title: Solar camera

abstract: The solar camera, or solar enlarger, is an ancestor of the darkroom enlarger, and was used in the mid-to-late 19th century to make photographic enlargements from negatives.

text:
# Solar camera

The **solar camera,** or solar enlarger, is an ancestor of the darkroom enlarger, and was used in the mid-to-late 19th century to make photographic enlargements from negatives.

## Other uses

The name *Solar* was registered as the brand of an unrelated electrically illuminated darkroom enlarger marketed post-WW2 in the United States by Burke & James Inc., Chicago.

## Description

Early photographic materials were less light sensitive, and prints were made by simple superposition ("Contact prints"). The solar camera enlarger permitted photographers to make enlargements from glass negatives. However, exposures required for making such copies from negatives increase inversely with enlargement area. Photographers therefore employed the most powerful light source then available: the Sun.

Solar cameras were at first freestanding, a design based on picture-taking cameras but with the relative position of negative and lens reversed so that sunlight shone through the glass plate to be projected onto photo-sensitive paper or an emulsion on other substrates (glass, fabric, leather etc.) inside the instrument. Mounted on a stand, they could be swivelled to continuously face the Sun, and were later built into the structure of a darkroom with an opening to the sky to admit light.

The intensity of the light, and heat, they transmitted and concentrated through condensers can be gauged from reports of near loss of life when a fire started from a late version of the device, built in to a darkroom, was left unattended and still open to full sunlight. Jacob Wothly's huge version of the device required water troughs to keep it cool enough to use safely.

## Inventors

A number of photographers, inventors and photographic businesses contributed to the design development of the solar camera.

An antecedent was the solar microscope of c.1740, employed in experiments with photosensitive silver nitrate by Thomas Wedgwood and Humphry Davy in making the first, but impermanent, photographic enlargements. Their discoveries were published in June 1802 by Davy in his *An Account of a Method of Copying Paintings upon Glass, and of Making Profiles, by the Agency of Light upon Nitrate of Silver. Invented by T. Wedgwood, Esq. With Observations by H. Davy* in the first issue of the *Journals of the Royal Institution of Great Britain*.

John Towler, writing in 1864 is at pains to point out that; "The appendages to the solar camera and to the solar microscope are facsimiles of each other; but the solar microscope existed before photography had been elicited from chaos; the solar camera, therefore, is a mere imitation of its antecedent; the patentees of the latter instrument, then, can make no claim to originality of design; their only claim can be the application of the instrument to photography."

Baltimore photographer and professor of drawing at the Government School of Design, David Acheson Woodward's 1857 solar enlarging camera was an evolution of the solar microscope, and was a large instrument operated out-of-doors that could produce life size prints from quarter plate and half plate negatives with an exposure of about forty-five minutes. During his visit to England to exhibit and market his device, the *Liverpool Mercury* reported that his pictures "were universally admired. One of the prints had been enlarged from 6+12 inches (17 cm) to about 3 feet \[91 cm\], and yet the greatest clearness and accuracy were preserved." His apparatus was made in two sizes: one with a 9 in (23 cm) condenser for half-plates that cost £21 (£2,845.61 or $US3,760.29 in 2020); the smaller had a 5 in (13 cm) condenser for quarter-plates costing £13. In 1860 the photo-microscopist Auguste-Adolphe Bertsch improved the Woodward design with a second condenser.

Prominent London photographer the French-born Antoine Claudet was a user and active promoter of the solar camera, who lectured on the subject to the British Association in Oxford in June 1860, and in 1862 presented "On the means of following the small divisions of the scale regulating the distances and enlargement in the solar camera" at the British Association for the Advancement of Science in October. Earlier that year he exhibited a number of life-size portrait enlargements from *carte de visite* negatives at the 1862 World Fair, which were praised as 'magnificent' and 'without distortion', the reviewer noting that Claudet would have exhibited more but "for the continued absence of sunlight during the last few weeks."

In the 1860s and 1870s advances on Woodward's design were made. Jacob Wothly of Aachen improved Woodward's design with a reflector and condenser of one metre (39 inches) diameter and a focus of two meters (about 6½feet), attracting much attention, and presented it to the French Academy of Sciences, October 8, 1860, and at the Societe Francaise de Photographie in early November 1860, selling the design to Disderi, reportedly for 20,000 francs soon after, who was awarded a medal for his enlarged photographs at the 1862 London International Exhibition. Further adjustments to the original design included a clockwork heliostat, such as that invented by Léon Foucault in 1862 and built by his son-in-law, to rotate the mirror in synchronisation with the Sun's passage to concentrate its light on the condenser lens.

Belgian photochemist and professional photographer Désiré van Monckhoven registered in August 1863 a patent for "an optical apparatus intended for enlarging by projection". It diverged from Woodward's design and had an appearance more like a modern horizontal enlarger and used a heliostat mirror instead of being pointed at the sun directly. It corrected for spherical aberration ("appareil solar dialytique") for sharper, more even light, for which he received a bronze medal at the Exposition Universelle (1867). After securing patents in England and France he went into manufacture. His apparatus was built into the darkroom wall, while J.F. Campbell's vertical design of the following year gathered light through an opening in the roof.

Nadar used Alphonse Liebert's enlarger for his first enlargements around that time, a design which used a hand-operated drive to keep the condenser lens focussed on the sun directly; with no mirrors, exposure times were decreased.

Louis Jules Duboscq's apparatus, like Quinet's, used electric light, and was shown to the Paris Photographic Society in 1861.

## Value in photography

The calling-card format *carte de visite* was gaining popularity in the late 1850s, but there was increasing demand for larger portraits, which were normally contact printed from larger negatives, requiring an unwieldy lens and camera, an inconvenience which, professionals concluded, was "not repaid by a proportionate increase in the size and sharpness of the picture obtained; and that it is more practicable to obtain extra-sized pictures by enlarging with a solar camera." Julia Margaret Cameron for example chose to emphasise the 'from Life' quality she desired by using a camera that took 38 cm × 30.5 cm (15.0 in × 12.0 in) plates and, despite the availability of solar camera, she contact-printed all her negatives; but even with the relatively wide aperture of f8, for whole head close-ups, exposures were up to five minutes. The *carte de visite* by contrast, particularly with Disderi's camera that could shoot several frames on the one sheet, needed exposures only of between 2 and 10 seconds, and thus made more spontaneous portraits than could be achieved with the longer exposures needed for a large-format camera. They could be enlarged with the solar camera up to life-size, retaining detail. Claudet, at the British Association for the Advancement of Science in October 1862, was reported as having;

> "exhibited last night a number of *cartes de visite* enlarged by the solar camera, showing the great perfection of proportion and the natural expression which may be impart to portraits when they are taken in a very short sitting, and with the apparatus placed at a proper distance from the persons, as is the case for small pictures."

*The British Journal of Photography* summed up the value of enlargements to advancing the business of;

> "Photographic portraiture—which, for a considerable period, suffered from what we may call a surfeit of carte de visite—has, during recent times, received a great impetus from the degree of perfection which has been attained in the production of enlargements by several of the now well-known processes. We are, of course, aware that much of the beauty and, consequently, the growing popularity of such pictures depend on the skill and judgment with which the apparently absolutely necessary “retouching" and "touching-up" is done; but there can be no doubt that, judging from the specimens so frequently met with in photographic saloons, on the walls of our exhibitions, and in private collections, works of a high class, in this direction, is the rule rather than the exception.

## Use by artists

Woodward used sunlight and copying lenses for enlargements from a small negative onto large photographically sensitized paper or canvas, which he would then paint over in oils. In submitting his 1866 application for a renewal of his original patent, Woodward described the artistic applications of the instrument:

> The object of my invention is, first, to furnish the artist or draftsman with an instrument by which he may be enabled to produce an accurate image of the object to be delineated by photography, and that will afterward portray on his canvas or other material an infallible representation thereof in light and shade, whereby a most accurate likeness or copy of any desired size may be produced, requiring only one sitting of the subject; and, secondly, to enable the photographic artist to print a picture on prepared paper, canvas, or other material of greater or less dimensions than those of the negative ordinarily used for such purpose, whereby he is enabled to use a more perfect negative produced by bringing the entire field of his picture within the focus of his instrument, and afterward throwing it up and printing it by concentrating the rays of light through the negative in the instrument and focusing the object on the prepared paper or canvas, instead of printing by superposition in the usual way.

Woodward's technique influenced others, including the American portrait painter Erastus Salisbury Field who completely overpainted the enlargements of portraits that he used. During Woodward's 1859 visit to England, Léon Cogniet also took up the technique.

Solar camera enlargements were newsworthy, reported in 1862 as "a most important and interesting application of science to the photographic art," and contemporaneous discussions of them make it apparent that they were compared in aesthetic terms to painting and drawing. In 1861 the *British Journal of Photography* presented a critique of the Birmingham Photographic Society awards, choosing the work of Owen Angel of Exeter for particular praise; "Unlike all the others, which are plain developed prints, those of Mr Angel are on aluminised paper, and toned with gold. With one exception they exhibit more artistic feeling than any other solar picture exhibited. An enlarged full-length group of two young ladies in walking dress is the most satisfactory; the pose is easy and graceful, the drapery clear and distinctly rendered and full of halftone, and the whole give evidence of careful study. With a few skilful touches from the hands of an artist such a picture would, as a portrait, be almost faultless...We are disposed to consider the pictures of Mr Angel as generally preferable to those of Messrs. Smyth and Blanchard, as they bear the impress of more studied and artistic feeling." A Mr. Turner, in receiving a silver medal, alongside Claudet, for 'a coloured enlarged photograph by the solar camera' at the same Birmingham Photographic Society awards doubted that "the mode of enlargement by the solar camera would ever be generally applicable to pure pictures" \[i.e. 'straight photography'\], and that in his opinion its great success would be in 'coloured' photographs.

In the United States in particular the life-size 'crayon portrait' – a hand-coloured solar camera or later, a magic lantern, enlargement – remained popular into the early 20th century, created using techniques described by Jerome A. Barhydt and other contemporary practitioners. Several appear on the wall behind Nina Leen's 1947 Ozark family group, an image included, itself much enlarged, as a centrepiece of 1955 *The Family of Man* exhibition, and chosen by Carl Sagan for the 12-inch Voyager Golden Records.

However the reception of solar enlargements, particularly those of large size, was not all positive; another reviewer of the 1862 International Exhibition remarked that "Mr Claudet and others exhibit some photographs enlarged by means of the solar camera, but we cannot say much in favour of them."

## Identifying characteristics

Often made life-size from a *carte-de-visite* negative 54.0 mm × 89 mm (2.13 in × 3.50 in) or, in an extreme case, enlarged 15x from 2.54 cm (1-inch) -square glass plates of the 'Pistolgraph' camera invented in 1859 by British photographer Thomas Skaife (1806–1876), the enlargement ratios were often considerable. Therefore, the resulting low-contrast prints usually required enhancement, the results often advertised as 'crayon portraits'; reworked with pastel crayons and varnished for protection. At first glance they resemble a photograph but close inspection detects distinctive crayon strokes, mostly distinct in the hair and beard areas, and outlining the irises of the eyes, and coat lapels and other margins. They were common in the latter part of the nineteenth century and were often made to life-size. Others were prints on sensitised canvas that was overpainted in oils, so that they are harder to distinguish from paintings. Portrait painters who could not afford to own an expensive solar camera could mail negatives to photographers such as Albert Moore of Philadelphia to enlarge the negative onto paper or canvas. They would use the photograph as a starting point and could freely alter backgrounds, fabric, style and patterns of the clothing, and even the sitter's expression.

