 1721 | Munich | Name day of Elector. |
| *Adelaide* | dramma per musica | Antonio Salvi | 18 October 1722 | Munich | Marriage of Electoral Prince and Archduchess. |
| *La publica felicità* | cantata (tourney) | Pietro Pariati | 22 October 1722 | Munich | Marriage of Electoral Prince and Archduchess. |
| *Lucio Vero* (rev.) | dramma per musica | Apostolo Zeno | 3 January 1723 | Munich |  |
| *Merope* (=*La Merope*) | dramma per musica | Apostolo Zeno | 24 January 1723 | Munich | Carnival. |
| *Griselda* (attr.) | dramma per musica | Apostolo Zeno | 12 October 1723 | Munich | Name day of Elector. |
| *Amadis di Grecia* | dramma per musica | Perozzi | 1724 Oct. | Munich | Birth of Princess. |
| *Venceslao* (attr.) | dramma per musica | Apostolo Zeno | 12 October 1725 | Munich | Name day of Elector. |
| *Egloga pastorale* | pastorale |  | 6 September 1726 |  | Name day of Electoral Prince. |
| *L'Epaminonda* | dramma per musica | Domenico Lalli | 11 May 1727 | Munich | Birth of Prince. |
| *Nicomede* | dramma per musica | Domenico Lalli | 1728 Oct. | Munich | Visit of Count Palatine. |
| *Edippo* | tragedia per musica | Domenico Lalli | 22 October 1729 | Munich | Birthday of Electress. |
| *L' Ippolito* | tragedia per musica | Domenico Lalli | 22 October 1731 | Munich | Name day of Electress. |
| *Ciro* (attr.) | dramma per musica | Villati | 1733 | Munich | Visit of Archbishop-Elector. |
| *Griselda* (rev.) | dramma per musica | Apostolo Zeno | 1735 Feb.(c.) | Munich | Carnival. |
| *Catone in Utica* | tragedia per musica | Metastasio | 1736 | Munich |  |

### Sacred music

#### Magnificat

Torri likely composed his Magnificat in C major for double choir and orchestra in the 1690s. The work is scored for double SATB choir, two trumpets, bassoon, strings (two violin parts and two viola parts) and basso continuo/organ.

The Magnificat in C major, BWV Anh. 30, is Johann Sebastian Bach's arrangement of Torri's Magnificat. In Bach's version of the work there are an additional trumpet and timpani.

#### Masses

#### Oratorios

Torri wrote more oratorios than any composer before George Frideric Handel (see also several dramatic oratorios mentioned above among Torri's dramatic works):

#### Other

The Mus.ms. 30299 manuscript of the Berlin State Library not only contains a copy of Torri's Magnificat, but also following sacred music, from the same composer:

### Chamber music

#### *Trastulli*

The *Trastulli* (trifles) is a collection of 60 short vocal works surviving in a four-volume autograph, written between 1692 and 1701. The first of these volumes contains 14 chamber cantatas, each consisting exclusively of a recitative and a da capo aria. The other volumes contain such arias without recitative. The *Trastulli* are, at least in part, extracted from larger vocal works:

* The first volume contains 14 Recitative and Aria pairs:

1. *Con insoliti fregi* (aria: "Non si scorge più dipinto"; , vdg)
2. *Dalle spine da i Numi* (aria: "Le rose odorose"; S, , fl)
3. *Non v'è nube importuna* (aria: "Di Vulcan nelle prigioni"; , b, 2fl/2vl)
4. *Volano d'ogni intorno* (aria: "I molli zeffiretti con le fronde"; S, b, ob)
5. *Passan di ramo in ramo* (aria: "Dal petto canoro"; S, b, fl/ob)
6. *Con dolci melodie* (aria: "Ciò che vegeta"; S, b, vdg/ob)
7. *Le ninfe più vezzose* (aria: "Con placido incanto"; B, b, fl, fld)
8. *Le Castalide suore* (aria: "Qui soggiorna un vago nume"; S, b, vdg)
9. *Bella diva* (aria: "Per te sola sorge l'alba"; S, b, vdg/fl)
10. *Seguono i tuoi vestigi* (aria: "Quante pompe ha la bellezza"; B, b, fl)
11. *Del Latio antico e delle Greche scole* (aria: "Ben traluce nell'aspetto"; S, b, vdg/ob)
12. *Or va con tanta luce* (aria: "Due seni più felici"; S, b, vdg/ob)
13. *L'opre nostre e i pensieri* (aria: "Voi sarete con"; S, b, fl)
14. *Vi piova il ciel benigno* (aria: "L'aureo stame vital"; S, b, fl)

* The second volume contains 17 arias, ten of which are excerpted from the *Briseide* dramma per musica:

1. From *Briseide* act 3 scene 8: "Godi giubila alma mia" (S, ob/vl, b)
2. From *Briseide* act 1 scene 9: "Vieni o cara amata sposa al mio cor" (S, b, fl, ob)
3. From *Briseide* act 1 scene 4: "Agitati miei pensieri" (S, b, ob)
4. From *Briseide* act 2 scene 5: "Onde chiare imparate a non amare" (S, b, fl/vl, ob/vl)
5. From *Briseide* act 2 scene 2: "Dolce auretta che sì grata" (S, b, fld)
6. From *Briseide* act 2 scene 10: "Un core o pianti o sassi" (S, b, fld)
7. "Luci serene se per voi moro" (S, b, fld)
8. "Di pastorella oh quanto è bella" (S, b, fl)
9. "Spero sì dagli aspri marmi" (S, b, fl)
10. "Fra gli orrori di notte più ombrosa" (S, b, fl)
11. "Se dar voglio al mio crudo tormento" (S, vl, b)
12. "Vivo in pene e di consiglio non ho speme" (S, b, vdg)
13. From *Briseide* act 1 scene 7: "Rendetemi al mio ben fati inclementi" (S, b, 2fl)
14. "Cresce il foco a poco" (S, b, vdg)
15. From *Briseide* act 3 scene 8: "Nel mio fiero penar" (S, b, vdg)
16. From *Briseide*: "Quando venne nel mio core" (S, b, fl)
17. From *Briseide* act 1 scene 11: "Hai finito a tanti guai" (S, b, vdg)

* The third volume contains an aria for alto (No. 6), while all other *Trastulli* are either for soprano or bass:

1. "Son di foco e son di ghiaccio" (S, vl, b)
2. "Il sospiro è una parola" (S, vl, b)
3. "All'or che vezzosa sul prato" (S, b, ob)
4. "Chi non gode di sua lode" (B, vl, b)
5. "Sei menzognera sei lusinghiera" (S, vl, b)
6. "Con tal voce il ciel richiama" (, b, ob)
7. "Quanto dura omai ti rendi" (B, b, 2vdg)
8. "Il rispetto che mi rende" (S, b, ob)
9. "Già langue il seno e già vien meno" (B, b, 2vdg)
10. "Il pastorello s'en giace afflitto" (S, b, ob)
11. "Lascivoli il mio desio" (B, b, 2vdg; music similar to IV/6)
12. "Sorghin pur tempeste irate" (S, vl, b)
13. "Orror profondo la terra ingombra" (S, 2vl, b)
14. "Si vendicate o dei" (S, vl, b)
15. "Sonno amico de' mortali" (S, 2vl, b)

* The fourth volume contains one aria in French (No. 10), and one without text (No. 12) – all other *Trastulli* have an Italian text:

1. "Traffitto ho il seno da un guardo ameno" (B, b, 2vdg)
2. "Aurette flebili che qui spirate" (S, b, 2vdg)
3. "Se un guardo girate pupille vezzose" (B, b, 2vdg)
4. "V'amo sì care luci adorate" (S, b, 2vdg)
5. "Ombre amene della notte deh calmate" (A, b, 2vdg)
6. "Deh volate o miei pensieri" (B, b, 2vdg; music similar to III/11)
7. "Deh volgi sereno quel guardo che ameno" (S, b, 2vdg)
8. From *S Landelino*: "Per dar sfogo al mio crudo" (B, b, 2vdg).
9. "Sei pur cruda a miei tormenti" (B, b, 2vdg)
10. "Triste remous funeste inquiétude" (B, b, 2vdg)
11. "Vuo cercando il mio ristoro" (B, b, 2vdg)
12. Aria without text (B, b, 2vdg)
13. "Come ahi lasso ti perdei" (T, b, 2vdg)
14. "Al languido seno" (S, b, 2vdg)

#### Sonatas

## Discography

* *Musik am Hofe des Kurfürsten Max Emanuel von Bayern* is a 1970s LP recording (Musica Bavarica MB 904) of the Münchener Kammerorchester conducted by Hans Stadlmair, containing extracts of these works by Torri:
* *Echoes of Love: Eighteenth-Century Italian Cantatas* is a 1993 CD containing Torri's *V'amo si, care luci*, a three-movement cantata, consisting of a recitative preceded and followed by an aria (soprano Lia Serafini and Ensemble Barocco Sans Souci; Dynamic CDS106):
* Six arias of the *Trastulli*, sung by soprano Tania d'Altann, are included on a CD that was recorded in 1884 and released in 1998 (Arts 47399-2):

The recording combines these arias by Torri with canzonettas from Biagio Marini's Op. 5. The Accademia Claudio Monteverdi is the accompanying orchestra, and Hans Ludwig Hirsch is the conductor on this recording. * Torri's Missa pro Defunctis is included in *Pro defunctis: Liturgy for the death of the baroque area*, performed by Paul Dombrecht conducting Il Fondamento, Passacaille 933 (recorded 2000, released 2001).
* *La Baviera* performed by Christoph Hammer conducting the Neue Hofkapelle München, Ars Produktion 38 001 (recorded 2002, released 2003). Other compositions by Torri contained on this SACD recording:
    + *La publica felicità* (extracts)
    + *Egloga pastorale* (extracts)
* *Le Triomphe de la Paix* performed by Christoph Hammer conducting the Neue Hofkapelle München, ORF CD 424 (2004 live recording, released 2005). Other compositions by Torri contained on this SACD recording:
* *Le martyre des Maccabées*, Musique en Wallonie (2007 live recording, released 2009).
* Some recordings of "Son rosignolo" from *L'innocenza difesa dai Numi*, a.k.a. *Ismène*, were released in the 2010s:
    + 2011: performed by Collegium Flauto e Voce (Carus 83.344)
    + 2014 (recorded 2013): sung by Friederike Holzhausen, accompanied by Susanne Ehrhardt (recorder) and Sabine Erdmann (Verlag Klaus-Jurgen Kamprad VKJK 1413)
    + 2015: by Stefan Temmingh (recorder), Dorothee Mields (soprano) and the Gentleman's Band (Deutsche Harmonia Mundi 88875141202)
* *La prima diva: Arie per Faustina Bordoni* is a 2014 CD (recorded 2013) on with arias composed for Faustina Bordoni, among which "Se amori ascolterò" from Torri's *Griselda*, sung by Agata Bienkowska accompanied by Barockwerk Hamburg and Ira Hochman (Tactus TC 670003).
* Another aria from *Griselda*, "Vorresti col tuo pianto", is included in Xavier Sabata's *Catharsis* album (Armonia Atenea, George Petrou; recorded 2015, released 2017; Aparté Music AP 143).
* Terry Wey's 2017 *Pace e guerra: Arias for Bernacchi* album (recorded 2016; with Rubén Dubrovsky and the Bach Consort Wien; Deutsche Harmonia Mundi 88985410502) contains a few arias which Torri composed for the castrato singer Antonio Bernacchi:
    + "Pace e guerra" from *Lucio Vero* (3:19)
    + "La cara tua favella" from *Amadis di Grecia* (7:04)
    + "Parto, non ho costanza" from *Venceslao* (10:06)
* *La vanità del mondo* performed by Reinhard Goebel conducting Barbara Schlick, Ingrid Schmithüsen, Derek Lee Ragin, Michael Schopper and Musica Antiqua Köln, Musique en Wallonie MEW 1890 (recorded 1988, released 2018).
* "Amorosa rondinella" from *Nicomede*, sung by Nuria Rial, accompanied by Kammerorchester Basel (conductor: Stefano Barneschi) is included in *Baroque Twitter*, an album recorded in 2017 and released in 2018 (Deutsche Harmonia Mundi 88985497582)
* Recitative ("La sua disperazione") and Aria ("Se a ammollire il crudo amante") from *Amadis di Grecia*, sung by soprano Mary Bevan accompanied by Bridget Cunningham conducting London Early Opera, is included in *Handel’s Queens* (Signum SIGCD579, 2019).
* Erato's *La vanità del mondo*, recorded in June 2020 by Philippe Jaroussky and Ensemble Artaserse, was released in November 2020. The album contains these arias by Torri:
    + Isacco's "Perché più franco" from *Abramo*
    + Piacere's "Esiliatevi pene funeste" from *La vanità del mondo*

