title: Urophora hodgesi

abstract: Urophora hodgesi is a species of tephritid or fruit flies in the genus Urophora of the family Tephritidae.

text:
# Urophora hodgesi

***Urophora hodgesi*** is a species of tephritid or fruit flies in the genus *Urophora* of the family Tephritidae.

## Distribution

Ecuador, Peru.

## InfoBox

| *Urophora hodgesi* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Diptera |
| Family: | Tephritidae |
| Subfamily: | Tephritinae |
| Tribe: | Myopitini |
| Genus: | *Urophora* |
| Species: | ***U. hodgesi*** |
| Binomial name | |
| ***Urophora hodgesi***<br>Steyskal, 1979 | |
|


title: Melvin Jones (Lions Club)

abstract: Melvin Jones was the founder and secretary-treasurer of Lions Clubs International. He was born in Fort Thomas, Arizona. His father was a captain in the United States Army. In 1886 or 1887, the family moved east when his father was transferred. Melvin Jones settled in Chicago, where he studied at the Union Business and Chaddock colleges of Quincy, Illinois. At age 33 he was the sole owner of his own insurance agency in Chicago and became a member of the local business circle, and was elected secretary shortly thereafter. Melvin Jones was also a Freemason, initiated in 1906 at Garden City Lodge No. 141 in Chicago, Illinois. After two years, prompted by his personal code – "You can't get very far until you start doing something for somebody else" – Jones proposed that the talents of the circle's members could be better utilized in other areas of community life, He invited representative from other men's clubs in and around Chicago to a meeting to devise a suitable organization and from that meeting, Jones subsequently integrated his club into an existing initiative that further led to his selection as Secretary of the "International Association of Lions Clubs" later to be named "Lions Clubs International". Jones eventually gave up his insurance agency to work full-time at Lions International Headquarters. In 1945, Jones represented Lions Clubs International as a consultant at the United Nations Conference on International Organization in San Francisco.

text:
# Melvin Jones (Lions Club)

**Melvin Jones** (January 13, 1879 – June 1, 1961) was the founder and secretary-treasurer of Lions Clubs International.

He was born in Fort Thomas, Arizona (at that time the Arizona Territory). His father was a captain in the United States Army. In 1886 or 1887, the family moved east when his father was transferred. Melvin Jones settled in Chicago, where he studied at the Union Business and Chaddock colleges of Quincy, Illinois. At age 33 he was the sole owner of his own insurance agency in Chicago and became a member of the local business circle, and was elected secretary shortly thereafter. Melvin Jones was also a Freemason, initiated in 1906 at Garden City Lodge No. 141 in Chicago, Illinois.

After two years, prompted by his personal code – "You can't get very far until you start doing something for somebody else" – Jones proposed that the talents of the circle's members could be better utilized in other areas of community life, He invited representative from other men's clubs in and around Chicago to a meeting to devise a suitable organization and from that meeting, Jones subsequently integrated his club into an existing initiative that further led to his selection as Secretary of the "International Association of Lions Clubs" later to be named "Lions Clubs International". Jones eventually gave up his insurance agency to work full-time at Lions International Headquarters.

In 1945, Jones represented Lions Clubs International as a consultant at the United Nations Conference on International Organization in San Francisco.

## Memorials

There is a memorial to Melvin Jones, in the form of a fifty-foot spire, in his birthplace of Fort Thomas.

At Lions headquarters in Dhaka there is a mural and portrait of Melvin Jones by Bangladeshi sculptor Mrinal Haque.

There is a Melvin Jones Memorial Grandstand in Burnham Park, Philippines.

There is a Melvin Jones Belvedere (with a view of the Alps on a clear day) at Vignale Monferrato, Piedmont, Italy.

There is a Melvin Jones Memorial on Avenida Capital de España, 28042 Madrid \[40.461999, -3.615861\], 5 minutes from the Campo de las Naciones tube station on Metro Linea 8. The memorial was erected by the Lions Clubs of Spain Multiple District 116.

There is a street, Rua Melvin Jones, in Lisbon and in 9 other towns across Portugal.

There is a street and a school named after Melvin Jones, in Parana, Argentina.

There is a square, Piazzale Melvin Jones, and bust in Rieti, Italy.

There is a small square, Largo Melvin Jones, in Borgomanero, Italy

The Lions Eye Bank located at San Martino Hospital in Genova is dedicated to Melvin Jones.

In 2017, the United States Mint issued a non-circulating commemorative coin honoring the centennial of the Lions Club; the obverse (heads side) features a depiction of Melvin Jones. The traditional sized silver coin was offered on the United States Mint website (www.usmint.gov) for sale through the end of 2017.

There is a Piazzetta Melvin Jones near to The Arena in Verona

In 2018 the City Administration of Cinisello Balsamo (Lombardy, Italy) dedicated a conference room, located in the public library, to Melvin Jones.


title: Eudasychira ampliata

abstract: Eudasychira ampliata is a tussock moth from Madagascar, first described by Arthur Gardiner Butler in 1878, and formerly placed in its own genus, Vietteria.

text:
# Eudasychira ampliata

***Eudasychira ampliata*** is a tussock moth from Madagascar, first described by Arthur Gardiner Butler in 1878, and formerly placed in its own genus, *Vietteria*.

## InfoBox

| *Eudasychira ampliata* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Superfamily: | Noctuoidea |
| Family: | Erebidae |
| Subfamily: | Lymantriinae |
| Tribe: | Orgyiini |
| Genus: | *Eudasychira* |
| Species: | ***E. ampliata*** |
| Binomial name | |
| ***Eudasychira ampliata***<br>(Butler, 1878) | |
|
| Synonyms | |
| * *Dasychira ampliata* Butler, 1878 * *Vietteria ampliata* (Butler, 1878) | |


title: Roy Ragle

abstract: Roy Ward Ragle was a San Francisco artist known for his self-portraits executed in large woodcuts. Inspired by the Japanese tradition of Ukiyo-e, his prints were linear in character, finely detailed, but with imagery traced in a web of thin, coiled and looping lines, creating a woodcut that was often mistaken for an etching. Ragle’s persistent attempt of capturing his own features in his woodcuts was triggered by a diagnosis of Crohn’s disease in the early 1970s, a chronic illness that would mark his life and his art. The medications so affected and altered his features that his prints became a way of preserving and rescuing a sense of identity. As Kenneth Baker noted in Roy Ragle's obituary: "Mr. Ragle (...) had long depicted death as his companion in woodcuts and prints in other media, in a manner reminiscent of European dance of death imagery and to Mexican folk art tradition."

text:
# Roy Ragle

**Roy Ward Ragle** (December 8, 1944 – December 11, 2014) was a San Francisco artist known for his self-portraits executed in large woodcuts. Inspired by the Japanese tradition of Ukiyo-e, his prints were linear in character, finely detailed, but with imagery traced in a web of thin, coiled and looping lines, creating a woodcut that was often mistaken for an etching. Ragle’s persistent attempt of capturing his own features in his woodcuts was triggered by a diagnosis of Crohn’s disease in the early 1970s, a chronic illness that would mark his life and his art. The medications so affected and altered his features that his prints became a way of preserving and rescuing a sense of identity. As Kenneth Baker noted in Roy Ragle's obituary: "Mr. Ragle (...) had long depicted death as his companion in woodcuts and prints in other media, in a manner reminiscent of European dance of death imagery and to Mexican folk art tradition."

## Early life and education

Roy Ragle was born in National City in Southern California in 1944. He received his B.A. from San Diego State University in 1968 and his M.F.A. from the San Francisco Art Institute in 1974. He taught relief printmaking at San Francisco State University from 1976 until 1979, the year when his illness became severe.

## Career

Upon seeing the first exhibit of self-portrait woodcuts at the Jehu/Wong Gallery in San Francisco 1981, Thomas Albright notes in the San Francisco Chronicle: "His features themselves undergo alterations, as do their expressions: frequently stoical, occasionally agonized. But Ragle never concedes to the rhetoric of tragedy; expressionism is kept in a precise balance with a coolly aloof, almost clinical self-scrutiny."

Started in January 1973, at the beginning of his MFA program, the series of woodcuts called *Self-Portrait* would persist till 1981, resulting in 54 large woodcuts printed in an edition of 10 each, several of which being oversize. His most monumental statement in woodcut stands as the culmination of this series. It is entitled “*Self-Examination Series Part II*,” a triptych in which Ragle’s self-portrait is flanked by that of Carol, his wife and Susan Dunn, his therapist who later would also die of Crohn's disease. The work measures 108” by 48” and the three blocks began as a body print: with their thrift shop clothes inked up, each of them was lowered with ropes onto the wood, and this inked impression was then carved and added to by Ragle in extreme detail using a dental dremel. The densely worked surface of the triptych, with the arduous process of creating the ridges of wood to simulate the lines, was a task that took him from 1987 to 1990. It was Roy Ragle’s last great statement in woodcut, a declaration of triumph in the face of illness and this in an exacting technique. Due to the demands of his approach to the medium and due to his poor health, Roy Ragle moved on and explored more experimental approaches to printmaking. On the occasion of a retrospective of Ragle’s work in 2000, Karin Breuer describes the transition as follows: "Roy developed a form of monotype using relief matrices made from aluminum foil. It was a successful substitute for woodcut that enabled him to continue working on his autobiographical self-portrait subjects. The foil monotype relief prints have evolved into a kind of body art as Roy creates a mold of his face using the foil which is then distorted when inked and flattened during printing."

These later works employing the foil are hybrid and unique works that defy easy classification. The surfaces are complex, densely layered and overworked with pen and ink. The often grim nature of the imagery is held in check with the complex treatment of the surfaces. The foil masks pressed against the faces of himself, of family and friends, bear little resemblance to the final monoprints, the matrix often trampled underfoot. As Herlinde Spahr notes: "These steps lead to a print in which the matrix is crushed in the act of creation and the image, the portrait itself, must share in that fate. These unique prints compress in their surface a number of printmaking steps, each successive layer doubling the distance between the original mask and its final copy." And yet, as in the foil monoprint of *Crossing the River Styx’s Series, Portrait of Margie Cotner Potts*, the trampled and deformed mask can become a shimmering, gentle presence.