## Demise

Use of the solar camera was dependent on the vagaries of weather conditions before the later introduction of limelight as an illuminant in enlargers, but it continued to be an expensive item of professional equipment. Advertisements in the British newspapers in the 1880s for second-hand solar cameras proliferated as professional photographers started to abandon the device, and by 1890, artificial light sources – gas, petroleum, limelight, magnesium and electric light bulb – sufficiently powerful to expose materials which were being made increasingly sensitive, were commonly used in enlargers, so when, that year, Josef Maria Eder installed a Wothly solar camera on the roof of Vienna's Höhere Graphische Bundes-Lehr- und Versuchsanstalt the students would have considered it a vintage curiosity.

Even at the turn of the century simple folding daylight enlargers still found a use amongst amateurs to easily produce prints of a fixed size; one made by Griffin and Sons to enlarge quarter-plates to whole plate size, with achromatic lens built in, was 12s 6d (£60, or $US80 in 2020); while other amateurs constructed their own from instructions in popular magazines. Some cameras were made convertible to use in a similar manner.


title: The Ways of Fate

abstract: The Ways of Fate is a 1913 American silent short romance film produced by the American Film Manufacturing Company. The film's directorial and producer roles have been both attributed to Allan Dwan, but other sources point to Wallace Reid as director. The film's fictional plot is centered on Jim Conway, who grew up wanting to avenge his father's death and headed West to seek his father's killer. Lost in the mountains, he is saved by a young woman and the two fall in love. After a few weeks with her, Conway reveals the reason he came west and the young woman's father overhears it. The old man confesses to killing Conway's father, over a game of cards, and bares his chest. Conway refuses to take revenge, because love had diminished such feelings. The film was released on April 19, 1913 and it had a widespread national release. It is not known whether the film currently survives, but it is presumed lost.

text:
# The Ways of Fate

***The Ways of Fate*** is a 1913 American silent short romance film produced by the American Film Manufacturing Company. The film's directorial and producer roles have been both attributed to Allan Dwan, but other sources point to Wallace Reid as director. The film's fictional plot is centered on Jim Conway, who grew up wanting to avenge his father's death and headed West to seek his father's killer. Lost in the mountains, he is saved by a young woman and the two fall in love. After a few weeks with her, Conway reveals the reason he came west and the young woman's father overhears it. The old man confesses to killing Conway's father, over a game of cards, and bares his chest. Conway refuses to take revenge, because love had diminished such feelings. The film was released on April 19, 1913 and it had a widespread national release. It is not known whether the film currently survives, but it is presumed lost.

## Plot

A surviving description of this lost film was published in *The Moving Picture World*. It states: "Two men playing cards, the argument, flash of a revolver, and one lay dead. The murderer homeward fled, hurried his little girl baby into a west-bound train and was heard of no more. The years passed and boyish Jim Conway grew to manhood with the sole purpose of seeking out his father's murderer to deal justice to him. He went West and was one day lost in the mountains. He called for help and help came in the form of a sweet-faced woman who led him to her home. He spent the flying weeks with her and the aged father, learned to love the mountain nymph for her beauty of soul and fair face. One day she asked him his reasons for being in the hill country, and he, lover-like, confided his secret. Behind the door, sat the white-haired father. He rose, shook himself like a leaf as be invited the young man into the house. And there he confessed the deed, baring his chest for the expected blow. But none fell for love had sweetened the poison of his thought." This summary of the film was provided by the American Film Manufacturing Company.

## Cast

A single line in *The Motion Picture Story Magazine* notes that "Vivian Rich played opposite Wallace Reid in "The Ways of Fate." According to E. J. Fleming, author of *Wallace Reid: The Life and Death of a Hollywood Idol*, the cast marks the debut of Lon Chaney, but this is unsupported and disputed. Fleming also credits Pauline Bush in a role, but this is also disputed.

## Production and release

*The Illustrated Guide to Film Directors* credits Allan Dwan for directing the film and *Sweethearts of the Sage* attribute Wallace Reid. *Wallace Reid: The Life and Death of a Hollywood Idol* credits Dwan as the producer and Reid as the director, but gives an incorrect release date. Fleming states that the film was made on December 26–27, 1912, that Reid was injured the next day when his horse fell and that he could not work until mid-January.

On April 13, 1913, an announcement was made that Allan Dwan has been fired from the American Film Manufacturing Company. The dismissal came as a shock to Dwan and stemmed from a personal dispute with J. Warren Kerrigan. Frederic Lombardi, author of *Allan Dwan and the Rise and Decline of the Hollywood Studios*, suggests that Dwan learned of his firing on April 12, 1913, based on a telegram Dwan sent to the Selig Polyscope Company on April 12 inquiring about employment opportunities. A newspaper article tried to dispel rumors about Dwan's dismissal, termed "retirement," having resulted in much dissatisfaction within the company. On April 20, there was an announcement that Pauline Bush and Jessalyn Van Trump were also leaving the company. Lombardi says the two actresses may have had a personal reason to follow Dwan's departure. In May, there was an announcement that Dwan, Bush and Van Trump had joined Universal Film Manufacturing Company.

The film was released on April 19, 1913, by the American Film Manufacturing Company, also known as "The Flying A" or "American." The company described the film as a "half-social, half-western" film.

## Release and legacy

The film saw widespread release in the United States. Advertising theaters were included in Washington D.C., Utah, Pennsylvania, Texas, Kansas, North Carolina, and Missouri. The film was also released internationally with advertisements in Manitoba, Canada and in London, United Kingdom.

Fleming's book credits *The Ways of Fate* as the debut of Lon Chaney, but this has been disputed. The documentary *Lon Chaney: A Thousand Faces* states that his film debut occurred after his wife's suicide attempt in April 1913 and "his earliest films were made at the first studio to open in Hollywood, Nestor." Jon C. Mirsalis notes in his website that the film "almost certainly \[did not feature\] Chaney, although it was directed by Allan Dwan. Wouldn't it be interesting if Chaney worked at a studio other than Universal in 1913!" \Michael Blake, a Lon Chaney historian and author of several books on Lon Chaney's life and work, notes that the possibility exists that Chaney performed in a role during a period of unemployment in 1912. Blake notes that this would have occurred before Lon Chaney rejoined Clarence Kolb and Max Dill's company in San Francisco, California in September 1912. Furthermore, the *Encyclopedia of Early Cinema* states that the American Film Manufacturing Company had moved to its Santa Barbara, California location in the summer of 1912 and that Dwan, who would later work with Chaney, left the company after a dispute with J. Warren Kerrigan in 1913. Chaney's appearance in the film is not cited by any Chaney historians. The film is presumed lost.

## InfoBox

| The Ways of Fate | |
| --- | --- |
| Directed by | Wallace Reid |
| Produced by | Allan Dwan |
| Starring | Wallace Reid
Vivian Rich |
| Distributed by | Mutual Film |
| Release date | * April 19, 1913 (1913-04-19) |
| Country | United States |
| Languages | Silent
English intertitles |


title: The Ways of Life

abstract: The Ways of Life is a studio album by American country singer–songwriter Hank Locklin. It was released in July 1963 via RCA Victor Records and was produced by Chet Atkins. The Ways of Life was Locklin's seventh studio album in his recording career and contained 12 tracks of new material. Among its songs was the song "We're Gonna Go Fishin'," which became a hit on the American country charts and abroad in the United Kingdom.

text:
# The Ways of Life

***The Ways of Life*** is a studio album by American country singer–songwriter Hank Locklin. It was released in July 1963 via RCA Victor Records and was produced by Chet Atkins. *The Ways of Life* was Locklin's seventh studio album in his recording career and contained 12 tracks of new material. Among its songs was the song "We're Gonna Go Fishin'," which became a hit on the American country charts and abroad in the United Kingdom.

## Background and content

With the success of his biggest hit, "Please Help Me, I'm Falling," Hank Locklin began having a steady stream of hits in the 1960s. This included songs such as "One Step Ahead of My Past," "Happy Birthday to Me," and "We're Gonna Go Fishin'." The latter hit would be featured on *The Ways of Life.* The album was mostly recorded in March 1963 and the sessions were held at the RCA Victor Studio in Nashville, Tennessee. The album's sessions were produced by Chet Atkins, who had produced all of Locklin's previous albums for the RCA Victor label. The LP contained a total of 12 tracks, all of which had not been previously released. Included on *The Ways of Life* was cover versions of hits previously made successful by other country artists. These covers included "Candy Kisses" by George Morgan, "Slowly" by Webb Pierce, "Rosalita" by Al Dexter and "Kentucky Waltz" by Bill Monroe.

## Release and reception

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| *Allmusic* |  |

*The Ways of Life* was released in July 1963 via RCA Victor Records and was Locklin's seventh studio recording. The LP was distributed as a vinyl record, containing six songs on either side. The LP's only single, "We're Gonna Go Fishin'," had been released in May 1962. It spent a total of 11 weeks on the *Billboard* Hot Country and Western Sides chart before reaching number 14 in August 1962. It was also Locklin's third charting single in the United Kingdom, where it peaked at number 18 around the same time.

*The Ways of Life* later received positive reception from Bruce Eder of Allmusic, who reviewed the LP. Eder described the album as an array of songs that are "mostly sad and ironic quirks." He also praised Locklin's singing and the production of the album. He concluded by discussing its positives and negatives: "There might be a little energy lacking in the overall release, but the crisp, precise playing and Locklin's excellent singing (with fine and restrained vocal chorus accompaniment) just about make up for it."

## Track listing

Side one
| No. | Title | Writer(s) | Length |
| --- | --- | --- | --- |
| 1. | "We're Gonna Go Fishin'" | Tex Atchinson | 2:05 |
| 2. | "Kentucky Waltz" | Bill Monroe | 2:24 |
| 3. | "Slowly" |  | 1:59 |
| 4. | "Bumming Around" | Peter Graves | 2:31 |
| 5. | "They'll Never Take Her Love from Me" | Leon Payne | 2:20 |
| 6. | "Rosalita" | Al Dexter | 1:48 |

Side two
| No. | Title | Writer(s) | Length |
| --- | --- | --- | --- |
| 1. | "Too Close to Her (And Too Far from You)" | Cindy Walker | 2:37 |
| 2. | "Mansion on the Hill" |  | 2:26 |
| 3. | "Heading Down the Wrong Highway" | Ted Daffan | 2:14 |
| 4. | "A Little Bit Lonesome" | Walker | 2:06 |
| 5. | "Candy Kisses" | George Morgan | 2:31 |
| 6. | "I Love You Because" | Payne | 2:09 |

## Personnel

All credits are adapted from the liner notes of *The Ways of Life.*

**Musical personnel**

**Technical personnel**

## Release history

| Region | Date | Format | Label | Ref. |
| --- | --- | --- | --- | --- |
| Canada | July 1963 | Vinyl | RCA Victor |  |
| | | | Germany |  |
| | | | United States |  |
|

## InfoBox

| The Ways of Life | |
| --- | --- |
|  | |
| Studio album by Hank Locklin | |
| Released | July 1963 (1963-07) |
| Recorded | March 1963 |
| Studio | RCA Victor Studio |
| Genre |  |
| Label | RCA Victor |
| Producer | Chet Atkins |
| Hank Locklin chronology | |
| *This Song Is Just for You*
(1963) ***The Ways of Life***
(1963) *Irish Songs, Country Style*
(1964) | |
|  | |
| Singles from  *The Ways of Life* | |
| 1. "We're Gonna Go Fishin'"
Released: May 1962 | |
|  | |


title: The West Tonight

abstract: The West Tonight is a regional news programme that served the West of England, produced by ITV West.

text:
# The West Tonight

***The West Tonight*** is a regional news programme that served the West of England, produced by ITV West.

## History

The launch of Harlech Television in May 1968 led to the launch of a full half-hour evening news programme, *Report*, broadcast to South Wales and the West of England. Previously, former ITV franchise holder for Wales and the West of England TWW had provided short evening bulletins known as *TWW Reports*, presented jointly from studios in Cardiff and Bristol, where the station ran a joint news operation covering the two areas.