1. Champlin 1890, p. 489.
2. *Le Triomphe de la Paix, Pietro Torri* at Discogs, Neue Hofkapelle München, Christoph Hammer
3. Gerber 1812–1814, IV, cols. 375–376.
4. Sadie 1998, p. 245.
5. Thielemann 2012, p. 218.
6. Wolff 1968.
7. Dürr & Kobayashi 1998, p. 460.
8. BSB Mus.ms. 155 (Torri's manuscript of *Lucio Vero*), and libretto prints Bavar. 4015-20,1/4#Cah.2 and Slg.Her 2208 at Bavarian State Library website.
9. Torri, Pietro at www.operone.de.
10. RISM 456010800 and RISM 450022126.
11. BSB Mus.ms. 216 (composer's autograph of *Fetonte*) and BSB-Hss WINtj 52 (contemporary manuscript copy of *Fetonte*) at Bavarian State Library website.
12. RISM 456010804.
13. BSB Mus.ms. 221 (composer's autograph of *Gli oracoli di Pallade e di Nemesi*) and *Gli Oracoli di Pallade e di Nemesi* (libretto) at Bavarian State Library website.
14. Gerber 1812–1814, IV, col. 831.
15. RISM 450022127.
16. D-WINtj 53 (c.1700 manuscript copy of *I Preggi della primavera*) at Bavarian State Library website.
17. Austrian Academy 1899, p. 44.
18. Austrian Academy 1899, pp. 28–29.
19. Couvreur 2005, p. 17.
20. RISM 456010795.
21. BSB Mus.ms. 209 (composer's autograph of *Le Peripezze della Fortuna*) at Bavarian State Library website.
22. RISM 450022132.
23. D-WINtj 63 (contemporary manuscript copy of *Il Giorno festivo*) at Bavarian State Library website.
24. RISM 456010812.
25. RISM 456010816.
26. RISM 456010876.
27. Torri 1692–1701, IV:30r-32v.
28. RISM 806042605, RISM 800256524, RISM 800256525, RISM 469095100, RISM 456010788 and RISM 456010822.
29. BSB Mus.ms. 172 (manuscript copy of *Briseide*) at Bavarian State Library website.
30. Torri 1692–1701, II:1r-17v35r-36v39r-45v.
31. RISM 456010805.
32. BSB Mus.ms. 222 (composer's autograph of *Torneo*) at Bavarian State Library website.
33. Le martyre des Maccabées at www.pointculture.be.
34. RISM 456010808.
35. BSB Mus.ms. 229 (composer's autograph of *Le Martir des Maccabées*) at Bavarian State Library website.
36. RISM 456010818.
37. RISM 456010797.
38. Couvreur 2005, p. 28.
39. RISM 456010789.
40. BSB Mus.ms. 173 (composer's autograph of *Enone*) at Bavarian State Library website.
41. RISM 456010819.
42. RISM 456010807.
43. BSB Mus.ms. 226 (composer's autograph of *Le Triomphe de la paix*) at Bavarian State Library website.
44. RISM 456010801.
45. RISM 456010802.
46. Zedler 2016.
47. RISM 456010790.
48. BSB Mus.ms. 175 (composer's autograph of *La Baviera*) at Bavarian State Library website.
49. Pietro Torri: La Baviera at Muziekweb website.
50. Libretto: VD18 14794462 and Bavar. 4015-1,1/5#Cah.1 at Bavarian State Library website.
51. RISM 456010787.
52. BSB Mus.ms. 171 (composer's autograph of *Andromaca*) at Bavarian State Library website.
53. RISM 456010806.
54. Groote 2003, pp. 63–102.
55. RISM 456010820.
56. Champlin 1889, p. 563.
57. RISM 456010821.
58. BSB Mus.ms. 206 (composer's autograph of *La Merope*) at Bavarian State Library website.
59. RISM 456010775.
60. BSB Mus.ms. 147 (Torri's manuscript of *Eumene*) and *Eumene* (libretto) at Bavarian State Library website.
61. Champlin 1889, p. 491.
62. RISM 456010777.
63. RISM 456010791.
64. Mus.ms. 176 (composer's autograph of *Per l'anniversario della nascità de S. A. E. Massimiliano Emanuele*) at Bavarian State Library website.
65. RISM 456010792.
66. BSB Mus.ms. 177 (composer's autograph of *Gli dei festeggianti*) at Bavarian State Library website.
67. RISM 456010799.
68. BSB Mus.ms. 215 (composer's autograph of *L'amor d'amico vince ogni altro amore*) at Bavarian State Library website.
69. RISM 456010776.
70. BSB Mus.ms. 154 (composer's autograph of *Adelaide*), and libretto prints Bavar. 4015-1,1/5#Cah.3, Bavar. 4015-22,1/4#Cah.2 and VD18 14823764 at Bavarian State Library website.
71. RISM 456010803.
72. BSB Mus.ms. 220 (composer's autograph of *La publica felicità*) and *La publica felicità* (libretto) at Bavarian State Library website.
73. Libretto: VD18 15228304-003, Bavar. 4015-13,1/4#Cah.3 and L.eleg.m. 1170 m#Beibd.3 at Bavarian State Library website.
74. RISM 456010782.
75. BSB Mus.ms. 163 (Torri's manuscript of *Griselda*) at Bavarian State Library website.
76. RISM 456010783.
77. BSB Mus.ms. 164 (composer's autograph of *Amadis di Grecia*), and libretto (translated in German): 4 L.eleg.m. 8#Beibd.4, 4 Bavar. 2165,VII,19 and VD18 14786184-001, at Bavarian State Library website.
78. RISM 456010781.
79. BSB Mus.ms. 162 (Torri's manuscript of *Venceslao*) and 1731 version of the *Venceslao* libretto at Bavarian State Library website.
80. RISM 456011345.
81. Basso, Alberto (1996). *Musica in scena*, Vol. 3, p. 40. UTET
82. RISM 456010786.
83. BSB Mus.ms. 170 (composer's autograph of *L'Epaminonda*) and *L'Epaminonda* (libretto) at Bavarian State Library website.
84. RISM 456010798.
85. BSB Mus.ms. 214 (composer's autograph of *Nicomede*) at Bavarian State Library website.
86. Champlin 1890, pp. 35—36 & 489.
87. RISM 456010778.
88. BSB Mus.ms. 156 (composer's autograph of *Edippo*) and *Edippo* (libretto) at Bavarian State Library website.
89. Champlin 1889, p. 275.
90. RISM 456010784.
91. BSB Mus.ms. 165 (composer's autograph of *L' Ippolito*) at Bavarian State Library website.
92. RISM 456010785.
93. BSB Mus.ms. 166 (Torri's manuscript of *Ciro*), and libretto (translated in German): Bavar. 4015-9,1/4 and VD18 14568225-001, at Bavarian State Library website.
94. Griselda: dramma per musica (libretto) at Library of Congress website.
95. Champlin 1888, p. 284.
96. RISM 456010780.
97. BSB Mus.ms. 158 (composer's autograph of *Catone in Utica*) at Bavarian State Library website.
98. Thielemann 2012.
99. Magnificat; V (8), orch, org; C-Dur in Mus.ms. 30299 at Berlin State Library website.
100. RISM 455034485 and RISM 800252472.
101. Work 1338 at Bach Digital.
102. D-B Mus.ms. Bach P 195 at Bach Digital.
103. Mus.ms. Bach P 195 at Berlin State Library website.
104. Torri 2013, p. 4.
105. RISM 467019500.
106. RISM 703000570.
107. Pro defunctis: Liturgy for the death of the baroque area at Muziekweb website.
108. RISM 703000568.
109. RISM 450008341.
110. Pietro Torri: La vanità del mondo at Muziekweb website.
111. RISM 456010815.
112. RISM 456010809.
113. RISM 456010817.
114. RISM 456010814.
115. RISM 212006760.
116. Mus.2140-D-1 (composer's autograph of *Abramo*) at Saxon State and University Library Dresden website.
117. RISM 456010810.
118. Mus.ms. 30299 at Berlin State Library website.
119. RISM 455034484.
120. *Confitebor* from Mus.ms. 30299 at Berlin State Library website.
121. RISM 455034486.
122. *Dominus illuminatio mea* from Mus.ms. 30299 at Berlin State Library website.
123. RISM 455034487.
124. *In caelo stellato* from Mus.ms. 30299 at Berlin State Library website.
125. RISM 455034488.
126. *In te Domine speravi* from Mus.ms. 30299 at Berlin State Library website.
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128. *Laudate pueri* from Mus.ms. 30299 at Berlin State Library website.
129. RISM 455034490.
130. *Lauda Jerusalem* (1) and *Lauda Jerusalem* (2) from Mus.ms. 30299 at Berlin State Library website.
131. RISM 455034491 and RISM 455034492.
132. *Laetatus sum* from Mus.ms. 30299 at Berlin State Library website.
133. RISM 455034493.
134. *Veniat dilectus meus* from Mus.ms. 30299 at Berlin State Library website.
135. RISM 455034494.
136. RISM 456010822.
137. Torri 1692–1701.
138. RISM 456010823.
139. Torri 1692–1701, I:1r-4r.
140. RISM 456010824.
141. Torri 1692–1701, I:4v-7r.
142. RISM 456010825.
143. Torri 1692–1701, I:7v-11r.
144. RISM 456010826.
145. Torri 1692–1701, I:11v-15r.
146. RISM 456010827.
147. Torri 1692–1701, I:15v-19r.
148. RISM 456010828.
149. Torri 1692–1701, I:19v-22v.
150. RISM 456010829.
151. Torri 1692–1701, I:16r-18r.
152. RISM 456010830.
153. Torri 1692–1701, I:28r-31v.
154. RISM 456010831.
155. Torri 1692–1701, I:32r-36r.
156. RISM 456010832.
157. Torri 1692–1701, I:36v-38v.
158. RISM 456010833.
159. Torri 1692–1701, I:39r-42r.
160. RISM 456010834.
161. Torri 1692–1701, I:42v-46r.
162. RISM 456010835.
163. Torri 1692–1701, I:46v-50v.
164. RISM 456010836.
165. Torri 1692–1701, I:51r-54v.
166. RISM 456010837.
167. Torri 1692–1701, II:1r-3v.
168. RISM 456010838.
169. Torri 1692–1701, II:4r-5v.
170. RISM 456010839.
171. Torri 1692–1701, II:6r-9r.
172. RISM 456010840.
173. Torri 1692–1701, II:9v-11v.
174. RISM 456010841.
175. Torri 1692–1701, II:12r–15r.
176. RISM 456010842.
177. Torri 1692–1701, II:15v-17v.
178. RISM 456010843.
179. Torri 1692–1701, II:18r-20r.
180. RISM 456010844.
181. Torri 1692–1701, II:20v-23r.
182. RISM 456010845.
183. Torri 1692–1701, II:23v-25v.
184. RISM 456010846.
185. Torri 1692–1701, II:26r-27v.
186. RISM 456010847.
187. Torri 1692–1701, II:28r-32r.
188. RISM 456010848.
189. Torri 1692–1701, II:32v-34v.
190. RISM 456010849.
191. Torri 1692–1701, II:35r-36v.
192. RISM 456010850.
193. Torri 1692–1701, II:37r-38v.
194. RISM 456010851.
195. Torri 1692–1701, II:39r-40v.
196. RISM 456010852.
197. Torri 1692–1701, II:41r-43v.
198. RISM 456010853.
199. Torri 1692–1701, II:44r-45v.
200. RISM 456010854.
201. Torri 1692–1701, III:3r-6v.
202. RISM 456010855.
203. Torri 1692–1701, III:7r-9v.
204. RISM 456010856.
205. Torri 1692–1701, III:10r-13r.
206. RISM 456010857.
207. Torri 1692–1701, III:14v-17r.
208. RISM 456010858.
209. Torri 1692–1701, III:17v-20r.
210. RISM 456010859.
211. Torri 1692–1701, III:21r-23r.
212. RISM 456010860.
213. Torri 1692–1701, III:24r-25r.
214. RISM 456010861.
215. Torri 1692–1701, III:25v-27v.
216. RISM 456010862.
217. Torri 1692–1701, III:28r-29v.
218. RISM 456010863.
219. Torri 1692–1701, III:30r-32v.
220. RISM 456010864.
221. Torri 1692–1701, III:33r-35r.
222. RISM 456010865.
223. Torri 1692–1701, III:35v-38v.
224. RISM 456010866.
225. Torri 1692–1701, III:39r-42r.
226. RISM 456010867.
227. Torri 1692–1701, III:42v-44v.
228. RISM 456010868.
229. Torri 1692–1701, III:45r-47r.
230. RISM 456010869.
231. Torri 1692–1701, IV:5r-6v.
232. RISM 456010870.
233. Torri 1692–1701, IV:8r-10r.
234. RISM 456010871.
235. Torri 1692–1701, IV:12r-14v.
236. RISM 456010872.
237. Torri 1692–1701, IV:16r-18r.
238. RISM 456010873.
239. Torri 1692–1701, IV:19r-21r.
240. RISM 456010874.
241. Torri 1692–1701, IV:22r-24v.
242. RISM 456010875.
243. Torri 1692–1701, IV:26r-28v.
244. RISM 456010877.
245. Torri 1692–1701, IV:34r-36r.
246. RISM 456010878.
247. Torri 1692–1701, IV:37r-42r.
248. RISM 456010879.
249. Torri 1692–1701, IV:44r-47r.
250. RISM 456010880.
251. Torri 1692–1701, IV:49r-51r.
252. RISM 456010881.
253. Torri 1692–1701, IV:52r-54r.
254. RISM 456010882.
255. Torri 1692–1701, IV:56r-58r.
256. Torri, Pietro (~1650–1737): Sonata C-Major at www.edition-walhall.de.
257. RISM 703000480.
258. RISM 703000481.
259. Musik am Hofe des Kurfürsten Max Emanuel von Bayern. (1) at Stanford University website.
260. "Italian Cantatas (Baroque) – Caldara / Sarri, D. / Lotti, A. / Aldrovandini, G. V. A. / Mancini, F. / Torri, P. (*Echoes of Love*)", Naxos Records
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263. Wall 2015.
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266. Amor & rosignolo at Muziekweb website.
267. Birds at Muziekweb website.
268. La prima diva: Arie per Faustina Bordoni at Muziekweb website.
269. Catharsis at Muziekweb website.
270. Pace e guerra: Arias for Bernacchi at Muziekweb website.
271. Baroque Twitter at Muziekweb website.
272. *Handel’s Queens* at Signum Records website.
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### Sources