## Legacy

Roy Ragle died on December 11, 2014, three days after turning 70. His work had been shown in prominent San Francisco galleries: the John Berggruen Gallery, the Don Soker Gallery, the Meridian Gallery. He had major exhibitions at the Legion of Honor Museum in San Francisco, and at the Triton Museum of Art in Santa Clara. Roy Ragle was a longtime member of the California Society of Printmakers of which he was made an honorary member in 2005. His work is represented by the Annex Galleries in Santa Rosa. Extensive collections of his prints can be found in the Achenbach Graphic Arts Collection of the Legion of Honor Museum in San Francisco, in the collection of the Hearst Art Gallery at St. Mary’s College of California in Moraga, and in the collection of the Turner Print Museum at the California State University at Chico among others. The Bancroft Library of Manuscripts and Rare Books at UC Berkeley holds a large collection of illustrated letters from Roy Ragle covering the period of 1987 to 2014.


title: Lover's Tear

abstract: Lover's Tear is a 1992 Hong Kong romance-action film directed by Jacob Cheung Chi-Leung and starring Nina Li Chi and Ngai Sing.

text:
# Lover's Tear

**Lover's Tear** (Chinese: 誓不忘情) is a 1992 Hong Kong romance-action film directed by Jacob Cheung Chi-Leung and starring Nina Li Chi and Ngai Sing.

## Plot

Deaf prostitute Fang I Ling (Nina Li Chi) is saved by gangster Lin Wei (Elvis Tsui Kam-Kong) who decides to make her his moll. Although he genuinely cares for her she doesn't feel the same way yet sticks by him. Things begin to change after she witnesses the murder of security official Su Erh (Yukari Oshima) and must help police officer Chung Ao (Ngai Sing) who has been accused of the crime clear his name. The couple soon fall in love while being pursued by the chief lieutenant (Lam Ching-ying) and the police chief (Sammo Hung). Despite the police chief believing in Ngai's innocence he must do him duty by taking him in.

## Cast

## InfoBox

| Lover's Tear | |
| --- | --- |
|  | |
| Traditional Chinese | 誓不忘情 |
|
| Jyutping | sai6 bat1 mong4 cing4 |
|  | |
|  | |
| Directed by | Jacob Cheung Chi-Leung |
| Produced by | Sammo Hung
Lam Ching-ying |
| Starring | Nina Li Chi
Ngai Sing |
| Edited by | Henry Cheung Siu-Hei |
| Production
companies | Bojon Films Co., Ltd |
| Distributed by | Newport Entertainment Co., Ltd (Hong Kong) |
| Release date | * 21 May 1992 (1992-05-21) |
| Country | Hong Kong |
| Language | Cantonese |
| Box office | HK $2,196,154 |


title: North Atlantic Drift (album)

abstract: North Atlantic Drift is the sixth studio album by British rock band Ocean Colour Scene.

text:
# North Atlantic Drift (album)

***North Atlantic Drift*** is the sixth studio album by British rock band Ocean Colour Scene.

## Background

Martin 'Max' Hayes and the band co-produced every song, except for "For Every Corner", which was produced solely by the former. They were assisted by Tim Roe (who also did additional engineering on "When Evil Comes"), Darren, Nash, Darren Blackwell, and Tom Webster. Hayes and Pete Craigie mixed the recordings.

## Composition

Musically, the sound of *North Atlantic Drift* has been described as blues rock. The opening track "I Just Need Myself" is done in the style of the Faces, with percussion from Steve White. "Oh Collector" features guitar contributions from Kevin Rowe. The title track is political commentary on American cultural imperialism and its support by the UK government, particularly the then impending US-led invasion of Iraq, which was opposed by the majority of the British public. The Paul Weller-like "Golden Gate Bridge" is followed by the Phil Spector-indebted "Make the Deal", with a string arrangement from Sonia Slaney. Duncan Mackay, James Hunt and Nichol Tompson appear on "On My Way", playing trumpet, saxophone and trombone, respectively; it is followed by the folk-esque "Second Hand Car". "She's Been Writing", which also featured a string arrangement from Slaney, includes vocal contribution from Linda Thompson. Dalbir Singh Rattan plays tabla on "When Evil Comes", which ends with an atmospheric coda.

## Release

"I Just Need Myself" was released as a single on 30 June 2003. Two versions were released on CD: the first with "Will You Take Her Love" and "Me, I'm Left Unsure", and the second with "Questions" and "I Want to See the Bright Lights".

The US version was released on 19 August 2003, and contained four bonus tracks: "Will You Take Her Love", "Me, I'm Left Unsure", "Questions", and "I Want to See the Bright Lights". "Make the Deal" was released as a single on 25 August 2003. Two versions were released on CD: the first with "Perfect Stranger" and "I Never Believed It Too", while the other included "We Rise" and "St. Cecelia". The 7" vinyl version featured a Caged Baby remix of "I Just Need Myself" as the B-side.

Bassist Damon Minchella left the band in late 2003. "Golden Gate Bridge" was released as a single on 29 December 2003. The CD version featured live versions of "Get Away" and "The Riverboat Song", while the DVD version included videos of live versions of "Golden Gate Bridge", "Second Hand Car", and "The Day We Caught the Train".

## Reception

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| AllMusic |  |
| *Drowned in Sound* | 1/5 |
| Entertainment.ie |  |
| *Gigwise* |  |
| *The List* |  |
| *Mojo* |  |
| No Ripcord | 5/10 |
| *Rolling Stone* |  |
| *The Times* |  |
| *Uncut* |  |

*North Atlantic Drift* was met with mixed-to-negative reviews from music critics. AllMusic reviewer Stephen Thomas Erlewine wrote that "only the faithful would care \[about a new album from Ocean Colour Scene\], which is too bad, because it's the best record they've done in a long time." He said that while there was not any "great progression in the sound", the production "isn't nearly as claustrophobic as it was on its predecessor". *Gigwise* contributor Jamie Bowman wrote that the "riffs and harmonies are still as comfortably worn as a pair of old Gazelles \[shoes\]". He highlted "I Just Need Myself" as "show\[ing\] any sign of exuberance," as the remainder of the album was "a stodgy mixture of endlessly recycled homespun tunesmithery." No Ripcord writer Peter Mattinson referred to the album "a disappointment \[...\] and one that will be leapt upon by a lot of people. It's fair to say that in years to come, this \[...\] chapter in Ocean Colour Scene's history will be fairly well overlooked." John Dugan of *Rolling Stone* found the band to "still practices the same retro naturalism and love for soul and psychedelia, but amid the trad modness it gives increasing attention to breezy pop ditties and neo-folk melodies."

Entertainment.ie reviewer Andrew Lynch wrote that other than the album being on a new album, "it's business as usual: mid-paced blues-rock, turgid Dadrock arrangements and lyrics so vague as to be absolutely meaningless." *Drowned in Sound* writer Adie Nunn complimented three of the songs, "\[b\]ut that’s where the praise (!) starts and ends, as they’re straight back into their retro mod-pop ways after that." *The List*'s Carolyn Rae wrote that the album would be enjoyed by fans of their last album, "otherwise don't except anything new." She went on further to say that "\[m\]ost bands grow and mature as their career develops but OCS are firmly stuck in the same groove." David Sinclair of *The Times* opened his review by calling it "all a bit sad. \[... Nothing\] can disguise the dog-eared sound of a band well past its sell-by date." The staff at *Uncut* simply stated "Ocean Colour Scene are inextricably linked to a mid-’90s era which now seems hideously pass".

The first track, "I Just Need Myself" reached #13 in the charts, though the other two singles did less well but still charted inside the top 40.

## Track listing

Track listing per booklet.

1. "I Just Need Myself" – 3:24
2. "Oh Collector" – 3:53
3. "North Atlantic Drift" – 3:09
4. "Golden Gate Bridge" – 4:09
5. "Make the Deal" – 3:58
6. "For Every Corner" – 3:47
7. "On My Way" – 3:26
8. "Second Hand Car" – 2:56
9. "She's Been Writing" – 4:12
10. "The Song Goes On" – 5:21
11. "When Evil Comes" – 6:22

## Personnel

Personnel per booklet.

## InfoBox

| North Atlantic Drift | |
| --- | --- |
|  | |
| Studio album by Ocean Colour Scene | |
| Released | 7 July 2003 |
| Genre | Blues rock |
| Length | 44:37 |
| Label | Sanctuary |
| Producer | Martin 'Max' Hayes, Ocean Colour Scene |
| Ocean Colour Scene chronology | |
| *Mechanical Wonder*
(2001) ***North Atlantic Drift***
(2003) *A Hyperactive Workout for the Flying Squad*
(2005) | |
|  | |
| Singles from  *North Atlantic Drift* | |
| 1. "I Just Need Myself"
Released: 30 June 2003 2. "Make the Deal"
Released: 25 August 2003 3. "Golden Gate Bridge"
Released: 29 December 2003 | |
|  | |


# History of continuous noninvasive arterial pressure

The article reviews the evolution of continuous noninvasive arterial pressure measurement (CNAP). The historical gap between ease of use, but intermittent upper arm instruments and bulky, but continuous “pulse writers” (sphygmographs) is discussed starting with the first efforts to measure pulse, published by Jules Harrison in 1835. Such sphygmographs led a shadowy existence in the past, while Riva Rocci's upper arm blood pressure measurement started its triumphant success over 100 years ago. In recent times, CNAP measurement introduced by Jan Penáz in 1973 enabled the first recording of noninvasive beat-to-beat blood pressure resulting in marketed products such as the Finapres™ device and its successors. Recently, a novel method for CNAP monitoring has been designed for patient monitoring in perioperative, critical and emergency care, where blood pressure needs to be measured repeatedly or even continuously to facilitate the best care for patients.

## Early sphygmographs

Prior to quantitative measurement, which was applied in medicine in the 19th century, diagnostic possibilities of hemodynamic activities had been limited to qualitative sensing of pulse through palpation. In some cultures, sensitive palpation is still a main part of medicine like pulse diagnosis in Traditional Chinese medicine (TCM) or the identification of the ayurvedic doshas. The introduction of the stethoscope and the methods of auscultation by René-Théophile-Hyacinthe Laennec in 1816 changed the medical behavior consistently and forced the need of quantitative hemodynamic measurements.

The first instrument which could measure the force of pulse with a mercury filled glass tube was developed by Jules Harrison in 1835. Jean Léonard Marie Poiseuille invented the first mercury “Hemodynameter”, a forerunner of the sphygmomanometer in 1821.