The opening of a colour service from the Mendip transmitter in May 1970 led to the creation of a separate HTV West service and the launch of a full evening news programme for the region, *Report West*. Up until the early 1980s, the first half of the programme also aired on HTV's 'General Service', followed by a full edition of *Report Wales*. During 1982, *Report West* was relaunched as *HTV News*.

For 28 years, the main anchor of HTV West's news programmes was former TWW reporter Bruce Hockin, who went on to become one of the longest serving presenters of any ITV news programme. He retired from the station in May 1996, shortly after his 60th birthday.

Shorter daytime, late night and weekend bulletins were gradually introduced - some of which were generally presented by HTV West's continuity announcers, and until 1987, were broadcast from HTV's Cardiff playout centre serving both Wales and the West.

The opening of a digital broadcast centre at HTV's Bristol studios in 1997 led to the relaunch of the main evening programme as *The West Tonight*. The branding was discontinued two years later and returned as *HTV News*, and then *ITV West News* in 2004 following the rebranding of all English and Welsh ITV franchises. *The West Tonight* was however reintroduced in 2005 when Lisa Aziz rejoined ITV West from Sky News.

On 4 December 2006, ITV Central disbanded its South Midlands sub-region and the parts of Gloucestershire served by *Central News South* joined the majority of the county already covered by ITV West and began receiving *The West Tonight*.

In February 2009, ITV West was merged with ITV Westcountry to form ITV West & Westcountry, a new dual-regional service with shorter opt-outs for both areas on weeknights. *The Westcountry Tonight* was launched on Monday 16 February 2009, although a full regional news service for the West was restored in September 2013.

## Presenters/reporters

## InfoBox

| *The West Tonight* | |
| --- | --- |
|  | |
| Also known as | *Report West*
*HTV News*
*ITV West News*
*The West Today*
*The Westcountry Tonight* |
| Genre | Regional News |
| Presented by | Various |
| Country of origin | United Kingdom |
| Production | |
| Producer | HTV/ITV West |
| Original release | |
| Network | HTV West/ITV West |
| Release | 1970 (1970)
15 February 2009 (2009-02-15) |


title: The West Wind (painting)

abstract: The West Wind is a 1917 painting by Canadian artist Tom Thomson. An iconic image, the pine tree at its centre has been described as growing "in the national ethos as our one and only tree in a country of trees". It was painted in the last year of Thomson's life and was one of his final works on canvas. The painting, and a sketch for the painting, are displayed at the Art Gallery of Ontario.

text:
# The West Wind (painting)

***The West Wind*** is a 1917 painting by Canadian artist Tom Thomson. An iconic image, the pine tree at its centre has been described as growing "in the national ethos as our one and only tree in a country of trees". It was painted in the last year of Thomson's life and was one of his final works on canvas. The painting, and a sketch for the painting, are displayed at the Art Gallery of Ontario.

## Genesis

Thomson based *The West Wind* on an earlier, slightly different sketch he produced in 1916 while working as a park ranger in Algonquin Park. In the finished canvas Thomson moved the pine further to the right, replaced a less defined foreground plane with strongly patterned rock shapes, and removed a dead tree limb from the ground. The location of the subject is uncertain; Thomson's friend Winifred Trainor believed the site represented was Cedar Lake, though Grand Lake, Algonquin Park has also been proposed as the setting.

As in his iconic *The Jack Pine*, Thomson began the painting with an undercoat of vermilion that he allowed to show through in various places to contrast with the greens, to lend the work a feeling of "vibration" and movement. The pine dominates the composition without obscuring the view into the distance, and is successful as both specific representation and abstract design.

Though not imposing in scale, it is a graceful arabesque decoration, "a magnified bonsai". Thomson's background in design lent his composition an Art Nouveau sensibility, for example, "in the way a single tree stands silhouetted against water or the sky like a symbol of romantic solitude". An earlier reviewer noticed the same effect in it and *The Jack Pine*: "\[these\] two best-known canvases... are essentially *Art Nouveau* designs in the flat, the principal motif in each case being a tree drawn in great sinuous curves... Such pictures, are, however, saved from complete stylization by the use of uncompromisingly native subject-matter and of Canadian colours, the glowing colours of autumn."

The title of *The West Wind* is possibly a reference to the 1819 Percy Bysshe Shelley poem, *Ode to the West Wind*, especially possible given Thomson's love of poetry, though Thomson's later canvases are typically believed to have only been titled after his death.

## Pedigree and legacy

According to Trainor, Thomson was not satisfied with the picture, fearing that the flat abstract shapes of the foreground rocks and trees were inconsistent with the atmospheric conception of the background. Thomson's colleague J. E. H. MacDonald felt similarly, describing the painting as "faulty and inconsistent." Curator Charles Hill has noted that the tension arises due to the trunk of the tree being "unmodulated and outlined in a darker colour" and the foreground rocks being blocked schematically, all while the sky and water "are treated with a feathery touch." Despite these shortcomings, he would still write that the painting surges with an energy due to its boldness and directness. Thomson's other colleague Arthur Lismer would be more positive in his appraisal, writing that the tree in *The West Wind* was symbolic of the national character — models of resolve against the elements. David Silcox has described this painting and *The Jack Pine* as, "the visual equivalent of a national anthem, for they have come to represent the spirit of the whole country, notwithstanding the fact that vast tracts of Canada have no pine trees," and, "so majestic and memorable that nearly everyone knows them." Thomson biographer and curator Joan Murray, while initially disliking the painting, wrote that it "is a powerful canvas; resonating with its message of weather and wind, it expressed the divine as some of us imagine it in Canada. This is the sort of tree that would stand at the gates of heaven to open the doors of the kingdom." Thomson's friend and patron Dr. James MacCallum would write that the painting's "inartistic reality makes me tell you that on that occasion the wind was north."

Some art historians claim the painting was unfinished at the time of his sudden death by drowning in 1917.

The Canadian Club of Toronto donated *The West Wind* to the recently opened Art Gallery of Toronto (now the Art Gallery of Ontario). Librarian George Locke, a club member, announced the donation in a speech, praising Thomson's accomplishments: "Thomson needs no tablet to commemorate his achievements ... He has left us work that expresses our national life – the forces of the great natural surroundings of this young land."

On the fiftieth anniversary of Thomson's death, the Canadian government honoured him with a series of stamps portraying his works, including *The West Wind* and *The Jack Pine*. On 3 May 1990 Canada Post issued 'The West Wind, Tom Thomson, 1917' in the Masterpieces of Canadian art series. The stamp was designed by Pierre-Yves Pelletier based on the large painting in the Art Gallery of Ontario.

In 2015, the Art Gallery of Ontario held an exhibition titled *Into the Woods: an Icon Revisited*, focusing on the wider social and historical context of Algonquin Park. It stressed that even in Thomson's time, the landscape of Algonquin Park was by no means unspoiled wilderness but had been dramatically reshaped by colonization, industry and wildlife management.

### Citations

### Sources

* Belton, Robert James (2001). *Sights of resistance: approaches to Canadian visual culture*. Vol. 1. Calgary: University of Calgary Press. ISBN 1-55238-011-4.
* Buchanan, Donald W. (1945). *Canadian Painters, from Paul Kane to the Group of Seven*. London: Phaidon Press.
* Cameron, Ross D. (1999). "Tom Thomson, Antimodernism, and the Ideal of Manhood" (PDF). *Journal of the Canadian Historical Association*. **10** (1): 185–208. doi:10.7202/030513ar.
* Hill, Charles (2002). "Tom Thomson, Painter". In Reid, Dennis (ed.). *Tom Thomson*. Toronto: Douglas & McIntyre. pp. 111–143.
* Lismer, Arthur (January 1934). "The West Wind". *McMaster Monthly*. **43** (4): 163–64.
* MacCallum, J. M. "J. M. MacCallum to Eric Brown" (21 October 1921) \[Letter\]. MacCallum Collector's file. Ottawa: National Gallery of Canada Archives.
* MacDonald, J. E. H. "J. E. H. MacDonald to Eric Brown" (14 October 1921) \[Letter\]. MacCallum Collector's file. Ottawa: National Gallery of Canada Archives.
* Murray, Joan (1996). *Confessions of a Curator: Adventures in Canadian Art*. Toronto: Dundurn Press. ISBN 978-1-55002-238-4. OCLC 35880538.
* (1999). *Tom Thomson: Trees*. Toronto: McArthur & Company Publishing. ISBN 978-1-55278-092-3. OCLC 44573461.
* Reid, Dennis (1975). *Tom Thomson: The Jack Pine: Masterpieces in the National Gallery of Canada (No. 5)*. Ottawa: National Gallery of Canada.
* Silcox, David P; Town, Harold (2001). *Tom Thomson: The Silence and the Storm* (4th ed.). Toronto: Firefly Books. ISBN 978-1-55297-550-3. OCLC 51163375.
* Silcox, David P. (2006). *The Group of Seven and Tom Thomson*. Richmond Hill: Firefly Books. ISBN 978-1-55407-154-8.
* (2015). *Tom Thomson: Life and Work*. Toronto: Art Canada Institute. ISBN 978-1487100759.
* Silcox, David P.; Town, Harold (2017). *The Silence and the Storm* (Revised, Expanded ed.). Toronto: McClelland and Stewart. ISBN 978-1443442343.

## InfoBox

| The West Wind | |
| --- | --- |
|  | |
| Artist | Tom Thomson |
| Year | 1917 |
| Medium | Oil on canvas |
| Dimensions | 120.7 cm × 137.2 cm (47.5 in × 54.0 in) |
| Location | Art Gallery of Ontario, Toronto |


title: Du temps

abstract: "Du temps" is a 2011 dance-pop song by French singer Mylène Farmer. It was written by Farmer with music composed by Laurent Boutonnat. The song is the first single from her second best of 2001.2011 and was released first digitally on 7 November 2011. The song was generally well received by critics, but divided Farmer's fans.

text:
# Du temps

"**Du temps**" is a 2011 dance-pop song by French singer Mylène Farmer. It was written by Farmer with music composed by Laurent Boutonnat. The song is the first single from her second best of *2001.2011* and was released first digitally on 7 November 2011. The song was generally well received by critics, but divided Farmer's fans.

## Background and release

The promotional art cover was shown on the Internet on 2 November, and a 30-second excerpt was available to listen on the digital platforms, including amazon.fr. On 6 November, the full song was available on the Charts in France site, but was removed after a request by Universal Music. The music video for the song was scheduled to be released in mid-November.

As written on the back of the cover, the painting on the front was made by Farmer.

## Music video

Directed by Laurent Boutonnat, the music video was broadcast on the Internet on 9 December 2011. On a black background and a wet floor, Farmer and six male dancers perform a choreography, these images alternating with unpublished images of backstage filmed by Farmer's companion, Benoît Di Sabatino, during her 2009 tour. Jonathan Hamard of Charts in France found that "the aesthetics of the video for the song "Du temps" is much closer to \[Farmer's last singles\] than to the darker atmosphere of "Ainsi soit je..." and "Regrets"". Farmer did not perform a choreographied dance in one of her music videos since "Je t'aime mélancolie" in 1991.

The music video generally received positive reviews from critics. To French magazine *Têtu,* it was "in its general aesthetics, much closer to the star's latest videos (...). In addition to the choreography, the clip of "Du temps" contains scenes of Mylène Farmer who appears natural, in her daily life. One way for the singer to lift the veil on (part of) her privacy and to twist the blow to critics who accuse her of being too remote". The choreography was described as "superb" by Musiqueradio.com, and "electro, modern and sexy" by Ninapeople.com. Journalist Benoît Cachin considered the video as "quite simple", but "interesting" since inclusion of images of intimate moments, "in which the star reveals herself a little, provide (finally?) a very human side to the whole."