## Further reading


title: Pietro Trifone

abstract: Pietro Trifone, is an Italian linguist.

text:
# Pietro Trifone

**Pietro Trifone** (born 1951 in Rome), is an Italian linguist.

## Biography

Trifone lectures History of Italian language at the department of Philology, linguistics and literature of the University of Rome Tor Vergata. He has also led research work at the Sapienza Università di Roma, D'Annunzio University of Chieti–Pescara and Foreigners University of Siena.

With Maurizio Dardano he has written a reference grammar of the Italian language. With Luca Serianni he has edited the *Storia della lingua italiana* in three volumes (1993-1994), with contributions by fifty scholars.

His research activity embraces various fields, ranging from the analysis of grammatical structures of contemporary Italian to the history of literary and popular language, mainly with reference to the relationship between linguistic change and social life.

He also carried out studies on the following topics:

\- plurilingualism of 16th century (I cantici di Fidenzio, 1981);

\- language of politics (Dizionario politico popolare, 1981);

\- Roman dialect and regional varieties of Italian (Roma e il Lazio, 1992; Storia linguistica di Roma, 2008; Città italiane, storie di lingue e culture, 2015);

\- language of theatre (L'italiano a teatro, 2000; La lingua del teatro, 2015, first part);

\- Italian language of the Renaissance (Rinascimento dal basso, 2006);

\- Italian linguistic identity (Lingua e identità, 2006 new edition 2009);

\- Italian "irregular" language from Dante until today (Malalingua, 2007);

\- linguistic impact of national factionalism (Storia linguistica dell'Italia disunita, 2010);

\- diffusion of the common Italian language (Pocoinchiostro. Storia dell'italiano comune, 2017).

From 1996 to 2004 he held the office of Rector of the Foreigners University of Siena. Currently in the University of Rome Tor Vergata he holds the position of coordinator of the PhD in Comparative Studies.

He is member of the Accademia della Crusca, of the Accademia dell'Arcadia, of the Istituto Nazionale di Studi Romani and co-director of the magazines «La lingua italiana. Storia, strutture, testi» and «Carte di viaggio. Studi di lingua e letteratura italiana».

## Main works

* Camillo Scroffa, *I cantici di Fidenzio. Con appendice di poeti fidenziani*, a cura di Pietro Trifone, Salerno Editrice, Roma, 1981
* *Dizionario politico popolare* (1851), a cura di Pietro Trifone, Salerno Editrice, Roma, 1984
* *Roma e il Lazio*, Utet Libreria, Torino, 1992 (collana *L'italiano nelle regioni*)
* *Storia della lingua italiana*, a cura di Luca Serianni e Pietro Trifone, 3 voll., Einaudi, Torino, 1993–1994
* *La sintassi dell'italiano letterario*, a cura di Maurizio Dardano e Pietro Trifone, Bulzoni, Roma, 1995
* (con Maurizio Dardano) *La nuova grammatica della lingua italiana*, Zanichelli, Bologna, 1997
* *L'italiano a teatro. Dalla commedia rinascimentale a Dario Fo*, Istituti Editoriali e Poligrafici Internazionali, Pisa-Roma, 2000
* *Rinascimento dal basso. Il nuovo spazio del volgare tra Quattro e Cinquecento*, Bulzoni, Roma, 2006
* *Dire l'ineffabile. Caterina da Siena e il linguaggio della mistica*, a cura di Lino Leonardi e Pietro Trifone, Edizioni del Galluzzo, Firenze, 2006
* *Malalingua. L'italiano scorretto da Dante a oggi*, Il Mulino, Bologna, 2007
* *Storia linguistica di Roma*, Carocci, Roma, 2008
* *Lingua e identità. Una storia sociale dell'italiano*, a cura di Pietro Trifone, nuova ediz., Carocci, Roma, 2009 (I ediz. 2006)
* *Storia linguistica dell'Italia disunita*, Il Mulino, Bologna, 2010
* (con Massimo Palermo e Beatrice Garzelli), *Gramática de la lengua italiana* (per ispanofoni), Guerra, Perugia, 2011
* (con Claudio Giovanardi), *L'italiano nel mondo*, Carocci, Roma, 2012
* (con Massimo Palermo), *Grammatica italiana di base*, terza edizione, Zanichelli, Bologna, 2014
* *Città* *italiane, storie di lingue e culture*, a cura di Pietro Trifone, Carocci, Roma, 2015
* (con Claudio Giovanardi), *La lingua del teatro*, Il Mulino, Bologna, 2015
* *Pocoinchiostro. Storia dell'italiano comune*, Il Mulino, Bologna, 2017


title: Sergey Mihaylov

abstract: Sergey Mihaylov is an Uzbek boxer, who competed in the light heavyweight (81 kg) division at the 2000 Summer Olympics and won the bronze medal.

text:
# Sergey Mihaylov

**Sergey Mihaylov** (born March 5, 1976) is an Uzbek boxer, who competed in the light heavyweight (81 kg) division at the 2000 Summer Olympics and won the bronze medal.

## Career

He won the Asian light heavy title in 1998.

**Olympic Results 2000**

He went up to 201 lbs and won the Asian title in 2002.

At the 2003 world championships he lost in the quarterfinals (30:35) to Steffen Kretschmann.

## InfoBox

Sergey Mihaylov
| Personal information | |
| --- | --- |
| Full name | Сергей Михайлов |
| Nationality | Uzbekistan |
| Born | (1976-03-05) March 5, 1976 |
| Height | 1.87 m (6 ft 2 in) |
| Weight | 91 kg (201 lb) |
| Sport | |
| Sport | Boxing |
| Weight class | Light heavyweight, Heavyweight |
| Medal record      Olympic Games  2000 Sydney  Light heavyweight  Asian Games  1998 Bangkok  Light heavyweight  2002 Busan  Heavyweight  Asian Championships  2002 Seremban  Heavyweight | |


title: Caroní F.C.

abstract: Caroní FC is a professional football club based in Ciudad Guayana, Venezuela. It was founded in 2009 and played in the Venezuelan 1st division in 2010–11 but finished in last position and were relegated. They play at the Polideportivo Cachamay.

text:
# Caroní F.C.

**Caroní FC** is a professional football club based in Ciudad Guayana, Venezuela. It was founded in 2009 and played in the Venezuelan 1st division in 2010–11 but finished in last position and were relegated. They play at the Polideportivo Cachamay.

## InfoBox

Caroní F.C.
| Founded | 2009 |
| --- | --- |
| Ground | Polideportivo Cachamay |
| Capacity | 41,600 |
|  | |
|  | |
|  | |


title: Caroni–Arena Dam

abstract: The Caroni–Arena Dam is the largest dam in Trinidad and Tobago. It is located in the Arena Forest Reserve, south of Arima, in the eastern Caroni Plains. WASA supplies water to areas of central Trinidad by purifying the water from the dam. It was opened in the late 1970s/early 1980s.

text:
# Caroni–Arena Dam

The **Caroni–Arena Dam** is the largest dam in Trinidad and Tobago. It is located in the Arena Forest Reserve, south of Arima, in the eastern Caroni Plains. WASA supplies water to areas of central Trinidad by purifying the water from the dam. It was opened in the late 1970s/early 1980s.

## InfoBox

| Caroni–Arena Dam | |
| --- | --- |
| Location of Caroni–Arena Dam in Trinidad and Tobago | |
| Country | Arena Forest Reserve, Arima, Caroni Plains, Trinidad and Tobago |
| Coordinates | 10°32′N 61°14′W / 10.533°N 61.233°W / 10.533; -61.233 |


title: Seringai

abstract: Seringai is an Indonesian metal band from Jakarta. The band was founded in 2002 by vocalist Arian13, guitarist Ricky Siahaan, bassist Sammy Bramantyo, and drummer Edy Khemod.

text:
# Seringai

**Seringai** is an Indonesian metal band from Jakarta. The band was founded in 2002 by vocalist Arian13, guitarist Ricky Siahaan, bassist Sammy Bramantyo, and drummer Edy Khemod.

## History

### 2002–2008: Formation and debut album

Arian13 and Ricky Siahaan decided to form a new band after Arian13's previous band, Puppen, disbanded, with Khemod and Toan subsequently joining them. Toan quit the band in 2004 and was replaced by Sammy Bramantyo.

Their first EP, entitled *High Octane Rock,* was released in 2004. The title was a self-description of their particular style, listing Black Sabbath, Motörhead, MC5, and Slayer among their influences. The songs released on the EP, including "Membakar Jakarta", were already popular among their growing fanbase. The band had indeed played songs from the EP frequently on their gigs before its release.

In 2007, Seringai released their debut album *Serigala Militia*.

### 2009–2012: DVD *Generasi Menolak Tua* and second album *Taring*

A box set DVD named *Generasi Menolak Tua,* a documentary about the band's history directed by Bramantyo was released in 2010. Several cameos appear in the video ranging from musicians, music journalists, actresses, and fans.

In April 2012, after five years without a release, Seringai released the single "Tragedi" freely via their official website. Siahaan explained that "after five years with no albums released," the band owed something to their fans.

The second album *Taring* was released two months later in July 2012, selling 999 copies in the first two days. Before the release, the band said that heavy rock influence is dominant in the album, while the lyrics are critical about social and political issues. Others have a science fiction theme.

### 2013–present: Opening act for Metallica and Future

On 25 August 2013, Seringai was billed as the only opening act for a Metallica concert in Jakarta.

In November 2013 Seringai released their second EP titled *Tragedi/Sang lelaki*. It's a 7" vinyl record containing the song "Tragedi" and a previously unreleased track "Sang Lelaki". The EP was a limited edition of 300 copies, and all were sold out by the time of the record release.

## Band members

Current members * Arian "Arian13" Arifin — vocals (2002–present)
* Ricky Siahaan — guitars (2002–present)
* Edy Khemod — drums (2002–present)
* Sammy Bramantyo — bass guitar (2004–present)

Former members * Toan — bass guitar (2002–2004)

Timeline

## Discography

### Studio albums

| Title | Album details |
| --- | --- |
| *Serigala Militia* | * Released: 2007 * Label: High Octane Production * Format: CD |
| *Taring* | * Released: July 11, 2012 * Label: High Octane Production * Formats: CD, LP |
| *Seperti Api* | * Released: July 29, 2018 * Label: High Octane Production * Format: CD |

### Extended plays

| Title | EP details |
| --- | --- |
| *High Octane Rock* | * Released: 2004 * Label: Parau Records * Format: CD, LP, cassette |
| *Tragedi/Sang Lelaki* | * Released: November 2013 * Label: Stockroom Recordings * Format: 7" vinyl |

### Singles

| Title | Year | Album |
| --- | --- | --- |
| "Tragedi" | 2012 | *Tragedi/Sang Lelaki* |

### DVD

| Title | Details |
| --- | --- |
| *Generasi Menolak Tua* |  |

## InfoBox

| Seringai | |
| --- | --- |
|  | |
| Background information | |
| Origin | Jakarta, Indonesia |
| Genres |  |
| Years active | 2002–present |
| Labels | * High Octane Production * Stockroom Recordings |
|  | |
| Members | Arian13
Ricky Siahaan
Sammy Bramantyo
Edy Khemod |
|  | |
| Past members | Toan |
|  | |
| Website | seringai.com |


title: Swimming at the 2019 Pacific Games

text:
# Swimming at the 2019 Pacific Games

Swimming at the 2019 Pacific Games in Samoa was held on 8–13 July 2019 at the Samoa Aquatic Centre in Apia, with the Sheraton Samoa Beach Resort in Mulifanua hosting the open water swim.