The first sphygmograph (pulse writer) for the continuous graphical registration of pulse dates back to Karl von Vierordt in 1854. More popular, however, was the improved sphygmograph from the French physiologist and pioneer in cinematography Étienne-Jules Marey (1863). In his famous book “La méthode graphique“ (1878) and his studies with the photographic gun, Marey's work was related to cardiovascular movements of heart and vessels.

Besides Marey's sphygmograph, a device developed by the Austrian Samuel von Basch attracted attention and was introduced in Europe in 1880 . A fluid filled bladder placed on the wrist was able to detect pulse; the pressure, which was necessary for the disappearance of the pulses, was measured with a mercury manometer. This allowed the first measurement of systolic blood pressure. Several other sphygmographs were developed in the late 19th century, especially in Great Britain, France and Germany. These instruments were portable, reasonably accurate and widely available, so physicians even used them at the bedside.

## Simple and accurate sphygmomanometers displace sphygmographs

In 1896, the Italian Scipione Riva-Rocci introduced the first mercury-sphygmomanometer placed on the upper arm. It enabled the measurement of absolute systolic blood pressure. Since the finding of the characteristic sounds by the Russian Nikolai Sergejev Korotkoff in 1905, the upper arm method also allows the registration of absolute diastolic blood pressure.

One year after Riva-Rocci's findings, Leonard Erskine Hill and Harold Barnard reported blood pressure monitoring during anesthesia for the first time. Their almost concurrently invented devices consisted of a narrow armlet to occlude the brachial artery, a small bicycle-type metal pump and a metal manometer graduated in mmHg. It seems surprising that the first report of blood pressure monitoring during anesthesia did not mention the use of sphygmographs, which had already been in common use at this time . One reason might be that the former practice totally relied on the observation of breathing as the sole method of monitoring; even the palpation of pulse during ether or chloroform administration was not recognized as a good practice. Another reason may be found directly in the title of the report: “A simple and accurate form of sphygmometer or arterial pressure gauge contrived for clinical use” – implying that for clinical use the device must be simple and accurate.

## Early vascular unloading technique

While the sphygmomanometer had started its triumphant advance, only a few pulse registration devices were invented in the 20th century. Plain plethysmographic devices like pulse oximeters are, of course, the exception, but they cannot be used for blood pressure measurement. If at all, they can measure blood volume changes. These volume changes cannot easily be transformed into pressure, because the elastic components of the arterial wall are not linear and the smooth muscles also consist of non-elastic parts..

The goal is to unload the arterial wall in order to linearize this phenomenon with a counter pressure as high as the pressure inside the artery. Blood volume is kept constant by applying this corresponding pressure from the outside. The continuously changing outside pressure that is needed to keep the arterial blood volume constant directly corresponds to the arterial pressure. It is an instantaneous, continuous measure for arterial blood pressure, which is the basic principle of the so-called “vascular unloading technique”.

In 1942, the German physiologist Richard Wagner introduced a mechanical system for the identification of blood pressure at the arteria radialis using a mechanical version of the vascular unloading technique, where a counter pressure unloads the arterial wall.

## Electro-pneumatic vascular unloading technique

The Czech physiologist Jan Peňáz introduced the vascular unloading technique on the finger in 1973 by means of an electro-pneumatic control loop. The control loop is shown in the block diagram: a cuff is placed over the finger, as it is the most suitable and an easily accessible region. Inside the cuff, the blood volume in the finger arteries is measured using an infrared light source (L) and a light detecting photocell (PC). The plethysmographic signal (PG) – the light signal compared to constant C1 – is an electronic measure for finger blood volume. PG is fed into a control unit having proportional-integral-differential characteristics (PID). The PID-signal is added to a constant set point (C2), amplified and fed to an electro-pneumatic transducer (EPT). EPT produces a pressure in the cuff, which, again, alters finger blood volume.

The condition of the control loop can be described as follows: The light-signal PG shall become zero by controlling the alterable pressure in the cuff. During systole, when blood volume increases in the finger, the PID-controller increases the control point. Thus, cuff pressure is increased until the excess blood volume is squeezed out. On the other hand, during diastole, the blood volume in the finger is decreased; as a result the PID-controller decreases the control point. Hence, cuff pressure is lowered and the overall blood volume remains constant. As blood volume and thus PG is held constant over time, the pressure difference between cuff pressure and intra-arterial pressure is zero. Intra-arterial pressure is equal to cuff pressure, which can easily be measured by means of the manometer M.

Peňáz used a single electronic control loop, which was responsible for the fast tracking of blood pressure changes as well as for the stability of the system. However, the changes in arterial diameter and in wall tension due to vasoconstriction and vasodilatation make a long-term measurement with this single control loop almost impossible, since the true unloading of the arterial wall is easily lost Therefore, groups in the Netherlands, Japan, Australia and Austria have improved the Peňáz principle of vascular unloading.

### Finapres and its successors

An innovative evolution of Peňáz’ principle was the Finapres™, which was developed by the Dutch group around K.H. Wesseling and introduced to the market in 1986. Successors of the Finapres systems on the medical market are the Finometer, the Portapres as well as the Nexfin.

### Digital CNAP-technology

Starting in 1996, an Austrian research group has developed a completely digital approach of the method. As a result, this technology can be found in the Task Force Monitor and CNAP Monitor 500 (CNSystems) as well as in the CNAP Smart Pod (Dräger Medical) and in the LiDCOrapid (LiDCO Ltd.).

Whereas other technologies still use one single control loop, the digital CNAP-technology is based on concentrically interlocking control loops. These loops enable beat-to-beat correction of changes in vasomotor tone using the VERIFI-algorithm.

## Tonometry

Tonometry is the resurrection of the old sphygmograph technology as it again describes a mechanism for the automatic noninvasive palpation on the arteria radialis. In order to obtain a stable blood pressure signal, the tonometric sensor must be protected against movement and other mechanical artifacts.

## Pulse transit time

When the heart ejects stroke volume to the arteries, it takes a certain transit time until the blood volume reaches the periphery. This pulse transit time (PTT) indirectly depends on blood pressure. This circumstance can be used for the noninvasive detection of blood pressure changes.

## Pulse Decomposition Analysis

The arterial pressure pulse in the upper body is composed of five constituent pulses: the left ventricular ejection pulse, a reflection of this pulse that is known as the second systolic pulse and that arises from the diameter mismatch between thoracic/abdominal aortas, another reflection of it in the iliac arteries that forms the diastolic pulse, and two more re-reflections that arise between these reflection sites and that can typically only be observed in subjects with low arterial stiffness and long cardiac cycles. Using PDA, the pressure profile of each heart pulse is analyzed for changes in systolic, diastolic, and mean arterial pressure as well as other hemodynamic parameters. PDA systems offer very low coupling pressures to a finger and track blood pressures for long periods. Like tonometers and PTT methods, the measurement can be optionally calibrated with an absolute blood pressure from a reference method. One commercially available PDA method has shown acceptable accuracy compared to an invasive arterial line.


title: The School and Society

abstract: The School and Society: Being Three Lectures (1899) was John Dewey's first published work of length on education. A highly influential publication in its own right, it would also lay the foundation for his later work. In the lectures included in the initial publication, Dewey proposes a psychological, social, and political framework for progressive education. Notably, this includes collaborative practical experimentation as the central element of school work. He argues that the progressive approach is both an inevitable product of the Industrial Revolution and a natural fit with the psychology of children. A final chapter details some of the experiments done at the University of Chicago Laboratory Schools. Articles in the 1915 edition extended his argument with reprints of Dewey's work published in the Elementary School Record.

text:
# The School and Society

***The School and Society: Being Three Lectures*** (1899) was John Dewey's first published work of length on education. A highly influential publication in its own right, it would also lay the foundation for his later work. In the lectures included in the initial publication, Dewey proposes a psychological, social, and political framework for progressive education. Notably, this includes collaborative practical experimentation as the central element of school work. He argues that the progressive approach is both an inevitable product of the Industrial Revolution and a natural fit with the psychology of children. A final chapter details some of the experiments done at the University of Chicago Laboratory Schools.

Articles in the 1915 edition extended his argument with reprints of Dewey's work published in the *Elementary School Record*.

## Background

Experimentation in education was widespread in the 19th century, and much of late 19th century experimentation involved the introduction of "hands on" activities into the classroom. Louisa Parsons Stone Hopkins captured the spirit of the time in her speech to the 1890 Boston Mechanic's Fair:

> It has been difficult to escape from the traditions of an exclusively book education. The grammar schools, as their name indicates, have tied the child to the dead past, and confined him to the medieval form of brain activity and thought expression, until his connective tissues have ceased to be sensitive to the environment of nature, and he forgets the material and laws that touch him on every side : he observes nothing; he discovers nothing; he constructs nothing.

While the introduction of manual tasks in classroom was underway well before *The School and Society*'s publication, Dewey's work helped to lay a coherent theoretical foundation for progressive experimentation in education.

The three lectures that comprise the bulk of the 1899 and 1900 editions were initially given as a fundraising lecture series in support of the Laboratory School. From these lectures, Dewey raised $350 for the school.

The lectures proceed in a pattern, the first dealing with the relation of the school to social progress, the second with the relation of the school to the psychology of the child, and the third with the organization of the school as an institution in accomplishing these aims.

## Synopsis

### The School and Social Progress

The first lecture examines the relationship of education and social progress. Dewey argues that, with the coming of the industrial age, many traditional educative processes had been lost. In a pre-industrial society, children learned beside their parents, pairing learning with application and industry. Dewey explains that such work built character, fostering independence and initiative, but that "concentration of industry and division of labor" has eroded the possibility of such meaningful, practical learning opportunities in the childhood home.

In this environment, a "New Education" that is "part and parcel of the whole social evolution" is needed. Fundamentally, education must follow larger shifts in society rather than implement isolated ideas which are "arbitrary inventions" made by "the over-ingenious minds of pedagogues" to deal with their specific challenges. Such ideas constitute "at the worst transitory fads, and at the best merely improvements in certain details." Where the learning opportunities in the home have disappeared, modern schools must now adapt to fill the gap. The school must become the new "child's habitat, where he learns through directed living."

An important part of such an education is "manual training," which includes wood- and metalworking as well as household chores, such as cooking. Dewey tells an extended story of children engaged in sewing at his laboratory school. To do the fiber work they must create raw material from cotton and wool, but in so doing they learn a multitude of lessons in history, geography, engineering, and science. Dewey concludes the story:

> I need not speak of the science involved in this — the study of the fibres, of geographical features, the conditions under which raw materials are grown, the great centres of manufacture and distribution, the physics involved in the machinery of production; nor, again, of the historical side — the influence which these inventions have had upon humanity. You can concentrate the history of all mankind into the evolution of the flax, cotton, and wool fibres into clothing.