## Critical reception

The song received mostly positive reviews, but also some strong criticism, and became immediately successful on the digital platforms of download. Suite101 site noted that "the song fully satisfy \[Farmer's\] fans and irritates the others", and that "in two days, it is in the top three sales on !Tunes". Cachin considered it a "likable" and "well done" song in which the singer seems to "send a message of hope to his lover", but the journalist added that the song does not surprise Farmer's fans.

Musiqueradio.com said "Du temps" "is rather like the productions of Farmer's latest album", describing it as "an effective dance-pop song" which resembles "Lonely Lisa", and concludes that "the so special alchemy between the composer \[Boutonnat\] and Mylène Farmer still works perfectly". According to Charts in France site, the song is "electro"-oriented and "more in the continuity of the album *Point de suture* (2008) than that of the album *Bleu noir*, more stripped down and highlighting the artist's voice. There are similar arrangements as in "Dégénération," "Réveiller le monde" and "Sextonik"." Sylvain Zimmermann of *Têtu* stated "Du temps" is "a catchy electro pop song, with a typically farmerian chorus" and "a mix between the flights of "Innamoramento" and a sound club which recalls "Dégénération" or "Sextonik". French newspaper *France Soir* presented the song as the successful successor of the efficiency "Oui... mais non" and "Lonely Lisa", adding that the song "marks with promise the come back of the duet \[Farmer-Boutonnat\]". Later, summarizing the reviews left on the Internet, the newspaper concluded that the song "divides the singer's fans", some of them being "disappointed", but noted that in all cases, "the song deserves to create a buzz".

Much more critical, Gilles Médioni said on the blog of *L'Express* that the song has "botched lyrics" and is "really bad", adding that in terms of both music and lyrics, "it's nothing".

In January 2012, "Du temps" was elected the number one gay hit of the 2011 year, with 39% of votes, in a poll led by French magazine *Têtu* on its website.

## Live performances

Farmer performed the song at the 2012 NRJ Music Awards, broadcast on TF1 on 29 January 2012, and was awarded a Diamond Award.

## Chart performance

"Du temps" entered the French Singles Chart at number eight on the chart edition of 13 November 2011, which was the highest debut then, with 6,089 downloads. The following week, it was only number 78, making the biggest drop of all time on the chart, before falling off the top 100. However, it re-entered the chart on 10 December, and climbed up to number 80. After fluctuating up and down for some weeks, it made a huge jump from number 75 to number 4 on 23 January 2012, when the physical formats were released, selling 6,601 units. In the early beginning, the radio airplay of "Du temps" was very confident, but after some weeks, it was finally picked up by the radio stations and peaked at number 38 on the French airplay chart. It was also popular on NRJ in France, one of the country's biggest radio stations, where it was listed several times as one of the 20 most played songs of the moment.

In Switzerland, the single started at a peak of number 73. In Belgium (Wallonia), it entered the Ultratop 50 at number nine, on the chart edition of 19 November 2011 and then fell off the chart. After more than two months, "Du temps" re-entered the chart, when the physical formats were released, at number 32. It moved four places to 28 the next week before dropping again. However, it made much more impact in clubs and discothèques, peaking at number 12 on the Wallonian Dance Chart on the chart edition of 4 February 2012. On the radio airplay chart, the song had a similar trajectory as in France. On the chart edition of 25 February 2012, it entered the Ultratop 30 airplay chart, making a big jump from number 42 to 22, nearly four months after the single's release. It has since reached a peak of number 17.

## Formats and track listings

The formats and track listings of single releases of "Du temps":

| No. | Title | Length |
| --- | --- | --- |
| 1. | "Du temps" (single version) | 3:39 |
| 2. | "Du temps" (Tomer G reloaded club mix) | 6:34 |
| 3. | "Du temps" (Mico C club remix) | 5:14 |
| 4. | "Du temps" (Mico C radio edit) | 3:36 |
| 5. | "Du temps" (instrumental) | 3:35 |

* **CD single – Promo**

| No. | Title | Length |
| --- | --- | --- |
| 1. | "Du temps" (single version) | 3:39 |

* **CD maxi – Promo**

| No. | Title | Length |
| --- | --- | --- |
| 1. | "Du temps" (Mico C club remix) | 5:14 |
| 2. | "Du temps" (Tomer G reloaded club mix) | 6:34 |
| 3. | "Du temps" (Mico C radio edit) | 3:36 |
| 4. | "Du temps" (Tomer G reloaded radio edit) | 3.37 |
| 5. | "Du temps" (version single) | 3:38 |

| No. | Title | Length |
| --- | --- | --- |
| 1. | "Du temps" (version single) | 3:38 |
| 2. | "Du temps" (Tomer G reloaded club mix) | 6:34 |
| 3. | "Du temps" (Mico C club remix) | 5:14 |
| 4. | "Du temps" (Mico C radio edit) | 3:36 |
| 5. | "Du temps" (instrumental version) | 3:35 |

| No. | Title | Length |
| --- | --- | --- |
| 1. | "Du temps" (Tomer G reloaded club mix) | 6:32 |
| 2. | "Du temps" (Mico C club remix) | 5:12 |
| 3. | "Du temps" (single version) | 3:40 |

## Credits and personnel

These are the credits and the personnel as they appear on the back of the single:

* Mylène Farmer – lyrics
* Laurent Boutonnat – music
* Requiem Publishing – editions
* Nathalie Delépine – photograph
* Mylène Farmer – drawing on sticker
* Henry Neu – design
* Made in the E.U.

## Charts

## Release history

| Region | Date | Format |
| --- | --- | --- |
| Belgium, France, Switzerland | 7 November 2011 | Digital download (single) |
| | 16 January 2012 | CD maxi, 12" maxi, digital download (remixes) |

* Cachin, Benoît (2012). *Mylène Farmer, au fil des mots* (in French). France: Gründ. ISBN 978-2-32400-364-6.

## InfoBox

| "Du temps" | |
| --- | --- |
|  | |
| Single by Mylène Farmer | |
| from the album  *2001.2011* | |
| Released | 7 November 2011 |
| Recorded | 2011 |
| Genre | Dance-pop, electropop, eurodance |
| Length | 3:39 |
| Label | Polydor, Universal Music |
| Songwriter(s) | Lyrics: Mylène Farmer
Music: Laurent Boutonnat |
| Producer(s) | Laurent Boutonnat |
| Mylène Farmer singles chronology | |
| "Lonely Lisa"
(2011) "**Du temps**"
(2011) "À l'ombre"
(2012) | |
|  | |
| Music video | |
| "Du temps" on YouTube | |
|  | |


title: The Wee Fellas

abstract: The Wee Fellas is a 2014 debut novel by Ken Houston, under his pen name Richard Maitland. It tells the story of a Bantam soldier who serves in the regular Army in World War I, finds another way to serve.

text:
# The Wee Fellas

***The Wee Fellas*** is a 2014 debut novel by Ken Houston, under his pen name Richard Maitland. It tells the story of a Bantam soldier who serves in the regular Army in World War I, finds another way to serve.

## Synopsis

The protagonist Billy "Stick" Stirling comes from a middle-class family which falls on hard times when their day-dreaming father abandons them. He grows up in Glasgow with his mother and ends up in trouble for a minor burglary. His experience toughens him and he employs his intelligence to rise above his diminutive stature to become a ruthless operator in the snooker halls of Glasgow.

A lethal confrontation leaves Billy with a family blood vengeance. In a Glasgow café, he meets a bearded, older stranger who is acquainted with his mother. The stranger advises him to join the Army Bantam Regiment (which accepted soldiers of small stature) to escape his troubles. Billy has little choice and enlists.

During his training in England, he meets his true love and has to leave her behind. She is already married to an active-duty soldier and becomes pregnant.

He is posted to the front line and applies his survival skills to good effect. He survives with bravery until his blood vengeance catches up with him in the trenches. He survives, but is seriously injured. He is invalided out of the Army and returns to Glasgow to overcome his injury and rebuild his life. The love he left finds him in Glasgow and surprises him.

Billy settles down with a happy wife and family as a respected Scottish businessman.

## Conception

2014 was the 100th anniversary of the outbreak of World War I. The author's inspiration came from his interest and knowledge of military history. The Bantam regiments are largely an untold story of men who were smaller than the Army regulation height and rejected to fight in World War I.

The author decided to use a fictional narrative to explore details of the bantam soldiers, who are often missed in historical documents that refer to the bantam regiments. Many beings of diminutive size were involved in brawls - especially in bars usually initiated by taunts of their height and stature.

The author uses original songs from the Bantam soldiers to paint a historically accurate life of being a small soldier in the trenches.

The 'Wee Fellas' is a Scottish dialect phrase meaning the small men. The Bantam regiments originated in Cheshire. Scottish dialect is used throughout the text reflecting the language of Glasgow.

## Publication

The novel is published in paperback and Kindle format.

## Reception

The Scottish press carried articles in 2014

## Song lyrics

A bantam soldiers song used in the book.

*"When the bantam roosters crow,*

*You'll find the enemy lying low,*

*Though we're not much in height,*

*Boy, how can we fight*

*Just count on the chickens*

*to give them a licking....*

*When we march into the line,*

*That's when we show up might fine.*

*Though we're not much in height,*

*Boy, how can we fight*

*When the bantam roosters crow"*

## InfoBox

The Wee Fellas
|  | |
| --- | --- |
| Author | Richard Maitland (Ken Houston) |
| Language | English |
| Genre | Novel |
| Publisher | Lulu (hardcover)<br>Amazon (Kindle) |
| Publication date | February 2013 |
| Publication place | United Kingdom |
| Media type | Print / Kindle |
| Pages | 214 |
| ISBN | 978-1291609851 |


title: The World's Last Night and Other Essays

abstract: The World's Last Night and Other Essays is a collection of essays by C. S. Lewis published in the United States in 1960. The title essay is about the Second Coming of Jesus Christ. The volume also contains a follow-up to Lewis' 1942 novel The Screwtape Letters in the form of "Screwtape Proposes a Toast." The second, fourth and fifth pieces were published in the U.K. in a volume called Screwtape Proposes a Toast and other pieces (1965); the first, sixth and seventh were published in the U.K. in Fern-seed and Elephants and other essays on Christianity (1975). All the pieces were later collected in the comprehensive Essay Collection and Other Short Pieces (2000).

text:
# The World's Last Night and Other Essays

***The World's Last Night and Other Essays*** is a collection of essays by C. S. Lewis published in the United States in 1960. The title essay is about the Second Coming of Jesus Christ. The volume also contains a follow-up to Lewis' 1942 novel *The Screwtape Letters* in the form of "Screwtape Proposes a Toast." The second, fourth and fifth pieces were published in the U.K. in a volume called *Screwtape Proposes a Toast and other pieces* (1965); the first, sixth and seventh were published in the U.K. in *Fern-seed and Elephants and other essays on Christianity* (1975). All the pieces were later collected in the comprehensive *Essay Collection and Other Short Pieces* (2000).

## Contents

### "The Efficacy of Prayer"

### "On Obstinacy in Belief"

### "Lilies That Fester"

### "Screwtape Proposes a Toast"

### "Good Work and Good Works"

### "Religion and Rocketry" / "Will We Lose God in Outer Space"

What did Lewis think of the possibility of discovering life on other planets? What implications might such a discovery have for Christian theology? Originally published in the *Christian Herald* and entitled “Will We Lose God in Outer Space,” Lewis's essay on the subject was first published in 1958 and later became titled “Religion and Rocketry.” The essay was written in partial response to the writings of Professor Fred Hoyle, the Cambridge astronomer and founder of the Institute of Astronomy at Cambridge.