The aquatic centre, originally built to cater for the 2007 South Pacific Games, was refurbished with assistance from China prior to the 2019 games.

## Event schedule

The forty events in the pool – nineteen each for men and women, plus two mixed relays – were spread over five days at the Samoa Aquatic Centre, with heats held in the morning sessions, followed by the finals in the evenings.

The men's and women's open water events were held on Monday 8 July at the Sheraton Samoa Beach Resort.

## Teams

The nations competing were:

## Medal summary

### Medal table

*   Host nation (Samoa)

| Rank | Nation | Gold | Silver | Bronze | Total |
| --- | --- | --- | --- | --- | --- |
| 1 | New Caledonia | 25 | 11 | 13 | 49 |
| 2 | Fiji | 6 | 9 | 13 | 28 |
| 3 | Tahiti | 5 | 11 | 7 | 23 |
| 4 | Samoa* | 5 | 6 | 6 | 17 |
| 5 | Cook Islands | 1 | 2 | 1 | 4 |
| 6 | American Samoa | 0 | 1 | 1 | 2 |
| | Papua New Guinea | 0 | 1 | 1 | 2 |
| 8 | Guam | 0 | 1 | 0 | 1 |
| Totals (8 entries) | | 42 | 42 | 42 | 126 |

### Men's

| Event | Gold | | Silver | | Bronze | |
| --- | --- | --- | --- | --- | --- | --- |
| 50 m freestyle | Julien-Pierre Goyetche (NCL) | 23.03 **GR**, **NR** | Florent Janin (NCL) | 23.13 | Teiki Dupont (TAH) | 23.17 **NR** |
| 100 m freestyle | Florent Janin (NCL) | 50.59 | Nicolas Vermorel (TAH) | 51.36 | Wesley Roberts (COK) | 51.49 **NR** |
| 200 m freestyle | Wesley Roberts (COK) | 1:51.36 | Rahiti De Vos (TAH) | 1:52.67 | Thibault Mary (NCL) | 1:52.78 |
| 400 m freestyle | Rahiti De Vos (TAH) | 3:56.35 **GR**, **NR** | Wesley Roberts (COK) | 4:00.97 | Brandon Schuster (SAM) | 4:03.22 **NR** |
| 1500 m freestyle | Rahiti De Vos (TAH) | 15:40.47 **GR**, **NR** | Wesley Roberts (COK) | 16:10.35 | Hugo Savignac (NCL) | 16:39.80 |
|  | | | | | | | |
| 50 m backstroke | Julien-Pierre Goyetche (NCL) | 27.01 | Netani Ross (FIJ) | 27.13 **NR** | Teiki Dupont (TAH) | 27.40 |
| 100 m backstroke | Emmanuel Limozin (NCL) | 58.60 | Julien-Pierre Goyetche (NCL) | 58.92 | Teiki Dupont (TAH) | 58.99 |
| 200 m backstroke | Brandon Schuster (SAM) | 2:08.48 **NR** | Manuarii Lechêne (TAH) | 2:10.31 | Hugo Savignac (NCL) | 2:10.44 **NR** |
|  | | | | | | | |
| 50 m breaststroke | Thomas Oswald (NCL) | 28.38 **NR** | Benjamin Schulte (GUM) | 28.75 **NR** | Epeli Rabua (FIJ) | 28.89 **NR** |
| 100 m breaststroke | Taichi Vakasama (FIJ) | 1:02.84 **GR**, **NR** | Epeli Rabua (FIJ) | 1:03.89 | Ryan Maskelyne (PNG) | 1:04.24 **NR** |
| 200 m breaststroke | Taichi Vakasama (FIJ) | 2:14.98 **NR** | Ryan Maskelyne (PNG) | 2:17.51 **NR** | Brandon Schuster (SAM) | 2:18.26 **NR** |
|  | | | | | | | |
| 50 m butterfly | Nicolas Vermorel (TAH) | 24.04 **NR** | Florent Janin (NCL) | 24.85 | Thibaut Mary (NCL) | 24.90 |
| 100 m butterfly | Thibaut Mary (NCL) | 54.09 **NR** | Nicolas Vermorel (TAH) | 54.16 | Thomas Oswald (NCL) | 55.50 |
| 200 m butterfly | Thibaut Mary (NCL) | 2:02.29 **GR**, **NR** | Guillaume Vermorel (TAH) | 2:06.36 | Temafa Yalimaiwai (FIJ) | 2:10.25 **NR** |
|  | | | | | | | |
| 200 m individual medley | Emmanuel Limozin (NCL) | 2:04.04 **GR**, **NR** | Brandon Schuster (SAM) | 2:05.54 **NR** | Taichi Vakasama (FIJ) | 2:07.84 **NR** |
| 400 m individual medley | Brandon Schuster (SAM) | 4:24.04 **GR**, **NR** | Emmanuel Limozin (NCL) | 4:29.99 **NR** | Alex Huet (NCL) | 4:30.86 |
|  | | | | | | | |
| 4 × 100 m freestyle relay | New Caledonia
Florent Janin
Emmanuel Limozin
Julien-Pierre Goyetche
Thibaut Mary | 3:23.21 **GR**, **NR** | Tahiti
Nicolas Vermorel
Rahiti De Vos
Teiki Dupont
Tuhiva Ah Sha-Roignant | 3:30.97 | Fiji
Temafa Yalimaiwai
Epeli Rabua
Hansel McCag
Netani Ross | 3:33.89 **NR** |
| 4 × 200 m freestyle relay | New Caledonia
Emmanuel Limozin
Florent Janin
Alex Huet
Thibaut Mary | 7:38.51 **NR** | Tahiti
Rahiti De Vos
Tuhiva Ah Sha-Roignant
Guillaume Vermorel
Nicolas Vermorel | 7:55.76 | Fiji
Taichi Vakasama
Epeli Rabua
Hansel McCag
Temafa Yalimaiwai | 8:09.56 **NR** |
| 4 × 100 m medley relay | New Caledonia
Julien-Pierre Goyetche
Thomas Oswald
Thibaut Mary
Florent Janin | 3:48.33 **GR**, **NR** | Tahiti
Teiki Dupont
Rainui Teriipaia
Nicolas Vermorel
Rahiti De Vos | 3:48.91 | Fiji
Netani Ross
Taichi Vakasama
Temafa Yalimaiwai
Epeli Rabua | 3:51.95 **NR** |
|  | | | | | | | |
| 5 km open water | Rahiti De Vos (TAH) | 1:03:20 | Hugo Savignac (NCL) | 1:03:21 | Benoît Rivière (NCL) | 1:03:41 |
| **GR** Games record for the Pacific Games/South Pacific Games | | | | | | | |

### Women's

| Event | Gold | | Silver | | Bronze | |
| --- | --- | --- | --- | --- | --- | --- |
| 50 m freestyle | Emma Terebo (NCL) | 26.41 | Lushavel Stickland (SAM) | 26.71 **NR** | Yolani Blake (FIJ) | 27.16 |
| 100 m freestyle | Emma Terebo (NCL) | 57.60 | Lushavel Stickland (SAM) | 57.91 **NR** | Matelita Buadromo (FIJ) | 58.46 |
| 200 m freestyle | Matelita Buadromo (FIJ) | 2:08.58 | May Toven (NCL) | 2:10.21 | Maiana Flament (NCL) | 2:11.36 |
| 400 m freestyle | Maiana Flament (NCL) | 4:27.96 | Matelita Buadromo (FIJ) | 4:36.98 | Charlotte Robin (NCL) | 4:42.35 |
| 800 m freestyle | Maiana Flament (NCL) | 9:21.39 | Charlotte Robin (NCL) | 9:37.72 | Rosemarie Rova (FIJ) | 10:03.00 |
|  | | | | | | | |
| 50 m backstroke | Lushavel Stickland (SAM) | 29.96 | Cheyenne Rova (FIJ) | 31.11 | Jelani Wetzell (SAM) | 31.76 |
| 100 m backstroke | Emma Terebo (NCL) | 1:02.96 | Lushavel Stickland (SAM) | 1:04.43 **NR** | Lauren Sale (SAM) | 1:06.65 |
| 200 m backstroke | Lauren Sale (SAM) | 2:20.84 | Angeline Tregoat (TAH) | 2:29.31 | Maiana Flament (NCL) | 2:31.51 **NR** |
|  | | | | | | | |
| 50 m breaststroke | Moana Wind (FIJ) | 33.39 **NR** | Tiali Scanlan (ASA) | 33.98 **NR** | Poerani Betrand (TAH) | 34.09 |
| 100 m breaststroke | Moana Wind (FIJ) | 1:13.79 **NR** | Poerani Betrand (TAH) | 1:14.23 **NR** | Tiali Scanlan (ASA) | 1:15.08 **NR** |
| 200 m breaststroke | Poerani Bertrand (TAH) | 2:40.73 **NR** | Moana Wind (FIJ) | 2:45.29 | Adelaine Williams (NCL) | 2:51.70 |
|  | | | | | | | |
| 50 m butterfly | May Toven (NCL) | 28.45 | Armelle Hidrio (NCL) | 28.92 | Lushavel Stickland (SAM) | 29.53 |
| 100 m butterfly | May Toven (NCL) | 1:03.32 | Lauren Sale (SAM) | 1:04.27 **NR** | Julie Decaix (NCL) | 1:06.91 |
| 200 m butterfly | Julie Decaix (NCL) | 2:30.94 | Maiana Flament (NCL) | 2:31.24 | Rosemarie Rova (FIJ) | 2:32.04 |
|  | | | | | | | |
| 200 m individual medley | Lauren Sale (SAM) | 2:24.12 **NR** | Matelita Buadromo (FIJ) | 2:24.53 | May Toven (NCL) | 2:27.67 |
| 400 m individual medley | Maiana Flament (NCL) | 5:13.91 | Angeline Tregoat (TAH) | 5:16.08 | Rosemarie Rova (FIJ) | 5:30.93 |
|  | | | | | | | |
| 4 × 100 m freestyle relay | Fiji
Yolani Blake
Cheyenne Rova
Rosemarie Rova
Matelita Buadromo | 3:58.24 | New Caledonia
Armelle Hidrio
Julie Decaix
May Toven
Emma Terebo | 4:00.56 | Samoa
Lauren Sale
Andrea Schuster
Jelani Wetzell
Lushavel Stickland | 4:00.90 **NR** |
| 4 × 200 m freestyle relay | New Caledonia
May Toven
Julie Decaix
Maiana Flament
Emma Terebo | 8:53.06 | Samoa
Jelani Wetzell
Andrea Schuster
Kaiya Brown
Lauren Sale | 8:58.24 **NR** | Fiji
Yolani Blake
Cheyenne Rova
Marion Kotobalavu
Rosemarie Rova | 9:26.85 |
| 4 × 100 m medley relay | New Caledonia
Emma Terebo
May Toven
Julie Decaix
Armelle Hidrio | 4:27.32 **NR** | Fiji
Cheyenne Rova
Moana Wind
Matelita Buadromo
Yolani Blake | 4:27.78 **NR** | Tahiti
Angeline Tregoat
Poerani Bertrand
Alizee Diaz
Reva Reignier | 4:35.58 **NR** |
|  | | | | | | | |
| 5 km open water | Charlotte Robin (NCL) | 1:10:40 | Maiana Flament (NCL) | 1:11:41 | Matelita Buadromo (FIJ) | 1:19:27 |
| **GR** Games record for the Pacific Games/South Pacific Games | | | | | | | |

### Mixed

| Event | Gold | | Silver | | Bronze | |
| --- | --- | --- | --- | --- | --- | --- |
| 4 × 50 m freestyle relay | New Caledonia
Julien-Pierre Goyetche
Armelle Hidrio
Emma Terebo
Florent Janin | 1:39.79 **GR**, **NR** | Fiji
Netani Ross
Epeli Rabua
Cheyenne Rova
Yolani Blake | 1:40.89 | Tahiti
Nicolas Vermorel
Teiki Dupont
Angeline Tregoat
Reva Reignier | 1:41.67 **NR** |
| 4 × 50 m medley relay | New Caledonia
Emma Terebo
Thomas Oswald
May Toven
Florent Janin | 1:49.18 **GR**, **NR** | Fiji
Netani Ross
Taichi Vakasama
Matelita Buadromo
Yolani Blake | 1:51.81 **NR** | Tahiti | 1:53.33 **NR** |
| **GR** Games record for the Pacific Games/South Pacific Games | | | | | | | |