Dewey makes a plea that theory and practice not be separated, arguing that if we truly want to provide for a cultured populace that we must introduce into the educational process those activities "which appeal to those whose dominant interest is to do and to make." Since knowledge is moving "in all currents of society" we have no choice but to find ways to reach all students.

### The School and the Life of the Child

In the second lecture, the relation between schooling and the child is examined. Here Dewey proposes a student-centered curriculum. Authentic learning is valued, and must be centered on the natural interests of children: their desire to communicate with others, to build things, to inquire about things, and to express themselves artistically.

Dewey begins by talking about the physical bias of the classroom. Student desks are small, crowded together. They have room to hold a book, room for studying, but no room to create. Rather than being a space to work, the classroom is designed as a place to listen and to read. Both are modes of passive absorption. In addition, students are required not only to listen passively, but to listen "en masse".

This "passivity of attitude" and "mechanical massing of children" are due to the rigid curriculum and method, which are still rooted in a "mediæval conception of learning". When the core of a curriculum is listening en masse, then everybody can be tested on the same thing at given intervals. The child in this system is an afterthought; education is structured in a certain way, and the child must bend to it.

Dewey proposes a different "center of gravity" for the instruction: the child him- or herself. This, Dewey claims, is how children are educated in an ideal home setting. Children naturally incline to activity, to conversation, creation, and inquiry. The nature of education must be to take that inclination and direct it toward valuable ends for society. As an example, he describes a cooking class which, through a series of questions by the teacher and students, ultimately leads to lessons in organic chemistry and experiments regarding the effects of heat on the protein in eggs.

The impulses of the children are described. They wish to communicate with others. They want to know the nature of things. They enjoy artistic expression and like to make things.

After describing a number of other activities from the laboratory school he comes to what he sees as the largest "stumbling block" that traditionalists have with these approaches: Stimulating inquiry and interest is fine, they say, but "how, upon this basis, shall the child get the needed information; how shall he undergo the required discipline?"

Dewey's short answer to that question is that the "needed information" and "required discipline" comes about in such settings—that inquiry for its own sake and the requirements of education are not at odds.

Dewey's longer answer (and his conclusion to the lecture) is that we are mistaken to think of the imagination of the child as a separate faculty. Imagination and learning cannot be at odds, because "Unless culture be a superficial polish, a veneering of mahogany over common wood, it surely is this -- the growth of the imagination in flexibility, in scope, and in sympathy, till the life which the individual lives is informed with the life of nature and of society."

### Waste in Education

In the third lecture, Dewey takes on the issue of "waste in education" in a somewhat unusual mode. For Dewey, the primary waste in education is a waste of effort on the part of the school and time and effort on the part of the children. This waste, Dewey claims, is a result of isolation:

> All waste is due to isolation. Organization is nothing but getting things into connection with one another, so that they work easily, flexibly, and fully. Therefore in speaking of this question of waste in education I desire to call your attention to the isolation of the various parts of the school system, to the lack of unity in the aims of education, to the lack of coherence in its studies and methods.

The first isolation Dewey examines is the lack of connections between the stages of a child's school career. Kindergarten, he argues, comes out of Froebel's synthesis of observation of children's play with the early 19th century idealist symbolism of Schelling. It then becomes difficult to move students from kindergarten into the primary grades, which are organized around the practical concerns of the 16th century: reading and mathematics for commerce. From the primary school to the intermediate school there is another gap, with the intermediate school influenced by the grammar school of the Renaissance, an introduction into culture—at that time Latin and Greek, although in the 19th century other culture as well. Another gap exists between the intermediate school and the high school, which is largely a preparatory academy for entry into universities developed to meet medieval needs around professional study and cultural expansion.

While Dewey is careful to emphasize that these institutions have evolved over time, he notes that the patchwork nature of the sequence remains. The solution, according to Dewey, is to unify the sequence by connecting every part of the sequence to the world outside the school.

Dewey argues that the only way to unify the curriculum is to increase its connection to the world outside the classroom. Just as home and industry are not separate from the laboratories and research centers of the world, so the curriculum that finds its inspiration in the outside world can also be unified.

To illustrate this he provides a detailed description of a school building designed around the principle of these relationships. On the first floor the four corners represent practice, the machine shop, the textile industries, the dining room, and the kitchen. These are arrayed around the central library, illustrating always that the meaning of these activities are not the activities themselves, but the "theory of practical activities" which these activities help explicate. These activities are meaningful in the realm of the home and commerce to the individual, but they gain their social meaning from the collective knowledge of the center.

The second floor is similar, but more academic in focus. Arrayed around a central museum the art and music studios and the different libraries relate to one another, but also to the practical pursuits of the first floor. The textile needs of the first floor, for example, relate to the biological research of the second.

By relating school as a whole to life as a whole the various aims of the phases of education—the utility of the primary school, versus the culture and professional study of the high school—cease to pull in different directions. The growth of the child in "social capacity and service, his larger and more vital union with life, becomes the unifying aim" and the progression through disciplines merely phases of that growth.

## Additional chapters

The 1899 and 1900 editions included a fourth chapter on the activities of the Laboratory School, whereas the 1915 edition contained a number of articles that had been published in the Educational Record around the time of School and Society's release.

### Three Years of the University Elementary School

A short report on the expenses and structure of the Laboratory School at the University of Chicago, originally a transcription of a talk given by Dewey at the Parent's Association of the school in February 1899. In it Dewey goes over everything from the expenses of the school to the organization of the grades.

Of particular note is Dewey's insistence that the school was not formed to test ready-made ideas, rather

> the educational conduct of the school, as well as its administration, the selection of subject-matter, and the working out of the course of study, as well as actual instruction of children, have been almost entirely in the hands of the teachers of the school; and that there has been a gradual development of the educational principles and methods involved, not a fixed equipment. The teachers started with question marks, rather than with fixed rules, and if any answers have been reached, it is the teachers in the school who have supplied them.

He then details some of the questions they set out to address—mainly how the academic and symbolic disciplines should be conveyed to the child and how they can be made relevant to the home and community life of the child. After three years, he claims, the school is still a work in progress, yet "some of our original questions have secured affirmative answers."

### The Psychology of Elementary Education

Dewey describes the way in which changes in our understanding of psychology should alter educational practice. He outlines some of the changes he has seen in psychology that should impact teaching practice:

* Newer psychology sees mental representation as socially constructed.
* Newer psychology sees cognition as activity-directed.
* Newer psychology sees the child's mind as different from the adult mind.

Dewey then details various ways that curriculum has come in line with these newer understandings, and in some cases anticipated them.

### Froebel's Educational Principles

Dewey outlines Froebel's educational principles, explaining the places where the Laboratory School is in sympathy with Froebel's approach, but also critiquing Froebel's approach where they differ.

His first critique is not so much of Froebel, but of those who follow Froebel as a system:

> So far as occupations, games, etc., simply perpetuate those of Froebel and his earlier disciples, it may fairly be said that in many respects the presumption is against them...that in the worship of the external doings discussed by Froebel we have ceased to be loyal to his principle.

For Dewey, the teacher is a skilled professional who must always look to the particulars of the child and the environment when designing instruction; formulas cannot suffice.

His second critique is of Froebel's use of symbolism. This overreliance on symbolism as a guiding principle came about, says Dewey, because Froebel was operating without a scientific psychology, and because the nature of German culture of the time required to keep the culture of the Kindergarten apart from the rigid culture of the surrounding society. For Dewey, this emphasis on symbolism misunderstands the true imagination of the child which suffers from the abstraction and too-quick variety of Froebel's method.

A final critique is that of motivation. Dewey argues that while imitation is a powerful tool in education, it cannot be the sole motive of the child's learning. The child, if she is to learn anything, must have and own a conception of the why of the activity as well as the how. He concludes with a plea that the gap between methodologies in kindergarten and primary school be bridged, in the interest of a more productive and pedagogically consistent path for the child.

### The Aim of History in Elementary Education

Originally published in Elementary School Record No. 8. Argues that "whatever history may be for the scientific historian, for the educator it must be an indirect sociology." By understanding the "motors" of history the child comes to understand the forces and organizations of her own time.

Dewey also details the methods in use in the laboratory school at the time. Key to the method is letting the students "live in the times", comprehending the challenges the people of that time faced, and endeavoring to discover solutions. As they compare their solutions with the solutions of the past, they understand the past a model for problem-solving in the present. Primary sources are privileged, and textbooks avoided. Above all, history is a tool of "social inquiry".

## Reception

The 1900 edition was warmly received and widely translated and published. The book had almost immediate popularity and influence, with three printings within its first year, comprising 7,500 copies between them.

By the time of the 1915 edition, the Elementary School Record went so far as to say:

> It is given only to a few men to write educational classics. Since Spencer wrote his essays there has not been a more important contribution to educational reform than Dewey's School and Society.

## International influence

*The School and Society* was republished in Britain almost immediately, in 1900. Global influence followed; the book was read by proponents of progressive education worldwide.

The work was cited by Édouard Claparède who helped shape a progressive *éducation nouvelle* in Geneva, Switzerland, in the years leading up to the first world war. By 1920, Dewey and *The School and Society* were seen as "*the* authority for child development" by Claparède.

In Germany, the first chapter, on "School and Social Progress" was published in a journal in 1903. A German translation of the entire work followed in 1905. However, Dewey's work was distrusted by the elites in the monarchic and authoritarian German Empire, as it "built on interaction and cooperation, and therefore on democracy." Some ideas from *The School and Society* were embraced by monarchist educational reformers but stripped of all underlying democratic ideals because these reformers merely sought to tap into "the reserve of talents of the working class in order to serve the monarchy."

The work was translated into Russian, and may have influenced Pavel Blonsky and a young Lev Vygotsky. Dewey's ideas outlined in *The School and Society* appealed to the designers of early Soviet curricula but were generally denounced as incompatible with Soviet ideology, which saw schools as beholden to political goals, by the second half of the 1920s.

There is some disagreement on what language the book was first translated into. Thomas Popekewitz states the first translation was into Czech in 1904. Bonoso claims a Spanish version, translated by Domingo Barnés Salinas, appeared in Latin America as early as 1900. Hickman also credits Barnes with the first Spanish translation, but dates it at 1915, and gives Japan the distinction of having the first translation in 1901.