In 1958, Hoyle was Plumian professor of astronomy at Cambridge and engaged in the study of the structure and evolution of the stars. Even though he coined the phrase “Big Bang,” Hoyle rejected the ‘big bang’ theory of the origin of the universe in favor of the steady state theory, which claimed that the universe has always looked as it does now. Martin Ryle, however, held to the big bang theory for the creation of the universe in a moment, the theory that eventually held sway. Some of Hoyle's writings, including science fiction and plays, popularized astronomy. Christopher H. Derrick of Geoffrey Bles publishers, presumably in 1963 and before Lewis's death, wrote a proposal for a book that was to include “Religion and Rocketry,” stating that “This essay seems to have been written in rebuttal of an argument which is only likely to be brought forward by a rather silly minority (though an academically distinguished one)…” Hoyle would have been part of that academically distinguished, but silly, minority.

Lewis also mentioned Professor Hoyle (1915–2001) in his essay “The Seeing Eye” (1963). In “The Seeing Eye,” Lewis challenged the conclusion of the Russian cosmonauts, who concluded that there was no God, since they did not find Him in outer space. In that same essay, Lewis claimed that Hoyle and many others were saying that life must have originated in many, many times and places, given the vast size of the universe. He was referring to a series of broadcast talks that Hoyle had given in 1950, later published as The Nature of the Universe, a series of talks that argued against a Christian view of origins and the uniqueness of the Christian faith. Later, in 1977, Hoyle championed the ancient theory of panspermia, supported these days by Richard Dawkins, that life on earth originated with the importation of living cells from space.

The philosopher C.E.M. Joad agreed with Lewis and concluded that the size of the universe and the span of time in which it formed did not have “any necessary bearing upon our views as to the nature of the universe as a whole, more particularly as regards its origin, purpose, destiny and end.” The enlargement of the scale of the universe did not reduce the importance of mankind. Disagreeing with Hoyle, Lewis thought it unlikely that life existed anywhere else in our solar system, but that it was at least possible elsewhere in the galaxy. He argued that “those who do not find Him on earth are unlikely to find Him in space.” People with dogmatic preconceptions, and scientists are not immune to such positions, will find themselves looking for evidence to support their preconceived opinions. Science is not equipped to do theology and evaluate the arguments for the existence of God, and, furthermore, the discovery of life in other parts of the universe would have no effect upon Christianity.

The essay itself starts with Lewis proclaiming two equal and opposite scientific proposals: one, that life only began on earth with the rarest of accidents, and another, proposed by Hoyle, that life probably began in many places. Both positions, Lewis wrote, claim to show the absurdity of the Christian belief in divine origins and the Incarnation of Christ. There is nothing odd about arguments from two very different positions both being able to attack Christianity. Since the world is full of many mutually inconsistent theories, the combination of disagreements between them is multidimensional.

The cogency of Hoyle's argument, wrote Lewis, was dependent upon five other questions, which must be answered before we can give any credence to Hoyle.

* 1. Are there animals anywhere else besides earth?
* 2. If yes, do any of these animals have what we call ‘rational souls’? That is, are they spiritual beings?
* 3. If there are such spiritual beings, are any or all of them, like us, fallen?
* 4. If any of them have fallen, have they been denied Redemption by the Incarnation and Passion of Christ? Christ could have come to those worlds also.
* 5. Finally, if all of the first four questions could be answered yes, is it certain that this is the only possible mode of Redemption?

In Paul's letter to the Romans (8:19–23), Lewis argued, God hints that the longing for redemption is cosmic, and therefore not limited to this world. Perhaps redemption has happened for all those who need it, has happened through Christ's redemption, and has somehow been extended to other creatures. But we really don't know. And to speculate about other creatures in other worlds takes us into the imaginative narrative that comprises Lewis's Ransom Trilogy, especially *Out of the Silent Planet* and *Perelandra*. One paragraph of the essay in particular, beginning with the words “It is interesting to wonder…,” imagines the scenario that Lewis spells out in *Out of the Silent Planet*. We find Lewis speculating that the vast distances in the universe are “God’s quarantine precautions,” designed to prevent the rest of the universe from being contaminated by the corruption of our world. The rest of the essay continues that speculation, and I will leave it to the reader of this article to pursue the original article by Lewis and enjoy his speculation for itself.

### "The World's Last Night" / "Christian Hope - Its Meaning for Today"

The last essay was written by Lewis about the Second Coming, using for its title (and part of the original essay) a phrase from the first line and title of a poem by seventeenth-century poet John Donne (1572-1631). That poem, "Holy Sonnet XIII: What If This Present Were The World's Last Night?" raises the question of how we should live if the world were ending today. Originally entitled "Christian Hope--Its Meaning for Today," this essay was first printed in the periodical *Religion in Life* (Winter 1952-53). Its purpose is stated in the first paragraph of the essay: "I shall endeavor to deal with some of the thoughts that may deter modern men from a firm belief in, or a due attention to, the return or Second Coming of the Saviour." Dr. Albert Schweitzer had overemphasized this doctrine, but we should not compensate by underemphasizing it. The essay especially focuses on the nature of Christ, who was the God-Man, and it challenges the modern thought that history always produces progress. He concludes by suggesting that we live our lives, our vocations, with the understanding that there is a judgment coming.


title: Drucker–Prager yield criterion

abstract:
The Drucker–Prager yield criterion is a pressure-dependent model for determining whether a material has failed or undergone plastic yielding. The criterion was introduced to deal with the plastic deformation of soils. It and its many variants have been applied to rock, concrete, polymers, foams, and other pressure-dependent materials. The Drucker–Prager yield criterion has the form
  - J 2 = A + B   I 1 where I 1 is the first invariant of the Cauchy stress and J 2 is the second invariant of the deviatoric part of the Cauchy stress. The constants A, B are determined from experiments. In terms of the equivalent stress and the hydrostatic stress, the Drucker–Prager criterion can be expressed as
  - σ e = a + b   σ m where σ e is the equivalent stress, σ m is the hydrostatic stress, and a, b are material constants. The Drucker–Prager yield criterion expressed in Haigh–Westergaard coordinates is
  - 1 2 ρ − 3   B ξ = A The Drucker–Prager yield surface is a smooth version of the Mohr–Coulomb yield surface.

text:
# Drucker–Prager yield criterion

The **Drucker–Prager yield criterion** is a pressure-dependent model for determining whether a material has failed or undergone plastic yielding. The criterion was introduced to deal with the plastic deformation of soils. It and its many variants have been applied to rock, concrete, polymers, foams, and other pressure-dependent materials.

The DruckerPrager yield criterion has the form

$$\sqrt {J\_{2}=A+B~I\_{1}}$$

where $I\_{1}$ is the first invariant of the Cauchy stress and $J\_{2}$ is the second invariant of the deviatoric part of the Cauchy stress. The constants $A,B$ are determined from experiments.

In terms of the equivalent stress (or von Mises stress) and the hydrostatic (or mean) stress, the Drucker–Prager criterion can be expressed as

$$\sigma \_{e}=a+b~\sigma \_{m}$$

where $\sigma \_{e}$ is the equivalent stress, $\sigma \_{m}$ is the hydrostatic stress, and $a,b$ are material constants. The Drucker–Prager yield criterion expressed in Haigh–Westergaard coordinates is

$$\tfrac {1}{\sqrt {2}\rho -{\sqrt {3}~B\xi =A}}$$

The Drucker–Prager yield surface is a smooth version of the Mohr–Coulomb yield surface.

## Expressions for A and B

The Drucker–Prager model can be written in terms of the principal stresses as

$$\sqrt {{\cfrac {1}{6}\left\[(\sigma \_{1}-\sigma \_{2})^{2}+(\sigma \_{2}-\sigma \_{3})^{2}+(\sigma \_{3}-\sigma \_{1})^{2}\right\]}=A+B~(\sigma \_{1}+\sigma \_{2}+\sigma \_{3})~.}$$

If $\sigma \_{t}$ is the yield stress in uniaxial tension, the Drucker–Prager criterion implies

$$\cfrac {1}{\sqrt {3}~\sigma \_{t}=A+B~\sigma \_{t}~.}$$

If $\sigma \_{c}$ is the yield stress in uniaxial compression, the Drucker–Prager criterion implies

$$\cfrac {1}{\sqrt {3}~\sigma \_{c}=A-B~\sigma \_{c}~.}$$

Solving these two equations gives

$$A={\cfrac {2}{\sqrt {3}~\left({\cfrac {\sigma \_{c}~\sigma \_{t}{\sigma \_{c}+\sigma \_{t}\right)~;~~B={\cfrac {1}{\sqrt {3}~\left({\cfrac {\sigma \_{t}-\sigma \_{c}{\sigma \_{c}+\sigma \_{t}\right)~.}}}}}}}}}}$$

### Uniaxial asymmetry ratio

Different uniaxial yield stresses in tension and in compression are predicted by the Drucker–Prager model. The uniaxial asymmetry ratio for the Drucker–Prager model is

$$\beta ={\cfrac {\sigma \_{\mathrm {c} }{\sigma \_{\mathrm {t} }={\cfrac {1-{\sqrt {3}~B}{1+{\sqrt {3}~B}~.}}}}}}$$

### Expressions in terms of cohesion and friction angle

Since the Drucker–Prager yield surface is a smooth version of the Mohr–Coulomb yield surface, it is often expressed in terms of the cohesion ( $c$) and the angle of internal friction ( $\phi $) that are used to describe the Mohr–Coulomb yield surface. If we assume that the Drucker–Prager yield surface **circumscribes** the Mohr–Coulomb yield surface then the expressions for $A$ and $B$ are

$$A={\cfrac {6~c~\cos \phi }{{\sqrt {3}(3-\sin \phi )}~;~~B={\cfrac {2~\sin \phi }{{\sqrt {3}(3-\sin \phi )}}}}}$$

If the Drucker–Prager yield surface **middle circumscribes** the Mohr–Coulomb yield surface then

$$A={\cfrac {6~c~\cos \phi }{{\sqrt {3}(3+\sin \phi )}~;~~B={\cfrac {2~\sin \phi }{{\sqrt {3}(3+\sin \phi )}}}}}$$

If the Drucker–Prager yield surface **inscribes** the Mohr–Coulomb yield surface then

$$A={\cfrac {3~c~\cos \phi }{\sqrt {9+3~\sin ^{2}\phi }~;~~B={\cfrac {\sin \phi }{\sqrt {9+3~\sin ^{2}\phi }}}}}$$

|  |  |  |  |
| --- | --- | --- | --- |
|

## Drucker–Prager model for polymers

The Drucker–Prager model has been used to model polymers such as polyoxymethylene and polypropylene. For polyoxymethylene the yield stress is a linear function of the pressure. However, polypropylene shows a quadratic pressure-dependence of the yield stress.

## Drucker–Prager model for foams

For foams, the GAZT model uses

$$A=\pm {\cfrac {\sigma \_{y}{\sqrt {3}~;~~B=\mp {\cfrac {1}{\sqrt {3}~\left({\cfrac {\rho }{5~\rho \_{s}\right)}}}}}}}$$

where $\sigma \_{y}$ is a critical stress for failure in tension or compression, $\rho $ is the density of the foam, and $\rho \_{s}$ is the density of the base material.

## Extensions of the isotropic Drucker–Prager model

The Drucker–Prager criterion can also be expressed in the alternative form

$$J\_{2}=(A+B~I\_{1})^{2}=a+b~I\_{1}+c~I\_{1}^{2}~.$$

### Deshpande–Fleck yield criterion or isotropic foam yield criterion

The Deshpande–Fleck yield criterion for foams has the form given in above equation. The parameters $a,b,c$ for the Deshpande–Fleck criterion are

$$a=(1+\beta ^{2})~\sigma \_{y}^{2}~,~~b=0~,~~c=-{\cfrac {\beta ^{2}{3}}}$$

where $\beta $ is a parameter that determines the shape of the yield surface, and $\sigma \_{y}$ is the yield stress in tension or compression.