## InfoBox

| Swimming
at the 2019 Pacific Games | |
| --- | --- |
|  | |
| Location | Apia, Samoa |
| Dates | 8–13 July 2019 |
|


title: DO-248

abstract: DO-248C, Supporting Information for DO-178C and DO-278A, published by RTCA, Incorporated, is a collection of Frequently Asked Questions and Discussion Papers addressing applications of DO-178C and DO-278A in the safety assurance of software for aircraft and software for CNS/ATM systems, respectively. Like DO-178C and DO-278A, it is a joint RTCA undertaking with EUROCAE and the document is also published as ED-94C, Supporting Information for ED-12C and ED-109A. The publication does not provide any guidance additional to DO-178C or DO-278A; rather, it only provides clarification for the guidance established in those standards. The present revision is also expanded to include the "Rationale for DO-178C/DO-278A" section to document items that were considered when developing DO-178B and then DO-178C, DO-278A, and DO-330, as well as the supplements that accompany those publications. Corresponding with the releases of DO-178C and DO-278A, the present revision, DO-248C, is an update to the previous revision DO-248B, Report for Clarification of DO-178B "Software Considerations in Airborne Systems and Equipment Certification". While new FAQs and discussion papers have been added, most of the FAQs and discussion papers of DO-248C are carried over from DO-248B. Some of these items have been marked as deleted or updated as the subjects were addressed by the releases of DO-178C, DO-330, supplements, or other publications. An errata section is not included as the release of DO-178C addressed the errata of DO-178B and no DO-178C errata have been published. Initially, this publication was an annual clarification report, DO-248B (2001) was preceded by DO-248A (2000) and DO-248 (1999).

text:
# DO-248

**DO-248C**, ***Supporting Information for DO-178C and DO-278A***, published by RTCA, Incorporated, is a collection of Frequently Asked Questions and Discussion Papers addressing applications of DO-178C and DO-278A in the safety assurance of software for aircraft and software for CNS/ATM systems, respectively. Like DO-178C and DO-278A, it is a joint RTCA undertaking with EUROCAE and the document is also published as **ED-94C**, ***Supporting Information for ED-12C and ED-109A***. The publication does not provide any guidance additional to DO-178C or DO-278A; rather, it only provides clarification for the guidance established in those standards. The present revision is also expanded to include the "Rationale for DO-178C/DO-278A" section to document items that were considered when developing DO-178B and then DO-178C, DO-278A, and DO-330, as well as the supplements that accompany those publications (DO-331, DO-332, DO-333).

Corresponding with the releases of DO-178C and DO-278A, the present revision, DO-248C, is an update to the previous revision **DO-248B**, ***Report for Clarification of DO-178B "Software Considerations in Airborne Systems and Equipment Certification"***. While new FAQs and discussion papers have been added, most of the FAQs and discussion papers of DO-248C are carried over from DO-248B. Some of these items have been marked as deleted or updated as the subjects were addressed by the releases of DO-178C, DO-330, supplements, or other publications. An errata section is not included as the release of DO-178C addressed the errata of DO-178B and no DO-178C errata have been published.

Initially, this publication was an annual clarification report, DO-248B (2001) was preceded by **DO-248A** (2000) and **DO-248** (1999).

## Outline of contents

DO-248C contains the following:

* Rationale for each process objective of DO-178C/DO-278A
* 84 frequently asked questions (some noted as either deleted, removed or addressed by other publications)
* 21 discussion papers:

1. Verification Tool Selection Considerations
2. The Relationship of DO-178B/ED-12B to the Code of Federal Regulations (CFRs) and Joint Aviation Requirements (JARs)
3. The Differences Between DO-178A and DO-178B Guidance for Meeting the Objective of Structural Coverage
4. Service History Use—Rationale for DO-178C
5. Application of Potential Alternative Methods Compliance for Previously Developed Software (PDS)
6. Transition Criteria
7. Definition of Commonly Used Verification Terms
8. Structural Coverage and Safety Objectives
9. Certification With Known Software Problems
10. Considerations Addressed When Deciding to Use Previously Developed Software (PDS)
11. Qualification of a Tool Using Service History *(Removed, see DO-330)*
12. Object Code to Source Code Traceability Issues
13. Definitions of Statement Coverage, Decision Coverage, and Modified Condition/Decision Coverage (MC/DC)
14. Partitioning Aspects in DO-178C/DO-278A
15. Relationship Between Regression Testing and Hardware Changes
16. Cache Management
17. Usage of Floating-Point Arithmetic
18. Service Experience Rationale for DO-278A
19. Independence in DO-178C/DO-278A
20. Parameter Data Items and Adaptation Data Items
21. Clarification on Single Event Upset (SEU) as It Relates to Software

## InfoBox

Supporting Information for DO-178C and DO-278A
| Abbreviation | DO-248C |
| --- | --- |
| Latest version | December 13, 2011 (2011-12-13) |
| Organization | RTCA SC-205 |
| Domain | Aviation |


title: Syed Abdul Rasheed

abstract: Syed Abdul Rasheed is a Pakistani politician who had been a member of the Provincial Assembly of Sindh from August 2018 to August 2023.

text:
# Syed Abdul Rasheed

**Syed Abdul Rasheed** is a Pakistani politician who had been a member of the Provincial Assembly of Sindh from August 2018 to August 2023.

## Political career

He was elected to the Provincial Assembly of Sindh as a candidate of Jamaat-e-Islami from Constituency PS-108 (Karachi South-II) in 2018 Pakistani general election. In Feb 2022, the lawmaker had locked himself up with the Karachi Sewerage Board Official responsible for his area's sewerage, as a protest to resolve sewerage problems of his area. After several hours of protest, he later left on the solemn promise of KWSB MD to resolve the issues of sewerage in Liyari.

On 29 July 2022, he was arrested for protesting peacefully against the dilapidated sewerage system in his constituency of Liyari. The sewerage board in Liyari was then under management of provincial government of Pakistan People's Party.

## InfoBox

| Syed Abdul Rasheed | |
| --- | --- |
|  | |
| Member of the Provincial Assembly of Sindh | |
| **In office**<br>13 August 2018  11 August 2023 | |
| Constituency | PS-108 Karachi South-II |
|  | |
| Personal details | |
| Nationality | Pakistani |
| Political party | Jamaat-e-Islami Pakistan |
|  | |


title: DGCR14

abstract: Protein DGCR14 is a protein that in humans is encoded by the DGCR14 gene. This gene is located within the minimal DGS critical region (MDGCR) thought to contain the gene(s) responsible for a group of developmental disorders. These disorders include DiGeorge syndrome, velocardiofacial syndrome, conotruncal anomaly face syndrome, and some familial or sporadic conotruncal cardiac defects which have been associated with microdeletion of 22q11.2. The encoded protein may be a component of C complex spliceosomes, and the orthologous protein in the mouse localizes to the nucleus.

text:
# DGCR14

**Protein DGCR14** is a protein that in humans is encoded by the *DGCR14* gene.

This gene is located within the minimal DGS critical region (MDGCR) thought to contain the gene(s) responsible for a group of developmental disorders. These disorders include DiGeorge syndrome, velocardiofacial syndrome, conotruncal anomaly face syndrome, and some familial or sporadic conotruncal cardiac defects which have been associated with microdeletion of 22q11.2. The encoded protein may be a component of C complex spliceosomes, and the orthologous protein in the mouse localizes to the nucleus.

## Further reading

## InfoBox

| ESS2 | | | |
| --- | --- | --- | --- |
|  | | | |
| Identifiers | | | |
| Aliases | ESS2, DGCR13, DGS-H, DGS-I, DGSH, DGSI, ES2, Es2el, DGCR14, DiGeorge syndrome critical region gene 14, bis1, ESS-2, ess-2 splicing factor homolog | | |
| External IDs | OMIM: 601755; MGI: 107854; HomoloGene: 11184; GeneCards: ESS2; OMA:ESS2 - orthologs | | |
|  | | | |
|  | | | |
|  | | | |
| Orthologs  Species **Human** **Mouse**  Entrez   Ensembl   UniProt   RefSeq (mRNA)     NM\_022719   NM\_001081633
NM\_022408   RefSeq (protein)     NP\_073210   NP\_001075102
NP\_071853   Location (UCSC) n/a Chr 16: 17.72 – 17.73 Mb  PubMed search | | | |
| Wikidata | | | |
| View/Edit Human View/Edit Mouse | | | |


title: DB Class V 90

abstract: The DB Class V90 locomotive is a German diesel-hydraulic locomotive for shunting and freight hauling.

text:
# DB Class V 90

The **DB Class V90** (after 1968 the **DB Class 290**) locomotive is a German diesel-hydraulic locomotive for shunting and freight hauling.

## History and design

The **DB Class V90** locomotives are similar to DB Class V 100 (Class 211 & 212) locomotives, they stemmed from a need for a heavy shunting locomotive - it was originally planned to create a heavy shunting variant of the V 100 (ballasted and with reinforced frame) to be produced, but this did not come to pass due to the design's stability problems.

Maschinenbau Kiel in co-operation with BZA München designed a longer and heavier locomotive, of a completely new design. In 1964, a pilot production of 20 of these were manufactured with a 1,100 horsepower (820 kW) engine as used in the DB Class V100.1 and a 70 km/h top speed.

In 1974 the first locomotive of the main production was produced - these locomotives had the 1,350 horsepower (1,010 kW) engine used in the DB Class V100.2 and a top speed of 80 km/h (50 mph). The locomotive length was also extended to 14.32 m (47 ft 0 in). By 1974 408 had been built by MaK, Deutz, Henschel and Jung.

The machines have both a Dead-man's vigilance device (German:*Sifa*) and "Inductive train control system" (German:*Indusi*) (see Punktförmige Zugbeeinflussung) safety devices.

The locomotives were originally deep red (RAL 3004), in the mid-1970s a new ivory / ocean blue (RAL 5020 \- RAL 1014) colour scheme was introduced, in the second half of the 1980s an eastern red (RAL 3031) color scheme was used and since the late 1990s, the locomotives are found in the current traffic (RAL 3020) red of Deutsche Bahn AG.

Since 2003, the locomotives have been upgraded with a new 1,100 kW (1,500 hp) engine (type 8V 4000 R41 MTU) equipped, as well as other components being upgraded (specifically the hydraulic drive). The modernised locos save fuel despite having a higher rated engine. The serial number of the remotored locomotives is increased by 500 (e.g. 290 030 becomes 290 530).

### 290 999 of the Bundeswehr

One locomotive of the class was procured by the Army for use in an Air Force supply regiment in Mechernich and given the locomotive code ***290 999***; on loan from the Deutsche Bundesbahn.

Since January 1996 the locomotive became the property of Deutsche Bahn AG and has been given the number ***290 408***. After this locomotives conversion to radio control it has been numbered ***294 408***

## MaK V 90 P / DB Class 291

Before the main production began, MaK had produced five locomotives of very similar type (but with a MaK engine) for assessment for export orders; they were tested in Sweden. The locomotives were called **V 90 P** The first two went to Dortmunder Eisenbahn.

The other three locomotives were leased by the Deutsche Bundesbahn for assessment - they had a requirement for heavy shunting locomotives in the ports of Hamburg, Emden and Bremen. These locomotives were classified as ***V 90 901*** to ***V 90 903*** (later as ***DB Class 291 901*** onwards). In 1972 the locomotives were purchased, and in 1974 the main order of 100 further locomotives came - which were slightly lighter than the "P" locomotives. The majority were built at Kiel with ten of the hundred being built by Jung.

Instead of the V12 engine found in the Class 290 (class 212), the 291 class is equipped with a MaK 8-cylinder in-line engine that produces 1,400 horsepower (1,000 kW).

This type is only used for shunting (requiring high torque at low speed). The marine diesel engine is unsuitable for continuous use on the main line. The machines found use mainly in northern Germany.

## Radio controlled versions

Two types of radio remote control have been utilised in order to make better use of these locomotives.

Initially locomotives were equipped with radio equipment which allowed the *Bergmeister* (or *Rückenmeister*) (The yard hump controller) to control the locomotive. A driver still occupied the locomotive for safety reasons, and to control the locomotive. This method was used in large computer controlled marshalling yards such as Mannheim marshalling yard (German:*Mannheim rbf*), Seelze, Maschen, Munich, Kornwestheim Rbf and Nuremberg.