All in all, the book was translated into a dozen languages.


title: No Man Is an Island (film)

abstract: No Man Is an Island is a 1962 war film about the exploits of George Ray Tweed, a United States Navy radioman who avoided capture and execution by the Japanese during their years-long World War II occupation of Guam. It stars Jeffrey Hunter as Tweed. The film was shot entirely in the Philippines and all the supporting actors spoke Tagalog rather than Chamorro, to the amusement of Chamorros who saw the film.

text:
# No Man Is an Island (film)

***No Man Is an Island*** is a 1962 war film about the exploits of George Ray Tweed, a United States Navy radioman who avoided capture and execution by the Japanese during their years-long World War II occupation of Guam. It stars Jeffrey Hunter as Tweed. The film was shot entirely in the Philippines and all the supporting actors spoke Tagalog rather than Chamorro, to the amusement of Chamorros who saw the film.

## Plot

It is 1941. Tweed is at a radio outpost on Guam from where he expects to return to mainland America. His replacement, Roy, arrives with Vicente, a local. Shortly after bombing Pearl Harbor, the Japanese attack Guam by air, killing Vicente and Chief Schultz. The five survivors from the outpost run for the hills as Japanese troops garrison the island.

Using medical documents from American prisoners the Japanese realise the five men are missing. The Japanese send patrols to capture the men, starting a long cat-and-mouse sequence. With help from locals the five escape one Japanese patrol but their evasion is short lived. Roy, who has lost a shoe, steps on a scorpion, the toxins weakening him and slowing the escape party. Tweed hides Roy with some brush and gives him a pistol, promising he'll "be back for the gun". Turney decides to surrender with Roy, arguing the Japanese will care for Roy's foot and they will be unharmed as prisoners of war. Turney uses his white shirt to signal the Japanese but is promptly killed. Panicking, Roy kills a Japanese soldier, before being killed himself. Chico, another American radioman, attempts to shoot at the Japanese but Tweed restrains him so they can remain hidden.

The three surviving Americans meet Sus Quintagua on a copra plantation, who promises to take them to his boss Santos, who will know where they can hide. Smuggling the Americans past a Japanese roadblock turns fatal, however, when Chico is killed by a stray shot from a drunken Japanese officer. Quintagua reveals that he has hidden an old radio, which the two Americans repair. When the radio's battery dies, Quintagua and Sonnenberg travel back to their abandoned jeep to retrieve its battery. Meanwhile, Tweed escapes another searching Japanese patrol but not before discovering the bound and beheaded bodies of Sonnenberg and Quintagua.

Tweed, now the sole survivor, makes it to a leprosy hospital, where he is cared for by a priest and his assistant. Tweed is told the Japanese would not dare visit the hospital so he will be safe. The hospital has a functioning radio. Tweed uses a typewriter to relay news he hears on the radio into a makeshift newspaper called the *Guam Eagle*, which is secretly shared among locals. The plan goes awry when the newspaper, meant to be read and then burned, incites locals to rebel against the Japanese. The Japanese learn of the *Guam Eagle and* Shimoda, reading one of the newspapers, smells medicine which leads them to believe Tweed is hiding in the leprosy hospital. When the Japanese search the hospital Tweed hides in the leprosy isolation ward, where Japanese soldiers do not search as they are too horrified by the patients. A fire starts accidentally and, despite efforts to extinguish it, the hospital burns down. The priest, suspected of distributing the newspaper, is taken away for questioning.

Tweed awakes to find the priest's assistant and a man named Antonio Cruz. Cruz fears for his family because the Japanese have warned anyone helping Tweed will be executed, but instead hides Tweed at the top of a large rock face where there is a cave. Antonio promises to bring supplies every now and then. Tweed meets Antonio's beautiful daughter Josephina, or "Joe", who brings supplies in her father's stead. A nearby Japanese patrol is alerted to Tweed's position by an alarm clock that Joe brought with her. Tweed converts the alarm clock into a warning signal should anyone approach his location. Frustrated at not capturing Tweed, the Japanese warn that if Tweed is not surrendered, dead or alive, after one month they will burn a farm in each district. Tweed, overcome with guilt, considers surrender but is stopped by Antonio and the priest's assistant. The two men take Tweed's dog-tags, stating they will "give him dead". Under the cover of night, the locals take the body of the recently deceased Shimoda to the sea, where his flesh is eaten by crabs, leaving only a skeleton with Tweed's dog-tags on it.

Antonio's family and the newly released priest and his assistant celebrate Christmas 1943 with Tweed, during which Tweed learns the Japanese military is reconfiguring forces in preparation for the US attack. Tweed discovers a Japanese gun position and, using a mirror, warns an American ship of the danger. Tweed asks Joe not to visit again because he fears it is too dangerous. Later that night, the American ship signals Tweed but inadvertently alerts the Japanese to his position. Tweed signals that he has vital information and manages to reach the safety of the ship, during which his Japanese pursuers are killed.

After the battle ends with an American victory, Tweed re-unites with Antonio and his family, embracing Joe on top of the rock where Tweed had successfully evaded the Japanese for so long.

## Cast

* Jeffrey Hunter as George R. Tweed
* Marshall Thompson as Jonn Sonnenberg
* Barbara Perez as 'Joe' Cruz
* Ronald Remy as Chico Torres
* Paul Edwards Jr. as Al Turney
* Rolf Bayer as Chief Schultz
* Vicente Liwanag as Vicente
* Fred Harris II as Roy Lund
* Lamberto V. Avellana as Mr. Shimoda
* Chichay as Mrs. Nakamura
* Antonio de la Mogueis as Florecito
* Vic Silayan as Major Hondo
* Bert Laforteza as Comdr. Oto Harada (as Bert La Fortesa)
* Eddie Infante as Sus Quitugua
* Nardo Ramos as Tumon
* Rosa Mia as Primera Quitugua
* Mike Anzures as Santos
* Bruno Punzalan as Himself
* Joseph de Cordova as Father Pangolin
* Mario Barri as Limtiaco
* Steve Joseph as Tommy Tanaka
* Ding Tello as Japanese sergeant major
* Bert Olivar as Antonio Cruz
* Nena Ledesma as Himself
* Veronica Palileo as Josefa Cruz
* Segundo Veloria as Himself

## Production

During filming, a sailor and a Filipino civilian were killed while preparing an explosion for the film. It led to calls for servicemen not to be used as extras on films and for films to use civilian experts for special effects.

## InfoBox

| No Man Is an Island | |
| --- | --- |
| Directed by | Richard Goldstone
John Monks Jr. |
| Written by | Richard Goldstone
John Monks Jr. |
| Produced by | Richard Goldstone
John Monks Jr. |
| Starring | Jeffrey Hunter
Marshall Thompson
Barbara Perez |
| Production
company | Gold Coast Productions |
| Distributed by | Universal-International |
| Release date | * September 20, 1962 (1962-09-20) |
| Running time | 114 minutes |
| Country | United States |
| Language | English |


title: Mark Hollis (athletic director)

abstract: Mark Hollis is an American sports administrator who served as the athletic director at Michigan State University, succeeding Ron Mason on January 1, 2008. Hollis retired on January 31, 2018.

text:
# Mark Hollis (athletic director)

**Mark Hollis** (born September 10, 1962) is an American sports administrator who served as the athletic director at Michigan State University, succeeding Ron Mason on January 1, 2008. Hollis retired on January 31, 2018.

## Career

Hollis graduated from Croswell-Lexington High School in Michigan class of 1980. He earned a BA in communication from Michigan State University in 1985 and an MBA from the University of Colorado in 1992. Hollis was a basketball team manager under former head coach Jud Heathcote throughout his undergraduate education at Michigan State. Between his BA and MBA, Hollis worked for the Western Athletic Conference under Commissioner Joseph Kearney, who had previously been athletic director at Michigan State.

Hollis was named athletic director on January 1, 2008 and had been a part of the Michigan State athletic department from 1995 until his retirement on January 31, 2018.

Hollis was praised for his marketing abilities, helping to stage unusual athletic contests such as the Cold War, an outdoor ice hockey match-up between rivals Michigan State University and the University of Michigan, as Basketbowl, a 2003 match-up between Michigan State University and the University of Kentucky played at Ford Field, and the 2011 Carrier Classic basketball game aboard the USS *Carl Vinson*, between Michigan State and North Carolina. Along with Tom Izzo and Alan Haller, Hollis formed the search committee that hired Mark Dantonio in 2006. Hollis was also responsible for hiring former Eastern Michigan University baseball head coach Jake Boss.

1. "Mark Hollis Named MSU Athletics Director-Designate". *MSU Spartans.com*. Accessed July 11, 2008. Archived 2008-06-17 at the Wayback Machine
2. "Mark Hollis". Michigan State Athletics.
3. "Mark Hollis resigns amid Larry Nassar fallout". MLive. January 26, 2018.
4. "Player Bio: Jake Boss Jr.". *MSU Spartans.com*. Accessed July 11, 2008. Archived 2008-09-29 at the Wayback Machine


title: Urophora formosa

abstract: Urophora formosa is a species of tephritid or fruit flies in the genus Urophora of the family Tephritidae.

text:
# Urophora formosa

***Urophora formosa*** is a species of tephritid or fruit flies in the genus *Urophora* of the family Tephritidae.

## Distribution

United States.

## InfoBox

| *Urophora formosa* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Diptera |
| Family: | Tephritidae |
| Subfamily: | Tephritinae |
| Tribe: | Myopitini |
| Genus: | *Urophora* |
| Species: | ***U. formosa*** |
| Binomial name | |
| ***Urophora formosa***<br>(Coquillett, 1894) | |
|
| Synonyms | |
|  | |


title: The School Story

abstract: The School Story is a children's novel by Andrew Clements, published in 2001. It is about two twelve-year-old girls who try to get a school story published.

text:
# The School Story

***The School Story*** is a children's novel by Andrew Clements, published in 2001. It is about two twelve-year-old girls who try to get a school story published.