## Anisotropic Drucker–Prager yield criterion

An anisotropic form of the Drucker–Prager yield criterion is the Liu–Huang–Stout yield criterion. This yield criterion is an extension of the generalized Hill yield criterion and has the form

$$\begin{aligned}f:=&{\sqrt {F(\sigma \_{22}-\sigma \_{33})^{2}+G(\sigma \_{33}-\sigma \_{11})^{2}+H(\sigma \_{11}-\sigma \_{22})^{2}+2L\sigma \_{23}^{2}+2M\sigma \_{31}^{2}+2N\sigma \_{12}^{2}\\\&+I\sigma \_{11}+J\sigma \_{22}+K\sigma \_{33}-1\leq 0\end{aligned}}}$$

The coefficients $F,G,H,L,M,N,I,J,K$ are

$$\begin{aligned}F=&{\cfrac {1}{2}\left\[\Sigma \_{2}^{2}+\Sigma \_{3}^{2}-\Sigma \_{1}^{2}\right\]~;~~G={\cfrac {1}{2}\left\[\Sigma \_{3}^{2}+\Sigma \_{1}^{2}-\Sigma \_{2}^{2}\right\]~;~~H={\cfrac {1}{2}\left\[\Sigma \_{1}^{2}+\Sigma \_{2}^{2}-\Sigma \_{3}^{2}\right\]\\L=&{\cfrac {1}{2(\sigma \_{23}^{y})^{2}~;~~M={\cfrac {1}{2(\sigma \_{31}^{y})^{2}~;~~N={\cfrac {1}{2(\sigma \_{12}^{y})^{2}\\I=&{\cfrac {\sigma \_{1c}-\sigma \_{1t}{2\sigma \_{1c}\sigma \_{1t}~;~~J={\cfrac {\sigma \_{2c}-\sigma \_{2t}{2\sigma \_{2c}\sigma \_{2t}~;~~K={\cfrac {\sigma \_{3c}-\sigma \_{3t}{2\sigma \_{3c}\sigma \_{3t}\end{aligned}}}}}}}}}}}}}}}}}}}$$

where

$$\Sigma \_{1}:={\cfrac {\sigma \_{1c}+\sigma \_{1t}{2\sigma \_{1c}\sigma \_{1t}~;~~\Sigma \_{2}:={\cfrac {\sigma \_{2c}+\sigma \_{2t}{2\sigma \_{2c}\sigma \_{2t}~;~~\Sigma \_{3}:={\cfrac {\sigma \_{3c}+\sigma \_{3t}{2\sigma \_{3c}\sigma \_{3t}}}}}}}}}}$$

and $\sigma \_{ic},i=1,2,3$ are the uniaxial yield stresses in **compression** in the three principal directions of anisotropy, $\sigma \_{it},i=1,2,3$ are the uniaxial yield stresses in **tension**, and $\sigma \_{23}^{y},\sigma \_{31}^{y},\sigma \_{12}^{y}$ are the yield stresses in pure shear. It has been assumed in the above that the quantities $\sigma \_{1c},\sigma \_{2c},\sigma \_{3c}$ are positive and $\sigma \_{1t},\sigma \_{2t},\sigma \_{3t}$ are negative.

## The Drucker yield criterion

The Drucker–Prager criterion should not be confused with the earlier Drucker criterion which is independent of the pressure ( $I\_{1}$). The Drucker yield criterion has the form

$$f:=J\_{2}^{3}-\alpha ~J\_{3}^{2}-k^{2}\leq 0$$

where $J\_{2}$ is the second invariant of the deviatoric stress, $J\_{3}$ is the third invariant of the deviatoric stress, $\alpha $ is a constant that lies between -27/8 and 9/4 (for the yield surface to be convex), $k$ is a constant that varies with the value of $\alpha $. For $\alpha =0$, $k^{2}={\cfrac {\sigma \_{y}^{6}{27}}}$ where $\sigma \_{y}$ is the yield stress in uniaxial tension.

## Anisotropic Drucker Criterion

An anisotropic version of the Drucker yield criterion is the Cazacu–Barlat (CZ) yield criterion which has the form

$$f:=(J\_{2}^{0})^{3}-\alpha ~(J\_{3}^{0})^{2}-k^{2}\leq 0$$

where $J\_{2}^{0},J\_{3}^{0}$ are generalized forms of the deviatoric stress and are defined as

$$\begin{aligned}J\_{2}^{0}:=&{\cfrac {1}{6}\left\[a\_{1}(\sigma \_{22}-\sigma \_{33})^{2}+a\_{2}(\sigma \_{33}-\sigma \_{11})^{2}+a\_{3}(\sigma \_{11}-\sigma \_{22})^{2}\right\]+a\_{4}\sigma \_{23}^{2}+a\_{5}\sigma \_{31}^{2}+a\_{6}\sigma \_{12}^{2}\\J\_{3}^{0}:=&{\cfrac {1}{27}\left\[(b\_{1}+b\_{2})\sigma \_{11}^{3}+(b\_{3}+b\_{4})\sigma \_{22}^{3}+\\{2(b\_{1}+b\_{4})-(b\_{2}+b\_{3})\\}\sigma \_{33}^{3}\right\]\\\&-{\cfrac {1}{9}\left\[(b\_{1}\sigma \_{22}+b\_{2}\sigma \_{33})\sigma \_{11}^{2}+(b\_{3}\sigma \_{33}+b\_{4}\sigma \_{11})\sigma \_{22}^{2}+\\{(b\_{1}-b\_{2}+b\_{4})\sigma \_{11}+(b\_{1}-b\_{3}+b\_{4})\sigma \_{22}\\}\sigma \_{33}^{2}\right\]\\\&+{\cfrac {2}{9}(b\_{1}+b\_{4})\sigma \_{11}\sigma \_{22}\sigma \_{33}+2b\_{11}\sigma \_{12}\sigma \_{23}\sigma \_{31}\\\&-{\cfrac {1}{3}\left\[\\{2b\_{9}\sigma \_{22}-b\_{8}\sigma \_{33}-(2b\_{9}-b\_{8})\sigma \_{11}\\}\sigma \_{31}^{2}+\\{2b\_{10}\sigma \_{33}-b\_{5}\sigma \_{22}-(2b\_{10}-b\_{5})\sigma \_{11}\\}\sigma \_{12}^{2}\right.\\\&\qquad \qquad \left.\\{(b\_{6}+b\_{7})\sigma \_{11}-b\_{6}\sigma \_{22}-b\_{7}\sigma \_{33}\\}\sigma \_{23}^{2}\right\]\end{aligned}}}}}}$$

### Cazacu–Barlat yield criterion for plane stress

For thin sheet metals, the state of stress can be approximated as plane stress. In that case the Cazacu–Barlat yield criterion reduces to its two-dimensional version with

$$\begin{aligned}J\_{2}^{0}=&{\cfrac {1}{6}\left\[(a\_{2}+a\_{3})\sigma \_{11}^{2}+(a\_{1}+a\_{3})\sigma \_{22}^{2}-2a\_{3}\sigma \_{1}\sigma \_{2}\right\]+a\_{6}\sigma \_{12}^{2}\\J\_{3}^{0}=&{\cfrac {1}{27}\left\[(b\_{1}+b\_{2})\sigma \_{11}^{3}+(b\_{3}+b\_{4})\sigma \_{22}^{3}\right\]-{\cfrac {1}{9}\left\[b\_{1}\sigma \_{11}+b\_{4}\sigma \_{22}\right\]\sigma \_{11}\sigma \_{22}+{\cfrac {1}{3}\left\[b\_{5}\sigma \_{22}+(2b\_{10}-b\_{5})\sigma \_{11}\right\]\sigma \_{12}^{2}\end{aligned}}}}}$$

For thin sheets of metals and alloys, the parameters of the Cazacu–Barlat yield criterion are

Table 1. **Cazacu–Barlat yield criterion parameters for sheet metals and alloys**
| Material | $a\_{1}$ | $a\_{2}$ | $a\_{3}$ | $a\_{6}$ | $b\_{1}$ | $b\_{2}$ | $b\_{3}$ | $b\_{4}$ | $b\_{5}$ | $b\_{10}$ | $\alpha $ |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 6016-T4 Aluminum Alloy | 0.815 | 0.815 | 0.334 | 0.42 | 0.04 | -1.205 | -0.958 | 0.306 | 0.153 | -0.02 | 1.4 |
| 2090-T3 Aluminum Alloy | 1.05 | 0.823 | 0.586 | 0.96 | 1.44 | 0.061 | -1.302 | -0.281 | -0.375 | 0.445 | 1.285 |

1. Drucker, D. C. and Prager, W. (1952). *Soil mechanics and plastic analysis for limit design*. Quarterly of Applied Mathematics, vol. 10, no. 2, pp. 157–165.
2. McLean, M.R.; Addis, M.A. (1990). "Wellbore Stability: The Effect of Strength Criteria on Mud Weight Recommendations". *All Days*. doi:10.2118/20405-MS.
3. Abrate, S. (2008). *Criteria for yielding or failure of cellular materials*. Journal of Sandwich Structures and Materials, vol. 10. pp. 5–51.
4. Gibson, L.J., Ashby, M.F., Zhang, J. and Triantafilliou, T.C. (1989). *Failure surfaces for cellular materials under multi-axial loads. I. Modeling*. International Journal of Mechanical Sciences, vol. 31, no. 9, pp. 635–665.
5. V. S. Deshpande, and Fleck, N. A. (2001). *Multi-axial yield behaviour of polymer foams.* Acta Materialia, vol. 49, no. 10, pp. 1859–1866.
6. $\beta =\alpha /3$ where $\alpha $ is the quantity used by Deshpande–Fleck
7. Liu, C., Huang, Y., and Stout, M. G. (1997). *On the asymmetric yield surface of plastically orthotropic materials: A phenomenological study.* Acta Materialia, vol. 45, no. 6, pp. 2397–2406
8. Drucker, D. C. (1949)  *Relations of experiments to mathematical theories of plasticity*, Journal of Applied Mechanics, vol. 16, pp. 349–357.
9. Cazacu, O.; Barlat, F. (2001), "Generalization of Drucker's yield criterion to orthotropy", *Mathematics & Mechanics of Solids*, **6** (6): 613–630, doi:10.1177/108128650100600603, S2CID 121817612.


title: Theodore B. Comstock

abstract: Theodore Bryant Comstock (1849–1915) was an American geologist, educator, university administrator, and mining consultant. He served as the first president of the University of Arizona.

text:
# Theodore B. Comstock

**Theodore Bryant Comstock** (1849–1915) was an American geologist, educator, university administrator, and mining consultant. He served as the first president of the University of Arizona.

## Early life

Theodore B. Comstock was born in Cuyahoga Falls, Ohio on July 27, 1849. He earned a bachelor's degree at Pennsylvania State Agricultural College, and postgraduate degrees from Cornell University. He married Blanche Huggins in 1880.

## Career

He was a professor of general and economic geology at Cornell University from 1875 to 1879, and a professor of mining engineering and physics at the University of Illinois from 1885 to 1889.

He served as first president of the University of Arizona from 1894 to 1895. He received a Bachelor of Arts degree from what is now Pennsylvania State University in 1868, a Bachelor of Science in 1870 and D.Sc. in 1886 from Cornell University.

Theodore B. Comstock died at his home in Los Angeles on July 26, 1915.

## Works

He made contributions to *American Naturalist*, the *American Journal of Science*, and the *Engineering and Mining Journal*.