Since Nuremberg Rbf has a downward gradient of the track (see Gravity Yard), the locomotives are coupled to 6-axle flat wagons converted to brake tenders by being loaded with concrete weights. This makes it is possible for them to stop trains of up to 2,000 t (2,200 short tons).

### Classes 294, 295

From 1995, large numbers of locomotives of the class were fitted a different type of radio remote produced by Krauss-Maffei (KM)

The remote device is carried by remote train driver (German:*Lokrangierführer* LRF ) in a so-called "Belly Box" (see Remote control locomotive for details) and operated in a manner similar to that of a toy car or model aircraft remote control.

This type of control is used in shunting operations and was previously used with smaller shunting locomotives such as the DB Class V 60 and DB Class Köf III (DB class 331 to 335)

The rebuilt locomotives of the 290 series form **Class 294**, rebuilt locomotives of the 291 series form **Class 295**

The locomotives have radio receiver in the cab, the LRF (remote train driver) must manually turn on the locomotive cab radio using a key switch on the locomotives control panel. A vehicle equipped with this type of remote control has a lamp above the cab window that lights to indicate that the locomotive is capable of receiving the radio signal. This means that the remote train driver (LRF) can now operate the locomotive at the trackside.

Various functions can be activated remotely - brakes, start, *Vkonstant*: i.e. running speed is automatically maintained, Sand, clutch etc.

### Class 296

In 2007 locomotives of Class 290 which already had radio control for use in marshalling yards had the newer Krauss-Maffei remote fitted as well, allowing trackside control. These units were given the classification **Class 296** and are found in the marshalling yards at Gremberg, Mannheim, Munich and Northern Seelze.

45 locomotives are expected to be rebuilt to have both types of remote control.

## Future

Deutsche Bahn AG has announced that the diesel locomotives of series 291 and 295 will be replaced with Voith Gravita locomotives from 2010 onwards.

1. "Deutsche Bundesbahn - V 90 P / 291". *loks-aus-kiel.de*.
* Deutsche Bundesbahn - V 90 Introduction to the V 90 class, full class owner history details and images for MaK built locomotives. *loks-aus-kiel.de* (in German)
* DB Class V 90 \- The diesel-hydraulic locomotive

## InfoBox

| DB Class V 90
DB Class 290
DBAG Class 290
*Also classes 291, 294, 295, 296* | |
| --- | --- |
| DB Cargo 295 016-0 leading two other light engines through Hamburg Hbf, July 2023. This loco was originally numbered 291 016-4 and entered service in March 1975 before being retrofitted with remote controls and automatic couplers in 1996. | |
| Type and origin  Builder MaK  Serial number 290 001-407
also 290 999 (290 408)
291 (~100 built)  Build date 1963, 1964–1974 | |
| Specifications  Configuration:
   UIC B′B′  Gauge 1,435 mm (4 ft 8+12 in) standard gauge  Length ~14 m (45 ft 11.2 in)  Axle load ~20 tonnes (20 long tons; 22 short tons)  Loco weight ~80 tonnes (79 long tons; 88 short tons)  Fuel type Diesel fuel  Transmission Hydraulic  Safety systems *Sifa* and *Indusi* | |
| Performance figures  Maximum speed Class 290 001 to 290 020 : 70 km/h (43 mph)
Class 290 021 onwards : 80 km/h (50 mph)  Power output Class 290 001 to 290 020 : 820 kW (1,100 hp)
Class 290 021 onwards : 1,010 kW (1,350 hp)
Class 290 rebuilt 1,100 kW (1,500 hp)
Class 291 : 1,000 kW (1,300 hp)  Tractive effort Starting 201 kN (45,000 lbf) | |
| Career  Locale Germany  Current owner Deutsche Bahn AG | |


title: Syed Akbaruddin

abstract: Syed Akbaruddin is a retired Indian diplomat from 1985 batch of the Indian Foreign Service and served as India's permanent representative at the United Nations at New York from January 2016 to April 2020. He had previously served as official spokesperson of India's Ministry of External Affairs from January 2012 to April 2015 and was Indian representative at IAEA from 2006 to 2011. He is currently serving as the dean of Kautilya School of Public Policy.

text:
# Syed Akbaruddin

**Syed Akbaruddin** is a retired Indian diplomat from 1985 batch of the Indian Foreign Service and served as India's permanent representative at the United Nations at New York from January 2016 to April 2020. He had previously served as official spokesperson of India's Ministry of External Affairs from January 2012 to April 2015 and was Indian representative at IAEA from 2006 to 2011. He is currently serving as the dean of Kautilya School of Public Policy.

## Career

Akbaruddin is a 1985 batch Indian Foreign Service officer. In his distinguished career spanning over 34 years, Akbaruddin has served in different capacities in India and abroad, starting his first foreign assignment in Cairo where he also learned Arabic. He also served twice in Saudi Arabia; in Riyadh from 1988 to 1992 and in Jeddah from 2000 to 2004 as consul-general of India and he is rightly considered an expert on the West Asia issues in India. At the International Atomic Energy Agency in Vienna, he was on deputation for four years and returned to India in 2011. He was the director at the Foreign Secretary's Office of the Ministry from 2004 to 2005.

Akbaruddin was the official spokesperson of the Ministry of External Affairs of India from January 2012 to April 2015 and was succeeded by Vikas Swarup. He headed the External Publicity and Public Diplomacy division of the Ministry in the capacity of Joint Secretary to Government of India. He was also the chief coordinator for the India-Africa Summit in October 2015. He was later Additional Secretary in the Ministry from April 2015 to September 2015. In November 2015, Akbaruddin was appointed as India's permanent representative to the United Nations in New York, succeeding Asoke Kumar Mukerji.

## PR to the UN

Akbaruddin presented his credentials to UN Secretary-General Ban Ki-moon on January 25, 2016. He has been praised inside his country and abroad for his exceptional skills at multilateral forums, protecting India's interest and setting new standards of multilateral diplomacy. His work at the United Nations against terrorism, climate change and towards international peace has been unparalleled to any of his predecessors. He has been credited for blacklisting of Jaish-e-Mohammed chief Masood Azhar as a global terrorist by the UN Security Council. On the climate front, Akbaruddin has presented India as leader and not a follower at the United Nations, by setting examples such as the inauguration of a 50-kilowatt 'Gandhi Solar Park' by Prime Minister Narendra Modi was a first of its kind effort by India at the UN. India's strong commitment to UN SDGs has been acknowledged by the top UN officials also that UN Development Programme Administrator Achim Steiner says that he is simply in awe of how India is proceeding on its fascinating journey towards meeting its SDGs.

## Personal life

Syed Akbaruddin was born in Hyderabad, Andhra Pradesh (Now Telangana State) on 27 April 1960 to Professor Syed Bashiruddin, formerly the head of the Department of Journalism and Communication at Osmania University, who headed the department for many years and served as Indian ambassador to Qatar, vice-chancellor of Dr B R Ambedkar Open University and director of the research wing of the Film and Television Institute of India in Pune, and Prof. (Dr.) Zeba Bashiruddin, who was a Professor in the English department at Sri Sathya Sai University, Prasanthi Nilayam campus. She had also authored 2 books on Sathya Sai Baba.

Syed Akbaruddin studied at Hyderabad Public School. He holds a Master's Degree in Politics and International Relations.

## InfoBox

| Syed Akbaruddin | |
| --- | --- |
|  | |
|  | |
| Permanent Representative of India to the United Nations | |
| **In office**
1 January 2016  19 May 2020 | |
| President |  |
| Preceded by | Asoke Kumar Mukerji |
| Succeeded by | T. S. Tirumurti |
| Official Spokesperson of the Ministry of External Affairs | |
| **In office**
7 December 2011  18 April 2015Serving with Vishnu Prakash (7 Dec 2011 – 7 Jan 2012) | |
| Preceded by | Vishnu Prakash |
| Succeeded by | Vikas Swarup |
|  | |
| Personal details | |
| Born | (1960-04-27) 27 April 1960
Hyderabad, Telangana, India |
| Spouse | Padma Akbaruddin |
| Children | 2 |
| Occupation | Civil Servant (IFS) |
|  | |


title: DMZ (DMZ album)

abstract: D.M.Z. is the debut studio album by American punk rock band DMZ, released in 1978 by record label Sire.

text:
# DMZ (DMZ album)

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| AllMusic |  |
| *Trouser Press* | unfavorable |

***D.M.Z.*** is the debut studio album by American punk rock band DMZ, released in 1978 by record label Sire.

## Track listing

Side One 1. Mighty Idy — 2:25
2. Bad Attitude — 3:00
3. Watch For Me Girl —2:20
4. Cinderella — 2:45
5. Don't Jump Me Mother — 3:22

Side Two 1.
2. Destroyer — 2:15
3. Baby Boom — 2:20
4. Out Of Our Tree — 3:00
5. Border Line — 2:35
6. Do Not Enter — 2:15
7. From Home — 1:35

## Personnel

* Mono Mann (Jeff Conolly) — vocals, organ
* J. Rassler – guitar
* Peter Greenberg – guitar
* Rick Corraccio – bass
* Paul Murphy – drums

## InfoBox

| D.M.Z. | |
| --- | --- |
|  | |
| Studio album by DMZ | |
| Released | 1978 (1978) |
| Genre | Punk rock |
| Label | Sire |
| Producer |  |
| DMZ chronology | |
| *DMZ EP*
(1977) ***D.M.Z.***
(1978) *Relics*
(1981) | |


title: Syngliocladium

abstract: Syngliocladium is a genus of anamorphic fungi within the Ophiocordycipitaceae family. Members are anamorph names of Ophiocordyceps. The genus Sorosporella N.Sorokin, 1888 has been treated as a synonym of Syngliocladium.

text:
# Syngliocladium

***Syngliocladium*** is a genus of anamorphic fungi within the Ophiocordycipitaceae family. Members are anamorph names of *Ophiocordyceps*.

The genus *Sorosporella* N.Sorokin, 1888 has been treated as a synonym of *Syngliocladium*.

## Species

*MycoBank* includes:

1. *Syngliocladium acridiorum* H.C.Evans & P.A.Shah, 2002
2. *Syngliocladium aranearum* Petch, 1932
3. *Syngliocladium cleoni* (Wize) Petch, 1942
4. *Syngliocladium intricatum* Petch, 1942
5. *Syngliocladium tetanopsis* K.T.Hodge, Humber & Wozniak, 1998

## InfoBox

| *Syngliocladium* | |
| --- | --- |
|
| Scientific classification | |
| Kingdom: | Fungi |
| Division: | Ascomycota |
| Class: | Sordariomycetes |
| Subclass: | Pezizomycotina |
| Order: | Hypocreales |
| Family: | Ophiocordycipitaceae |
| Genus: | ***Syngliocladium***<br>Petch 1932 |
|


title: Synglochis

abstract: Synglochis is a genus of moths in the family Geometridae.

text:
# Synglochis

***Synglochis*** is a genus of moths in the family Geometridae.

* Pitkin, Brian & Jenkins, Paul. "Search results Family: Geometridae". *Butterflies and Moths of the World*. Natural History Museum, London.

## InfoBox

| *Synglochis* | |
| --- | --- |
|
| Scientific classification | |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Family: | Geometridae |
| Genus: | ***Synglochis*** |
|


title: Poor Fork (Cumberland River tributary)

abstract: The Poor Fork is a 45-mile (72 km) tributary of the Cumberland River in Letcher and Harlan Counties, southeast Kentucky, in the United States. The river flows from its source at Flat Gap in Letcher County, on the Kentucky–Virginia border, generally southwest to where it meets Martin's Fork in Baxter to form the Cumberland River.

text:
# Poor Fork (Cumberland River tributary)

The **Poor Fork** is a 45-mile (72 km) tributary of the Cumberland River in Letcher and Harlan Counties, southeast Kentucky, in the United States. The river flows from its source at Flat Gap in Letcher County, on the Kentucky–Virginia border, generally southwest to where it meets Martin's Fork in Baxter to form the Cumberland River.