## Plot summary

As the novel begins, twelve-year-old Natalie is almost done writing a novel called *The Cheater* about a girl and her friends. It is uncommon, if not impossible, for someone her age to get published, but Natalie's best friend, Zoe Reisman, thinks *The Cheater* is good enough. Natalie wants her mother, Hannah Nelson, who works as an editor at Shipley Junior Books, to edit her manuscript, but she doesn't want her mother to find out that she wrote it. To accomplish this, Natalie uses the pseudonym Cassandra Day, and Zoe acts as her literary agent, fabricating the "Sherry Clutch Literary Agency". Zoe hides her identity by using her nickname, "Zee Zee", and pronouncing her last name differently. The girls decide to rent a cheap "instant office", then realize that they could use some adult help. They enlist a teacher at their school, Laura Clayton, to be their adviser, and together with the three form "The Publishing Club". Zoe gives Ms. Clayton $500 to pay for the office and services but feeling guilty, Ms. Clayton secretly pays for it herself and safely stores Zoe's money away in her bank account.

Besides the girls' age disadvantage, the editor in chief at Shipley, "Lethal" Letha Springfield, adds complications. Seeing that *The Cheater* could prove to be a success, Letha takes over editing the manuscript. Zoe (speaking as Zee Zee) gets into an argument with her and states that Cassandra (Natalie) will only write with Hannah as her editor. Instead of obliging, Letha refuses and declares that the book will not be published by Shipley unless an apology is received. This problem is averted when Zoe sends a copy of the manuscript directly to Tom Morton, president of Shipley, along with a letter describing Cassandra's wishes. After reading (and loving) the story, Tom tells Letha to let Hannah handle it. Later, when the girls are offered a contract, they show it to Zoe's father, who is a lawyer, and they get Natalie's Uncle Fred to sign in place of her mother. After hearing the story from the girls, Zoe's father is extremely impressed with Ms. Clayton and calls to commend her. He also gets her to send him a bill for the office.

## InfoBox

The School Story
| Cover of first edition, 2001 | |
| --- | --- |
| Author | Andrew Clements |
| Illustrator | Brian Selznick |
| Cover artist | Brian Selznick |
| Language | English |
| Genre | Children's literature |
| Publisher | Simon & Schuster |
| Publication date | 2001 |
| Publication place | United States |
| Media type | Print (hardcover & paperback) |


title: Eugene M. Grant

abstract: Eugene Martin Grant was an American real estate investor, philanthropist and civic leader. He owned several buildings in Manhattan, New York City.

text:
# Eugene M. Grant

**Eugene Martin Grant** (July 17, 1918 – April 3, 2018) was an American real estate investor, philanthropist and civic leader. He owned several buildings in Manhattan, New York City.

## Early life

Eugene M. Grant was born as **Eugene Martin Greenberg** on July 17, 1918, in Hell's Kitchen in New York City. His father, Samuel Greenberg, had immigrated from Russia as a teenager and later became a real estate investor.

Grant graduated from the City College of New York, the University of Michigan, and the Columbia Law School. During World War II, he served in the United States Army.

## Career

Grant began his career by "building housing for returning veterans" with his father's company, Samuel Greenberg & Co. Shortly after, he began investing in real estate with Lionel Bauman. Together, they purchased 88 Central Park West. They subsequently purchased the old Saks building at the corner of 34th Street and Broadway.

In 1962, they purchased St. John's Terminal. He founded his own company, Eugene M. Grant & Co., in 1971. He sold his stake in St. John's Terminal in 2013.

## Civic activities

Grant was the chairman of the UJA-Federation of New York and the Jewish Museum. He was a founding member of the board of regents of the Center for Security Policy.

## Personal life and death

Grant married Emily Louise Geldsaler, of Toronto. They had three daughters. They resided in Mamaroneck, New York.

Grant died on April 3, 2018, at the age of 99. He was survived by his wife of 68 years, their three daughters (Terry, Andrea and Carolyn), and extended family. His funeral was held on April 5 at the Larchmont Temple in Larchmont, New York.

## Awards and honors

Eugene and his wife Emily were recognized among The New Jewish Home's Eight Over Eighty Gala 2014 honorees.

## InfoBox

| Eugene M. Grant | |
| --- | --- |
| Born | Eugene Martin Greenberg
(1918-07-17)July 17, 1918
New York City, New York, U.S. |
| Died | April 3, 2018(2018-04-03) (aged 99)
Westchester County, New York, U.S. |
| Alma mater | City College of New York
University of Michigan
Columbia Law School |
| Occupation(s) | Real estate investor, civic leader |
| Spouse | Emily Louise Geldsaler |
| Children | 3 |
| Parent | Samuel Greenberg |


title: Rosie!

abstract: Rosie! is a 1967 American comedy film directed by David Lowell Rich, based on Ruth Gordon's play A Very Rich Woman.

text:
# Rosie!

***Rosie!*** is a 1967 American comedy film directed by David Lowell Rich, based on Ruth Gordon's play *A Very Rich Woman*.

## Plot

Rosie Lord is a widowed millionaire who, much to the dismay of her daughters Mildred and Edith, spends her money generously. When she announces she intends to buy a $2.5 million closed theater in a run-down part of Los Angeles, because it is the location where her late husband proposed to her and it is now threatened to be turned into a parking lot, her daughters decide that they have had enough. Edith and her husband Cabot complain that they are only granted $100,000 a year, and work together with cold-hearted and recently divorced Mildred to discourage Rosie from buying the theater. They are unable to convince her and her legal advisor Oliver to let them take care of her money, and thus decide to try to declare her incompetent, thereby hoping to put her in an insane asylum. Edith and Cabot's young daughter Daphne is appalled to overhear the scheme, and vows to help her grandmother.

Daphne rushes to Oliver's office, but runs into his much younger associate David Wheelwright, who promises to help her after an emotional conversation. Oliver is upset to find out that one of his workers is taking matters in own hands, and meets with David to hear him out. David advises that they should put someone with Rosie to prevent her from doing anything outrageous, because their daughters are sending a private investigator to the case. Oliver takes his advice, but sends him on the job. David reluctantly starts the job, but is quickly drawn to Rosie's extraverted personality. Simultaneously, he goes on a few romantic dates with Daphne and they fall in love.

After attending a piano recital, Rosie is abducted by two men, and later awakens in a locked rest home for the mentally unstable in the Santa Monica mountains. Rosie is heartbroken to learn that her daughters committed her to a sanitarium, and rejects an offer from Cabot to sign the papers for her release in exchange for making them responsible of her finances. He assures her that they can keep her in the sanitarium indefinitely if she does not obey their wishes, prompting Rosie to reconsider. Meanwhile, Daphne finds out what has happened, and furiously leaves the home, despite her mother's plea not to leave her.

With the help of Oliver and David, Daphne enters the rest home and breaks Rosie out. Rosie, who cannot believe what her own daughters did to her, is next sued in court. Mildred and Edith's lawyer puts Rosie's sanity at debate, and Rosie is ready to announce her defeat during the process. Daphne and Oliver console her during the trial, and when Oliver announces his love for her, Rosie decides to fight again. She faints in court and pretends to be dying, to get her daughters to admit that she is sane (in order for Rosie to change her will just before dying). The case is thereby dismissed and Rosie is now free to marry Oliver.

## Cast

## Reception

Writing in *The New York Times*, critic Howard Thompson called the film "a tasteless brew of comedy, pathos and grim drama...This one is downright embarrassing." He ended his review by writing "This is one 'Rosie!' whre \[*sic*\] the petals fall off and the thorns take over."

## InfoBox

| Rosie! | |
| --- | --- |
| Theatrical release poster | |
| Directed by | David Lowell Rich |
| Written by | Samuel A. Taylor |
| Based on | play *A Very Rich Woman* by Ruth Gordon and play *Les Joies de la famille* by Philippe Heriat |
| Produced by | Ross Hunter
Jacques Mapes |
| Starring | Rosalind Russell
Sandra Dee
Brian Aherne |
| Cinematography | Clifford Stine |
| Edited by | Stuart Gilmore |
| Music by | Lyn Murray |
| Distributed by | Universal Pictures |
| Release date | * November 22, 1967 (1967-11-22) |
| Running time | 98 minutes |
| Country | United States |
| Language | English |


title: Lover's Pledge

abstract: Lover's Pledge is a 2005 yaoi manga written and illustrated by Kae Maruya. It is licensed in English by Digital Manga Publishing, which released the manga on 21 October 2008. It is licensed in German by Carlsen Comics, under the title Love Contract.

text:
# Lover's Pledge

***Lover's Pledge*** (Japanese: 恋は契約のあとで, Hepburn: *Koi wa Keiyaku no Atode*) is a 2005 yaoi manga written and illustrated by Kae Maruya. It is licensed in English by Digital Manga Publishing, which released the manga on 21 October 2008. It is licensed in German by Carlsen Comics, under the title *Love Contract*.

## Reception

Leroy Douresseaux describes the manga as "passionately romantic", and praised the author's characterisation and artwork. Patricia Beard felt that experienced readers would find some stories familiar. Holly Ellingwood described it as "the perfect yaoi for fans of happy endings".

## InfoBox

| Lover's Pledge | |
| --- | --- |
| 恋は契約のあとで<br>(*Koi wa Keiyaku no Ato de*) | |
| Genre | Romance, Yaoi |
| Manga | |
| Written by | Kae Maruya |
| Published by | Tokuma Shoten |
| English publisher |  |
| Imprint | *Chara Selection* |
| Published | April 25, 2005 |


title: North Atlantic Igneous Province

abstract: The North Atlantic Igneous Province (NAIP) is a large igneous province in the North Atlantic, centered on Iceland. In the Paleogene, the province formed the Thulean Plateau, a large basaltic lava plain, which extended over at least 1.3 million km⁲ (500 thousand sq mi) in area and 6.6 million km⁳ (1.6 million cu mi) in volume. The plateau was broken up during the opening of the North Atlantic Ocean leaving remnants preserved in north Ireland, west Scotland, the Faroe Islands, northwest Iceland, east Greenland, western Norway and many of the islands located in the north eastern portion of the North Atlantic Ocean. The igneous province is the origin of the Giant's Causeway and Fingal's Cave. The province is also known as Brito–Arctic province and the portion of the province in the British Isles is also called the British Tertiary Volcanic Province or British Tertiary Igneous Province.

text:
# North Atlantic Igneous Province

The **North Atlantic Igneous Province** (NAIP) is a large igneous province in the North Atlantic, centered on Iceland. In the Paleogene, the province formed the **Thulean Plateau**, a large basaltic lava plain, which extended over at least 1.3 million km2 (500 thousand sq mi) in area and 6.6 million km3 (1.6 million cu mi) in volume. The plateau was broken up during the opening of the North Atlantic Ocean leaving remnants preserved in north Ireland, west Scotland, the Faroe Islands, northwest Iceland, east Greenland, western Norway and many of the islands located in the north eastern portion of the North Atlantic Ocean. The igneous province is the origin of the Giant's Causeway and Fingal's Cave. The province is also known as **Brito–Arctic province** (also known as the **North Atlantic Tertiary Volcanic Province**) and the portion of the province in the British Isles is also called the **British Tertiary Volcanic Province** or **British Tertiary Igneous Province**.