## InfoBox

| Theodore B. Comstock | |
| --- | --- |
|  | |
|  | |
| 1st President of the University of Arizona | |
| **In office**
1894–1895 | |
| Succeeded by | Howard Billman |
|  | |
| Personal details | |
| Born | Theodore Bryant Comstock
(1849-07-27)July 27, 1849
Cuyahoga Falls, Ohio |
| Died | July 26, 1915(1915-07-26) (aged 65)
Los Angeles, California |
| Spouse | Blanche Huggins (m. 1880) |
| Education |  |
| Occupation | Geologist, educator, mining consultant |
| Signature |  |
|  | |


title: Their Lives

abstract: Their Lives: The Women Targeted by the Clinton Machine is a book by Candice E. Jackson. Published by conservative publisher World Ahead Publishing on May 31, 2005, it recounts the stories of seven women who crossed paths with Bill Clinton at various stages of Clinton's career: Monica Lewinsky, Paula Jones, Gennifer Flowers, Kathleen Willey, Elizabeth Gracen, Juanita Broaddrick, and Sally Perdue.

text:
# Their Lives

***Their Lives: The Women Targeted by the Clinton Machine*** is a book by Candice E. Jackson. Published by conservative publisher World Ahead Publishing on May 31, 2005, it recounts the stories of seven women who crossed paths with Bill Clinton at various stages of Clinton's career: Monica Lewinsky, Paula Jones, Gennifer Flowers, Kathleen Willey, Elizabeth Gracen, Juanita Broaddrick, and Sally Perdue.

## Content and themes

The book was intended to be a rebuttal to the former president's best-selling memoir, *My Life*. The author suggests that Clinton's inner circle bribed, intimidated, and harassed women when they fell out of Bill Clinton's favor. She also argues that former First Lady Hillary Clinton's active involvement in these attacks should make women oppose her potential White House campaign.

## News coverage and controversy

*Their Lives* received heavy coverage in certain media segments when it was released, including coverage on *The Rush Limbaugh Show*, by the *New York Post'*s Page Six, an appearance by Jackson on C-SPAN's *Book TV*, and an article in *China Daily*. The *Pittsburgh Tribune-Review* said the book offered a "cautionary conclusion". The book made further news when Jackson escorted Broaddrick and Willey on a tour of the Bill Clinton Presidential Library to draw attention to Clinton's attempts to conceal his alleged past actions.

Critics focused on its lack of objectivity, with the *Boston Phoenix* calling it "yet another new Clinton-bashing book" and noting that many of the more controversial stories have not been proven.

Search engine service Google also drew criticism from the author and the publisher for allegedly refusing to host online ads for the book.

## InfoBox

Their Lives
|  | |
| --- | --- |
| Author | Candice E. Jackson |
| Language | English |
| Subject | Accusations against Bill Clinton |
| Genre | Nonfiction |
| Published | May 31, 2005 |
| Publisher | World Ahead Publishing |
| Publication place | United States |
| ISBN | 978-0974670133 |


title: Duncan Jones (rugby union)

abstract: Duncan James Jones is a former Welsh rugby union player who played at loose head prop for the Ospreys in the Pro12 and has played for Wales.

text:
# Duncan Jones (rugby union)

**Duncan James Jones** (born 18 September 1978 in Neath and brought up in Blaengwynfi, Port Talbot) is a former Welsh rugby union player who played at loose head prop for the Ospreys in the Pro12 and has played for Wales.

## Career

### First-class career

Jones was educated at Cymer Afan Comprehensive School and Neath College. He has represented Wales at every level from Schools up to the national side, including the Grand Slam-winning Under-21 side of 1999. Jones played at both loosehead and tighthead at school level. During the early part of his professional career with Neath he played at tighthead but switched to loosehead in 2001.

He made his first-class debut for Neath RFC in 1999 and played for the club until the end of the 2002–03 season, when, following a reorganisation of Welsh rugby, Jones transferred to what was then the Neath-Swansea Ospreys. He made his debut for the Ospreys on 10 January 2004. However he was soon followed by Adam Jones who made his first appearance for Ospreys on 13 March 2004 against Stade Toulousain.

In 2005–06, Duncan Jones took over as captain of the Ospreys, following an injury to Barry Williams, and he was appointed captain for the 2006–07 season, during which he led the team to the Celtic League title.

### International career

He made his debut for Wales on 25 November 2001, coming on as a substitute in the Autumn International against Australia. In the 2002 Six Nations Championship, he made two appearances as a substitute, against France and Ireland.

Jones made his first start for Wales in August 2003, playing in two warm-up matches, against Ireland and Scotland. He was selected in the squad for the 2003 Rugby World Cup and started in two pool games, against Canada and Italy, but suffered a fractured fibula during the game against Italy and had to return home, being replaced by Ospreys teammate Paul James.

He returned from injury in time to start three games in the 2004 Six Nations Championship; he also started in both Tests against Argentina and came on as a replacement against South Africa on Wales's mid-year tour.

Jones played in the 2004 Autumn Internationals but a dislocated thumb, sustained during a Heineken Cup match between the Ospreys and Munster in January 2005, meant that he was unavailable for the 2005 Six Nations Championship, in which Wales achieved the Grand Slam. He returned to the Welsh team for a two-game tour to the USA and Canada in June 2005.

In 2005–06, Jones started in all but one of Wales's Autumn Internationals (he missed the game against Fiji) and in all their 2006 Six Nations Championship matches, following which he was chosen by new coach Gareth Jenkins to captain the side during a mid-year two-Test tour of Argentina. In October 2006, Jenkins appointed Stephen Jones to captain Wales through to the 2007 Rugby World Cup, but when Stephen Jones was rested for the Autumn International against the Pacific Islanders, Duncan Jones returned to captain Wales at home for the first time. He played, as starter or substitute, in all four Autumn Internationals and all five matches in the 2007 Six Nations Championship, but was rested for the mid-year tour to Australia.

Jones was named in the Welsh squad for the 2007 World Cup, and started in the warm-up games against Argentina and France, but though he played in all four pool games during the tournament, he only started in one game, against Japan. He subsequently featured as a substitute in a one-off Test against new World Champions, South Africa, in November 2007 and started in Wales's first two games in the 2008 Six Nations Championship, against England and Scotland.

### Skills

Although "not the biggest guy" for a prop, Jones makes up for his perceived lack of size with speed, mobility and ball-handling skills that would not disgrace a back. As well as being a good ball-carrier, he is also solid in the scrum and a hard-working defensive tackler.

On the field, Jones is instantly recognisable because of his long curly blond hair. His previous Ospreys and Wales front-row partner Adam Jones is equally recognisable by his shaggy dark hair and the two props were popularly known as the "Hair Bears".

## InfoBox

Duncan Jones
|  | |
| --- | --- |
| Birth name | Duncan James Jones |
| Date of birth | (1978-09-18) 18 September 1978 |
| Place of birth | Neath, Wales |
| Height | 183 cm (6 ft 0 in) |
| Weight | 110 kg (17 st 5 lb; 243 lb) |
| School | Cymer Afan Comprehensive School |
| University | Neath College |
| Rugby union career | |
| **Position(s)** Prop  Senior career  **Years** **Team** **Apps** **(Points)**  1998–2003
2003–2015 Neath
Ospreys  105
219  (40)
(20)  International career  **Years** **Team** **Apps** **(Points)**  2001–2009 Wales  57  (0) | |


title: Thereby Hangs a Tale

abstract: Thereby Hangs a Tale is an album by American country music singer Eddy Arnold. It was released in 1959 by RCA Victor. The album consists of 12 story songs. AllMusic gave the album a rating of four stars. The decision to dedicate a whole album to story songs was inspired by the success of Johnny Horton's "The Battle of New Orleans". Reviewer Greg Adams called it one of Arnold's most interesting albums, praised him for taking a "far more subdued" approach that gave the material "a folk flavor."

text:
# Thereby Hangs a Tale

***Thereby Hangs a Tale*** is an album by American country music singer Eddy Arnold. It was released in 1959 by RCA Victor (catalog no. LSP-2036). The album consists of 12 story songs.

AllMusic gave the album a rating of four stars. The decision to dedicate a whole album to story songs was inspired by the success of Johnny Horton's "The Battle of New Orleans". Reviewer Greg Adams called it one of Arnold's most interesting albums, praised him for taking a "far more subdued" approach that gave the material "a folk flavor."

## Track listing

**Side A**

1. "Tom Dooley"
2. "Nellie Sits A-Waitin'"
3. "Tennessee Stud"
4. "The Battle of Little Big Horn"
5. "The Wreck of the Old '97"

**Side B**

1. "Johnny Reb, That's Me"
2. "Riders in the Sky"
3. "Boot Hill"
4. "Ballad of Davy Crockett"
5. "Partners"
6. "Jesse James"

## InfoBox

| Thereby Hangs a Tale | |
| --- | --- |
|  | |
| Studio album by Eddy Arnold | |
| Released | 1959 |
| Genre | Country |
| Label | RCA Victor |
| Producer | Chet Atkins |
| Eddy Arnold chronology | |
| *That's How Much I Love You (compilation)*
(1959) ***Thereby Hangs a Tale***
(1959) *Have Guitar, Will Travel*
(1959) | |


title: Thereasea Elder

abstract: Thereasea Delerine "T. D." Elder was the first African American public health nurse in Charlotte, North Carolina.

text:
# Thereasea Elder

**Thereasea Delerine** "**T. D.**" **Elder** (September 2, 1927 – January 5, 2021) was the first African American public health nurse in Charlotte, North Carolina.

## Early life and education

Elder was born Charlotte, North Carolina. She was the sixth child of Booker T. and Odessa Clark. Her father worked as a porter and her mother did domestic work in homes. Elder described her childhood as wonderful, and that her family taught her the value of education and religious faith, which have guided her life and career. From a young age Elder knew what she wanted to do, as a result, when she was a student at West Charlotte High School, Elder began working with Charlotte Memorial Hospital. Because of segregation, she remained largely behind the scenes and rarely interacted with patients.

She attended West Charlotte High School during its inaugural year in 1938. After graduating high school, Elder attended Johnson C. Smith University for a year but later transferred to North Carolina Central University to study nursing. Elder described her experience in North Carolina Central University as "eye-opening," because the university provided opportunities for students to serve their community.

## Career

Elder went to work at the Good Samaritan Hospital in Charlotte in 1948. That same year she married Willie Elder, a World War II veteran who ran a service station. During her time at Good Samaritan Hospital, she completed a certificate program in public health nursing at the University of North Carolina at Chapel Hill. In 1962 she started working as a public health nurse for Mecklenburg County, where she would go into communities and perform health checks or administers prescribed medication. Her success was measured by the decreased numbers of absences in schools and a greater health literacy among the families she was responsible for.

Mecklenburg County tasked Elder with the responsibility of breaking the color barrier in public health service. Along with another African American nurse, she was assigned to predominantly white districts. She experienced skepticism and received disrespectful language. Elder even treated patients in Ku Klux Klan territory within Charlotte. Over time, she gained the same kind of relationship from her new patients that she received from her previous patients.

Elder worked with the Mecklenburg County Health Department until her retirement in 1989.

Elder also devoted herself to community improvement, earning local and state recognition. She was the president of the Greenville Historical Association was an active member of the National Association of Negro Business and Professional Women. She founded the Charlotte-Mecklenburg Black Historical Society and was on the Board of Greater Carolinas Chapter of the American Red Cross. She was recognized in 2013 by Johnson C. Smith for her work in strengthening the Rockwell neighborhood.