36°51′35″N 83°19′33″W / 36.85981°N 83.32574°W / 36.85981; -83.32574

## InfoBox

| Poor Fork | |
| --- | --- |
| The Poor Fork near the community of Eolia in Letcher County | |
| Physical characteristics | |
| Mouth |  |
| elevation | 1,148 ft (350 m) |
| Length | 45 mi (72 km) |
|  | |
| Discharge |  |
| location | Cumberland, Kentucky |
| average | 147 cu/ft. per sec. |
|  | |
| Basin features | |
| Progression | CumberlandOhioMississippi |
| Tributaries |  |
| right | Looney Creek |


title: Pimp to Eat

abstract: Pimp to Eat is the only studio album by American hip hop supergroup Analog Brothers, which consists of Ice-T as Ice Oscillator, Kool Keith as Keith Korg, Pimpin' Rex as Rex Roland JX3P, Marc Live as Marc Moog, and Black Silver as Silver Synth. It was released on August 15, 2000 via Ground Control Records and re-released on June 10, 2016 via Mello Music Group. The 16-track record featured guest appearances from Odd Oberheim, H-Bomb, Teflon, Rhymes Syndicate, Synth-A-Size Sisters, and DJ Cisco.

text:
# Pimp to Eat

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| AllMusic |  |
| *HipHopDX* | 3/5 |
| RapReviews | 7.5/10 |
| *Record Collector* |  |
| *The New Rolling Stone Album Guide* |  |

***Pimp to Eat*** is the only studio album by American hip hop supergroup Analog Brothers, which consists of Ice-T as Ice Oscillator, Kool Keith as Keith Korg, Pimpin' Rex as Rex Roland JX3P, Marc Live as Marc Moog, and Black Silver as Silver Synth. It was released on August 15, 2000 via Ground Control Records and re-released on June 10, 2016 via Mello Music Group. The 16-track record featured guest appearances from Odd Oberheim, H-Bomb, Teflon, Rhymes Syndicate, Synth-A-Size Sisters, and DJ Cisco.

## Singles

The album produced a 12" vinyl single "2005 A.D.", which was dropped on May 16, 2000 via Ground Control Records. Its A-side were two versions of "2005", master mix version with Odd Oberhiem and instrumental version. Its B-side were two versions of "Analog Annihilator vs. Silver Surfer", also master mix and instrumental.

The second single, "Bionic Oldsmobile", was dropped on June 10, 2016 on Mello Music Group's re-release version and is available as free download.

## Music videos

In 2016, two music videos were made to promote the re-release of *Pimp to Eat*. "Country Girl" was directed and edited by Pimp Rex & Kool Keith, and "More Freaks" was directed by Gorilaman X. No music videos were made on its original release.

## Track listing

All music is composed by Analog Brothers

| No. | Title | Length |
| --- | --- | --- |
| 1. | "Analog Brother's Intro" | 3:41 |
| 2. | "Analog Technics" (featuring Odd Oberhiem) | 4:52 |
| 3. | "More Freaks" | 4:03 |
| 4. | "2005" (featuring Odd Oberhiem) | 4:29 |
| 5. | "So Bad" | 4:03 |
| 6. | "Analog Annihilator vs. Silver Surfer" | 3:49 |
| 7. | "Perms, Baldheads, Afros & Dreds" | 4:09 |
| 8. | "Who Wana Be Down" (featuring Rhyme Syndicate) | 4:43 |
| 9. | "Country Girl" | 4:03 |
| 10. | "War" (featuring Jacky Jasper & DJ Cisco) | 4:04 |
| 11. | "Doubleback" | 3:48 |
| 12. | "We Sleep Days" (featuring Jacky Jasper) | 3:43 |
| 13. | "Bionic Oldsmobile" | 4:27 |
| 14. | "Shut Down Show" (featuring Synth-A-Size Sisters) | 3:24 |
| 15. | "Once I Get It" (featuring Teflon) | 1:04 |
| 16. | "Analog Outro" | 2:19 |
| Total length: | | 1:00:26 |

**Sample credits**

* "Analog Technics" contains elements from "Music to Be Murdered By" by Jeff Alexander & Alfred Hitchcock (1958)
* "Analog Annihilator Vrs. Silver Surfer" contains elements from "Requiem for Soprano, Mezzo-Soprano, 2 Mixed Choirs and Orchestra" by György Ligeti (1968)
* "Who Wanna Be Down" contains the intro from the television series The Outer Limits (1963)

## Personnel

* Christopher Rodgers - vocals, synthesizer, lazar bells
* Rex Colonel Doby Jr. - vocals, keyboards, drums
* Tracy Lauren Marrow \- vocals, keyboards, drums
* Keith Matthew Thornton \- vocals, bass, strings
* Marc Giveand - vocals, violins, drums
* Kurt Kurzweil Matlin \- mixing
* Gene Grimaldi - mastering
* Dr. Dave Stotts - photography
* Odd Oberhiem - featured artist (tracks: 2, 4)
* Sean Merrick \- featured artist (tracks: 10, 12)
* Sheldon Harris - featured artist (track 15)
* Rhyme Syndicate - featured artist (track 8)
* DJ Cisco - featured artist (track 10)
* Synth-A-Size Sisters - featured artist (track 14)

## InfoBox

| Pimp to Eat | |
| --- | --- |
|  | |
| Studio album by Analog Brothers | |
| Released | August 15, 2000 (2000-08-15)
June 10, 2016 (2016-06-10) (re-release) |
| Genre |  |
| Length | 1:00:26 |
| Label | Ground Control Records/Mello Music Group |
| Producer | Analog Brothers |
|  | |
| Kool Keith chronology | |
| *Matthew*
(2000) ***Pimp to Eat***
(2000) *Masters of Illusion*
(2000) | |
| Ice-T chronology | |
| *The Seventh Deadly Sin*
(1999) ***Pimp to Eat***
(2000) *Gangsta Rap*
(2006) | |
| Singles from  *Pimp to Eat* | |
| 1. "2005 A.D."
Released: May 16, 2000 2. "Bionic Oldsmobile"
Released: June 10, 2016 | |
| Alternate cover | |
|  | |
| 2016 re-release album cover, seen on streaming | |
|  | |
|  | |


title: Sergio Ballesteros

abstract: Sergio Martínez Ballesteros is a Spanish former footballer who played as a central defender. He started and finished his 19-year professional career with Levante, amassing La Liga totals of 387 games and eight goals over 15 seasons. He also represented in the competition Tenerife, Rayo Vallecano, Villarreal (three) and Mallorca (four).

text:
# Sergio Ballesteros

**Sergio Martínez Ballesteros** (born 4 September 1975) is a Spanish former footballer who played as a central defender.

He started and finished his 19-year professional career with Levante, amassing La Liga totals of 387 games and eight goals over 15 seasons. He also represented in the competition Tenerife (four years), Rayo Vallecano, Villarreal (three) and Mallorca (four).

## Club career

Born in Burjassot, Valencian Community, Ballesteros came through the ranks of local Levante UD. In January 1996 he moved on loan to the Canary Islands' CD Tenerife, making his La Liga debut on 3 January in a 2–0 home win against Racing de Santander. After making the move permanent he went on to become an important defensive player, also starting to garner a reputation as a tough, sometimes to excess, central defender: in the 1998–99 season, as Tenerife ranked second-bottom, he was sent off twice in just eight appearances.

For the 2000–01 campaign, Ballesteros moved to Rayo Vallecano in Madrid, collecting ten yellow cards in his only season and playing all the games and minutes in the team's quarter-final run in the UEFA Cup. He subsequently spent three years at Villarreal CF, being an important defensive element as the club consolidated in the main division.

From 2004 to 2008, Ballesteros represented RCD Mallorca also in the top flight, receiving eight additional marching orders in 113 first-team appearances. In July 2008 the 33-year-old was deemed surplus to requirements and released, re-joining Levante, recently relegated to the Segunda División, after 13 years.

Veteran Ballesteros rarely missed a match for the *Granotas* the following seasons, playing 34 matches in 2010–11 (one goal, against CA Osasuna in a 2–1 home win) as the team finally retained their top-flight status. He fared even better the following campaign – also finding the net once, at Rayo Vallecano in a 2–1 victory– to help the side finish sixth and qualify for the Europa League for the first time ever.

Ballesteros was again a starter and team captain in 2012–13. However, late into the campaign, he, alongside Juanlu and Gustavo Munúa, was accused by teammate José Barkero of lack of commitment during a 0–4 home loss to Deportivo de La Coruña, which led to several match fixing allegations.

## Honours

**Villarreal**

**Spain U21**

## InfoBox

Sergio Ballesteros
| Ballesteros in action for Levante in 2011 | | | |
| --- | --- | --- | --- |
| Personal information | | | |
| Full name | Sergio Martínez Ballesteros | | |
| Date of birth | (1975-09-04) 4 September 1975 | | |
| Place of birth | Burjassot, Spain | | |
| Height | 1.88 m (6 ft 2 in) | | |
| Position(s) | Centre-back | | |
| Youth career | | | |
|  | Levante | | |
| Senior career\* | | | |
| Years | **Team** | **Apps** | **(Gls)** |
| 1994–1996 | Levante | 36 | (4) |
| 1996 | Tenerife (loan) | 6 | (0) |
| 1996–2000 | Tenerife | 86 | (4) |
| 2000–2001 | Rayo Vallecano | 36 | (2) |
| 2001–2004 | Villarreal | 81 | (1) |
| 2004–2008 | Mallorca | 103 | (1) |
| 2008–2013 | Levante | 174 | (3) |
| Total |  | **522** | **(15)** |
| International career | | | |
| 1996–1998 | Spain U21 | 12 | (0) |
| 1997 | Spain U23 | 3 | (0) |
| \*Club domestic league appearances and goals | | | |


title: Verderer (New Forest)

abstract: In the New Forest a verderer is an unpaid officer whose duty is to regulate and protect the interests of the New Forest commoners, and to preserve the natural beauty and good traditional character of the Forest. There are ten verderers, together constituting the Court of Verderers.

text:
# Verderer (New Forest)

In the New Forest a **verderer** is an unpaid officer whose duty is to regulate and protect the interests of the New Forest commoners, and to preserve the natural beauty and good traditional character of the Forest. There are ten verderers, together constituting the Court of Verderers (or Court of Swainmote).

## The Court of Verderers

The Court has ancient origins but in its present form is a corporate body set up under the New Forest Act 1887 and reconstituted in 1949. It consists of ten verderers, five of whom are elected by the commoners, and four of whom are appointed respectively by the Department for Environment, Food and Rural Affairs, the Forestry Commission, the National Park Authority, and Natural England. The remaining position is held by the Official Verderer who serves as chair of the Court and who is appointed by the Sovereign.

The Court has the same status as a Magistrates Court, and acting under its authority the verderers are responsible for regulating commoning within the Forest, for dealing with unlawful inclosures, and for a wide range of other matters relating to development control and conservation such as proposals for new roads, car parks, camping sites, recreational facilities, playing fields and so on.

The verderers also work to ensure the health and welfare of the commoners' animals, and to assist with this they employ five paid agisters whose role is to supervise the animals’ day-to-day welfare.

The Court of Verderers normally meets in open session once a month (other than August and December), at which ‘presentments’ may be made by any commoner or other person. These are oral or written statements such as a concern or a complaint relating to the Forest that the petitioner wishes the Court to deal with. Where the presentment relates to a contentious matter, the Court may order that counter-presentments be heard in open court at a later date.

The verderers work closely with the Forestry Commission, an appointee of which is a member of the Court. Some activities the Commission carries out or permits within the Forest may be subject to rights of common, and thus require the verderers’ consent, while in the case of other activities the Commission may have a statutory power to override those rights or to proceed subject to consultation. To avoid misunderstandings, in 2002 the verderers and the Commission concluded a Memorandum of Understanding to help the parties determine how to handle specific activities that the Commission proposes to undertake or permit within the Forest.

The New Forest became a National Park on 1 March 2005. It is managed by a government-funded organisation, the National Park Authority, which appoints one of the Court members. The verderers have a statutory duty (under section 62 of the Environment Act 1995) to take account of the purposes of National Park designation when making any decision which affects the Park.

## History

In the 13th century the verderers were originally a court that was authorised by The Crown to deal with minor offences taking place within the Sovereign's Forest. Their powers were enlarged in the 17th and 18th centuries to enable the Court to deal with trespassers, and acts such as breaking inclosure fences which were detrimental to the planting and preservation of oak for shipbuilding.

Under the New Forest Act 1887 the court was placed on a statutory basis, with the verderers becoming responsible for commoners, common rights, and the Forest landscape. The New Forest Act 1949 gave the verderers additional powers to make and amend byelaws. Subsequent legislation of 1964, 1967 and 1970 has increased the range of issues the court is required to approve or to be consulted on.

1. *Verderers of the New Forest: who are they? what do they do?* (Pamphlet). The Verderers of the New Forest. nd.`{{cite book}}`: CS1 maint: year (link)
2. "Verderers' Court". *Verderers of the New Forest*. Retrieved 27 October 2018.
3. "Memorandum of Understanding between the Forestry Commissioners and the Verderers of the New Forest" (PDF). *Verderers of the New Forest*. 2002. Retrieved 27 October 2018.


title: Pleurobema chattanoogaense

abstract: Pleurobema chattanoogaense, the painted clubshell, is a species of freshwater mussel, an aquatic bivalve mollusk in the family Unionidae, the river mussels. This species is endemic to the United States. Its natural habitat is rivers.

text:
# Pleurobema chattanoogaense

***Pleurobema chattanoogaense***, the **painted clubshell**, is a species of freshwater mussel, an aquatic bivalve mollusk in the family Unionidae, the river mussels.