## Formation

Isotopic dating indicates the most active magmatic phase of the NAIP was between c.60.5 and c. 54.5 Ma (million years ago) (mid-Paleocene to early Eocene) – further divided into Phase 1 (pre-break-up phase) dated to c. 62–58 Ma and Phase 2 (syn-break-up phase) dated to c. 56–54 Ma.

Continuing research also indicates that tectonic plate movement (of the Eurasian, Greenland, and North American plates), regional rifting events, and seafloor spreading between Labrador and Greenland may have begun as early as c. 95–80 Ma, c. 81 Ma, and c. 63–61 Ma respectively (late Cretaceous to early Paleocene).

Studies have suggested that the modern day Iceland hotspot corresponds to the earlier 'North Atlantic mantle plume' that would have created the NAIP. Through both geochemical observations and reconstructions of paleogeography, it is speculated that the present day Iceland hotspot originated as a mantle plume on the Alpha Ridge (Arctic Ocean) c. 130–120 Ma, migrated down Ellesmere Island, through Baffin Island, onto the west coast of Greenland, and finally arrived on the east coast of Greenland by c. 60 Ma.

Extensive outpourings of lava occurred, particularly in East Greenland, which during the Paleogene was then adjacent to Britain. Little is known of the geodynamics of the opening of the North Atlantic between Greenland and Europe.

As the Earth's crust was stretched above the mantle hotspot under stress from plate rifting, fissures opened up along a line from Ireland to the Hebrides and plutonic complexes were formed. Hot magma over 1000 °C surfaced as multiple, successive and extensive lava flows covered over the original landscape, burning forests, filling river valleys, burying hills, to eventually form the Thulean Plateau, which contained various volcanic landforms such as lava fields and volcanoes. There was more than one period of volcanic activity during the NAIP, in between which sea levels rose and fell and erosion took place.

Volcanic activity would have started with volcaniclastic accumulations, like volcanic ash, quickly followed by vast outpourings of highly fluid basaltic lava during successive eruptions through multiple volcanic vents or in linear fissures. As mafic low viscosity lava reached the surface it rapidly cooled and solidified, successive flows built up layer upon layer, each time filling and covering existing landscapes. Hyaloclastites and pillow lavas were formed when the lava flowed into lakes, rivers and seas. Magma that did not make it to the surface as flows froze in conduits as dikes and volcanic plugs and large amounts spread laterally to form sills. Dike swarms extended across the British Isles throughout the Cenozoic. Individual central complexes developed with arcuate intrusions (cone sheets, ring dikes and stocks), the intrusions of one centre cut through earlier centres recording magmatic activity with time. During intermittent periods of erosion and change in sea levels, heated waters circulated through the flows altering the basalts and deposited distinctive suites of zeolite minerals.

Activity of the NAIP 55 million years ago may have caused the Paleocene–Eocene Thermal Maximum, where a large amount of carbon was released into the atmosphere and the Earth substantially warmed. One hypothesis is that the uplift caused by the NAIP hotspot caused methane clathrates to dissociate and dump 2000 gigatons of carbon into the atmosphere.

## Igneous landforms

The NAIP is made up of both onshore and offshore basalt floods, sills, dykes, and plateaus. Dependent upon various regional locations, the NAIP is made up of MORB (Mid Ocean Ridge Basalt), alkali basalt, tholeiitic basalt, and picrite basalt.

Basaltic volcanic rocks up to 2.5 kilometres (1.6 mi) thick cover 65,000 square kilometres (25,000 sq mi) in east Greenland. Numerous intrusions related to hot-spot magmatism are exposed in the coastal region of east Greenland. The intrusions show a wide range of compositions. The Skaergaard intrusion (Early Cenozoic or about 55 million year age) is a layered gabbro (mafic) intrusion that has mineralized rock units enriched in palladium and gold. In contrast, the Werner Bjerge complex is made up of potassium- and sodium-rich (alkaline) granitic rock, containing molybdenum.

Locations of submarine central complexes within the NAIP include:

### United Kingdom

The British portion of the NAIP, particularly West Scotland, provides relatively easy access, compared to the largely inaccessible basalt fields of West Greenland, to deeply eroded relics of the central volcanic complexes.

Locations of major intrusion complexes within the British part of the NAIP include:

Those occurrences within the Hebrides are sometimes referred to as the **Hebridean Igneous Province**.

Other notable NAIP landform locations in the United Kingdom include:

### Republic of Ireland

Carlingford, County Louth is the only location of a major intrusion complex within the Republic of Ireland's part of the NAIP.

## History of geological studies

The intensity of scientific investigation within the NAIP has made it one of the most historically important and deeply studied igneous provinces in the world. Basalt petrology was born in the Scottish Hebrides in 1903 led by the eminent British geologist Sir Archibald Geikie. From the outset Geikie studied the geology of Skye and other Western Isles taking a keen interest in volcanic geology and in 1871 he presented the Geological Society of London with an outline of the 'Tertiary Volcanic History of Britain'. Following Geikie many have tried, and continue to study and understand the NAIP, and in doing so have advanced knowledge in geology, mineralogy and in more recent decades geochemistry and geophysics.


title: History of contract law

abstract: The history of contract law dates back to ancient civilizations and the development of contract law has been heavily influenced by Ancient Greek and Roman thought. There have been further significant developments in contract law during and since the Middle Ages and especially with the development of global trade.

text:
# History of contract law

The **history of contract law** dates back to ancient civilizations and the development of contract law has been heavily influenced by Ancient Greek and Roman thought. There have been further significant developments in contract law during and since the Middle Ages and especially with the development of global trade.

## Ancient law

> "If a man fails to fulfill an agreed contract - unless he had contracted to do something forbidden by law or decree, or gave his consent under some iniquitous pressure, or was involuntarily prevented from fulfilling his contract because of some unlooked-for accident \- an action for such an unfulfilled agreement should be brought in the tribal courts, if the parties have not previously been able to reconcile their differences before arbitrators (their neighbors, that is)."

Plato, *The Laws*, Book 11, §23, Contracts.

English contract law's history was heavily influenced by Ancient Greek and Roman thought. In *The Laws*, Plato devoted little attention to forms of agreement, but recognized the same basic categories for cancelling agreements as exist today. Roman law identified discrete categories of contractual transaction, each with its own requirements, which needed to be fulfilled in order for promises to be enforced. The general kind, *stipulatio*, required various words to be used to generate an obligation, or in a *contractus litteris* it could be written down. There were four categories of consensual agreement, and four kinds of contract creating property rights, such as a pledge (*pignus*) or a secured loan (*mutuum*). More than appeared from the general rules in Ancient Greece, Roman law represented an early division between specific kinds of contract, depending on the transaction's nature.

## Medieval law

### England in the Middle Ages

During the Middle Ages, the English court system was minimal and so a number of In the local and manorial courts, according to the first treatise by Ranulf de Glanville, *Treatise on the laws and customs of the English Kingdom* in 1188, if people disputed the payment of a debt they, and witnesses, would attend court and swear oaths (called a wager of law). They risked perjury if they lost the case, and so this was strong encouragement to resolve disputes elsewhere. The royal courts accepted claims, without a wager of law, if "trespass on the case" was alleged. A jury would be called, but to access the royal courts, which were fixed by Magna Carta to meet in London, some breach of the King's peace had to be alleged. But gradually, the courts allowed claims where there had been no such trouble, no tort *vi et armis*, even though it was still necessary to inventively plead this. For instance, in 1317 one Simon de Rattlesdene alleged he was sold a tun of wine that was contaminated with salt water, "with force and arms, namely with swords and bows and arrows". The Court of Chancery and the King's Bench started to allow claims without the fictitious allegation of force and arms from around 1350. Otherwise, a breach of *covenant* required production of proof of an agreement from a seal. However, in *The Humber Ferryman’s case* a claim was allowed, without any documentary evidence, against a ferryman who dropped a horse overboard that he was contracted to carry across the River Humber. Despite this liberalisation, in the 1200s a threshold of 40 shillings for dispute value had been created. Though its importance tapered away with gradual inflation, it foreclosed court access to most people. Moreover, freedom to contract was firmly suppressed among the peasantry. After the Black Death, the Statute of Labourers 1351 prevented any increase in workers' wages, fuelling among other things the Peasants' Revolt of 1381.

With the courts' hostility to restraints on trade, the doctrine of consideration was forming, that to enforce any obligation something of value needed to be conveyed. Some courts remained sceptical that damages might be awarded purely for a broken agreement (that was not a sealed covenant). Other disputes allowed a remedy, notably in *Shepton v Dogge* where a defendant had agreed in London, where the City courts' custom was to allow claims without covenants under seal, to sell 28 acres of land in Hoxton. Although the house itself was outside London at the time, in Middlesex, a remedy was awarded for deceit, but essentially based on a failure to convey the land. The resolution of these restrictions came shortly after 1585, when a new Court of Exchequer Chamber was established to hear common law appeals. In 1602, in *Slade v Morley*, a grain merchant named Slade claimed that Morley had agreed to buy wheat and rye for £16, but had backed out. Actions for debt were in the jurisdiction of the Court of Common Pleas, but it had required that there needed to be both (1) proof of a debt, and (2) a subsequent promise to repay the debt, so that a finding of deceit (for non-payment) could be made against a defendant. But if a claimant wanted to simply demand payment of the contractual debt (rather than a subsequent promise to pay) he could have to risk a wager of law. The judges of the Court of the King's Bench was prepared to allow "assumpsit" actions (for obligations being assumed) simply from proof of the original agreement. With a majority in the Exchquer Chamber, after six years Lord Popham CJ held that "every contract importeth in itself an Assumpsit". Around the same time the Common Pleas indicated a different limit for contract enforcement in *Bret v JS*, that "natural affection of itself is not a sufficient consideration to ground an assumpsit" and there had to be some "express *quid pro quo*". Now that wager of law, and sealed covenants were essentially unnecessary, the Statute of Frauds 1677 codified the contract types that were thought should require some form.