In 2001, Governor Mike Easley conferred upon her the Order of the Long-Leaf Pine for doing "great service to \[her\] community the state" The Thereasea Clark Elder Neighborhood Park was created in her honor by the Charlotte Parks and Rec. Department.


title: Duncan Graham (British politician)

abstract: Duncan McGregor Graham was Labour MP for Hamilton from 1918 to his death. Born in Airdrie, Graham was educated at various local school before becoming a miner in 1878. He was elected as a checkweighman in 1892, and soon became active in the trade union movement. He served as political organiser of the Scottish Miners' Federation from 1908 until 1918, when he was elected for the Labour Party in Hamilton. That year, he also took up the post of general secretary of the Lanarkshire Miners' County Union, holding it for five years alongside his Parliamentary duties.

text:
# Duncan Graham (British politician)

**Duncan McGregor Graham** (31 March 1867 – 19 October 1942) was Labour MP for Hamilton from 1918 to his death.

Born in Airdrie, Graham was educated at various local school before becoming a miner in 1878. He was elected as a checkweighman in 1892, and soon became active in the trade union movement. He served as political organiser of the Scottish Miners' Federation from 1908 until 1918, when he was elected for the Labour Party in Hamilton. That year, he also took up the post of general secretary of the Lanarkshire Miners' County Union, holding it for five years alongside his Parliamentary duties.


title: Thermal conductance quantum

abstract:
In physics, the thermal conductance quantum g 0 describes the rate at which heat is transported through a single ballistic phonon channel with temperature T. It is given by
  - g 0 = π 2 k B 2 T 3 h ≈ T. The thermal conductance of any electrically insulating structure that exhibits ballistic phonon transport is a positive integer multiple of g 0. The thermal conductance quantum was first measured in 2000. These measurements employed suspended silicon nitride (Si3N4) nanostructures that exhibited a constant thermal conductance of 16 g 0 at temperatures below approximately 0.6 kelvin.

text:
# Thermal conductance quantum

In physics, the **thermal conductance quantum** $g\_{0}$ describes the rate at which heat is transported through a single ballistic phonon channel with temperature $T$.

It is given by

$g\_{0}={\frac {\pi ^{2}{k\_{\rm {B}^{2}T}{3h}\approx (9.464\times 10^{-13}{\rm {W/K}^{2})\\;T}}}}$.

The thermal conductance of any electrically insulating structure that exhibits ballistic phonon transport is a positive integer multiple of $g\_{0}.$ The thermal conductance quantum was first measured in 2000. These measurements employed suspended silicon nitride (Si
3N
4) nanostructures that exhibited a constant thermal conductance of 16 $g\_{0}$ at temperatures below approximately 0.6 kelvin.

## Relation to the quantum of electrical conductance

For ballistic electrical conductors, the electron contribution to the thermal conductance is also quantized as a result of the electrical conductance quantum and the Wiedemann–Franz law, which has been quantitatively measured at both cryogenic (~20 mK) and room temperature (~300K).

The thermal conductance quantum, also called quantized thermal conductance, may be understood from the Wiedemann-Franz law, which shows that

$$\kappa \over \sigma }=LT,$$

where $L$ is a universal constant called the Lorenz factor,

$$L={\pi ^{2}k\_{\rm {B}^{2} \over 3e^{2}.}}$$

In the regime with quantized electric conductance, one may have

$$\sigma ={ne^{2} \over h},$$

where $n$ is an integer, also known as TKNN number. Then

$$\kappa =LT\sigma ={\pi ^{2}k\_{\rm {B}^{2} \over 3e^{2}\times {ne^{2} \over h}T={\pi ^{2}k\_{\rm {B}^{2} \over 3h}nT=g\_{0}n,}}}$$

where $g\_{0}$ is the thermal conductance quantum defined above.


title: Theodore Souris

abstract: Theodore Souris was an American jurist and lawyer. Born in Detroit, Michigan, Souris served in the United States Army Air Forces during World War II. In 1947, Souris received his bachelor's degree from University of Michigan and in 1949, he received his law degree from University of Michigan Law School. He then practiced law in Detroit, Michigan. He served as general counsel, in 1950 and 1951 for Philip A. Hart when Hart was district director for the United States Office of Price Stabilization. In 1959, Souris was appointed Wayne County, Michigan Circuit Court judge. Souris then served on the Michigan Supreme Court from 1960 until 1969. He then resumed practicing law until 1990 when he retired and moved to Chicago, Illinois with his wife. Souris died of leukemia in Chicago, Illinois.

text:
# Theodore Souris

**Theodore Souris** (August 25, 1925  June 21, 2002) was an American jurist and lawyer.

Born in Detroit, Michigan, Souris served in the United States Army Air Forces during World War II. In 1947, Souris received his bachelor's degree from University of Michigan and in 1949, he received his law degree from University of Michigan Law School. He then practiced law in Detroit, Michigan. He served as general counsel, in 1950 and 1951 for Philip A. Hart when Hart was district director for the United States Office of Price Stabilization. In 1959, Souris was appointed Wayne County, Michigan Circuit Court judge. Souris then served on the Michigan Supreme Court from 1960 until 1969. He then resumed practicing law until 1990 when he retired and moved to Chicago, Illinois with his wife. Souris died of leukemia in Chicago, Illinois.


title: Theodore Sourkes

abstract: Theodore Lionel Sourkes, was a Canadian biochemist and neuropsychopharmacologist who helped advance the treatment of Parkinson's disease and hypertension. Born in Montreal, Quebec, Sourkes received a Bachelor of Science degree in Nutritional Sciences from McGill University in 1939. Unable to fight in Canadian Army during World War II due to his poor eyesight, he worked in a chemical engineering factory in Toronto during the war. After the war, he received a Master of Science degree from McGill studying under Earle Wilcox Crampton. He received a Ph.D. from Cornell University in 1948 working with James B. Sumner. He worked briefly as assistant professor in pharmacology at Georgetown University before joining the Merck Institute for Therapeutic Research. While there, he helped in the development of α-methyldopa, an antihypertensive drug. In 1953, he returned to McGill University in the Department of Psychiatry where he stayed for the rest of his career. He died of pneumonia on January 17, 2015, at the Montreal General Hospital. He was buried at the Montreal Workers' Circle section of the Baron de Hirsch Cemetery, Montreal. "His archives are held at McGill University in the Osler Library of the History of Medicine

text:
# Theodore Sourkes

**Theodore Lionel Sourkes**, OC FRSC (February 21, 1919  January 17, 2015) was a Canadian biochemist and neuropsychopharmacologist who helped advance the treatment of Parkinson's disease and hypertension.

Born in Montreal, Quebec, Sourkes received a Bachelor of Science degree in Nutritional Sciences from McGill University in 1939. Unable to fight in Canadian Army during World War II due to his poor eyesight, he worked in a chemical engineering factory in Toronto during the war. After the war, he received a Master of Science degree from McGill studying under Earle Wilcox Crampton. He received a Ph.D. from Cornell University in 1948 working with James B. Sumner. He worked briefly as assistant professor in pharmacology at Georgetown University before joining the Merck Institute for Therapeutic Research. While there, he helped in the development of α-methyldopa, an antihypertensive drug. In 1953, he returned to McGill University in the Department of Psychiatry where he stayed for the rest of his career.

He died of pneumonia on January 17, 2015, at the Montreal General Hospital. He was buried at the Montreal Workers' Circle section of the Baron de Hirsch Cemetery, Montreal. "His archives are held at McGill University in the Osler Library of the History of Medicine

## Family life

He married Shena Rosenblatt on January 17, 1943. They had three children: Doreen, who died of Tay–Sachs disease when she was 3, Barbara, and Myra.

## Honours

In 1971, he was made a Fellow of the Royal Society of Canada. In 1992, he was made an Officer of Order of Canada. In 1998, he was awarded the Government of Quebec's Prix Wilder-Penfield.

## InfoBox

| Theodore Lionel Sourkes | |
| --- | --- |
| Born | (1919-02-21)February 21, 1919
Montreal, Quebec, Canada |
| Died | January 17, 2015(2015-01-17) (aged 95)
Montreal, Quebec |
| Resting place | Montreal Workers' Circle, Baron de Hirsch Cemetery, Montreal |
| Alma mater | McGill University
Cornell University |
| Awards | Order of Canada
Prix Wilder-Penfield |
| **Scientific career** | |
| Fields | Biochemistry |
| Institutions | McGill University |
| Doctoral advisor | James B. Sumner |
|  | |


title: Dungeon Scroll

abstract: Dungeon Scroll is a video game released by Robinson Technologies. It was originally released for the PC in 2003 with a Gold edition of the game being released in November 2005. In 2009, a mobile version of the game was released for the iPhone, followed up by releases the next year for the Android and Palm devices. The PC version was an Independent Games Festival finalist at the 2004 Game Developers Conference.

text:
# Dungeon Scroll

**Dungeon Scroll** is a video game released by Robinson Technologies. It was originally released for the PC in 2003 with a *Gold* edition of the game being released in November 2005. In 2009, a mobile version of the game was released for the iPhone, followed up by releases the next year for the Android and Palm devices. The PC version was an Independent Games Festival finalist at the 2004 Game Developers Conference.

## Gameplay

Dungeon Scroll is a spelling game given a dungeon RPG theme. Players are given eight letter tiles to use to spell words that deal damage to the enemies they encounter in the dungeon. The bigger the word, the more damage that is dealt to the baddies. At the same time, the enemies are attacking the player, carving away at the player's health. If the player's health hits zero, they lose the game.

The game features three difficulty settings, ranging from *Kid* to *Normal* to *Wizard* (Hard). The game features special tiles that appear occasionally that help players spell words. And there are enemies that are referred to as bosses. These bosses are slightly harder to defeat, requiring harder, longer words to deal higher damage.

## InfoBox

| Dungeon Scroll | |
| --- | --- |
| Developer(s) | Robinson Technologies |
| Publisher(s) | Robinson Technologies |
| Platform(s) | Microsoft Windows, Android, iOS |
| Release | 2003 |
| Genre(s) | Role-playing video game, Word game |
| Mode(s) | Single-player |


title: Thermicanus aegyptius

abstract: Thermicanus aegyptius is a microaerophile and thermophilic bacterium from the genus Thermicanus, which has been isolated from oxic soil in Egypt.

text:
# Thermicanus aegyptius

***Thermicanus aegyptius*** is a microaerophile and thermophilic bacterium from the genus *Thermicanus*, which has been isolated from oxic soil in Egypt.

## Further reading

## InfoBox

| *Thermicanus aegyptius* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Bacteria |
| Phylum: | Bacillota |
| Class: | Bacilli |
| Order: | Bacillales |
| Genus: | *Thermicanus* |
| Species: | ***T. aegyptius*** |
| Binomial name | |
| ***Thermicanus aegyptius***<br>Gößner et al. 2000 | |
|
| Type strain | |
| ATCC 700890, DSM 12793, ET-5b | |


title: There You Go (Prescott-Brown song)

abstract: "There You Go" is a song recorded by Canadian country music group Prescott-Brown. It was released in 1994 as the first single from their second studio album, Already Restless. It peaked at number 10 on the RPM Country Tracks chart in July 1994.

text:
# There You Go (Prescott-Brown song)

"**There You Go**" is a song recorded by Canadian country music group Prescott-Brown. It was released in 1994 as the first single from their second studio album, *Already Restless*. It peaked at number 10 on the *RPM* Country Tracks chart in July 1994.

## Chart performance

| Chart (1994) | Peak
position |
| --- | --- |
| Canada Country Tracks (*RPM*) | 10 |

## InfoBox

| "There You Go" | |
| --- | --- |
| Single by Prescott-Brown | |
| from the album  *Already Restless* | |
| Released | 1994 |
| Genre | Country |
| Length | 3:24 |
| Label | Columbia |
| Songwriter(s) | Barry Brown
Randall Prescott |
| Producer(s) | Pat McMakin
Randall Prescott
Paul Worley |
| Prescott-Brown singles chronology | |
| "Don't You Ever Leave Me"
(1993) "**There You Go**"
(1994) "There Ain't Much You Can Do About Love"
(1994) | |