This species is endemic to the United States. Its natural habitat is rivers.

## InfoBox

| *Pleurobema chattanoogaense* | |
| --- | --- |
| Conservation status | |
|
Critically Endangered  (IUCN 2.3) | |
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Mollusca |
| Class: | Bivalvia |
| Order: | Unionida |
| Family: | Unionidae |
| Genus: | *Pleurobema* |
| Species: | ***P. chattanoogaense*** |
| Binomial name | |
| ***Pleurobema chattanoogaense***
(I. Lea, 1858) | |
|


title: Dondukov

abstract: The House of Dondukov is a Russian princely family descending from Donduk-Ombo, the sixth khan of the Kalmucks. In 1732 he led 11,000 Kalmuck households from the Volga banks to the border of the Ottoman Empire at the Kuban River, asking the sultan for protection. The new settlement, however, was ill-suited for grazing animals, so he petitioned Anna of Russia to return to the Volga as soon as the Russo-Turkish War, 1735-1739 erupted. After Donduk's death, the power in Kalmykia was usurped by his cousin. Donduk's widow, ethnically Circassian, converted to Russian Orthodoxy and went to Moscow in order to ask Empress Elizabeth for protection. In 1745 her children were baptised and authorized to bear the name of Princes Dondukov. Of these children, the elder, Prince Aleksey Dondukov, was sent by Catherine the Great to govern Kalmykia and reigned as a puppet khan from 1762 until his death 19 years later. His younger brother, Iona, lived in the Russian manor of his wife, Maria Korsakova. Instead of succeeding his brother as a khan, he was persuaded to exchange his ephemeral sovereignty for 3,000 souls of peasants living in Belarus. Prince Iona Dondukov had one daughter only, who became upon his death one of the most coveted brides in Russia. In 1801, she was married by her mother to a relative, Colonel Nikita Ivanovich Korsakov (1776-1857), who was authorized to take the title of Prince Dondukov-Korsakov. They had only one daughter, Maria, married to another relative, Mikhail Aleksandrovich Korsakov (1794-1869), who succeeded his father-in-law as Prince Dondukov-Korsakov. Although he long remained Vice-President of the Russian Academy of Sciences, Mikhail Dondukov-Korsakov is best remembered by virtue of Pushkin's scurrilous epigram ridiculing his homosexual relationship with Count Uvarov. His only son was Prince Alexander Mikhailovich Dondukov-Korsakov (1820–93) who rose to prominence fighting in the Caucasian War and in the Crimean campaign. In 1869 he was appointed Governor of Kiev, Podolia, and Volhynia. Having been promoted full General of Cavalry, he took a conspicuous part in the final Russo-Turkish war, remaining as the head of Russian administration in Bulgaria after the war ended and helping pen the Tarnovo Constitution, the first Bulgarian constitution. He ended his long and illustrious career as the Governor of the Caucasus in 1882 - 1890.

text:
# Dondukov

The **House of Dondukov** is a Russian princely family descending from **Donduk-Ombo**, the sixth khan of the Kalmucks (reigned 1737–41). In 1732 he led 11,000 Kalmuck households from the Volga banks to the border of the Ottoman Empire at the Kuban River, asking the sultan for protection. The new settlement, however, was ill-suited for grazing animals, so he petitioned Anna of Russia to return to the Volga as soon as the Russo-Turkish War, 1735-1739 erupted.

After Donduk's death, the power in Kalmykia was usurped by his cousin. Donduk's widow, ethnically Circassian, converted to Russian Orthodoxy and went to Moscow in order to ask Empress Elizabeth for protection. In 1745 her children were baptised and authorized to bear the name of Princes Dondukov. Of these children, the elder, Prince Aleksey Dondukov, was sent by Catherine the Great to govern Kalmykia and reigned as a puppet khan from 1762 until his death 19 years later. His younger brother, Iona, lived in the Russian manor of his wife, Maria Korsakova. Instead of succeeding his brother as a khan, he was persuaded to exchange his ephemeral sovereignty for 3,000 souls of peasants living in Belarus.

Prince Iona Dondukov had one daughter only, who became upon his death one of the most coveted brides in Russia. In 1801, she was married by her mother to a relative, Colonel Nikita Ivanovich Korsakov (1776-1857), who was authorized to take the title of Prince Dondukov-Korsakov. They had only one daughter, Maria, married to another relative, Mikhail Aleksandrovich Korsakov (1794-1869), who succeeded his father-in-law as Prince Dondukov-Korsakov. Although he long remained Vice-President of the Russian Academy of Sciences, Mikhail Dondukov-Korsakov is best remembered by virtue of Pushkin's scurrilous epigram ridiculing his homosexual relationship with Count Uvarov.

His only son was Prince Alexander Mikhailovich Dondukov-Korsakov (1820–93) who rose to prominence fighting in the Caucasian War and in the Crimean campaign. In 1869 he was appointed Governor of Kiev, Podolia, and Volhynia. Having been promoted full General of Cavalry, he took a conspicuous part in the final Russo-Turkish war, remaining as the head of Russian administration in Bulgaria after the war ended and helping pen the Tarnovo Constitution, the first Bulgarian constitution. He ended his long and illustrious career as the Governor of the Caucasus in 1882 - 1890.


title: Piggy (2012 film)

abstract: Piggy is a 2012 British horror crime film. It is written and directed by Kieron Hawkes, produced by Fulwell 73 and DP Film Productions and starring Martin Compston, Paul Anderson, Ed Skrein and Neil Maskell.

text:
# Piggy (2012 film)

***Piggy*** is a 2012 British horror crime film. It is written and directed by Kieron Hawkes, produced by Fulwell 73 and DP Film Productions and starring Martin Compston, Paul Anderson, Ed Skrein and Neil Maskell.

## Synopsis

In London, Joe (Compston) enters a depression after his brother is murdered on his way home after a night out, and the police think it looks like an open-and-shut case. However, a man called Piggy (Anderson) arrives claiming to be a mate of the brother and he wants revenge, but is Piggy real or a figment of Joe’s imagination?

## Cast

## Production

The film was produced by Danny Potts and Leo Pearlman for Fulwell 73 and DP Film Productions with Creativity Media, and directed by Kieron Hawkes. Executive Producer’s on the project were Gabe Turner, Joe Moore and Patrick Fischer.

## Release

The film had a limited UK cinema release on May 4, 2012.

## Reception

On the review aggregator website Rotten Tomatoes, *Piggy* holds an approval rating of 18% based on 11 reviews.

### Critical reception

Mark Kermode on the Kermode and Mayo's Film Review show on BBC Radio 5 Live called it “Death Wish for shoegazers” and “strangely disturbing, ultimately unsatisfying”. The Guardian felt it lacked subtlety but compared Anderson’s swaggering performance to the character of Tyler Durden in *Fight Club*.

## InfoBox

| Piggy | |
| --- | --- |
| Directed by | Kieron Hawkes |
| Screenplay by | Kieron Hawkes |
| Produced by |  |
| Starring |  |
| Edited by | Benjamin Turner |
| Music by | Bill Ryder-Jones |
| Production<br>companies |  |
| Release date | * 4 May 2012 (2012-05-04) |
| Running time | 106 minutes |
| Country | United Kingdom |
| Language | English |


title: Pick up stitches (knitting)

abstract: In knitting, picking up stitches means adding stitches to the knitting needle that were previously bound off or belong to the selvage. Picking up stitches is commonly done in knitting garments, e.g. in knitting the collar or sleeves, and is essential for entrelac knitting.

text:
# Pick up stitches (knitting)

In knitting, **picking up stitches** means adding stitches to the knitting needle that were previously bound off or belong to the selvage.

Picking up stitches is commonly done in knitting garments, e.g. in knitting the collar or sleeves, and is essential for entrelac knitting.

## Uses

Picking up stitches is usually used to create a new fabric that is not worked in the same direction as the piece to which it is joined, without having to knit the new piece separately and sew it on. In this application it is most familiar for knitting ribbed button bands for cardigans, but it can also be used to e.g. knit sleeves onto an existing body or add an afterthought thumb to mittens, and entrelac uses the technique to form rows of squares that are worked perpendicularly to those above and below.

It can also be used to provide stability, as when a garment pattern instructs the knitter to bind off at the collar and then immediately pick up the same number of stitches; the bound-off edge helps keep the collar from stretching.

## Technique

Picking up stitches uses the same action as regular knitting, save that the loop through which the new stitch passes is not "live"; that is, it will not run if dropped from the needle. Some knitters prefer to pick up all the loops onto the left needle at once, and then knit across in a relatively normal fashion; others pick up each new stitch individually as they work.

Picking up is normally done from the front as if knitting, or from the back as if purling. If purled from the front or knitted from the back, the ridge created will show on the public side of the work; this should be done only if the designer intends it to be a design element.

## Gauge Issues

When picking up to work in the same direction as the established fabric, as from a bound-off edge, the knitter can simply pick up one new stitch for every column of extant stitches. However, knitting stitches are usually wider than they are tall; when picking up on a selvage, as for a button band, creating the same number of stitches as there are rows will lead to the new fabric ruffling rather than lying flat. As a rule of thumb, picking up three stitches for every four rows will avert this problem. When the main fabric is in garter stitch, one picked-up stitch for every garter ridge (i.e. two rows) will generally suffice.

* June Hemmons Hiatt (1988) *The Principles of Knitting*, Simon and Schuster, pp. 183–200. ISBN 0-671-55233-3
* Elizabeth Zimmerman (1973) *Knitting Without Tears*, Fireside Books. ISBN 978-0684135052


title: Pierre Fatio

abstract: Pierre Fatio was a lawyer and politician from the Republic of Geneva. His struggle against the dominance of the aristocracy in the Genevan government led to his execution on charges of conspiring against the state.

text:
# Pierre Fatio

**Pierre Fatio** (7 November 1662  6 September 1707) was a lawyer and politician from the Republic of Geneva. His struggle against the dominance of the aristocracy in the Genevan government led to his execution on charges of conspiring against the state.

## Family and education

Fatio was born into a patrician family in Geneva on 7 November 1662. He was one of twenty-four children born to François Fatio and Marie Franconis. François, the son of a Protestant refugee from the Val Bregaglia, was a merchant and banker from Vevey, Switzerland, who became a citizen of the Republic of Geneva in 1647. Pierre Fatio was a cousin and contemporary of mathematician and inventor Nicolas Fatio de Duillier.

Fatio enrolled at the University of Basel in 1679 and again in 1685, receiving a doctorate in law in 1686. He also studied at Geneva, Valence, Montpellier and Leiden. Back in Geneva, Fatio established a successful law practice. In 1694 he married Elisabeth Chouet, the daughter of Léonard Chouet, councillor and general treasurer of the Republic of Geneva.

## Political career

Elected to the Council of Two Hundred in 1688, Fatio held several positions in government: lord of Saint-Victor and chapter in 1691, auditor in 1696 and *châtelain* of Peney in 1700. In 1705, his application for the Small Council was rejected in favor of his brother, Jacques-Francois Fatio, who did not have his experience in public affairs. This reflected the ruling Genevan aristocracy's distrust of Pierre Fatio's independent and non-conformist spirit.

### Activism and execution

Though nominally a representative democracy ruled by an elected parliament, the Council of Two Hundred (or Grand Council), political power in Geneva resided in practice in the Council of Twenty-Five (or Small Council), which chose its own members and was controlled by the patrician families. After his rejection by the Small Council, Fatio became a spokesman for the Genevan bourgeoisie in its struggle against the dominance of the patricians. Fatio declared that the political reality in the Republic of Geneva made a mockery of the notion that the democratically elected Grand Council was sovereign, since "a sovereign that never performs an act of sovereignty is an imaginary being".

During the political troubles of 1707, Fatio proposed several democratizing reforms, including requiring that the General Council (the electoral body) meet annually. However, this was rejected by the dominant faction of his own party, which regarded Fatio's positions as too extreme. Alleging his participation in a conspiracy to overthrow the government, the Small Council condemned Fatio to death. He was shot on 6 September 1707 at the courtyard of Evêché Prison, in Geneva.

## Influence

Among Fatio's bourgeois supporters was Jean-Jacques Rousseau's grandfather, David Rousseau, who thereby lost his government employment. Fatio has been described by some historians as the "Swiss Gracchus". A commemorative plaque declaring him a "defender of citizens' rights" now marks the entrance to the *Rue Jean Calvin*, in the historical center of Geneva.