### European trade

Increasingly, English contract law was affected by its trading relations with northern Europe, particularly since Magna Carta guaranteed merchants "safe and secure" exit and entry to England "for buying and selling by the ancient rights and customs, quit from all evil tolls". In 1266 King Henry III had granted the Hanseatic League a charter to trade in England. The "Easterlings" who came to trade brought goods and money that the English came to call "Sterling", and standard rules for commerce that formed a *Lex Mercatoria*, the laws of the merchants. Merchant custom was most influential in the coastal trading ports like London, Boston, Hull and King's Lynn.

In the 1500s, litigation sharply increased, although the causes are unclear and it may have been due to a centralization of lawsuits in the King's Bench and Common Pleas. The Chief Justices received a large portion of their income from fees paid by litigants, mostly in civil disputes.

Over the late 17th and 18th centuries Sir John Holt, and then Lord Mansfield actively incorporated the principles of international trade law and custom into English common law as they saw it: principles of commercial certainty, good faith, fair dealing, and the enforceability of seriously intended promises. As Lord Mansfield held, "Mercantile law is not the law of a particular country but the law of all nations", but also that "the law of merchants and the law of the land is the same".

## Early modern period

### School of Salamanca

First movement to systematise contract law, the contractual doctrin of School of Salamanca is based on two pillars : freedom and equity.

The School of Salamanca played a great role in the diffusion of the contractual consensualism. If this idea was already admitted in canon law since the 12th Century and the application of the principle *pacta sunt servanda*, the civil law only followed this way in the 16th century after the call of famous jurists like Luis de Molina. Moreover, preceded notably by Leonardus Lessius, the jesuit Pedro de Oñate claimed the existence of a "contractual freedom" and an "autonomy of the will" on the grounds that the Man, created by God who made him free, have an autonomy in the management of his goods and of his commitments. However, this liberty isn't complete because it cannot overstep the principle of free consent and because the contrat cannot ignore the formalism required by the authorities or have an immoral object.

The members of the School of Salamanca also thought, following Luis de Molina, that contracts have been established for common utility and consequently, that natural law can't tolerate a privileged party. To allow the application of this principle of commutative justice, they elaborated the concept of just price. Every violation of this notion constitutes a *laesio* for one, and an unjust enrichment, an infraction to the seventh Commandments and a sin for the other. Only a restitution of the undue prince enables the absolution and bring back the contractual equilibrium.

## Industrial revolution

### Continental Europe

### United Kingdom

Over the industrial revolution, English courts became more and more wedded to the concept of "freedom of contract". It was partly a sign of progress, as the vestiges of feudal and mercantile restrictions on workers and businesses were lifted, a move of people from "status to contract". On the other hand, a preference for *laissez faire* thought concealed the inequality of bargaining power in contracts of employment, consumer, and tenancy. At the centre, captured in nursery rhymes like Robert Browning's *Pied Piper of Hamelin* in 1842 was the fabled notion that if people had promised something "let us keep our promise". But then, as if everybody had the same degree of free will, a generalised law of contract purported to cover every form of agreement was expounded. Courts were suspicious of interfering in agreements, whoever the parties were, so that in *Printing and Numerical Registering Co v Sampson* Sir George Jessel MR proclaimed that "contracts when entered into freely and voluntarily shall be held sacred and shall be enforced by Courts of justice." The Judicature Act 1875 merged the Courts of Chancery and common law, with equitable principles (such as estoppel, undue influence, rescission for misrepresentation and fiduciary duties or disclosure requirements in some transactions) always taking precedence. But the essential principles of English contract law remained stable and familiar, as an offer for certain terms, mirrored by an acceptance, supported by consideration, and free from duress, undue influence or misrepresentation, would generally be enforceable. The rules were exported across the British Empire, as for example in the Indian Contract Act 1872. Further requirements of fairness in exchanges between unequal parties, or general obligations of good faith and disclosure were unwarranted because was said that liabilities "are not to be forced upon people behind their backs". Parliament's statutes, outside general codifications of commercial law like the Sale of Goods Act 1893, left people to the harsh "freedom of contract" of the market until the property qualifications for Parliament were reduced, and the electoral vote finally became democratic.

## Twentieth century

Over the 20th century, legislation and changes' in court attitudes effected a wide-ranging reform of 19th century contract law. First, specific types of non-commercial contract were given special protection where "freedom of contract" appeared far more on the side of large businesses. Consumer contracts came to be regarded as "contracts of adhesion" where there was no real negotiation and most people were given "take it or leave it" terms.

### United Kingdom

In the UK, the courts began by requiring entirely clear information before onerous clauses could be enforced, the Misrepresentation Act 1967 switched the burden of proof onto business to show misleading statements were not negligent, and the Unfair Contract Terms Act 1977 created the jurisdiction to scrap contract terms that were "unreasonable" considering the bargaining power of the parties. Collective bargaining and growing number of employment rights carried the employment contract into an autonomous field of labour law where workers had rights, like a minimum wage, fairness in dismissal, the right to join a union and take collective action, and these could not be given up in a contract with an employer. Private housing was subject to basic terms, such as the right to repairs, and restrictions on unfair rent increases, though many protection was abolished during the 1980s. This reduced the scope of the general law of contract, and meant that most contracts individual people made in their ordinary lives were shielded from the power of corporations to impose whatever terms they chose in selling goods and services, at work, and in people's home. Nevertheless, classical contract law remained at the foundation of specific contracts, unless particular rights were given by the courts or Parliament.

## Globalisation

Internationally, the UK had joined the European Union, which aimed to harmonise significant parts of consumer and employment law across member states. Moreover, with increasing openness of markets commercial contracts were receiving ideas from abroad. Both the Principles of European Contract Law, the UNIDROIT Principles of International Commercial Contracts, and the practice of international commercial arbitration was reshaping thinking about English contract principles with the rest of the globalising economy.

Articles Books


title: Tom Loepp

abstract: Tom Loepp is an American figurative, portrait and landscape painter.

text:
# Tom Loepp

**Tom Loepp** (born June 4, 1954) is an American figurative, portrait and landscape painter.

## Life

Loepp grew up in Wyoming, Texas, Iowa and Oklahoma. He began his art studies in 1972 at the Art Students Academy in Tulsa, Oklahoma, then moved to New York City in 1976 and studied at the Art Students League of New York; this was followed by a year of travel through Europe. He returned to New York, where he painted cityscapes, some from atop the World Trade Center, and began a career as a portrait painter. In 2001 he returned to Wyoming.

In 1994 Loepp painted a portrait of Chief Justice William Rehnquist for the United States Supreme Court. The painting was subsequently placed near Rehnquist's coffin when his body lay in state after his death in 2005; the New York Times described the painting as showing "the four gold stripes with which the chief justice decorated each sleeve of his judicial robe and depicts him with a slightly bemused expression".

In addition to the Supreme Court, Loepp's paintings are in the collections of the Museum of the City of New York, Stanford Law School, University of Chicago, and William and Flora Hewlett Foundation. He has exhibited at the Brooklyn Museum, the Nicolaysen Art Museum and the Dahl Arts Center in South Dakota.

Loepp has taught drawing and painting in numerous venues, including the Art Students League of New York, the National Academy in New York City and the Gage Academy of Art in Seattle


title: Melia (plant)

abstract: Melia is a genus of flowering trees in the family Meliaceae. The name is derived from μελία, the Greek name used by Theophrastus for Fraxinus ornus, which has similar leaves.

text:
# Melia (plant)

***Melia*** is a genus of flowering trees in the family Meliaceae. The name is derived from μελία, the Greek name used by Theophrastus (c. 371 – c. 287 BC) for *Fraxinus ornus*, which has similar leaves.

## Species

As of March 2023, Plants of the World Online accepted three species:

### Formerly placed here

* "*Melia* L." *Atlas of Living Australia*.
* Media related to *Melia* at Wikimedia Commons
* Data related to *Melia* at Wikispecies

## InfoBox

| *Melia* | |
| --- | --- |
|  | |
| *Melia azedarach* | |
|
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Eudicots |
| *Clade*: | Rosids |
| Order: | Sapindales |
| Family: | Meliaceae |
| Subfamily: | Melioideae |
| Genus: | *Melia*
L. |
|
| Type species | |
| *Melia azedarach*
L. | |
| Species | |
| See text. | |
| Synonyms | |
| * *Antelaea* Gaertn. * *Azedara* Raf. * *Azedarac* Adans. * *Azedarach* Mill. * *Zederachia* Heist. ex Fabr. | |


title: Tomatlán River

abstract: The Tomatlán River is a river of Jalisco, Mexico.

text:
# Tomatlán River

The **Tomatlán River** is a river of Jalisco, Mexico.

* *Atlas of Mexico*. 1975.
* The Prentice Hall American World Atlas, 1984.
* Rand McNally, The New International Atlas, 1993.

## InfoBox

| Tomatlán River | |
| --- | --- |
| Location of mouth | |
| Location | |
| Country | Mexico |
| State | Jalisco |
| Physical characteristics | |
| Mouth |  |
| coordinates | 19°50′30″N 105°22′20″W / 19.841788°N 105.3722°W / 19.841788; -105.3722 |


title: Mentha pamiroalaica

abstract: Mentha pamiroalaica is a mint species within the genus Mentha, endemic to the Gissar Range in Tajikistan. The species was recorded by Russian botanist Antonina Borissova in 1954.

text:
# Mentha pamiroalaica

***Mentha pamiroalaica*** is a mint species within the genus *Mentha*, endemic to the Gissar Range in Tajikistan. The species was recorded by Russian botanist Antonina Borissova in 1954.

## Taxonomy

While it is accepted as a distinct species by authorities such as Plants of the World Online, some authors have treated *Mentha pamiroalaica* as simply a synonym of *Mentha longifolia.*

## Description

*Mentha pamiroalaica* is a perennial species, it grows to 60–160 centimeters in height and produces lilac-colored flowers. It produces ovate to oblong or lanceate leaves 8–10 centimeters in length.

## Use

*Mentha pamiroalaica* is eaten as food in traditional Uzbekistani cuisine.

## InfoBox

| *Mentha pamiroalaica* | |
| --- | --- |
|
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Eudicots |
| *Clade*: | Asterids |
| Order: | Lamiales |
| Family: | Lamiaceae |
| Genus: | *Mentha* |
| Species: | ***M. pamiroalaica*** |
| Binomial name | |
| ***Mentha pamiroalaica***<br>Boriss. | |
|